Pappachi’s Moth | Lesson 6 | Prose | Summary | Questions and Answers |

 

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English | Class 10th | Tulip Series |

 

Pappachi’s Moth | Lesson 6 | Prose | Summary | Questions and Answers |

 

SHORT SUMMARY

            "Pappachi’s Moth" is a poignant excerpt from Arundhati Roy's novel "The God of Small Things," which provides a glimpse into the troubled life of Pappachi (Reverend E. John Ipe), the grandfather of the protagonist, Rahel. Pappachi, a retired entomologist, discovers a new species of moth but is denied recognition when his discovery is not acknowledged by his peers. This becomes a source of deep resentment and bitterness for him.

Pappachi's moth symbolizes his unfulfilled ambitions and the personal failures that haunt him. His disappointment and frustration manifest in his abusive behaviour towards his family, particularly his wife, Mammachi, whom he resents for her successful pickle business. The story highlights the emotional turmoil and the impact of Pappachi’s unresolved issues on his family, painting a vivid picture of generational trauma and the complexities of familial relationships in the larger narrative of the novel.

 

Thinking about the Text

Question 1. Sketch the characters of Pappachi and Mammachi.

Answer: Pappachi: Pappachi, or Reverend E. John Ipe, is a retired entomologist who harbours deep resentment and bitterness due to his unrecognized discovery of a new moth species. His unfulfilled ambitions and personal failures lead him to become emotionally and physically abusive, particularly towards his wife, Mammachi. Pappachi's character embodies frustration and unresolved anger, which taints his relationships with his family.

Mammachi: Mammachi, Pappachi's wife, is a resilient and skilled woman who successfully runs a pickle business, earning respect and recognition for her efforts. Despite facing abuse from Pappachi, she demonstrates strength and perseverance, managing both her household and business with determination. Mammachi's character reflects the enduring spirit and silent suffering of women who often bear the brunt of familial and societal pressures.

Question 2. 'I never want this to happen again,' he told his father, 'Ever'. Who says it and why?

Answer: Rahel's brother, Estha, says this to their father, Baba, expressing his deep trauma and fear after experiencing a distressing event. This line signifies Estha's desire to avoid any recurrence of the painful incident that has profoundly affected him.

Question 3. ‘Ammu told the twins that Mammachi was crying more because she was used to him than because she loved him’. In the light of the statement of Mammachi's daughter, comment on the relationship between Mammachi and Pappachi.

Answer: Ammu's statement highlights the complex and strained relationship between Mammachi and Pappachi. It suggests that Mammachi's grief over Pappachi's death is rooted more in habit and familiarity than in genuine love. Their relationship was marked by Pappachi's abusive behavior and Mammachi's endurance, which created a bond of dependency rather than affection. These dynamic underscores the themes of suffering and endurance in their marriage, reflecting a connection maintained by necessity and routine rather than mutual respect and love.

Question 4. How does Mammachi stand out as an independent and resilient woman in the text?

Answer: Mammachi stands out as an independent and resilient woman through her successful pickle-making business, which she builds and manages despite Pappachi's disapproval and abuse. Her ability to endure and thrive in a difficult marriage and to support her family financially demonstrates her strength and determination.

Question 5. Pick out the elements of irony in the lesson.

Answer: The elements of irony in the lesson "Pappachi's Moth" include:

1. Pappachi, despite being a reputed entomologist, fails to get credit for discovering a new species of moth, which is later named after someone else.

2. Mammachi's success in her business contrasts with Pappachi's lack of recognition, highlighting the gender dynamics where a woman's achievements surpass the men in a patriarchal society.

3. Pappachi's abusive behaviour towards Mammachi contrasts with her resilience and independence, as she continues to thrive despite his oppression.

4. The family endures emotional and physical abuse from Pappachi, yet Mammachi's crying after his death is attributed to habit rather than love, indicating the complex nature of their relationship.

Question 6. Identify instances of humour in the story.

Answer: Instances of humour in "Pappachi's Moth" include:

1. Pappachi's Moth Incident: Pappachi's overblown pride and eventual disappointment over the moth discovery create an absurd situation. His initial excitement about the moth, followed by his lifelong resentment when it's not named after him, adds a layer of dark humour.

2. Mammachi's Pickles: The description of Mammachi's successful pickle business, juxtaposed with Pappachi's failed entomological career, highlights the irony and humour in their domestic dynamic. The idea of pickles becoming a symbol of triumph is amusing.

3. Pappachi's Obsession: Pappachi's obsession with his moth, even years after the incident, becomes a recurring humorous element. His constant mention of it in irrelevant situations shows how the incident has taken an absurdly central place in his life.

4. Children's Perspective: The twins' innocent and sometimes blunt observations about their family members add humour. Their candid remarks often highlight the absurdity of adult behaviour in a humorous way.

5. Household Dynamics: The contrasting behaviours of the family members, such as Baby Kochamma's pettiness and Mammachi's practicality, create humorous situations. The family's interactions often reveal the quirks and contradictions in their personalities.

These instances of humour serve to lighten the serious themes in the story and provide a more nuanced portrayal of the characters' lives.

Language Work

a) Match the following:

Epitaph	a word or piece of writing taken from a written work.
Abstract	a short piece of writing or a poem about a dead person, especially written on their grave stone.
Citation	a shortened form of a speech, article, book, etc; giving only the most important facts or arguments. End sections of the magazine include abstracts of recent articles/books.
Obituary	news of someone's death in a newspaper.
Postscript	a short remark or message added to the bottom of a letter after you have signed your name, usually introduced by the abbreviation PS.
Glossary	meanings of difficult words and phrases in a text that are difficult to understand.
Extract	a particular part of a book, poem etc. that is chosen so that it can be used in a discussion, article, etc.
Appendix	a separate part at the end of a book or magazine which gives additional information.
Epigraph	a saying or a part of a poem, play or book at the beginning of a piece of writing to give the reader some idea of what the piece is about.
Manuscript	the original copy of a book or article before it is printed.

 

Answer:

Epitaph	a short piece of writing or a poem about a dead person, especially written on their grave stone.
Abstract	a shortened form of a speech, article, book, etc; giving only the most important facts or arguments. End sections of the magazine include abstracts of recent articles/books.
Citation	a particular part of a book, poem etc. that is chosen so that it can be used in a discussion, article, etc.
Obituary	news of someone's death in a newspaper.
Postscript	a short remark or message added to the bottom of a letter after you have signed your name, usually introduced by the abbreviation PS.
Glossary	meanings of difficult words and phrases in a text that are difficult to understand.
Extract	a word or piece of writing taken from a written work.
Appendix	a separate part at the end of a book or magazine which gives additional information.
Epigraph	a saying or a part of a poem, play or book at the beginning of a piece of writing to give the reader some idea of what the piece is about.
Manuscript	the original copy of a book or article before it is printed.

 

b) What do the following scientists study.

Match Column A with Column B.

Column A	Column B
Dermatologist	Birds
Endocrinologist	Cells
Ornithologist	Skin
Gerontologist	Hormones
Cytologist	Working conditions
Ergonomist	Old Age
Palaeontologist	Fish
Herpetologist	Fossils
Ichthyologist	Reptiles

 

Answer:

Column A	Column B
Dermatologist	Skin
Endocrinologist	Hormones
Ornithologist	Birds
Gerontologist	Old Age
Cytologist	Cells
Ergonomist	Working conditions
Palaeontologist	Fossils
Herpetologist	Reptiles
Ichthyologist	Fish

 

1. Active and Passive Voice.

Look at the following sentences:

Active: Rahim helps the poor. (subject, transitive verb, object)

Passive: The poor are helped by Rahim. (subject, be, past participate, object)

 

When changing a sentence from the 'Active Voice' into the 'Passive Voice', the following changes are made (as shown in the above example):

i) The 'Object' of the verb in the 'Active Voice' becomes the 'subject' in the 'Passive Voice'.

ii) The 'Subject' in the 'Active Voice' takes generally the position 'by' before it in the 'Passive Voice'.

iii) The verb 'be' in one of its forms is/am/are, was/were, been, being (according to the tense of the Active Voice) is used with the 'Past Participle' of a transitive verb.

Now look at the following sentences:

1.      A: Shut the door.

P: Let the door be shut.

2.      A: Sit down.

P: Be seated.

3.      The rose smells sweet.

The rose is sweet when smelt.

4.      A: Please help me.

You are requested to help me.

5.      A: Help her.

P: Let her be helped.

In these sentences, the above-mentioned rules, i.e., the verb acts in the 'Active Voice' and the verb is acted upon in the 'Passive Voice' are not followed. They are, therefore, called the exceptional or typical examples of Active and Passive Voice.

Change the Voice of the following sentences:

1. Good boys do not tell lies.

2. Obey your parents.

3. He is feeding the poor.

4. Let the truth be always spoken (Passive)

5. You have not spoken the truth.

6. Keep it a secret.

7. God be thanked.

8. The teacher punished him.

9. The tree was being cut by the woodcutter. (Passive)

10. Quinine tastes bitter.

11. She had taught him a good lesson.

12. Open the door.

13. The matter will be looked into by the police. (Passive)

14. Stop writing.

15. She will have read this book.

Answer:

1. Good boys do not tell lies.

   - Lies are not told by good boys.

2. Obey your parents.

   - Let your parents be obeyed.

3. He is feeding the poor.

   - The poor are being fed by him.

4. Let the truth be always spoken (Passive)

   - Always speak the truth.

5. You have not spoken the truth.

   - The truth has not been spoken by you.

6. Keep it a secret.

   - Let it be kept a secret.

7. God be thanked. (Passive)

   - Thank God.

8. The teacher punished him.

   - He was punished by the teacher.

9. The tree was being cut by the woodcutter. (Passive)

   - The woodcutter was cutting the tree.

10. Quinine tastes bitter.

    - Bitter is the taste of quinine.

11. She had taught him a good lesson.

    - He had been taught a good lesson by her.

12. Open the door.

    - Let the door be opened.

13. The matter will be looked into by the police. (Passive)

    - The police will look into the matter.

14. Stop writing.

    - Let the writing be stopped.

15. She will have read this book.

    - This book will have been read by her.

 

Writing Work

Do you agree that the lesson is a reflection of male chauvinism? Write a short paragraph to justify your answer.

Answer: Yes, the lesson "Pappachi’s Moth" by Arundhati Roy is a reflection of male chauvinism. The character of Pappachi embodies traditional patriarchal values and male dominance. He is depicted as a man who is unable to accept his wife's success, feeling threatened and overshadowed by her achievements. His refusal to acknowledge Mammachi’s talents and his violent outbursts reveal his deep-seated insecurity and need to assert control. Despite Mammachi’s resilience and independence, Pappachi’s oppressive behaviour highlights the societal norm where male pride and authority take precedence over women's dignity and accomplishments. These dynamic underscores the pervasive nature of male chauvinism in the context of the story.

Or

How does the author succeed in raising crucial social issues not through open criticism but through subtle suggestion?

Answer: Arundhati Roy adeptly raises crucial social issues in "Pappachi’s Moth" through subtle suggestion rather than direct criticism. Instead of overtly condemning societal norms or gender roles, Roy illustrates these issues through the characters' experiences and relationships. For example, Pappachi’s dismissive attitude towards Mammachi’s accomplishments subtly critiques the systemic undervaluing of women’s contributions. Roy uses nuanced character interactions, such as Pappachi's oppressive behaviour and Mammachi's resignation, to reflect broader social injustices. This indirect approach allows readers to engage with the issues on a deeper level, drawing attention to the pervasive nature of male chauvinism and societal constraints without explicit admonishment.

Discussion

Discuss in pairs the contrast between the outward elegance of a person and his/her private behaviour.

Discussing the contrast between outward elegance and private behaviour can reveal much about a person's true character and the complexities of their social persona. Here are some points to consider:

1. Public Persona vs. Private Reality: A person might present themselves with outward elegance—dressing impeccably, speaking politely, and maintaining a poised demeanour in public. This polished exterior can mask their private behaviour, which might be less refined or more flawed. For instance, someone who appears courteous and sophisticated in social settings may exhibit rudeness or impatience in private.

2. Social Expectations: Outward elegance often reflects adherence to social norms and expectations. A person may cultivate a certain image to fit societal standards or to achieve a specific status. However, this curated persona might not align with their true feelings or behaviour behind closed doors, where they might feel more liberated to express their authentic self.

3. Emotional Discrepancies: Elegance can sometimes be a facade that conceals inner turmoil or dissatisfaction. For example, a person who maintains a calm and composed exterior in public might be struggling with personal issues or emotional distress privately. This contrast highlights the emotional labour involved in maintaining an elegant public image.

4. Behavioural Dichotomy: The discrepancy between outward elegance and private behaviour can lead to misunderstandings or conflicts. A person’s elegant public behaviour might be perceived as insincere or superficial if their private actions contradict this image. This contrast can affect relationships and how others perceive their integrity and authenticity.

5. Cultural and Social Influences: The drive for outward elegance can be influenced by cultural or social expectations. A person may adopt certain behaviours or attitudes to conform to these standards, even if they conflict with their private values or actions. This can create a disparity between their public and private selves, reflecting broader societal pressures.

By exploring these contrasts, you can gain insights into how societal expectations shape individual behaviour and how personal authenticity often diverges from public presentation.

Suggested Reading

The God of Small Things by Arundhati Roy

A Thousand Splendid Suns by Khaled Hosseini

A Doll s House by Ibsen