Skip to main content

Edgar Allan Poe short stories thinking activity

Edgar Allan Poe

Edgar Allan Poe was an American writer, editor, and literary critic. 
Poe is best known for his poetry and short stories, particularly his tales of mystery and the macabre.

Thinking Activity

1. Read the first Gujarati story and listen to the audio recitation of the second story. Observe how the two wordsmiths work wonders through words! (Absolute obsession of alliteration).



Ans. :   The story name of “MANSANGH” is written by JAYNT KHATRI. The story started very unique way. It’s horror suspense story. The language of story is 'TALPADI GUJRATI'. The Story begins with Dark night. So  the Dark night is also symbol of macabre story. It’s very hard to write a horror scene rather than showing and listening. There are no any sound only words explain all expression. So it’s very difficult. But jayant KHATRI wrote very well readers feel that deep words and horror situation.There are no mention narrative name but story narrated by “ mastar”.


      

2. List out various adjectives that contribute the most in creating the "pre-established design" or effect that the author intended to create.

Ans. : some adjective in this story.

- āŠ…ંāŠ§ાāŠ°ી āŠ°ાāŠĪ

- āŠ–ુāŠē્āŠēુ  āŠŪોં

- āŠļāŠŦેāŠĶ āŠēુāŠ—āŠĄુ

- āŠŦાāŠŸેāŠēું āŠĪāŠ•ીāŠŊુ

- āŠ•ુંāŠĩાāŠ°ી āŠĶીāŠ•āŠ°ી

- āŠ–ુāŠē્āŠēુ āŠ†āŠ•ાāŠķ

- āŠ°āŠĄāŠĪું āŠ•ૂāŠĪāŠ°ું

- āŠĪીāŠĢી āŠšીāŠļ

- āŠĪોāŠŦાāŠĻી āŠĶ્āŠķ્āŠŊો

- āŠ…āŠķાāŠĻ્āŠĪ āŠļ્āŠĩāŠŠ્āŠĻ


3.Which are the phrases you find frightening? How are they placed in the text?

 Ans. :  When I read story I found some frightening phrases like 

- āŠ…ંāŠ§ાāŠ°ી āŠ°ાāŠĪ

- āŠŽંāŠ—āŠĄી āŠ…āŠĩાāŠœ

- āŠ§્āŠ°ુāŠœāŠĪો‌ āŠđાāŠĨ

- āŠ•ૂāŠĪāŠ°ાāŠĻો āŠ°āŠĄāŠĩા āŠĻો āŠ…āŠĩાāŠœ

-  āŠŠāŠĩāŠĻāŠĻા āŠļુāŠļāŠĩાāŠŸા

- āŠĪāŠĢāŠ–ા āŠāŠ°āŠĪી āŠ†ંāŠ–ો

- āŠĶીāŠĩા āŠĻા āŠŠ્āŠ°āŠ•ાāŠķ āŠĨી āŠŠāŠĄāŠ›ાāŠŊો āŠđāŠēāŠĩો

- āŠ°ાāŠĪ āŠķાંāŠĪ āŠđāŠĪી, āŠ…āŠķાંāŠĪિ āŠ•āŠ°āŠĪાંāŠŊ āŠ­āŠŊંāŠ•āŠ° ‌āŠ°ીāŠĪે 



4. Can you find out any other lexical varieties such as figures of speech like simile, metaphor, personification etc? Briefly explain their significance in the story.

Ans. :  I read the story that time I could see the use of figurative language.  Figurative language always gives some unique charm in story. Metaphorical language used by Jayant KHATRI in this story like a...

   

“āŠđāŠļāŠĩાāŠĻો āŠ…āŠĩાāŠœ āŠœાāŠĢે āŠ­āŠ°ેāŠēી āŠ—ાāŠ—āŠ° āŠ āŠēāŠĩાāŠˆ. ”

“āŠœાāŠĢે āŠ†ંāŠļુāŠĻા āŠĶāŠ°િāŠŊા āŠĻી āŠ­āŠ°āŠĪી āŠđāŠĪી.”

“āŠ†ંāŠ–ો āŠĩાāŠ˜ āŠĻે āŠĪāŠĢāŠ–ા āŠāŠ°āŠĪી”

“āŠĪાāŠ°ાāŠ“ āŠĻું āŠœોāŠĩું”

“āŠ†āŠ­ āŠŦાāŠŸેāŠēું āŠĪેāŠĩો āŠđāŠļāŠĩાāŠĻો āŠ…āŠĩાāŠœ”

“āŠĄોāŠ• āŠĻા āŠļāŠĪāŠ°āŠļો āŠĩāŠēાāŠ•”



5.What is the impact of listening  to the stories on your mind? Which Rasas/emotions erupt in you during and after the reading/listening sessions?

 Ans. : Listening the story which is always better understanding. In both story I could find Bhaya.       ( fear) rasa.

Comments

Post a Comment

Popular posts from this blog

IITE B.ED SEMESTER 1 STUDY MATERIAL

HERE YOU CAN FIND STUDY MATERIAL FOR B.ED COURSE  IITE B.ED SYLLABUS SEMESTER 1 MATERIAL (GUJRATI MEDIUM)  CLICK HERE 👇 Syllabus Translated by...@Divyesh Vara.... LS 1 : PSYCHOLOGY OF LEARNERS Thanks to @Dr.RanjanBen Parmar for as Resource Person Thanks to Dr. D.R Pandya sir for as Resource Person ES 1:PERSPECTIVE IN EDUCATION Thanks to @DR.Dinesh R Patel for as Resource Person FOR MORE GUIDENCE YOU CAN SEE HERE VIDEOS RELATED TO DIFFRENT TOPICS.(PERSPECTIVE IN EDUCATION)      THANKS TO .@DR.ISHITA BADIYANI FOR AS RESOURSE PERSON CLICK HERE 👇 DR.ISHITA BADIYANI   CUS 1: CURRICULUM DEVLOPMENT PRINCIPLES LPC 1 : GUJRATI LANGUAGE Thanks to @Dr.Dinesh R Patel for as Resource Person PS1 : GENERAL PEDAGOGY FOR MATHS AND SCIENCE   Thanks to @Vishwam_Pandya for as Resource Person S1: MICRO TEACHING SIMULATION SEMESTER 1 MATERIAL (ENGLISH MEDUIM) CLICK HERE 👇 LS1: PSYCHOLOGY OF LEARNERS ES 1: PERSPECTIVE IN EDUCATION CUS 1 : CURRICULUM DEVELOPMENT PRINC...

English Language Teaching-āŠ…ંāŠ—્āŠ°ેāŠœી āŠ­ાāŠ·ા

āŠ…ંāŠ—્āŠ°ેāŠœી āŠ­ાāŠ·ા  āŠķીāŠ–āŠĩāŠĩાāŠĻા āŠļાāŠŪાāŠĻ્āŠŊ āŠ‰āŠĶ્āŠĶેāŠķ્āŠŊો: āŠļંāŠĶેāŠķાāŠĩ્āŠŊāŠĩāŠđાāŠ° āŠ•ૌāŠķāŠē્āŠŊāŠĻો āŠĩિāŠ•ાāŠļ āŠ•āŠ°āŠĩો: āŠŠ્āŠ°ાāŠĨāŠŪિāŠ• āŠ‰āŠĶ્āŠĶેāŠķોāŠŪાંāŠĻો āŠāŠ• āŠ āŠ›ે āŠ•ે āŠĩિāŠĶ્āŠŊાāŠ°્āŠĨીāŠ“ āŠ…ંāŠ—્āŠ°ેāŠœીāŠŪાં āŠ…āŠļāŠ°āŠ•ાāŠ°āŠ• āŠ°ીāŠĪે āŠĩાāŠĪāŠšીāŠĪ āŠ•āŠ°ી āŠķāŠ•ે. āŠ†āŠŪાં āŠŽોāŠēāŠĩાāŠĻી, āŠļાંāŠ­āŠģāŠĩાāŠĻી, āŠĩાંāŠšāŠĩાāŠĻી āŠ…āŠĻે āŠēāŠ–āŠĩાāŠĻી āŠ•ુāŠķāŠģāŠĪા āŠĩāŠ§ાāŠ°āŠĩાāŠĻો āŠļāŠŪાāŠĩેāŠķ āŠĨાāŠŊ āŠ›ે. āŠĩિāŠĩેāŠšāŠĻાāŠĪ્āŠŪāŠ• āŠĩિāŠšાāŠ°āŠļāŠ°āŠĢીāŠĻે āŠŠ્āŠ°ોāŠĪ્āŠļાāŠđāŠĻ āŠ†āŠŠāŠĩું: āŠ…ંāŠ—્āŠ°ેāŠœી āŠķીāŠ–āŠĩāŠĩાāŠĨી āŠĩિāŠĶ્āŠŊાāŠ°્āŠĨીāŠ“āŠĻે āŠŠાāŠ ોāŠĻું āŠŠૃāŠĨ્āŠĨāŠ•āŠ°āŠĢ āŠ•āŠ°ીāŠĻે, āŠĶāŠēીāŠēોāŠĻું āŠĻિāŠ°્āŠŪાāŠĢ āŠ•āŠ°ીāŠĻે āŠ…āŠĻે āŠĩિāŠšાāŠ°ોāŠĻે āŠĪાāŠ°્āŠ•િāŠ• āŠ°ીāŠĪે āŠĩ્āŠŊāŠ•્āŠĪ āŠ•āŠ°ીāŠĻે āŠĩિāŠĩેāŠšāŠĻાāŠĪ્āŠŪāŠ• āŠ°ીāŠĪે āŠĩિāŠšાāŠ°āŠĩા āŠŠ્āŠ°ોāŠĪ્āŠļાāŠđિāŠĪ āŠ•āŠ°ે āŠ›ે. āŠĩ્āŠŊાāŠ•āŠ°āŠĢ āŠ…āŠĻે āŠŪાāŠģāŠ–ાāŠ•ીāŠŊ āŠœ્āŠžાāŠĻāŠŪાં āŠļુāŠ§ાāŠ°ો āŠ•āŠ°āŠĩો: āŠŽીāŠœો āŠ‰āŠĶ્āŠĶેāŠķ્āŠŊ āŠ āŠ›ે āŠ•ે āŠķીāŠ–āŠĻાāŠ°ાāŠ“āŠĻે āŠ…ંāŠ—્āŠ°ેāŠœી āŠĩ્āŠŊાāŠ•āŠ°āŠĢ, āŠĩાāŠ•્āŠŊāŠĻી āŠ°āŠšāŠĻા āŠ…āŠĻે āŠķāŠŽ્āŠĶāŠ­ંāŠĄોāŠģāŠĻી āŠĻāŠ•્āŠ•āŠ° āŠļāŠŪāŠœ āŠŠૂāŠ°ી āŠŠાāŠĄāŠĩી āŠœેāŠĨી āŠēેāŠ–િāŠĪ āŠ…āŠĻે āŠŽોāŠēાāŠĪી āŠŽંāŠĻે āŠŠ્āŠ°ાāŠĩીāŠĢ્āŠŊāŠŪાં āŠĩāŠ§ાāŠ°ો āŠĨાāŠŊ. āŠļાંāŠļ્āŠ•ૃāŠĪિāŠ• āŠœાāŠ—ૃāŠĪિ: āŠ…ંāŠ—્āŠ°ેāŠœી āŠķીāŠ–āŠĩાāŠĨી āŠĩિāŠĶ્āŠŊાāŠ°્āŠĨીāŠ“āŠĻે āŠĩિāŠĩિāŠ§ āŠļંāŠļ્āŠ•ૃāŠĪિāŠ“ āŠ…āŠĻે āŠŠāŠ°િāŠŠ્āŠ°ેāŠ•્āŠ·્āŠŊોāŠĻી āŠœાāŠĢ āŠĨાāŠŊ āŠ›ે, āŠĪેāŠŪāŠĻી āŠĩૈāŠķ્āŠĩિāŠ• āŠœાāŠ—āŠ°ૂāŠ•āŠĪા āŠĩિāŠļ્āŠĪૃāŠĪ āŠĨાāŠŊ āŠ›ે āŠ…āŠĻે āŠ†ંāŠĪāŠ°āŠļાંāŠļ્āŠ•ૃāŠĪિāŠ• āŠļāŠŪāŠœāŠĻે āŠŠ્āŠ°ોāŠĪ્āŠļાāŠđāŠĻ āŠŪāŠģે āŠ›ે. āŠļાāŠđિāŠĪ્āŠŊિāŠ• āŠŠ્āŠ°āŠķંāŠļા āŠĩāŠ§ાāŠ°āŠĩી: āŠĩિāŠĶ્āŠŊાāŠ°્āŠĨીāŠ“āŠĻે āŠļાāŠđિāŠĪ્āŠŊāŠĻા āŠĩિāŠĩિāŠ§ āŠļ્āŠĩāŠ°ૂāŠŠો-āŠ•āŠĩિāŠĪા, āŠĻાāŠŸāŠ•, āŠļાāŠđિāŠĪ્āŠŊ-āŠļાāŠđિāŠĪ્āŠŊāŠĻી āŠ•ૃāŠĪિāŠ“, āŠĨીāŠŪ્āŠļ āŠ…āŠĻે āŠķૈāŠēીāŠ“ āŠŪાāŠŸે āŠŠંāŠĄી āŠŠ્āŠ°āŠķંāŠļા āŠĩāŠ§ાāŠ°āŠĩાāŠŪાં āŠŪāŠĶāŠĶ āŠ•āŠ°ે āŠ›ે. āŠ‰āŠš્āŠš āŠķિāŠ•્āŠ·āŠĢ āŠ…āŠĻે āŠ•ા...

āŠļંāŠļ્āŠ•ૃāŠĪ āŠķીāŠ–āŠĩāŠĩાāŠĻા āŠļાāŠŪાāŠĻ્āŠŊ āŠ‰āŠĶ્āŠĶેāŠķ્āŠŊો

 āŠļંāŠļ્āŠ•ૃāŠĪ āŠķીāŠ–āŠĩāŠĩાāŠĻા āŠļાāŠŪાāŠĻ્āŠŊ āŠ‰āŠĶ્āŠĶેāŠķ્āŠŊો āŠķાāŠģા āŠ•āŠ•્āŠ·ાāŠ āŠļંāŠļ્āŠ•ૃāŠĪ āŠ­āŠĢાāŠĩāŠĩાāŠĻો āŠ‰āŠĶ્āŠĶેāŠķ્āŠŊ āŠ…āŠĻેāŠ• āŠĩ્āŠŊાāŠŠāŠ• āŠķૈāŠ•્āŠ·āŠĢિāŠ• āŠ‰āŠĶ્āŠĶેāŠķ્āŠŊોāŠĻે āŠŠૂāŠ°ો āŠ•āŠ°āŠĩાāŠĻો āŠ›ે, āŠœે āŠļાંāŠļ્āŠ•ૃāŠĪિāŠ•, āŠŽૌāŠĶ્āŠ§િāŠ•, āŠ­ાāŠ·ાāŠ•ીāŠŊ āŠ…āŠĻે āŠĻૈāŠĪિāŠ• āŠĩિāŠ•ાāŠļ āŠļાāŠĨે āŠļુāŠļંāŠ—āŠĪ āŠ›ે. āŠŽેāŠšāŠēāŠ° āŠ‘āŠŦ āŠāŠœ્āŠŊુāŠ•ેāŠķāŠĻ (B.Ed) āŠĩિāŠĶ્āŠŊાāŠ°્āŠĨીāŠ“ āŠŪાāŠŸે, āŠ† āŠđેāŠĪુāŠ“āŠĻે āŠļāŠŪāŠœāŠĩાāŠĨી āŠ…āŠ­્āŠŊાāŠļāŠ•્āŠ°āŠŪāŠŪાં āŠļંāŠļ્āŠ•ૃāŠĪāŠĻી āŠ­ૂāŠŪિāŠ•ાāŠĻી āŠŠ્āŠ°āŠķંāŠļા āŠ•āŠ°āŠĩાāŠŪાં āŠŪāŠĶāŠĶ āŠŪāŠģે āŠ›ે. āŠ…āŠđીં āŠ•ેāŠŸāŠēાāŠ• āŠŪુāŠ–્āŠŊ āŠ‰āŠĶ્āŠĶેāŠķ્āŠŊો āŠ›ે: āŠļાંāŠļ્āŠ•ૃāŠĪિāŠ• āŠļંāŠĩāŠ°્āŠ§āŠĻ: āŠļંāŠļ્āŠ•ૃāŠĪ, āŠĩિāŠķ્āŠĩāŠĻી āŠļૌāŠĨી āŠœૂāŠĻી āŠ­ાāŠ·ાāŠ“āŠŪાંāŠĻી āŠāŠ• āŠ›ે āŠ…āŠĻે āŠ˜āŠĢી āŠ­ાāŠ°āŠĪીāŠŊ āŠ­ાāŠ·ાāŠ“āŠĻો āŠŠાāŠŊો āŠ›ે, āŠĪે āŠ–ૂāŠŽ āŠœ āŠļાંāŠļ્āŠ•ૃāŠĪિāŠ• āŠŪāŠđāŠĪ્āŠĩ āŠ§āŠ°ાāŠĩે āŠ›ે. āŠŠ્āŠ°ાāŠĨāŠŪિāŠ• āŠ‰āŠĶ્āŠĶેāŠķ્āŠŊો āŠŠૈāŠ•ીāŠĻો āŠāŠ• āŠ āŠ›ે āŠ•ે āŠĩિāŠĶ્āŠŊાāŠ°્āŠĨીāŠ“āŠĻે āŠ­ાāŠ°āŠĪāŠĻા āŠļāŠŪૃāŠĶ્āŠ§ āŠĩાāŠ°āŠļાāŠĨી āŠŠāŠ°િāŠšિāŠĪ āŠ•āŠ°ાāŠĩāŠĩાāŠĻો āŠ›ે, āŠœેāŠŪાં āŠĪેāŠĻા āŠļાāŠđિāŠĪ્āŠŊ, āŠŦિāŠēāŠļૂāŠŦી, āŠ•āŠēા āŠ…āŠĻે āŠŠ્āŠ°ાāŠšીāŠĻ āŠ—્āŠ°ંāŠĨોāŠŪાં āŠļāŠŪાāŠĩિāŠ·્āŠŸ āŠĩૈāŠœ્āŠžાāŠĻિāŠ• āŠļિāŠĶ્āŠ§િāŠ“āŠĻો āŠļāŠŪાāŠĩેāŠķ āŠĨાāŠŊ āŠ›ે. āŠļંāŠļ્āŠ•ૃāŠĪ āŠķીāŠ–āŠĩāŠĩાāŠĨી āŠĩિāŠĶ્āŠŊાāŠ°્āŠĨીāŠ“āŠĻે āŠĩેāŠĶ, āŠ‰āŠŠāŠĻિāŠ·āŠĶ, āŠ°ાāŠŪાāŠŊāŠĢ āŠ…āŠĻે āŠŪāŠđાāŠ­ાāŠ°āŠĪ āŠœેāŠĩા āŠŪāŠđાāŠ•ાāŠĩ્āŠŊો āŠœેāŠĩા āŠķાāŠļ્āŠĪ્āŠ°ીāŠŊ āŠ—્āŠ°ંāŠĨોāŠĻો āŠŠāŠ°િāŠšāŠŊ āŠĨાāŠŊ āŠ›ે, āŠœે āŠ­ાāŠ°āŠĪāŠĻી āŠļાંāŠļ્āŠ•ૃāŠĪિāŠ• āŠ“āŠģāŠ–āŠĻે āŠ†āŠ•ાāŠ° āŠ†āŠŠે āŠ›ે. āŠ­ાāŠ·ાāŠ•ીāŠŊ āŠļāŠ•્āŠ·āŠŪāŠĪા: āŠļંāŠļ્āŠ•ૃāŠĪāŠĻે āŠ­ાāŠ°āŠĪāŠŪાં 'āŠ­ાāŠ·ાāŠ“āŠĻી āŠŪાāŠĪા' āŠĪāŠ°ીāŠ•ે āŠ—āŠĢāŠĩાāŠŪાં āŠ†āŠĩે āŠ›ે, āŠœે āŠ˜āŠĢી āŠ†āŠ§ુāŠĻિāŠ• āŠ­ાāŠ°āŠĪીāŠŊ āŠ­ાāŠ·ાāŠ“āŠĻે āŠŠ્āŠ°āŠ­ાāŠĩિāŠĪ āŠ•āŠ°ે āŠ›ે. āŠļંāŠļ્āŠ•ૃāŠĪāŠĻો āŠ…āŠ­્āŠŊાāŠļ āŠ•āŠ°ીāŠĻે, āŠĩિāŠĶ્āŠŊાāŠ°્āŠĨીāŠ“ āŠĩિāŠĩિāŠ§ āŠ­ાāŠ·ાāŠ“āŠĻી āŠĩ્...