{"id":866607,"date":"2025-08-14T15:46:45","date_gmt":"2025-08-14T10:16:45","guid":{"rendered":"https:\/\/leverageedu.com\/discover\/?p=866607"},"modified":"2025-08-14T15:46:45","modified_gmt":"2025-08-14T10:16:45","slug":"ncert-notes-class-11-english-woven-words-poem-4-telephone-conversation","status":"publish","type":"post","link":"https:\/\/leverageedu.com\/discover\/school-education\/ncert-notes-class-11-english-woven-words-poem-4-telephone-conversation\/","title":{"rendered":"NCERT Notes Class 11 English Woven Words Poem 4: Telephone Conversation (Free PDF)"},"content":{"rendered":"\n

The poem Telephone Conversation by Wole Soyinka is the fourth poem in the Poetry section of the NCERT Class 11 English Woven Words textbook. This powerful poem focuses on racial differences through a dialogue between an African speaker and a British landlady over a phone call about renting a flat. In this poem, Soyinka exposes the absurdity and dehumanising nature of racism. This blog provides easy-to-understand NCERT Class 11 English notes with explanations, meanings, and analysis to help students understand the poem\u2019s themes of racial discrimination through humour. You can also download the free PDF for quick revision.<\/p>\n\n\n\n\n\n\n

Explore Notes of Class 11 English Woven Words<\/strong><\/p>\n\n\n\n

Poem 1<\/strong><\/a><\/td>Poem 2<\/strong><\/a><\/td>Poem 3<\/strong><\/a><\/td>Poem 5<\/strong><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n
Download PDF of NCERT Notes Class 11 English Woven Words Poem 4: Telephone Conversation<\/strong><\/a><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Important Word Meanings in Telephone Conversation by Wole Soyinka<\/h2>\n\n\n\n

In the poem Telephone Conversation by Wole Soyinka, specific words and phrases are used to highlight racial prejudice and the speaker\u2019s satirical response. Understanding these terms clarifies the poem\u2019s tone and message.<\/p>\n\n\n\n

Word \/ Phrase<\/strong><\/td>Meaning<\/strong><\/td><\/tr>
Indifferent<\/td>Neutral or unimportant, referring to the flat\u2019s location<\/td><\/tr>
Pressurised good-breeding<\/td>Forced politeness, strained by the landlady\u2019s underlying prejudice<\/td><\/tr>
Lipstick-coated, long gold-rolled cigarette holder pipped<\/td>Describes the landlady\u2019s affected, pretentious manner of speaking<\/td><\/tr>
Caught I was, foully<\/td>The speaker feels trapped by the landlady\u2019s racist inquiry<\/td><\/tr>
Stench of rancid breath of public hide-and-seek<\/td>The unpleasant atmosphere of concealed prejudice in public interactions<\/td><\/tr>
Red booth, red pillar-box, red double-tiered omnibus<\/td>Vivid imagery of the British setting, emphasising the speaker\u2019s alienation<\/td><\/tr>
Squelching tar<\/td>The sound and texture of the road ground the scene in reality<\/td><\/tr>
Clinical, crushing in its light impersonality<\/td>The landlady\u2019s detached, dehumanising tone in questioning the speaker\u2019s skin colour<\/td><\/tr>
West African sepia<\/td>A witty, invented term for the speaker\u2019s skin tone, referencing a passport description<\/td><\/tr>
Spectroscopic flight of fancy<\/td>An imaginative, scientific-sounding phrase, mocking the landlady\u2019s obsession with colour<\/td><\/tr>
Peroxide blonde<\/td>A light, almost white shade, used humorously to describe the speaker\u2019s palms and soles<\/td><\/tr>
Raven black<\/td>A deep black colour, used sarcastically to describe the speaker\u2019s bottom<\/td><\/tr>
The receiver is rearing on the thunderclap<\/td>The landlady\u2019s shock, likened to a phone receiver reacting violently<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Also Read: <\/strong>NCERT Notes Class 11 English Snapshots Chapter 2 The Address (Free PDF)<\/strong><\/a><\/p>\n\n\n\n

Line-by-Line Explanation of the NCERT Class 11 English Woven Words Poem 4 Telephone Conversation<\/h2>\n\n\n\n

Here is the line-by-line analysis of each stanza of the poem \u2018Telephone Conversation\u2019<\/p>\n\n\n\n

Lines 1\u20135:<\/strong><\/p>\n\n\n\n

The price seemed reasonable, location<\/strong>
<\/strong>Indifferent. The landlady swore she lived<\/strong>
<\/strong>Off premises. Nothing remained<\/strong>
<\/strong>But self-confession. \u2018Madam,\u2019 I warned,<\/strong>
<\/strong>\u2018I hate a wasted journey, I am African.\u2019<\/strong><\/p>\n\n\n\n

The poem begins with the speaker, an African, inquiring about a flat. The price and location are acceptable, and the landlady claims she lives elsewhere. To avoid a wasted trip, the speaker discloses his African identity, anticipating potential prejudice.<\/p>\n\n\n\n

Lines 6\u20139:<\/strong><\/p>\n\n\n\n

Silence. Silenced transmission of<\/strong>
<\/strong>Pressurised good-breeding. Voice, when it came,<\/strong>
<\/strong>Lipstick coated, long gold-rolled<\/strong>
<\/strong>Cigarette-holder pipped. Caught I was, foully.<\/strong><\/p>\n\n\n\n

A tense silence follows, revealing the landlady\u2019s strained politeness. Her voice, marked by affected sophistication (\u201clipstick coated, long gold-rolled cigarette-holder\u201d), responds, but the speaker feels trapped by the impending racist inquiry.<\/p>\n\n\n\n

Lines 10\u201314:<\/strong><\/p>\n\n\n\n

\u2018HOW DARK ?\u2019… I had not misheard… \u2018ARE YOU LIGHT<\/strong>
<\/strong>OR VERY DARK ?\u2019 Button B. Button A. Stench<\/strong>
<\/strong>Of rancid breath of public hide-and-speak.<\/strong>
<\/strong>Red booth. Red pillar-box. Red double-tiered<\/strong>
<\/strong>Omnibus squelching tar. It was real!<\/strong><\/p>\n\n\n\n

The landlady bluntly asks, \u201cHOW DARK?\u201d and presses for clarification: \u201cARE YOU LIGHT OR VERY DARK?\u201d The speaker, stunned, notes the \u201cstench\u201d of hidden prejudice in society, underscored by the vivid red imagery of the phone booth, pillar-box, and bus, grounding the surreal moment in reality.<\/p>\n\n\n\n

Lines 15\u201320:<\/strong><\/p>\n\n\n\n

Shamed<\/strong>
<\/strong>By ill-mannered silence, surrender<\/strong>
<\/strong>Pushed dumbfounded to beg simplification.<\/strong>
<\/strong>Considerate she was, varying the emphasis, <\/strong>
<\/strong>\u2018ARE YOU DARK? OR VERY LIGHT?\u2019 Revelation came.<\/strong>
<\/strong>\u2018You mean, like plain or milk chocolate?\u2019<\/strong><\/p>\n\n\n\n

The speaker feels shamed by the landlady\u2019s silence, forced to seek clarification. She repeats her question with varied emphasis, prompting the speaker\u2019s sarcastic response, comparing his skin to \u201cplain or milk chocolate,\u201d exposing the absurdity of her inquiry.<\/p>\n\n\n\n

Lines 21\u201327:<\/strong><\/p>\n\n\n\n

Her assent was clinical, crushing in its light<\/strong>
<\/strong>Impersonality. Rapidly, wave-length adjusted,<\/strong>
<\/strong>I chose. \u2018West African sepia\u2019, and as afterthought,<\/strong>
<\/strong>\u201cdown in my passport.\u201d Silence for spectroscopic<\/strong>
<\/strong>Flight of fancy, till truthfulness changed her accent<\/strong>
<\/strong>Hard on the mouthpiece. \u2018WHAT\u2019S THAT?\u2019 conceding<\/strong>
<\/strong>\u2018DON\u2019T KNOW WHAT THAT IS.\u2019<\/strong><\/p>\n\n\n\n

The landlady\u2019s cold agreement lacks humanity. The speaker, adjusting his tone, wittily calls his skin \u201cWest African sepia,\u201d referencing his passport, mocking her obsession with color. Her confusion, \u201cWHAT\u2019S THAT?\u201d, reveals her ignorance, shifting her tone to frustration.<\/p>\n\n\n\n

Lines 28\u201335:<\/strong><\/p>\n\n\n\n

\u2018Like brunette.\u2019<\/strong>
<\/strong>\u2018THAT\u2019S DARK, ISN\u2019T IT?\u2019 \u2018Not altogether.<\/strong>
<\/strong>Facially, I am brunette, but madam, you should see<\/strong>
<\/strong>The rest of me. Palm of my hand, soles of my feet<\/strong>
<\/strong>Are a peroxide blonde. Friction, caused, <\/strong>
<\/strong>Foolishly madam, by sitting down, has turned<\/strong>
<\/strong>My bottom raven black, One moment madam!\u2019, sensing<\/strong>
<\/strong>Her receiver rearing on the thunderclap<\/strong><\/p>\n\n\n\n

The speaker humorously likens his skin to \u201cbrunette,\u201d then playfully describes his palms and soles as \u201cperoxide blonde\u201d and his bottom as \u201craven black\u201d due to \u201cfriction,\u201d satirising her fixation. Sensing her shock, he pauses, heightening the tension.<\/p>\n\n\n\n

Lines 36\u201337:<\/strong><\/p>\n\n\n\n

About my ears, \u2018Madam,\u2019 I pleaded, \u2018wouldn\u2019t you rather<\/strong>
<\/strong>See for yourself ?\u2019<\/strong><\/p>\n\n\n\n

The speaker invites the landlady to \u201csee for herself,\u201d a final witty challenge that underscores the absurdity of judging him by skin colour over a phone call, leaving her prejudice exposed.<\/p>\n\n\n\n

Analysis of the NCERT Class 11 English Woven Words Poem 4 Telephone Conversation<\/h2>\n\n\n\n

The poem Telephone Conversation by Wole Soyinka uses sharp satire to expose racial prejudice through a phone conversation about renting a flat. The African speaker\u2019s witty responses to the landlady\u2019s racist inquiries highlight the absurdity and dehumanising nature of discrimination, blending humour with social critique.<\/p>\n\n\n\n

Theme \u2013 Racial Prejudice and Resistance Through Satire<\/h3>\n\n\n\n

The central theme is the confrontation of racial prejudice, as the landlady\u2019s fixation on the speaker\u2019s skin colour reveals her bigotry. The speaker\u2019s satirical responses challenge her ignorance, using humour to reclaim dignity and critique societal racism.<\/p>\n\n\n\n

Symbolism and Meaning<\/h3>\n\n\n\n

Here, we have mentioned the symbolism used in this poem, along with the meaning behind that.<\/p>\n\n\n\n

    \n
  • Telephone Conversation<\/strong>: Represents the distance and anonymity of modern communication, where prejudice persists despite physical separation.<\/li>\n\n\n\n
  • Red Booth, Pillar-box, Omnibus<\/strong>: Symbolise the British setting, contrasting with the speaker\u2019s alienation and highlighting the public nature of prejudice.<\/li>\n\n\n\n
  • Skin Colour Descriptions<\/strong>: The speaker\u2019s playful terms like \u201cWest African sepia\u201d and \u201cperoxide blonde\u201d mock the arbitrary categorisation of race, exposing its absurdity.<\/li>\n\n\n\n
  • Silence<\/strong>: Represents the landlady\u2019s discomfort and the suppressed prejudice in \u201cpolite\u201d society.<\/li>\n<\/ul>\n\n\n\n

    Human Experience<\/h3>\n\n\n\n

    The poem captures the universal experience of facing discrimination and the resilience required to confront it. It resonates with readers who have encountered prejudice, highlighting the power of wit and intellect to challenge injustice and reclaim agency.<\/p>\n\n\n\n

    Tone and Mood<\/h3>\n\n\n\n

    The tone and mood of the poem have been given as follows:<\/p>\n\n\n\n

      \n
    • Satirical and Witty<\/strong>: The speaker\u2019s tone is sharp and humorous, using irony to expose the landlady\u2019s prejudice.<\/li>\n\n\n\n
    • Tense and Confrontational<\/strong>: The mood reflects the underlying tension of the racist encounter, tempered by the speaker\u2019s clever retorts.<\/li>\n\n\n\n
    • Critical<\/strong>: The poem critiques societal racism, urging reflection on prejudice and its absurdity.<\/li>\n<\/ul>\n\n\n\n

      Summary of Telephone Conversation by Wole Soyinka<\/h2>\n\n\n\n

      In Telephone Conversation, Wole Soyinka portrays a tense yet humorous exchange between an African speaker and a British landlady over a phone call about renting a flat. The speaker, aware of potential prejudice, discloses his African identity to avoid a wasted journey. The landlady\u2019s blunt questions, \u201cHOW DARK? ARE YOU LIGHT OR VERY DARK?\u201d, reveal her racism, prompting the speaker\u2019s satirical responses, comparing his skin to \u201cplain or milk chocolate\u201d and \u201cWest African sepia.\u201d He humorously describes his palms as \u201cperoxide blonde\u201d and his bottom as \u201craven black,\u201d mocking her obsession with colour. The poem ends with the speaker inviting her to \u201csee for herself,\u201d exposing the absurdity of her prejudice and reclaiming his dignity through wit.<\/p>\n\n\n\n

      Poetic Devices in NCERT Class 11 English Woven Words Poem 4 Telephone Conversation<\/h2>\n\n\n\n

      Soyinka employs several poetic devices to convey the poem\u2019s message and enhance its satirical and emotional impact.<\/p>\n\n\n\n

      Device<\/strong><\/td>Example<\/strong><\/td>Effect<\/strong><\/td><\/tr>
      Imagery<\/td>\u201cRed booth. Red pillar-box. Red double-tiered omnibus\u201d<\/td>Creates a vivid British setting, emphasizing the speaker\u2019s alienation<\/td><\/tr>
      Irony<\/td>\u201c\u2018West African sepia\u2019, and as afterthought, \u2018down in my passport\u2019\u201d<\/td>Mocks the landlady\u2019s fixation on skin color with a witty, invented term<\/td><\/tr>
      Satire<\/td>\u201cPalm of my hand, soles of my feet \/ Are a peroxide blonde\u201d<\/td>Uses humor to expose the absurdity of racial categorization<\/td><\/tr>
      Personification<\/td>\u201cReceiver rearing on the thunderclap\u201d<\/td>Gives the phone human-like reaction, amplifying the landlady\u2019s shock<\/td><\/tr>
      Alliteration<\/td>\u201cRancid breath of public hide-and-speak\u201d<\/td>Enhances rhythm and underscores the unpleasantness of concealed prejudice<\/td><\/tr>
      Enjambment<\/td>\u201cCaught I was, foully. \/ \u2018HOW DARK ?\u2019\u201d<\/td>Reflects the abrupt shift to the landlady\u2019s racist inquiry, heightening tension<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

      Download more NCERT Solutions of Class 11 English \u2018Woven Words\u2019 here!<\/strong><\/p>\n\n\n\n

      Poem 1: The Peacock Solution<\/strong><\/a><\/td><\/tr>
      Poem 2: Let Me Not to the Marriage of True Minds Solution<\/strong><\/a><\/td><\/tr>
      Poem 3: Coming Solution<\/strong><\/a><\/td><\/tr>
      Poem 4: Telephone Conversation Solution<\/strong><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n
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