{"id":866611,"date":"2025-08-14T15:59:37","date_gmt":"2025-08-14T10:29:37","guid":{"rendered":"https:\/\/leverageedu.com\/discover\/?p=866611"},"modified":"2025-08-14T15:59:37","modified_gmt":"2025-08-14T10:29:37","slug":"ncert-solutions-class-11-english-woven-words-poem-4-telephone-conversation","status":"publish","type":"post","link":"https:\/\/leverageedu.com\/discover\/school-education\/ncert-solutions-class-11-english-woven-words-poem-4-telephone-conversation\/","title":{"rendered":"NCERT Solutions Class 11 English Woven Words Poem 4: Telephone Conversation (Free PDF)"},"content":{"rendered":"\n

This blog on NCERT Solutions for Class 11 English Woven Words Poem 4: Telephone Conversation provides clear and concise answers to the questions of this poem. It helps students understand the themes of racial prejudice, satire, and resistance in this powerful poem. These solutions are prepared to help in exam preparation by exploring the poem\u2019s emotional depth. 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 4<\/strong><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

NCERT Solutions Class 11 English Woven Words Poem 4: Telephone Conversation<\/h2>\n\n\n\n

Here are the NCERT Solutions for Class 11 English Woven Words Poem 4: Telephone Conversation, designed to enhance understanding of the poem\u2019s themes, imagery, and satirical nuances for effective revision.<\/p>\n\n\n\n

UNDERSTANDING THE POEM<\/h3>\n\n\n\n

1. State the central issue in the poem.<\/strong><\/p>\n\n\n\n

Solution<\/strong>: The central issue in the Telephone Conversation is racial prejudice, depicted through a phone dialogue between an African speaker and a British landlady about renting a flat. The landlady\u2019s fixation on the speaker\u2019s skin colour, asking \u201cHOW DARK? … ARE YOU LIGHT OR VERY DARK?\u201d, reveals her discriminatory attitude. The speaker\u2019s satirical responses, using terms like \u201cWest African sepia\u201d and \u201cperoxide blonde,\u201d expose the absurdity and dehumanising nature of racism, highlighting the broader societal issue of judging individuals based on race rather than merit.<\/p>\n\n\n\n

2. There are intervals of silence in the interaction between the landlady and the prospective tenant. What are the reasons for this?<\/strong><\/p>\n\n\n\n

Solution<\/strong>: The intervals of silence in the interaction reflect the landlady\u2019s shock and discomfort upon learning the speaker is African. The first silence occurs after the speaker\u2019s \u201cself-confession,\u201d \u201cI am African,\u201d as the landlady processes this revelation, her \u201cpressurised good-breeding\u201d faltering. Another silence follows the speaker\u2019s witty response, \u201cWest African sepia,\u201d as she struggles to comprehend his invented term, indicating her confusion and ignorance. These pauses highlight her underlying prejudice, momentarily disrupting her polite facade, and underscore the tension in their racially charged exchange.<\/p>\n\n\n\n

3. How is colour highlighted in the poem and why? List all the words in the poem that suggest colour.<\/strong><\/p>\n\n\n\n

Solution<\/strong>: Colour is highlighted in the poem to expose the landlady\u2019s racist obsession with the speaker\u2019s skin tone, emphasising the absurdity of racial prejudice. The landlady\u2019s questions, \u201cHOW DARK? … ARE YOU LIGHT OR VERY DARK?\u201d, reduce the speaker to his skin colour, ignoring his humanity. The speaker\u2019s satirical responses, like \u201cplain or milk chocolate,\u201d \u201cWest African sepia,\u201d \u201cperoxide blonde,\u201d and \u201craven black,\u201d mock this fixation, using colour imagery to challenge her prejudice. The vivid red imagery of the British setting, \u201cred booth,\u201d \u201cred pillar-box,\u201d \u201cred double-tiered omnibus\u201d, contrasts with the speaker\u2019s alienation, reinforcing the racial divide.<\/p>\n\n\n\n

Words suggesting colour: dark, light, very dark, very light, red (booth, pillar-box, double-tiered omnibus), plain chocolate, milk chocolate, West African sepia, peroxide blonde, brunette, raven black, lipstick coated, gold-rolled (cigarette-holder).<\/p>\n\n\n\n

4. Which are the lines in the poem that impressed you the most and why?<\/strong><\/p>\n\n\n\n

Solution<\/strong>: The lines that stand out are:
\u201cFacially, I am brunette, but madam, you should see <\/p>\n\n\n\n

The rest of me. Palm of my hand, soles of my feet<\/p>\n\n\n\n

Are a peroxide blonde. Friction, caused,  <\/p>\n\n\n\n

Foolishly madam, by sitting down, has turned <\/p>\n\n\n\n

My bottom raven black.\u201d
<\/p>\n\n\n\n

These lines impress due to their sharp wit and biting satire. The speaker humorously describes his body parts in exaggerated, absurd colour terms, mocking the landlady\u2019s fixation on his skin tone. The playful tone, combined with the clever use of \u201cperoxide blonde\u201d and \u201craven black,\u201d exposes the ridiculousness of racial categorisation, while the phrase \u201cfriction, caused, foolishly madam, by sitting down\u201d delivers a subtle jab at her ignorance. This blend of humour and critique makes these lines powerful and memorable.<\/p>\n\n\n\n

5. You know what \u2018hide-and-seek\u2019 is. What would \u2018hide-and-speak\u2019 mean?<\/strong><\/p>\n\n\n\n

Solution<\/strong>: The phrase \u201cpublic hide-and-speak\u201d in the poem refers to the societal tendency to conceal prejudice behind a facade of politeness, only to reveal it indirectly through words or actions. Unlike the children\u2019s game \u201chide-and-seek,\u201d where players hide and are sought, \u201chide-and-speak\u201d suggests hiding one\u2019s true discriminatory feelings while speaking in a way that betrays them. The landlady\u2019s \u201cpressurised good-breeding\u201d and her blunt questions about the speaker\u2019s skin colour exemplify this, as she masks her prejudice with polite inquiry, yet her words expose her bias, creating a \u201cstench\u201d of insincere civility.<\/p>\n\n\n\n

6. Certain words in the poem are in capital letters, why?<\/strong><\/p>\n\n\n\n

Solution<\/strong>: The words in capital letters, \u201cHOW DARK?\u201d, \u201cARE YOU LIGHT OR VERY DARK?\u201d, \u201cARE YOU DARK? OR VERY LIGHT?\u201d, \u201cWHAT\u2019S THAT?\u201d, \u201cTHAT\u2019S DARK, ISN\u2019T IT?\u201d, represents the landlady\u2019s spoken questions, emphasising her blunt and intrusive focus on the speaker\u2019s skin colour. The capitalisation conveys her loud, insistent tone, highlighting her lack of tact and underlying prejudice. It also draws attention to the absurdity and offensiveness of her inquiries, making them stand out as pivotal moments in the poem that expose her racism and drive the speaker\u2019s satirical response.<\/p>\n\n\n\n

7. Why do you think that the poet has chosen the title Telephone Conversation? If you were to suggest another title for the poem, what would it be?<\/strong><\/p>\n\n\n\n

Solution<\/strong>: The title Telephone Conversation reflects the poem\u2019s setting, a phone call between the speaker and the landlady, where the medium of communication amplifies the absurdity of racial prejudice, as the landlady judges the speaker without seeing him. The title underscores the anonymity of the interaction, where her questions about skin colour are particularly irrational, and highlights the conversational nature of the speaker\u2019s witty retorts. An alternative title could be Shades of Prejudice, as it captures the poem\u2019s focus on the landlady\u2019s obsession with skin colour and the speaker\u2019s satirical play on shades like \u201csepia,\u201d \u201cbrunette,\u201d and \u201craven black\u201d to critique racism.<\/p>\n\n\n\n

8. The power of poetry lies in suggestion and understatement. Discuss this with reference to the poem.<\/strong><\/p>\n\n\n\n

Solution<\/strong>: In Telephone Conversation, Soyinka uses suggestion and understatement to powerfully critique racial prejudice without overt condemnation. Instead of directly accusing the landlady of racism, the poem subtly reveals her bias through her questions, \u201cHOW DARK? … ARE YOU LIGHT OR VERY DARK?\u201d, allowing readers to infer her prejudice. The speaker\u2019s understated, humorous responses, such as \u201cWest African sepia\u201d and \u201cperoxide blonde,\u201d suggest defiance and wit rather than anger, making the critique more impactful. The poem\u2019s vivid imagery, like the \u201cstench of rancid breath of public hide-and-speak,\u201d subtly implies the pervasive nature of societal prejudice. This restrained approach engages readers to reflect on racism\u2019s absurdity, enhancing the poem\u2019s emotional and intellectual resonance.<\/p>\n\n\n\n

Also Read: <\/strong>NCERT Solutions Class 11 English Hornbill Chapter 1: The Portrait of a Lady (Free PDF)<\/strong><\/a><\/p>\n\n\n\n

TRY THIS OUT<\/h3>\n\n\n\n

1. Enact the conversation bits with your partner.<\/strong><\/p>\n\n\n\n

Solution<\/strong>: Students can enact the dialogue in a Telephone Conversation by dividing roles: one as the African speaker and the other as the British landlady. Begin with the speaker\u2019s polite inquiry: \u201cMadam, I hate a wasted journey, I am African.\u201d The landlady responds with silence, then asks, \u201cHOW DARK? … ARE YOU LIGHT OR VERY DARK?\u201d The speaker, with increasing wit, replies: \u201cYou mean, like plain or milk chocolate?\u201d and later, \u201cWest African sepia … down in my passport.\u201d Continue with the speaker\u2019s humorous descriptions: \u201cFacially, I am brunette … Palm of my hand, soles of my feet \/ Are a peroxide blonde … My bottom is raven black.\u201d End with the speaker\u2019s challenge: \u201cMadam, wouldn\u2019t you rather see for yourself?\u201d Use tone to convey the landlady\u2019s bluntness and the speaker\u2019s sarcasm, practising pauses to reflect the poem\u2019s silences.<\/p>\n\n\n\n

2. Attempt a description of<\/strong><\/p>\n\n\n\n

a. the place from which the call was made<\/strong>
<\/strong>b. the lady at the other end<\/strong>
<\/strong>c. the speaker in the poem.<\/strong><\/p>\n\n\n\n

Solution:<\/strong>
a. The place from which the call was made<\/strong>: The call is made from a public telephone booth, vividly described as a \u201cred booth\u201d alongside a \u201cred pillar-box\u201d and \u201cred double-tiered omnibus squelching tar.\u201d This British urban setting, with its iconic red imagery, creates a sense of alienation for the African speaker, emphasising the foreign environment where he faces prejudice. The booth\u2019s confined space mirrors the oppressive atmosphere of the conversation.
<\/p>\n\n\n\n

b. The lady at the other end:<\/strong> The landlady is portrayed as pretentious and prejudiced, with a \u201clipstick-coated\u201d voice and a \u201clong gold-rolled cigarette-holder pipped,\u201d suggesting an affected, upper-class demeanour. Her blunt questions, \u201cHOW DARK? … ARE YOU LIGHT OR VERY DARK?\u201d, reveal her racism, masked by \u201cpressurised good-breeding.\u201d Her clinical, impersonal tone and confusion at \u201cWest African sepia\u201d expose her ignorance and discomfort.
<\/p>\n\n\n\n

c. The speaker in the poem:<\/strong> The speaker is an African man, articulate and quick-witted, seeking to rent a flat. Aware of potential prejudice, he preemptively discloses his identity: \u201cI am African.\u201d His satirical responses, \u201cplain or milk chocolate,\u201d \u201cWest African sepia,\u201d \u201cperoxide blonde\u201d, reflect his intelligence and resilience, using humour to challenge the landlady\u2019s racism while maintaining composure, ending with a bold invitation: \u201cWouldn\u2019t you rather see for yourself?\u201d<\/p>\n\n\n\n

3. The poem evokes a mental picture of the scene. Draw a rough sketch to illustrate the episode.<\/strong><\/p>\n\n\n\n

Solution<\/strong>: To create a rough sketch of the episode, depict a red telephone booth in a British urban setting, with a red pillar-box and a red double-decker bus in the background, capturing the \u201cred double-tiered omnibus squelching tar.\u201d Inside the booth, show a man (the speaker) holding a phone, with a thoughtful or slightly exasperated expression, reflecting his reaction to the landlady\u2019s questions. Include speech bubbles with phrases like \u201cHOW DARK?\u201d and \u201cWest African sepia\u201d to convey the dialogue\u2019s tension and satire. Add details like a city street with wet tar to ground the scene in reality, emphasising the speaker\u2019s alienation and the absurdity of the conversation.<\/p>\n\n\n\n

4. The poem ends with \u2018Wouldn\u2019t you rather see for yourself?\u2019. Imagine a personal encounter between the two people in the poem and write down the dialogue they might have had.<\/strong><\/p>\n\n\n\n

Solution<\/strong>: Imagined Dialogue for a Personal Encounter
Setting<\/strong>: The speaker arrives at the landlady\u2019s flat to view it.
Landlady (opening the door, hesitant):<\/strong> Oh, you must be the gentleman from the phone. Well… come in, I suppose.
Speaker (calmly, with a smile):<\/strong> Thank you, madam. I thought it best to see the place for myself, as I suggested.
Landlady (nervously, eyeing him):<\/strong> Yes, well… I just need to know, um, you said something about… sepia? What exactly is your, er, complexion?
Speaker (wryly):<\/strong> Madam, as I said, facially, I\u2019m brunette. But you see my palms, peroxide blonde, wouldn\u2019t you say? (shows hands, smirking) And my soles, equally light, though I won\u2019t trouble you with those.
Landlady (flustered):<\/strong> I didn\u2019t mean to offend! It\u2019s just… tenants, you know, some prefer certain… types. Is that really in your passport?
Speaker (teasing):<\/strong> West African sepia? Oh, madam, it\u2019s a poetic flourish, but my passport simply says African. Would you like to check it?
Landlady (embarrassed):<\/strong> No, no, that\u2019s unnecessary. The flat… it\u2019s small, might not suit you.
Speaker (firmly):<\/strong> Let me decide that, madam. I\u2019m here for the flat, not your approval of my skin. Shall we take a look?
Landlady (awkwardly):<\/strong> Right, yes, this way…
<\/p>\n\n\n\n

This dialogue maintains the speaker\u2019s wit and the landlady\u2019s discomfort, mirroring the poem\u2019s satirical tone while imagining a face-to-face confrontation where the speaker continues to challenge her prejudice.<\/p>\n\n\n\n

Download NCERT Solutions Class 11 English Woven Words Poem 4: Telephone Conversation<\/h2>\n\n\n\n

You can download the free PDF of NCERT Solutions Class 11 English Woven Words Poem 4: Telephone Conversation for effective revision.<\/p>\n\n\n\n

Download the free PDF of NCERT Solutions Class 11 English Woven Words Poem 4 Telephone Conversation<\/strong><\/a><\/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 5: The World is too Much With Us Solution<\/strong><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

For more topics, follow LeverageEdu <\/strong>NCERT Study Material<\/strong><\/a> today!<\/strong><\/p>\n\n\n\n

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