Andrew Davies and his views about Adaptation

 Andrew Davies and his views about Adaptation:

            Andrew Davies, a screenplay writer, has achieved “fame” in his capacity as adapter. According to Andrew Davies, Adaptation is, indeed the art form of democracy.  He “sums up” what audience look for in a good adaptation. He has identified ten “secrets” to becoming a successful adapter:

1. Read the book.

2. Ask yourself: Why this book, and why now?

3. Ask yourself: Whose story is this, really?

4. Don’t be afraid to change things, especially openings.

5. Don’t start without a plan.

6. Never use a line of dialogue if you can achieve the effect with a look.

7. Crystallize dialogue to its essence.

8. Write scenes that aren’t in the book.

9. Avoid voice-over, flashbacks, and characters talking directly to camera.

10. Break your own rules when it feels like the right thing to do.

Davies ‘secrets’ reveal certain things:

Ø  The adapter need not be a servant of the adapted author.

Ø  He is free to change the text to appeal to a mass contemporary rather than a elite audience.

Ø  Adaptation is an art of democratization, a “freeing” of a text from the confined territory of its author and of its readers.

Ø  The devotion to an author’s words is the death knell of the adaptation.

Significantly enough, Davies’ advice seems to be to liberate the text. Thus he makes adaptation, the art form of democracy, indeed. Actually, his ‘secrets’ are governed by democratic values. In other words, his secrets are the rules of commonality. According to Davies the adapter need not be a servant of the adapted author. He must be free to change the text to appeal to a mass contemporary. He should think of the mass rather than elite audience. In this way adaptation is the art of democratization. It is the art of “freeing” a text from the confined territory of the author and of its readers. The adapter should ‘liberate’ the text. It is not necessary that he should pay devotion to the author’s words. Thus, he makes adaption – the art form of democracy. Adaptation brings literature to the masses. It also brings the masses to literature. Adaptation dilutes, simplifies, and therefore appeals to many rather than the few. 

Adaptation

Adaptation and Linda Hutcheon:

Linda Hutcheon is a Canadian theorist. She has written a detailed book A Theory of Adaptation. According to Hutcheon, a famous film theorist, to adapt a work means ‘to adjust, to alter, to make suitable’. She has given three interconnected perspectives regarding literary adaptations. She says an adaptation is an extensive “transposition” of a particular work or works. This process involves the change of medium or the change of context. In the process of transposition, the interpretations differ as there are varied points of views.  There can be a transposition from a real to imaginary or from a historical account to biography, etc. Secondly, she looks at adaptation as “a process of creation”. The act of adaptation always involves both re-interpretation and re-creation. In other words, it is called appropriation and salvaging. Salvaging refers to the act of saving an old text from being forgotten, or paying homage to a previous text. Thirdly, Hutcheon calls it “a process of reception”.  It is a process of intertexuality. Hutcheon says the process of adaptation is the process of appreciation. It is the process of taking possession of another’s story. Adaptation is, actually, reappearance but reappearance without any imitation. It is a combination of “telling” and “showing” forms of narration. Being shown a story is not the same as being told it.

According to Hutcheon adaptations always reflect the presence of the prior text. She says that an adaptation is a derivation… not derivative – a work that is second without being secondary. With a change in form there occurs a considerable change in both the depiction of story and its receiving. She believes that films are better when they are completely faithful to the original. Thus, she focuses on the notion of fidelity. Further, she says adaptation includes performance, orchestration, summary, critical commentary, sequels, prequels, etc. It also includes the modes like transformation and imitation. All imitations are indeed interpretations. Adaptations are the texts of one sort or another rather than realizations of texts. Adaptation is “repetition with replication”. Adaptation’s ‘target’ text is always another work of art, another form of coded discourse.  She has played a prominent role in democratization of the subject – ‘Adaptation’.

 

Anecdote/Legends

 

Q. 1) Write a short note on ‘anecdote’.

An anecdote is a brief, often amusing or interesting story.  It serves to illustrate a point, make a connection, or provide insight into a particular situation, topic, or character. Anecdotes are commonly used in various forms of communication. Here are some key characteristics and uses of anecdotes

Personal Touch: Anecdotes are typically drawn from personal experiences, making them relatable and humanizing. They help the audience connect with the speaker or writer on a more personal level.

Engagement: Anecdotes capture the audience's attention and maintain interest. They offer a break from dry facts and statistics and can be entertaining, emotional, or thought-provoking.

Illustration: Anecdotes are excellent tools for illustrating a point or argument. They provide a concrete example that helps the audience better understand abstract concepts or complex ideas.

Credibility: Anecdotes can enhance the credibility of the speaker or writer by showing that they have relevant experience or knowledge related to the topic they are discussing.

Variety: In storytelling or writing, anecdotes can add variety and depth, preventing the narrative from becoming monotonous.

Humor: Many anecdotes incorporate humor, which can make the content more engaging and memorable.

Emotion: Anecdotes can evoke emotion, making the message more impactful. They can convey empathy, sympathy, or even a call to action.

Structure: Anecdotes can serve as effective introductory hooks, providing a compelling start to a speech or essay. They can also be used as supporting evidence within the body of a piece, and sometimes even as conclusions to bring the narrative full circle.

It's important to use anecdotes judiciously and ensure they are relevant to the topic at hand. Overusing anecdotes or relying on them too heavily can detract from the main message and dilute the overall impact of the communication. A well-chosen and well-timed anecdote can be a powerful tool for making a point, connecting with an audience, and leaving a lasting impression.

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Q. 2) Write a short note on ‘Legend’.

A legend is a traditional narrative that is passed down through generations. It often combines elements of history and mythology. These stories are typically about heroic figures, significant events, or extraordinary feats that are believed to be rooted in some form of reality. Legends play an essential role in cultural heritage and storytelling across the world. Here are some key characteristics and insights into legends:

1.      Blurring of Fact and Fiction: Legends often blur the lines between historical facts and fictional elements. They are based on real people, places, or events, but they are embellished with supernatural or extraordinary elements. As a result, legends are a fusion of truth and imaginative storytelling.

2.      Cultural Significance: Legends are vital in preserving and conveying a culture's values, beliefs, and collective memory. They can teach moral lessons, explain the origins of customs and traditions, or commemorate significant historical events.

3.      Heroes and Heroines: Legends frequently feature heroic or legendary figures who possess extraordinary qualities or perform incredible deeds. These individuals often serve as role models or symbols of courage, virtue, and resilience.

4.      Oral Tradition: Many legends are originally passed down orally from one generation to the next. As such, they evolve and adapt over time, reflecting the changing perspectives and values of the culture that tells them.

5.      Geographical Variations: Legends can have regional or cultural variations. Different cultures or communities may have their own interpretations of the same basic legend, adapting it to their unique context.

6.      Mystical and Supernatural Elements: Legends often include elements of the supernatural, such as ghosts, monsters, magic, or divine intervention. These elements add intrigue and wonder to the stories.

7.      Enduring Appeal: Legends have enduring appeal, as they tap into universal themes and emotions. They continue to captivate and resonate with people of all ages and backgrounds.

8.      Historical Significance: While legends contain fictional elements, they can provide valuable insights into historical events, social norms, and cultural practices of the past.

Some well-known examples of legends include the stories of King Arthur, the legend of Robin Hood. From Indian point of view, the Mahabharata is full of legendary stories related to characters like Bhishma, Karna, Draupadi, etc.  Legends enrich our understanding of the past, instill a sense of identity and pride, and entertain and inspire us through the timeless art of storytelling.

 

Elements of Short Story

 

Elements of Short Story

1.      Plot: Plot is the soul of short story. Plot means arrangement of incidents. The success of the story depends upon the plot,. It is a series of connected happenings and their results. In order to have a result, we must have an initial event, or conflict. Short story is told in an artistic manner by selecting and arranging the events into a plot with an intention. The short story writer organizes the incidents with a definite purpose to present his ideas or pictures of life or human experiences in a particular way. The short story writer has a small span and space for the development of plot. He immediately plunges into the course of plot and rapidly reaches the end. In the middle of the plot the story points to the approaching end which is surprising, shocking and sudden. Sometimes the end of plot reveals the hidden theme of short story in a flash. The end of the story is considered to be the most important characteristic of short story. The end of short story throws light back on entire structure and gives it a new meaning. There is an unexpected end coming as a shock or a surprise which is called twist ending or ironical reversal of the situation.

2.       Character: People involved in the events of the plot are the characters. Characterization is the information the author gives the reader about the character themselves. The author may reveal a character in several ways: 1. His/her physical appearance 2. What he/she says (how they speak and what they say to others – often revealed in dialogue) 3. What he / she thinks (their feelings, hopes and dreams) 4. What he/she does or does not do 5. What others say about him/her and how others react to him/her including the narrator.

• Protagonist - The main character or hero in a story.

• Antagonist – The person or force that works against the hero, or main character, of the story.

• Narrator – The person or character who tells the story, gives background information, and fills in details between dialogue.

3.      Setting: The setting is where (place) and when (time) the story occurs. Time can include not only the historical period—past, present, or future—but also a specific year, season, or time of day. Place may involve not only the geographic place—a region, country, state, or town—but also the social, economic or cultural environment. The time and location in which a story takes place is called the setting. For some stories the setting is very important, while for others it is not. There are several aspects of setting of a story. Some of them, or all, may present in a story. The plot, the character and action i. e. incidents – all these do not take place in a vacuum. There is a definite physical background to a story against which the characters move and incidents happen. This background is called setting of a short story. Compared to novel in short story the setting is brief and constant. So, the setting includes the landscape, locale, place, and the scene used as active or passive background of the action. Setting can include atmosphere, the tone and feeling of a story. Setting can vary as per the theme and situation in the story. In a number of stories the setting may just help to create the right atmosphere but in others the setting goes a long way in creating the desired effect. It leads touch of ‘reality’ to the story. The proper selection of setting, therefore, is an essential part of the story teller’s art.

4.      Point of View/ Narration: The point of view is the perspective from which the events of the story are presented to the readers. The short story writer uses some narrative techniques. He plans an order of events to create a surprise at the end. He uses different techniques of narration. He may use a flashback technique. A flash back technique is that one in which the later events leap into the past to give some meaning to the present. Occasionally a short story writer may use stream of consciousness technique. Its intention is not just to comment but to expose the state of mind of the character by bringing to surface the thoughts and emotions and everything that is floating on the stream of mind. This stream of mind is constantly moving in zig-zag manner touching the past, present and even the future. Similarly, the writer accepts a specific point of view to satisfy the need of his narration. There are two main types of point of view: first person point of view and third person point of view. In the first-person narration, a character in the story is the narrator and uses the pronoun “I”. The story is told through one character’s eyes and the events. In the third person narration, the narrator tells the story about other people and uses the pronouns “they” or “she / he” rather than “we”.

5.      Conflict: Conflict is the main struggle or opposition in a story that the protagonist has to solve or face.Conflict in stories is either:

1) External

2) Internal

There are 6 main types of conflict.

Internal Conflict:

• Character versus Self: This is an internal conflict. The character struggles with moral dilemmas, emotional challenges or desires. The conflict is with the character's own conscience or soul. It is a struggle within one’s self; a person must make some decision, overcome pain, quiet their temper, resist an urge, etc. External Conflicts:

• Character versus Character

• Character versus Society

• Character versus Nature

• Character versus Supernatural

• Character versus Technology

It is the conflict that makes the story interesting and appealing. The conflict is a struggle between two people or things in a short story. The main character is usually on one side of the central conflict. On the other side, the main character may struggle against another important character, against the forces of nature, against society, or even against something inside himself or herself (feelings, emotions, illness).

 

6.      Theme: Theme is the story’s message, unifying or central idea. The theme may be the author’s thoughts about a particular topic or view of human nature. It is the total meaning of the story. Without theme, the story lacks meaning or purpose. Sometimes the theme is stated, sometimes it is only implied. The short story writer allows the characters to move in the action of story with an intention to suggest something. His efforts may be to arrive at certain conclusion as a human experience. It may be the truth, a principle operating in human experience, some reflections, some moralizing or visions of life. The theme concerns with the final impression of the story. In short, theme is the authors’ commentary on an aspect of human nature or life in general.

7.      Dialogue: The speech of characters in a story is called a dialogue. Dialogue reveals the emotions, moods, intention and attitudes of the characters to themselves or to others. Dialogue helps us to narrate several incidents only actually happening in short story. So, dialogue is a very good device to report such events and characters’ attitudes to readers.

8.      Title: Every short story has its own title. There is no story without a title. Sometimes it is symbolic also. The title should be short and eye-catching. A story without title is like a tree without lives and flowers or a temple without a God.

Characteristics of Short Story

 Characteristics of Short Story

1. Brevity or Economy: The brevity or economy is an important parameter of the short story relating to its length. The short story is called short story because it has brevity (shorter length). Its usual norm is that it should be in about 3000 to 6000 words in length. The excellent short stories are written even in 1000 words. The brevity, to be used effectively, implies command over language and control over incidents. In a good short story every word and every incident contributes to the final effect. The short story strictly allows the parameters of economy. It implies the economy of words as stated in the above parameter regarding length. The economy implies also the economy of incidents and characters. A good short story usually has 2 or 3 characters and a few incidents numbering 4 to 5 with minimum characters passing through minimum incidents. The short story writer effectively shows one dominant personal trait of a character or a single experience of life or a single moral of life. This is done alone in short story and it is possible due to the small canvas of short story. It is rather a skill to write effective short story with economy.

2. Short - A short story can usually be read in one sitting. It is a piece of prose fiction which can be read at a single sitting (fixed place and time, social surroundings).

3. Single Subject: Short stories usually focus on a single subject or theme. Subjects or themes may range from something as mundane as a daily errand or as thrilling as a ghost tale.

4. Concise and Simple Plot: A single, easily contained plot is one of the hallmarks of the short story and helps shape its other characteristics. Its plot is not very complex (in contrast to the novel), but it creates a unified impression and leaves us with a vivid sensation rather than a number of remembered facts.

5. Limited number of characters: Due to the limitations of the genre, short stories typically focus on just one or a couple characters. As short stories usually cover such brief periods of time, even a single character may never be fully developed. However, historical examples, like some of Geoffrey Chaucer's 'Canterbury Tales,' may find interesting ways of involving many different people.

6. Factual and Poetic Style: It ought to combine matter-of-fact description with poetic atmosphere.

7. Unified Impression: It ought to present a unified impression of tone, colour and effect ‘unity of effect’ (Poe). It tries to leave behind a single impression or effect. Usually, though not always, it builds around one character, place, idea, or act.

8. There is often little action, hardly any character development, but we get a snapshot of life (slice-of-life story).

9. Union of Idea and Structure: There is both a unique union of idea and structure.

10. There is a limited set of characters, one single action and a simple plot (often: exposition, complication, crisis, sad / happy ending).

Origin and Development of Short Story

 Origin and Development of Short Story

Introduction:

The short story is a form of literature which has come to us from ancient times. It has its roots in the instinct of curiosity in man. In the beginning, the stories were told primarily by the method of narration, but with the invention of the printing press, the mode of the story writing spread widely. A number of stories, belonging to both the Western and the Eastern countries, are now found in collections as Aesops Fables, The Buddhist Jatakas, Arabian Nights, The Panchatantra and The Hitopadesha. The short story, often regarded as a younger sister of the novel. The short story has remained very popular form through Television and Radio.

Origin and Development of Short Story:

Story - telling is an ancient art. It is as old as language itself. Oral and written stories were found in the ancient times. Everyone is born with an instinctive desire to be entertained by fiction. The primitive people might have created small stories about animals, birds and plants around them. Later on, in the old days the stories were told to teach moral lessons. The great moral teachers like Buddha and Christ realized that they could convey their great moral teaching through parables or fables. As far as short story in European tradition is concerned the Greeks and the Romans were the first to tell stories in verse. In the Middle Ages some very interesting stories from Italy and France were spread in Europe. The Chief among them was a collection of stories by Boccacio. In the Elizabethan period most of the fables and stories like The Celtic fairy Tales came from Italy and other countries. In the seventeenth century, the rise of magazines, the founding of a periodicals and newspapers provided the opportunity for writing short stories. In the nineteenth century, short story as a literary form became popular.

The short story is relatively a new literary fictional prose form. Modern short story has a brief history of 150 years only. The American writer, Edgar Allen Poe is regarded as the father of Modern short story. The publication of his story MS Found in a Battle is considered to be the first modern, proper short story. His stories are known for his skill of narration and local colour. His technique was different from the earlier short story writers. The French and Russian masters also helped in the development of the short story. They introduced naturalism in the short story aiming at the detail presentation of life in all its realism.

In the beginning of twentieth Century the writers such as, H.G. Wells, Rudyard Kipling, etc. enriched the story. The very well-known European masters of short story in different countries are: Guy de Maupassant and Balzac (France), Anton Chekhov and Leo Tolstoy (Russian), Sir Walter Scott and Mrs. Gaskel (England). Indian writers such as Mulk Raj Anand, Raja Rao, R. K. Narayan etc. have also written short stories in English. It seems that the extreme mechanization of life due to heavy industrialization is the root cause of the birth of the modern short story. Readers have no leisure to read longer novels and to witness longer dramas at a stretch in the modern times. Naturally, they depend on modern genre of short story to satisfy their love of the creative arts in one sitting of 15 to 20 minutes. The fragmentariness of the short story suits to the fast life.

Rebati

 (e-content developed by Prof. (Dr) N. A. Jarandikar)

“Rebati” is a short story written by Fakir Mohan Senapati, a famous writer in Odia language. This story is considered as the first modern short story in Odia and was published in 1898. It talks about important issues like women’s education and empowerment.

The story’s main character is Rebati, a ten-year-old girl. Her father, Shyambandhu, works for a rich landowner and collects taxes. Even though their income is low, they manage their expenses. Rebati is a smart girl. Another important character is Basudev, a young and handsome teacher, who belongs to the same caste as Shyambandhu. Shyambandhu dreams of giving Rebati a good education and talks to Basudev about it. Basudev likes the idea, and Rebati is excited about learning. The only person against this is Rebati’s grandmother, who doesn’t want her to study. Shyambandhu ignores his mother’s objections, and Rebati begins her education. In a few years, she becomes a fluent reader.

At this point, it seems like the story will have a happy ending, but then their family faces a series of tragedies. Shyambandhu gets sick and dies from cholera. Rebati’s mother also falls ill and passes away. The rich landowner takes back their land, making their financial situation worse. Basudev tries to help, but they refuse it.

Things get even worse when Basudev, while returning from one office visit, falls ill and dies. This devastates Rebati, and her grandmother blames her for the family’s problems, saying it’s because she wanted an education. Rebati also falls sick, and after six days of high fever and unconsciousness, she dies. The story ends with the news that Rebati’s grandmother has passed away too.

This story mainly focuses on the importance of women’s education. Even though the grandmother wrongly blames Rebati’s education for their troubles, it will be incorrect to say that the writer is against women’s education. Fakir Mohan Senapati shows the challenges women face in a society dominated by men. Shyambandhu, Basudev, and Rebati fought for women’s education and empowerment, even though they didn’t succeed. Their struggle can be seen as an inspiration because great literature inspires us to live a more meaningful life.

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Paradox

 

Paradox

Paradox is actually a figure of speech used in literature since distant past. By using the technique of paradox, a poet compares two dissimilar things. In everyday life too, we make the use of paradox. For instance, “Truth is honey, which is bitter”. In this example, sweetness of honey is contrasted with the bitterness of truth. In the poem “Death, Be Not Proud” John Donne says. “And death shall be no more; Death, thou shalt die.”  ‘Death’ is considered as end of life. But here, Donne argues that ‘Death’ itself will ‘die’. So, poets are using the technique of paradox since long.

However, it is Cleanth Brooks who brought the term ‘Paradox’ into discussion. Brooks is an important 20^th century critic. He belongs to the school of New Criticism. In his book, “The Well Wrought Urn” (1947) he made a claim that “the language of poetry is the language of paradox”. Brooks focuses on paradox while arguing that the meaning of poetry emerges through such paradoxes. Being a ‘new’ critic, Brooks emphasises the ‘text’. For the interpretation of a poem one should not go beyond the text. If one tries to find out the working of paradox in the poem, the meaning will automatically emerge from it.   

Brooks points to William Wordsworth's poem "It is a beauteous evening, calm and free". He begins by saying that at first, the speaker is filled with worship, while his female companion does not. But the paradox, discovered by the poem’s end, is that the girl is fuller of worship than the speaker. The reason for this is that unlike the speaker, the girl is in tune with nature.

Brooks ends his essay with a reading of John Donne’s poem "The Canonization", which uses a paradox. Using a charged term to describe the speaker’s physical love as saintly, Donne argues that in rejecting the material world and withdrawing to a world of each other, the two lovers are appropriate candidates for canonization. This seems to parody both love and religion.

In short, in “The Well Wrought Urn” Brooks shows that paradox is so essential to poetic meaning that paradox is almost identical to poetry. Brooks’ use of paradox emphasized the indeterminate lines between form and content.

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Train to Pakistan_Quiz

 

RADHANAGARI MAHAVIDYALAYA, RADHANAGARI

B.A. III English (Optional) Paper No. III

Partition Literature

Semester III Quiz October 2023

Marks: 10

 

1. What is the setting of the novel "Train to Pakistan"?

a) Delhi, India

b) Lahore, Pakistan

c) Mano Majra, fictional village near the India-Pakistan border

d) Amritsar, India

 

2. During what historical event is the novel "Train to Pakistan" primarily set?

a) Indian Independence Movement

b) World War I

c) The Partition of India in 1947

d) British colonization of India

 

3. Who is the author of "Train to Pakistan"?

a) Rabindranath Tagore

b) Salman Rushdie

c) Khushwant Singh

d) Arundhati Roy

 

4. What role does the railway station play in the novel?

a) It is the main setting for the entire story.

b) It serves as a backdrop for a love story.

c) It becomes a symbol of the violence and tragedy of the partition.

d) It is where the main characters meet for the first time.

 

5. What is the central theme of "Train to Pakistan"?

a) The struggle for Indian independence

b) The impact of World War II on India

c) Communal violence and the human cost of partition

d) A romantic love story set during a time of war

 

6. How does the arrival of the train full of dead bodies impact the village of Mano Majra?

a) It brings relief and assistance to the villagers.

b) It has no effect on the village.

c) It shocks and terrifies the villagers, revealing the horrors of partition.

d) It leads to celebrations and festivities.

 

7. What is the occupation of Jugga, one of the main characters in the novel?

a) Soldier

b) Schoolteacher

c) Dacoit

d) Railway employee

 

8. Which religious communities are in conflict in the village of Mano Majra?

a) Hindus and Christians

b) Hindus and Muslims

c) Muslims and Sikhs

d) Sikhs and Christians

 

9. _____ is the only Hindu in Mano Majra.

a) Lala Kanshi Ram

b) Lala Ram Lal

c) Lala Devi Lal

d) Lala Ram Singh

 

10) Which of the following answer is correct about the parts in the novel?

a) Dacoity, Kalyug, Mano Majra, Karma

b) Dacoity, Ghoryug, Mano Majra, Faith

c) Dread, Kalyug, Mano Majra, Karma

d) Dread, Ghoryug, Lahore, Karma

 

11) Mano Majra is situated near _____ river.

a) the Sutlej

b) the Ravi

c) the Bias

d) the Ganga

 

12) Mr Hukum Chand is _____of the district.

a) commissioner

b) the magistrate and deputy commissioner

c) civil surgeon

d) the mayor

 

13) _____ is a social worker who has come from Delhi.

a) Hukum Chand

b) Banta Singh

c) Iqbal Singh

d) Alam Singh

 

14) Jugga and Iqbal are arrested by the police as the suspects of _____.

a) the violence in Lahore

b) the violence in Mano Majra

c) the murder of Lala Ram Lal

d) the burning of a train

 

15) Iqbal is a worker of _____.

a) People’s Party of India

b) Communist Party of India

c) Peasants’ Party of India

d) Workers’ Party of India

 

16) What was decided about the Muslims of Mano Majra at first?

a) They will go to Lahore.

b) They will go to Delhi.

c) They will go to a refugee camp.

d) They will live in Mano Majra.

 

17) What did Nooran tell Jugga’s mother?

a) She wanted to learn.

b) She did not want to marry Jugga.

c) She was pregnant and carrying Jugga’s baby.

d) She wanted to do a job.

 

18) Which of the following statement is incorrect?

a) The Muslims of Mano Majra were decided to be shifted to Lahore.

b) The Muslims of Mano Majra were going to Chundunnugger at first.

c) The Muslims of Mano Majra were allowed to take their clothing and jewellery.

d) The Muslims of Mano Majra were allowed to take their animals with them.

 

19)  _____ was declared as the custodian of the Muslim property in Mano Majra.

a) Jugga

b) the lambardar

c) Malli

d) Meet Singh

 

20) What plan has been decided in the meeting of the villagers held in the gurdwara?

a) The train going to Pakistan should carry as many people dead to the other side as India has received.

b) All the Muslims except the Muslims from Mano Majra in the train going to Pakistan will be killed.

c) All the villagers will protect the train going to Pakistan so that no one is killed.

d) The villagers will do nothing.

 

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