Poets and Pancakes Class 12 Question Answer Up Board

खुलकर सीखें के इस ब्लॉगपोस्ट Poets and Pancakes Class 12 Question Answer Up Board में हम Class 12 NCERT English Flamingo Prose Chapter 6 के Questions and Answers पर विस्तार से चर्चा करेंगे। सबसे पहले हम Poets and Pancakes Class 12 के सभी Reference to the Context Explanation और फिर Short Answer Type Questions फिर Long Answer Type Questions उसके बाद MCQs का अध्ययन करेंगे।

तो स्टूडेंट्स! ये पोस्ट Poets and Pancakes Class 12 ka Full Solution होने वाला है। लेकिन Poets and Pancakes Question Answer Up Board देखने से पहले मैं चाहूँगा कि आप पहले Poets and Pancakes ki Summary जरूर पढ़ लें इससे प्रश्नोत्तर समझने में आपको आसानी होगी।

EXAM ORIENTED QUESTIONS

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Poets and Pancakes Reference to Context Questions

(1) A strict hierarchy was maintained in the make-up department. The chief make-up-man made the chief actors and actresses ugly, his senior assistant the ‘second’ hero and heroine, the junior assistant the main comedian, and so forth. The players who played the crowd were the responsibility of the office boy. (Even the make-up department of the Gemini Studio had an ‘office boy in the days when there was a crowd shooting, you could see him mixing his paint in a giant vessel and slapping it on the crowd players.

Reference: The above passage has been taken from the lesson ‘Poets and Pancakes’, which is written by Asokamitran.

Context: This passage describes the functioning of the make-up department at Gemini Studios. The author humorously explains the rigid structure in which the make-up duties were divided.

Explanation: There was a strict pecking order—the chief make-up man handled the main stars, assistants did the rest, and the office boy painted the extras using crude methods. The passage satirizes how even in artistic professions, bureaucratic structures and status divisions existed. The exaggerated mention of “slapping” paint highlights the lack of finesse and the mechanical treatment given to crowd players.

(2) The rat fights the tigress underwater and kills her but takes pity on the cubs and tends them lovingly – I don’t know how to do the scene,” the producer would say and Subbu would come out with four ways of the rat pouring affection on its victim’s offspring.

Reference: Same as 1st one

Context: This passage showcases the imaginative brilliance of Kothamangalam Subbu, the No. 2 man at Gemini Studios.

Explanation: When faced with absurd or imaginative film scenarios, Subbu could instantly provide multiple creative solutions. The bizarre scene of a rat killing a tigress and then loving her cubs is used to illustrate Subbu’s resourcefulness, quick thinking, and storytelling ability, which made him indispensable in the studio’s success. It also reflects the unrealistic nature of some film plots and the demands placed on writers.

(3) An extremely talented actress, who was also extremely temperamental, once blew over on the sets. While everyone stood stunned, the lawyer quietly switched on the recording equipment. When the actress paused for breath, the lawyer said to her, “One minute, please,” and played back the recording. There was nothing incriminating or unmentionably foul about the actress’s tirade against the producer. But when she heard her voice again through the sound equipment, she was struck dumb. A girl from the countryside. She hadn’t gone through all the stages of worldly experience that generally precede a position of importance and sophistication that she had found herself catapulted into. She never quite recovered from the terror she felt that day. That was the end of a brief and brilliant acting career.

Reference: Same as above

Context: This passage describes an incident where the legal adviser of the studio unintentionally ended an actress’s career.

Explanation: The lawyer, using his logical and emotionless approach, played back a recording of the actress’s angry outburst, humiliating her. She was young and inexperienced, and the incident shattered her confidence. This episode reflects the power imbalance, gender vulnerability, and how the use of technology and manipulation could abruptly end promising careers in the film industry.

(4) When Frank Buchman’s Moral Re-Armament army, some two hundred strong, visited Madras sometime in 1952, they could not have found a warmer host in India than the Gemini Studios. Someone called the group an international circus. They weren’t very good on the trapeze and their acquaintance with animals was only at the dinner table, but they presented two plays in a most professional manner.

Reference: Same as above

Context: This refers to the visit of the Moral Re-Armament Army (MRA) to Gemini Studios in 1952.

Explanation: The group, promoting anti-Communist moral values through theatre, performed plays at the studio. The author humorously calls them an “international circus,” indicating how unusual and theatrical their visit felt. Despite that, their plays impressed the local drama scene and left a lasting aesthetic influence, especially in Tamil theatre.

(5) At last, around four in the afternoon, the poet, (or the editor) arrived. He was a tall man, very English, very serious and of course very unknown to all of us. Battling with half a dozen pedestal fans on the shooting stage, The Boss read out a long speech; it was obvious that he too knew precious little about the poet (or the editor). The speech was all in the most general terms but here and there it was peppered with words like ‘freedom’ and ‘democracy’. Then the poet spoke. He couldn’t have addressed a more dazed and silent audience-no one knew what he was talking about and his accent defeated any attempt to understand what he was saying. The whole thing lasted about an hour, then the poet left and we all dispersed in utter bafflement.

Reference: Same as above

Context: This describes the visit of Stephen Spender, the English poet and editor, to Gemini Studios.

Explanation: The author humorously portrays the confusion during Spender’s visit. Neither the Boss nor the staff knew who he really was or what he was saying due to his heavy accent and abstract ideas. The scene captures the cultural and linguistic gap between elite Western literary figures and the ordinary Indian film studio staff.

(6) And years later, when I was out of Gemini Studios and I had a lot of time but not much money, anything at a reduced price attracted my attention. On the footpath in front of the Madras Mount Road Post Office, there was a pile of brand-new books for fifty paise each. Actually, they were copies of the same book, an elegant paperback of American origin. ‘Special low-priced student edition, in connection with the 50th Anniversary of the Russian Revolution’, I paid fifty paise and picked up a copy of the book, The God That Failed. Six eminent men of letters in six separate essays described their journeys into Communism and their disillusioned return.

Reference: Same as above

Context: This passage recounts the author’s discovery of the book “The God That Failed”, years after leaving Gemini Studios.

Explanation: He accidentally finds the book on a footpath and realizes that Stephen Spender, the mysterious visitor to the studio, was one of its contributors. The book contains essays by former Communists, expressing disillusionment with the ideology. This moment brings clarity to the author’s past confusion, linking the studio’s aversion to Communism and Spender’s unexplained visit. It shows how literary understanding sometimes comes long after real-life experiences.

Poets and Pancakes Short Answer Type Questions

Q.1. What was pancake? How was it related to Gemini Studios? (पेनकेक क्या था? वह जैमिनी स्टूडियोज से कैसे सम्बन्धित था?)
Ans. Pancake was a popular make-up brand brought in truck-loads at Gemini Studios to prepare actors and actresses for film shoots. (पैनकेक एक लोकप्रिय मेकअप ब्रांड था जिसे फिल्म शूटिंग के लिए अभिनेताओं और अभिनेत्रियों को तैयार करने के लिए जेमिनी स्टूडियो में ट्रकों में भरकर लाया जाता था।)

Q.2. Where was the make-up department of the Gemini Studios situated? (जैमिनी स्टूडियोज का श्रृंगार विभाग कहाँ पर स्थित था?)
Ans. The make-up department was upstairs in a building believed to have once been Robert Clive’s stables. (मेक-अप विभाग उस इमारत में ऊपर की मंजिल पर था, जिसके बारे में माना जाता है कि यह कभी रॉबर्ट क्लाइव का अस्तबल हुआ करता था।)

Q.3. How could national integration be seen in make-up department? (श्रृंगार विभाग में राष्ट्रीय एकीकरण को कैसे देखा जा सकता था?)
Ans. The department had staff from different states—Bengal, Maharashtra, Andhra, Karnataka, Tamil Nadu—reflecting true national integration. (विभाग में विभिन्न राज्यों-बंगाल, महाराष्ट्र, आंध्र, कर्नाटक, तमिलनाडु-से कर्मचारी थे जो सच्ची राष्ट्रीय एकता को दर्शाते थे।)

Q.4. What strict hierarchy was maintained in make-up department? (श्रृंगार विभाग में क्या सख्त अनुक्रम (पद क्रम) निर्वाहित किया जाता था?)
Ans. The chief did make-up for leads, assistants for supporting roles, and the office boy handled crowd artists. This was a strict hierarchy maintained in the make-up department. (मुख्य कलाकार मुख्य भूमिकाओं के लिए मेकअप करते थे, सहायक सहायक भूमिकाओं के लिए, और ऑफिस बॉय भीड़ कलाकारों का काम संभालता था। मेकअप विभाग में यह एक सख्त पदानुक्रम था।)

Q.5. Who was the ‘office boy’? What were his qualities? (‘ऑफिस ब्याय’ कार्यालय में कार्य करने वाला लड़का कौन था? उसकी क्या विशेषताएँ थीं?)
Ans. The ‘office boy’ was a middle-aged man frustrated with his unfulfilled dreams. He had literary ambitions and considered himself a poet. (‘ऑफिस बॉय’ एक अधेड़ उम्र का व्यक्ति था जो अपने अधूरे सपनों से निराश था। उसकी साहित्यिक महत्वाकांक्षाएँ थीं और वह खुद को एक कवि मानता था।)

Q.6. How did the boy’ help the author to enlighten his talent? (‘लड़के’ ने लेखक की उसके हुनर को जानकारी देने (प्रकाश डालने) में कैसे मदद की?)
Ans. The boy frequently lectured the author on wasted talent and literature, though the author often found it annoying. That helped the author to enlighten his talent. (लड़का अक्सर लेखक को बर्बाद प्रतिभा और साहित्य पर व्याख्यान देता था, हालाँकि लेखक को अक्सर यह कष्टप्रद लगता था। इससे लेखक को अपनी प्रतिभा निखारने में मदद मिली।)

Q.7. Who was Kothamangalam Subbu? (कोतमंगलम सुब्बु कौन था?)
Ans. Kothamangalam Subbu was the No. 2 man at Gemini Studios—multi-talented, loyal, and resourceful in storytelling and film-making. (कोतमंगलम सुब्बू कहानी कहने और फिल्म निर्माण में साधन संपन्न, वफादार और बहु-प्रतिभाशाली होने के मामले में जेमिनी स्टूडियोज़ में नंबर 2 पर आने वाला व्यक्ति था।)

Q.8. What was the position of Subbu in Gemini Studios and why? (जैमिनी स्टूडियोज़ में सुब्बु की क्या स्थिति थी और क्यों?)
Ans. Subbu was officially positioned under the Story Department, though he functioned as the Boss’s trusted right-hand man due to his creativity and loyalty. (सुब्बू को आधिकारिक तौर पर कहानी विभाग के तहत तैनात किया गया था, हालांकि वह अपनी रचनात्मकता और वफादारी के कारण बॉस के भरोसेमंद दाहिने हाथ के रूप में कार्य करता था।)

Q.9. What were the works and abilities of Subbu? (सुब्बु के कार्य व योग्यताएँ क्या थीं?)
Ans. Subbu was a writer, actor, poet, and idea man—capable of quick story solutions, writing poems, and playing supporting roles brilliantly. (सुब्बू एक लेखक, अभिनेता, कवि और विचारक था—कहानियों का त्वरित समाधान निकालने, कविताएँ लिखने और सहायक भूमिकाएँ बखूबी निभाने में सक्षम।)

Q.10. Why did Subbu have enemies at Gemini Studios? (जैमिनी स्टूडियोज में सुब्बु के दुश्मन क्यों थे?)
Ans. Because some envied his closeness to the Boss, his constant cheerfulness, and his success, especially the frustrated office boy. (क्योंकि कुछ लोग बॉस के साथ उसकी नज़दीकी, उसकी निरंतर खुशमिजाज़ी और उसकी सफलता से ईर्ष्या करते थे, खासकर वह निराश ऑफिस बॉय।)

Q.11. What was the story department in Gemini Studios? (जैमिनी स्टूडियोज में कथानक (कहानी) विभाग क्या था?)
Ans. In Gemini Studios, the story department was a group of writers and poets, mostly in khadi, who rarely wrote stories but had prestigious roles. (जेमिनी स्टूडियोज़ में, कहानी विभाग लेखकों और कवियों का एक समूह था, जो ज़्यादातर खादी पहनते थे, और कहानियाँ तो कम ही लिखते थे, लेकिन प्रतिष्ठित भूमिकाएँ निभाते थे।)

Q.12. How did the lawyer of story department destroy the career of an extremely brilliant actress? (कहानी विभाग के वकील ने एक अत्यधिक हुनरमंद अभिनेत्री का पेशा (कैरियर) कैसे तबाह किया?)
Ans. The lawyer secretly recorded her angry outburst and played it back, which shocked her deeply and ended her career. (वकील ने चुपके से उसके गुस्से को रिकॉर्ड किया और उसे दोबारा चलाया, जिससे उसे गहरा सदमा लगा और उसका करियर खत्म हो गया।)

Q.13. Why did the lawyer loose his job? (वकील ने अपनी नौकरी कैसे खोई?)
Ans. The lawyer lost his job when the Story Department was shut down—ironically, a lawyer was fired because the poets were dismissed. (जब कहानी विभाग बंद हो गया तो वकील की नौकरी चली गई – विडंबना यह है कि एक वकील को इसलिए नौकरी से निकाल दिया गया क्योंकि कवियों को बर्खास्त कर दिया गया था।)

Q.14. What is Communism? How was it seen in Gemini Studios? (साम्यवाद क्या है? जैमिनी स्टूडियोज में वह कैसे देखा जाता था?)
Ans. Communism is a political ideology advocating a classless society. In Gemini Studios, it was misunderstood and feared as dangerous. (साम्यवाद वर्गहीन समाज की वकालत करने वाली एक राजनीतिक विचारधारा है। जेमिनी स्टूडियोज़ में इसे गलत समझा गया और खतरनाक माना गया।)

Q.15. What was Moral Re-Armament army? (मॉरल रि-अमेिन्ट आर्मी (सेना) क्या थी?)
Ans. The Moral Re-Armament army was a group promoting moral and spiritual values, seen as anti-Communist; they staged plays at Gemini Studios. (मोरल री-आर्मामेंट सेना नैतिक और आध्यात्मिक मूल्यों को बढ़ावा देने वाला एक समूह था, जिसे कम्युनिस्ट विरोधी के रूप में देखा जाता था; उन्होंने जेमिनी स्टूडियो में नाटकों का मंचन किया।)

Q.16. Who was the another visitor at Gemini Studios? Why was he welcomed? (जैमिनी स्टूडियोज में दूसरा आगंतुक कौन था? उसका स्वागत क्यों किया गया था?)
Ans. Stephen Spender, an English poet and editor, visited. He was welcomed due to his literary status and foreign origin. (एक अंग्रेज़ी कवि और संपादक, स्टीफ़न स्पेंडर, ने दौरा किया। उनकी साहित्यिक स्थिति और विदेशी मूल के कारण उनका स्वागत किया गया।)

Q.17. Why did the visit of an English poet remain an unexplained mystery? (एक अंग्रेजी कवि का आगमन एक अस्पष्टीकृत रहस्य क्यों बनकर रह गया?)
Ans. Because no one at the studio understood his speech or purpose, making the visit confusing and purposeless. (क्योंकि स्टूडियो में किसी को भी उनका भाषण या उद्देश्य समझ नहीं आया, जिससे यह दौरा भ्रामक और उद्देश्यहीन हो गया।)

Q.18. What was ‘The Encounter’? (‘द एनकाउण्टर’ क्या था?)
Ans. ‘The Encounter’ was a British literary magazine edited by Stephen Spender, unknown to most people at Gemini Studios. (‘द एनकाउंटर’ स्टीफन स्पेंडर द्वारा संपादित एक ब्रिटिश साहित्यिक पत्रिका थी, जिसके बारे में जेमिनी स्टूडियो के अधिकांश लोगों को जानकारी नहीं थी।)

Q.19. Who was ‘Stephen Spender’ and how was he related to Gemini Studios? (स्टीफन स्पैन्डर कौन था और वह जैमिनी स्टूडियोज से कैसे संबंधित था?)
Ans. ‘Stephen Spender’ was an English poet and editor who once visited Gemini Studios, though his visit was misunderstood. (‘स्टीफन स्पेंडर’ एक अंग्रेजी कवि और संपादक थे, जिन्होंने एक बार जेमिनी स्टूडियो का दौरा किया था, हालाँकि उनके दौरे को गलत समझा गया।)

Q.20. What was ‘The God That failed’? What did it refer to? (‘द गॉड दैट फेल्ड’ क्या था? वह क्या उल्लेख करता है?)
Ans. ‘The God That failed’ was a book with essays by writers like Spender, explaining their disillusionment with Communism. (‘द गॉड दैट फेल्ड’ स्पेंडर जैसे लेखकों के निबंधों वाली एक किताब थी, जिसमें साम्यवाद के प्रति उनके मोहभंग की व्याख्या की गई थी।)

Q.21. Who owned the Gemini Studies? (जैमिनी स्टूडियोज का मालिक कौन था?)
Ans. S.S. Vasan owned Gemini Studios; he was also the editor of the Tamil weekly Ananda Vikatan. (जेमिनी स्टूडियोज़ के मालिक एस.एस. वासन थे; वह तमिल साप्ताहिक आनंद विकटन के संपादक भी थे।)

Poets and Pancakes Long Answer Type Questions

Q.1. Describe make-up room in Gemini Studios. How was the pancake used in large quantity there and what was the hierarchy there? (जैमिनी स्टूडियोज में श्रृंगार-कक्ष का वर्णन कीजिए। वहाँ पर पेनकेक बड़ी मात्रा में कैसे उपयोग किया जाता था तथा वहाँ पर पदक्रम क्या था?)
Ans. The make-up room at Gemini Studios resembled a hair-cutting salon, brightly lit with incandescent bulbs surrounding large mirrors, causing great discomfort due to the heat. Pancake, a brand of make-up, was used in truck-loads to prepare actors for shooting. The make-up artists followed a strict hierarchy: the chief make-up man handled lead actors, his assistants worked on supporting roles, and the office boy was responsible for applying make-up to crowd players. (जेमिनी स्टूडियो का मेकअप रूम किसी हेयर कटिंग सैलून जैसा था, जहाँ बड़े-बड़े शीशों के चारों ओर गरमागरम बल्ब लगे थे, जिससे गर्मी के कारण काफी असुविधा होती थी। मेकअप का एक ब्रांड, पैनकेक, शूटिंग के लिए अभिनेताओं को तैयार करने के लिए ट्रकों में भरकर इस्तेमाल किया जाता था। मेकअप कलाकार एक सख्त पदानुक्रम का पालन करते थे: मुख्य मेकअप मैन मुख्य अभिनेताओं को संभालता था, उसके सहायक सहायक भूमिकाओं पर काम करते थे, और ऑफिस बॉय भीड़ में शामिल कलाकारों का मेकअप करने के लिए ज़िम्मेदार होता था।)

Q.2. What was the author’s role in Gemini Studios? How did the talent of the author come in light? What was his actual role? (जैमिनी स्टूडियोज में लेखक की क्या भूमिका थी? लेखक का हुनर कैसे प्रकाश में आया? उसकी वास्तविक भूमिका क्या थी?)
Ans. The author, Asokamitran, worked in a cubicle, tearing and filing newspaper clippings. His literary talent came to light when he wrote about life at Gemini Studios in his memoir My Years with Boss, showcasing his sharp wit and storytelling ability. His actual role was to collect information on a wide variety of topics. (लेखक, अशोकमित्रन, एक कक्ष में काम करते थे, अखबारों की कतरनें फाड़ते और फाइल करते थे। उनकी साहित्यिक प्रतिभा तब सामने आई जब उन्होंने अपने संस्मरण “माई इयर्स विद बॉस” में जेमिनी स्टूडियोज़ के जीवन के बारे में लिखा, जिसमें उनकी तीक्ष्ण बुद्धि और कहानी कहने की क्षमता का प्रदर्शन किया गया। उनका वास्तविक कार्य विविध विषयों पर जानकारी एकत्र करना था।)

Q.3. Who was Kothamangalam Subbu? What was his position in Gemini Studios and how did he achieve it? (कोतमंगलम सुब्बू कौन था? जैमिनी स्टूडियोज़ में उसकी क्या स्थिति थी और उसने वह कैसे प्राप्त की?)
Ans. Kothamangalam Subbu was a multi-talented man at Gemini Studios who held the position of No. 2, just after the Boss. Although officially a part of the Story Department, he was the most trusted man of the Boss and contributed significantly to all areas of film-making. He achieved this position not through formal education or luck, but through his loyalty, creativity, and ability to always provide quick and imaginative solutions to challenges in film production. (कोतमंगलम सुब्बू जेमिनी स्टूडियोज़ में एक बहुमुखी प्रतिभा के धनी व्यक्ति थे, जो बॉस के ठीक बाद दूसरे स्थान पर थे। हालाँकि आधिकारिक तौर पर वे कहानी विभाग का हिस्सा थे, फिर भी वे बॉस के सबसे भरोसेमंद व्यक्ति थे और उन्होंने फिल्म निर्माण के सभी क्षेत्रों में महत्वपूर्ण योगदान दिया। उन्होंने यह पद औपचारिक शिक्षा या भाग्य से नहीं, बल्कि अपनी निष्ठा, रचनात्मकता और फिल्म निर्माण में चुनौतियों का हमेशा त्वरित और कल्पनाशील समाधान प्रस्तुत करने की क्षमता से प्राप्त किया।)

Q.4. Describe the versatility of Kothamangalam Subbu. (कोतमंगलम सुब्बु की बहुमुखी प्रतिभा का वर्णन कीजिए।)
Ans. Subbu was an exceptionally versatile person. He was a creative story writer, a popular poet who wrote for the masses, a brilliant actor who often performed supporting roles better than the leads, and a generous human being. He could think of multiple script ideas instantly and had the rare ability to convert vague ideas into effective scenes. His adaptability, imagination, and problem-solving skills made him indispensable to Gemini Studios. (सुब्बू एक असाधारण रूप से बहुमुखी व्यक्ति थे। वे एक रचनात्मक कहानीकार, आम जनता के लिए लिखने वाले एक लोकप्रिय कवि, एक प्रतिभाशाली अभिनेता जो अक्सर मुख्य भूमिकाओं से बेहतर सहायक भूमिकाएँ निभाते थे, और एक उदार इंसान थे। वे तुरंत कई पटकथाओं के विचार सोच लेते थे और अस्पष्ट विचारों को भी प्रभावशाली दृश्यों में बदलने की अद्भुत क्षमता रखते थे। उनकी अनुकूलनशीलता, कल्पनाशीलता और समस्या-समाधान कौशल ने उन्हें जेमिनी स्टूडियो के लिए अपरिहार्य बना दिया।)

Q.5. What was Moral Re-Armament Army? Why did it come to Gemini Studios and what were its effect on the local actors? (मॉरल रि-अममिन्ट आर्मी क्या थी? वह जैमिनी स्टूडियोज क्यों पहुँची और क्षेत्रीय (वहाँ के) कलाकारों पर उसके क्या प्रभाव पड़े?)
Ans. The Moral Re-Armament Army (MRA) was a group of around 200 people from various countries who promoted moral and spiritual values through plays. They visited Gemini Studios in 1952 and staged two plays: Jotham Valley and The Forgotten Factor. Their performances had a significant impact on the local theatre scene. Inspired by their stage design and style, Tamil plays began incorporating flute music, white backgrounds, and symbolic scenes like sunrise and sunset, reflecting the influence of the MRA’s aesthetic. (नैतिक पुनः शस्त्रीकरण सेना (एमआरए) विभिन्न देशों के लगभग 200 लोगों का एक समूह था जो नाटकों के माध्यम से नैतिक और आध्यात्मिक मूल्यों को बढ़ावा देते थे। उन्होंने 1952 में जेमिनी स्टूडियो का दौरा किया और दो नाटकों: जोथम वैली और द फॉरगॉटन फैक्टर का मंचन किया। उनके प्रदर्शनों का स्थानीय रंगमंच पर गहरा प्रभाव पड़ा। उनकी मंचीय रचना और शैली से प्रेरित होकर, तमिल नाटकों में बांसुरी संगीत, सफ़ेद पृष्ठभूमि और सूर्योदय व सूर्यास्त जैसे प्रतीकात्मक दृश्यों को शामिल किया जाने लगा, जो एमआरए के सौंदर्यशास्त्र के प्रभाव को दर्शाते थे।)

Q.6. Who was the visitor came to Gemini Studios? How did the audience take his visit? What was his connection with the book ‘The God That Failed’? (जैमिनी स्टूडियोज में आने वाला आगंतुक कौन था? श्रोताओं ने उसके आगमन को कैसे लिया? उसकी पुस्तक ‘दा गाँड दैट फेल्ड’ से क्या संबंध था?)
Ans. The visitor was Stephen Spender, an English poet and editor of the magazine The Encounter. His visit puzzled the Gemini staff as they neither understood his English accent nor his purpose. They found his speech incomprehensible and his visit pointless. Later, the author discovered Spender’s name in the book ‘The God That Failed’, where Spender wrote about his disillusionment with Communism. This connection clarified why the poet had visited—a symbolic cultural exchange during the Cold War era. (आगंतुक स्टीफन स्पेंडर थे, जो एक अंग्रेजी कवि और द एनकाउंटर पत्रिका के संपादक थे। उनके आगमन ने जेमिनी के कर्मचारियों को हैरान कर दिया क्योंकि वे न तो उनके अंग्रेजी उच्चारण को समझ पाए और न ही उनके उद्देश्य को। उन्हें उनका भाषण समझ से परे और उनकी यात्रा निरर्थक लगी। बाद में, लेखक को स्पेंडर का नाम अपनी पुस्तक ‘द गॉड दैट फेल्ड’ में मिला, जहाँ स्पेंडर ने साम्यवाद से अपने मोहभंग के बारे में लिखा था। इस संबंध ने स्पष्ट किया कि कवि ने वहाँ क्यों आना चाहा था—शीत युद्ध के दौर में एक प्रतीकात्मक सांस्कृतिक आदान-प्रदान के लिए।)

Poets and Pancakes Class 12 MCQs

Q.1. Pancake was the brand name of the make-up……………that Gemini Studios bought in truck-loads.
(i) material
(ii) goods
(iii) cosmetics
(iv) articles

Q.2. The make-up department was first headed by a…………
(i) Maharashtrian
(ii) Andhra
(iii) Bengali
(iv) Tamilian

Q.3. Those were the days of mainly indoor shooting, and only………….per cent of the film was shot outdoors.
(i) ten
(ii) five
(iii) thirty
(iv) seven

Q.4. Kothamangalam Subbu was the No………at Gemini Studios.
(i) 1
(ii) 3
(iii) 4
(iv) 2

Q.5. Subbu had a separate identity as………..
(i) an actor
(ii) a comedian
(iii) a poet
(iv) a writer

Q.6. The story department comprised a………..and an assembly of writers and poets.
(i) producer
(ii) lawyer
(iii) story writer
(iv) legal adviser

Q.7. Any other member of the Department wore a kind of uniform………
(i) Khadi dhoti
(ii) Dhoti kurta
(iii) Pant shirt
(iv) Khadi shirt

Q.8. A Communist was a………..man, he had no filial or conjugal love.
(i) selfish
(ii) emotionless
(iii) Godless
(iv) different

Q.9. Frank Buchman’s Moral Re-Armament army visited Madras sometime in………..
(i) 1942
(ii) 1952
(iii) 1962
(iv) 1902

Q.10. The staff of Gemini Studios had a nice time hosting………………people of all hues and sizes of at least twenty nationalities.
(i) three hundred
(ii) four hundred
(iii) one hundred fifty
(iv) two hundred

Q.11. …………..was also the editor of the popular Tamil Weekly Ananda Viketan.
(i) Subbu
(ii) Vasan
(iii) Stephen Spender
(iv) S.D.S. Yogiar

Q.12. A short story contest was organised by a Britsh periodical by the name……………
(i) The Encounter
(ii) The Contest
(iii) The prose piece
(iv) None

Q.13. The poet who visited the Gemini Studios was………….
(i) an English poet
(ii) a Swedish poet
(iii) an Indian
(iv) None

Q.14. The copy of The God That Failed’ costed…………….in those days.
(i) five rupees
(ii) fifty paise
(iii) seventy paise
(iv) one rupee

Q.15. The book The God That Failed’ was a low-priced because of the…………….Anniversary of the Russian Revolution.
(i) 51st
(ii) 49th
(iii) 100th
(iv) 50th

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Poets and Pancakes Class 12 MCQs

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