CBSE Class 9EnglishQuestions & AnswersChapter level
The Pot Maker Questions & Answers | Class 9 English | CBSE NCERT
Chapter-wise questions and answers for The Pot Maker in Class 9 English, with a clear summary, key points, and exam-ready model answers.
What you will find on this page: a clear chapter summary, revision notes, word meanings, important questions, MCQs, and exam-ready question answers for Class 9 English.
After reviewing the chapter explanation, answer the short-answer, long-answer, extract-based, and objective questions below.
About 139 min readThe Pot MakerUpdated 29 Sep 2026
Questions and answers
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1. Q1. Sentila dreamed of becoming a pot maker like her:
(a) father and uncle
(b) mother and grandmother
(c) teacher, Onula
(d) the village headman
Ever since Sentila became old enough to accompany her mother to the fields and forests, she began to dream of becoming a pot maker like her mother and grandmother. However Arenla, her mother, wanted her to become a weaver. On days when she managed to stay at home while her parents went to the fields, Sentila approached expert potters to learn the skill. They were at first amused by the little girl's insistence as they thought that she would soon outgrow her childish passion for the craft. Sentila did not disclose her fascination with pot making at home as she had overheard a conversation between her parents one night.
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(b). Ever since she was old enough to accompany her mother to the fields and forests, she dreamed of following the family tradition.
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2. Q2. Arenla, Sentila's mother, wanted her daughter to become a:
(a) pot maker
(b) weaver
(c) farmer
(d) singer
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(b). The text states that Arenla wanted her to become a weaver.
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3. Q3. The expert potters were at first 'amused' by Sentila because:
(a) she was already very skilled at the craft
(b) they thought her passion was childish and temporary
(c) her mother had sent her to them
(d) she refused to touch the clay
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(b). They thought the little girl would soon outgrow her childish passion for the craft.
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4. Q4. On what days did Sentila approach the expert potters?
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On days when she managed to stay at home while her parents went to the fields.
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5. Q5. What did the potters think would happen to Sentila's passion?
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They thought she would soon outgrow her childish passion for the craft as she grew older.
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6. Q6. Why did Sentila not disclose her fascination with pot making at home?
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She had overheard a conversation between her parents one night and feared her mother's disapproval.
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7. Q1. Arenla refuses to teach Sentila pot making mainly because:
(a) Sentila is too weak to work
(b) the village council has forbidden it
(c) the craft has brought her no joy and only a pittance for her troubles
(d) there is no clay left in the village
Her mother was complaining about Sentila's indifference to weaving. She said, "I shall not teach her pot making as it has brought no joy to me and only a pittance for my troubles. The riverbank, where the grey and red clay required for making pots is found, is sixteen kilometres from here. I need to climb down a sheer drop to the riverbank and my back aches from carrying the heavy load uphill all the way to the village. Pounding the stubborn clay inside bamboo cylinders to soften it, is also tedious. So many times, I've dropped the mould out of sheer exhaustion and have had to start all over again.
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(c). She lists the hardships of pot making — the long trek, the aching back, the tedious pounding, the months of labour — and contrasts them with the 'pittance' it earns.
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8. Q2. The word 'pittance' in the extract means:
(a) a large fortune
(b) a small amount of money received as income
(c) a kind of clay
(d) a heavy load
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(b). A pittance is a very small payment or reward, especially for hard work.
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9. Q3. According to Arenla, the riverbank with the clay is ______ from the village.
(a) six kilometres
(b) sixteen kilometres
(c) sixty kilometres
(d) six hundred metres
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(b). The riverbank, where the grey and red clay is found, is sixteen kilometres away, down a sheer drop.
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10. Q4. What was Arenla complaining about?
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She was complaining about Sentila's indifference to weaving and refusing to teach her pot making.
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11. Q5. Why does Arenla's back ache?
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It aches from carrying the heavy load of clay uphill all the way from the riverbank to the village.
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12. Q6. Why did Arenla sometimes have to start all over again?
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She would drop the mould out of sheer exhaustion and have to begin the work afresh.
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13. Q1. According to Arenla, the reward for months of labour in pot making is:
(a) a handsome profit
(b) a few rupees
(c) enough cloth for the family
(d) a new work shed
It takes months to bring out a batch of pots after so much labour. And the reward? A few rupees. But if Sentila learns weaving, she can make much more money besides providing enough cloth for the family. Weaving is not messy like pot making and can be done indoors in all seasons. Also, the time spent on weaving one shawl is much less and the return is handsome." Sentila continued her visits to watch the potters at work.
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(b). 'And the reward? A few rupees.'
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14. Q2. Which of these is NOT an advantage of weaving that Arenla mentions?
(a) It is not messy like pot making
(b) It can be done indoors in all seasons
(c) It takes much less time per shawl
(d) It brings honour in the village
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(d). Arenla speaks of money, cloth, cleanliness, indoor work, less time and a handsome return — not honour.
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15. Q3. According to Arenla, weaving one shawl takes ______ making a batch of pots.
(a) much more time than
(b) much less time than
(c) the same time as
(d) double the time of
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(b). 'The time spent on weaving one shawl is much less and the return is handsome.'
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16. Q4. How does weaving help the family besides earning money?
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It provides enough cloth for the family besides the money it brings.
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17. Q5. In what seasons and where can weaving be done?
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Weaving can be done indoors in all seasons, unlike messy pot making.
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18. Q6. What did Sentila do despite her mother's refusal?
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She continued her visits to watch the potters at work.
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19. Q1. While shaping a pot, the potters pushed their ______ into the lump and shaped the clay with a ______ held in the other hand.
(a) right hand; dao
(b) left hand; spatula
(c) both hands; basket
(d) left hand; kiln
She saw how the clay was mixed with water and pounded, how careful they were when they pushed their left hand into a lump of the softened clay and how deftly they rotated the lump as they started giving shape to the rotating clay with a spatula held in the right hand. The regular tap, tap of the spatula on the clay was music to her ears as she watched in fascination the pot emerging out of a shapeless lump right in front of her eyes.
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(b). The left hand went into the softened lump; the right hand held the spatula.
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20. Q2. 'The regular tap, tap of the spatula on the clay was music to her ears' is an example of:
(a) a metaphor suggesting the rhythm of the craft enchanted her
(b) a simile
(c) a pun
(d) an oxymoron
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(a). The sound of work is called music — a metaphor revealing her deep fascination with the craft.
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21. Q3. The word 'deftly' in the extract means:
(a) carelessly
(b) skillfully
(c) slowly
(d) hesitantly
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(b). 'Deftly' means with neat skill and quickness.
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22. Q4. How was the clay prepared before shaping?
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It was mixed with water and pounded to soften it.
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23. Q5. Which words show that the sound of the spatula enchanted Sentila?
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'The regular tap, tap of the spatula on the clay was music to her ears.'
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24. Q6. What emerged 'out of a shapeless lump' in front of Sentila's eyes?
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A pot — she watched in fascination as it emerged out of a shapeless lump.
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25. Q1. The pots were loaded on to the kiln in a uniform pattern on a bed of:
(a) straw and green leaves
(b) hay and dried bamboo
(c) sand and stones
(d) wood and iron
After two or three days, the pots would be given a final touch up to retain the required shape and to test the consistency. Only then would the pots be taken out to dry in the sun before being loaded on to a kiln in a uniform pattern on a bed of hay and dried bamboo and covered with another layer of the same materials, and then the kiln would be fired. One had to tend the fire carefully as over firing or under firing would ruin the entire batch.
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(b). They were placed on a bed of hay and dried bamboo and covered with another layer of the same materials.
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26. Q2. The kiln fire had to be tended carefully because:
(a) the fire could spread to the village
(b) over firing or under firing would ruin the entire batch
(c) the pots could be stolen
(d) the clay needed water
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(b). Careless firing would ruin the entire batch of pots.
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27. Q3. Before being loaded on to the kiln, the pots were dried:
(a) in the sun
(b) in the work shed
(c) inside the kiln
(d) on the rooftop
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(a). Only after the touch-up were the pots taken out to dry in the sun.
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28. Q4. Why were the pots given a final touch up after two or three days?
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To retain the required shape and to test the consistency.
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29. Q5. What would ruin the entire batch?
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Over firing or under firing the kiln.
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30. Q6. With what were the pots covered inside the kiln?
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With another layer of the same materials — hay and dried bamboo.
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31. Q1. How did Arenla react to the news of her daughter's visits?
(a) She scolded Sentila publicly
(b) She pretended to be ignorant of them
(c) She rewarded the potters
(d) She taught Sentila herself
Arenla heard of her daughter's visits but pretended to be ignorant of them. By late afternoon, Sentila had to return home quickly, so that when her mother came back from the fields, she would be there. Gradually, Sentila's visits became a topic of village gossip. People wondered why Arenla was refusing to teach the skill to her daughter. They were worried that if all pot makers followed suit, then there would be no expert potters to take their place.
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(b). Arenla heard of the visits but pretended to be ignorant of them.
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32. Q2. Sentila returned home quickly by late afternoon so that:
(a) she could cook the meal
(b) her mother would find her at home when she returned from the fields
(c) she could pound the clay
(d) she could avoid the potters
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(b). She had to be home before her mother came back from the fields.
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33. Q3. The villagers feared that if all pot makers followed suit:
(a) pots would become very costly
(b) the riverbank would be emptied of clay
(c) there would be no expert potters to take their place
(d) weaving would die out
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(c). They worried that no expert potters would remain to take their place.
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34. Q4. What became a topic of village gossip?
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Sentila's repeated visits to watch the potters at work.
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35. Q5. What does the phrase 'followed suit' mean?
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It means to do the same thing as somebody else has just done — here, to refuse to teach the craft to one's daughter.
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36. Q6. What did the people of the village wonder about?
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They wondered why Arenla was refusing to teach the skill to her own daughter.
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37. Q1. Who summoned Mesoba?
(a) The village council
(b) Arenla
(c) The expert potters
(d) Onula
One day, Sentila's father, Mesoba was summoned by the village council and asked to explain why Arenla was refusing to pass on the skill to her daughter. He replied in a humble tone, "Uncles and elder brothers, Arenla has never said that she will not teach our daughter pot making; it is only that we wanted her to grow stronger after her illness. You will soon see Sentila making the best pots in the village."
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(a). Sentila's father was summoned by the village council one day.
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38. Q2. In his reply, Mesoba said the family had only wanted Sentila to:
(a) learn weaving first
(b) marry early
(c) grow stronger after her illness
(d) finish her studies
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(c). He explained that they had delayed the training because they wanted the girl to grow stronger after her illness.
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39. Q3. Mesoba's tone before the council can best be described as:
(a) arrogant
(b) angry
(c) humble
(d) humorous
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(c). He replied in a humble tone, addressing the elders respectfully.
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40. Q4. Why was Mesoba summoned by the village council?
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He was asked to explain why Arenla was refusing to pass on the pot making skill to her daughter.
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41. Q5. What promise did Mesoba make to the elders?
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'You will soon see Sentila making the best pots in the village.'
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42. Q6. How did Mesoba address the members of the council?
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He addressed them respectfully as 'Uncles and elder brothers'.
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43. Q1. According to the elders, skills such as pot making:
(a) were the private property of the family
(b) belonged to the community as a shared heritage
(c) should be kept secret from strangers
(d) could be sold to other villages
After listening to Mesoba's explanation, the elders decided to let him go, cautioning him to remind Arenla that it was her duty to teach her daughter the skill that was handed down from generation to generation. They also told him that skills such as pot making, which not only catered to the needs of the people but also symbolised the tradition and history of the people, did not 'belong' to any individual. And experts were obliged to pass on their skills not only to their own children but also to anyone who wished to learn.
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(b). Such skills symbolised the tradition and history of the people and did not 'belong' to any individual.
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44. Q2. The elders reminded Mesoba that it was whose duty to teach Sentila?
(a) Mesoba's
(b) Onula's
(c) Arenla's
(d) the council's
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(c). They cautioned him to remind Arenla that it was her duty to teach her daughter the skill handed down through generations.
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45. Q3. Experts were obliged to pass on their skills to:
(a) only their own children
(b) only the sons of the village
(c) no one
(d) anyone who wished to learn
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(d). They had to teach not only their own children but also anyone who wished to learn.
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46. Q4. What caution did the elders give Mesoba before letting him go?
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To remind Arenla that it was her duty to teach her daughter the skill handed down from generation to generation.
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47. Q5. According to the elders, what do skills such as pot making symbolise?
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The tradition and history of the people.
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48. Q6. What did Mesoba do after the meeting?
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He went home and discussed the matter with Arenla.
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49. Q1. Arenla took Sentila to the riverbank to:
(a) fetch water
(b) dig the grey and red clay
(c) wash clothes
(d) sell pots
Mesoba went home and discussed the matter with Arenla. The following year, Arenla took Sentila to the riverbank where the grey and red clay was found. She taught Sentila how to dig the clay with a dao, load it on to her carrying basket and soak it in the trough in the work shed before stuffing it into the bamboo cylinder in the right proportion to pound it. Sentila was a quick learner and turned the clay into malleable dough.
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(b). She took her to the riverbank where the grey and red clay was found.
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50. Q2. The tool used to dig the clay was the:
(a) spatula
(b) dao
(c) kiln
(d) mould
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(b). Arenla taught Sentila how to dig the clay with a dao.
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51. Q3. The dug clay was soaked:
(a) in the river
(b) in the trough in the work shed
(c) inside the kiln
(d) in the carrying basket
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(b). It was soaked in the trough in the work shed before being stuffed into the bamboo cylinder.
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52. Q4. Where was the grey and red clay found?
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At the riverbank, sixteen kilometres from the village.
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53. Q5. Into what was the clay stuffed, and why?
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Into the bamboo cylinder in the right proportion, so that it could be pounded.
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54. Q6. What kind of learner was Sentila?
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She was a quick learner who turned the clay into malleable dough.
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55. Q1. Sentila's main problem when she tried shaping the lump was that:
(a) the clay was of poor quality
(b) she could not even hold the lump of dough properly
(c) she had no spatula
(d) the shed was too dark
But when she tried her hand at the shaping of the lump into a pot, she could not even hold the lump of dough properly. The mother simply sat in a corner and watched the girl try again and again. While Sentila hung her head in shame and frustration, Arenla took over the job, and transformed the lump into a beautiful pot. These sessions continued for almost a year but Sentila was unable to learn anything from her mother.
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(b). She could not even hold the lump of dough properly.
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56. Q2. While Sentila tried again and again, Arenla:
(a) helped her immediately
(b) sat in a corner and watched
(c) scolded her loudly
(d) left the village
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(b). The mother simply sat in a corner and watched the girl try again and again.
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57. Q3. These sessions continued for almost:
(a) a month
(b) six months
(c) a year
(d) two years
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(c). The sessions continued for almost a year, but without success.
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58. Q4. How did Sentila feel as she failed repeatedly?
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She hung her head in shame and frustration.
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59. Q5. Who finally transformed the lump into a beautiful pot during these sessions?
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Arenla, her mother, took over the job and transformed the lump into a beautiful pot.
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60. Q6. What was the result of almost a year of sessions?
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Sentila was unable to learn anything from her mother.
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61. Q1. According to custom, Sentila was sent to the girls' dormitory the year she:
(a) fell ill
(b) matured
(c) learned weaving
(d) made her first pot
The next year, when Sentila matured, according to custom, she was sent to stay for some nights in one of the girls' dormitories supervised by a kind, middle-aged widow whom the girls called 'Onula' or Aunty. She had heard of the discord in Sentila's family and resolved to help the girl in every possible way. One evening, when everyone except Sentila went to attend a musical evening, Onula saw her taking out some clay and the implements from her basket quietly.
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(b). 'When Sentila matured, according to custom, she was sent to stay for some nights in one of the girls' dormitories.'
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62. Q2. The word 'Onula' means:
(a) mother
(b) elder sister
(c) Aunty
(d) teacher
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(c). The girls called the kind, middle-aged widow 'Onula' or Aunty.
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63. Q3. Onula, the supervisor of the dormitory, was:
(a) Sentila's real aunt
(b) a kind, middle-aged widow
(c) the head of the village council
(d) an expert weaver
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(b). She was a kind, middle-aged widow whom the girls called 'Onula'.
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64. Q4. Why had Onula resolved to help Sentila in every possible way?
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She had heard of the discord in Sentila's family.
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65. Q5. Where had everyone except Sentila gone that evening?
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They had gone to attend a musical evening.
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66. Q6. What did Onula see Sentila doing quietly?
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Taking out some clay and the implements from her basket.
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67. Q1. The clay seemed 'unable or unwilling to yield the right shape' because:
(a) the clay was of poor quality
(b) Sentila was too tense
(c) she used the wrong tools
(d) the night was too cold
She watched Sentila's clumsy efforts to make a pot and noticed that Sentila was too tense. As a result, the clay seemed unable or unwilling to yield the right shape. When Sentila wearily let the misshapen lump fall flat on the ground, Onula went to her and said, "Don't worry, little one, I shall teach you how to make a perfect pot." Sentila watched in amazement as Onula fashioned a beautiful pot and asked her to try again.
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(b). Onula noticed that Sentila was too tense, and as a result the clay would not yield the right shape.
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68. Q2. Onula's words, 'Don't worry, little one, I shall teach you how to make a perfect pot', show that she was:
(a) sincere and generous
(b) forgiving and thoughtful
(c) thoughtful and generous
(d) forgiving and sincere
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(c). Onula was thoughtful (she noticed the girl's silent struggle and had resolved to help her) and generous (she freely shared her skill with a child not her own).
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69. Q3. The word 'fashioned' in 'Onula fashioned a beautiful pot' means:
(a) styled
(b) created
(c) admired
(d) purchased
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(b). Here 'fashioned' means shaped or made into form.
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70. Q4. How did Onula address Sentila?
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She called her 'little one'.
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71. Q5. What did Onula do when Sentila wearily let the misshapen lump fall flat on the ground?
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She went to her and offered to teach her how to make a perfect pot.
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72. Q6. What was Sentila's reaction as she watched Onula at work?
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She watched in amazement as Onula fashioned a beautiful pot.
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73. Q1. With Onula's guidance, Sentila created:
(a) a broken pot
(b) a beautiful pot whose mouth was all wrong
(c) a perfect pot without any flaw
(d) a small basket
Sentila took another lump of clay and with a confidence she had never felt before, started the process all over again following the instructions she had just received. She created a beautiful pot! When it was done, she sat there admiring her work but Onula said, "The mouth of the pot is all wrong." Sentila looked at Onula in frustration who smiled and said, "When you work with your mother next time, watch her carefully when she is shaping the mouth of the pot. You are a quick learner and you will do well."
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(b). She created a beautiful pot, but Onula pointed out that 'the mouth of the pot is all wrong'.
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74. Q2. Onula advised Sentila to watch her mother when she was:
(a) pounding the clay
(b) firing the kiln
(c) shaping the mouth of the pot
(d) carrying the basket
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(c). 'Watch her carefully when she is shaping the mouth of the pot.'
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75. Q3. Onula's parting words about Sentila as a learner were:
(a) 'You are a quick learner and you will do well.'
(b) 'You will never learn this craft.'
(c) 'You must give up pot making.'
(d) 'You learn too slowly.'
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(a). Onula encouraged her, saying she was a quick learner who would do well.
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76. Q4. What new feeling did Sentila experience while making this pot?
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A confidence she had never felt before.
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77. Q5. How did Sentila react to Onula's remark that the mouth was all wrong?
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She looked at Onula in frustration, and Onula smiled and advised her patiently.
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78. Q6. What instructions had Sentila just received?
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Onula's instructions for making a perfect pot, which she now followed step by step.
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79. Q1. While fashioning the mouth of the pots, Arenla ______ the rhythm.
(a) quickened
(b) slackened
(c) stopped
(d) doubled
During the next pot making session, Sentila observed how her mother held the left hand and the spatula, how she slackened the rhythm when fashioning the mouth of the pots and how a strip of elongated dough was added to the mouth to make the rim. Then, on a bright sunny day, Arenla told Sentila that they should try to make as many pots as they could, otherwise they would not have enough days of sunshine to dry them. They went to the shed quite early to begin.
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(b). She slackened the rhythm — relaxed it — when shaping the mouths.
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80. Q2. A strip of elongated dough added to the mouth of the pot made:
(a) the base
(b) the rim
(c) the lid
(d) a decoration
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(b). The strip of elongated dough was added to the mouth to make the rim.
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81. Q3. Why did Arenla say they should make as many pots as they could?
(a) A festival was approaching
(b) They would not have enough days of sunshine to dry the pots
(c) The village council had ordered it
(d) Guests were coming
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(b). On the bright sunny day she feared they would not have enough days of sunshine to dry the pots.
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82. Q4. Name the three things Sentila observed in the next pot making session.
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How her mother held the left hand and the spatula, how she slackened the rhythm while fashioning the mouth, and how a strip of elongated dough was added to make the rim.
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83. Q5. Why was sunshine so important for the potters?
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The pots had to be dried in the sun, so they needed enough days of sunshine.
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84. Q6. When did mother and daughter go to the shed that day?
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They went to the shed quite early to begin the work.
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85. Q1. Arenla left the shed that day complaining of:
(a) fever and cough
(b) a headache and a backache
(c) hunger and thirst
(d) a pain in her hands
As usual, Arenla completed a batch quickly and asked Sentila to take over. Complaining that she had a headache and a backache, she went out telling Sentila to try and make as many pots as she could. Sentila was surprised and reluctantly began to beat the dough in perfect coordination with her left hand. Before long, she realised that the pot was ready. She started on the next one, and like a sprinter who had suddenly found momentum, she continued making pot after pot with the same speed and dexterity that she had noticed in her mother's hands. Finally, when she looked at her row of pots, she saw that she had made just one short of her mother's tally.
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(b). She went out complaining of a headache and a backache, asking Sentila to continue.
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86. Q2. The simile 'like a sprinter who had suddenly found momentum' suggests that Sentila:
(a) ran away from the shed
(b) worked with sudden, effortless flow and speed after her first success
(c) was competing in a race
(d) was too tired to continue
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(b). Once she began, her confidence and skill carried her smoothly from pot to pot.
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87. Q3. By the end of the day, Sentila had made ______ her mother's tally.
(a) exactly
(b) two more than
(c) just one short of
(d) half of
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(c). She saw that she had made just one short of her mother's tally.
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88. Q4. How did Sentila begin her work that day?
Show answer
Surprised, she reluctantly began to beat the dough in perfect coordination with her left hand.
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89. Q5. What quality of her mother's hands did Sentila now match?
Show answer
The same speed and dexterity she had noticed in her mother's hands.
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90. Q6. What did Sentila see when she finally looked at her row of pots?
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That she had made just one pot short of her mother's tally.
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91. Q1. When Sentila reached the threshold, she found:
(a) lunch waiting on the table
(b) her mother lying on the floor, not breathing
(c) Onula waiting for her
(d) the pots broken
Exhausted from the labour, she decided to go into the house and join her mother for lunch. When she reached the threshold, she found her mother lying on the floor. She was not breathing. Sentila ran towards the common area in the village for help. The villagers raced to the house, and sent for Mesoba. When Arenla's body was being carried out of the house the next morning, Sentila ran after it, shouting, "Mother, I did not wish it to happen this way; it simply came to me. Please forgive me." Those who heard her, did not understand what she meant, except for Onula. She intuitively sensed that something momentous had happened.
Show answer
(b). She found her mother lying on the floor; she was not breathing.
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92. Q2. Sentila ran towards the common area in the village in order to:
(a) fetch water
(b) call for help
(c) find Onula
(d) call the potters
Show answer
(b). She ran to the common area of the village for help, and the villagers raced to the house.
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93. Q3. Who alone understood the meaning of Sentila's cry?
(a) Mesoba
(b) The villagers
(c) Onula
(d) Nobody
Show answer
(c). 'Those who heard her, did not understand what she meant, except for Onula.'
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94. Q4. Why did Sentila go into the house?
Show answer
Exhausted from the labour, she decided to join her mother for lunch.
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95. Q5. What does the word 'threshold' mean?
Show answer
The entrance of a room or house.
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96. Q6. What did Onula intuitively sense?
Show answer
That something momentous — of great significance — had happened.
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97. Q1. Why did Onula step inside the work shed?
(a) The door was slightly ajar and curiosity drew her in
(b) To fetch some pots
(c) To hide from the villagers
(d) To fire the kiln
On her way back, Onula noticed that the door to the work shed was slightly ajar. Out of curiosity, she stepped inside and abruptly stopped in her tracks; two neat rows of newly-made pots stood side by side. She could find nothing to tell one batch from the other. She was sure that it was not the handiwork of one person alone. Onula stood there for a long time as if trying to absorb a new phenomenon. Slowly she walked away from this place of wonder, as she considered it to be, because she believed that she had just witnessed a profound revelation in the two batches of still moist pots, standing side by side in perfect symmetry inside the shed. A new pot maker was born.
Show answer
(a). Noticing the door slightly ajar, she stepped inside out of curiosity.
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98. Q2. Onula could find nothing to tell one batch of pots from the other because:
(a) the pots were all broken
(b) the two rows matched perfectly in skill and finish
(c) the pots had been removed
(d) the shed was dark
Show answer
(b). The two neat rows stood side by side in perfect symmetry, indistinguishable from each other.
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99. Q3. The concluding line, 'A new pot maker was born', refers to:
(a) Arenla
(b) Sentila
(c) Onula
(d) Mesoba
Show answer
(b). Sentila, who had finally inherited her mother's craft and matched her pot for pot.
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100. Q4. What did Onula see inside the work shed?
Show answer
Two neat rows of newly-made pots standing side by side, with nothing to tell one batch from the other.
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101. Q5. Why does the narrator call the shed 'this place of wonder'?
Show answer
Because Onula had just witnessed a profound revelation there — the two identical rows of still moist pots in perfect symmetry.
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102. Q6. What was Onula sure of as she stood in the shed?
Show answer
That it was not the handiwork of one person alone.
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103. Q1. Why did Sentila not disclose her fascination with pot making at home? (2 marks)
Show answer
Sentila had secretly overheard her mother telling her father that pot making had brought her no joy and only a pittance, and that she wanted Sentila to learn weaving instead. Fearing her mother's disapproval, the girl kept her passion hidden.
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104. Q2. What reasons did Arenla give for wanting Sentila to learn weaving? (2 marks)
Show answer
According to Arenla, weaving earns much more money, provides enough cloth for the family, is not messy like pot making, can be done indoors in all seasons, takes much less time per shawl and brings a handsome return.
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105. Q3. How did Sentila learn the basics of pot making even before her mother taught her? (2 marks)
Show answer
She visited the expert potters and watched them closely: how clay was mixed with water and pounded, how the lump was rotated and shaped with a spatula, and how a pot emerged from a shapeless lump before her fascinated eyes.
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106. Q4. Why did Sentila's visits to the potters become a topic of village gossip? (2 marks)
Show answer
People noticed the girl's persistent visits and wondered why Arenla refused to teach her own daughter the family skill. They feared that if all pot makers followed suit, no expert potters would remain to take their place.
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107. Q5. What warning was given to Mesoba by the village council? (2 marks)
Show answer
The elders let Mesoba go but cautioned him to remind Arenla that it was her duty to pass on the generation-old skill. They declared that such skills, which symbolised the people's tradition and history, belonged to no individual.
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108. Q6. How did the expert potters react to little Sentila's insistence on learning the craft? (2 marks)
Show answer
At first they were amused by the little girl's insistence, thinking she would soon outgrow her childish passion for the craft. Nevertheless, Sentila kept returning to watch them work whenever she could stay home.
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109. Q7. Why did Sentila fail to learn pot making even after almost a year of training with her mother? (2 marks)
Show answer
Under her mother's watchful eye, Sentila grew tense and could not even hold the lump properly. As Onula later noticed, her tenseness made the clay unable or unwilling to yield the right shape.
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110. Q8. How did Sentila feel when she failed at pot making even after a year's training? (2 marks)
Show answer
She hung her head in shame and frustration as her mother silently took over the work. Later, in the dormitory, she wearily let the misshapen lump fall flat on the ground in dejection.
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111. Q9. Why did Arenla pretend to be ignorant of Sentila's visits to the potters? (2 marks)
Show answer
Arenla had decided that Sentila should weave rather than make pots. To avoid an open confrontation with the child, she ignored the visits, hoping the girl would outgrow what seemed a childish passion.
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112. Q10. How did Onula help Sentila in the dormitory? (2 marks)
Show answer
Having heard of the discord in Sentila's family, Onula resolved to help. She showed Sentila how to make a perfect pot, pointed out the flaw in the mouth, and advised her to watch her mother's technique carefully.
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113. Q11. 'The mouth of the pot is all wrong.' Why did Onula point out the flaw instead of only praising Sentila's first success? (2 marks)
Show answer
Onula was a wise and honest guide. Mere praise might have made Sentila complacent; identifying the one remaining fault and the way to correct it would push the girl towards true perfection and self-reliance.
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114. Q12. What did Sentila observe during the pot making session after Onula's guidance? (2 marks)
Show answer
She observed how her mother held the left hand and the spatula, how she slackened the rhythm while fashioning the mouth of the pots, and how a strip of elongated dough was added to make the rim.
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115. Q13. Why did Arenla say they should make as many pots as they could on the bright sunny day? (2 marks)
Show answer
Arenla said they should make as many pots as possible because, otherwise, they would not have enough days of sunshine left to dry the pots before the good weather ended.
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116. Q14. What excuse did Arenla give for leaving the shed, and what was its result? (2 marks)
Show answer
Complaining of a headache and a backache, she went out, telling Sentila to make as many pots as she could. Left alone, Sentila worked on and discovered her own mastery of the craft.
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117. Q15. What does the simile 'like a sprinter who had suddenly found momentum' tell us about Sentila's work? (2 marks)
Show answer
Once her first pot was ready, Sentila worked with effortless speed and flow. Pot after pot emerged with the same speed and dexterity she had admired in her mother's hands, as if carried forward by newfound skill.
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118. Q16. What was Sentila's achievement on the last day of pot making at the shed? (2 marks)
Show answer
Working alone for the first time, she made pot after pot with speed and dexterity. When she finally counted her row, she had made just one pot short of her mother's tally.
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119. Q17. What did Sentila mean when she cried, 'Mother, I did not wish it to happen this way; it simply came to me. Please forgive me'? (2 marks)
Show answer
She meant she had never wanted mastery at the cost of her mother's life. Her skill had come to her naturally, and she begged forgiveness for a triumph that coincided with her mother's death.
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120. Q18. Why does the narrator call the work shed 'this place of wonder'? (2 marks)
Show answer
Inside, Onula saw two identical rows of still moist pots made by mother and daughter — a revelation that a year of failure had ended in equal, effortless mastery, a near-miracle of transmission she long absorbed in silence.
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121. Q19. What did Sentila do when she found her mother lying on the floor? (2 marks)
Show answer
Finding her mother lying on the floor, not breathing, Sentila ran towards the common area in the village for help. The villagers raced to the house and sent for Mesoba immediately.
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122. Q20. What is the significance of Arenla's final act of leaving Sentila alone in the shed? (2 marks)
Show answer
By feigning illness and leaving, Arenla freed Sentila from the tension of being watched. Working alone with confidence, the girl discovered the speed and dexterity that a full year of supervision could not give.
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123. Q1. Describe the hardships of pot making as listed by Arenla in the conversation overheard by Sentila. (3 marks)
Show answer
Arenla says the riverbank with the grey and red clay lies sixteen kilometres away down a sheer drop, and her back aches from carrying heavy loads uphill. Pounding the stubborn clay in bamboo cylinders is tedious; she has dropped moulds from exhaustion. Months of labour earn only a few rupees.
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124. Q2. Describe the process of pot making followed by the expert potters, as observed by Sentila. (3 marks)
Show answer
The clay is mixed with water and pounded; the left hand is pushed into the softened lump, which is rotated deftly and shaped with a spatula. After two or three days the pots are touched up, sun-dried, and fired in a kiln layered with hay and bamboo.
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125. Q3. How did Mesoba defend his wife before the village council? (3 marks)
Show answer
In a humble tone, Mesoba said Arenla had never refused to teach their daughter pot making; the family had only wanted Sentila to grow stronger after her illness. He promised the elders that they would soon see Sentila making the best pots in the village.
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126. Q4. 'Skills such as pot making did not belong to any individual.' What did the elders mean by this? (3 marks)
Show answer
The elders held that such skills catered to the people's needs and symbolised their tradition and history. Therefore no one could own or withhold them; experts were obliged to pass them on not only to their own children but also to anyone who wished to learn.
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127. Q5. Sketch the character of Onula in brief. (3 marks)
Show answer
Onula is a kind, middle-aged widow who supervises the girls' dormitory. Perceptive and generous, she notices Sentila's silent struggle, diagnoses her tension, demonstrates the craft and restores her confidence. She alone understands Sentila's grief, and she respectfully absorbs the revelation she later finds in the shed.
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128. Q6. Why could Sentila learn in minutes from Onula what she could not learn in a year from Arenla? (3 marks)
Show answer
With Arenla, Sentila was tense and ashamed as her mother silently watched her fail, so the clay would not yield the right shape. Onula replaced fear with warmth — she demonstrated, encouraged and corrected gently. Freed from tension, Sentila's natural quickness as a learner at last surfaced.
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129. Q7. Describe Sentila's last day at the work shed. (3 marks)
Show answer
On a bright sunny day, Arenla finished a batch quickly and left the shed, pleading a headache and a backache. Sentila began reluctantly, then found momentum; pot after pot emerged with her mother's speed and dexterity. Exhausted, she counted her row: just one short of Arenla's tally.
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130. Q8. How did Onula come to witness the 'profound revelation' in the work shed? (3 marks)
Show answer
On her way back, Onula found the shed door slightly ajar and stepped inside out of curiosity. She saw two neat rows of newly-made pots, indistinguishable from each other, standing in perfect symmetry — surely not the handiwork of one person alone. She slowly walked away in awe.
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131. Q9. What does the story suggest about the role of observation and perseverance in learning a craft? (3 marks)
Show answer
Sentila learns by watching — the potters' shaping, Onula's demonstration, her mother's handling of the mouth and rim. Despite mockery, secrecy and a year of failure, she persists. When observation combines with perseverance, skill finally flows naturally into her hands.
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132. Q10. 'A new pot maker was born.' Why is this a fitting ending to the story? (3 marks)
Show answer
The line completes Sentila's journey from a fascinated child to a craftsperson equal to her mother, fulfilling the council's belief that a community's skill cannot be withheld. Yet the 'birth' coincides with Arenla's death, making the ending both momentous and bittersweet.
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133. Q1. What is the significance of the concluding line of the story, 'A new pot maker was born'? (5 marks)
Show answer
The line is rich in irony and meaning. On the surface it announces that Sentila has at last mastered her family's craft, matching her mother pot for pot. But the 'birth' has come at the cost of her mother's death — the very day Sentila becomes a pot maker, Arenla dies, as if the generational torch can pass on only when the older flame is extinguished. The line also completes the theme of inheritance: the skill symbolising the 'tradition and history of the people' has found its new bearer, proving the village council's belief that skills cannot really be withheld. Finally, it celebrates quiet perseverance — the dream Sentila protected through years of discouragement, mockery and failure is fulfilled on a single sunny morning, in rows of pots that no one can tell apart from her mother's.
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134. Q2. What is the role of perseverance in pursuing one's dreams? Elaborate with reference to Sentila. (5 marks)
Show answer
Perseverance turns a distant dream into lived reality, and Sentila's story is its proof. She loved pot making since childhood, yet her mother wanted her to weave. Undeterred, she kept visiting expert potters, watching every movement with fascination though they laughed at her childish insistence. Rejected at home, she kept practising secretly; a full year of failure with her mother brought her shame and frustration, but not surrender. At the dormitory she tried again alone, and with Onula's gentle guidance and her own careful observation, she succeeded — though even then she humbly accepted criticism of her pot's mouth. On the final sunny day she made pots just one short of her mother's tally, working with the same speed and dexterity she had once only watched. Her journey shows that talent needs patience, humility and relentless effort to flower.
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135. Q3. 'The tradition and history of the people did not belong to any individual.' What does this symbolise? Discuss the message of the story about traditional knowledge. (5 marks)
Show answer
The village council's declaration symbolises the collective, shared nature of traditional knowledge. Skills like pot making are not private property to be hoarded; they are a community's living memory — of its needs, its history, its identity — carried across generations. When Arenla tries to withhold the craft from her daughter, she disrupts a chain that links grandmother, mother and daughter. The story warns that when experts refuse to pass on skills, an entire heritage can die with them — the villagers fear there would be 'no expert potters to take their place'. The elders insist that experts must teach not only their own children but anyone who wishes to learn. Knowledge grows only by being shared, and every craftsperson is really a trustee of the community's tradition. Sentila's final triumph proves that the chain, once honoured, cannot really be broken.
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136. Q4. Compare the roles of Arenla and Onula as teachers in Sentila's life. (5 marks)
Show answer
Arenla and Onula represent two kinds of teachers. Arenla, a master craftsperson, is a reluctant teacher: burdened by the hardships and poor rewards of pot making, she wants her daughter to weave instead. Even when she teaches, she sits in a corner watching the girl fail, and her silent presence makes Sentila tense and clumsy — her skill does not pass on. Onula, in contrast, teaches freely and lovingly. She diagnoses the real problem (tension), demonstrates the craft, encourages, and shows Sentila how to learn further by observing her mother. Interestingly, Arenla becomes the best teacher only at the end — by feigning illness and leaving Sentila alone, she lets the girl discover her own mastery. True teaching, the story suggests, combines skill with generosity, warmth and trust; instruction given in love succeeds where supervision given in reluctance fails.
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137. Q5. The mother's death on the day of the daughter's triumph makes 'The Pot Maker' a bittersweet story of inheritance. Comment. (5 marks)
Show answer
The climax fuses achievement with loss. Sentila, who failed for a year, suddenly works like her mother — 'pot after pot with the same speed and dexterity' — one short of Arenla's tally. Yet crossing the threshold to share her joy, she finds her mother dead. The story hints that the gift arrives with a price: mastery is born at the moment the teacher departs. Sentila's cry of forgiveness shows she feels guilt, not celebration; Onula alone grasps the momentousness, reading the two identical rows of pots as a 'profound revelation'. The bittersweetness lies in this exchange — the new pot maker is born, but only across the loss of the old one; tradition continues, but through grief. The two batches of still moist pots standing in perfect symmetry become the story's final image: mother and daughter, equals at last, together for the last time.
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138. Q6. Write a character sketch of Sentila. (5 marks)
Show answer
Sentila is the quiet heroine of the story — a girl whose love for a craft outlasts every obstacle. From childhood she dreams of pot making like her mother and grandmother, and even her mother's open preference for weaving cannot turn her away. She is observant and persevering: she learns by watching the expert potters, endures their amusement, keeps her passion secret at home, and survives a whole year of failure and humiliation without giving up. She is also humble and quick to learn, accepting Onula's criticism of her pot's mouth and following her advice to watch her mother. Her finest qualities — patience, courage and dedication — finally flower when she makes pots just one short of her mother's tally. When Arenla dies, her cry for forgiveness reveals a tender, guilt-ridden conscience that never wanted success at such a cost.
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139. Q7. 'The Pot Maker' upholds the dignity of traditional vocations even while showing their hardship. Discuss. (5 marks)
Show answer
The story is honest about hardship. Arenla's complaint is vivid: the clay lies sixteen kilometres away down a sheer drop; her back aches, the pounding is tedious, the mould drops from her hands, and months of labour earn 'a few rupees'. Yet the village council insists that pot making, which 'catered to the needs of the people' and 'symbolised the tradition and history of the people', belongs to no individual and must be passed on. Sentila's silent devotion — watching, failing, trying again — gives the craft its true honour. When her row of pots stands indistinguishable from her mother's, the story declares that such skill, born of patience and love, is a community's treasure. The concluding line, 'A new pot maker was born', celebrates the craft's continuity: traditional vocations deserve both respect and a fair reward.
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140. Q1. Sentila dreamed of becoming a pot maker like her:
(a) mother and grandmother
(b) father and uncle
(c) teacher, Onula
(d) the village headman
Show answer
(a). Ever since she was old enough to accompany her mother to the fields and forests, she dreamed of following the family tradition.
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141. Q2. Arenla wanted Sentila to become a:
(a) pot maker
(b) weaver
(c) farmer
(d) singer
Show answer
(b).
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142. Q3. The distance from the village to the riverbank with the clay was:
(a) six kilometres
(b) sixty kilometres
(c) sixteen kilometres
(d) ten kilometres
Show answer
(c).
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143. Q4. Sentila's father was called ______ by the village council to explain Arenla's refusal.
(a) Mesoba
(b) Onula
(c) Arenla
(d) Leerie
Show answer
(a).
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144. Q5. The tool used to dig the clay at the riverbank was the:
(a) spatula
(b) dao
(c) kiln
(d) mould
Show answer
(b). Arenla taught Sentila to dig the clay with a dao.
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145. Q6. 'Onula' was the name the girls in the dormitory used for:
(a) their headmistress
(b) the kind, middle-aged widow who supervised them (meaning 'Aunty')
(c) Sentila's grandmother
(d) a village elder
Show answer
(b).
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146. Q7. According to custom, Sentila was sent to the girls' dormitory the year she:
(a) fell ill
(b) matured
(c) learned weaving
(d) made her first pot
Show answer
(b). 'The next year, when Sentila matured, according to custom, she was sent to stay for some nights in one of the girls' dormitories.'
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147. Q8. What was wrong with the first beautiful pot Sentila made under Onula's guidance?
(a) Its base was uneven
(b) It cracked while drying
(c) Its mouth was all wrong
(d) It was too small
Show answer
(c). Onula told her, 'The mouth of the pot is all wrong,' and advised her to watch how her mother shaped the mouth.
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148. Q9. While shaping the mouth of a pot, Arenla added a strip of elongated dough to:
(a) decorate the pot
(b) make the rim
(c) strengthen the base
(d) test the clay
Show answer
(b).
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149. Q10. Arenla left the work shed on the last day, complaining of:
(a) fever and cough
(b) a headache and a backache
(c) hunger and thirst
(d) a pain in her hands
Show answer
(b). Her complaint allowed Sentila to work alone and discover her own mastery.
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150. Q11. Who understood the meaning of Sentila's cry, 'Mother, I did not wish it to happen this way; it simply came to me. Please forgive me'?
(a) Mesoba
(b) the villagers
(c) Onula
(d) nobody at all
Show answer
(c). 'Those who heard her, did not understand what she meant, except for Onula.'
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151. Q12. The story ends with the line:
(a) 'A new pot maker was born.'
(b) 'Sentila wept for her mother.'
(c) 'The village celebrated the pots.'
(d) 'Arenla smiled at her daughter.'
Show answer
(a).
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152. Q13. The genre of 'The Pot Maker' is best described as:
(a) a biography
(b) a folk tale retold as a short story
(c) a news report
(d) an essay
Show answer
(b). Temsula Ao's story draws on Naga oral tradition and folklife; the text is noted as an abridged version of the original story.
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153. Q14. In the shed, Onula could find nothing to tell one batch of pots from the other because:
(a) the pots were all broken
(b) mother's and daughter's pots were identical in skill and finish
(c) the pots had been removed
(d) the kiln had ruined them
Show answer
(b). The two neat rows standing 'side by side in perfect symmetry' bore the mark of one tradition now perfectly inherited.
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154. Q1. Assertion (A): Arenla wanted Sentila to learn weaving instead of pot making.
Reason (R): Weaving is less time-consuming, not messy, can be done indoors in all seasons, and brings a handsome return.
Show answer
(A). Arenla's own words in the overheard conversation give exactly these reasons.
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155. Q2. Assertion (A): Sentila kept her fascination with pot making a secret at home.
Reason (R): She had overheard her mother complaining about her indifference to weaving and refusing to teach her pot making.
Show answer
(A). The overheard conversation is precisely why she did not disclose her passion at home.
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156. Q3. Assertion (A): The village council punished Mesoba for his wife's refusal.
Reason (R): The elders believed traditional skills belonged to the community and had to be passed on.
Show answer
(D). The elders let Mesoba go after his explanation; they only cautioned him to remind Arenla of her duty to pass on the skill. The assertion is false; the reason is true.
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157. Q4. Assertion (A): Sentila failed to learn pot making even after almost a year of sessions with her mother.
Reason (R): Arenla never demonstrated the craft or allowed Sentila to practise.
Show answer
(C). The sessions did take place and Arenla did demonstrate (she took over and transformed the lump into a beautiful pot); Sentila's failure stemmed from her tension and the strained emotional atmosphere between mother and daughter.
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158. Q5. Assertion (A): Onula believed the two rows of pots were the handiwork of one person alone.
Reason (R): The pots in the two rows matched perfectly and could not be told apart.
Show answer
(D). Onula was sure it was not the handiwork of one person alone. The assertion is false; the reason is true.
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159. 9. Sentila learnt the art of pot making for a year from her mother, but was unsuccessful.
Show answer
6 → 2 → 8 → 4 → 9 → 5 → 7 → 3 → 1
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160. Q1. Fill in the blank: The grey and red clay for the pots was found at the ______.
Show answer
riverbank
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161. Q2. A small amount of money received as income is called a ______.
Show answer
pittance
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162. Q3. The potter shapes a pot with a tool called a ______, held in the right hand.
Show answer
spatula
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163. Q4. Complete: Clay that can be put into shape without breaking or cracking is called ______.
Show answer
malleable
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164. Q5. The pots were loaded on to the kiln in a uniform pattern on a bed of ______ and ______.
Show answer
hay; dried bamboo
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165. Q6. One had to ______ the fire carefully, as over firing or under firing would ruin the entire batch.
Show answer
tend
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166. Q7. Give one word: 'relaxed' (as used for the rhythm while shaping the pot's mouth) — ______.
Show answer
slackened
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167. Q8. A count of the pots made is called a ______.
Show answer
tally
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168. Q9. 'Based on feelings rather than reasoning' — the word is ______.
Show answer
intuitively
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169. Q10. The girls in the dormitory called the kind widow 'Onula', which means ______.
Show answer
Aunty
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