LOST SPRING by anees jung

In Lost Spring, the phrase “scrounging for gold” metaphorically captures Saheb’s desperate search through
garbage for anything of value—coins, recyclables, or food. Living in Seemapuri, a slum on Delhi’s outskirts,
Saheb represents thousands of ragpickers for whom garbage is not waste but a lifeline. For children, it holds a
sense of wonder and possibility; for adults, it’s sheer survival. This act of scrounging reflects the harsh irony of
their lives—where discarded scraps become treasure, and childhood is sacrificed to poverty and labor.
✨ Literary Device
The phrase “scrounging for gold” is also an example of hyperbole and metaphor:
 Hyperbole: Exaggerates the value of garbage to emphasize the children’s dire
situation.
 Metaphor: Equates garbage to gold, showing how essential it is to their survival

The word “gold” is used metaphorically to describe the value that ragpickers find in garbage. It appears in two
key places: 1) “Scrounging for gold in the garbage dumps…” 2) “Garbage to them is gold.”
In Lost Spring, the narrator’s glib(thoughtless) suggestion that Saheb “go to school” exposes the gap between
privilege and poverty. Spoken without thought, the advice feels hollow against Saheb’s reality as a ragpicker,
where survival outweighs education. This moment reflects the story’s central theme: well-meaning words often
ring empty in the face of systemic deprivation.
“Wherever they find food, they pitch their tents that become transit homes. “Here, “transit” refers to something
temporary or in-between—not permanent. The families living in Seemapuri, like Saheb’s, are migrants who fled
poverty and natural disasters in Bangladesh. Their homes, made of mud, tin, and tarpaulin, are not stable dwellings
but makeshift shelters that serve as stopovers in their ongoing struggle for survival.
Garbage to them is gold. It is their daily bread, a roof over their heads, even if it is a leaking roof. But for a child it
is even more.
“It seems that for children, garbage has a meaning different from what it means to their parents. For the
children it is wrapped in wonder, for the elders it is a means of survival.”, This line captures a poignant
contrast between the perspectives of children and their parents living in poverty-stricken areas like Seemapuri. For
the elders, garbage is a means of survival—a source of income, food, and shelter. It represents the harsh reality of
their daily struggle to provide for their families through ragpicking. But for the children, garbage is wrapped in
wonder. It holds the possibility of discovery—perhaps a coin, a toy, or something unexpected. This sense of
wonder reflects their innocence and imagination, even in bleak circumstances. The line underscores a central
theme of the story: how poverty robs children of their childhood, yet they still cling to fragments of hope and
curiosity. While adults see garbage as a grim necessity, children view it as a space where dreams might still
flicker.
In Lost Spring, the line “Saheb is no longer his own master!” marks a turning point in his life. Earlier, as a
ragpicker, Saheb had a kind of freedom—he wandered the streets, chose when and where to search for scraps, and
carried his own plastic bag. Though poor, he had autonomy. But once he starts working at a tea stall, that freedom
vanishes. He now carries a steel canister, which belongs to his employer, and follows orders for a fixed wage. The
canister, heavier than his old bag, becomes a symbol of burden and lost independence. This line reflects the
deeper theme of the story: how poverty forces children into labor, stripping them of not just their childhood but
also their agency. Saheb’s transition from a free but impoverished child to a bound worker illustrates how survival
often comes at the cost of selfhood.
In Lost Spring, the line “His dream looms like a mirage…” reflects Mukesh’s aspiration to become a motor
mechanic despite being born into Firozabad’s oppressive bangle-making industry. The town’s dusty lanes and
generational poverty make his dream seem distant and almost unreachable. Most children there are trapped in
hazardous labor, losing health and education. Yet Mukesh dares to break free from this fatalistic cycle. Mukesh’s
dream stands out—bright but distant, much like a mirage in a desert: visible, yet hard to reach.
In Lost Spring, the phrase “dingy cells” refers to the cramped, dark, and poorly ventilated
workspaces where children like Mukesh labor in the glass bangle industry of Firozabad.
These cells lack air and light, exposing children to hazardous conditions such as high
temperatures and toxic fumes. The term vividly captures the gloomy, suffocating
environment that robs them of health, education, and childhood.
Here, “slog” means to work relentlessly and painfully hard, often without rest or [Link] children spend
long hours in dingy, airless cells, exposed to high temperatures and hazardous conditions. The word emphasizes
the grueling nature of their daily routine, where childhood is sacrificed for survival. It reflects the broader
theme of the story: how poverty and tradition force children into mind-numbing labor, robbing them of dreams,
education, and health.
In Lost Spring, the word “impoverished” refers to someone who is extremely poor, lacking basic resources like
money, food, shelter, and access to education or healthcare. It’s used to describe the bangle makers of Firozabad,
who despite years of hard labor remain trapped in poverty. Their homes are crumbling, their children work in
hazardous conditions, and they live without hope of change. “Impoverished” here doesn’t just mean financially
poor—it reflects a deeper, generational deprivation that robs people of dignity, opportunity, and dreams.
In Lost Spring, the line “The young men echo the lament of their elders” reflects the
generational despair among the bangle-makers of Firozabad. Both young and old share the
same complaint: they are trapped in poverty, unable to break free from the cycle of
exploitation and caste-bound labor. Despite years of hard work, they earn barely enough to
survive, and their dreams have withered under the weight of tradition and systemic
injustice.
“Mind-numbing toil” means exhausting, repetitive labor that dulls a person’s ability
to think, feel, or dream. In the story, it describes the daily grind of bangle-making in
Firozabad, where generations of families—especially children—work in hazardous
conditions for long hours.
“Together they have imposed the baggage on the child that he cannot put down.”This line from Lost Spring
refers to the burden placed on poor children like Mukesh by society. It includes poverty, tradition, and exploitation
by middlemen, policemen, and politicians. The “baggage” symbolizes the weight of expectations and limitations
that trap children in child labor and deny them education and freedom. Before they even understand it, they accept
this burden as their fate, making it nearly impossible to dream or break free.
“Do you also dream of flying a plane?” He is suddenly silent. “No,” he says, staring at the ground. In his
small murmur there is an embarrassment that has not yet turned into regret.” When asked if he dreams of
flying a plane, Mukesh replies with a quiet “No,” showing his awareness of the limits poverty places on his
aspirations. His silence and embarrassment reflect how deeply his environment has shaped what he believes is
possible. While flying feels too distant, his dream of becoming a motor mechanic shows a grounded hope—one
that still dares to exist in a world that rarely allows children to dream.

DEEP WATER by William douglas

“I hated to walk naked into it and show my skinny legs. But I subdued my pride and did it “, This statement
reveals the author’s vulnerability and determination. William Douglas, though self-conscious about his physical
appearance and hesitant to expose his “skinny legs,” chooses to suppress his pride and step into the pool. This
moment, though seemingly minor, reflects a deeper courage—his willingness to confront discomfort and take the
first step toward overcoming a lifelong fear of water. It shows that Douglas is introspective and honest about his
insecurities, yet also resilient. His ability to acknowledge personal embarrassment and still move forward sets the
tone for the larger journey of facing and conquering fear that unfolds throughout the narrative.
I had an aversion to the water when I was in it. This started when I was three or four years old and father took me
to the beach in California. He and I stood together in the surf. I hung on to him, yet the waves knocked me down
and swept over me. I was buried in water. My breath was gone. I was frightened.
“I was frightened, but not yet frightened out of my wits.”, This statement reveals the author’s initial emotional
state during a traumatic moment in the swimming pool. William Douglas had just been thrown into the deep end
by an older boy, and although he was scared, he still retained enough composure to think and plan his escape. The
phrase “not yet frightened out of my wits” shows that his fear hadn’t yet overwhelmed his ability to reason—he
was still hopeful and mentally active, strategizing how to reach the surface. This moment highlights Douglas’s
resilience and presence of mind, even in a dangerous situation.

The phrase “water that had a dirty yellow tinge to it” reflects the author's intense fear and disorientation during
his near-drowning experience. In the surrounding context, William Douglas is struggling underwater after being
thrown into the deep end of the pool. The murky, yellowish water symbolizes the loss of clarity and control,
amplifying his panic and helplessness. This vivid sensory detail helps convey the terrifying atmosphere and
deepens the emotional impact of the moment, showing how even the appearance of the water contributed to his
trauma.
“I flailed at the surface of the water, swallowed and choked.” This statement reveals the author’s desperate
struggle for survival during his near-drowning experience. The word “flailed” means to wave or thrash limbs
wildly, often without control. Douglas was panicking, unable to swim properly, and instinctively moved his arms
in a frantic attempt to stay afloat. It reflects his helplessness, terror, and the chaotic physical response to
drowning.
“I crossed to oblivion, and the curtain of life fell” shows that the author, William Douglas, had reached the
brink of unconsciousness during his near-drowning experience. It reflects a moment of surrender, where fear and
struggle give way to a peaceful detachment, symbolizing the loss of awareness and the closeness to death. This
marks the emotional climax of his trauma and deepens the impact of his later triumph over fear.

In Deep Water, fear is shown as a powerful, paralyzing force. It grips Douglas physically and mentally, making
him feel helpless and unable to act. Even after the incident, the fear lingers for years, affecting his life. But through
persistence and training, he gradually overcomes it, proving that fear can be conquered with courage and
determination.
In Deep Water, William Douglas uses the quote “All we have to fear is fear itself” to emphasize that fear, not the
actual danger, is the true enemy. After surviving a near-drowning experience and battling a lifelong terror of
water, Douglas eventually conquers his fear through persistent training and exposure. This quote, originally from
Franklin D. Roosevelt, reflects Douglas’s realization that the sensation of dying was peaceful, but the fear of it
was paralyzing. By overcoming that fear, he felt liberated and empowered, able to fully embrace life’s adventures
without being held back by irrational terror.

THE RATTRAP by Selma Lagerlöf

“He made them himself at odd moments “The peddler is self-reliant in crafting the rattraps. It reflects his
resourcefulness despite his poverty. He doesn’t have a fixed schedule or workshop. Instead, he makes the traps
whenever he finds spare time—perhaps while resting, between begging, or during travel.
To keep body and soul together” The line signifies the extreme poverty and desperation of the peddler’s life. It
means he is struggling merely to survive—just enough to stay alive, not to live with dignity or comfort. In the
story, this phrase highlights how the peddler resorts to begging and petty theft because his rattrap business is so
unprofitable. His clothes are in rags, his cheeks are sunken, and hunger gleams in his eyes—all reinforcing the idea
that he is barely managing to sustain himself. The expression sets a somber tone and evokes sympathy, helping
readers understand the harsh conditions that shape his worldview and justify his actions.
This line “who plods along the road, left to his own meditations” describes the lonely and monotonous life of
the peddler in The Rattrap. The word “plods” suggests a slow, tired walk, showing the peddler’s physical and
emotional exhaustion. Alone and aimless,(meditations) he’s left to his bitter thoughts, which lead him to view the
world as a giant rattrap—full of temptations that trap people in suffering. This highlights his isolation and cynical
outlook.
“The old man was just as generous with his confidences as with his porridge and tobacco.”, This line means
that the old man was not only generous in sharing food and tobacco with the peddler, but also open and trusting in
sharing personal details about his life. His generosity wasn’t limited to material things—he also offered emotional
warmth and companionship by confiding in the stranger. It shows his loneliness and his desire for connection,
which made him welcome the peddler with kindness and honesty.