LOST SPRING

ANEES JUNG
Introduction
As we all know, spring is the season associated with optimism and
hope. It also works as a metaphor for the childhood stage of our life. Right
from the time we’re born until late childhood, every child hopes for new
beginnings and a bright future. The phase of childhood is all about innocence,
energy, and tremendous inclination towards outdoors activities along with
fun and play. And playtime does not have any limits. It is also a time of getting
more skill and knowledge and going to school.
The ‘Lost Spring’ written by Anees Jung talks about the national shame
of children being forced to live a life of poverty and exploitation. The main two
protagonists of the chapter, Saheb-e-Alam and Mukesh don’t live their
childhood as they have to carry the burden of poverty and illiteracy. In their
miserable stories of exploitation, the author provides glimpses of fortitude
and resilience.
The story, “Lost Spring” describes the pitiable condition of poor
children who have been forced to miss the joy of childhood due to the socio-
economic condition that prevails in this man-made world. These children are
denied the opportunity of schooling and forced into labor early in life. Anees
Jung gives voice to eliminate child labour by educating the children and to
enforce the laws against child labour by the governments strictly. The call is
to end child exploitation and let the children enjoy the days of the spring that
bring joy under their feet.

Characters

Saheb-e-Alam
Saheb is a rag-picker from Seemapuri whose parents migrated from Bangladesh
in the year 1971. The writer encounters him every morning with barefoot in her
neighbourhood. He is scrounging for gold in the garbage dumps.
He is unable to go to school because there is none in his neighbourhood. Saheb-e-
Alam is his full name though he does not know its exact meaning. It means ‘Lord
of the universe.’ It is ironical on his part that a poor fellow roams in the streets
picking up the rag.
For the rag-pickers of Seemapuri, Garbage is wrapped in wonder. Sometimes
one can find a rupee, more of a silver coin and they always hope to find more.
They live in squatters with roofs of tin and tarpaulin. They have no identity except
a ration card for voting and buying grain. They are devoid of sewages, drainage
and running water. Survival in Seemapuri means rag-picking. At present Saheb
is working at some tea stall. The writer sees him with a steel canister. He has lost
his carefree look of his early days. He is not happy with his work because he is no
longer his own master.

Mukesh: son of a bangle maker

Mukesh lived in Firozabad & was born in the family of bangle makers. He
aspired to become a motor mechanic. Unlike the others in Firozabad who
were burdened in the stigma of caste in which they are born, Mukesh did not
want to follow the traditional profession. In this way he was a path breaker
and had a determination to change his circumstances. Mukesh was born in a
very poor family. To asset the income of the family he also worked with his
father in glass furnaces making bangles. There was a spark of rebellion in
him. He was confident and determined to become a motor mechanic. His
dreams & aspirations were practical. He dreams only of what he can achieve
or what was within his reach. He had a willingness to work hard and fulfil his
desires.

Themes
Child Labour and Poverty

Anees Jung vividly portrays the harsh realities of child labour and poverty
through the lives of Saheb and Mukesh. Saheb, a ragpicker from Seemapuri,
spends his days scavenging garbage, hoping to find something valuable. His
family, like many others, migrated from Bangladesh in search of a better life, only
to end up in extreme poverty. Mukesh, on the other hand, is born into a family of
bangle makers in Firozabad, where generations before him have spent their lives
trapped in the glass-blowing industry. The chapter highlights how financial
hardships force children into labour, depriving them of education and childhood.
Instead of playing or going to school, they are burdened with responsibilities far
beyond their years, reinforcing the cycle of poverty.

Loss of Childhood
The title Lost Spring metaphorically represents the lost joys and opportunities
of childhood. Spring symbolizes growth, renewal, and joy, yet for these children,
the season of innocence is replaced by labour and suffering. Saheb, despite his
enthusiasm for education, never gets the chance to attend school. Mukesh,
though hopeful about becoming a motor mechanic, remains confined to the
oppressive environment of Firozabad’s glass factories. The chapter contrasts
their dreams with their harsh realities, showing how poverty robs them of their
childhood and forces them into adulthood far too soon.
Saheb’s Story – The Ragpicker’s Struggle

Saheb’s life as a ragpicker is filled with uncertainty, yet it offers him a sense of
freedom. He roams the streets, searching for discarded items that might hold
value. However, when he takes up a job at a tea stall, he loses even this small
sense of independence. The narrator observes that the steel canister he carries
now seems heavier than the plastic bag he once slung over his shoulder. This
shift symbolizes the weight of servitude—Saheb is no longer his own master. His
story highlights how poverty strips children of their autonomy, forcing them into
labour that robs them of their identity and dreams.

Mukesh’s Story – The Glass-Blower’s Trap

Mukesh’s story is a reflection of generational poverty. Born into a family of

bangle makers, he is expected to follow the same profession, just as his ancestors
did. The glass-blowing industry in Firozabad is notorious for its exploitative
conditions, where children work in dark, airless workshops, often losing their
eyesight due to prolonged exposure to glass furnaces. Despite these hardships,
Mukesh dares to dream—he wants to become a motor mechanic. His dream,
though modest, represents his desire to break free from the cycle of poverty.
However, the systemic oppression in Firozabad makes escaping this fate nearly
impossible.
Systemic Exploitation

The chapter highlights how poverty is perpetuated by powerful forces, including

moneylenders, middlemen, politicians, and bureaucrats. Families remain
trapped in debt, forcing children into labour to sustain their households. The
government fails to enforce child labour laws, allowing exploitation to continue
unchecked. The bangle-making industry is controlled by middlemen, ensuring
that workers never earn enough to escape poverty. The narrator observes that
these children inherit the burden of poverty, unable to break free from it. The
line “Together they have imposed the baggage on the child that he cannot put
down” reflects how systemic forces ensure that poverty is passed down through
generations.
Irony and Symbolism

Anees Jung uses irony and symbolism to highlight the contrast between dreams
and reality. Saheb’s name, Saheb-e-Alam, meaning “Lord of the Universe,” is
ironic because he holds no power over his circumstances. Similarly, the imagery
of darkness in Firozabad’s workshops reflects the suffocating environment
where children work, while the mention of airplanes soaring above serves as a
contrast—representing opportunities that remain beyond their reach. Mukesh’s
dream of driving a car is realistic compared to something unattainable, like
flying, showing how poverty shapes aspirations. Even the absence of shoes
among ragpickers signifies deprivation, whereas the priest’s son wearing shoes
highlights privilege and inequality.
False Promises and Lost Hope

The chapter also critiques the false promises that abound in the world of the
poor. When the narrator casually tells Saheb that she might open a school, he
eagerly asks her later if the school is ready, revealing his hope for education. This
moment highlights how promises are made to the underprivileged but rarely
fulfilled, leaving them in a perpetual state of disappointment. Similarly, the line
“But promises like mine abound in every corner of his bleak world” reflects how
society fails to provide real solutions for children trapped in poverty. These
promises offer temporary hope, but ultimately, nothing changes for them.
Conclusion

Lost Spring is a powerful commentary on social injustice, urging readers to

acknowledge the reality of children trapped in poverty. By contrasting their
dreams with their circumstances, the chapter leaves a lasting impression,
shedding light on the urgent need for reform and compassion in society. The
narrative compels us to reflect on the systemic forces that perpetuate child
labour and poverty, making it clear that change is necessary to break this cycle.
 Very short Question and Answers [2 marks]
1. What is the meaning of the title Lost Spring?
The title symbolizes the lost childhood of poor children who are forced into
labour instead of enjoying the joys of youth.
2. Who is Saheb, and where does he come from?
Saheb is a young ragpicker from Seemapuri, Delhi. His family migrated from
Bangladesh due to poverty and natural disasters.
3. Why does Saheb scavenge garbage?
He does it for survival, hoping to find something valuable, like a coin or
discarded items that might be useful.
4. What does the phrase “Garbage to them is gold” mean?
It means that ragpickers find value in waste because it is their only means
of livelihood.
5. Why does Saheb stop rag picking?
He takes up a job at a tea stall, but in doing so, he loses his independence.
6. Why does the author say that the bangle makers are caught in a
vicious web?
They are trapped in poverty, exploitation, and debt, unable to escape the
cycle of forced labour.
7. What does Mukesh want to become?
Mukesh dreams of becoming a motor mechanic instead of continuing in the
glass-blowing industry.
8. Why does Mukesh’s dream seem difficult to achieve?
He belongs to a family of bangle makers, and breaking free from
generational poverty is extremely challenging.
9. What does the phrase “Few airplanes fly over Firozabad” symbolize?
It symbolizes the lack of opportunities for children like Mukesh, who are
trapped in poverty.
10. Why do the children in Firozabad work in glass-blowing factories?
They are forced into labour due to poverty and lack of education,
continuing the family tradition.
11. What is ironic about Saheb’s name?
His name, Saheb-e-Alam, means "Lord of the Universe," but he is powerless
and lives in poverty.
12. What does the absence of shoes among ragpickers symbolize?
It represents deprivation and poverty, showing how basic necessities are
out of reach for them.
13. What does the steel canister symbolize in Saheb’s life?
It represents the burden of servitude, as he is no longer free like he was
while ragpicking.
14. Why does the author mention airplanes in Mukesh’s story?
Airplanes symbolize dreams and aspirations, contrasting with Mukesh’s
limited opportunities.
15. What does the phrase “Their eyes are more adjusted to the dark
than to the light outside” mean?
It symbolizes how children working in glass factories are accustomed to
suffering and cannot imagine a better life.
16. Why does Saheb ask, “Is your school ready?”?
He genuinely hopes for education, but the narrator’s promise was made
casually and never fulfilled.
17. What does the line “But promises like mine abound in every corner
of his bleak world” mean?
It highlights how poor children are often given false hopes that never
materialize.
18. What does the phrase “Together they have imposed the baggage on
the child that he cannot put down” mean?
It refers to how systemic forces—moneylenders, middlemen, and
politicians—trap children in poverty.
19.. Why can’t the bangle makers organize themselves into
cooperatives?
They are exploited by middlemen and lack awareness, education, and
financial resources.
20.. What does the phrase “Ek waqt ser bhar khana bhi nahin khaya”
signify?
It reflects extreme poverty, showing how the woman has never had a full
meal in her entire life.
21. How does Saheb’s life change after he starts working at the tea
stall?
He loses his independence and feels burdened by his new responsibilities.
22. Why does Mukesh’s dream of becoming a motor mechanic stand
out?
Unlike others in his community, he dares to dream beyond the glass-
blowing industry.
23. What does Mukesh’s determination reveal about his character?
It shows his resilience and desire to break free from generational poverty.
24. Why does the author describe the bangle makers’ homes as “dark
hutments, devoid of light”?
It symbolizes their bleak existence, where poverty has trapped them in
suffocating conditions.
25. What does the narrator mean when she says, “Saheb is no longer
his own master”?
Saheb, once free as a ragpicker, is now bound by the rules of his employer at
the tea stall.
 Short Question and Answers [3 marks]
1. Why does the author say that “Seemapuri is on the periphery of Delhi yet
miles away from it, metaphorically”?
Answer:
The author describes Seemapuri as a place that exists physically near Delhi, yet
it is worlds apart in terms of development and lifestyle. The residents live in
“structures of mud, with roofs of tin and tarpaulin” and survive without
“sewage, drainage or running water.” The children grow up “amidst the
garbage” and lead lives that have no connection with the modern city of Delhi,
making it “miles away” metaphorically.
2. What is the significance of garbage in the lives of Seemapuri children?
Answer:
For the children of Seemapuri, garbage is not just waste but a source of
livelihood and hope. It is described as “gold in the garbage” because it
provides them with “their daily bread” and sometimes even unexpected
surprises. For them, “one day it is a coin, the next day, a ten rupee note.” This
illustrates how garbage shapes their dreams and survival.
3. Why did Saheb stop being his own master?
Answer:
Saheb took up a job at a tea stall where he earned “800 rupees and all his
meals.” However, the author notes a loss of his independence as he now works
for someone else. She remarks, “But the fact that he is no longer his own
master weighs heavily on him.” The sense of freedom he had while ragpicking
is now lost.
4. What forced Saheb’s family to leave Dhaka?
Answer:
Saheb’s family left Dhaka because “storms had swept away their fields and
homes,” making survival there impossible. As his mother said, “There was
nothing left to feed our bellies,” so they migrated in search of a better life,
although it landed them in poverty in Seemapuri.
5. How is Mukesh’s attitude different from that of other bangle makers of
Firozabad?
Answer:
Mukesh dares to dream beyond the traditional occupation of bangle making.
Unlike others who have resigned to their fate, Mukesh says “I will be a motor
mechanic,” showing his determination to break the cycle. When asked if he
knows anything about cars, he proudly says, “I will learn to drive a car.”
6. Why do the elders of Firozabad fail to organize themselves into
cooperatives?
Answer:
The elders are trapped in the fear and acceptance of their fate. They say, “We
are born in this caste and we have seen nothing but bangles.” Moreover, they
fear the wrath of powerful people. The author writes, “They are the ones who
have imposed the baggage on the child that he cannot put down.”
7. What does the title “Lost Spring” signify in the context of the story?
Answer:
The title “Lost Spring” symbolizes the lost childhood and lost opportunities of
children like Saheb and Mukesh. Their youth, like spring, is supposed to be full
of joy and growth, but instead, it is spent in “the blur of smoke from the
furnaces” or “scrounging for gold in garbage.” Their “spring” is lost in the
harsh realities of poverty.
8. Describe the living conditions of ragpickers in Seemapuri.
Answer:
The ragpickers of Seemapuri live in “structures of mud” without any “sewage,
drainage or running water.” Their food consists of leftovers, and they survive
by scrounging garbage. The children grow up “in the midst of filth” and are
denied education or a carefree childhood.
9. What social message does Anees Jung convey through “Lost Spring”?
Answer:
Anees Jung highlights the cycle of poverty and child labour that steals away the
childhood of poor children. She shows how children are forced into “the web
of poverty, burdened with the stigma of caste in which they are born.” The
story is a call for awareness and reform, urging society to give “the right to
dream” back to these children.
10. What does Anees Jung observe about the attitude of young boys like
Mukesh and Saheb towards their future?
Answer:
Both boys, despite their circumstances, show a desire to dream and change
their future. Saheb initially dreams of “going to school” while Mukesh wants to
become “a motor mechanic.” They represent the spark of hope among
children who wish to escape their inherited poverty.
11. What is the irony in Saheb’s name?
Answer:
Saheb’s full name is “Saheb-e-Alam,” which means “Lord of the Universe,” but
in reality, he is a poor ragpicker who has “never known what it means” and
“roams the streets with his friends barefoot.” The irony lies in the contrast
between the grandeur of his name and the harshness of his life.
12. Why do the children walk barefoot in the story “Lost Spring”?
Answer:
The children walk barefoot not always by choice but often due to poverty. The
author notes, “I remember a story a man from Udipi once told me,” where
going barefoot was initially out of tradition, but for most, it is “a perpetual
state of poverty.” The boys like Saheb wear “torn clothes and no footwear.”
13. Describe the environment in which children work in Firozabad.
Answer:
The children work in dangerous and unhealthy conditions. The author
describes the bangle-making area as “dingy cells without air and light.” The
children sit “before hot furnaces, welding glass, making bangles” with “eyes
adjusted to the dark.” This environment damages their health and stunts their
growth.
14. How does poverty affect the dreams of children in “Lost Spring”?
Answer:
Poverty forces children to sacrifice their dreams and accept reality early in life.
Saheb wants to go to school but ends up as a ragpicker. Mukesh dreams of
becoming a mechanic but is surrounded by people who believe, “There is no
school in my neighbourhood.” They are caught in a world where “hope is a
distant dream.”
15. Why does the author call the children “ragpickers” and not by their
names?
Answer:
The author generalizes the children as ragpickers to represent the collective
identity of thousands of children who live similar lives of deprivation. She notes
how “they appear like the morning birds and disappear at noon.” This
highlights their faceless, unnoticed existence in society.
16. What barriers do the bangle makers of Firozabad face in changing their
profession?
Answer:
They face social, economic, and systemic barriers. The author mentions,
“Caught in the web of poverty, burdened by the stigma of caste,” they are
unable to escape. There is also fear of the police and middlemen. “If they get
organized, they are hauled up, beaten and dragged to jail.”
17. Explain how the dreams of the poor remain unfulfilled in “Lost Spring.”
Answer:
The poor dream, but poverty keeps those dreams unrealized. Saheb dreams of
“a school” and Mukesh of “being a motor mechanic,” but both are trapped in
the reality of survival. The author says these children live with “the hope of
finding a coin in the garbage,” a fragile substitute for real aspirations.
18. What is the role of tradition in the lives of the Firozabad bangle makers?
Answer:
Tradition binds the people of Firozabad to a single profession for generations.
They believe it is their destiny. One old man tells the author, “We have made a
law and believe it to be God-given.” This blind adherence to tradition keeps
them in “a spiral that moves from poverty to apathy to greed and to
injustice.”
19. How does the author describe the physical condition of the children
working in the glass industry?
Answer:
The children working in the glass industry suffer from serious health issues.
They lose their eyesight “before they become adults” due to continuous
exposure to “furnaces with high temperatures.” They often sit “with their
fathers, welding pieces of coloured glass,” risking lifelong disability.
20. Why does the author feel ashamed while offering a job to Saheb?
Answer:
The author offers a job, not realizing it takes away Saheb's freedom. Though he
earns “800 rupees and all his meals,” he has lost his carefree independence.
She admits, “It seems his face has lost the carefree look,” and “I see that it
weighs heavily on him.” This makes her feel guilty for the change.

Long Question and Answers [5 marks]

1. Describe the life and aspirations of Saheb in “Lost Spring.” How do
circumstances shape his future?
Answer:
Saheb, a young ragpicker, symbolizes lost childhood and unfulfilled dreams. He
once lived in Dhaka, but “storms had swept away their fields and homes,”
forcing his family to migrate. In Seemapuri, he scrounges for livelihood among
garbage. He dreams of going to school, but poverty forces him to collect “gold
in the garbage.” He later takes a job at a tea stall earning “800 rupees and all
his meals,” yet loses his freedom. The author notes, “He is no longer his own
master.” Despite his bright eyes and curiosity, circumstances push him into
labour. His name, “Saheb-e-Alam,” meaning “Lord of the Universe,” is ironic,
as he holds no power over his life. Saheb represents millions of children who
are denied education and dignity due to poverty.
2. How does Anees Jung contrast the lives of the poor children in Seemapuri
and Firozabad?
Answer:
Anees Jung contrasts Seemapuri’s ragpickers and Firozabad’s bangle makers to
highlight different yet similar forms of child exploitation. In Seemapuri, children
like Saheb live amidst “structures of mud...without sewage or running water.”
They find survival in “gold in the garbage,” symbolizing poverty and hope. In
contrast, Firozabad’s children inherit bangle-making as tradition. They work in
“dark dingy cells” before “hot furnaces,” often losing their eyesight. While
Seemapuri children dream despite poverty, Firozabad’s youth are “burdened
with the stigma of caste” and “caught in a web of poverty.” Both sets of
children are denied education and normal childhoods. Mukesh, however, dares
to dream, saying, “I will be a motor mechanic.” Through both settings, Jung
reveals how social, economic, and traditional forces rob children of their
spring—symbolizing lost childhood.
3. Discuss the central theme of “Lost Spring.” How does the title reflect the
plight of the children?
Answer:
The central theme of “Lost Spring” is the exploitation of children and the denial
of their childhood due to poverty, caste, and societal apathy. The title is
metaphorical, representing the “spring” of life—childhood— which is lost to
labour and deprivation. Children like Saheb and Mukesh are deprived of
education and dreams. Saheb searches through garbage to survive, and
Mukesh toils in bangle-making units under hazardous conditions. The author
writes, “I see two distinct worlds—one of the poor and the other of the rich.”
These children are “born in poverty but are not resigned to it,” yet their
circumstances rarely allow them to escape. The “lost spring” reflects not only
lost innocence but also lost potential. Anees Jung uses vivid imagery and
personal accounts to emphasize the urgent need for change.
4. How does Mukesh’s character reflect hope in contrast to the hopelessness
of his surroundings?
Answer:
Mukesh, a bangle maker’s son from Firozabad, represents hope amidst despair.
Unlike others, who are “burdened with the stigma of caste,” Mukesh dares to
dream beyond the glass-blowing industry. He boldly declares, “I want to be a
motor mechanic,” even though he faces poverty and tradition. While most of
Firozabad’s children are “caught in a web of poverty” and lose their eyesight in
“furnaces with high temperatures,” Mukesh shows resilience. The author
notes, “His dreams loom like a mirage amidst the dust of streets,” yet he is
determined. He plans to go to a garage and “learn to drive a car.” Mukesh’s
ambition defies the generational cycle of labour. His character embodies the
theme of individual courage and the human spirit’s power to aspire, even in
suffocating conditions.
5. Examine how poverty and tradition become insurmountable obstacles for
the bangle makers of Firozabad.
Answer:
The bangle makers of Firozabad are trapped in a cycle of poverty and blind
tradition. Generations have worked in the glass industry, believing it is their
fate. An old man tells the author, “We have made a law and believe it to be
God-given.” Their lives are confined to “dingy cells without air and light,” and
children lose their vision working at “furnaces with high temperatures.” Even
though they know the hazards, they remain bound due to fear and ignorance.
They are “caught in the web of poverty, burdened by the stigma of caste.” Any
attempt to rebel is crushed by the nexus of “sahukars, middlemen, policemen,
and politicians.” These intertwined social and economic forces prevent them
from organizing cooperatives or seeking alternatives. Thus, both poverty and
tradition act as unbreakable chains.
6. What message does Anees Jung convey through her narrative in “Lost
Spring”?
Answer:
Anees Jung delivers a strong social message against child labour, poverty, and
societal neglect. Through real-life portraits of children like Saheb and Mukesh,
she exposes the harsh realities where children are denied “the right to dream.”
Saheb collects garbage to survive, while Mukesh works in hazardous bangle
factories. Their lives reflect “the perpetual state of poverty” and a system that
robs children of education and freedom. The author points out that “survival in
Seemapuri means ragpicking,” and in Firozabad, it means “losing eyesight in
the glass-blowing industry.” Jung criticizes the complacency of society and the
government. She urges for awareness and action to break the cycle of poverty
and give children a future. Her message is one of reform, dignity, and hope for
change.
7. How does Anees Jung use irony in Lost Spring to highlight the plight of
poor children?
Answer:
Anees Jung effectively uses irony to underscore the tragedy of child poverty.
The title Lost Spring itself is ironic, suggesting “spring,” a time of growth and
joy, which these children never experience. Saheb’s name is another example:
“Saheb-e-Alam” means “Lord of the Universe,” yet he is a ragpicker who
“scrounges the garbage” to survive. He later earns “800 rupees and all his
meals,” but ironically loses his independence, as the author observes, “He is no
longer his own master.” Mukesh dreams of becoming a motor mechanic while
living in a place where children lose their eyesight working in “hot furnaces.”
These ironies expose the gap between what should be and what is. Through
contrast between dreams and reality, Jung makes the reader question a society
where children are denied basic rights due to poverty and exploitation.
8. Discuss examples of irony in the chapter, such as Saheb’s name and the
contrast between dreams and reality.
Answer:
The chapter is filled with ironic contrasts that highlight the children's hopeless
realities. The most prominent example is Saheb’s name: “Saheb-e-Alam”
means “Lord of the Universe,” but he is a barefoot ragpicker who doesn’t even
own proper shoes. He once dreamed of school, but ends up working in a tea
stall—earning a salary but losing his freedom. The author notes, “The steel
canister seems heavier than the plastic bag he would carry so lightly.” Mukesh
dreams of becoming a motor mechanic, which is commendable, but he comes
from Firozabad where children are born into bangle-making and “know
nothing but this work.” These ironies emphasize the sharp contrast between
the children's aspirations and the reality of systemic oppression. Jung uses this
literary device to deepen the emotional impact and underscore the theme of
“lost childhood.”
9. Explain how irony strengthens the theme of lost childhood and systemic
exploitation.
Answer:
Irony plays a vital role in reinforcing the theme of “lost childhood” in Lost
Spring. The irony of Saheb’s name—“Lord of the Universe”—emphasizes the
absurdity of a child scavenging for food and coins. His dream of going to school
remains unfulfilled because, as he admits, “There is no school in my
neighborhood.” When he finally finds work at a tea stall, he loses his
autonomy: “The fact that he is no longer his own master weighs heavily on
him.” Similarly, Mukesh wants to become a mechanic, yet is surrounded by
children losing their eyesight in “furnaces with high temperatures.” Irony helps
reveal how these children are “born into poverty, burdened by caste and
tradition,” with dreams that rarely come true. These ironic contrasts deepen
the impact of systemic exploitation and the loss of innocence, compelling the
reader to reflect on the cruelty of social injustice.
10. Describe the cycle of poverty and exploitation in Firozabad’s bangle-
making industry.
Answer:
The bangle-making industry in Firozabad traps families in a vicious cycle of
poverty and exploitation. For generations, children and adults have worked in
dark, suffocating conditions, “around furnaces with high temperatures,” often
losing their eyesight. This profession is passed down as destiny, not choice. The
community believes, “We have made a law and believe it to be God-given.”
Without access to education or alternative jobs, each generation repeats the
same life. This systemic entrapment is reinforced by economic helplessness and
social traditions. The author notes how people are “caught in a web of
poverty,” unable to break free. Despite the hard labour, their wages are
meagre, and they remain marginalized and invisible. Mukesh stands out for
dreaming of a different life, but most children are denied even that. This cycle
leaves no room for progress, turning their spring into a lifetime of suffering.
11. Explain how generations remain trapped in the same profession due to
debt, lack of education, and systemic oppression.
Answer:
In Firozabad, bangle-making is a generational trap perpetuated by debt,
illiteracy, and oppression. Families have practiced the craft for years, believing
it to be their fate. As one elder says, “We have taken it as God-given.” Lack of
education prevents escape, as most children have never seen the inside of a
school. They begin work early and often lose their eyesight in “furnaces with
high temperatures.” The system is designed to suppress change—those who
attempt to organize are punished. The author observes, “If they get organized,
they are hauled up, beaten, and dragged to jail.” The combined forces of
poverty, fear, and tradition silence rebellion. With no access to loans or
alternative skills, families remain stuck. Mukesh’s desire to become a motor
mechanic is rare, and his dream stands against a powerful structure built to
keep people in place.
12. Discuss the role of middlemen, moneylenders, and government neglect in
perpetuating this cycle.
Answer:
The exploitation in Firozabad’s bangle industry is maintained by a nexus of
middlemen, moneylenders, police, and politicians. These agents form an
unbreakable chain that ensures workers remain trapped. The author writes,
“Together they have imposed the baggage on the child that he cannot put
down.” Middlemen control the distribution and pricing, leaving workers with
negligible earnings. Moneylenders keep families in debt, forcing them to
continue working under exploitative terms. Government neglect worsens the
issue—no welfare or reform reaches these communities. Efforts to organize are
crushed with violence or legal threats. As a result, the workers live in “houses
with crumbling walls and no windows,” with “no sewage or running water.”
This systemic oppression sustains poverty and makes escape nearly impossible.
Without external intervention or policy change, the exploitation continues
generation after generation.
13. How does the title Lost Spring reflect the central theme of the chapter?
Answer:
The title Lost Spring is a powerful metaphor that encapsulates the chapter’s
central theme—the loss of childhood and innocence due to poverty and social
injustice. Spring symbolizes youth, “childhood, growth, and renewal,” which is
missing in the lives of children like Saheb and Mukesh. Their “spring” is lost to
labour, deprivation, and hopelessness. Saheb scavenges for survival, saying, “I
sometimes find a rupee, even a ten-rupee note.” Mukesh works in a bangle
factory, risking blindness. Instead of education and play, their lives revolve
around survival. The title metaphorically refers to “lost opportunities and
dreams”—the fundamental right to dream and flourish, which poverty
snatches away. Through these stories, Anees Jung criticizes societal apathy and
highlights how children are forced to grow up too soon, their spring vanishing
before it ever begins.
14. Analyse how spring symbolizes childhood, growth, and renewal, which is
lost for children like Saheb and Mukesh.
Answer:
In the chapter, spring symbolizes “childhood, growth, and renewal”—a time
meant for education, dreams, and joy. However, for children like Saheb and
Mukesh, this season is tragically absent. Saheb is a ragpicker in Seemapuri,
barefoot and poor, chasing the illusion of a better life. He is ironically named
“Saheb-e-Alam” (Lord of the Universe), though he owns nothing. He dreams of
going to school, but circumstances never allow it. Mukesh, from a family of
bangle makers, lives in a world “imposed with the burden of caste and
poverty.” Both children are denied the innocence of spring, their days spent in
labour instead of learning. The title Lost Spring encapsulates how society robs
millions of children of their right to dream, grow, and live fully. Their youthful
potential is squandered in the struggle to survive.
15. Discuss how the title metaphorically represents lost opportunities and
dreams.
Answer:
The title Lost Spring metaphorically represents lost opportunities, unfulfilled
dreams, and the stolen childhoods of poor children. In the story, spring is not
just a season—it signifies “the blossoming of youth and promise.” But for
children like Saheb and Mukesh, it never arrives. Saheb dreams of going to
school but is forced to ragpick, hoping for coins in garbage. Later, though he
gets a job, the author notes, “the steel canister seems heavier than the plastic
bag.” Mukesh dares to dream of becoming a motor mechanic, but is
surrounded by a society where most are resigned to “the caste-imposed
profession of bangle making.” Their environment offers no real escape from
generational poverty. Thus, the title conveys how society systemically denies
children the chance to grow, dream, and build a better future—leaving their
spring forever lost.
16. Compare and contrast the lives of Saheb and Mukesh.
Answer:
Saheb and Mukesh both belong to marginalized communities but differ in their
dreams and circumstances. Saheb is a ragpicker from Seemapuri, having
migrated from Dhaka due to “storms that swept away their homes and fields.”
He roams barefoot, searching for “gold in the garbage,” and wishes to attend
school, but poverty prevents it. He later works at a tea stall, losing the
“carefree look” he once had. Mukesh, from Firozabad, is born into the bangle-
making industry, where generations suffer under “a web of poverty and caste.”
However, unlike Saheb, Mukesh dares to defy tradition. He says, “I will be a
motor mechanic.” Saheb’s life reflects resignation to survival, while Mukesh’s
reflects resistance. Both characters face exploitation, but Mukesh’s self-belief
sets him apart. Their contrast highlights the fragile hope that still exists within
systemic oppression.
17. Highlight their backgrounds, struggles, and aspirations.
Answer:
Saheb and Mukesh come from different regions but share the common reality
of poverty and lost childhood. Saheb migrated from Dhaka and now lives in
Seemapuri, where his family survives by ragpicking. His daily life is filled with
“hope of finding a coin” but lacks structure or future prospects. He once
dreamed of school but ends up working at a tea stall. Mukesh, from Firozabad,
is born into the bangle-making caste, a tradition that has enslaved families for
generations. He works in “dark rooms without air and light,” yet aspires to
become a motor mechanic. He proudly says, “I will learn to drive a car.”
Saheb’s struggle is marked by resignation; Mukesh’s by quiet defiance. Both are
victims of systemic neglect, yet Mukesh’s ambition gives a glimmer of hope for
breaking the cycle.
18. Discuss how Mukesh’s dream of becoming a motor mechanic sets him
apart from others in his community.
Answer:
Mukesh’s dream of becoming a motor mechanic sets him apart in Firozabad, a
community bound by tradition and poverty. Most children inherit the family
profession of bangle-making, believing it to be fate. They live in “a spiral from
poverty to apathy to hopelessness.” However, Mukesh is different—he
chooses to dream. He says with determination, “I want to be a motor
mechanic.” This ambition is significant in a place where few dare to hope. He
plans to “go to a garage and learn,” despite the odds. His courage lies in
challenging a centuries-old cycle of exploitation. While others are resigned,
Mukesh takes the first step toward freedom. His dream, though modest,
represents resistance and hope. Anees Jung presents him as a beacon of
change, proving that even in the darkest conditions, the human spirit can
aspire.
19. How does Anees Jung critique society’s failure to protect children from
labour and exploitation?
Answer:
Anees Jung strongly critiques society for its failure to protect children from
labour, poverty, and exploitation. She exposes the systemic neglect that forces
children like Saheb and Mukesh into hazardous work instead of school. Saheb
wants to study but says, “There is no school in my neighborhood.” This reflects
the government’s inability to ensure even basic education. In Firozabad,
children are forced into bangle-making, working in “dark, dingy cells without
air and light.” Generations are trapped by “the stigma of caste and inherited
profession,” with no escape due to middlemen, moneylenders, and corrupt
officials. Even efforts to organize are crushed—“If they get organized, they are
beaten and dragged to jail.” False promises, caste-based roles, and state
apathy create a “web of poverty” too strong to break. Through personal
narratives, Jung highlights how society fails its most vulnerable—its children.
20. Discuss symbols such as light vs. dark, shoes, airplanes, and the steel
canister.
Answer:
Anees Jung uses everyday objects and imagery as symbols to deepen the
themes of Lost Spring. The contrast of “light and dark” represents hope and
despair. Children in Firozabad work in “dark huts without windows”,
symbolizing a life without opportunity or enlightenment. Shoes symbolize
dignity and basic rights. Saheb walks barefoot, and when asked why, he replies,
“It is because of tradition,” but the author understands it as a sign of poverty.
The airplane Mukesh watches becomes a symbol of dreams and escape.
Though he cannot fly one, he declares, “I want to be a motor mechanic,”
reflecting aspiration despite limitations. The steel canister Saheb carries after
taking a job at a tea stall is “heavier than the plastic bag”, symbolizing how
employment brings loss of freedom and joy. These symbols expose the
emotional and physical weight of poverty on children.
21. Compare the theme of poverty in Lost Spring with the theme of
oppression in Deep Water by William Douglas.
In Lost Spring, poverty is portrayed as a lifelong trap that robs children of
education, dreams, and dignity. Children like Saheb and Mukesh are born into
poverty and tradition, forced into labour. Anees Jung writes about their lives in
a “web of poverty, caste and exploitation” where escape is nearly impossible.
Their oppression is systemic and generational. In contrast, Deep Water
presents personal oppression—the fear of drowning—that William Douglas
faces as a young boy. After nearly dying in a swimming pool, he is haunted by
“the terror that never left”. However, unlike the children in Lost Spring,
Douglas confronts and overcomes his fear through perseverance. While
poverty in Lost Spring is a social and economic barrier, the fear in Deep Water is
psychological. Both texts show how oppression—external or internal—must be
fought, but only Douglas is shown to succeed in breaking free.
Answer:
22. How does the theme of lost childhood in Lost Spring relate to the theme
of alienation in The Last Lesson by Alphonse Daudet?
Answer:
Lost Spring explores the theme of lost childhood through children like Saheb
and Mukesh, who are denied education and joy due to poverty. Their lives are
consumed by labour, and dreams are sacrificed early. Saheb scavenges and
says, “I want to go to school, but there is no school.” This reflects how societal
neglect strips away innocence and learning. Similarly, in The Last Lesson, Franz
feels a deep sense of alienation when he learns that French will no longer be
taught. He reflects, “I hardly knew how to write,” and realizes how he had
taken his education for granted. Both texts show how children are distanced
from their identity and growth—Saheb due to economic hardship, Franz due to
political domination. In both, the loss—whether of language or childhood—is
sudden, painful, and irreversible, making them emotionally resonant and
socially critical.
23. Compare the portrayal of dreams and aspirations in Lost Spring and The
Rattrap by Selma Lagerlöf.
Answer:
Both Lost Spring and The Rattrap depict characters who yearn for a better life,
highlighting human hope amid hardship. In Lost Spring, Mukesh dreams of
becoming a motor mechanic, saying, “I want to be a motor mechanic.” His
dream contrasts with the harsh reality of his family’s bangle-making caste and
poverty. Saheb too dreams of education but remains trapped. In The Rattrap,
the peddler dreams of escaping poverty and living a luxurious life. He imagines
“a castle with a moat” and riches, but his dreams are illusions born from
loneliness and desperation. While Mukesh’s dreams symbolize quiet resistance
and possible change, the peddler’s dreams are more of a “rattrap”—a trap of
false hope. Both stories reveal that while aspirations give hope, harsh realities
often make them difficult to achieve, reflecting the thin line between dreams
and illusions.
24. How does Lost Spring reflect the theme of social injustice, similar to
Indigo by Louis Fischer?
Answer:
Both Lost Spring and Indigo expose social injustice and oppression faced by
marginalized groups. In Lost Spring, Anees Jung highlights the exploitation of
poor children like Saheb and Mukesh, trapped in “a web of poverty, caste, and
labour.” These children are denied education and childhood, forced into
dangerous work. Similarly, Indigo shows the oppression of farmers under
colonial landlords, where peasants are cheated and deprived of fair rights.
Louis Fischer describes their “powerless resistance” against exploitative
landlords. Both texts reveal how entrenched systems—whether caste and
poverty or colonial exploitation—keep the vulnerable in cycles of suffering.
Importantly, both narratives call for social change by raising awareness. Jung
and Fischer urge society to “break the chains of oppression” so that children
and farmers can reclaim their dignity and hope for a better future.
25. Compare the theme of hope in Lost Spring and A Thing of Beauty by John
Keats.
Answer:
Both Lost Spring and A Thing of Beauty explore hope and beauty amidst
suffering, but in different ways. In Lost Spring, hope is fragile yet persistent—
children like Mukesh dream of a better future, saying, “I want to be a motor
mechanic.” Despite poverty and exploitation, their dreams symbolize a quiet
resistance and desire for change. Conversely, John Keats celebrates the “thing
of beauty”—nature and art—as a source of “joy forever,” offering lasting hope
and solace. While Lost Spring presents hope as a challenging struggle against
harsh realities, Keats’s poem views beauty as an eternal, uplifting force that
inspires and renews. In both works, hope drives individuals forward—either to
break free from oppression or to find peace amid suffering—making it a
universal catalyst for change and endurance.

MCQ Questions and Answers

1. Who is the author of Lost Spring?
(a) William Wordsworth
(b) Anees Jung
(c) Ruskin Bond
(d) Louis Fischer
Correct Answer: (b) Anees Jung
Reason: Anees Jung wrote Lost Spring, highlighting child labour and
poverty.
2. Where does Saheb originally come from?
(a) Kolkata
(b) Bangladesh
(c) Mumbai
(d) Firozabad
Correct Answer: (b) Bangladesh
Reason: Saheb’s family migrated from Bangladesh due to poverty and
natural disasters.
3. What does Mukesh aspire to become?
(a) A bangle maker
(b) A motor mechanic
(c) A teacher
(d) A shopkeeper
Correct Answer: (b) A motor mechanic
Reason: Unlike others in his community, Mukesh dreams of breaking free
from generational poverty.
4. What is Saheb’s full name?
(a) Saheb-e-Alam
(b) Saheb Khan
(c) Saheb Singh
(d) Saheb Ahmed
Correct Answer: (a) Saheb-e-Alam
Reason: His name ironically means "Lord of the Universe," but he is
powerless in his circumstances.
5. Who is Savita in the chapter?
(a) A young girl soldering glass bangles
(b) Mukesh’s sister
(c) A teacher in Seemapuri
(d) A social worker helping ragpickers
Correct Answer: (a) A young girl soldering glass bangles
Reason: Savita is seen working in the glass industry, unaware of the
significance of bangles.
6. Where do the ragpickers of Seemapuri live?
(a) In brick houses
(b) In mud houses
(c) In tin-roofed shanties
(d) In government apartments
Correct Answer: (c) In tin-roofed shanties
Reason: The ragpickers live in extreme poverty in makeshift homes.
7. What does Saheb do after quitting ragpicking?
(a) Works in a tea stall
(b) Joins school
(c) Becomes a bangle maker
(d) Moves to another city
Correct Answer: (a) Works in a tea stall
Reason: He takes up a job at a tea stall but loses his independence.
8. Why do ragpickers prefer garbage over other jobs?
(a) It provides them food and survival
(b) They enjoy scavenging
(c) They are forced into it by the government
(d) It is a family tradition
Correct Answer: (a) It provides them food and survival
Reason: Garbage is their means of livelihood, offering them small earnings.
9. What does Mukesh’s house look like?
(a) A well-built brick house
(b) A small hut with no windows
(c) A large bungalow
(d) A factory dormitory
Correct Answer: (b) A small hut with no windows
Reason: Mukesh’s house is poorly built, reflecting the poverty of bangle
makers.
10. Why do the bangle makers continue working in the industry?
(a) They love making bangles
(b) They are forced by middlemen
(c) They believe it is their destiny
(d) They earn high wages
Correct Answer: (c) They believe it is their destiny
Reason: The workers accept their suffering as fate, unable to break free.
11. Which literary device is used in “Garbage to them is gold”?
(a) Simile
(b) Metaphor
(c) Personification
(d) Hyperbole
Correct Answer: (b) Metaphor
Reason: The phrase compares garbage to gold, emphasizing its value for
ragpickers.
12. What is the tone of Lost Spring?
(a) Humorous
(b) Optimistic
(c) Critical and empathetic
(d) Indifferent
Correct Answer: (c) Critical and empathetic
Reason: The author critiques systemic poverty while expressing deep
empathy for the children affected.
13. What does the phrase “Few airplanes fly over Firozabad”
symbolize?
(a) The lack of opportunities for children like Mukesh
(b) The town’s rich aviation industry
(c) The presence of an airport nearby
(d) The children’s love for airplanes
Correct Answer: (a) The lack of opportunities for children like Mukesh
Reason: Airplanes symbolize dreams and aspirations, contrasting with
Mukesh’s limited opportunities.
14. Why can’t the bangle makers organize themselves into
cooperatives?
(a) They lack awareness and education
(b) They are financially stable
(c) They prefer working individually
(d) They are supported by the government
Correct Answer: (a) They lack awareness and education
Reason: The bangle makers remain trapped in poverty due to exploitation
by middlemen.
15. What does the phrase “Together they have imposed the baggage on
the child that he cannot put down” mean?
(a) The child carries a heavy bag
(b) The child inherits the burden of poverty
(c) The child is physically weak
(d) The child is forced to travel
Correct Answer: (b) The child inherits the burden of poverty
Reason: The phrase highlights how systemic forces—moneylenders,
middlemen, and politicians—trap children in labour.
16. What does the phrase “Ek waqt ser bhar khana bhi nahin khaya”
signify?
(a) The woman’s extreme poverty
(b) Her refusal to eat
(c) Her religious fasting
(d) Her wealth
Correct Answer: (a) The woman’s extreme poverty
Reason: The phrase highlights how the woman has never had a full meal in
her entire life, reinforcing the theme of deprivation.
17. Why does Saheb ask, “Is your school ready?”?
(a) He hopes to get an education
(b) He wants to become a teacher
(c) He is curious about school construction
(d) He wants to work in the school
Correct Answer: (a) He hopes to get an education
Reason: Saheb genuinely hopes for education, but the narrator’s promise
was made casually and never fulfilled.
18. What does the line “But promises like mine abound in every corner
of his bleak world” mean?
(a) Poor children receive many false promises
(b) The narrator is hopeful about change
(c) The narrator is building a school
(d) The narrator is discussing government policies
Correct Answer: (a) Poor children receive many false promises
Reason: The phrase highlights how underprivileged children are
surrounded by empty promises that never lead to real change.
20. What does Mukesh’s father do for a living?
(a) Drives a car
(b) Works as a mechanic
(c) Makes bangles
(d) Owns a shop
Correct Answer: (c) Makes bangles
Reason: Mukesh’s father is a bangle maker, trapped in generational
poverty.
21. Who is the elderly woman sitting near Savita?
(a) Mukesh’s grandmother
(b) A social worker
(c) A government official
(d) A rich merchant’s wife
Correct Answer: (a) Mukesh’s grandmother
Reason: She represents the older generation of bangle makers who have
suffered lifelong poverty.
22. What does the author notice about the ragpickers’ eyes?
(a) They are full of joy
(b) They are adjusted to the dark
(c) They are bright and hopeful
(d) They are closed most of the time
Correct Answer: (b) They are adjusted to the dark
Reason: The children working in glass factories are so accustomed to
suffering that they cannot imagine a better life.
23. What does the author offer to do for Saheb?
(a) Give him money
(b) Open a school for him
(c) Help him find a job
(d) Adopt him
Correct Answer: (b) Open a school for him
Reason: The author casually mentions opening a school, but Saheb takes it
seriously, showing his eagerness for education.
24. What does Mukesh’s house lack?
(a) A kitchen
(b) A courtyard
(c) Windows
(d) A roof
Correct Answer: (c) Windows
Reason: Mukesh’s house is poorly built, reflecting the poverty of bangle
makers.
25. Which literary device is used in “Saheb is no longer his own
master”?
(a) Simile
(b) Metaphor
(c) Personification
(d) Irony
Correct Answer: (d) Irony
Reason: The phrase highlights how Saheb loses his independence after
taking up a job at the tea stall.
26. What does the phrase “The goddess had granted his prayer” imply?
(a) Religious devotion
(b) A sarcastic remark about inequality
(c) A literal divine intervention
(d) A historical reference
Correct Answer: (b) A sarcastic remark about inequality
Reason: The author contrasts the priest’s son wearing shoes with the
ragpickers who remain barefoot, highlighting social disparity.
28. Why do the bangle makers continue working in the industry
despite poor wages?
(a) They enjoy the work
(b) They have no alternative due to systemic oppression
(c) They earn high profits
(d) They are forced by the government
Correct Answer: (b) They have no alternative due to systemic oppression
Reason: The workers remain trapped due to middlemen, debt, and lack of
education.
29. What prevents Mukesh’s family from escaping poverty?
(a) Their lack of ambition
(b) Their belief in destiny and systemic exploitation
(c) Their refusal to work hard
(d) Their government benefits
Correct Answer: (b) Their belief in destiny and systemic exploitation
Reason: The family accepts poverty as fate, reinforcing the cycle of
oppression.
30. What does Saheb’s reaction to the author’s promise of a school
reveal?
(a) His scepticism
(b) His excitement and hope
(c) His anger
(d) His indifference
Correct Answer: (b) His excitement and hope
Reason: Saheb genuinely hopes for education, but the narrator’s promise
was made casually and never fulfilled.
31. What does the phrase “But promises like mine abound in every
corner of his bleak world” mean?
(a) Poor children receive many false promises
(b) The narrator is hopeful about change
(c) The narrator is building a school
(d) The narrator is discussing government policies
Correct Answer: (a) Poor children receive many false promises
Reason: The phrase highlights how underprivileged children are
surrounded by empty promises that never lead to real change.
CBSE- Previous Year Questions.
Here are questions from Lost Spring that have appeared in CBSE board
exams over the past three years, along with their year and answers:

CBSE Previous Year Questions

1. What does the writer mean when she says, ‘Saheb is no longer his
own master’? (CBSE 2022)
Answer:
When the writer says “Saheb is no longer his own master,” she means
that Saheb has lost his freedom and independence because he is forced to
work as a ragpicker to support his family. Instead of enjoying his childhood
or going to school, he is bound by poverty and labor. Saheb now works
under the control of others and has “lost his childhood” and the “freedom
to dream.” His life is dictated by survival, and he is trapped in the “web of
poverty and exploitation” that takes away his right to be free and make
his own choices.
2. Is it possible for Mukesh to realize his dream? Justify your answer.
(CBSE 2021)
Answer:
Mukesh dreams of becoming a “motor mechanic”, which sets him apart
from others in his community trapped in the “bangle-making” trade.
However, the chances of Mukesh realizing his dream are slim because he is
caught in a “web of poverty and debt” that forces generations of his family
into the same profession. The “exploitative middlemen and
moneylenders” keep them bonded, making it difficult to escape. Although
Mukesh’s “dream is fresh and bright,” the harsh reality of his
environment—lack of education, poverty, and systemic oppression—means
his dreams may remain just dreams, lost like the “spring of his childhood.”
3. Do you think Saheb was happy to work at the tea stall? Answer
giving reasons. (CBSE 2023)
Answer:
No, Saheb was not happy to work at the tea stall. Although he took the job
to escape ragpicking, the work was “heavy” and made him feel like he had
“lost his freedom.” The author describes how Saheb carried a “heavy steel
canister” and the job left him “tired and dull.” He had to give up his
“carefree childhood” and the simple joys of being a child. Instead of
feeling proud or happy, Saheb felt trapped again, showing how poverty
forces children to sacrifice their happiness and freedom for survival.
4. What does the title Lost Spring convey? (CBSE 2022)
Answer:
The title Lost Spring symbolizes the lost childhood and lost dreams of
children like Saheb and Mukesh. “Spring” represents childhood, growth,
and renewal, but for these children, it is “stolen by poverty and
exploitation.” Instead of enjoying the joys of youth, they face “hard
labour” and “darkness of poverty.” The title metaphorically reflects how
their “innocence and opportunities” are taken away, leaving behind a life
of “hopelessness and despair.”
5. Why does the author say that the bangle makers are caught in a
vicious web? (CBSE 2021)
Answer:
The author says the bangle makers are caught in a “vicious web” because
they are trapped in a cycle of poverty, debt, and exploitation. Generations
of families, like Mukesh’s, work in “hazardous, back-breaking labour” in
the bangle-making industry, but they remain poor because they are
“bonded by debt” to the middlemen and moneylenders. They are unable to
escape this cycle due to “lack of education” and “government neglect,”
which forces them to continue the same trade, losing their childhood and
dreams in the process.
6. What does Anees Jung tell us about life at Mukesh’s home in
Firozabad? (CBSE 2023)
Answer:
Anees Jung describes life at Mukesh’s home in Firozabad as one of “bonded
labour” and “generations of poverty.” Mukesh’s family has been involved
in the bangle-making trade for years, working in “back-breaking,
hazardous conditions.” The house is small and crowded, reflecting their
poor living standards. The family is trapped in “a vicious web of debt” to
the middlemen, which keeps them from escaping their poverty. Despite
Mukesh’s “dream to be a motor mechanic,” his environment is dominated
by “exploitative labour” and “lack of opportunities.”
7. “It is his Karam, his destiny” that made Mukesh’s grandfather go
blind. How did Mukesh disapprove this belief by choosing a new
vocation and making his own destiny? (CBSE 2022)
Answer:
Mukesh’s grandfather believed that his blindness was “his Karam, his
destiny,” accepting suffering as fate. However, Mukesh disapproved this
belief by dreaming of a different life. Unlike his ancestors who were trapped
in “bangle-making” and “bonded labour,” Mukesh wants to be a “motor
mechanic.” This choice shows his desire to “break free from the vicious
web” of poverty and oppression. Mukesh’s dream represents hope and “the
courage to make his own destiny” rather than passively accepting fate
like his grandfather. Through his aspiration, Mukesh challenges the cycle of
“systemic exploitation” and seeks a future based on his own efforts.
8. What does the writer mean when she says, ‘Saheb is no longer his
own master’? (CBSE 2022, 2023)
Answer:
When the writer says “Saheb is no longer his own master,” she means
that Saheb has lost his freedom and independence because he is forced to
work as a ragpicker instead of enjoying a carefree childhood. Saheb’s life is
dictated by poverty and survival, and he is trapped in “a web of poverty
and exploitation.” He has to work to support his family, losing his
“childhood and innocence.” The author highlights that Saheb is controlled
by circumstances and others, showing how poverty takes away the freedom
to “dream and be free.”
9. Is it possible for Mukesh to realize his dream? Justify your answer.
(CBSE 2021, 2023)
Answer:
Mukesh dreams of becoming a “motor mechanic,” which sets him apart
from others in his community stuck in the “bangle-making” trade.
However, the chances of realizing this dream are bleak because Mukesh is
caught in a “vicious web of poverty and bonded labour.” Generations of
his family have been trapped in “hazardous, back-breaking work” and
“debt bondage” to the middlemen and moneylenders. The lack of
education and government neglect means escaping this cycle is very
difficult. Despite Mukesh’s “fresh and bright” dream, systemic oppression
and poverty threaten to keep him in the same fate as his ancestors, losing
the “spring of his childhood.”
10. Do you think Saheb was happy to work at the tea stall? Answer
giving reasons. (CBSE 2023, 2024)
Answer:
No, Saheb was not happy working at the tea stall. Although it was a step up
from ragpicking, the work was “heavy” and “tiring,” especially carrying the
“steel canister” all day. The job made him feel like he had “lost his
freedom” and was forced to give up the “carefree childhood” he deserved.
Instead of joy, Saheb felt “dull” and burdened, showing how poverty steals
happiness and forces children into harsh labor, depriving them of their
childhood and dreams.
11. What does the title Lost Spring convey? (CBSE 2022, 2024)
Answer:
The title Lost Spring symbolizes the “lost childhood” and “lost dreams” of
children like Saheb and Mukesh. Spring represents “childhood, growth,
and renewal,” but for these children, it is “stolen by poverty and
exploitation.” Instead of experiencing the joys of youth, they face “hard
labour” and the “darkness of poverty.” The title metaphorically reflects
how their “innocence and opportunities” are taken away, leaving behind
“hopelessness and despair.”
12. Why does the author say that the bangle makers are caught in a
vicious web? (CBSE 2021, 2023)
Answer:
The author says the bangle makers are caught in a “vicious web” because
they are trapped in a cycle of “poverty, debt, and exploitation.”
Generations of families, like Mukesh’s, work in “hazardous, back-breaking
labour” but remain poor because they are “bonded by debt” to
middlemen and moneylenders. The lack of “education” and “government
neglect” prevent them from escaping this cycle. This systemic oppression
forces them to continue working in the same trade, losing their
“childhood” and hopes for a better future.
13. What does Anees Jung tell us about life at Mukesh’s home in
Firozabad? (CBSE 2023, 2024)
Answer:
Anees Jung describes life at Mukesh’s home in Firozabad as one of “bonded
labour” and “generations of poverty.” Mukesh’s family has been involved
in the “bangle-making trade” for years, working in “back-breaking,
hazardous conditions.” Their house is “small and crowded,” showing
their poor living conditions. The family is trapped in a “vicious web of
debt” to middlemen, preventing them from escaping poverty. Despite
Mukesh’s “dream to be a motor mechanic,” the harsh reality of
exploitation and lack of opportunities dominates their lives.
14. “It is his Karam, his destiny” that made Mukesh’s grandfather go
blind. How did Mukesh disapprove this belief by choosing a new
vocation and making his own destiny? (CBSE 2022, 2024)
Answer:
Mukesh’s grandfather accepted his blindness as “Karam, his destiny,”
resigning himself to suffering. But Mukesh disapproved this belief by
dreaming of a different life. Unlike his ancestors trapped in “bangle-
making” and “bonded labour,” Mukesh wants to be a “motor mechanic.”
This shows his determination to “break free from the vicious web” of
poverty and oppression. Mukesh’s choice represents hope and “the
courage to make his own destiny” instead of passively accepting fate,
challenging the cycle of “systemic exploitation.”
Literary Devices from the chapter
Rag-picking has acquired … of fine art. Hyperbole
Garbage is their daily bread, a roof over their heads –
Metaphor
Even shoes with a hole is a dream – Metaphor
Like a mirage – Simile
Can a God-given lineage even be broken? – Rhetorical Question
Like the tongs – Simile
Suhaag – Symbolism
Their fathers are as hard as they are – Simile
The baggage of the child – Metaphor
Few airplanes fly over Firozabad – Pun
Choked with garbage – Personification
Sizzling spinach leaves – Onomatopoeia
Bangles- sunny gold… lie in mounds in unkempt yards – Irony
Circle of bangles – Symbolism & Paradox
Like the old woman – Simile
She still has bangles on wrist, but no light in her eyes – Irony
They talk endlessly – Paradox
Web of poverty – Metaphor
Few airplanes fly over Firozabad – Pun