Simple Present Tense in detail with examples

MY BOOKS ON LANGUAGE

 

HOW TO SUMMARIZE

 

1.  Read your passage carefully. To ensure understanding read it again. If necessary, read it third time without writing anything.

2.  Write all important points or facts of original passage in order. It will work as framework or draft for your summary. Underline important words in the original passage and quit superfluous words.

3.  Keep your facts in order. It is suggested that put the facts in the same order in which they appear in the original passage. But it is not obligatory; you may reorder them in a way which you consider fit, if you think it improves logical sequence.

4.  Keeping aside the original passage and framework or draft in front, begin writing summary from your notes.

5.  Read framework or draft again. Note if anything is repeated. Adjust its length. Your précis should be of suggested length. Where there is no suggested length, generally about one-third (1/3) to one-fourth (1/4) of original passage is expected.

6.  Read original passage again to ensure that no important thing has been left out. Compare it with your framework or draft.

7.  Note that your précis has the same balance and proportion as original passage has. Otherwise your précis will not conform to the original passage.

8.  Make choice of words carefully. Avoid unnecessary adjectives and adverbs. Pay proper attention to important nouns and verbs which make your précis smaller and notable. Shun use of direct speech in your précis. As a rule, précis is written in indirect speech. Avoid figurative language; cross out all metaphors and similes. Redundancy and the use of ambiguous words often make précis vague.

9.  Let your précis be connected fully. All the important points should be interconnecting altogether in such a way as your précis exerts the impression of a continuous piece of prose which the original passage does.

10. Supply a title for it.  Keep it short and examine opening sentence and concluding sentence and sometimes mid-part of the passage for clue.

A SOLVED EXAMPLE

 Original Source Material: Perseverance is the very hinge of all virtues. On looking over the world, the cause of nine-tenths of the lamentable failures which occur in men’s undertakings and darken and degrade so much of their history, lies not in the want of talents, or the will to use them, but in the vacillating and desultory mode of using them, in flitting from object to object, in starting away at each little disgust, and thus applying the force which might conquer any one difficulty to a series of difficulties so large that no human force can conquer them. The smallest brook on earth by continuing to run has hollowed out for itself a considerable valley to flow in. Commend me therefore to the virtue of perseverance. Without it, all the rest are little better than fairy gold, which glitters in your purse, but when taken to market, proves to be slate or cinders.

                                                                                    (Carlyle)

Title  : Virtue of Perseverance.

Précis          : Perseverance is the noblest of all virtues. People meet with failures in life not because they lack talents but because they misapply them in conquering a host of difficulties at once rather than one by one. They are daunted by every little difficulty. Without perseverance, all the noble qualities of man run to seed.

 

PRECIS-WRITING

 

Précis means abstract, abridgement or summary. In this way, précis-writing means summarising. To make a précis of a passage is to select main points and as far as possible describe them obviously and briefly.

UTILITY OF PRECIS-WRITING

The object of a précis to enable the reader to get information of main points of a passage without going through it. It plays an important role in composition because it teaches you how to describe your ideas clearly, concisely and effectively. Like a mental discipline too, it is useful because it teaches how to distinguish between essential and superfluous; in other words, it develops sound judgement and accurate discrimination.

FUNDAMENTAL OF GOOD PRECIS

Often it can be asked what makes a good précis. Perhaps by counting all essential traits which target purity, you can answer it in the best way:

1.  A good précis should exhibit main points and exert a general impression. A précis which exhibits points without general impression of condensed passage is not much useful.

2.  A good précis should be fit to be read as a continuous piece of prose. It should not make an impact on the reader of being a series of disjointed sentences.

3.  A good précis should be lucid.  It should be presenting the elements of main passage in a simple language as clear as possible.

4.  A good précis should be precise and brief. Do away with all irrelevancies, quit all digressions deviating from the subject, and remove all useless explanations. Quit all examples, and remove all idioms and adages. As far as possible state main idea in least words.

5.  A good précis should not be sketchy. It should be complete in all respects. It should include all what is important in the original.

POINTS TO OBSERVE

The following points are necessary to observe:

1. Sensible shortening: Précis, which is a form of abstract, abridgement, condensation or epitomization, demands one-third (1/3) of nearby summary of a passage. Therefore limit your rendering to one-third.

2. Careful discrimination: Learn how to distinguish necessary from unnecessary, important from unimportant, petty details from the vital facts. Make sure that passage is understood because if your grasp of the text is insufficient, the selection of essentials will not be correct and your précis will be weak.

3.  Intelligent condensation:  Reduce, whenever possible:

(a) Clause to phrase; as: 

‘When the sun was setting in all its glory’ to

‘at sunset’

(b) Phrase to single word; as: 

‘in the not too distant future’ to 

‘soon’

(c) Clause to single word; as: 

‘A friend in whom one could place entire confidence’ to

‘A reliable friend’

(d) Conversation to its gist in indirect form; as: 

“I really do understand the problem”, Mona protested, “Surely you don’t doubt it? I can assure you that I know exactly what the difficulties are. I am perfectly aware of the complexities of the situation.” to

‘Mona protested that she understand the problem perfectly’

(e) Lists to one generic word; as: 

‘The tea-table was piled high with delicious-looking cakes, brightly-oozing jam tarts, dainty biscuits, sandwiches, and an abundance of most inviting macaroons.’ to

‘There was plenty of delicious food on the tea-table.’

(f) Direct Speech to Indirect Speech; as: 

Direct     : He said to the students, “Do not make a noise”. to

Indirect  : He forbade the students to make a noise.

But it is not always necessary; some passages are well condensed in direct speech.

4.  Clarity and continuity: Make your précis a piece of good, smooth and straightforward prose, not a rough and disjointed note. Lucidity is as essential as economy. It is not just quitting words and phrases in précis.  If there is deficiency of proportion, unity and clarity in your version, you have not succeeded in your work.

 

HOW TO WRITE A CHARACTER SKETCH

 

A character sketch can be written about any character in a story or a drama. It gives the reader a brief yet thorough review of all the characteristics of a particular character. When you write a character sketch, you are trying to introduce someone to reader. The character sketch ought to give an extensive account of all the traits that particular character has. The following are some guidelines for drafting a character sketch:

1.  Research about the Character: To make the reader able to visualize how your character will look, act, talk, and behave, it's crucial to establish their personality and physical characteristics in great depth. Write down the character's appearance, personality, feelings, and other aspects first. This will give you a rough concept of the key characteristics that need to be highlighted. Develop your character's back-story. Think about your character's overall emotions and feelings. It is important to include proof from the story to support what you are writing in the character sketch.

2.  Use short, clear sentences: The character sketch should help the reader easily form a visualization of the character when reading the sentences. Write every feature of the character’s personality, conduct and character in separate paragraph. Use words that help in the visualization of the character. Condense your character's personality into a few sentences. 

3.  Make a brief descriptive picture: The finest character sketches are specific and feature key characteristics. Pay attention to the character's physical and non-physical traits. The description needs to be concise, well-organized, and clear. Create a rough draft to begin with. You should proofread your character sketch to catch any possible inaccuracies. Determine the character's relationship to the story/drama, world, or main character. Fill in any other details that pop into your head. Character sketches only give snapshots of people; therefore, you should not try to write a history of the person.

Character sketch of Havildar Ishar Singh based on the story “The Battle of Saragarhi”

He was a great warrior: Although Afgan Pashtun outnumbered, he fought against the enemy bravely. He along with other 20 Sikh soldiers fought around 8 hours, without food and water. Even when they ran out of ammunition, they didn’t stop and ended in a hand-to-hand fight till their last breath.

He was an excellent organiser: He was known leading the regiment on a last stand against the 10-12,000 strong Pashtun tribesmen with only 20 other men at the Battle of Saragarhi. He called his garrison together for an emergency meeting when approximately 10,000 Pashtuns attacked Saragarhi. He convinced his soldiers to fight a hopeless battle.

He is a good decision maker, democratic and determined: He makes a decision quickly with consultation with his fellows and stands on unanimous decision even in the face of greatest danger to life. When the enemy was approaching, he consulted other soldiers whether to fight or flight. He put the matter to voting. When there was hand-to-hand fight, he quickly sent all others into the post and decided to face enemy alone outside.

He was a fearless person: To stop the enemy from reaching the forts, he and other soldiers decide to battle to the very end. After sustaining enough resistance, he was fighting but refused to surrender and fought to the death along with the rest. He displayed extraordinary bravery by instructing his soldiers to retreat into the inner layer while he continued to battle when there was hand-to-hand combat.

He was dedicated to his duty: He gave his all to the task at hand. According to reports, the Pashtun army commanders promised him and other soldiers anything in exchange for their surrender. The Pashtuns were trying to reach the other forts as they advanced, but he was undeterred and determined to fight until the very end.

He was a true patriot: In a brave hand-to-hand struggle against an impossibly large group of rifle-wielding tribesmen, Havildar Ishar Singh pulled his dagger, charged into the mob, and laid his life as a martyr. He died in battle field in order to save his country from enemy.

WRITING SKILL: DRAMA

 

Drama is the presentation of a story as a play for stage, broadcasting or telecasting. Drama-writing is an art to write this play. It develops communication skills. Drama is a composition prose intended to portray life or character or to tell a story usually involving conflict and emotions through action and dialogue and it is typically designed for theatrical performance.

TYPES OF DRAMA   

Keeping Dramatist’s standpoint towards life or internal environment of drama in view, there are kinds of drama: 1. Comedy and 2. Tragedy.

(1)   Comedy: - It has a happiest end.

(2)   Tragedy: - Its end is full of pain.

HOW TO WRITE A DRAMA

There are some specific rules of drama-writing :-

1.  Proper selection of the subject: - There should not be a glimpse of artificiality in the subject of drama. The subject should be selected only when you have got complete and proper information concerning it. A drama is based on a story.

2.  Planning: - The outline of a drama is called plot. Four steps should sincerely be followed in its planning: think about drama, arrange your thoughts, write the ordered thoughts and revise to edit the text.

3.  Plot: - The foundation of a drama is the plot. It is the interrelationship among main events in the drama. A successful Play-Wright creates a curiosity in the drama and carry it towards its object.

4.  Proper selection of the Characters: - A drama has its characters to carry on it. All the characters of the drama should look real. Drama depends on its characters. No character should be superfluous, deficient or absurd. Characters have emotions mainly laugh, love, fear or boldness.

5.  Perspicuity: - Examine your thoughts before writing, as Superfluity and exaggeration often deviate the attention from main topic. Therefore they should have simplicity, brevity and precision.

6.  Dialogues: - The mean of drama is the conversation. Its dialogues must be to the point, real and according to scene. The characters make conversation with others as they have some objects. The words of conversation should be suitable to the personality of the character.

7.  Proportion: - There are three parts of a drama: a beginning, a middle and an end. Stress each part properly after dividing the drama into acts.

8.  Pleasant appearance:- Keeping the rules of grammar in view, the drama should be written in a good style. Syntax and choice of words should be made very carefully.

9.  Persuasiveness: - The drama should be able to create attractiveness and exert impression. Audience should be impressed with the thoughts of the playwright, only then the object of writing a drama is achieved.

RULES OF STORY-WRITING

 

There are some specific rules of writing a story:-

1.  Subject matter: - A story may have any subject.  An event or a sequence of events is kept in order in subject-matter. There are four steps of subject-matter: beginning, middle, climax and end.

i.   Beginning: - This is the initial part of the title of a story. There is no standard rule for it. A writer begins a story in his own style.

ii.  Middle: - This is the mid-point of the story, where the story is nearly divided into two equal parts.

iii. Climax: - This is the point, where the story seems to be approaching to its object through curiosity and suspense.

iv.      End: - This is the point, in which the object of the story is achieved.

2.  Selection of the Characters: - A story advances through action-reaction of one or more than one characters, as the story is based on any aspect of the life. A good story has common and real characters. In successful selection of character, writer creates a character in such a way that you come to be aware of his personality by his interaction with other characters or life.

3.  Conversation: - The mutual talk between two characters is called conversation. A story has conversation here or there to present real picture of life in it. The conversation in the story should be more real, brief and meaningful. Successful conversation brings out the inner artists of the characters.

4.  Environment: - The story-writer gets his subject-matter out of real life. He describes the social and cultural environment of the field out of which he selects his plot or character. A successful story-writer makes the reader be aware of whole environment by some fine touches.

5.  Style: - Every writer has an approach, which is called a style. But an approach becomes a style only when it becomes unique part of mentality of the writer.

6.  Object: - A writer observes the surroundings through his viewpoint and what he experiences from it, he presents in his article. This experience of him is the object of the story.

BATTLE OF SARAGARHI

CHARACTERS:

Havildar Ishar Singh	(Regimental No. 165)
Naik Lal Singh	(Regimental No. 332)
Naik Chanda Singh	(Regimental No. 546)
Lance Naik Sundar Singh	(Regimental No. 1321)
Lance Naik Ram Singh	(Regimental No. 287)
Lance Naik Uttar Singh	(Regimental No. 492)
Lance Naik Sahib Singh	(Regimental No. 182)
Sepoy Hira Singh	(Regimental No. 359)
Sepoy Daya Singh	(Regimental No. 687)
Sepoy Jivan Singh	(Regimental No. 760)
Sepoy Bhola Singh	(Regimental No. 791)
Sepoy Narayan Singh	(Regimental No. 834)
Sepoy Gurmukh Singh	(Regimental No. 814)
Sepoy Jivan Singh	(Regimental No. 871)
Sepoy Gurmukh Singh	(Regimental No. 1733)
Sepoy Ram Singh	(Regimental No. 163)
Sepoy Bhagwan Singh	(Regimental No. 1257)
Sepoy Bhagwan Singh	(Regimental No. 1265)
Sepoy Buta Singh	(Regimental No. 1556)
Sepoy Jivan Singh	(Regimental No. 1651)
Sepoy Nand Singh	(Regimental No. 1221)
Col. Haughton	(British Army Colonel)

The essence of bravery is doing action in spite of fear.  A soldier feels as though he is acting in support of a greater cause when he follows moral principles despite the dangers. On a group level, bravery is inspiring. At Saragarhi, one of the deadliest battles in Indian history took place in 19th century which is a unique example of bravery.

The British Army constructed a modest communications station at Saragarhi in the Samana Range of the Hindu Kush Mountains, which would house a little detachment of soldiers. The area had historically been unstable, and British India's control over the North West Frontier was shaky in the last quarter of the 19th century. In fact, in the years leading up to the battle of Saragarhi, a number of expeditions had been dispatched to the area to preserve order and put down insurrection. The actual Saragarhi was not much more than a signal tower and a modest brick dwelling. It was built to facilitate communication between Fort Lockhart and Fort Gulistan, two more prominent British outposts that were separated by a considerable distance but were still located on either side of Saragarhi. With the aid of a heliograph, Saragarhi was able to communicate using sunlight flashes that were communicated in a manner similar to telegraphic transmission (also known as Morse code). The actual flashes were produced by either turning a mirror or cutting off a light source.

The British had just recently put an end to a Pashtun tribal rebellion in the Malakand region (later known as the Siege of Malakand) when tensions in the area began to rise in the summer of 1897. The Pashtun population rose up in general by the month's end, and by the first of September, they were actively trying to seize British Army posts, including attacks on Fort Gulistan on September 3 and September 9. After the battle on September 9th, a few soldiers were left on the soldiers' return journey to strengthen the tiny detachment at Saragarhi. This was done in order to combat the Pashtun attacks. Troops were deployed from Fort Lockhart to reinforce Fort Gulistan. The 36th Sikhs (now the 4th Battalion of the Sikh Regiment), which was stationed at an army post attacked by some 10,000 Afghans, comprised 21 Sikhs from the British Indian contingent. Havildar Ishar Singh served as the contingent's leader.

On September 12, 1897, at around 9 a.m., 10,000 Pashtuns stormed Saragarhi in an effort to cut off all contact between Forts Lockhart and Gulistan. To his amazement, signalman Gurmukh Singh noticed attackers approaching the post as he peered out into the distance in the morning.  Col. Haughton, who is in Fort Lockhart, receives a signal from Sardar Gurmukh Singh that they are being attacked. Colonel Haughton says he is unable to send Saragarhi quick assistance. Gurmukh Singh hurriedly descended from his tower and discovered his commanding officer, Havildar (Sergeant) Ishar Singh, who estimated that there were between 10,000 and 20,000 riflemen in the area. Oh, and an unspecified quantity of heavy artillery.

Havildar Ishar Singh called his garrison together for an emergency meeting. Standing before him in the tiny courtyard of this small, mud-and-stone garrison was the entire detachment of the 36th Sikhs assigned to the defence of this critical strategic outpost – all 20 men of it. Havaldar Isher Singh  asked his fellow soldiers,

" Are you ready for the occasion?"

"Yes, we will fight to the last," someone answered among them.

He shouts Sikh slogan,

"Bole So Nihal"

All respond in one voice,

"Sat Sri Akal".

The non-commissioned officer explained to his troops that they were likely the last line of defense between the horde of bloodthirsty warriors and the heart of India. These 21 soldiers were the only thing even remotely capable of slowing down a coordinated tactical strike that was certain to catch the British and Indian defenders off guard and cause havoc throughout the region, the non-commissioned officer said calmly, honestly, and without fear. In addition, he assured them that even while he was aware of the gravity of the situation, he wasn't about to send his soldiers into a battle they had no chance of winning and order them to die. The men had to decide whether to maintain their ground and repel the attack for as long as they could while dying bravely in battle, or to give up and flee to the adjacent Fort Lockhart where a larger British army was stationed. He asked the men to vote on it. They had to stand as a unit since they would all be engaged in combat, serving, dying, or escaping at the same time. Twenty men cast votes for staying. To keep the enemy from reaching the forts, the soldiers decide to battle to the last end.

Between 10,000 and 14,000 Pashtuns, according to Colonel Haughton, are advancing on Saragarhi. The nearest British outpost, which was barely visible in the distance over the crest, was informed of the situation, the number of enemy soldiers present, and the type of equipment they were carrying by the garrison's signalman, Gurmukh Singh, who was working his signaling equipment in the meantime. According to reports, there were two reportedly concerted efforts to force open the fence, but they failed. According to reports, the Pashtun troops' commanders made assurances to the men to induce their surrender. Unfazed, the Sikh soldiers vowed to battle till the very end to stop the invading Pashtuns from getting to the other forts. The 21 defenders shielded themselves with their enormous bulletproof balls, kicked down the ladders, and barfed out enough rifle fire to drive the attackers back on two separate occasions. On both occasions, the Pashtun threw themselves at the walls of Saragarhi, climbing the walls on ladders and firing heavy rifle and cannon fire into the fortress. A group of Pashtun sappers eventually broke through a particularly weak spot in the outer defenses, crept inside, and set fire to the fort when the Sikhs were severely outnumbered by attacks from all sides. Later, the barrier was broken down. The remaining enemy soldiers were able to push in and breach the fort's outer walls, storming into the courtyard, their positions hidden by the smoke and flames, and the Sikhs preoccupied with putting out the fires in their blazing fortress.

Lal Singh suffered a critical injury, and Bhagwan Singh was the first to get hurt. Bhagwan Singh's body was reportedly transported back to the inner layer of the post by soldiers Lal Singh and Jiwa Singh. Following it, some of the most intense hand-to-hand combat took place. Ishar Singh displayed extraordinary bravery by instructing his soldiers to retreat into the inner layer while he continued to battle. Havildar Ishar Singh gave his men the order to retreat inside the fort's interior, fortify the walls, and keep firing on the assailants who were now swarming over the defenses. In courageous hand-to-hand fight against an impossibly large horde of rifle-wielding tribesmen, Havildar Ishar Singh pulled his dagger, charged into the horde, and died. So even now, seven hours into the conflict, with their leader dead, their ammunition running inadequate, and their fort engulfing them in flames, the Sikhs continued to stick it to the Pashtuns with everything they had.

The heliograph operator, Gurmukh Singh was the last to die, after being burned to death when the Pashtuns set fire to the post. He is stated to have killed 20 Afghans.

He shouts, "Jo Bole So Nihal".

There was silence. He waits for a moment and then answers himself, "Sat Sri Akal ".

He is reported to have repeatedly yelled until the end, the Sikh battle cry, “Bole So Nihal, Sat Sri Akal,” meaning “Shout aloud in ecstasy! True is the great Timeless One.” Faces of his friends and family members appear in his visualization. He whispers, "Thank God". And then he breathes his last.

Although no Sikh survived the battle, their sacrifice sufficiently delayed the Pashtuns such that reinforcements were able to arrive at the Pashtuns’ ultimate target, Fort Gulistan, in time to stop its fall. In addition to the 21 Sikh dead, reports of Pashtun losses ranged from between 180 and 600. The Pashtuns later admitted that they had lost about 180 killed and many more wounded during the engagement against the 21 Sikh soldiers, but some 600 bodies were said to have been seen around the ruined post when the relief party arrived. After Saragarhi, the Pashtun moved on to the nearby Fort Gulistan, but the delay at Saragarhi had cost them the element of surprise – the men at Fort Gulistan were ready for them, and they held the attack back while freshly-arrived British heavy artillery dropped a few hundred high explosive shells right into the middle of the enemy horde.

One of the fiercest fights ever fought in the realm of bravery, leadership, and devotion to the point of death is still regarded as the battle of Saragarhi, which took place 125 years ago. It is regarded as one of the top eight battles in the world history.