Advertisements
Advertisements
प्रश्न
Avik, a correspondent for his school magazine, interviews Grandmaster Koneru Bumpy. Let us read :
INTERVIEW WITH KONERU BUMPY
Avik : Good morning, Ma'am! Congratulations on your achievements in the World Grand Prix Women's Chess Championship in Istanbul recently!
Koneru Humpy : Thank you! This is my biggest win in the women's circuit. This is very significant, considering that it has come in an event which had three former world champions.
Avik : Indeed! Please tell us something about yourself, Ma' am!
Koneru Humpy : I was born in Gudivada, near Vijaywada, in Andhra Pradesh on March 31, 1987. I was originally named 'Humpi' {which means champion) by my father Mr Koneru Ashok, who later changed the spelling to Humpy, to give the nrune a Russian flavour. I write my family name , Koneru, before my given name, as is the convention with the Telugu speaking people. I started playing chess when I was 5 years old.
Avik : Who introduced you to the game?
Koneru Humpy : My father acquainted me with the game. He is also my first coach. I first showed interest at the age of 6 years, when I watched him play a game and suggested a move. Indeed it was the move that actually got me into the game.
Avik : Your father left his teaching profession to make you a champion !
Koneru Bumpy : Yes, when I took the 4th place in the Indian Under 8 Championship in 1995, he decided to leave his career and dedicate his time to me.
Avik : And you had won four World Championship at a very early stage.
Koneru Bumpy : Yes, the World Girl Under 10, the World Girls Under 12, the World Girls Under 14 and World Girls Junior Chrunpionships. I acquired my IM title in 1999 and in May 2002, I achieved my 3rd GM Norms in Elekes Memorial Grandmaster Tournrunent in Budapest.
Avik : You held the record from 2002 to 2008 for the youngest woman ever to become a grandmaster!
Koneru Bumpy : Yes, I achieved it at the age of 15 years, 1 month, 27 days, beating Judit Polgar's previous record by 3 months; which was later lost in the Women's World Chess Championship in 2008 to Hou Yifan. I won the World Junior Girls Chess Championship in 2001 and won the edition or North Urals Cup, the Women's Super Tournrunent held in Krasnoturinsk. In 2006, I participated in the Women's World Chess Chrunpionship, but my crunpaign had to end early in the second round. I played in the first board of Monte Carlo Chess Club and won the last two editions of the European Club Cup.
Avik : You have got some awards also !
Koneru Humpy : Yes, Arjuna Award in 2003, Padmashri Award in 2007 and Raja-Lakshmi Award in 2008.
Avik : In India, many young chess players are ready to take a break in education and are fully focussed on chess preparations. What are your views?
Koneru Humpy : I don't think that taking up chess as a career and completely neglecting studies will be necessary at an earlier stage. After getting to a certain level in the game, they themselves should decide their preferences i.e. whether to play seriously or not.
Avik : What advice would you offer to parents of enthusiastic and talented chess children?
Koneru Humpy : Parents should not compel children to play chess. If children are genuinely interested in the game, they should encourage them. But they shouldn't hurry to get results.
Avik : How often do you exercise? Do you think daily physical exercise can help a chess player to cope with the pressure and increase the brain's ability to concentrate?
Koneru Humpy : I spend around one hour per day on physical exercise. Exercise is a must for every chess player. As the proverb says, 'a sound mind in a sound body'. Exercise shows a lot of impact on the brain.
Avik : Thank you for talking to me and giving valuable advice.
Koneru Humpy : Thank you.
Advertisements
उत्तर
Do it yourself
APPEARS IN
संबंधित प्रश्न
Thinking about the Text
On the following map mark out the route, which the author thought of but did not take, to Delhi.
Thinking about the poem
What do you think the last two lines of the poem mean? (Looking back, does the poet regret his choice or accept it?)
Why does the lost child lose interest in the things that he had wanted earlier?
JUST THINK
In line 35, the poet has misspelt the word 'amalgum'. Why do you think she has
done that? Discuss.
(The teacher should point out the use of 'me' instead of 'my' and other linguistic
variations that make the poem enjoyable.)
We will ponder your proposition and when we decide we will let you know. But should we accept it, I here and now make this condition that we will not be denied the privilege without molestation of visiting at any time the tombs of our ancestors, friends, and children. Every part of this soil is sacred in the estimation of my people. Every hillside, every valley, every plain and grove, has been hallowed by some sad or happy event in days long vanished. Even the rocks, which seem to be dumb and dead as the swelter in the sun along the silent shore, thrill with memories of stirring events connected with the lives of my people, and the very dust upon which you now stand responds more lovingly to their footsteps than yours, because it is rich with the blood of our ancestors, and our bare feet are conscious of the sympathetic touch. Our departed braves, fond mothers, glad, happy hearted maidens, and even the little children who lived here and rejoiced here for a brief season, will love these somber solitudes and at eventide they greet shadowy returning spirits. And when the last Red Man shall have perished, and the memory of my tribe shall have become a myth among the White Men, these shores will swarm with the invisible dead of my tribe^ and when your children’s children think themselves alone in the field, the store, the shop, upon the highway, or in the silence of the pathless woods, they will not be alone. In all the earth there is no place dedicated to solitude. At night when the streets of your cities and villages are silent and you think them deserted, they will throng with the returning hosts’that once filled them and still lover this beautiful land. The White Man will never be alone.
Let him be just and deal kindly with my people, for the dead are not powerless. Dead, did I say? There is no death, only a change of worlds.
Read the extract given below and answer the question that follow.
What is the condition laid by the speaker before he accepts the white man’s proposition?
It was my business to cross the bridge, explore the bridge head 3 beyond and find out to what point the enemy had advanced. I did this and returned over the bridge. There were not so many carts now and very few people on foot, but the old man was still there.’’Where do you come from?” I asked him.
“From San Carlos,” he said, and smiled.
That was his native town and so it gave him pleasure to mention it and he smiled.
“I was taking care of animals,” he explained.
“Oh,” I said, not quite understanding.
“Yes,” he said, “I stayed, you see, taking care of animals. I was the last one to leave the town of San Carlos.”
He did not look like a shepherd nor a herdsman and I looked at his black dusty clothes and his gray dusty face and his steel rimmed spectacles and said, “What animals were they?”
“Various animals,” he said, and shook his head. “I had to leave them.”
Read the extract given below and answer the question that follow.
What did the narrator see on the bridge when he returned?
“There were three animals altogether,” he explained. “There were two goats and a cat and then there were four pairs of pigeons.”
“And you had to leave them?” I asked.
“Yes. Because of the artillery. The captain told me to go because of the artillery.” “And you have no family?” I asked, watching the far end of the bridge where a few last carts were hurrying down the slope of the bank.
“No,” he said, “only the animals I stated. The cat, of course, will be all right. A cat can look out for itself, but I cannot think what will become of the others.”
“What politics have you?” I asked.
“I am without politics,” he said. “I am seventy-six years old. I have come twelve kilometers now and I think now I can go no further.”
“This is not a good place to stop,” I said. “If you can make it, there are trucks up the road where it forks for Tortosa.”
“I will wait a while,” he said, “ and then I will go. Where do the trucks go?” “Towards Barcelona,” I told him.
“I know no one in that direction,” he said, “but thank you very much.
Read the extract given below and answer the question that follow.
Where did the narrator want the old man to go?
Unleashing the goats from the drumstick tree, Muni started out, driving them ahead and uttering weird cries from time to time in order to urge them on. Me passed through the village with his head bowed in thought. He did not want to look at anyone or be accosted. A couple of cronies lounging in the temple corridor hailed him, but he ignored their call. They had known him in the days of affluence when he lorded over a flock of fleecy sheep, not the miserable grawky goats that he had today.
Read the extract given below and answer the question that follow.
Describe Muni’s prosperous times.
Most terribly cold it was; it snowed, and was nearly quite dark, and evening— the last evening of the year. In this cold and darkness there went along the street a poor little girl, bareheaded, and with naked feet. When she left home she had slippers on, it is true; but what was the good of that? They were very large slippers, which her mother had hitherto worn; so large were they; and the poor little thing lost them as she scuffled away across the street, because of two carriages that rolled by dreadfully fast.
One slipper was nowhere to be found; the other had been laid hold of by an urchin, and off he ran with it; he thought it would do capitally for a cradle when he some day or other should have children himself. So the little maiden walked on with her tiny naked feet, that were quite red and blue from cold. She carried a quantity of matches in an old apron, and she held a bundle of them in her hand. Nobody had bought anything of her the whole livelong day; no one had given her a single farthing. She crept along trembling with cold and hunger—a very picture of sorrow, the poor little thing!
Read the extract given below and answer the question that follow.
Describe the condition of the girl.
Most terribly cold it was; it snowed, and was nearly quite dark, and evening— the last evening of the year. In this cold and darkness there went along the street a poor little girl, bareheaded, and with naked feet. When she left home she had slippers on, it is true; but what was the good of that? They were very large slippers, which her mother had hitherto worn; so large were they; and the poor little thing lost them as she scuffled away across the street, because of two carriages that rolled by dreadfully fast.
One slipper was nowhere to be found; the other had been laid hold of by an urchin, and off he ran with it; he thought it would do capitally for a cradle when he some day or other should have children himself. So the little maiden walked on with her tiny naked feet, that were quite red and blue from cold. She carried a quantity of matches in an old apron, and she held a bundle of them in her hand. Nobody had bought anything of her the whole livelong day; no one had given her a single farthing. She crept along trembling with cold and hunger—a very picture of sorrow, the poor little thing!
Read the extract given below and answer the question that follow.
Had she managed to sell any matches?
Answer the following question.
Name two things the elephant can do with his trunk, and two he cannot.
By pressing the red button, Tilloo made the mechanical hand from the spacecraft cease to work.
Why did he ask for the king’s forgiveness?
Describe briefly to the class an improbable dream you have had.
Answer the following question:
Why did the Emperor reward Taro?
Answer the following question.
What was the ‘game’ that every child in the school had to play?
Bring out the relevance/significance of the banyan tree in the title of Ruskin Bond’s story.
What are some of the notable features told about snakes in the lesson?
What is being compared to a gray overcoat?
Identify the line that has been repeated often in the poem.
