NCERT Solutions for Class 10 Hindi - Kritika

Class 10 Hindi Kritika is a section of the CBSE Class 10 Hindi syllabus. It includes five chapters that showcase the wonderful works of renowned writers. To study and comprehend these chapters effectively, it's important to have access to the Class 10 Hindi Kritika Book Solution. These solutions have been meticulously crafted by experts who follow the latest CBSE guidelines.

Hindi is a language-focused subject that demands a deep grasp of themes and main concepts. This understanding is essential for constructing well-structured answers. Unfortunately, many students face challenges when it comes to presenting their answers coherently. This is where eSaral’s NCERT Solutions for Class 10 Hindi Kritika come into play. These solutions are highly advantageous resources for students as they prepare for their Hindi exams.

The NCERT Solutions provides a reliable and comprehensive guide for tackling the chapters in Class 10 Hindi Kritika. With the help of these solutions, students can gain insights into the themes, characters, and contexts of the stories and poems. This allows them to craft answers that are not only accurate but also well-organized, increasing their chances of securing good marks.

The eSaral NCERT Solutions are designed to align with the needs of CBSE students. They follow the recommended CBSE syllabus and offer step-by-step explanations for questions and exercises present in the textbook. Moreover, these solutions can aid students in enhancing their critical thinking and analytical skills by encouraging them to delve deeper into the text.

In conclusion, Class 10 Hindi Kritika is an integral part of the CBSE curriculum, and the eSaral NCERT Solutions for this section is an invaluable asset for students. By utilizing these solutions, students can confidently approach their Hindi exams, present their answers effectively, and excel in their studies.

NCERT Solutions for Class 10 Hindi - Kritika

Here is the list of chapters included in CBSE Class 10 Hindi- Kritika

Here is a brief overview of each chapter contained in CBSE Class 10 Hindi- Kritika:

Chapter 1 - Mata Ka Anchal

The author's childhood name was 'Tarakeshwarnath', but his father lovingly called him 'Bholanath'. Bholanath's father addressed him as 'Babuji', and his mother as 'Maiya'. Bholanath was brought up with a lot of affection and care. He spent most of his time with his father. They even slept together at night, sharing a close bond.

Every morning, Bholanath's father would wake him up and prepare him for the day. They would then sit together for their daily worship, with a tilak on Bholanath's forehead, reminiscent of Lord Shiva. His father would tie sacred threads on his wrist, making Bholanath feel special. With long hair on his head, the threads gave him the appearance of Lord Bholenath.

While his father read from the Ramayana, Bholanath would often gaze at his reflection in the mirror. After completing the puja, his father would write thousands of names of Lord Rama in his 'Ramnama Bahi' (book of Rama's names). He would write these names on tiny pieces of paper, roll them into dough balls, and offer them to the fish in the Ganges.

On their way back from the Ganges, Bholanath's father would swing him on tree branches. Bholanath would often playfully wrestle with his father. Though his father would let Bholanath win, he cherished those moments. Bholanath would try to pull his father's mustache, and in response, his father would kiss his small, loving hands. Bholanath's mischief always melted his father's heart.

At mealtime, Bholanath's father would personally feed him with his own hands. However, his mother wasn't satisfied. She often told his father that he fed Bholanath little by little. Despite her refusal, his mother would feed him creatively, calling the food by different bird names to make him eat more. She made sure he had a variety of nourishment.

Bholanath's mother would invent creative ways to ensure he ate well. She used various bird names and stories to entice him to eat more. Even after refusing, his mother would lovingly create shapes of parrots, mynas, pigeons, and more from the food, turning the meal into a delightful experience.

Whenever Bholanath returned home crying, his friends would cheer him up, and they would end up playing together. Bholanath and his friends often performed plays on the terrace. They set up a sweet shop with sweets like laddoos, leafy puris, jalebis, and more. They pretended to buy sweets using fake coins and sometimes even created a procession with musical instruments.

Sometimes Bholanath and his friends would simulate farming. They would turn the terrace into a field, plant seeds, and work hard to cultivate crops. Once the crops "grew," the children would "harvest" them by stomping on them with their feet. One day, after heavy rain, they discovered many scorpions in their garden. Frightened, they ran away, and an old man named Musan Tiwari rescued them.

Tiwari took them to the school, where their teacher scolded them. When the teacher complained to Bholanath's father, he came to the school and took Bholanath home. His father asked Bholanath what had happened, but Bholanath hid behind his mother's saree. His mother applied turmeric paste to his wounds and comforted him.

In a situation, after his father smoked a hookah, Bholanath returned home, trembling with fear. He found solace in his mother's lap, and she cared for his injuries. The incident created quite a commotion at home. Eventually, Bholanath's father arrived and embraced him. Bholanath clung to his mother, and his father took him into his arms.

In this way, the author describes his childhood memories with his loving parents and friends. The small anecdotes and playful experiences paint a vivid picture of his early years, capturing the warmth and joy of his upbringing.

Chapter 2 - Sana Sana Hath Jodi

Madhu Kankaria was born on March 23, 1957, in Kolkata. She completed her education in Economics with an M.A. from the University of Kolkata and pursued a diploma in Computer Applications from the same city. Madhu Kankaria is a renowned Hindi literature writer, storyteller, and novelist. She has also penned beautiful travelogs. Her writings showcase freshness in thoughts and emotions, addressing various burning societal issues like culture, the suffocation of urban life, the growing addiction among youth amidst the complexities of modernity, the plight of women in areas dominated by VIP culture, etc.

Her works include a collection of short stories such as "Chidiya Aise Marti Hai," "Kaali Cheel," "Phail," "Use Budh Ne Kaata," "Antahin Marusthal," and "Ant Mein Yeshu." She has also authored novels like "Khule Gagan Ke Lal Sitare," "Sookhte Chinar," "Salaam Aakhiri," "Patta Khor," "Sej Par Sanskrit," "Hum Yahan The," and "Dhalte Sajh Ka Sooraj." Notably, "Sana Sana Haath Jori" is one of her compositions, describing her journey through Sikkim. In this piece, she vividly portrays Sikkim's culture, its people, and the breathtaking beauty of the Himalayas.

In her narrative, Madhu Kankaria starts her Sikkim journey from the capital city, Gangtok. Upon reaching Gangtok at night, she feels immense joy gazing at the star-studded sky from her room's balcony. She gets lost in the magic of those twinkling stars, finding solace in those moments. Describing Gangtok as the city of "hardworking monarchs," she applauds the dedicated efforts of its people.

The prayer "Sana Sana Haath Jori" was learned by Madhu Kankaria from a Nepali girl. As explained by the girl, it meant, "I'm praying with these small hands that my entire life is dedicated to goodness." The following day, she sets off for Yumthang. Though the weather obstructs her view of the majestic Kanchenjunga peak from her balcony, she continues her journey with her companions.

As she moves forward through narrow paths, she witnesses the beauty of snow-capped peaks and lush greenery. Along the way, she observes white Buddhist flags adorning the landscape. These flags symbolize peace and non-violence and are hoisted to bring tranquility to the souls of the departed. She learns that these flags are meant to be torn by the wind, signifying the ephemeral nature of life, and new flags are raised during auspicious occasions or beginnings.

In Madhu Kankaria's account, Sikkim comes alive through her words. She not only describes the physical beauty of the region but also delves into the lives of its inhabitants. The struggles they face while climbing steep hills to reach schools, and the dedication of soldiers patrolling the borders even in harsh weather conditions, all paint a vivid picture of their resilience.

Through her narratives, Madhu Kankaria captures the essence of Sikkim – its people, culture, and breathtaking landscapes. Her writings bridge the gap between readers and this enchanting Himalayan region, offering a glimpse into its soul and spirit.

Madhu Kankaria was born on March 23, 1957, in Kolkata. She completed her education in Economics with a Master's degree from the University of Kolkata and also pursued a diploma in Computer Applications from the same city.

Madhu Kankaria is a renowned Hindi literature writer, storyteller, and novelist. She has also written captivating travelogs. Her writings reflect new perspectives and emotions, addressing various burning issues prevailing in society such as culture, urban congestion, youth addiction issues amid the clash of tradition and modernity, the plight of women in areas dominated by the Red Beacon, and more.

Among her notable works are:

Short Stories Collection:

"Chidiya Aise Marti Hai"

"Kaali Chil, Phail, Use Buddha Ne Kaata"

"Antaheen Marusthal"

"Aur Ant Mein Yeshu, Beete Hue, Bhari Dopahari Ke Andhere"

Novels:

"Khule Gagan Ke Laal Sitare"

"Sookhte Chinār"

"Salaam Aakhiri"

"Patta Khor"

"Sej Par Sanskrit"

"Hum Yahan The"

"Dhalati Saanjh Ka Sooraj"

Travelogues:

"Buddha, Baarood aur Pahaad"

"Shahar Shahar Jaadoo"

"Banjara Mann Aur Bandishein"

"Saanā Saanā Haath Jori"

In the narrative of her travel experiences, Madhu Kankaria's deep observations come to life. Her journey led her to the enchanting beauty of the Himalayas, the serenity of rivers like Tista, and the culture-rich towns like Gangtok. As she ventured higher into the mountains, she witnessed a

transition in the landscape – bustling markets and towns slowly gave way to quaint houses nestled amidst trees. The Himalayas started to dominate her view, and the beauty of nature captivated her. One significant encounter was at the "Long Stock" location, where a movie had been shot. Further, along her journey, she came across a prayer wheel inside a hut, and her guide explained that spinning the wheel washes away sins. This belief resonated with Madhu, signifying unity between nature and the human soul.

Continuing her ascent, the markets and settlements became smaller, and the surroundings became more picturesque. The landscape now featured sprawling orchards, villagers toiling for a livelihood, and the glory of the setting sun casting a golden hue on everything.

As she journeyed on, her jeep paused at the "Seven Sister Waterfall." This sight seemed to wash away all negativity from within her. However, she also encountered the laborious tasks of the local women who were widening the mountain roads – a risky job involving dynamite blasts that could lead to fatal accidents. Her journey exposed the harsh realities of life in the hills – children walking several kilometers to school, villagers hauling heavy loads of firewood, and the challenges these communities face in their day-to-day lives.

As she reached her destination, Yumthang, Madhu Kankaria was greeted by a breathtaking vista. The descriptions of her experiences reveal her admiration for the pristine beauty of nature, the struggles of the local people, and the deep connection she formed with the land. Madhu's journey through Sikkim provided her with insights into the lives of the people who call these majestic mountains home. Her travelog captures not only the physical landscape but also the spirit and struggles of the people who inhabit it. Through her vivid descriptions, readers can journey alongside her and gain a new perspective on life in the Himalayas.

The journey from Lachen to Gangtok took about 2 hours, but the road to get there was quite dangerous. In Katao, the snow-covered mountains were shining like silver. People were capturing photos of the beautiful snowy landscape, but Lekhika wanted to capture the scene in her eyes forever. It felt as if this view had inspired sages and monks to create scriptures and teachings.

Lekhika's friend Mani was also touched by the surroundings, and she began to talk about the amazing natural water conservation system. She explained how they store water uniquely. These snow-capped peaks acted like water reservoirs. During the cold seasons, snow accumulates on the tall mountains, and when it melts during the warmer months, it flows down as rivers and nourishes the land.

As they continued, they saw the tents of soldiers on the route, indicating that this was a border area. It was where India's border met with China's. Curious, Lekhika asked a soldier how they managed to stay in such freezing temperatures. The soldier replied with a smile, "We sleep peacefully knowing that we are guarding this place." This made Lekhika ponder how even though they were struggling to endure a short stay in this cold, the soldiers were continuously safeguarding the border in these extreme conditions. With gratitude, she bid them farewell, saying, "Feri bhétula, meaning, we'll meet again."

Gangtok, situated in the valleys, was blooming with beautiful flowers like primroses and rhododendrons. Yet, after coming back from Yuksom, everything seemed a bit dull in comparison. Lekhika had a conversation with a Sikkimese woman selling chips, asking if she was from Sikkim. The woman replied that she was Indian. This made Lekhika happy that the people of Sikkim were content and happy to be a part of India.

Their journey led them towards Khandu, where they saw a path blocked by a mountain dog. Mani explained that these mountain dogs only bark during moonlit nights. Lekhika was surprised by this fact. A little further, Narge showed Lekhika a stone with Guru Nanak Dev Ji's footprints. He explained that it was believed Guru Nanak Dev Ji had thrown some rice from his plate, and wherever the rice had fallen, rice fields had sprung up.

After traveling another three kilometers, they reached Khedum. This area covered about a kilometer and was considered to be the dwelling place of deities and gods. It was a place free of pollution, as whatever filth was thrown here vanished. The locals held great respect for the mountains, rivers, and waterfalls, considering them sacred. They believed that these natural elements should not be polluted. When Lekhika mentioned that Gangtok was so beautiful, Narge corrected her by saying that it was "Gangtok," which means "hill." He then explained how a captain named Shekhar Datta from the Indian Army had decided to develop Gangtok into a tourist destination. This decision led to the creation of roads by cutting through the mountains. Lekhika realized that the unquenchable thirst for discovering new places might just be humanity's way of seeking beauty.

Through her travelog, Lekhika attempted to convey that while picturesque hilly regions might look enchanting, the lives of the local people living there can be quite challenging. Her journey brought her face-to-face with scenes like women breaking stones, children trekking to school, and other struggles that locals endure in these remote areas.

Chapter 3 - Mein Kyon Likhata hun

Sachchidananda Hiranand Vatsyayan 'Agyeya' was born in 1911 in the Kasaya area of Deoria district in Uttar Pradesh, India. He completed his early education in Jammu and Kashmir and pursued his B.Sc. degree from Lahore. Being actively involved in the freedom movement, Agyeya even faced imprisonment.

Dedicated to literature and journalism, Agyeya embarked on numerous journeys across India and abroad. He held various jobs and left them. His influence on Hindi poetry after independence is significant. Apart from poetry, he wrote in various forms like short stories, novels, travelogs, essays, and critiques.

Some of his major works include poetry collections like 'Bhagnadoot', 'Chinta', 'Ari O Karuna Prabhamay', 'Indradhanu Raunde Hue Ye', 'Aangan Ke Paar Dwar', 'Kitne Naavon Mein Kitni Baar', 'Baavara Aheri'; novels like 'Shekhar: Ek Jeevani' (in two parts), 'Nadi Ke Dweep', 'Apne-Apne Ajnabi'; short story collections like 'Vipathga', 'Sharanarthi', 'Parampara', 'Ye Tere Pratiroop', 'Kothari Ki Baat', 'Jaydol'; essays like 'Trishanku', 'Aatmanepad', 'Sabrang Aur Kuch Raag'; and travelogs like 'Arey Yaayaavar Rahega Yaad', 'Ek Boond Sahsa Uchhali', 'Bahata Paani Nirmal'.

He was honored with the Sahitya Akademi Award (for 'Aangan Ke Paar Dwar') and the Bharatiya Jnanpith Award (for 'Kitne Naavon Mein Kitni Baar'). Agyeya's four-volume compilation of contemporary Hindi poetry, 'Taar Saptak', holds a significant place in the history of Hindi literature. He received numerous national and international awards, including the Sahitya Akademi and Jnanpith Awards. He passed away in 1987. Intellectual depth is evident in Agyeya's entire body of work. His writing reflects his individuality and self-discipline.

In one of his essays, Agyeya answers the question of why he writes. He explains that he writes to understand himself and believes that through writing, he recognizes and frees his inner turmoil. He discusses how each writer has different motivations—some seek recognition, and others are influenced by external pressures from editors, publishers, or financial needs. He suggests that the need for expression arises from within and that writers feel a compulsion to write.

He delves into the concept of inner turmoil and explains it with an example from his poem. He likens it to an alarm that signals the need to rise but does not necessarily dictate the specific actions one should take. Writers experience this inner turmoil differently, some succumb to external pressure, using writing as a tool, while others are driven by an internal urge to connect with reality.

Agyeya illustrates his point by narrating a personal experience. He once saw a long shadow on a burnt stone on the road, which felt like a slap to him. He describes feeling as if a suddenly awakened, burning sun had risen and set within him. This led to the emergence of his poem about Hiroshima. He explains that he does not determine whether the poem is good or bad; it is the experience that matters.

In this essay, Agyeya inspires us with the motivations behind his writing and the factors that drive it. He reveals the interplay of external and internal pressures on writers. Through the example of his Hiroshima poem, he emphasizes that deep experiences surpass mere intellectual comprehension, connecting writers to the profound realm of emotions.

How to score more marks in Hindi (Kritika) in the Class 10th Board Examination?

Understand the Text: Read and understand the chapters in the Hindi (Kritika) book thoroughly. Pay attention to the meanings of words and the overall message of each chapter.

Summaries: Write summaries of each chapter in your own words. This will help you remember the main points and important details.

Practice Writing: Practice writing answers to the questions at the end of each chapter. Focus on clarity and coherence in your answers.

Grammar and Spelling: Pay attention to your grammar and spelling. Make sure your sentences are correct and well-structured.

Vocabulary: Try to use a variety of vocabulary words in your answers. This shows a good command of the language.

Past Papers: Solve previous years' question papers. This will give you an idea of the exam pattern and the types of questions asked.

Frequently Asked Questions

Question 1: Number of Chapters covered in NCERT textbook for Class 10 Hindi - Kritika?

Answer 1: The NCERT textbook for Class 10 Hindi - Kritika covers 3 chapters namely:

• Chapter 1 - Mata Ka Anchal

• Chapter 2 - Sana Sana Hath Jodi

• Chapter 3 - Mein Kyon Likhata hun