ICSE Class 10 English — 2025 Literature

(i) Correct option: (d) Caesar’s lifeless body covered in

blood

Explanation: Antony refers to Caesar’s dead body

as a “bleeding piece of earth” to express his sorrow

and rage over Caesar’s assassination.

(ii) Correct option: (a) Caesar’s greed for power and

possession had resulted in his death

Explanation: Brutus justifies the assassination by

saying that Caesar’s ambition led to his downfall,

implying that they killed him to prevent him from

rising to absolute power.

(iii) Correct option: (b) Cinna the poet

Explanation: After Antony’s speech, the angry

Roman mob turns violent. They mistake Cinna

the poet for Cinna the conspirator and kill him,

showing how rage and chaos take over logic and

reason.

(iv) Correct option: (d) Lepidus

Explanation: In Act 4, Scene 1 of Julius Caesar,

Antony refers to Lepidus as “a barren-spirited

fellow” and compares him to a mere beast of

burden, suggesting that he is not fit to rule but

only to carry out orders. Antony and Octavius use

Lepidus for their own purposes but do not consider

him an equal leader.

(v) Correct option: (c) Mark Antony, Octavius Caesar,

Lepidus

Explanation: The Second Triumvirate, formed after

Julius Caesar’s assassination, consisted of Mark

Antony, Octavius Caesar (later Augustus) and

Lepidus.Thisalliancewasestablishedtoconsolidate

power and avenge Caesar’s death, distinguishing it

from the First Triumvirate, which included Julius

Caesar, Crassus and Pompey.

(vi) Correct option: (b) regretful

Explanation: Cassius expresses deep sorrow and

disappointment in this speech. He feels betrayed

and weary of the world, believing that even Brutus,

whom he loves, has turned against him. His words

reflect self-pity and regret, particularly regarding

the state of their friendship and the consequences

of their actions.

(vii) Correct option: (c) the speaker sees both the present

and the past

Explanation: In Haunted Houses by Henry

Wadsworth Longfellow, the speaker perceives

both the present and the past, seeing the ghosts

and memories that linger in the house. However,

the stranger, who is unfamiliar with the place,

can only see what is physically present. The poem

emphasises how past experiences and spirits

remain present for those who have lived in a place.

(viii) Correct option: (d) The beauteous lively dame

Explanation: In The Glove and the Lions by Leigh

Hunt, Count de Lorge sighs for the “beauteous

lively dame”, the lady he admires. She tests his love

by dropping her glove into the lion’s den, expecting

him to retrieve it as proof of his devotion. However,

after successfully retrieving the glove, he throws it

back at her face, realising that her act was driven by

vanity rather than true affection.

(ix) Correct option: (a) (1) is false, but (2) is true

Explanation: The poem illustrates how the natural

world reacts with fear and uncertainty when great

trees fall, describing trembling rocks, hiding lions

and silent small creatures. This supports Statement

2. However, Statement 1 is incorrect because the

poem does not suggest that the world remains

permanently unstable; instead, it portrays an

initial period of grief and disorientation followed

by gradual healing and restoration, emphasising

that although loss is profound, life continues with

renewed awareness.

(x) Correct option: (b) respect for intelligent life

Explanation: Robert Frost observes a tiny mite on

his manuscript and recognises its intelligence,

hesitation and survival instincts. Rather than

harming it, he allows it to rest, appreciating its

display of mind. The poem conveys admiration

for even the smallest forms of intelligence, rather

than love, indifference, or anger, making respect for

intelligent life the best choice.

(xi) Correct option: (d) The wind lies asleep in the arms of

the dawn

Explanation: The given line “And in the sky the

feathered fly turn turtle while they’re winging”,

from The Power of Music uses personification, as

birds are described as turning turtle mid-flight

in response to the song. Similarly, option (d)

personifies the wind by describing it as lying asleep

inthearmsofthedawn,attributinghumanqualities

to natural elements.

(xii) Correct option: (c) He is unable to recognise his own

face

Explanation: In With the Photographer by Stephen

Leacock, the narrator is shocked when he sees

his photograph because the photographer has

heavily altered his facial features. His eyebrows are

redrawn, his mouth is adjusted, and even his hair

is removed. The excessive retouching makes the

narrator question whether the image is truly his,

leading him to ask, “Is it me?” out of disbelief.

(xiii) Correct option: (b) He encourages Martin to use the

stairs

Explanation: Martin’s father dismisses his concerns,

tells him to grow up and be brave, and watches TV

while ignoring Martin’s fear. However, he does

not encourage Martin to use the stairs. Instead, he

criticises Martin for doing so, implying that he is

weak and cowardly.

(xiv) Correct option: (b) 1, 3, 4, 2

Explanation: Leonard Mead loved to walk through

the empty streets at night, enjoying the silence and

solitude of the city. One night, as he was nearing

home, he was suddenly stopped by a police car, a rare sight in a world where walking was considered

unusual. A metallic voice from the car interrogated

him,questioninghisreasonsforbeingoutside.Since

his answers were deemed odd and unacceptable,

he was forced to enter the car and taken away to

the Psychiatric Centre for Research on Regressive

Tendencies.

(xv) Correct option: (b) Ghana

Explanation: Adjoa was born in a small village

in Ghana.

(xvi) Correct option: (a) He was not allowed to teach

French any longer

Explanation: In The Last Lesson, Prussia’s

annexation of Alsace-Lorraine led to an order from

Berlin mandating German as the sole medium of

instruction.M.Hamel,after40years,wascompelled

to leave because teaching French was banned.

(i) Antony states he has come “to bury Caesar, not

to praise him.” He emphasises that his presence

is for a solemn funeral oration, not a celebratory

eulogy. He explicitly denies any intention to praise

Caesar, suggesting neutrality. However, this is a

rhetorical tactic. He knows the crowd expects praise

at a funeral. By claiming he won’t praise Caesar, he

piques their interest and makes his eventual praise,

when it comes, more impactful. His true purpose,

masked by this pretence of objectivity, is to

manipulate the crowd against the conspirators. He

aims to transform public perception of Caesar from

a potential tyrant to a beloved leader, paving his

own path to power. He subtly implies that Caesar’s

good deeds are in danger of being forgotten,

stating, “The evil that men do lives after them; The

good is oft interred with their bones,” thus making

his “neutral” speech all the more necessary and,

therefore, effective.

(ii) Before allowing Antony to address the Roman

citizens, Brutus imposed three strict conditions to

prevent any direct challenge to the conspirators’

narrative. First, Antony was forbidden to blame

the assassins, ensuring that his speech would not

incite the people against them. Second, he had to

speak only after Brutus had addressed the crowd,

allowing the latter to shape public opinion first.

Third,Antonywasrequiredtodeclarethathespoke

with the conspirators’ permission, reinforcing their

authority. Brutus, believing in his own rhetoric,

underestimated Antony’s skill. Antony, though

adhering to these conditions in form, masterfully

circumvented them in spirit. His repeated reference

to “honourable men” drips with irony, subtly eroding

the credibility of Brutus’s words. His ability to work

within these constraints while simultaneously

turning the tide against the conspirators is a

testament to his political acumen.

(iii) Antony masterfully counters Brutus’s claim of

Caesar’s ambition with three key points, each

designed to resonate deeply with the crowd. He

begins by recalling how Caesar refused the crown

three times during the Lupercal festival, asking,

“Was this ambition?” A truly ambitious man would

have seized such power without hesitation. Next,

Antony points to Caesar’s generosity, noting how

he brought wealth to Rome by ransoming captives,

enriching the public treasury rather than himself.

Thisselflessnessstandsinstarkcontrasttothegreed

of an ambitious ruler. Finally, Antony stirs emotions

by reminding the crowd of Caesar’s compassion:

“When that the poor have cried, Caesar hath wept.”

Such empathy, he argues, is not the mark of a

power-hungry tyrant but of a leader who genuinely

cared for his people. These arguments, woven with

restraint and precision, gradually turn the crowd

against Brutus and his conspirators.

(iv) Throughout his funeral speech, Mark Antony

repeatedly refers to Brutus and the other

conspirators as honourable men. At first glance,

this seems like a gesture of respect, aligning with

his claim that he does not seek to discredit them.

However, the repetition of this phrase, “But Brutus

sayshewasambitious,andBrutusisanhonourableman”,

slowly turns into a weapon. Antony subtly shifts its

meaning, transforming it from an affirmation into

a bitter irony. By juxtaposing Brutus’s supposed

honour with examples of Caesar’s generosity and

lack of ambition, such as his refusals of the crown

and his sympathy for the poor, Antony forces

the crowd to question whether Brutus is truly

honourable. The phrase becomes laced with sarcasm,

sowing doubt and indignation among the Romans.

Each repetition chips away at Brutus’s credibility

until the people, inflamed with rage, are ready to

rise against the conspirators.

(v) Antony’s most impactful argument is his reminder

that Caesar refused the crown three times during

the Lupercal festival. This directly contradicts the

idea of ambition, as an ambitious man would have

eagerly accepted such power. The crowd, already

swayed by Antony’s emotional appeal, sees this as

undeniable proof of Caesar’s humility, making it

the most convincing point.

Before Antony’s speech, the citizens view him with

suspicion, as he is associated with Caesar, whom

they now consider a tyrant. However, by the end of

hisspeech,theirfeelingsshiftdramatically.Antony’s

skilful use of rhetoric, emotional appeals and subtle

hints at Caesar’s generosity and compassion turn

the crowd against Brutus and the conspirators. The

citizens,oncesupportiveofBrutus,arenowenraged

and call for revenge, showing how Antony’s words

have completely transformed their loyalty.

(i) Brutussays,“No,Cassius,no”inresponsetoCassius’s

suggestion that he might be captured and paraded

as a prisoner through Rome if they lose the battle.

Brutus, a man of great pride and principle, cannot

bear the thought of being led in disgrace through the streets of the city he sought to liberate. He

would rather die than suffer such humiliation. His

words, “And whether we shall meet again I know not,”

suggest an acknowledgement of the uncertainty

of war. This moment is deeply poignant, as he

and Cassius prepare for what could be their final

battle. The farewell they exchange carries a sense of

inevitability, foreshadowing their impending fates

and reinforcing the tragic weight of their choices.

(ii) Brutus refers to Caesar’s assassination when he

speaks of “the work which the Ides of March begun”.

The conspirators, led by Brutus and Cassius,

assassinated Caesar on the Ides of March, believing

it would restore the Republic and prevent

tyranny. However, their vision of Rome free

from dictatorship was never realised. If Brutus

and Cassius lose the battle, Rome will fall under

the rule of Octavius and Antony, who will likely

establish a new form of autocracy. This marks the

ultimate failure of the conspiracy, as their attempt

to preserve the Republic instead paves the way for

an empire, proving the futility of their actions.

(iii) Earlier in the scene, Cassius tells Messala about a

strange omen he observed while marching from

Sardis to Philippi. Two mighty eagles had perched

on their banners, feeding from the hands of their

soldiers, which he initially took as a good sign.

However, on the morning of the battle, the eagles

vanished, replaced by ravens, crows and kites

circling ominously above them. Cassius, who once

dismissed omens as mere superstitions, begins to

see this as a sign of their impending doom. This

change in his belief underscores his growing sense

of fatalism and foreshadows his tragic end.

(iv) Brutusdiesbyrunningontohisownsword,heldby

his loyal servant, Strato. His death is deeply ironic

because throughout his life, Brutus upheld Stoic

philosophy, which teaches endurance in the face

of suffering and rejection of suicide as an escape

from fate. He had earlier criticised Cato for taking

his own life, calling it cowardly. Yet, in the end, he

does exactly that, choosing death over dishonour.

His suicide marks his final acknowledgement that

their cause has failed, and that Rome will no longer

be what he fought for.

(v) Antony calls Brutus “the noblest Roman of them all”

because, unlike the other conspirators, Brutus did

not kill Caesar out of envy or ambition but out of a

sincere belief in the Republic. He acted with what

hethoughtwasRome’sbestinterestatheart,evenif

his actions were misguided. Antony, despite having

fought against him, acknowledges this purity of

intent. This moment reveals Antony’s ability to

recognise virtue, even in his enemies. Though he

has been ruthless throughout the play, Antony’s

words here show a sense of honour and respect

for true nobility, reinforcing the complexity of his

character.

(i) When the elevator door slid open on the third

floor, it revealed the same fat lady Martin had

encountered earlier that morning. She was an

imposing figure, clad in an old, green coat that

seemed to engulf her. Her face, with its large fleshy

cheeks and absence of a discernible chin, gave her

a somewhat piggish appearance. Her small, sharp

blue eyes, however, were the most striking feature,

fixated on Martin with an unsettling intensity that

made him deeply uncomfortable.

(ii) Martin’s fear of the elevator was multifaceted. The

elevator itself was old and poorly maintained, with

dim lighting, dirty walls and a tendency to shudder

disconcertingly with every stop. Its claustrophobic

dimensions amplified his unease, especially when

other passengers were present. The constantly

malfunctioning door, which slammed shut with

a jarring clang, further exacerbated his anxiety.

Beyond these physical attributes, Martin harboured

a deep-seated fear of being trapped alone inside

the elevator, a fear that was only heightened by the

building’s eerie atmosphere.

(iii) Martin’s fall down the stairs was a direct

consequence of his escalating fear of the fat lady.

Upon seeing her waiting for him on the third floor,

his anxiety reached a breaking point, compelling

him to flee in a blind panic. The dimly lit stairwell

and his haste led to his unfortunate tumble. This

fall resulted in a broken leg, necessitating the use of

crutches and rendering him incapable of using the

stairs, a consequence that would later prove to be a

critical turning point in his predicament.

(iv) The story concludes with a chilling climax that

leaves Martin trapped and helpless. After his father

departs the elevator on the ninth floor, seemingly

oblivious to Martin’s pleas to accompany him, the

elevator stops on the tenth floor where the fat

lady awaits. She quickly steps inside, closing the

door behind her, effectively sealing Martin’s fate.

The element of horror is amplified by her sinister

greeting, “Hello, Martin,” followed by a chilling

laugh as she presses the Stop button, bringing

the elevator to an abrupt halt. This ending leaves

the reader with a sense of dread and unease,

highlighting Martin’s vulnerability and the fat

lady’s malevolent intentions.

(v) Martin’s father views him as a “coward” and a

“fool”, constantly criticising his timidity and lack

of bravery. He seems more concerned with Martin

conforming to traditional notions of masculinity

than with understanding his fears. This reveals

him to be a rather unsympathetic and emotionally

unintelligent character, more focused on outward

appearances than his son’s genuine anxieties. He

appears dismissive and even scornful of Martin’s

concerns, prioritising his own perception of how a

man should behave over his son’s well-being. This

ultimately contributes to Martin’s vulnerability and

isolation, as he is left to face his fears alone.

(i) In the extract, the word that refers to the order

from Berlin mandating that only German be taught

in the schools of Alsace and Lorraine. This decree,

signifying the imposition of Prussian control over

their education and culture, comes as a shock to the

community. The bulletin board outside the town

hall had been a source of distressing news for the

past two years, delivering announcements of lost

battles, military drafts and various orders from the

commanding officer – all grim reminders of the

ongoing war and its consequences.

(ii) Franz, the narrator, vividly describes the typical

start of a school day as a scene brimming with

energy and activity. He recounts the “great bustle”

that permeated the air, audible even from the street

outside. The sounds of desks being opened and

closed, students reciting lessons in unison, their

voices echoing through the classroom, and the

authoritative rap of the teacher’s ruler on the table

all contribute to the vibrant atmosphere. This lively

portrayal captures the essence of a regular school

day, filled with the youthful energy of students and

the ever-present authority of the teacher, creating a

sense of normalcy that is now on the verge of being

disrupted.

(iii) On this particular morning, Franz observes a stark

contrast to the usual commotion. Instead of the

customary hustle and bustle, an unusual silence

pervades the school. The students are already

seated, and M. Hamel walks up and down with

his iron ruler, the atmosphere heavy with a sense

of gravity and foreboding. This unusual quietness

reflects the sombre mood that has settled over the

school in light of the impending changes.

(iv) M. Hamel’s announcement that it was their last

French lesson triggers a wave of regret and remorse

in Franz. He laments his past negligence towards

his studies, recalling his preference for leisurely

activities like searching for birds’ eggs and going

sliding on the Saar. His books, once a burden, now

appear as cherished companions, symbolising the

opportunities he has squandered. The thought of

losing M. Hamel and the familiar comfort of his

French lessons fills him with a sense of loss and

apprehension about the uncertain future.

(v) In his final lesson, M. Hamel passionately urges

his students and the villagers to never forget their

French language and heritage. He emphasises the

importance of preserving their linguistic identity,

especially in the face of occupation, stating that

“when a people are enslaved, as long as they hold

fast to their language, it is as if they had the key

to their prison.” He sees language as a means of

resistance and a symbol of their cultural freedom.

At the end of the lesson, M. Hamel summons all

his strength and writes “Vive La France!” on the

blackboard. These words, meaning “Long Live

France!”, are a powerful declaration of patriotism

and a poignant reminder of their national identity.

Through his final words and actions, M. Hamel

hopes to inspire a sense of pride and unity among

his students and the villagers. He wants them to

remember their French heritage and resist cultural

assimilation.Bydemonstratinghisownunwavering

dedication to his country and language, he aims to

instil in them a sense of resilience and hope for the

future. He wants them to remember that even in

the face of adversity, their language and culture are

worth preserving and fighting for.

(i) The poem opens with King Francis, a jovial

monarch, enjoying a royal spectacle where lions

are engaged in combat within a pit. The scene is

set in a grand arena, with nobles and elegantly

dressed ladies seated around, observing the event

with great interest. Among them sits the Count de

Lorge, accompanied by his beloved, adding a touch

of romance to the already captivating atmosphere.

The presence of the king, the valorous knights, the

elegant ladies, and the fierce lions below creates a

thrilling spectacle that embodies the spirit of the

era.

(ii) Leigh Hunt masterfully employs vivid imagery to

depict the ferocity of the lions. He describes them

as “ramped and roared”, with “horrid laughing

jaws”, which creates a striking visual and auditory

impression. The phrase “they bit, they glared, gave

blows like beams” emphasises their violent and

powerful actions, while “a wind went with their

paws” suggests the immense force behind their

movements. The “bloody foam above the bars” and

the“thunderoussmother”ofsandandmanefurther

enhance the chaotic and intense atmosphere of the

fight. These descriptions not only bring the scene to

life but also convey the raw power and danger of

the lions, making the reader feel as though they are

witnessing the spectacle firsthand.

(iii) The ‘beauteous lively dame’ is the lady admired

by Count de Lorge. She is portrayed as having

“smiling lips and sharp bright eyes,” indicating her

cheerful and alert nature. To test Count de Lorge’s

love and bravery, she deliberately drops her glove

into the lion’s pit, expecting him to retrieve it. Her

action is driven by a desire to prove his devotion

and to gain admiration from the king and the court.

She believes that such a daring act will not only

demonstrate his love for her but also bring her great

glory and recognition. This act reflects her vanity

and the societal expectations of courtly love and

valour.

(a) This line describes the lady’s constant appearance

of cheerfulness and alertness. Her smiling lips

suggest a pleasant and amiable demeanour, while

her sharp bright eyes indicate her keen and lively

nature, which remains consistent and unchanging.

(b) This phrase suggests that the moment is

exceptionally perfect and significant, imbued with a sense of grandeur and importance. It implies

that the situation is ideal for a remarkable and

memorable act, elevating the event to a divine or

extraordinary level.

(c) King Francis remarks that it is far safer and more

comfortable to observe the lions from a distance

rather than being in the pit with them. This

statement underscores the danger and ferocity of

the lions, highlighting the wisdom of staying at a

safe remove from such perilous creatures.

(v) King Francis exclaims “rightly done!” in response

to Count de Lorge’s daring retrieval of the lady’s

glove from the lion’s pit and his subsequent act of

throwing it back in her face. The Count’s action

demonstrates his courage in facing the lions, but

it also signifies his disdain for the lady’s vanity

in testing his love. King Francis applauds this act

because it underscores the distinction between

genuine bravery and mere vanity. The Count

likely behaved in this manner to convey that true

valour is not about performing reckless acts for

superficial approval but about maintaining one’s

dignity and self-respect. His response critiques the

lady’s frivolous challenge and highlights the folly

of risking one’s life for the sake of vain glory. This

act serves as a powerful commentary on the nature

of true courage and the superficiality of societal

expectations.

(i) Initially, the narrator imagined the ‘speck’ to be a

mere particle of dust, possibly blown by his breath.

The use of the word ‘speck’ suggests something

tiny and insignificant, almost negligible in the

grand scheme of things. However, as he observed

it more closely, he realised it was a ‘mite,’ a small,

living creature with its own inclinations and will.

This shift in terminology from ‘speck’ to ‘mite’

reflects the narrator’s growing awareness of the

speck’s complexity and individuality. The choice

of words highlights the narrator’s realisation that

even the smallest beings can possess a form of life

and agency, challenging his initial perception of

insignificance.

(ii) The narrator was engaged in writing when he

spotted the speck. The words “manuscript”

and “pen” from the poem help to confirm this

conclusion. The narrator mentions having his pen

poised in the air, ready to stop the speck with a

period of ink, indicating that he was in the process

of writing. The speck’s movement across the

manuscript further suggests that the narrator was

deeply involved in a literary activity. This context

sets the stage for the narrator’s detailed observation

of the mite, as his focus on writing allowed him to

notice and ponder the tiny creature’s actions.

(iii) The narrator realised he was dealing with

an intelligence when he observed the mite’s

behaviour. The mite paused with suspicion of the

pen, raced wildly, paused again, and then turned

to fly with loathing. These actions indicated a level

of awareness and decision-making that suggested

the mite had its own inclinations and responses to

its environment. The narrator’s observation of these

deliberate actions led him to conclude that the mite

possessed a form of intelligence. This realisation

was significant because it challenged the narrator’s

initial assumption that such a tiny creature could

not exhibit signs of thought or intention.

(iv) Despiteitstinysize,themite’sactionssuchasracing,

pausing and turning implied the presence of feet

that allowed it to express its desire to avoid danger.

The narrator inferred that such precise movements

wouldnotbepossiblewithoutacompletesetoffeet,

which the mite used to navigate its environment

and attempt to escape. This conclusion was drawn

from the mite’s evident ability to move quickly and

change direction, suggesting it had the necessary

physical attributes to do so.

(v) The narrator’s initial response to the speck was

one of curiosity and contemplation. He observed

the mite’s movements and behaviour, noting its

apparent intelligence and will to survive. Despite

his initial intention to stop the mite with a drop of

ink, he eventually decided to let it live, allowing

it to lie on the manuscript until he hoped it slept.

This decision reflects the narrator’s respect for

life and individuality, even in its smallest forms.

He recognises the mite’s display of mind and

intelligence, which resonates with his own values.

This decision reveals the narrator’s empathetic and

thoughtful character, as he chooses to spare the

mite’s life out of a recognition of its intrinsic worth

and a rejection of unnecessary harm. His actions

demonstrate a deep appreciation for the presence

of mind and consciousness, regardless of the form

it takes. The narrator’s decision to let the mite live

underscores his belief in the value of all intelligent

life, no matter how small or seemingly insignificant.

Thisactofmercyandrespectforthemite’sexistence

highlights his compassionate and reflective nature,

as well as his ability to find significance in the

minutiae of life.

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