One Centimetre (Bi Shu-Min) — NCERT Solutions

Given: At the end of the story, Tao Ying is proved innocent of the accusation of cheating at the temple.

Concept: The importance of public vindication for personal dignity and parental authority.

Answer: Tao Ying's final vindication was important for several interconnected reasons:

(i) Restoration of self-respect: Tao Ying had been publicly accused of being dishonest — of trying to sneak her son past the ticket counter. This was deeply wounding because she had, in fact, made a conscious and costly moral choice to buy the ticket honestly. Being proved right restored her sense of self-worth.

(ii) Her son's perception of her: The most painful aspect of the accusation was that it happened in front of Xiao Ye. Throughout the story, Tao Ying's greatest concern is to be a good moral example to her son. The accusation threatened to destroy the image of an honest, upright mother that she had worked so hard to project and to be. Her vindication meant that Xiao Ye could see, clearly and conclusively, that his mother was not a cheat — that she had been right all along.

(iii) Validation of her moral choices: Tao Ying had sacrificed financially (buying the ticket when she could have argued against it) and emotionally (enduring the accusation and the conflict with her son) in order to do the right thing. Without vindication, all that sacrifice would have seemed pointless. The vindication confirmed that her ethical choices had meaning and value.

(iv) Justice over convenience: The story suggests that ordinary people are often steamrolled by institutions and authority figures. Tao Ying's refusal to accept a quiet financial settlement and her insistence on a proper acknowledgement of the truth was a small but significant assertion of the individual's right to justice — important not just for her but as a statement about human dignity in general.

This is a discussion topic. The following points can be developed in pairs or groups:

Key argument: Children and adults interpret the same events through entirely different frameworks of understanding, experience, and priority.

Evidence from the story:
(i) The height measurement: For Tao Ying, the measuring rod at the temple gate is an instrument of a financial and ethical decision. For Xiao Ye, it is a measure of his worth and maturity — being 'tall enough' to need a ticket means being grown-up. When the old woman's scales show him as 1 metre 11 cm, he is overjoyed; when his mother wants to re-measure him, he feels betrayed.

(ii) The ticket incident: Tao Ying understands the complex moral calculus involved — the cost of the ticket, the rule, the need to set an example. Xiao Ye simply sees his mother as someone who does not want to spend money on him.

(iii) The tape measure: For Tao Ying it is a neutral instrument of truth; for Xiao Ye it has become a 'poisonous viper' — a symbol of his mother's distrust.

Broader reflection: Children live in a world of feelings, immediate perceptions, and concrete symbols. Adults live in a world of consequences, social rules, and abstract principles. This gap is universal and is the source of much misunderstanding between parents and children. The story beautifully captures how the same action — measuring a child's height — can be an act of love for one and an act of betrayal for the other.

This is a discussion topic. The following points can be developed:

Key argument: Human beings constantly negotiate between their private, imperfect selves and the ideal self they wish to present to the world.

Evidence from the story:
(i) Tao Ying's bus ticket behaviour: When alone, Tao Ying sometimes does not buy a bus ticket if she thinks she can avoid it. But in front of her son, she is scrupulously honest. There is a gap between her private ethical standard and the standard she wishes to model for Xiao Ye.

(ii) The temple incident: Tao Ying momentarily considers not buying Xiao Ye's ticket (since he is only slightly over the limit), but she overcomes this impulse. The gap between temptation and action is the gap between what she 'really is' (a fallible human being) and what she wishes to be (a perfectly honest mother).

(iii) The old woman's scales: The old woman's 'flattering scales' are a literal metaphor for this theme — they show people as taller and slimmer than they are, because people wish to appear better than they are.

(iv) The temple officials: They offer money instead of a genuine apology, wishing to appear just and generous while actually avoiding accountability.

Broader reflection: This gap is not necessarily hypocritical — it can be the engine of moral growth. Tao Ying's desire to appear honest to her son gradually makes her more genuinely honest. The aspiration to be better than we are is part of what makes us human. However, when the gap is never closed — when appearance permanently replaces reality — it becomes a form of self-deception and social dishonesty.

Given: The first sentence of the story is: 'Tao Ying found her life becoming more focused, more challenging.'

Significance:
(i) Introduction of the central theme: The sentence immediately establishes that the story is about personal growth and the demands that life places on an individual. The words 'focused' and 'challenging' suggest that something — or someone — has given Tao Ying's life a new direction and a new set of difficulties.

(ii) The agent of change: The sentence is deliberately vague about what has caused this change, creating narrative suspense. As the story unfolds, we understand that it is her son Xiao Ye who has made her life both more purposeful and more demanding. Motherhood has sharpened her moral awareness.

(iii) Thematic foreshadowing: The word 'challenging' foreshadows the central conflict of the story — the temple incident, the false accusation, the conflict with her son over the tape measure. These are all 'challenges' that test Tao Ying's character.

(iv) Tone: The sentence sets a quiet, reflective tone. It does not begin with drama or action but with an interior observation, signalling that this is a story about inner life and moral consciousness rather than external adventure.

In sum, the first sentence is a compressed statement of the story's entire thematic concern: how the presence of a child transforms an ordinary woman's life into a moral and emotional journey.

Answer: The author's portrayal of Tao Ying is best described as realistic, with a strong undercurrent of sympathy.

Realistic: The author does not idealise Tao Ying. She is shown to have moral inconsistencies — she sometimes avoids buying bus tickets when alone, she is momentarily tempted to cheat at the temple, and she is preoccupied with money. These are the ordinary compromises of a working-class woman trying to survive. The author presents them without judgment, as facts of life.

Sympathetic: At the same time, the narrative consistently invites the reader to understand and admire Tao Ying. Her love for her son, her fierce desire to be a good mother, her courage in standing up to the temple officials despite her humble social position, and her refusal to accept money in place of justice — all these qualities earn the reader's respect. The author gives us access to Tao Ying's inner thoughts, which are always honest and self-aware.

Not critical: The author never mocks or condemns Tao Ying. Even her small ethical lapses are presented as understandable responses to economic pressure, not as character flaws.

Conclusion: The portrayal is realistic in its honesty about human imperfection and sympathetic in its deep respect for the dignity and moral seriousness of an ordinary woman. This combination makes Tao Ying one of the most fully human characters in the story.

Definition: Ambivalence in ethics means holding two conflicting moral attitudes simultaneously — knowing what is right but being tempted to do otherwise, or acting differently in different contexts.

Episodes from the story:

(i) The bus ticket episode: Tao Ying's behaviour on buses is the clearest example of ethical ambivalence. When alone, she sometimes does not buy a ticket (if the journey is short and she thinks she can avoid the conductor). When with her son, she always buys tickets for both. She is not consistently honest or consistently dishonest — her ethics shift depending on who is watching. This is a very human and very common form of moral ambivalence.

(ii) The temple ticket episode: Tao Ying knows Xiao Ye is over 110 cm and therefore needs a ticket. For a moment she considers not buying one — perhaps arguing that he is borderline. She is torn between financial necessity and honesty. She resolves the conflict in favour of honesty, but the temptation itself reveals ambivalence.

(iii) The measuring rod at the temple gate: The officials use a measuring rod to enforce the height rule, but the rod itself may not be accurate. The officials apply the rule rigidly when it suits them (accusing Tao Ying) but are willing to offer money to make the problem go away — showing that their commitment to rules is itself ambivalent.

(iv) The old woman's scales: The old woman knows her scales are inaccurate but continues to use them, justifying the inaccuracy as 'flattery' and 'fitness measurement'. She is simultaneously kind (she wants to make people happy) and dishonest (she is deceiving them). This is a gentle but clear example of ethical ambivalence.

These episodes collectively suggest that ethical ambivalence is not a sign of wickedness but a universal feature of human moral life.

Definition: 'Unity of thought' in a narrative means that all elements of the story — plot, character, imagery, tone — work together to develop a single central idea or theme.

Narrative technique in 'One Centimetre':

(i) Close third-person narration: The story is told from a perspective very close to Tao Ying's consciousness. The reader has access to her thoughts, doubts, and feelings. This ensures that every event is filtered through the story's central concern: what does it mean to be a good mother and an honest person?

(ii) The recurring motif of measurement: The title itself — 'One Centimetre' — points to the central symbol. The one centimetre by which Xiao Ye exceeds the free-entry height is the pivot around which the entire story turns. Measurement — of height, of worth, of honesty — recurs throughout: the bus ticket rule, the temple height rule, the old woman's scales, the tape measure at home. Every instance of measurement is also a moral measurement, reinforcing the theme of how we judge and are judged.

(iii) Episodic structure with thematic coherence: The story moves through several episodes (bus journeys, the temple visit, the ice-cream stall, the return home, the workplace). Each episode seems self-contained but all contribute to the same theme: the tension between private imperfection and public integrity, and the transformative power of a child's trust.

(iv) Imagery: Images such as the 'poisonous viper' (the tape measure), 'ice in her son's eyes', and the 'camouflage uniform' cakes all reflect Tao Ying's distracted, guilt-ridden state of mind, maintaining unity of emotional tone.

Conclusion: The narrative technique is highly effective in achieving unity of thought. The story never loses sight of its central idea — the moral and emotional demands of motherhood — and every narrative choice serves to illuminate it from a different angle.

SIMILES (explicit comparisons using 'like' or 'as'):

(i) 'As the doors shut her jacket is caught, ballooning up like a tent behind her.'
— Elements compared: the ballooning jacket and a tent.
— Manner: The jacket puffs up and gets trapped in the bus door; the shape and size of the inflated jacket is compared to a tent. The word 'like' makes the comparison explicit.

(ii) 'The white of the wall looks like a virgin canvas and Xiao Ye a painting filling up the space.'
— Elements compared (first simile): the white wall and a virgin (unused) canvas.
— Elements compared (second simile): Xiao Ye and a painting.
— Manner: The pristine whiteness of the wall is compared to a blank canvas waiting to be painted on; Xiao Ye, standing against it, is compared to a painting that fills the empty space. The second 'like' is understood (implied).

(iii) 'He trips. One moment he is in the air, taking flight like a bird...'
— Elements compared: Xiao Ye in the air after tripping and a bird in flight.
— Manner: The brief moment of weightlessness and the spread of limbs as Xiao Ye trips is compared to a bird taking flight. 'Like' makes the comparison explicit.

(iv) 'Chef! Your cakes look as if they are wearing camouflage uniforms, all black and brown!'
— Elements compared: the burnt, patchy cakes and camouflage uniforms.
— Manner: The irregular black and brown burn marks on the cakes resemble the mottled pattern of military camouflage. 'As if' signals the simile.

METAPHORS (implicit comparisons without 'like' or 'as'):

(i) 'But in order to melt the ice in her son's eyes, she must do something.'
— Elements compared: the coldness/distance in Xiao Ye's eyes and ice.
— Manner: The emotional coldness and withdrawal of the son is described directly as 'ice', without using 'like'. The verb 'melt' extends the metaphor — just as ice melts with warmth, the son's coldness can be dissolved by his mother's love and action.

(ii) 'The yellow tape in Tao Ying's hands has turned into a poisonous viper.'
— Elements compared: the tape measure and a poisonous snake.
— Manner: In Xiao Ye's perception, the tape measure — which his mother wants to use to re-measure him — has become something dangerous and threatening, like a viper. The transformation is stated directly, not as a comparison but as a fact, which is the hallmark of metaphor.

(iii) 'Tao Ying finds her life becoming more focused, more challenging.' (implied metaphor)
— The word 'focused' is borrowed from optics (a lens bringing light to a point) and applied metaphorically to a human life gaining purpose and direction.

Summary Table:

Rule: For two-syllable words that function as both noun and verb, the stress generally falls on the FIRST syllable when used as a NOUN and on the SECOND syllable when used as a VERB. The vowel sound in the unstressed syllable often reduces to a schwa /ə/.

1. CONDUCT

(i) As a noun: 'CON-duct — stress on first syllable.
— Pronunciation of first syllable: /kɒn/ (as in 'con', 'bond', 'fond')
— Example sentence: His conduct was exemplary.
— Rhymes with first syllable: con, bond, fond, pond.

(ii) As a verb: con-'DUCT — stress on second syllable.
— Pronunciation of first syllable: /kən/ (reduced, schwa sound, as in 'concern')
— Example sentence: She will conduct the orchestra.
— Yes, the first syllable changes from a full /ɒ/ vowel to a reduced /ə/ (schwa).

2. PROTEST

(i) As a noun: 'PRO-test — stress on first syllable.
— Pronunciation of first syllable: /prəʊ/ (as in 'pro', 'go', 'show')
— Example sentence: The protest lasted three days.
— Rhymes with first syllable: pro, go, show, flow.

(ii) As a verb: pro-'TEST — stress on second syllable.
— Pronunciation of first syllable: /prə/ (reduced schwa)
— Example sentence: They will protest against the decision.
— Yes, the first syllable vowel reduces.

3. PERMIT

(i) As a noun: 'PER-mit — stress on first syllable.
— Pronunciation of first syllable: /pɜː/ (as in 'per', 'her', 'stir')
— Example sentence: You need a permit to enter.
— Rhymes with first syllable: her, stir, fur, blur.

(ii) As a verb: per-'MIT — stress on second syllable.
— Pronunciation of first syllable: /pə/ (reduced schwa)
— Example sentence: I cannot permit this behaviour.
— Yes, the first syllable vowel reduces to a schwa.

4. PROGRESS

(i) As a noun: 'PRO-gress — stress on first syllable.
— Pronunciation of first syllable: /prəʊ/ (as in 'pro', 'go', 'show')
— Example sentence: The progress of the project is satisfactory.
— Rhymes with first syllable: pro, go, show, flow.

(ii) As a verb: pro-'GRESS — stress on second syllable.
— Pronunciation of first syllable: /prə/ (reduced schwa)
— Example sentence: How are you progressing with your work?
— Yes, the first syllable vowel reduces.

5. DESERT

(i) As a noun: 'DES-ert — stress on first syllable.
— Pronunciation of first syllable: /dez/ (as in 'dez', rhymes with 'fez', 'says')
— Example sentence: The Sahara is the world's largest desert.
— Rhymes with first syllable: fez, says, pez.

(ii) As a verb: de-'SERT — stress on second syllable.
— Pronunciation of first syllable: /dɪ/ (as in 'di', reduced)
— Example sentence: He decided to desert his post.
— Yes, the first syllable changes significantly from /dez/ to /dɪ/.

Summary Table:

Conclusion: In all five words, when the word shifts from noun to verb, the stress moves from the first syllable to the second, and the vowel in the first syllable typically reduces to a schwa /ə/ or changes quality. This is a regular pattern in English for two-syllable noun-verb pairs.