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Childhood — Markus Natten

🎓 Class 11 English CBSE Theory Ch 4 — The Ailing Planet ⏱ ~35 min
🌐 Language: [gtranslate]

This CBSE English Passage Assessment will be based on: Childhood — Markus Natten

Assessment Format:
• 2 Short Answer Questions (2 marks each) = 4 marks
• 2 Fill in the Blanks Questions (1 mark each) = 2 marks
• 2 Short Answer Questions (1 mark each) = 2 marks
• 2 Multiple Choice Questions (1 mark each) = 2 marks
Total: 8 Questions, 10 Marks

This CBSE English Grammar Assessment will be based on: Childhood — Markus Natten

Assessment Format:
• 10 Randomized Grammar Questions (1 mark each)
• Question Types: Fill in the Blanks, MCQs, Error Identification, Reported Speech, Sentence Completion
Total: 10 Questions, 10 Marks

This English Vocabulary assessment will be based on: Childhood — Markus Natten
Targeting Vocabulary & Usage with Intermediate difficulty.

📖 Before You Read — Anticipation Guide

Markus Natten's poem asks a question all of us eventually ask. Prepare your thoughts before reading.

1. Can you recall a specific moment when you first realised that an adult you respected was being hypocritical — saying one thing and doing another? How did that feel?

This discovery — that adults are fallible, inconsistent, and sometimes dishonest — is one of the defining experiences of growing up. Natten's second stanza is about exactly this moment. It is not cynicism; it is the painful awakening of critical awareness. The feeling is usually a mixture of disappointment, confusion, and a new sense of independence.

2. The poem has three stanzas, each beginning "When did my childhood go?" and the final one asking "Where did my childhood go?" What is the significance of the shift from "when" to "where"?

The shift from "when" to "where" is crucial. The first three stanzas try to locate childhood in time — at what specific moment did it end? The final stanza accepts that no single moment can be identified, so it asks about place instead — where does childhood go when it leaves? The answer is poignant: to a forgotten place, hidden in an infant's face. The question shifts from history to geography, from time to space — and finds that childhood does not die but simply migrates.

3. The poem's three stanzas each address one concept: rationalism, hypocrisy, individuality. Before reading, predict: which stanza deals with which concept, and in what order does childhood typically confront them?

Stanza 1 — Rationalism: the child questions whether Heaven and Hell are real geographical places. Stanza 2 — Hypocrisy: the child sees adults preaching love but not practising it. Stanza 3 — Individuality: the child discovers their own mind. This is the natural sequence of growing up: first you question dogma, then you question authority, then you claim your own selfhood.

4. The poem ends: "It went to some forgotten place, / That's hidden in an infant's face, / That's all I know." Why does the poet say "That's all I know"? Is this an admission of ignorance, or something more?

"That's all I know" is a deliberate understatement — a confession of the limits of adult understanding. Having searched for childhood across time and reason, the poet can only gesture toward it. It suggests that childhood is ultimately beyond the adult mind's capacity to fully recover or explain. The simplicity of the final answer, after so much searching, creates the poem's emotional power: childhood is not analysable — it can only be glimpsed.

About the Poet

MN
Markus Natten
Contemporary Lyric Poetry Coming-of-Age

Markus Natten is a relatively lesser-known poet whose single most celebrated work is "Childhood" — included in the NCERT Hornbill anthology. Little biographical information is publicly available about the poet, which perhaps adds to the poem's appeal: it reads as universally autobiographical, belonging to any reader who has moved from childhood into adulthood. The poem is deceptively simple in form — four stanzas of six lines each, with a refrain — but its themes (rationalism, hypocrisy, individuality, and the irreversibility of growing up) are among the most significant in literary and philosophical tradition. It is a poem not about one person's childhood, but about the universal experience of becoming an adult.

The Poem — Childhood (Complete)

Childhood
— Markus Natten
Repetition Irony Symbolism
Stanza 1 — Rationalism
1When did my childhood▸ go? 2Was it the day I ceased to be eleven, 3Was it the time I realised that Hell and Heaven, 4Could not be found in Geography, 5And therefore could not be, 6Was that the day!
Stanza 2 — Hypocrisy
7When did my childhood go? 8Was it the time I realised that adults were not 9all they seemed to be, 10They talked of love and preached of love, 11But did not act so lovingly, 12Was that the day!
Stanza 3 — Individuality
13When did my childhood go? 14Was it when I found my mind was really mine, 15To use whichever way I choose, 16Producing thoughts that were not those of other people 17But my own, and mine alone 18Was that the day!
Stanza 4 — The Answer
19Where did my childhood go? 20It went to some forgotten place, 21That's hidden in an infant's face, 22That's all I know.

Stanza-by-Stanza Explanation

Stanza 1 — Rationalism: The End of Literal Belief (Lines 1–6)

The poem opens with a question repeated across three stanzas: "When did my childhood go?" This refrain Repetition creates the structure of the poem — each stanza proposes a different possible answer. The first candidate: the day the child ceased to be eleven. The specific age is significant — eleven is the threshold between childhood and adolescence, the age when abstract reasoning begins. The child realises that Heaven and Hell, as taught in religious education, cannot be located in Geography — on any map, in any atlas, in any physical terrain. Irony The logical inference is blunt and childlike in its directness: "And therefore could not be" — if they cannot be found anywhere, perhaps they do not exist. This is the child's first act of rational scepticism — applying the tools of geography and logic to religious belief. The exclamation "Was that the day!" is simultaneously a question mark and an exclamation — the child is not certain, but the moment feels significant.

Stanza 2 — Hypocrisy: The Fall of the Adult World (Lines 7–12)

The second stanza proposes a different turning point: the discovery that adults are hypocritical. "Adults were not all they seemed to be" is a devastating observation in its simplicity. Irony Children are taught that love is central to human life — but the child observes that adults "talked of love and preached of love / But did not act so lovingly." Irony The contrast between preaching and practice — between words and actions — is the discovery of hypocrisy. This is a loss of a different kind: not just of religious innocence, but of trust in authority figures. The adults whom the child looked up to as models of virtue are revealed as flawed, inconsistent, and self-deceiving. The refrain "Was that the day!" recurs — again uncertain, but raw with emotion.

Stanza 3 — Individuality: The Birth of the Self (Lines 13–18)

The third proposed turning point is the most positive — but also the most final: the discovery of one's own independent mind. "I found my mind was really mine" — a simple statement of enormous philosophical weight. Symbolism The child realises that their mind is not a vessel for others' thoughts (parents, teachers, religious authorities) but a sovereign instrument of their own. "Producing thoughts that were not those of other people / But my own, and mine alone" — the possessive intensification ("my own, and mine alone") captures the excitement and pride of intellectual selfhood. This stanza is framed positively — unlike the disappointment of the first two stanzas, this is a discovery rather than a disillusionment. Yet it is still a loss of childhood, because childhood's innocence depended on receiving the world pre-interpreted by adults. To think for oneself is to leave that safety behind.

Stanza 4 — The Answer: Childhood's Hidden Place (Lines 19–22)

The final stanza shifts the question from "when" to "where" — a crucial change. Having been unable to identify the precise moment of childhood's departure, the poet asks where it went. The answer: "to some forgotten place, / That's hidden in an infant's face." Symbolism This is both sad and quietly consoling. Childhood does not die — it migrates. It retreats into the faces of the youngest children, who have not yet undergone the three stages described above. The line "That's all I know" is the poem's most affecting moment — a sudden, humble admission of the limits of adult understanding. After three stanzas of analytical searching, the poet can only gesture toward childhood's location, not explain it. The simplicity of the final stanza — only four lines against the six of the others — creates a sense of diminishment, of something irretrievably lost.

Literary Devices

DeviceExample from PoemEffect
Repetition / Refrain "When did my childhood go?" (Stanzas 1, 2, 3) / "Was that the day!" (ends each of first three stanzas) The refrain creates the poem's structure and rhythm, like a recurring question that drives the poem forward. "Was that the day!" becomes increasingly charged — it is simultaneously a question and an exclamation, conveying both uncertainty and emotional weight.
Irony "They talked of love and preached of love, / But did not act so lovingly" The gap between what adults say and what they do is sharply ironic. The repetition of "love" (talked / preached) against the negation "did not act so lovingly" makes the contradiction stark and unmistakable — a child's clean-eyed observation of adult hypocrisy.
Symbolism "hidden in an infant's face" The infant's face symbolises preserved, untouched innocence — childhood in its purest form, before rationalism, hypocrisy, and individuality have entered. It is a symbol of all that adults have lost and can only look at from outside.
Rhetorical Question "When did my childhood go?" / "Where did my childhood go?" The entire poem is structured around rhetorical questions — questions asked not to receive a definitive answer but to explore a feeling. The shift from "when" to "where" enacts the poem's movement from time to space, from history to geography, acknowledging that no single moment can be named.
Parallelism Three stanzas of equal length, identical opening line, identical closing line The parallel structure creates order and balance — appropriate for a poem about the orderly, staged progression of growing up. Each stanza adds one more loss to the accumulating picture of departed childhood.
Imagery "hidden in an infant's face" / "some forgotten place" The final image is visual and spatial — childhood as something physically located but inaccessible, like a place you can see but cannot enter. "Forgotten place" evokes both amnesia and distance — we once lived there but can no longer find the way back.

Theme Web — Childhood

The Three Losses of Growing Up

The poem maps three distinct moments of loss that together constitute the departure of childhood.

Loss of Childhood Rationalism Stanza 1 — Questioning belief Hypocrisy Stanza 2 — Adult flaws Loss of Trust in Authority Individuality Stanza 3 — Own mind Preserved in Infant's Face Stanza 4 "Some forgotten place"

Extract-Based CBQ

CBQ

Extract — Stanzas 2 and 4

When did my childhood go?
Was it the time I realised that adults were not
all they seemed to be,
They talked of love and preached of love,
But did not act so lovingly,
Was that the day!

Where did my childhood go?
It went to some forgotten place,
That's hidden in an infant's face,
That's all I know.
Q1. Identify the stanza that talks of each of the following: individuality, rationalism, hypocrisy.
L2 Understand
Answer:
Rationalism — Stanza 1: "Was it the time I realised that Hell and Heaven / Could not be found in Geography / And therefore could not be" — the child applies rational/geographical reasoning to religious concepts.
Hypocrisy — Stanza 2: "They talked of love and preached of love / But did not act so lovingly" — the gap between adult preaching and adult behaviour.
Individuality — Stanza 3: "I found my mind was really mine / To use whichever way I choose / Producing thoughts that were not those of other people / But my own, and mine alone."
Q2. What is involved in the process of growing up, according to the poem?
L3 Apply
Answer: According to the poem, growing up involves three progressive losses/discoveries: (i) Rationalism — the child begins to question religious and metaphysical beliefs on empirical grounds (Heaven and Hell not findable in Geography); (ii) Disillusionment with adults — the child discovers hypocrisy: adults who preach values they do not practise; (iii) Individuality — the child claims their own mind, becoming capable of original thought independent of external authority. Together these constitute a movement from innocent acceptance to critical, self-determining adulthood. Each gain (of reason, of insight, of selfhood) is simultaneously a loss of childhood's trusting, wonder-filled simplicity.
Q3. What is the poet's feeling towards childhood? Is the poem nostalgic, celebratory, or something more complex?
L5 Evaluate
Answer: The poem is primarily nostalgic but also quietly accepting. The poet searches for childhood with genuine longing — repeating the question across three stanzas suggests he cannot stop thinking about it. Yet there is no bitterness. The third stanza — the discovery of one's own mind — is presented almost with pride. The poem recognises that growing up brings both loss and gain, and that childhood is not destroyed but preserved in the faces of infants. The tone is wistful rather than bitter — the regret of someone who has gained wisdom but misses wonder. "That's all I know" carries both resignation and a gentle wonder: some things cannot be fully explained by the adult mind.
Q4. Write a paragraph (80–100 words) from the perspective of an infant, describing what the adult is looking for when they stare into the infant's face.
L6 Create
Model Answer: "You look at me with such strange eyes — not the way other babies look at me, with hunger or curiosity. You look for something. I don't know what it is you've lost, but I feel you searching. I can't give it back. I only have what I have — this wide, unquestioning morning in my chest, this world that arrives brand new each hour. Whatever you lost, you left it here, in faces like mine. Come and look, if you like. But it belongs to me now."

Vocabulary Power

ceased
verb (past tense)
Stopped completely; came to an end. "Ceased to be eleven" means stopped being eleven years old — crossed a threshold.
"Was it the day I ceased to be eleven…"
realised
verb (past tense)
Became aware of or understood (something) clearly and fully. In the poem, "realised" marks each moment of epiphany — sudden, clear understanding that changes the child's worldview.
"Was it the time I realised that adults were not all they seemed to be…"
preached
verb (past tense)
Delivered a moral or religious message; advocated earnestly. The word carries a slightly self-righteous connotation — suggesting adults lecture about values they do not hold themselves.
"They talked of love and preached of love…"
lovingly
adverb
In a loving, affectionate, caring manner. The negative "did not act so lovingly" is the poem's sharpest irony — the gap between preached love and practised love.
"But did not act so lovingly…"
whichever way I choose
phrase
In any direction I freely select — expressing absolute intellectual freedom and sovereignty. The phrase emphasises the limitlessness of the newly discovered independent mind.
"To use whichever way I choose…"
infant's face
noun phrase
A baby's or very young child's face — here a symbol of pure, unspoiled innocence before rationalism, hypocrisy, and individuality have entered. The poem's final and most resonant image.
"That's hidden in an infant's face…"

Think It Out — NCERT Questions

Q 2
What according to the poem is involved in the process of growing up?
4 marks | 80–100 words
Answer: Growing up, according to the poem, involves three interrelated losses and discoveries. First, the child questions received religious and metaphysical beliefs through rational observation (realising Heaven and Hell are not geographical realities). Second, the child discovers that adults are hypocritical — preaching values they do not live. Third, the child discovers their own independent mind — capable of original thought not inherited from others. Each discovery marks a departure from childhood's trusting innocence and open wonder. Growing up is thus both a gaining (of reason and selfhood) and a losing (of wonder and trust).
Q 3
What is the poet's feeling towards childhood?
3 marks
Answer: The poet feels a complex mixture of nostalgia, wonder, and quiet acceptance towards childhood. He searches for it urgently — repeating the question three times — suggesting genuine longing. Yet he does not rage at its loss; the tone is wistful rather than bitter. He accepts that childhood has moved on — migrated to infants' faces — and can only be glimpsed, not recovered. "That's all I know" suggests both the limitation of adult understanding and a humble, gentle wonder before something that resists full explanation.
Q 4
Which do you think are the most poetic lines? Why?
3 marks (personal response)
Model Answer: The most poetic lines are: "It went to some forgotten place, / That's hidden in an infant's face, / That's all I know." These lines work on multiple levels simultaneously: they give childhood a physical location (a place, a face) while maintaining its mystery (forgotten, hidden). The gentle rhyme of "place" and "face" creates a soft, melancholic music that perfectly matches the subject. And "That's all I know" — after all the searching — lands with quiet force: the most complex thing the poem has been reaching for can only be acknowledged, not explained. That restraint is the highest form of poetry.

Writing Task — Inspired by the Poem

Natten's poem is structured around a repeated question. Try this writing exercise:

Write three stanzas (6 lines each) using the refrain "When did I stop believing in ______?" Each stanza should explore a different thing you once believed as a child but no longer do (e.g., fairness, magic, unlimited time, adults knowing best). Use the same structure as Natten: the question, a specific proposed moment, three lines of explanation, and "Was that the day!"

Word limit: 90–120 words. Focus: Specific memory, honest observation, parallel structure. Share your poem with your class — compare which "loss" resonates most widely.

Frequently Asked Questions

What are the three stages of growing up described in 'Childhood'?
Stanza 1 — Rationalism: questioning whether Heaven and Hell are real places. Stanza 2 — Hypocrisy: discovering that adults preach love but do not practise it. Stanza 3 — Individuality: discovering that one's own mind is capable of independent, original thought.
Where did childhood go, according to the poem?
"To some forgotten place, / That's hidden in an infant's face." Childhood is not destroyed — it is preserved in the faces of the very young who have not yet lost their innocence through rationalism, hypocrisy, or individuality.
What is the significance of the shift from "when" to "where" in the final stanza?
The shift accepts that no single moment can be identified — so the question moves from time to space. Having failed to pinpoint "when," the poet asks "where" — and finds childhood not in any moment but in a place: an infant's face. This accepts the irreversibility of growing up while preserving the mystery of childhood.
What literary device is used most prominently in 'Childhood'?
The most prominent device is repetition/refrain: "When did my childhood go?" (three times) and "Was that the day!" (three times) create the poem's structural rhythm. Irony is also central — particularly in Stanza 2, where adults' professed love contrasts with their unloving behaviour.

Frequently Asked Questions

What is Childhood — Markus Natten about in NCERT English?

Childhood — Markus Natten is a lesson from the NCERT English textbook that covers important literary and language concepts. The lesson includes vocabulary, literary devices, comprehension exercises, and writing tasks aligned to the CBSE curriculum.

What vocabulary is important in Childhood — Markus Natten?

Key vocabulary words from Childhood — Markus Natten are highlighted throughout with contextual meanings, usage examples, and interesting facts. Click any highlighted word to see its full definition and example sentence.

What literary devices are used in Childhood — Markus Natten?

Childhood — Markus Natten uses various literary devices including imagery, symbolism, and figurative language. These are identified with coloured tags throughout the text for easy recognition and understanding by students.

What exercises are included for Childhood — Markus Natten?

Exercises include extract-based comprehension questions in CBSE board exam format, grammar workshops connected to the passage, vocabulary activities, and creative writing tasks with model answers provided.

How does Childhood — Markus Natten help in board exam preparation?

Childhood — Markus Natten includes CBSE-format extract-based questions, long answer practice with model responses, and grammar exercises that mirror board exam patterns. All questions follow Bloom's Taxonomy levels L1-L6.

AI Tutor
English Hornbill Class 11
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Hi! 👋 I'm Gaura, your AI Tutor for Childhood — Markus Natten. Take your time studying the lesson — whenever you have a doubt, just ask me! I'm here to help.