Principles: 1. If A is asked to do something by B, B is responsible for the act, not A.
2. If A, while acting for B commits a wrong, A is responsible for the wrong, not B.
3. If A is authorized to do something for B, but in the name of A without disclosing B’s presence, both A and B may be held liable.
Facts: Somu contracted with Amar where Amar would buy a pump set to be used in Somu’s farm. Such a pump set was in short supply in the market. Gulab, a dealer, had such a pump set and he refused to sell it to Amar. Amar threatened Gulab of serious consequences if he failed to part with the pump set. Gulab filed a complaint against Amar.
Proposed decision:
(a) Amar alone is liable for the wrong though he acted for Somu.
(b) Amar is not liable for the wrong, though he is bound by the contract with Somu.
(c) Somu is bound by the contract and liable for the wrong.
(d) Both Somu and Amar are liable for the wrong.
Suggested reasons:
(i) Amar committed the wrong while acting for the benefit for Somu.
(ii) Amar cannot do while acting for Somu something which he cannot do while acting for himself.
(iii) Both Amar and Somu are liable since they are bound by the contract.
(iv) Somu has to be responsible for the act Amar committed for Somu’s benefit.
(a) (i)
(d) (iv)
To solve this problem, we need to apply the given principles to the scenario described in the facts.
Principles Analysis:
1. If A is doing something on instruction of B, B is responsible, not A.
2. If A commits a wrong while acting on behalf of B, A is responsible, not B.
3. If A is doing something for B but conceals B's involvement, both can be liable.
Fact Analysis:
Amar, on behalf of Somu, attempted to buy a pump set from Gulab, who refused the sale. Amar then threatened Gulab, committing a wrong act.
Application:
According to Principle 2, Amar’s act of threatening Gulab is a wrong committed while acting for Somu. Therefore, although Amar was acting for Somu, he is responsible for his own wrongful act.
Decision: The correct proposed decision is that Amar alone is liable for the wrong though he acted for Somu.
Justification: Amar committed the wrong while acting for the benefit of Somu (Reason i), making option (a) (i) the correct choice.
Match List-I with List-II\[\begin{array}{|c|c|} \hline \textbf{List-1} & \textbf{List-II} \\ \hline \text{(A) Hadley v. Baxendale} & \text{(1) Undue Influence} \\ \hline \text{(B) Henkel v. Pape} & \text{(II) Coercion} \\ \hline \text{(C) Manu Singh v. Umadat Pandey} & \text{(III) Quantum of Damages} \\ \hline \text{(D) Chikkam Amiraju v. Seshamma} & \text{(IV) Mistake} \\ \hline \end{array}\]
From a very early age, I knew that when I grew up, I should be a writer. I had the lonely child's habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their sound. I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development.
His subject-matter will be determined by the age he lives in — at least this is true in tumultuous, revolutionary ages like our own — but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. It is his job to discipline his temperament, but if he escapes from his early influences altogether, he will have killed his impulse to write. I think there are four great motives for writing, at any rate for writing prose. They are: (i) Sheer egoism: Desire to seem clever, to be talked about, to be remembered after death, to get your own back on grown-ups who snubbed you in childhood; (ii) Aesthetic enthusiasm: Desire to share an experience which one feels is valuable and ought not to be missed (iii) Historical impulse: Desire to see things as they are, to find out true facts and store them up for the use of posterity (iv) Political purpose: Desire to push the world in a certain direction, to alter other people's idea of the kind of society that they should strive after.
[Extracted with edits from George Orwell's "Why I Write"]