It is believed that Hippalus; a Greek navigator; came to Muziris (Kodungallur) by sea? ?->(Show Answer!)

1. It is believed that Hippalus; a Greek navigator; came to Muziris (Kodungallur) by sea?

Answer: in 45 AD.

Reply

Comments

Tags

Show Similar Question And Answers

QA->It is believed that Hippalus; a Greek navigator; came to Muziris (Kodungallur) by sea?....

QA->Saint Thomas (Apostle) is believed to have landed in Kodungalloor (Muziris) in?....

QA->Who was the first European navigator; to reach India by sea route?....

QA->Who founded the Cheraman Mosque at Kodungallur?....

QA->In which celestial body is the famous Hippalus Crater situated?....

MCQ-> Read the passage carefully and answer the questions given at the end of each passage:We now come to the second part of our journey under the sea. The first ended with the moving scene in the coral cemetery which left a deep impression on my mind. I could no longer content myself with the theory which satisfied Conseil. That worthy fellow persisted in seeing in the Commander of the Nautilus one of those unknown servants who returns mankind contempt for indifference. For him, he was a misunderstood genius who, tired of earth’s deceptions, had taken refuge in this inaccessible medium, where he might follow his instincts freely. To my mind, this explains but one side of Captain Nemo’s character. Indeed, the mystery of that last night during which we had been chained in prison, the sleep, and the precaution so violently taken by the Captain of snatching from my eyes the glass I had raised to sweep the horizon, the mortal wound of the man, due to an unaccountable shock of the Nautilus, all put me on a new track. No; Captain Nemo was not satisfied with shunning man. His formidable apparatus not only suited his instinct of freedom, but perhaps also the design of some terrible retaliation. That day, at noon, the second officer came to take the altitude of the sun. I mounted the platform, and watched the operation. As he was taking observations with the sextant, one of the sailors of the Nautilus (the strong man who had accompanied us on our first submarine excursion to the Island of Crespo) came to clean the glasses of the lantern. I examined the fittings of the apparatus, the strength of which was increased a hundredfold by lenticular rings, placed similar to those in a lighthouse, and which projected their brilliance in a horizontal plane. The electric lamp was combined in such a way as to give its most powerful light. Indeed, it was produced in vacuo, which insured both its steadiness and its intensity. This vacuum economized the graphite points between which the luminous arc was developed - an important point of economy for Captain Nemo, who could not easily have replaced them; and under these conditions their waste was imperceptible. When the Nautilus was ready to continue its submarine journey, I went down to the saloon. The panel was closed, and the course marked direct west. We were furrowing the waters of the Indian Ocean, a vast liquid plain, with a surface of 1,200,000,000 of acres, and whose waters are so clear and transparent that any one leaning over them would turn giddy. The Nautilus usually floated between fifty and a hundred fathoms deep. We went on so for some days. To anyone but myself, who had a great love for the sea, the hours would have seemed long and monotonous; but the daily walks on the platform, when I steeped myself in the reviving air of the ocean, the sight of the rich waters through the windows of the saloon, the books in the library, the compiling of my memoirs, took up all my time, and left me not a moment of ennui or weariness. From the 21 st to the 23 rd of January the Nautilus went at the rate of two hundred and fifty leagues in twenty- four hours, being five hundred and forty miles, or twenty-two miles an hour. If we recognized so many different varieties of fish, it was because, attracted by the electric light, they tried to follow us; the greater part, however, were soon distanced by our speed, though some kept their place in the waters of the Nautilus for a time. The morning of the 24 th , we observed Keeling Island, a coral formation, planted with magnificent cocos, and which had been visited by Mr. Darwin and Captain Fitzroy. The Nautilus skirted the shores of this desert island for a little distance. Soon Keeling Island disappeared from the horizon, and our course was directed to the north- west in the direction of the Indian Peninsula. From Keeling Island our course was slower and more variable, often taking us into great depths. Several times they made use of the inclined planes, which certain internal levers placed obliquely to the waterline. I observed that in the upper regions the water was always colder in the high levels than at the surface of the sea. On the 25th of January the ocean was entirely deserted; the Nautilus passed the day on the surface, beating the waves with its powerful screw and making them rebound to a great height. Three parts of this day I spent on the platform. I watched the sea. Nothing on the horizon till about four o’clock then there was a steamer running west on our counter. Her masts were visible for an instant, but she could not see the Nautilus, being too low in the water. I fancied this steamboat belonged to the P.O. Company, which runs from Ceylon to Sydney, touching at King George’s Point and Melbourne. At five o’clock in the evening, before that fleeting twilight which binds night to day in tropical zones, Conseil and I were astonished by a curious spectacle. It was a shoal of Argonauts travelling along on the surface of the ocean. We could count several hundreds. These graceful molluscs moved backwards by means of their locomotive tube, through which they propelled the water already drawn in. Of their eight tentacles, six were elongated, and stretched out floating on the water, whilst the other two, rolled up flat, were spread to the wing like a light sail. I saw their spiral-shaped and fluted shells, which Cuvier justly compares to an elegant skiff. For nearly an hour the Nautilus floated in the midst of this shoal of molluscs. The next day, 26 th of January, we cut the equator at the eighty-second meridian and entered the northern hemisphere. During the day a formidable troop of sharks accompanied us. They were “cestracio philippi” sharks, with brown backs and whitish bellies, armed with eleven rows of teeth, their throat being marked with a large black spot surrounded with white like an eye. There were also some Isabella sharks, with rounded snouts marked with dark spots. These powerful creatures often hurled themselves at the windows of the saloon with such violence as to make us feel very insecure. But the Nautilus, accelerating her speed, easily left the most rapid of them behind.About seven o’clock in the evening, the Nautilus, half- immersed, was sailing in a sea of milk. At first sight the ocean seemed lactified. Was it the effect of the lunar rays? No; for the moon, scarcely two days old, was still lying hidden under the horizon in the rays of the sun. The whole sky, though lit by the sidereal rays, seemed black by contrast with the whiteness of the waters. Conseil could not believe his eyes, and questioned me as to the cause of this strange phenomenon. Happily I was able to answer him. “It is called a milk sea,” I explained. “A large extent of white waves is often to be seen on the coasts of Amboyna, and in these parts of the sea.” “But, sir,” said Conseil, “can you tell me what causes such an effect? For I suppose the water is not really turned into milk.” “No, my boy; and the whiteness which surprises you is caused only by the presence of myriads of luminous little worm, gelatinous and without colour, of the thickness of a hair, and whose length is not more than seven-thousandths of an inch. These insects adhere to one another sometimes for several leagues.” “Several leagues!” exclaimed Conseil. “Yes, my boy; and you need not try to compute the number of these infusoria. You will not be able, for, if I am not mistaken, ships have floated on these milk seas for more than forty miles.” Towards midnight the sea suddenly resumed its usual colour; but behind us, even to the limits of the horizon, the sky reflected the whitened waves, and for a long time seemed impregnated with the vague glimmerings of an aurora borealisFind the TRUE Sentence:
...

MCQ-> Read the passage and answer the questions that follow: Passage II Reverence is a dirty word at the Almeida Theatre in Islington, North London. Rupert Goold, the artistic director, and Robert Icke, his associate, are resolved to take dusty, distant cultural artefacts of drama and shake them hard. so that they will entertain modern audiences, especially those with no previous knowledge of the plays. Mr Icke holds that to save the classics from withering, a director must be willing even to reinterpret the original author's intentions. This summer Messrs Goold and Icke have directed freshly translated versions of the oldest of all "dusty theatrical artefacts": the ancient Greek tragedies of Aeschylus and Euripides. These versions ruthless) rewrite texts and alter plots. In Euripides's "Medea'. the last of the season of three plays which opened on 1st October directed by Mr Goold. Medea murders her two children as revenge on her unfaithful husband. Not at the Almeida: in this version, her sons die—or perhaps do not—by eating sleeping pills. Mr Icke's version of "Oresteia" by Aeschylus is described as "a new adaptation", but classics scholars insist that it is much more than that. The masked male chorus which propels all Greek tragedy, so memorable in Sir Peter Hall's production at the National Theatre in 1981, is jettisoned. Mr Icke's -Oresteie starts with 46 pages of text (out of 113 in all) that are a dramatisation of the long choral ode in Aeschylus's "Agamemnon-. It deals with his decision to sacrifice his daughter Iphigenia to ensure his ships a fair wind for Troy. Mr Icke believes that, without this prelude, it is hard to appreciate fully the ensuing, awe-inspiring family tragedy in which his wife Klytemnestra kills Agamemnon to avenge their daughter's death, and then is murdered in turn by their son Orestes. The extra material makes for a long evening, but it speeds by. Only the "Bakkhai". the second of the Almeida's three plays, conforms to the traditional Greek unities of time and place, and as in ancient Greece, has all the speaking roles played by three actors, backed by a chorus (though of Bacchic ladies rather than masked men). The Greek season defines the Almeida's style of work. Mr Goold has unearthed a rich new seam of modem theatre by reviving and generally energising work by authors such as Luigi Pirandello and Bret Easton Ellis. His delightful version of "The Merchant of Venice"- set in Las Vegas, was played largely for laughs, with the verse adapting easily to a singsong southern American accent. Even his failures, such as a "King Lear and Puccini at the English National Opera, had moments that linger in the memory. Actors like working there. Since small theatres like the Almeida cannot pay well, actors choose the work over the money. In this Greek season, the two most memorable performances are by Lia Williams as Klytemnestra and Kate Fleetwood, who is Mr Goold's wife, as Medea. Each exhibits an emotional range that holds the action together. The rage, temper and insult of the dialogue between Medea and her husband Jason, here conducted on their mobile phones, reveal a direct linguistic link from ancient Greece to contemporary soap opera. Whatever quibbles there might be about the editing, cutting and rewriting of the texts, surely the significant question about this ambitious project is whether the audience is gripped by the performances. Enthusiastic word-of-mouth suggests the answer is yes.In this passage, the word "reverence" can be interpreted as...

MCQ-> The passage given below is followed by a set of three questions. Choose the most appropriate answer to each question.Every civilized society lives and thrives on a silent but profound agreement as to what is to be accepted as the valid mould of experience. Civilization is a complex system of dams, dykes, and canals warding off, directing, and articulating the influx of the surrounding fluid element; a fertile fenland, elaborately drained and protected from the high tides of chaotic, unexercised, and inarticulate experience. In such a culture, stable and sure of itself within the frontiers of 'naturalized' experience, the arts wield their creative power not so much in width as in depth. They do not create new experience, but deepen and purify the old. Their works do not differ from one another like a new horizon from a new horizon, but like a madonna from a madonna.The periods of art which are most vigorous in creative passion seem to occur when the established pattern of experience loosens its rigidity without as yet losing its force. Such a period was the Renaissance, and Shakespeare its poetic consummation. Then it was as though the discipline of the old order gave depth to the excitement of the breaking away, the depth of job and tragedy, of incomparable conquests and irredeemable losses. Adventurers of experience set out as though in lifeboats to rescue and bring back to the shore treasures of knowing and feeling which the old order had left floating on the high seas. The works of the early Renaissance and the poetry of Shakespeare vibrate with the compassion for live experience in danger of dying from exposure and neglect. In this compassion was the creative genius of the age. Yet, it was a genius of courage, not of desperate audacity. For, however elusively, it still knew of harbours and anchors, of homes to which to return, and of barns in which to store the harvest. The exploring spirit of art was in the depths of its consciousness still aware of a scheme of things into which to fit its exploits and creations. But the more this scheme of things loses its stability, the more boundless and uncharted appears the ocean of potential exploration. In the blank confusion of infinite potentialities flotsam of significance gets attached to jetsam of experience; for everything is sea, everything is at sea - .... The sea is all about us; The sea is the land's edge also, the granite Into which it reaches, the beaches where it tosses Its hints of earlier and other creation ... - and Rilke tells a story in which, as in T.S. Eliot's poem, it is again the sea and the distance of 'other creation' that becomes the image of the poet's reality. A rowing boat sets out on a difficult passage. The oarsmen labour in exact rhythm. There is no sign yet of the destination. Suddenly a man, seemingly idle, breaks out into song. And if the labour of the oarsmen meaninglessly defeats the real resistance of the real waves, it is the idle single who magically conquers the despair of apparent aimlessness. While the people next to him try to come to grips with the element that is next to them, his voice seems to bind the boat to the farthest distance so that the farthest distance draws it towards itself. 'I don't know why and how,' is Rilke's conclusion, 'but suddenly I understood the situation of the poet, his place and function in this age. It does not matter if one denies him every place - except this one. There one must tolerate him.'In the passage, the expression “like a madonna from a madonna” alludes to
...

MCQ->If you look at a Map of the World, you will see, in the left-hand upper corner of the Eastern Hemisphere, two Islands lying beside the sea. I. lying beyond the sea II. lying in the sea III. lying on the sea...

MCQ-> Read the following passage carefully and answer the questions given below it. Certain words/phrases have been printed in bold to help you locate them while answering some of the questions. Once upon a time, there lived a lion in a forest. A jackal, a crow and a wolf had developed friendship. They knew that the lion was the king of the forest and friendship with such a fierce creature would always help them. To meet their selfish ends, they started obeying and were always at the service of the lion. They didn’t have to make any efforts to search for their food, as the lion gave his leftover meals to them. Moreover, they became powerful as they were next to the king of the forest. One day, a camel, who came from some distant land, lost his way and entered the same forest where these friends lived. In the meantime, these three friends happened to pass the same way that the camel was wandering. When they saw the camel, they realized that he did not belong to their forest. The jackal suggested to his other two friends, “Let’s kill and eat him.” The wolf replied, “It is a big animal. We cannot kill him like this. I think, we should first inform our king about this camel.” The crow agreed with the wolf s idea. All of them went to meet the lion. On reaching the lion’s den, the jackal approached the lion and said, Your Majesty, an unknown camel has dared to enter your kingdom without your consent, Let’s kill him; he could make a nice meal.” The lion roared loudly on hearing this and said, ‘What are you saying ? The camel has come for refuge in ray kingdom. It is unethical to kill him. We should provide him the best shelter. Go and bring him to me,” All of them were dispirited to hear these words from the king. They unwillingly went to the camel and told him about the lion’s desire to meet him, The camel was scared about the strange offer. He thought that his end had come and in a little while he would become the lion’s meal. As he couldn’t even escape, he decided to meet the lion. The selfish friends escorted the camel to the lion’s den. The lion welcomed the camel warmly and assured him of a safe stay in the forest. The camel was totally amazed to hear the lion’s words. He happily started living with the jackal, the crow and the wolf. One day, when the lion was hunting for food, he had a struggle with a mighty elephant. The lion was badly injured in the struggle and became incapable of hunting for his food. Thus the lion had to sustain without food for days. Due to this, his friends too had to go hungry for days as they totally depended on the lion’s kill for their food. But the camel was satisfied grazing around in the forest. All the three friends were worried and discussed the matter among them, As the jackal, the crow and the wolf had set their evil eyes on the camel, they met once again and devised a plan to kill the camel. They went to the camel and said, “Dear Friend, you know our king has not eaten anything for many days now. He is unable to hunt due to his wounds and sickness. Under such circumstances, it becomes our duty to sacrifice ourselves to save the life of our king. Come with us, we will offer our bodies as food for him.” The camel didn’t understand their plan, but innocently nodded in favour of it. All of them approached the lion’s den. First of all, the crow came forward and said, “Your Majesty, I can’t see you like this. So please eat me.” The lion replied, “I would prefer to die than to perform such a sinful deed.” Then, the jackal came forward and said, “Your Majesty, crow’s body is too small for your appetite. I offer myself to you, as it is my duty to save your life.” The lion politely rejected the offer. As per the plan, now it was the wolf’s turn to offer himself to the king. So, the wolf came forward and said, “Your Majesty, jackal is quite small to gratify your hunger. I offer myself for this kind job, Please, kill me and appease your hunger.” But the Lion didn’t kill any of them. The camel, who was watching the whole scene felt reassured of his safety and also decided to go forward and complete the formality. He marched forward and said, “Your Majesty, why don’t you kill me ? You are my friend. Please allow me to offer you my body.” The lion found the offer quite appropriate as the camel himself had offered his body for food. The lion attacked the camel at once, ripped open his body and lore him into pieces. The lion and his friends feasted on the poor camel for days together.‘Why could the lion not hunt anymore ?
...