Here again inspiration comes from a classical legend. Shakespeare has recourseto Ovid as Marlowe to Musaeus. What are the works referred to? ?->(Show Answer!)

1. Here again inspiration comes from a classical legend. Shakespeare has recourseto Ovid as Marlowe to Musaeus. What are the works referred to?

Write Comment

Comments

Tags

Show Similar Question And Answers

QA->A cyclist goes 40 km towards East and then turning to right he goes 40 km. Again he turn to his left and goes 20 km. After this he turns to his left and goes 40 km, then again turns right and goes 10km. How far is he from his starting point?....

QA->Idiom of Again and again....

QA->Phrase of the Idiom " Again and again....

QA->Jose travels 7 km to the north.Then again he turns to the right and walks 3 km.Then again he turns to his right and moves 7 km forward.How many kilometers away is he from the starting point?....

QA->AndhraPradesh’s own classical dance ‘Kuchipudi’ found a place in the Guinness WorldRecords yet again when a record 6,117 dancers cametogether to present a show at the IGMC Stadium in Vijaywada. To which Hindu godthis dance is dedicated?....

MCQ->Here again inspiration comes from a classical legend. Shakespeare has recourseto Ovid as Marlowe to Musaeus. What are the works referred to?....

MCQ-> The teaching and transmission of North Indian classical music is, and long has been, achieved by largely oral means. The raga and its structure, the often breathtaking intricacies of talc, or rhythm, and the incarnation of raga and tala as bandish or composition, are passed thus, between guru and shishya by word of mouth and direct demonstration, with no printed sheet of notated music, as it were, acting as a go-between. Saussure’s conception of language as a communication between addresser and addressee is given, in this model, a further instance, and a new, exotic complexity and glamour.These days, especially with the middle class having entered the domain of classical music and playing not a small part ensuring the continuation of this ancient tradition, the tape recorder serves as a handy technological slave and preserves, from oblivion, the vanishing, elusive moment of oral transmission. Hoary gurus, too, have seen the advantage of this device, and increasingly use it as an aid to instructing their pupils; in place of the shawls and other traditional objects that used to pass from shishya to guru in the past, as a token of the regard of the former for the latter, it is not unusual, today, to see cassettes changing hands.Part of my education in North Indian classical music was conducted via this rather ugly but beneficial rectangle of plastic, which I carried with me to England when I was a undergraduate. Once cassette had stored in it various talas played upon the tabla, at various tempos, by my music teacher’s brother-in law, Hazarilalii, who was a teacher of Kathak dance, as well as a singer and a tabla player. This was a work of great patience and prescience, a one-and-a-half hour performance without my immediate point or purpose, but intended for some delayed future moment who I’d practise the talas solitarily.This repeated playing our of the rhythmic cycles on the tabla was inflected by the noises-an hate auto driver blowing a horn; the sound bf overbearing pigeons that were such a nuisance on the banister; even the cry of a kulfi seller in summer —entering from the balcony of the third foot flat we occupied in those days, in a lane in a Bombay suburb, before we left the city for good. These sounds, in turn, would invade, hesitantly, the ebb and flow of silence inside the artificially heated room, in a borough of West London, in which I used to live as an undergraduate. There, in the trapped dust, silence and heat, the theka of the tabla, qualified by the imminent but intermittent presence of the Bombay subrub, would come to life again. A few years later, the tabla and, in the background, the pigeons and the itinerant kulfi seller, would inhabit a small graduate room in Oxford.cThe tape recorder, though, remains an extension of the oral transmission of music, rather than a replacement of it. And the oral transmission of North Indian classical music remains, almost uniquely, testament to the fact that the human brain can absorb, remember and reproduces structures of great complexity and sophistication without the help of the hieroglyph or written mark or a system of notation. I remember my surprise on discovering the Hazarilalji- who had mastered Kathak dance, tala and North Indian classical music, and who used to narrate to me, occasionally, compositions meant for dance that were grant and intricate in their verbal prosody, architecture and rhythmic complexity- was near illustrate and had barely learnt to write his name in large and clumsy letters.Of course, attempts have been made, throughout the 20th century, to formally codify and even notate this music, and institutions set up and degrees created, specifically to educate students in this “scientific” and codified manner. Paradoxically, however, this style of teaching has produced no noteworthy student or performer; the most creative musicians still emerge from the guru-shishya relationship, their understanding of music developed by oral communication.The fact that North Indian classical music emanates from, and has evolved through, oral culture, means that this music has a significantly different aesthetic, aw that this aesthetic has a different politics, from that of Western classical music) A piece of music in the Western tradition, at least in its most characteristic and popular conception, originates in its composer, and the connection between the two, between composer and the piece of music, is relatively unambiguous precisely because the composer writes down, in notation, his composition, as a poet might write down and publish his poem. However far the printed sheet of notated music might travel thus from the composer, it still remains his property; and the notion of property remains at the heart of the Western conception of “genius”, which derives from the Latin gignere or ‘to beget’.The genius in Western classical music is, then, the originator, begetter and owner of his work the printed, notated sheet testifying to his authority over his product and his power, not only of expression or imagination, but of origination. The conductor is a custodian and guardian of this property. IS it an accident that Mandelstam, in his notebooks, compares — celebratorily—the conductor’s baton to a policeman’s, saying all the music of the orchestra lies mute within it, waiting for its first movement to release it into the auditorium?The raga — transmitted through oral means — is, in a sense, no one’s property; it is not easy to pin down its source, or to know exactly where its provenance or origin lies. Unlike the Western classical tradition, where the composer begets his piece, notates it and stamps it with his ownership and remains, in effect, larger than, or the father of, his work, in the North India classical tradition, the raga — unconfined to a single incarnation, composer or performer — remains necessarily greater than the artiste who invokes it.This leads to a very different politics of interpretation and valuation, to an aesthetic that privileges the evanescent moment of performance and invocation over the controlling authority of genius and the permanent record. It is a tradition, thus, that would appear to value the performer, as medium, more highly than the composer who presumes to originate what, effectively, cannot be originated in a single person — because the raga is the inheritance of a culture.The author’s contention that the notion of property lies at the heart of the Western conception of genius is best indicated by which one of the following?
....

MCQ-> Analyse the following passage and provide appropriate answers for questions that follow. Alone – he was alone again – again condemned to silence – again face to face with nothingness! Alone! – never again to see the face, never again to hear the voice of the only human being who united him to earth! Was not Faria’s fate the better, after all – to solve the problem of life at its source, even at the risk of horrible suffering? The idea of suicide, which his friend had driven away and kept away by his cheerful presence, now hovered like a phantom over the abbe’s dead body. “If I could die,” he said, “I should go where he goes, and should assuredly find him again. But how to die? It is very easy,” he went on with a smile; “I will remain here, rush on the first person that opens the door, strangle him, and then they will guillotine me.” But excessive grief is like a storm at sea, where the frail bark is tossed from the depths to the top of the wave. Dantes recoiled from the idea of so infamous a death, and passed suddenly from despair to an ardent desire for life and liberty. “Die? Oh, no,” he exclaimed – “not die now, after having lived and suffered so long and so much! Die? yes, had I died years ago; but now to die would be, indeed, to give way to the sarcasm of destiny. No, I want to live; I shall struggle to the very last; I will yet win back the happiness of which I have been deprived. Before I die I must not forget that I have my executioners to punish, and perhaps, too, who knows, some friends to reward. Yet they will forget me here, and I shall die in my dungeon like Faria, ” As he said this, he became silent and gazed straight before him like one overwhelmed with a strange and amazing thought. Suddenly he arose, lifted his hand to his brow as if his brain were giddy, paced twice or thrice round the dungeon, and then paused abruptly by the bed. “Just God!” he muttered, “whence comes this thought? Is it from thee? Since none but the dead pass freely from this dungeon, let me take the place of the dead!” Without giving himself time to reconsider his decision, and , indeed, that he might not allow his thoughts to be distracted from his desperate resolution, he bent over the appalling shroud, opened it with the knife which Faria had made, drew the corpse from the sack, and bore it along the tunnel to his own chamber, laid it on his couch, tied around its head the rag he wore at night around his own, covered it with his counterpane, once again kissed the ice - cold brow, and tried vainly to close the resisting eyes, which glared horribly, turned the head towards the wall, so that the jailer might, when he brought the evening meal, believe that he was asleep, as was his frequent custom; entered the tunnel again, drew the bed against the wall, returned to the other cell, took from the hiding – place the needle and thread, flung off his rags, that they might feel only naked flesh beneath the coarse canvas, and getting inside the sack, placed himself in the posture in which the dead body had been laid, and sewed up the mouth of the sack from the inside.How was the protagonist planning to resolve his problem?
....

MCQ-> Study the following information carefully and answer the questions given below: Eight persons S, T, U, V, W, X, Y and Z live on eight different floors of a building but not necessarily in the same order. The lowermost floor of the building is numbered one, the one above that is numbered two and so one till the topmost floor is numbered eight. Each of them also works at a different banks namely, IDBI, SBI, HDFC, BOI, PNB, TJSB, Axis Bank and SVC, but not necessarily in the same order. • Z lives on an even numbered floor. Only three persons live between Z and the one who orks at BOI. W lives immediately below the one who works at BOI. • Only three persons live between W and the one who works at Axis Bank. • V lives immediately above T. V lives on an odd numbered floor. T does not work at BOI. • Only two persons live between T and the one who works at SBI. The one who works at SBI does not live on the lowermost floor. • The one who works at SVC lives immediately above the one who works at PNB. The one who works at SVC live on an even numbered floor but not on floor numbered two. • Only one person lives between the one who works at SVC and the one who works at IDBI. • X lives immediately above S. X lives on an even numbered floor. X does not work at TJSB. • U does not work at PNB and does not live on floor numbered four.Four of the following five are alike in a certain way based on the given arrangement and hence they form a group. Which one of the following does not belong to that group?
....

MCQ-> Read the following passage and answer the questions. Passage:The Chinese have been drinking tea for health and enjoyment for more than 5000 years. No one knows what drew them to the glossy, green leaves of Camellia sinensis, but a popular legend fills the gap in our knowledge. According to legend, ShenNong, an early emperor required that all drinking water be boiled. One summer day while visiting a distant region of his kingdom, he stopped to rest because he felt very tired. The servants began to boil water for the king and his ministers to drink. Dried leaves from a nearby bush fell into the boiling water, turning it into a brown liquid. The Emperor drank some of the new liquid. He felt fresh and much better after drinking the liquid. And thus, tea was created. According to an Indian legend a Buddhist monk, on one of his travels about 2000 years ago, swore not to sleep during the nine years of his journey. However, by the end of the third year, he was so fatigued he almost fell asleep. That is when he accidentally stumbled upon a wild tree and picked a few leaves from its top. He chewed on the leaves and soon recovered. Thanks to these leaves, he was able to stay awake during the next six years of his mission. The Japanese version of this legend is slightly different. The monk had vowed to meditate for 7 years without sleep. One night however, he fell asleep. He was so angry with himself that he cut off his eyelids and threw them to the ground. A few years later, passing by the same spot, he noticed a strange-looking bush. He tasted its leaves, and realized that they gave him the power to keep his eyes open. This story soon spread, and tea bushes are often seen in Buddhist places of worship.In all the three legends. the leaves help the person who eats it to recover. This suggests that the leaves :
....