Which plant is known queen of western ghats? ?->(Show Answer!)

1. Which plant is known queen of western ghats?

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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?
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MCQ-> Read the following passage carefully and answer the question given below it.Certain words/phrase have-been printed in the bold to help you locate them while answering some of the questions. King Hutamasan felt he had everything in the world not only due to his riches and his noble knights but because of his beautiful queen Rani Matsya The rays of the sun were put to shame with the iridescent light that Matsya illuminated with her beauty and brains At the right hand of the king she was known to sit and aid him in all his judicial probes You could not escape her deep-set eyes when you committed a crime as she always knew the and the culprit Her generosity preceded her reputation in the kingdom and her hands were always full to give people in the kingdom revered her because if she passed by she always gave to the compassionate and poor Far away from the kingly palace lived a man named Raman with only ends to his poverty as he had lost all his land to the landlord,His age enabled him little towards manual labour and so begging was the only alternative to salvage his wife and children Every morning he went door to door for some work food or money.The kindness of people always got him enough to take home But Raman was a little self centered His world began with him first followed by his family and the rest So he would eat and drink to his delight and return home with whatever he found excess This routine followed and he never let anyone discover his interest as he always put on a long face when he reached home. One day as he was relishing the bowl of rice he had just received from a humble home he heard that Rani Matsya was to pass from the very place he was standing Her generosity had reached his ears and he knew if he pulled a long face and showed how poor he was she would hand him a bag full of gold coins enough for the rest of his life enough to buy food and supplies for his family.He thought he could keep some coins for himself and only reveal a few to his wife so he can fulfill his own wishes. He ran to the chariot of the Rani and begged her soldiers to allow him to speak to the queen Listening to the arguments outside Rani Matsya opened the curtains of her chariot and asked Raman what he wanted Raman went on his knees and praised the queen I have heard you are most generous and most chaste show this beggar some charity Rani narrowed her brows and asked Raman what he could give her in return Surprised by such a question Raman looked at his bowl full of rice With spite in him he just picked up a few grains of rice and gave it to the queen Rani Matsya counted the 5 grains and looked at his bowl full of rice and said you shall be given what is due to you Saying this the chariot galloped away Raman abused her under his breath This he never thought would happen How could she ask him for something in return when she hadn’t given him anything ? Irked with anger he stormed home and gave his wife the bowl of rice Just then he saw a sack at the enterence His wife said some men had come and kept it there He opened it to find it full of rice He put his hand inside and caught hold of a hard metal only to discover it was a gold coin Elated he upturned the sack to find 5 gold coins in exact for the five rice grains If only I had given my entire bowl thought Raman I would have had a sack full of gold.According to the passage which of the following is definitely true about Rani Matsya ? (A)She was beautiful (B)She was intelligent (C)She was kind....

MCQ-> Read the following passage carefully and answer the question given below it Certain words/phrases have been printed in bold to help you locate them while answering some of the questionsOnce a king saw some young boys pelting stones on a snake. He prevented the boys from killing the snake. Thus he saved its life.The snake, which was the King of the Snake World, thanked him and favoured him with a supernatural gift by which he could understand the language of any animal. But he warned him that that divulgence of the secret would cost him his life. One day, when the King was sitting in his garden and enjoying breakfast, a small portion of the sweet fell on the ground.Soon he heard an ant shouting, “My God”, what a big wagon-ful of sweet has fallen and there is none to consume it.Ah ! I can enjoy all, now.”Hearing this, the King smiled and chuckled.The queen, who was sitting next to him,was curious to note the changing countenance of the King.She asked him to tell her the reason for the smile. But the King kept silence,she attacked his self-respect by calling him a “liar” and muttered that all his expressions of endearment like-You are dearer to me than my very life”.-were nothing but a pack of lies.The King, however,could not bear the attacks on his self-respect and eventually conceded to divulge the secret on the following day in the royal,garden; and made up his mind to sacrifice his life. A donkey overheard the King’s resolve and decided to save him,because the King was righteous.So, he picked up one of his friends-the goat and they both decided to save the King. Next day, when the King and his retinues were on the way to the royal park,the donkey and the goat stood conversing on one side of the path.The King overheard the goat saying to the donkey, “You are a fool but not as big a fool as in the king. “Having heard so, the King was curious to know as to why was he being called a “bigger fool”. So, he said to the goat. “Pray, then tell me what to do as I am now committed to tell her on her back”. When the King reached the garden he said to the queen “I am now ready to tell you the secret on the condition that you are willing to receive one hundred lashes in return”.The queen considered the condition a joke and nodded in agreement.The King then waved at one of his guards to lash her with all his power.And no sooner than she received two lashes she wailed and shouted “No ! No ! Stop, do not lash me ! I don’t want to know the secret now”. The King then said scornfully, “You wanted to know the secret at the cost of my life, but now you don’t want to know because you have to save your skin.You deserve a few more lashes.”But before he could order his man to give her a few more lashes, the King’s trustworthy minister intervened and requested him to forgive her.Thus the queen was not lashed further, yet she received the same honour and dignity.Why did the snake give a gift to the King ?
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MCQ->Which plant is known queen of western ghats?....

MCQ-> In an 8 X 8 chess board a queen placed any where can attack another piece if the piece is present in the same row, or in the same column or in any diagonal position in any possible 4 directions, provided there is no other piece in between in the path from the queen to that piece. The columns are labelled a to h (left to right) and the rows are numbered 1 to 8 (bottom to top). The position of a piece is given by the combination of column and row labels. For example, position c5 means that the piece is in $$c^{th}$$ column and $$5^{th}$$ row.If the queen is at c5, and the other pieces at positions c2, g1, g3, g5 and a3, how many are under attack by the queen? There are no other pieces on the board.
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