Who is the author of Golden Borough? ?->(Show Answer!)

1. Who is the author of Golden Borough?

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MCQ-> Read the following passage carefully and answer the questions given below it. Certain words are printed in bold to help you to locate them while answering some of the questions. Once upon a time there lived a queen in the city of Benaras. Her name was Khema and she was the wife of King Bahuputtaka:One night, the Queen had a dream of a beautiful golden goose that spoke with great wisdom, almost as if he was a sage: She told her husband that she desperately wanted to see a bird just like the one in her dream. So the King aksed his ministers to find out all that they could about a bird such as this. He was told that such a bird did exist but was extremely rare and difficult to find: They advised him to build a beautiful lake aon the outskirts of Benaras so that he may attract such rare and lovely creatures to reside there: In this way the queen might have her wish. Towards the norh, on Mount Cittakuta, there lived about ninety thousand wild geese headed by a beautiful golden goose called King Dhatarattha He got to hear of this exquisite lake surrounded by water lilies and lotuses floating on the surface: The kKing had invited all the birds to come and live on it, promising that one of them would ever be harmed: Corn was acattered on a daily basis in order to attract the birds. So a couple of geese went up to their King, the golden goose and told him that they were quite tired of living up on the mountains and would like to see this wonderful lake where they had been promised food and protection. The king agreed to their request and took the floc down south towards Benaras. Meanwhile, at the lake ing Bahuputtaka had placed hunters all around in order to capture any golden goose that happened to pass by. So the next morning when the headhunter saw this flock of geese approaching he was very excited to see their golden leader. He immediatey went about setting up a snare amongst the water lilies and lotuses, as he knew that the leader would definitely be the first to alight. The whole flock came flying down in one mighty seoop and as expected it was the King’s foot that touched the water first. He was esnsnared and could not escape: Seeing this, the other geese flew into a panic: But none had the courage to try to free their king and so flew back to Mount Cittacuta for safety. All except one: He was the chief captain, Sumukha:King Dhatarattha entreated him to fly to safety too, as he would surely be captured if he stayed by his sid: But Sumukha replied that he would never desert his master in the face of danger and swould either try to save him or die by his side: At this point the hunter approached and as Sumukha saw him he decided to appeal to his compassion. The hunter asked the golden goose how come he had not noticed the trap that was set. The golden goose replied that when one’s time was up it was no use to struggle against what was fated and one must just accept it. The huntsman was very impressed with his grace and wisdom. He then turned to Sumukha and asked why he had not fled with the other birds even though he was free to do so. Sumukha answered that the golden goose was his King, best friend and master and that he could never desert him even at the cost of his own life: Hearing this, the hunter realised that these were a couple of rare birds of great nobility. He did not much care for his own King’s reward and decided to do the right thing and set them free: He told Sumukha that as he was ready to die for his ing he would set them both free to fly wherever they wish.Why were the geese keen on visiting the lake in Benaras?
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MCQ-> Read the following passage carefully and answer the question given below it, certain words are printed in the bold to help you to locate them while answering some of the questions.Once upon a time there lived a queen in the city of Benaras. Her name was Khema and she was the wife of king Bahuputtaka . One night, the Queen had a dream of a beautiful golden goose that spoke with great wisdom, almost as if he was a sage. She told her husband that she desperately wanted to see a bird just like the one in her dream. So the king asked his minister to find out all that they could about a bird such as this. He was told that such a bird did exist but was extremely rare and difficult to find. They advised him to build a beautiful lake on the outskirts of Benaras so that he may attract such rare and lovely creatures to reside there. In this way the queen might have her wish. Towards the north, on Mount Cittakuta, there lived about ninety thousand wild geese headed by a beautiful golden goose called king Dhatarattha. He got to hear of this exquisite lake surrounded by water lilies and lotuses floating on the surface. The king had invited all the birds to come and live on it, promising that none of them would ever be harmed. Corn was scattered on a daily basis in order to attract the birds. So a couple of geese went up to their king, the golden goose and told him that they were quite tired of living up on the mountains and would like to see this wonderful lake where they had been promised food and protection. The king agreed to their request and took the flock down south towards Benaras Meanwhile, at the lake king Bahuputtaka had placed hunters all around in order to capture any golden goose that happened to pass by. So the next morning when the headhunters saw this flock of geese approaching he was very excited to see their golden leader. He immediately went about setting up snare amongst the water lilies and lotuses, as he knew that the leader would definitely be the first to alight . The whole flock came flying down in one mighty swoop and as expected it was the king's foot that touched the water first. He was ensnared and could not escape, seeing this the other geese flew into a panic. But none had the courage to try to free their king and so flew back to Mount Cittacuta for safety. All except one. He was the chief captain, Sumukha replied that he would never desert his master in the face of danger and would either try to save him or die by his side. At this point the hunter approached and as Sumukha saw him he decided to appeal to his compassion. The hunter asked the golden goose how come he had not noticed the trap that was set. The golden goose replied that when one's time was up it was no use to struggle against what was fated and one must just accept it. The huntsman was very impressed with his grace and wisdom He then turned to Sumukha and asked why he had not fled with other birds even though he was free to do. Sumukha answered that the golden goose was his king best friend and master and that he could never desert him even at the cost of his own life. Hearing this, the hunter realised that these were a couple of rare birds of great nobility. He did not much care for his own king's reward and decided to do the right thing and set them free. He told Sumukha that as he was ready to die for his king he would set them both free to fly wherever they wish.Why were the geese keen on visiting the lake in Benaras ?
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MCQ->Who is the author of Golden Borough?....

MCQ->Statements: All mangoes are golden in colour. No golden-coloured things are cheap. Conclusions: All mangoes are cheap. Golden-coloured mangoes are not cheap.

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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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