Marianas Trench is the place of greatest known depth in : ?->(Show Answer!)

1. Marianas Trench is the place of greatest known depth in :

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MCQ-> The greatest flourishing of northern Indian culture, art, and imperial strength undoubtedly took place during the reign of the Mughal monarchs of the 16th and 17th centuries. The Mughals were Central Asian descendents of the great Mongol warriors Ghengis Khan and Timur (Tamerlane), whose hordes of cavalry swept across the Eurasian steppe in the 13th and 14th centuries, conquering everything between Beijing and Budapest. But by the turn of the 16th century, the great Mongol empire has splintered: the many royal descendents of Ghengis and Timur fought over the territorial scraps and did their best to hold' on to their own minor Sultanates.One of these Sultans. Babur, was not satisfied with his small kingdom of Ferghana (now in modern-day Kyrgyzstan and eastern Uzbekistan), and he tried and tried again to permanently reconquer Timur's greatest prize, Samarkand. He never succeeded. So instead, Babur turned his attention south to the Sultanate of Delhi in northern India. which had been ruled successively by five dynasties of Muslim warriors from Afghanistan since the late It century. As history would show, Babur's campaign against the Delhi Sultanate catalyzed the foundation of one of the greatest dynasties in the history of South Asia : the Mughal Empire.The mughals can trace their ancestry to
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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
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