Dear Readers,
As SSC GD/CPO/CHSL notification is out and candidates have started their preparation for this exam. Mahendras also has started special quizzes for this examination. This series of quizzes are based on the latest pattern of the SSC GD/CPO/CHSL examination. Regular practice of the questions included in the quizzes will boost up your preparations and it will be very helpful in scoring good marks in the examination.
1-3. In the question below, out of the four alternatives, choose the one which can be substituted for the given sentence and mark it as your answer.
1 Fond of entertaining guests.
A. Hail
B. Hide
C. Hoard
D. Hospitable
1 Fond of entertaining guests.
A. Hail
B. Hide
C. Hoard
D. Hospitable
2 Hater of learning
A. Misologist
B. Misoneist
C. Misogynist
A. Misologist
B. Misoneist
C. Misogynist
D. Misogamist
3 The Government by the nobility.
A. Bureaucracy
B. Aristocracy
C. Autocracy
D. Oligarchy
4-5. In the following questions four alternatives are given for the idiom/phrase underlined in the sentence. Choose the alternative which best expresses the meaning of the idiom/phrase and mark it as your answer.
4 The fashion of long flowering skirts will run its course.
A. run on its path alone
B. become very popular
C. develop and then come its usual end
D. end very soon
5 He turned a blind eye to his sons's pranks.
A. pretended not to notice
B. paid special attention to
C. covered up for
D. punished severly
6-10. Read the passage carefully and choose the best answer to each question out of four alternatives and mark your answer.
The story of Mahabharat from the eyes of Draupadi, nee Panchali in “From Fire to Fire” offers a refreshing re-look at the great epic. Ahmedabad-based dance academy Rasadhwani’s theatrical Bharatanatyam production glued us to the seats in utter admiration for more than one reason. Firstly, the adaptation of the source, “Palace of illusions” by Chitra Banerjee Divakaruni, a 300-odd page novel into an hour-and-half dance ballet was no mean task. To top it, the novel reads like an autobiography; hence the dance aptly adopted the soliloquy technique and injected aesthetics that lent an amazing dimension and beauty to the ballet. Lighting played a relevant role in enhancing the presentation.
The rise of Panchali (Shivangee Vikram) from the fire – with no props–and her outburst at the very beginning of her emergence for not having been given a proper name other than Drupad’s daughter, hence Draupadi, sketches out her character for us. The narrative focuses on her inner feelings, her thoughts, her arrogance and inflated ego. To her, her complexion comparable to none other than Lord Krishna, her childhood friend, is also an aspect of pride. Her love for Karna who wins her heart in the first meeting but never gets to know her secret longing as long as he lived is ridden with contrasting emotions of ego and remorse. All through the narrative, she is bound to draw the comparison between what she got and what she would have got had she married Karna instead of the Pandava princes.
Shivangee’s expertise with dance and more so abhinaya has __100__ Panchali as seen through author Chitra’s eyes for us. The audience moves along with her emotions now emphasising, now in self-introspection and remorse and so on. The group dancers breeze in and out of the stage either as the five Pandavas or as her alter ego or as her sons or as elongations of the story. Brilliant flashes like the miming of Dasavatar in quick succession by Panchali as Krishna’s voice reveals His past lives, the group dance after she begets five sons from each husband where dancers dwindle out of stage as the song progresses, her varied romantic, seductive approaches to each of her husbands handled with extreme care contributed to the aesthetic element lending depth and natural appeal to the narrative.
Panchali born of fire, we are led to believe through this presentation, constantly invited fierce circumstances like the Kurukshetra war and consequent destruction with her fiery nature, witnesses the death and funeral of her sons and finally passes into the fire in the symbolic sense. Shivangee was able to take her audience along to identify themselves against Panchali’s character, which all of us possess in parts, her tryst with the destiny like anyone of ours and her realisation in the end which is moral for us to draw from her life. The fact that Krishna was there for her from childhood to love her with all her plus and minuses, yet her own ignorance and indifference to the love at hand and her greed to get something higher on the material plane was brought out beautifully and convincingly through this ballet. There was no ambiguity whatsoever. It ended with another home truth that God is always by our side from the moment we are born, yet we fail to realise God because we are shrouded in the mist of Maya (illusion) and only on death-bed do we realise Him like Panchali. A very poignant ending where she is the first to fall at the beginning of the climb to the snow-clad Himalayas and is left alone to die. The dance element in the form of mnemonics set to swar bhol or just bhol to vilambit and drut as the situation warranted was perfect. The Mahabharat war with a thrilled Panchali as eye-witness got its impetus through a racy group dance set to pure nritta (footwork).
6 What stopped Panchali from expressing her feelings to Karna?
A. Her religion
B. Family problems
C. Her ego
D. Her Introvert character
7 What is the meaning of the phrase “Tryst with destiny”?
A. Meeting with destiny
B. An interaction with future
C. A secret rendezvous with destiny
D. Trust on destiny
8 What is the meaning of the word “soliloquy” in the passage?
A. Monologue
B. Sermon
C. Oration
D. Lecture
9 What moral value did we get from Panchali’s story?
A. God is always by our side
B. Ego kills other human's feelings
C. Allotted
D. Started
10 Shivangee’s expertise with dance and more so abhinaya has ___ Panchali as seen through author Chitra’s eyes for us.
3 The Government by the nobility.
A. Bureaucracy
B. Aristocracy
C. Autocracy
D. Oligarchy
4-5. In the following questions four alternatives are given for the idiom/phrase underlined in the sentence. Choose the alternative which best expresses the meaning of the idiom/phrase and mark it as your answer.
4 The fashion of long flowering skirts will run its course.
A. run on its path alone
B. become very popular
C. develop and then come its usual end
D. end very soon
5 He turned a blind eye to his sons's pranks.
A. pretended not to notice
B. paid special attention to
C. covered up for
D. punished severly
6-10. Read the passage carefully and choose the best answer to each question out of four alternatives and mark your answer.
The story of Mahabharat from the eyes of Draupadi, nee Panchali in “From Fire to Fire” offers a refreshing re-look at the great epic. Ahmedabad-based dance academy Rasadhwani’s theatrical Bharatanatyam production glued us to the seats in utter admiration for more than one reason. Firstly, the adaptation of the source, “Palace of illusions” by Chitra Banerjee Divakaruni, a 300-odd page novel into an hour-and-half dance ballet was no mean task. To top it, the novel reads like an autobiography; hence the dance aptly adopted the soliloquy technique and injected aesthetics that lent an amazing dimension and beauty to the ballet. Lighting played a relevant role in enhancing the presentation.
The rise of Panchali (Shivangee Vikram) from the fire – with no props–and her outburst at the very beginning of her emergence for not having been given a proper name other than Drupad’s daughter, hence Draupadi, sketches out her character for us. The narrative focuses on her inner feelings, her thoughts, her arrogance and inflated ego. To her, her complexion comparable to none other than Lord Krishna, her childhood friend, is also an aspect of pride. Her love for Karna who wins her heart in the first meeting but never gets to know her secret longing as long as he lived is ridden with contrasting emotions of ego and remorse. All through the narrative, she is bound to draw the comparison between what she got and what she would have got had she married Karna instead of the Pandava princes.
Shivangee’s expertise with dance and more so abhinaya has __100__ Panchali as seen through author Chitra’s eyes for us. The audience moves along with her emotions now emphasising, now in self-introspection and remorse and so on. The group dancers breeze in and out of the stage either as the five Pandavas or as her alter ego or as her sons or as elongations of the story. Brilliant flashes like the miming of Dasavatar in quick succession by Panchali as Krishna’s voice reveals His past lives, the group dance after she begets five sons from each husband where dancers dwindle out of stage as the song progresses, her varied romantic, seductive approaches to each of her husbands handled with extreme care contributed to the aesthetic element lending depth and natural appeal to the narrative.
Panchali born of fire, we are led to believe through this presentation, constantly invited fierce circumstances like the Kurukshetra war and consequent destruction with her fiery nature, witnesses the death and funeral of her sons and finally passes into the fire in the symbolic sense. Shivangee was able to take her audience along to identify themselves against Panchali’s character, which all of us possess in parts, her tryst with the destiny like anyone of ours and her realisation in the end which is moral for us to draw from her life. The fact that Krishna was there for her from childhood to love her with all her plus and minuses, yet her own ignorance and indifference to the love at hand and her greed to get something higher on the material plane was brought out beautifully and convincingly through this ballet. There was no ambiguity whatsoever. It ended with another home truth that God is always by our side from the moment we are born, yet we fail to realise God because we are shrouded in the mist of Maya (illusion) and only on death-bed do we realise Him like Panchali. A very poignant ending where she is the first to fall at the beginning of the climb to the snow-clad Himalayas and is left alone to die. The dance element in the form of mnemonics set to swar bhol or just bhol to vilambit and drut as the situation warranted was perfect. The Mahabharat war with a thrilled Panchali as eye-witness got its impetus through a racy group dance set to pure nritta (footwork).
6 What stopped Panchali from expressing her feelings to Karna?
A. Her religion
B. Family problems
C. Her ego
D. Her Introvert character
7 What is the meaning of the phrase “Tryst with destiny”?
A. Meeting with destiny
B. An interaction with future
C. A secret rendezvous with destiny
D. Trust on destiny
8 What is the meaning of the word “soliloquy” in the passage?
A. Monologue
B. Sermon
C. Oration
D. Lecture
9 What moral value did we get from Panchali’s story?
A. God is always by our side
B. Ego kills other human's feelings
C. Allotted
D. Started
10 Shivangee’s expertise with dance and more so abhinaya has ___ Panchali as seen through author Chitra’s eyes for us.
A. Depicted
B. Personified
C. Summed up
D. Allegorized
Answers:-
Q.1 (D)
Q.2 (C)
Q.3 (B)
Q.4 (A)
Q.5 (A)
Q.6 (C)
Q.7 (C)
Q.8 (A)
Q.9 (B)
Q.10 (B)
B. Personified
C. Summed up
D. Allegorized
Answers:-
Q.1 (D)
Q.2 (C)
Q.3 (B)
Q.4 (A)
Q.5 (A)
Q.6 (C)
Q.7 (C)
Q.8 (A)
Q.9 (B)
Q.10 (B)
.jpg)
0 comments:
Post a Comment
MAHENDRA GURU