Q. Read the following passage carefully and answer the question that follow.

I did that thing recently where you have to sign a big card - which is a horror unto itself, especially as the keeper of the Big Card was leaning over me at the time. Suddenly I was on the spot, a rabbit in the headlights, torn between doing a fun message or some sort of in-joke or a drawing. Instead overwhelmed by the myriad options available to me, I decided to just write “Good luck, best, Joel”.

It was then that I realised, to my horror, that I had forgotten how to write. My entire existence is “tap letters into computer”. My shopping lists are hidden in the notes function of my phone. If I need to remember something I send an e-mail to myself. A pen is something I chew when I’m struggling to think. Paper is something I pile beneath my laptop to make it a more comfortable height for me to type on.

A poll of 1,000 teens by the stationers, Bic found that one in 10 don’t own a pen, a third have never written a letter, and half of 13 to 19 years - old have never been forced to sit down and write a thank you letter. More than 80% have never written a love letter, 56% don’t have letter paper at home. And a quarter have never known the unique torture of writing a birthday card. The most a teen ever has to use a pen is on an exam paper.

Bic, have you heard of mobile phones ? Have you heard of e-mail, facebook and
snap chatting? This is the future. Pens are dead. Paper is dead. Handwriting is a relic.

“Handwriting is one of the most creative outlets we have and should be given the same importance as other art forms such as sketching, painting or photography.”

Que. When confronted with signing a big card, the author felt like “a rabbit in the headlight”. What does this phrase mean ?

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Q. Read the following passage carefully and answer the question that follow.

I did that thing recently where you have to sign a big card - which is a horror unto itself, especially as the keeper of the Big Card was leaning over me at the time. Suddenly I was on the spot, a rabbit in the headlights, torn between doing a fun message or some sort of in-joke or a drawing. Instead overwhelmed by the myriad options available to me, I decided to just write “Good luck, best, Joel”.

It was then that I realised, to my horror, that I had forgotten how to write. My entire existence is “tap letters into computer”. My shopping lists are hidden in the notes function of my phone. If I need to remember something I send an e-mail to myself. A pen is something I chew when I’m struggling to think. Paper is something I pile beneath my laptop to make it a more comfortable height for me to type on.

A poll of 1,000 teens by the stationers, Bic found that one in 10 don’t own a pen, a third have never written a letter, and half of 13 to 19 years - old have never been forced to sit down and write a thank you letter. More than 80% have never written a love letter, 56% don’t have letter paper at home. And a quarter have never known the unique torture of writing a birthday card. The most a teen ever has to use a pen is on an exam paper.

Bic, have you heard of mobile phones ? Have you heard of e-mail, facebook and
snap chatting? This is the future. Pens are dead. Paper is dead. Handwriting is a relic.

“Handwriting is one of the most creative outlets we have and should be given the same importance as other art forms such as sketching, painting or photography.”

Que. According to the author, which one is not the most creative outlet of pursuit?

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Q. Read the following passage carefully and answer the question that follow.

I did that thing recently where you have to sign a big card - which is a horror unto itself, especially as the keeper of the Big Card was leaning over me at the time. Suddenly I was on the spot, a rabbit in the headlights, torn between doing a fun message or some sort of in-joke or a drawing. Instead overwhelmed by the myriad options available to me, I decided to just write “Good luck, best, Joel”.

It was then that I realised, to my horror, that I had forgotten how to write. My entire existence is “tap letters into computer”. My shopping lists are hidden in the notes function of my phone. If I need to remember something I send an e-mail to myself. A pen is something I chew when I’m struggling to think. Paper is something I pile beneath my laptop to make it a more comfortable height for me to type on.

A poll of 1,000 teens by the stationers, Bic found that one in 10 don’t own a pen, a third have never written a letter, and half of 13 to 19 years - old have never been forced to sit down and write a thank you letter. More than 80% have never written a love letter, 56% don’t have letter paper at home. And a quarter have never known the unique torture of writing a birthday card. The most a teen ever has to use a pen is on an exam paper.

Bic, have you heard of mobile phones ? Have you heard of e-mail, facebook and
snap chatting? This is the future. Pens are dead. Paper is dead. Handwriting is a relic.

“Handwriting is one of the most creative outlets we have and should be given the same importance as other art forms such as sketching, painting or photography.”

Que. The entire existence of the author revolves round
(a) Computer
(b) Mobile phone
(c) Typewriter
Identify the correct answer from the codes given below:

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Q. Read the following passage carefully and answer the question that follow.

I did that thing recently where you have to sign a big card - which is a horror unto itself, especially as the keeper of the Big Card was leaning over me at the time. Suddenly I was on the spot, a rabbit in the headlights, torn between doing a fun message or some sort of in-joke or a drawing. Instead overwhelmed by the myriad options available to me, I decided to just write “Good luck, best, Joel”.

It was then that I realised, to my horror, that I had forgotten how to write. My entire existence is “tap letters into computer”. My shopping lists are hidden in the notes function of my phone. If I need to remember something I send an e-mail to myself. A pen is something I chew when I’m struggling to think. Paper is something I pile beneath my laptop to make it a more comfortable height for me to type on.

A poll of 1,000 teens by the stationers, Bic found that one in 10 don’t own a pen, a third have never written a letter, and half of 13 to 19 years - old have never been forced to sit down and write a thank you letter. More than 80% have never written a love letter, 56% don’t have letter paper at home. And a quarter have never known the unique torture of writing a birthday card. The most a teen ever has to use a pen is on an exam paper.

Bic, have you heard of mobile phones ? Have you heard of e-mail, facebook and
snap chatting? This is the future. Pens are dead. Paper is dead. Handwriting is a relic.

“Handwriting is one of the most creative outlets we have and should be given the same importance as other art forms such as sketching, painting or photography.”

Que. How many teens, as per the Bic survey, do not own a pen?

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Q. Read the following passage carefully and answer the question that follow.

I did that thing recently where you have to sign a big card - which is a horror unto itself, especially as the keeper of the Big Card was leaning over me at the time. Suddenly I was on the spot, a rabbit in the headlights, torn between doing a fun message or some sort of in-joke or a drawing. Instead overwhelmed by the myriad options available to me, I decided to just write “Good luck, best, Joel”.

It was then that I realised, to my horror, that I had forgotten how to write. My entire existence is “tap letters into computer”. My shopping lists are hidden in the notes function of my phone. If I need to remember something I send an e-mail to myself. A pen is something I chew when I’m struggling to think. Paper is something I pile beneath my laptop to make it a more comfortable height for me to type on.

A poll of 1,000 teens by the stationers, Bic found that one in 10 don’t own a pen, a third have never written a letter, and half of 13 to 19 years - old have never been forced to sit down and write a thank you letter. More than 80% have never written a love letter, 56% don’t have letter paper at home. And a quarter have never known the unique torture of writing a birthday card. The most a teen ever has to use a pen is on an exam paper.

Bic, have you heard of mobile phones ? Have you heard of e-mail, facebook and
snap chatting? This is the future. Pens are dead. Paper is dead. Handwriting is a relic.

“Handwriting is one of the most creative outlets we have and should be given the same importance as other art forms such as sketching, painting or photography.”

Que. What is the main concern of the author?

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Q. Read the following passage carefully and answer the question that follow.

Story telling is not in our genes. Neither it is an evolutionary history. It is the essence of what makes us Human.
Human beings progress by telling stories. One event can result in a great variety of stories being told about it. Sometimes those stories differ greatly. Which stories are picked up and repeated and which ones are dropped and forgotten often determines how we progress. Our history, knowledge and understanding are all the collections of the few stories that survive. This includes the stories that we tell each other about the future. And how the future will turn out depends partly, possibly largely, on which stories we collectively choose to believe.
Some stories are designed to spread fear and concern. This is because some story-tellers feel that there is a need to raise some tensions. Some stories are frightening, they are like totemic warnings: "Fail to act now and we are all doomed." Then there are stories that indicate that all will be fine so long as we leave everything upto a few especially able adults. Currently, this trend is being led by those who call themselves "rational optimists". They tend to claim that it is human nature to compete and to succeed and also to profit at the expense of others. The rational optimists however, do not realize how humanity has progressed overtime through amiable social networks and how large groups work in less selfishness and in the process accommodate rich and poor, high and low alike. This aspect in story-telling is considered by the 'Practical Possibles', who sit between those who say all is fine and cheerful and be individualistic in your approach to a successful future, and those who ordain pessimism and fear that we are doomed.
What the future holds for us is which stories we hold on to and how we act on them.

Que. Rational optimists:

(a) Look for opportunities.
(b) Are sensible and cheerful.
(c) Are selfishly driven.

Identify the correct answer from the codes given below:

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Q. Read the following passage carefully and answer the question that follow.

Story telling is not in our genes. Neither it is an evolutionary history. It is the essence of what makes us Human.
Human beings progress by telling stories. One event can result in a great variety of stories being told about it. Sometimes those stories differ greatly. Which stories are picked up and repeated and which ones are dropped and forgotten often determines how we progress. Our history, knowledge and understanding are all the collections of the few stories that survive. This includes the stories that we tell each other about the future. And how the future will turn out depends partly, possibly largely, on which stories we collectively choose to believe.
Some stories are designed to spread fear and concern. This is because some story-tellers feel that there is a need to raise some tensions. Some stories are frightening, they are like totemic warnings: "Fail to act now and we are all doomed." Then there are stories that indicate that all will be fine so long as we leave everything upto a few especially able adults. Currently, this trend is being led by those who call themselves "rational optimists". They tend to claim that it is human nature to compete and to succeed and also to profit at the expense of others. The rational optimists however, do not realize how humanity has progressed overtime through amiable social networks and how large groups work in less selfishness and in the process accommodate rich and poor, high and low alike. This aspect in story-telling is considered by the 'Practical Possibles', who sit between those who say all is fine and cheerful and be individualistic in your approach to a successful future, and those who ordain pessimism and fear that we are doomed.
What the future holds for us is which stories we hold on to and how we act on them.

Que. Humans become less selfish when:

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Q. Read the following passage carefully and answer the question that follow.

Story telling is not in our genes. Neither it is an evolutionary history. It is the essence of what makes us Human.
Human beings progress by telling stories. One event can result in a great variety of stories being told about it. Sometimes those stories differ greatly. Which stories are picked up and repeated and which ones are dropped and forgotten often determines how we progress. Our history, knowledge and understanding are all the collections of the few stories that survive. This includes the stories that we tell each other about the future. And how the future will turn out depends partly, possibly largely, on which stories we collectively choose to believe.
Some stories are designed to spread fear and concern. This is because some story-tellers feel that there is a need to raise some tensions. Some stories are frightening, they are like totemic warnings: "Fail to act now and we are all doomed." Then there are stories that indicate that all will be fine so long as we leave everything upto a few especially able adults. Currently, this trend is being led by those who call themselves "rational optimists". They tend to claim that it is human nature to compete and to succeed and also to profit at the expense of others. The rational optimists however, do not realize how humanity has progressed overtime through amiable social networks and how large groups work in less selfishness and in the process accommodate rich and poor, high and low alike. This aspect in story-telling is considered by the 'Practical Possibles', who sit between those who say all is fine and cheerful and be individualistic in your approach to a successful future, and those who ordain pessimism and fear that we are doomed.
What the future holds for us is which stories we hold on to and how we act on them.

Que. 'Practical Possibles' are the ones who:

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Q. Read the following passage carefully and answer the question that follow.

Story telling is not in our genes. Neither it is an evolutionary history. It is the essence of what makes us Human.
Human beings progress by telling stories. One event can result in a great variety of stories being told about it. Sometimes those stories differ greatly. Which stories are picked up and repeated and which ones are dropped and forgotten often determines how we progress. Our history, knowledge and understanding are all the collections of the few stories that survive. This includes the stories that we tell each other about the future. And how the future will turn out depends partly, possibly largely, on which stories we collectively choose to believe.
Some stories are designed to spread fear and concern. This is because some story-tellers feel that there is a need to raise some tensions. Some stories are frightening, they are like totemic warnings: "Fail to act now and we are all doomed." Then there are stories that indicate that all will be fine so long as we leave everything upto a few especially able adults. Currently, this trend is being led by those who call themselves "rational optimists". They tend to claim that it is human nature to compete and to succeed and also to profit at the expense of others. The rational optimists however, do not realize how humanity has progressed overtime through amiable social networks and how large groups work in less selfishness and in the process accommodate rich and poor, high and low alike. This aspect in story-telling is considered by the 'Practical Possibles', who sit between those who say all is fine and cheerful and be individualistic in your approach to a successful future, and those who ordain pessimism and fear that we are doomed.
What the future holds for us is which stories we hold on to and how we act on them.

Que. Story telling is:

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Q. Read the following passage carefully and answer the question that follow.

Story telling is not in our genes. Neither it is an evolutionary history. It is the essence of what makes us Human.
Human beings progress by telling stories. One event can result in a great variety of stories being told about it. Sometimes those stories differ greatly. Which stories are picked up and repeated and which ones are dropped and forgotten often determines how we progress. Our history, knowledge and understanding are all the collections of the few stories that survive. This includes the stories that we tell each other about the future. And how the future will turn out depends partly, possibly largely, on which stories we collectively choose to believe.
Some stories are designed to spread fear and concern. This is because some story-tellers feel that there is a need to raise some tensions. Some stories are frightening, they are like totemic warnings: "Fail to act now and we are all doomed." Then there are stories that indicate that all will be fine so long as we leave everything upto a few especially able adults. Currently, this trend is being led by those who call themselves "rational optimists". They tend to claim that it is human nature to compete and to succeed and also to profit at the expense of others. The rational optimists however, do not realize how humanity has progressed overtime through amiable social networks and how large groups work in less selfishness and in the process accommodate rich and poor, high and low alike. This aspect in story-telling is considered by the 'Practical Possibles', who sit between those who say all is fine and cheerful and be individualistic in your approach to a successful future, and those who ordain pessimism and fear that we are doomed.
What the future holds for us is which stories we hold on to and how we act on them.

Que. Our knowledge is a collection of:

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Q. Read the following passage carefully and answer the question that follow.

Story telling is not in our genes. Neither it is an evolutionary history. It is the essence of what makes us Human.
Human beings progress by telling stories. One event can result in a great variety of stories being told about it. Sometimes those stories differ greatly. Which stories are picked up and repeated and which ones are dropped and forgotten often determines how we progress. Our history, knowledge and understanding are all the collections of the few stories that survive. This includes the stories that we tell each other about the future. And how the future will turn out depends partly, possibly largely, on which stories we collectively choose to believe.
Some stories are designed to spread fear and concern. This is because some story-tellers feel that there is a need to raise some tensions. Some stories are frightening, they are like totemic warnings: "Fail to act now and we are all doomed." Then there are stories that indicate that all will be fine so long as we leave everything upto a few especially able adults. Currently, this trend is being led by those who call themselves "rational optimists". They tend to claim that it is human nature to compete and to succeed and also to profit at the expense of others. The rational optimists however, do not realize how humanity has progressed overtime through amiable social networks and how large groups work in less selfishness and in the process accommodate rich and poor, high and low alike. This aspect in story-telling is considered by the 'Practical Possibles', who sit between those who say all is fine and cheerful and be individualistic in your approach to a successful future, and those who ordain pessimism and fear that we are doomed.
What the future holds for us is which stories we hold on to and how we act on them.

Que. How the future will turn out to be, depends upon the stories?

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Q. Read the following passage carefully and answer the below question:

The literary distaste for politics, however, seems to be focused not so much on the largely murky practice of politics in itself as a subject of literary representation but rather more on how it is often depicted in literature, i.e., on the very politics of such representation. A political novel often turns out to be not merely a novel about politics but a novel with a politics of its own, for it seeks not merely to show us how things are but has fairly definite ideas about how things should be, and precisely what one should think and do in order to make things move in that desired direction. In short, it seeks to convert and enlist the reader to a particular cause or ideology; it often is (in an only too familiar phrase) not literature but propaganda. This is said to violate the very spirit of literature which is to broaden our understanding of the world and the range of our sympathies rather than to narrow them down through partisan commitment. As John Keats said, ‘We hate poetry that has a palpable design upon us’.

Another reason why politics does not seem amenable to the highest kind of literary representation seems to arise from the fact that politics by its very nature is constituted of ideas and ideologies. If political situations do not lend themselves to happy literary treatment, political ideas present perhaps an even greater problem in this regard. Literature, it is argued, is about human experiences rather than about intellectual abstractions; it deals in what is called the ‘felt reality’ of human flesh and blood, and in sap and savour. (rasa) rather than in and and lifeless ideas. In an extensive discussion of the matter in her book Ideas and the Novel, the American novelist Mary McCarthy observed that ‘ideas are still today felt to be unsightly in the novel’ though that was not so in ‘former days’, i.e., in the 18th and 19th centuries. Her formulation of the precise nature of the incompatibility between ideas on the one hand and the novel on the other betrays perhaps a divided conscience in the matter and a sense of dilemma shared by many writers and readers : ‘An idea cannot have loose ends, but a novel, I almost think, needs them. Nevertheless, there is enough in common for the novelists to feel… the attraction of ideas while taking up arms against them — most often with weapons of mockery.’

Que. The constructs of politics by its nature is

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Q. Read the following passage carefully and answer the below question:

The literary distaste for politics, however, seems to be focused not so much on the largely murky practice of politics in itself as a subject of literary representation but rather more on how it is often depicted in literature, i.e., on the very politics of such representation. A political novel often turns out to be not merely a novel about politics but a novel with a politics of its own, for it seeks not merely to show us how things are but has fairly definite ideas about how things should be, and precisely what one should think and do in order to make things move in that desired direction. In short, it seeks to convert and enlist the reader to a particular cause or ideology; it often is (in an only too familiar phrase) not literature but propaganda. This is said to violate the very spirit of literature which is to broaden our understanding of the world and the range of our sympathies rather than to narrow them down through partisan commitment. As John Keats said, ‘We hate poetry that has a palpable design upon us’.

Another reason why politics does not seem amenable to the highest kind of literary representation seems to arise from the fact that politics by its very nature is constituted of ideas and ideologies. If political situations do not lend themselves to happy literary treatment, political ideas present perhaps an even greater problem in this regard. Literature, it is argued, is about human experiences rather than about intellectual abstractions; it deals in what is called the ‘felt reality’ of human flesh and blood, and in sap and savour. (rasa) rather than in and and lifeless ideas. In an extensive discussion of the matter in her book Ideas and the Novel, the American novelist Mary McCarthy observed that ‘ideas are still today felt to be unsightly in the novel’ though that was not so in ‘former days’, i.e., in the 18th and 19th centuries. Her formulation of the precise nature of the incompatibility between ideas on the one hand and the novel on the other betrays perhaps a divided conscience in the matter and a sense of dilemma shared by many writers and readers : ‘An idea cannot have loose ends, but a novel, I almost think, needs them. Nevertheless, there is enough in common for the novelists to feel… the attraction of ideas while taking up arms against them — most often with weapons of mockery.’

Que. Literature deals with

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Q. Read the following passage carefully and answer the below question:

The literary distaste for politics, however, seems to be focused not so much on the largely murky practice of politics in itself as a subject of literary representation but rather more on how it is often depicted in literature, i.e., on the very politics of such representation. A political novel often turns out to be not merely a novel about politics but a novel with a politics of its own, for it seeks not merely to show us how things are but has fairly definite ideas about how things should be, and precisely what one should think and do in order to make things move in that desired direction. In short, it seeks to convert and enlist the reader to a particular cause or ideology; it often is (in an only too familiar phrase) not literature but propaganda. This is said to violate the very spirit of literature which is to broaden our understanding of the world and the range of our sympathies rather than to narrow them down through partisan commitment. As John Keats said, ‘We hate poetry that has a palpable design upon us’.

Another reason why politics does not seem amenable to the highest kind of literary representation seems to arise from the fact that politics by its very nature is constituted of ideas and ideologies. If political situations do not lend themselves to happy literary treatment, political ideas present perhaps an even greater problem in this regard. Literature, it is argued, is about human experiences rather than about intellectual abstractions; it deals in what is called the ‘felt reality’ of human flesh and blood, and in sap and savour. (rasa) rather than in and and lifeless ideas. In an extensive discussion of the matter in her book Ideas and the Novel, the American novelist Mary McCarthy observed that ‘ideas are still today felt to be unsightly in the novel’ though that was not so in ‘former days’, i.e., in the 18th and 19th centuries. Her formulation of the precise nature of the incompatibility between ideas on the one hand and the novel on the other betrays perhaps a divided conscience in the matter and a sense of dilemma shared by many writers and readers : ‘An idea cannot have loose ends, but a novel, I almost think, needs them. Nevertheless, there is enough in common for the novelists to feel… the attraction of ideas while taking up arms against them — most often with weapons of mockery.’

Que. The observation of the novelist, May McCarthy reveals

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Q. Read the following passage carefully and answer the below question:

The literary distaste for politics, however, seems to be focused not so much on the largely murky practice of politics in itself as a subject of literary representation but rather more on how it is often depicted in literature, i.e., on the very politics of such representation. A political novel often turns out to be not merely a novel about politics but a novel with a politics of its own, for it seeks not merely to show us how things are but has fairly definite ideas about how things should be, and precisely what one should think and do in order to make things move in that desired direction. In short, it seeks to convert and enlist the reader to a particular cause or ideology; it often is (in an only too familiar phrase) not literature but propaganda. This is said to violate the very spirit of literature which is to broaden our understanding of the world and the range of our sympathies rather than to narrow them down through partisan commitment. As John Keats said, ‘We hate poetry that has a palpable design upon us’.

Another reason why politics does not seem amenable to the highest kind of literary representation seems to arise from the fact that politics by its very nature is constituted of ideas and ideologies. If political situations do not lend themselves to happy literary treatment, political ideas present perhaps an even greater problem in this regard. Literature, it is argued, is about human experiences rather than about intellectual abstractions; it deals in what is called the ‘felt reality’ of human flesh and blood, and in sap and savour. (rasa) rather than in and and lifeless ideas. In an extensive discussion of the matter in her book Ideas and the Novel, the American novelist Mary McCarthy observed that ‘ideas are still today felt to be unsightly in the novel’ though that was not so in ‘former days’, i.e., in the 18th and 19th centuries. Her formulation of the precise nature of the incompatibility between ideas on the one hand and the novel on the other betrays perhaps a divided conscience in the matter and a sense of dilemma shared by many writers and readers : ‘An idea cannot have loose ends, but a novel, I almost think, needs them. Nevertheless, there is enough in common for the novelists to feel… the attraction of ideas while taking up arms against them — most often with weapons of mockery.’

Que. According to the passage, a political novel often turns out to be a

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Q. Read the following passage carefully and answer the below question:

The literary distaste for politics, however, seems to be focused not so much on the largely murky practice of politics in itself as a subject of literary representation but rather more on how it is often depicted in literature, i.e., on the very politics of such representation. A political novel often turns out to be not merely a novel about politics but a novel with a politics of its own, for it seeks not merely to show us how things are but has fairly definite ideas about how things should be, and precisely what one should think and do in order to make things move in that desired direction. In short, it seeks to convert and enlist the reader to a particular cause or ideology; it often is (in an only too familiar phrase) not literature but propaganda. This is said to violate the very spirit of literature which is to broaden our understanding of the world and the range of our sympathies rather than to narrow them down through partisan commitment. As John Keats said, ‘We hate poetry that has a palpable design upon us’.

Another reason why politics does not seem amenable to the highest kind of literary representation seems to arise from the fact that politics by its very nature is constituted of ideas and ideologies. If political situations do not lend themselves to happy literary treatment, political ideas present perhaps an even greater problem in this regard. Literature, it is argued, is about human experiences rather than about intellectual abstractions; it deals in what is called the ‘felt reality’ of human flesh and blood, and in sap and savour. (rasa) rather than in and and lifeless ideas. In an extensive discussion of the matter in her book Ideas and the Novel, the American novelist Mary McCarthy observed that ‘ideas are still today felt to be unsightly in the novel’ though that was not so in ‘former days’, i.e., in the 18th and 19th centuries. Her formulation of the precise nature of the incompatibility between ideas on the one hand and the novel on the other betrays perhaps a divided conscience in the matter and a sense of dilemma shared by many writers and readers : ‘An idea cannot have loose ends, but a novel, I almost think, needs them. Nevertheless, there is enough in common for the novelists to feel… the attraction of ideas while taking up arms against them — most often with weapons of mockery.’

Que. A political novel reveals

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Q. Read the following passage carefully and answer the question that follow:

Traditional Indian Values must be viewed both from the angle of the individual and from that of the geographically delimited agglomeration of peoples or groups enjoying a common system of leadership which we call the 'State'. The Indian 'State's' special feature is the peaceful, or perhaps mostly peaceful, co-existence of social groups of various historical provenances which mutually adhere in a geographical, economic and political sense, without ever assimilating to each other in social terms, in ways of thinking, or even in language. Modern Indian law will determine certain rules, especially in relation to the regime of the family, upon the basis of how the loin-cloth is tied, or how the turban is worn, for this may identify the litigants as members of a regional group, and therefore as participants in its traditional law, though their ancestors left the region three or four centuries earlier. The use of the word 'State' above must not mislead us. There was no such thing as a conflict between the individual and the State, at least before foreign governments became established, just as there was no concept of state 'sovereignty' or of any church-and-state dichotomy.
Modem Indian 'secularism' has an admittedly peculiar feature: It requires the state to make a fair distribution of attention and support amongst all religions. These blessed aspects of India's famed tolerance (Indian kings so rarely persecuted religious groups that the exceptions prove the rule) at once struck Portuguese and other European visitors to the West Coast of India in the sixteenth century, and the impression made upon them in this and other ways gave rise, at one remove, to the basic constitution of Thomas More's Utopia. There is little about modern India that strikes one at once as Utopian: but the insistence upon the inculcation of norms, and the absence of bigotry and institutionalized exploitation of human or natural resources, are two very different features which link the realities of India and her tradition with the essence of all Utopians.

Que. The author uses the word 'State' to highlight

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Q. Read the following passage carefully and answer the question that follow:

Traditional Indian Values must be viewed both from the angle of the individual and from that of the geographically delimited agglomeration of peoples or groups enjoying a common system of leadership which we call the 'State'. The Indian 'State's' special feature is the peaceful, or perhaps mostly peaceful, co-existence of social groups of various historical provenances which mutually adhere in a geographical, economic and political sense, without ever assimilating to each other in social terms, in ways of thinking, or even in language. Modern Indian law will determine certain rules, especially in relation to the regime of the family, upon the basis of how the loin-cloth is tied, or how the turban is worn, for this may identify the litigants as members of a regional group, and therefore as participants in its traditional law, though their ancestors left the region three or four centuries earlier. The use of the word 'State' above must not mislead us. There was no such thing as a conflict between the individual and the State, at least before foreign governments became established, just as there was no concept of state 'sovereignty' or of any church-and-state dichotomy.
Modem Indian 'secularism' has an admittedly peculiar feature: It requires the state to make a fair distribution of attention and support amongst all religions. These blessed aspects of India's famed tolerance (Indian kings so rarely persecuted religious groups that the exceptions prove the rule) at once struck Portuguese and other European visitors to the West Coast of India in the sixteenth century, and the impression made upon them in this and other ways gave rise, at one remove, to the basic constitution of Thomas More's Utopia. There is little about modern India that strikes one at once as Utopian: but the insistence upon the inculcation of norms, and the absence of bigotry and institutionalized exploitation of human or natural resources, are two very different features which link the realities of India and her tradition with the essence of all Utopians.

Que. Which one is the peculiar feature of modern Indian 'Secularism'?

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Q. Read the following passage carefully and answer the question that follow:

Traditional Indian Values must be viewed both from the angle of the individual and from that of the geographically delimited agglomeration of peoples or groups enjoying a common system of leadership which we call the 'State'. The Indian 'State's' special feature is the peaceful, or perhaps mostly peaceful, co-existence of social groups of various historical provenances which mutually adhere in a geographical, economic and political sense, without ever assimilating to each other in social terms, in ways of thinking, or even in language. Modern Indian law will determine certain rules, especially in relation to the regime of the family, upon the basis of how the loin-cloth is tied, or how the turban is worn, for this may identify the litigants as members of a regional group, and therefore as participants in its traditional law, though their ancestors left the region three or four centuries earlier. The use of the word 'State' above must not mislead us. There was no such thing as a conflict between the individual and the State, at least before foreign governments became established, just as there was no concept of state 'sovereignty' or of any church-and-state dichotomy.
Modem Indian 'secularism' has an admittedly peculiar feature: It requires the state to make a fair distribution of attention and support amongst all religions. These blessed aspects of India's famed tolerance (Indian kings so rarely persecuted religious groups that the exceptions prove the rule) at once struck Portuguese and other European visitors to the West Coast of India in the sixteenth century, and the impression made upon them in this and other ways gave rise, at one remove, to the basic constitution of Thomas More's Utopia. There is little about modern India that strikes one at once as Utopian: but the insistence upon the inculcation of norms, and the absence of bigotry and institutionalized exploitation of human or natural resources, are two very different features which link the realities of India and her tradition with the essence of all Utopians.

Que. The basic construction of Thomas More's Utopia was inspired by

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Q. Read the following passage carefully and answer the question that follow:

Traditional Indian Values must be viewed both from the angle of the individual and from that of the geographically delimited agglomeration of peoples or groups enjoying a common system of leadership which we call the 'State'. The Indian 'State's' special feature is the peaceful, or perhaps mostly peaceful, co-existence of social groups of various historical provenances which mutually adhere in a geographical, economic and political sense, without ever assimilating to each other in social terms, in ways of thinking, or even in language. Modern Indian law will determine certain rules, especially in relation to the regime of the family, upon the basis of how the loin-cloth is tied, or how the turban is worn, for this may identify the litigants as members of a regional group, and therefore as participants in its traditional law, though their ancestors left the region three or four centuries earlier. The use of the word 'State' above must not mislead us. There was no such thing as a conflict between the individual and the State, at least before foreign governments became established, just as there was no concept of state 'sovereignty' or of any church-and-state dichotomy.
Modem Indian 'secularism' has an admittedly peculiar feature: It requires the state to make a fair distribution of attention and support amongst all religions. These blessed aspects of India's famed tolerance (Indian kings so rarely persecuted religious groups that the exceptions prove the rule) at once struck Portuguese and other European visitors to the West Coast of India in the sixteenth century, and the impression made upon them in this and other ways gave rise, at one remove, to the basic constitution of Thomas More's Utopia. There is little about modern India that strikes one at once as Utopian: but the insistence upon the inculcation of norms, and the absence of bigotry and institutionalized exploitation of human or natural resources, are two very different features which link the realities of India and her tradition with the essence of all Utopians.

Que. What is the striking feature of modern India?

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