Candidate

must not
whte on
this nangln.
Time : 3 Hours
Fun Marks : 250
Thefiguresintherighi-handmn:rginindiea;terrunrks.
Ausu)er all questions.

1. Write an essay (of 800-1000 words) on any one of the following

topics : 80
/a/ Lessons learnt from the Pandemic
¢/ Women in Politics
/c/ Child la.bour : causes and remedies
/d/ The menace of cybercrime

2. /a/ Frame sentences with the following idioms : 4x5=20

/I./ do without
/{z./ few and far between
(iii) come off
/{u/ leave out
/u/ fall through

¢/ Fill in the gaps with appropriate prepositions 2x5±10

/../ , They have done away the system.
/I.1./ We arrived just time to watch her
80.
/it.I./ A good citizen should adhere
rules.
¢LJ/ Alas! we are done
/u/ The patient has now come his senses.

/c/ Give the antonyms of the following words : 5

/]'' Accept
/ii' Resolute
(iti) A`now
ftu) Former
/I,/ Meek

/48 [ P.T.O.
 /d/ Turn the following into indirect speech : 5 Candidate
/I./ The old man said to his son, "Do you know our
must not
neighbours?" whte on
thl8 -.gh.
/il/ iJohn said, "I saw her once."
/t.Z€/ The teacher said, "Silence is more powerful than
words.„
/I.LJ/ The mother said to her daughter, "Remember, you have a
son.„
/I;/ The Army-General said to the soldiers, "Be on the
alert.„

/e/ Rewrite the sentences according to the instructions given in

brackets : 2x5=10
/t./ He is rich but poor in health. (Use `despite|
/{€/ The stairs were so steep that I could not climb them.
(Use tool
/t.jj/ Uneasy lies the head that wears a crown.
(Turn into a simple sentence)
/iz// One should abstain from drinking.
(Turn into passive voice)
/u/ He is the bravest man in the locality.
(Use the comparative degree)

" Supply the missing words : 2x5=10

/i/ It was raining cats and
/i!/ You should not run to and
/{jt./ He left no stone
¢.Lt/ Prices are rising by leaps and
/LJ/ Books lay scattered at sixes and

(g) Oonect the eITors .. 2xl0=20

/i./ The president as well as the secretary have objected.
/rty The gold is a precious metal.
/1.£i./ A dog lives how many years?
/I.LJ/ We rarely see an one-rupee coin.
/LJ/ Who will look over the orphan?
/Lrf/ He cannot hear you unless you do not speak loudly.
/zw.t) Listen his advice.
/Lrft.t./ We are awaiting for his arrival.
/ir/ Ram said that he has won.
/x/ One should know his limits.
/48 2
 pr/ Make sentences with the following pairs of words to indicate Candidate
the difference in meaning : 4x5=20 must not
/1./ Dead; Deadly whte on
/I.i/ F`irm; Farm
tble -r8in.
/I.jz/ Ring; Wring
/i.L;/ List; Least
/u/ Stick; Steak

3. Read the passage carefully and answer the questions that follow :
35
For someone who never heard English at home, who began
learning the language only at the age of eleven, and whose
Matriculation marks were so mediocre, Gandhi's prose was
surprisingly clear and direct. Noteworthy is his passing chastisement
of colonial rule (for promoting the sale and consumption of alcohol)
and his praise of the way of life of the shepherd. There were
communities of pastoralists in Kathiawar, who came after every
monsoon to graze their flocks in the large gatJcher, or pastureland,
that lay outside most towns in the region. Gandhi would have seen
them here, and also met them during fairs and festivals, when
shepherds came peddling their wares. It may also be that he was
influenced by the current of romantic anti-industrialism present
in the thought of Henry Salt, and of friends of Salt like Edward
Carpenter, who, like William Wordsworth and John Ruskin before
them, believed that the farmer and shepherd represented a purer,
more natural way of life as compared to the businessman or factory
worker.
Now that he was in print, the novice writer wanted more. The
series on Indian vegetarians was followed by three articles on Indian
festivals. The first series was then reprised for a different journal, in
a long essay on The Foods of India' which ended with the hope that
the time will come when the great difference now existing between
the food habits of meat-eating in England and grain-eating in India
will disappear, and with it some other differences which, in some
quarters, mar the unity of sympathy that ought to exist between the
two couritries'. `In the future', thought this Indian visitor to Endand,
twe shall tend towards unity of custom, and also unity of hearts'.
/a/ What does the author find very surprising about Gandhi's
command over English? 7
¢/ How did Gandhi come to know about the way of life of the
shepherd? 7
/c/ Who influenced Gandhi's idea about pastoral life? 7
/c!/ What was so praiseworthy about that life? 7
/e/ Write in your own words about the future envisaged in Gandhi's
essay on The Foods of India. 7

/48 3 I P.T.O.
 4. Make a prfecis of the following passage (about 410 words). You need Candidate
not add a title. 35 must not
Indeed this contradiction haunts most contemporary ndte ®n
playwrighting and theatre in India. Even to arrive at the heart of thl® margin.
one's own mythology, the whter has to follow signposts planted by
the West, a paradoxical situation for a culture in which the earliest
erdaut play was written in AD 200! The explanation lies in the fact
that what is called Modern Indian Theatre' was started by a group
of people who adopted `cultural amnesia' as a deliberate strategy. It
originated in the second half of the nineteenth century in three
cities, Bombay, Calcutta and Madras. None of these seaports built
by the British for their maritime trade had an Indian past of its
own, a history independent of the British. These places had
developed an Indian middle class that in all outward respects aspired
to qook' like its British counterpart. The social values of this class
were shaped by the English education it had received and by the
need to work with the British in trade and administration.
Inevitably the theatre it created imitated the British theatre of
the times, as presented by visiting troupes from England. Several
new concepts were introduced, two of which altered the nature of
Indian theatre. One was the separation of the audience from the
stage by the proscenium, underscoring the fact that what was being
presented was a spectacle free of any ritualistic associations and
which therefore expected no direct participation by the audience in
it; and the other was the idea of pure entertainment, whose success
would be measured entirely in terms of immediate financial returns
and the run of the play.
Until the nineteenth century, the audience had never been
expected to pay to see a show. Theatre had depended upon
patronage-f kings, ministers, local feudatories, or temples. With
the myth-based storyline already familiar to the audience, the shape
and success Of a performance depended on how the actors improvised
with the given narrative' material each time they came on stage.
Actors did not rehearse a play so much as train for particular kinds
of roles, a system still followed today in folk and traditional treatre
forms. The principle here is the same as in North Indian classical
music, where the musician ains to reveal unexpected delights even
within the strictly regulated contours of a raga, by continual
improvisation. It is the variability, the unpredictable potential of
each performance that is its attraction. the audience accepts the
risk.

***

CSM-2/22 4 PPP24/3|092)-86o0