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Kathakali is a classical dance form which originated in Kerala. Katha in Sanskrit means story and kali in Malayalam means play. So Kathakali is a play based on a story. Kathakali, like other classical dances of India, has its origins in Bharata Muni's Natyasastra. It is an art which has evolved from many social and religious theatrical art forms like Cakiarottu, Kudiattam, Krsnattam, Ramattam which existed in the Southern region in ancient times. The main custodian of Kathakali is the famous poet Vallathol Narayan Menon who established Kerala Kalamandalamin in 1930 for the preservation of this art form.
Kathakali, a stylised art form, is a blend of dance music and acting and dramatizes stories mostly adapted from the Indian epics. All the four aspects of abhinaya - angika, vacika, aharya, Sattrika and the three components of the dance - natya, nrtta and nrtya are unified flawlessly in this form. As far as the costume of this dance form is concerned, it is elaborate and designed to heighten the effect of physical strength. The large overcoats, the flawing scarves, the bulging skirts, the antique ornaments, the strikingly opulent head dresses with streaming hair flowing down to the waist and covering the back all create enlarged figures well benefitting the sculptured facial features and produce tremendously impressive impersonations. If the characters are Sattvika (a righteous character or hero), the basic make up is pacca (green); if the characters are rajsika (a character with particular vices or anti hero) the basic make up is cutti (white); and if the characters are tamsika (an evil character or villian), the basic green make up is broken up by red patches. Also, on the basic green make up, an oral red and white design is made on the nose and on the upper nose.
The spider's web occupies a much larger space than does the animal itself. The web represents the spider's field of action in acting as a trap for insects. It is constructed according to a plan. A thread secreted by the spider joins two branches, two rocks, two supports of any kind; then he weaves the rays. The construction proceeds according to a plan. Finally the spider weaves the thread around the center, going around at an always very carefully calculated distance. If the points of support are close together, the web is small. The greater the distance of one from the other, the larger the web will be. But it will always be woven with the same exactness according to a precise plan.
As is the web, so is the mind of the child constructed according to an exact plan. The abstract construction enables him to grasp what happens in his field, which was out of his range heretofore.
Depending on whether the child lives in a simple civilisation or in a complicated world, his web will be more or less large and will enable him to attain more or fewer objectives.
This is why we must respect the interior construction and its manifestations, which may at times seem useless to us. The construction is necessary. It is thanks to this work that the child enlarges his psychic field and subsequently his receptive powers.
To consider the school as the place where instruction is given is one point of view. But to consider the school as a preparation for life is another. In the latter case the school must satisfy all the needs of life.
An education that suppresses the true nature of the child is an education that leads to the development of anomalies.
Sconting, which, outside of school, has brought an organised form of life to children, has therefore always interested us.