ideology of what the Victorian socialist William Morris called the "anti-scrape", or an
anticapitalist conservationism (not conservatism) that solaced itself with the vision of a
preindustrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it, belong to it or appropriate it for political or cultural ends – has always been contested territory. . . .
In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying
fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the
radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk
historians and revivalists have led to music that is commonly regarded as parochial and
conservative. And yet – as newspaper columns periodically rejoice – folk is hip again,
influencing artists, clothing and furniture designers, celebrated at music festivals, awards
ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic",
containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up space for rampant imaginative fancies. . . .
[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant
transformation, a living example of an art form in a perpetual state of renewal. "One man sings
a song, and then others sing it after him, changing what they do not like" is the most concise
summary of his conclusions on its origins. He compared each rendition of a ballad to an acorn
falling from an oak tree; every subsequent iteration sows the song anew. But there is tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock idioms.
Electrification, however, comes in many forms. For the early-20th-century composers such as
Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental mysticism,
angular modernism and the body blow of the first world war, as well as input from the
rediscovered folk tradition itself.
For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the 40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their
younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical
freedom of Dylan and the unchained melodies of psychedelia created the conditions for
folkrock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four decades on, even that progressive period has become just one more era ripe for fashionable emulation and pastiche. The idea of a folk tradition being exclusively confined to oral transmission has become a much looser, less severely guarded concept. Recorded music and television, for today's metropolitan generation, are where the equivalent of folk memories are seeded. . . .
The author says that folk “may often appear a cosy, fossilised form” because:
- it has been arrogated for various political and cultural purposes.
- folk is a sonic “shabby chic” with an antique veneer.
the notion of folk has led to several debates and disagreements.
- of its nostalgic association with a pre-industrial past.
The Correct Option is D
Solution and Explanation
To understand why the author says that folk "may often appear a cosy, fossilised form," we must examine the context provided in the comprehension passage. The passage describes various aspects of folk music and its associations:
- It refers to the vision of a "preindustrial golden age" as solace for those with anticapitalist conservationism.
- The notion of folk is linked to tradition and has been viewed through lenses of nostalgia and historical authenticity.
- The passage mentions the influence of a preindustrial past, highlighting the nostalgic aspect of folk.
This context supports the correct answer option, which states:
of its nostalgic association with a pre-industrial past.
Thus, the passage suggests that folk appears fossilised because it evokes a romanticized view of an earlier, simpler time, often associated with the aesthetics of the past.
All of the following are causes for plurality and diversity within the British folk tradition EXCEPT:
- paradoxically, folk forms are both popular and unpopular.
that British folk continues to have traces of pagan influence from the dark ages.
- that British folk forms can be traced to the remote past of the country.
the fluidity of folk forms owing to their history of oral mode of transmission.
The Correct Option is A
Solution and Explanation
The question asks us to identify which option does not contribute to the plurality and diversity within the British folk tradition. Let’s analyze each option in the context of the given comprehension:
Option 1: Paradoxically, folk forms are both popular and unpopular.
This statement discusses the dual perception of British folk forms in contemporary times, not directly influencing its plurality or diversity. Instead, it highlights folk's simultaneous relevance and irrelevance, which does not contribute to the origin or diversity of folk forms.
Option 2: That British folk continues to have traces of pagan influence from the dark ages.
The text mentions folk containing a "whiff of Britain's heathen dark ages," indicating a historical influence that adds to its diversity by retaining elements from different eras.
Option 3: That British folk forms can be traced to the remote past of the country.
The passage suggests that folk traditions are deeply rooted in history, having evolved over time. This historical depth contributes to its diversity.
Option 4: The fluidity of folk forms owing to their history of oral mode of transmission.
The passage notes that folk songs are in constant transformation, suggesting that their fluid oral history contributes significantly to the diversity and plurality of the tradition.
Based on the analysis, Option 1 is the correct answer, as it reflects a contemporary paradox of popularity rather than a cause for historical plurality and diversity.
At a conference on folk forms, the author of the passage is least likely to agree with which one of the following views?
- The power of folk resides in its contradictory ability to influence and be influenced by the present while remaining rooted in the past.
- Folk forms, despite their archaic origins, remain intellectually relevant in contemporary times.
- Folk forms, in their ability to constantly adapt to the changing world, exhibit an unusual poise and homogeneity with each change.
- The plurality and democratising impulse of folk forms emanate from the improvisation that its practitioners bring to it.
The Correct Option is C
Solution and Explanation
To determine which view the author is least likely to agree with, we need to analyze the given passage about folk forms. The passage discusses how folk forms are deeply tied to their roots while simultaneously being dynamic, evolving with each rendition and cultural influence. It conveys the idea of folk as an adaptive entity that remains relevant and influential over time, free from being static or overly homogeneous. Let's examine each option:
1. The power of folk resides in its contradictory ability to influence and be influenced by the present while remaining rooted in the past.
This statement aligns with the passage's notion that folk forms balance modern influences while staying connected to their historical origins.
2. Folk forms, despite their archaic origins, remain intellectually relevant in contemporary times.
The passage supports this by describing folk's enduring influence on modern music, design, and fashion.
3. Folk forms, in their ability to constantly adapt to the changing world, exhibit an unusual poise and homogeneity with each change.
The passage emphasizes transformation and diversity in folk adaptations rather than homogeneity. This is evident when describing how different eras and influences have reshaped folk forms.
4. The plurality and democratizing impulse of folk forms emanate from the improvisation that its practitioners bring to it.
This view is consistent with the passage, highlighting folk's evolving nature driven by creativity and improvisation.
Upon analysis, option 3 is the least aligned with the author's views. The passage suggests that while folk forms adapt and change, they do not do so with homogeneity; rather, they reflect a variety of influences and transformations. Therefore, the author is least likely to agree with the statement that folk forms exhibit an unusual poise and homogeneity with each change.
The primary purpose of the reference to William Morris and his floral prints is to show:
the pervasive influence of folk on contemporary art, culture, and fashion.
- that what was once derided as genteel is now considered revolutionary.
that what is once regarded as radical in folk, can later be seen as conformist.
- that despite its archaic origins, folk continues to remain a popular tradition.
The Correct Option is C
Solution and Explanation
The passage explores the evolving meaning and reception of the concept of "folk"—initially viewed as radical and anti-capitalist, but later becoming associated with mainstream and even conservative values.
Purpose of the Reference to William Morris
The mention of William Morris and his floral prints serves as a metaphor for how ideas and expressions that begin as revolutionary or countercultural can, over time, become normalized and assimilated into the mainstream.
"Morris’s floral designs were once effusive and revolutionary, but now adorn genteel sofas."
This transformation symbolizes how folk traditions, initially representing resistance to industrial capitalism, can gradually lose their radical edge and become decorative or traditional—no longer challenging the status quo, but reinforcing it.
Key Takeaway
The reference is used to illustrate the core argument of the passage: that what begins as radical and subversive can become conventional and conformist through time and cultural adaptation.
Final Answer
The primary purpose of the reference to William Morris’s floral prints is to show that what was once radical in folk tradition can later become conformist and mainstream.
Which of the following statements about folk revivalism of the 1940s and 1960s cannot be inferred from the passage?
- Even though it led to folk-rock’s golden age, it wasn’t entirely free from critique.
- Electrification of music would not have happened without the influence of rock music.
- Freedom and rebellion were popular themes during the second wave of folk revivalism.
- It reinforced Cecil Sharp’s observation about folk’s constant transformation.
The Correct Option is B
Solution and Explanation
- Statement 1: "Even though it led to folk-rock’s golden age, it wasn’t entirely free from critique." The passage mentions "In the late 1960s, purists were suspicious of folk songs recast in rock idioms," indicating critique, thus supporting this statement.
- Statement 2: "Electrification of music would not have happened without the influence of rock music." The passage discusses the electrification of music being influenced by various elements, not just rock music. Moreover, electrification in the early 20th century was inspired by factors like oriental mysticism and modernism, suggesting that rock music was not the sole driver. Therefore, this statement cannot be inferred.
- Statement 3: "Freedom and rebellion were popular themes during the second wave of folk revivalism." It mentions "the lyrical freedom of Dylan and the unchained melodies of psychedelia," which aligns with themes of freedom and rebellion during the 60s.
- Statement 4: "It reinforced Cecil Sharp’s observation about folk’s constant transformation." The passage describes how folk songs existed in a "constant transformation," directly reinforcing Sharp’s idea.
Top Questions on Reading Comprehension
- Shown below are letters ‘e’ taken from four popular logos, arranged in a sequence. Which of the options is the correct sequence?
- UCEED - 2026
- English Language Comprehension
- Reading Comprehension
- Shown below are four options, each showing consecutive frames representing the movement of a pendulum of an old-style wall clock for an animation movie. Which is the correct option?
- UCEED - 2026
- English Language Comprehension
- Reading Comprehension
- Acrucial moderating factor in how people experience comparisons is self-esteem. Individuals with high self-esteem are more likely to interpret upward comparison as informative rather than threatening. They are more resilient in the face of others’ success and more likely to believe they can reach their own goals. In contrast, people with low self-esteem are more prone to interpret comparison as judgment, reinforcing negative self-views and triggering feelings of inadequacy.
This dynamic creates a self-reinforcing loop. People with high self-esteem are less vulnerable to upward comparison, which intensifies those doubts. Those with a secure sense of self are more likely to use comparison as a learning tool. The same external stimulus—a colleague’s achievements, a friend’s popularity—can have radically different effects depending on internal stability.
Self-esteem also influences how people choose their comparison targets. Research has found that individuals often engage in “selective comparison,” seeking out those who confirm their existing beliefs about themselves. This can become a subtle form of self-sabotage. Someone who feels unworthy may subconsciously seek out targets that reinforce that sense, perpetuating a narrative of inferiority. One of the most promising antidotes to social comparison is temporal comparison—evaluating oneself not against others, but against one’s own past. This method has been shown to increase motivation and satisfaction, especially when individuals can see concrete progress. Temporal comparison activates the same reward circuits as social comparison but avoids the threat systems associated with social ranking. It also reinforces agency: individuals focus on what they can control and improve rather than what others control. In therapeutic and coaching settings, temporal comparison is used to help clients build self-efficacy and track growth over time.
Moreover, people who focus on self-improvement rather than social dominance are less likely to fall into cycles of envy or self-pity. They can still use others as inspiration, but they do so without attaching their self-worth to the outcome. This is not to say they never compare—but that they focus on learning, rather than judgment. The most skilful approach to comparison may lie in eliminating it, but in reframing it as feedback. When we interpret comparison as information rather than a verdict, we can ask, “What can I learn from this?” This shift turns comparison into a growth tool. Teachers mentor their students, not as rivals. Psychologists emphasize that the key variable here is mindset.
A fixed mindset sees comparison as a threat. If someone else is better, it means we are worse. A growth mindset sees comparison as a map. If someone else has reached a certain level, it means the path exists. This reframing is not just a cognitive trick. It changes the emotional tone of comparison, making it more likely to inspire than to wound. Reframing also requires emotional regulation—the ability to notice an initial pang of envy or shame without reacting impulsively. With practice, individuals can learn to pause, reflect, and reinterpret their emotional responses. Over time, this builds resilience and self-trust, allowing comparison to become a learning tool rather than a cage.- XAT - 2026
- Verbal and Logical Ability
- Reading Comprehension
When people who are talking don’t share the same culture, knowledge, values, and assumptions, mutual understanding can be especially difficult. Such understanding is possible through the negotiation of meaning. To negotiate meaning with someone, you have to become aware of and respect both the differences in your backgrounds and when these differences are important. You need enough diversity of cultural and personal experience to be aware that divergent world views exist and what they might be like. You also need the flexibility in world view, and a generous tolerance for mistakes, as well as a talent for finding the right metaphor to communicate the relevant parts of unshared experiences or to highlight the shared experiences while demphasizing the others. Metaphorical imagination is a crucial skill in creating rapport and in communicating the nature of unshared experience. This skill consists, in large measure, of the ability to bend your world view and adjust the way you categorize your experiences. Problems of mutual understanding are not exotic; they arise in all extended conversations where understanding is important.
When it really counts, meaning is almost never communicated according to the CONDUIT metaphor, that is, where one person transmits a fixed, clear proposition to another by means of expressions in a common language, where both parties have all the relevant common knowledge, assumptions, values, etc. When the chips are down, meaning is negotiated: you slowly figure out what you have in common, what it is safe to talk about, how you can communicate unshared experience or create a shared vision. With enough flexibility in bending your world view and with luck and charity, you may achieve some mutual understanding.
Communication theories based on the CONDUIT metaphor turn from the pathetic to the evil when they are applied indiscriminately on a large scale, say, in government surveillance or computerized files. There, what is most crucial for real understanding is almost never included, and it is assumed that the words in the file have meaning in themselves—disembodied, objective, understandable meaning. When a society lives by the CONDUITmetaphor on a large scale, misunderstanding, persecution, and much worse are the likely products.- XAT - 2026
- Verbal and Logical Ability
- Reading Comprehension
Later, I realized that reviewing the history of nuclear physics served another purpose as well: It gave the lie to the naive belief that the physicists could have come together when nuclear fission was discovered (in Nazi Germany!) and agreed to keep the discovery a secret, thereby sparing humanity such a burden. No. Given the development of nuclear physics up to 1938, development that physicists throughout the world pursued in all innocence of any intention of finding the engine of a new weapon of mass destruction—only one of them, the remarkable Hungarian physicist Leo Szilard, took that possibility seriously—the discovery of nuclear fission was inevitable. To stop it, you would have had to stop physics. If German scientists hadn’t made the discovery when they did, French, American, Russian, Italian, or Danish scientists would have done so, almost certainly within days or weeks. They were all working at the same cutting edge, trying to understand the strange results of a simple experiment bombarding uranium with neutrons. Here was no Faustian bargain, as movie directors and other naifs still find it intellectually challenging to imagine. Here was no evil machinery that the noble scientists might hide from the problems and the generals. To the contrary, there was a high insight into how the world works, an energetic reaction, older than the earth, that science had finally devised the instruments and arrangements to coart forth. “Make it seem inevitable,” Louis Pasteur used to advise his students when they prepared to write up their discoveries. But it was. To wish that it might have been ignored or suppressed is barbarous. “Knowledge,” Niels Bohr once noted, “is itself the basis for civilization.” You cannot have the one without the other; the one depends upon the other. Nor can you have only benevolent knowledge; the scientific method doesn’t filter for benevolence. Knowledge has consequences, not always intended, not always comfortable, but always welcome. The earth revolves around the sun, not the sun around the earth. “It is a profound and necessary truth,” Robert Oppenheimer would say, “that the deep things in science are not found because they are useful; they are found because it was possible to find them.”
...Bohr proposed once that the goal of science is not universal truth. Rather, he argued, the modest but relentless goal of science is “the gradual removal of prejudices.” The discovery that the earth revolves around the sun has gradually removed the prejudice that the earth is the center of the universe. The discovery of microbes is gradually removing the prejudice that disease is a punishment from God. The discovery of evolution is gradually removing the prejudice that Homo sapiens is a separate and special creation.- XAT - 2026
- Verbal and Logical Ability
- Reading Comprehension
Questions Asked in CAT exam
- The passage given below is followed by four summaries. Choose the option that best captures the essence of the passage.
In the dynamic realm of creativity, artists often find themselves at the crossroads between drawing inspiration from diverse cultures and inadvertently crossing into the territory of cultural appropriation. Inspiration is the lifeblood of creativity, driving artists to create works that resonate across borders. In a globalized era of the modern world, artists draw from a vast array of cultural influences. When approached respectfully, inspiration becomes a bridge, fostering understanding and appreciation of cultural diversity. However, the line between inspiration and cultural appropriation can be thin and easily blurred.
Cultural appropriation occurs when elements from a particular culture are borrowed without proper understanding, respect, or acknowledgment. This leads to the commodification of sacred symbols, the reinforcement of stereotypes, and the erasure of the cultural context from which these elements originated. It is essential to recognize that the impact of cultural appropriation extends beyond the realm of artistic expression, influencing societal perceptions and perpetuating power imbalances.- CAT - 2025
- Para Summary
- The number of distinct integers $n$ for which $\log_{\left(\frac14\right)}(n^2 - 7n + 11)>0$ is:
- CAT - 2025
- Linear Inequalities
- In the set of consecutive odd numbers $\{1, 3, 5, \ldots, 57\}$, there is a number $k$ such that the sum of all the elements less than $k$ is equal to the sum of all the elements greater than $k$. Then, $k$ equals?
- CAT - 2025
- Number Systems
- The number of distinct pairs of integers $(x, y)$ satisfying the inequalities $x>y \ge 3$ and $x + y<14$ is:
- CAT - 2025
- Number Systems
For any natural number $k$, let $a_k = 3^k$. The smallest natural number $m$ for which \[ (a_1)^1 \times (a_2)^2 \times \dots \times (a_{20})^{20} \;<\; a_{21} \times a_{22} \times \dots \times a_{20+m} \] is:
- CAT - 2025
- Linear Inequalities