Comprehension
"Free of the taint of manufacture" – that phrase, in particular, is heavily loaded with the
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. . . .
Question: 1

The author says that folk “may often appear a cosy, fossilised form” because:

Updated On: Jul 28, 2025
  • 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.
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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.

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Question: 2

All of the following are causes for plurality and diversity within the British folk tradition EXCEPT:

Updated On: Jul 28, 2025
  • 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. 

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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.

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Question: 3

At a conference on folk forms, the author of the passage is least likely to agree with which one of the following views?

Updated On: Jul 28, 2025
  • 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.
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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.

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Question: 4

The primary purpose of the reference to William Morris and his floral prints is to show:

Updated On: Jul 28, 2025

  • 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.
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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.

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Question: 5

Which of the following statements about folk revivalism of the 1940s and 1960s cannot be inferred from the passage?

Updated On: Jul 28, 2025
  • 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.
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The Correct Option is B

Solution and Explanation

To determine which statement about folk revivalism of the 1940s and 1960s cannot be inferred from the passage, a careful analysis of the text is necessary.
  • 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.
The correct answer is: "Electrification of music would not have happened without the influence of rock music."
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