Signature and Name of Invigilator OMR Sheet No. : ...... 1. (Signature) (To be filled by the Candidate) (Name) Roll No. 2. (Signature) (In figures as per admission card) (Name) Roll No. D 9715 PAPER - III (In words) Time : 2½ hours] RABINDRA SANGEET [Maximum Marks : 150 Number of Pages in this Booklet : 32 Number of Questions in this Booklet : 75 Instructions for the Candidates ÂÚUèÿææçÍüØô¢ ·ð¤ çÜ° çÙÎðüàæ 1. Write your roll number in the space provided on the top of 1. §â ÂëDU ·ð¤ ª¤ÂÚU çÙØÌ SÍæÙ ÂÚU ¥ÂÙæ ÚUôÜU ِÕÚU çÜç¹°Ð this page. 2. This paper consists of seventy five multiple-choice type of 2. §â ÂýàÙ-˜æ ×𢠿ãžæÚU Õãéçß·¤ËÂèØ ÂýàÙ ãñ´Ð questions. 3. ÂÚUèÿææ ÂýæڐUÖ ãôÙð ÂÚU, ÂýàÙ-ÂéçSÌ·¤æ ¥æ·¤ô Îð Îè ÁæØð»èÐ ÂãÜðU ÂUæ¡¿ ç×ÙÅU 3. At the commencement of examination, the question booklet ¥æ·¤ô ÂýàÙ-ÂéçSÌ·¤æ ¹ôÜÙð ÌÍæ ©â·¤è çِÙçÜç¹Ì Áæ¡¿ ·ð¤ çÜ° çÎØð will be given to you. 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Faulty booklets due to pages/questions missing or duplicate or not in serial order or any other ©âè â×Ø ©âð ÜUõÅUæ·¤ÚU ©â·ð¤ SÍæÙ ÂÚU ÎêâÚUè âãè ÂýàÙ-ÂéçSÌ·¤æ Üð discrepancy should be got replaced immediately by a Üð¢Ð U §â·ð¤ çÜ° ¥æ·¤ô Âæ¡¿ ç×ÙÅU çÎØð ÁæØð¢»ðÐ ©â·ð¤ ÕæÎ Ù Ìô correct booklet from the invigilator within the period ¥æ·¤è ÂýàÙ-ÂéçSÌ·¤æ ßæÂâ Üè ÁæØð»è ¥õÚU Ù ãè ¥æ·¤ô ¥çÌçÚUQ¤ of 5 minutes. Afterwards, neither the Question Booklet â×Ø çÎØæ ÁæØð»æÐ will be replaced nor any extra time will be given. (iii) §â Áæ¡¿ ·ð¤ ÕæÎ ÂýàÙ-ÂéçSÌ·¤æ ·¤æ Ù´ÕÚU OMR ˜淤 ÂÚU ¥¢ç·¤Ì ·¤Úð¢U (iii) After this verification is over, the Test Booklet Number ¥UõÚU OMR ˜淤 ·¤æ Ù´ÕÚU §â ÂýàÙ-ÂéçSÌ·¤æ ÂÚU ¥¢ç·¤Ì ·¤ÚU Îð¢Ð should be entered on the OMR Sheet and the OMR Sheet Number should be entered on this Test Booklet. 4. ÂýˆØð·¤ ÂýàÙ ·ð¤ çÜ° ¿æÚU ©žæÚU çß·¤Ë (1), (2), (3) ÌÍæ (4) çÎØð »Øð ãñ¢Ð 4. Each item has four alternative responses marked (1), (2), (3) ¥æ·¤ô âãè ©žæÚU ·ð¤ ßëžæ ·¤ô ÂðÙ âð ÖÚU·¤ÚU ·¤æÜæ ·¤ÚUÙæ ãñ Áñâæ ç·¤ Ùè¿ð and (4). You have to darken the circle as indicated below on çιæØæ »Øæ ãñÐ the correct response against each item. ©ÎæãÚU‡æ Ñ ÁÕç·¤ (3) âãè ©žæÚU ãñÐ Example : where (3) is the correct response. 5. ÂýàÙæ𴠷𤠩žæÚU ·ð¤ßÜ ÂýàÙ ÂéçSÌ·¤æ ·ð¤ ¥‹ÎÚU çÎØð »Øð OMRU ˜淤 ÂÚU ãè 5. Your responses to the items are to be indicated in the OMR ¥´ç·¤Ì ·¤ÚUÙð ãñ´Ð ØçÎ ¥æ OMRU ˜淤 ÂÚU çÎØð »Øð ßëžæ ·ð¤ ¥Üæßæ ç·¤âè Sheet given inside the Booklet only. If you mark your response at any place other than in the circle in the OMR ¥‹Ø SÍæÙ ÂÚU ©žæÚU 翋ãæ¢ç·¤Ì ·¤ÚUÌð ãñ´, Ìô ©â·¤æ ×êËUØ梷¤Ù Ùãè¢ ãô»æÐ Sheet, it will not be evaluated. 6. ¥‹ÎÚU çÎØð »Øð çÙÎðüàæô¢ ·¤ô ŠØæÙÂêßü·¤ Âɸð¢UÐ 6. Read instructions given inside carefully. 7. ·¤“ææ ·¤æ× (Rough Work) §â ÂéçSÌ·¤æ ·ð¤ ¥ç‹Ì× ÂëDU ÂÚU ·¤Úð¢UÐ 7. Rough Work is to be done in the end of this booklet. 8. 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You have to return the original OMR Sheet to the invigilators Ù Üð·¤ÚU ÁæØð¢Ð ãæÜæ´ç·¤ ¥æ ÂÚUèÿææ â×æç# ÂÚU ×êÜ ÂýàÙ-ÂéçSÌ·¤æ ÌÍæ OMR at the end of the examination compulsorily and must not carry it with you outside the Examination Hall. You are ˜淤 ·¤è ÇéUŒÜè·ð¤ÅU ÂýçÌ ¥ÂÙð âæÍ Üð Áæ â·¤Ìð ãñ´Ð however, allowed to carry original question booklet and 10. ·ð¤ßÜ ÙèÜð/·¤æÜð ÕæÜU Œßæ§ZÅU ÂðÙ ·¤æ ãè §SÌð×æÜ ·¤Úð¢UÐ duplicate copy of OMR Sheet on conclusion of examination. 11. ç·¤âè Öè Âý·¤æÚU ·¤æ ⢻‡æ·¤ (·ñ¤Ü·é¤ÜðÅUÚU) UØæ Üæ» ÅðUÕÜ ¥æçÎ ·¤æ 10. Use only Blue/Black Ball point pen. ÂýØô» ßçÁüÌ ãñÐ 11. Use of any calculator or log table etc., is prohibited. 12. »ÜÌ ©žæÚUæð´ ·ð¤ çÜ° ·¤æð§ü Ù·¤æÚUæˆ×·¤ ¥´·¤ Ùãè´ ãñ´Ð 12. There are no negative marks for incorrect answers. 13. In case of any discrepancy in the English and Hindi versions, 13. ØçÎ ¥´»ýðÁè Øæ çã´Îè çßßÚU‡æ ×ð´ ·¤æð§ü çßâ´»çÌ ãæð, Ìæð ¥´»ýðÁè çßßÚU‡æ ¥´çÌ× English version will be taken as final. ×æÙæ Áæ°»æÐ

D-9715 !D-9715-PAPER-III! 1 P.T.O. RABINDRA SANGEET PAPER - III

Note : This paper contains seventy five (75) objective type questions of two (2) marks each. All questions are compulsory.

1. Which opera is the second one written by Rabindra Nath Tagore ? (1) Kalmrigaya (2) Mayar Khela (3) Valmiki Prativa (4) Notir Puja

2. The Headquarter of ‘Akashvani’ (All India Radio) is situated in : (1) Pune (2) Kanpur (3) Delhi (4) Kolkata

3. “Tomar Sonar Thalay Sajabo Aj” who sang this song in the play ‘Rhinshodh’ : (1) Shekhar (2) Laksheswar (3) Vijayaditya (4) Sannyasi

4. Trace out the source of musical dialogue between “Toper Taper Bandhon Katuk” and “Oi Ki Ele Akashpare” : (1) Nataraj Riturangoshala (2) Shesh Barshan (3) Shravan Gatha (4) Barshamangal

5. Who did Eulogise Dinendranath as ‘Utsavaraaj’ ? (1) Rabindranath (2) Abanindranath (3) Prashanta Chandra Mahalanabish (4) Pramathanath Bisht

6. ‘Kartaveeryarjuna’ is an important reference point by Tagore as we find in : (1) Sangeet O Kabita (2) Antar Bahir (3) Alap Alochona (4) Sur O Sangati

7. Who wanted improvisation in Tagore song from Tagore himself ? (1) Shantidev Ghosh (2) Dilip Kumar Ray (3) Dhurjati Prasad Mukhopadhyay (4) Atul Prasad Sen

D-9715 !D-9715-PAPER-III! 2 Paper-III ÚUÕè‹Îý â´»èÌ Âýà٠˜æ - III

çÙÎðüàæ Ñ §â Âýà٠˜æ ×ð´ ¿ãžæÚU (75) Õãé-çß·¤ËÂUèØ ÂýàÙ ãñ´Ð ÂýˆØð·¤ ÂýàÙ ·ð¤ Îô (2) ¥¢·¤ ãñ´Ð âÖè ÂýàÙ ¥çÙßæØü ãñ´Ð

1. ÚUÕè‹ÎýÙæÍ ÅñU»æðÚU mæÚUæ çÜç¹Ì ·¤æñÙ-âæ »èçÌ-ÙæÅ÷UØ ©Ù·¤æ ÎêâÚUæ »èçÌ-ÙæÅ÷UØ ãñ? (1) ·¤æÜ×ë»Øæ (2) ×æØÚU ¹ðÜæ (3) ßæË×èç·¤ ÂýçÌÖæ (4) ÙæòÅUèÚU ÂéÁæ

2. ҥ淤æàæßæ‡æèÓ (¥æòÜ §´çÇUØæ ÚðUçÇUØæð) ·¤æ ×éØæÜØ çSÍÌ ãñ Ñ (1) Âé‡æð ×ð´ (2) ·¤æÙÂéÚU ×ð´ (3) çÎËÜè ×ð´ (4) ·¤æðÜ·¤æÌæ ×ð´

3. ÒÒÌæð×æÚU âæðÙæÚU ÍæÜæØð âÁæÕæð ¥æÁÓÓ Ò«¤‡æàææðÏÓ ÙæÅU·¤ ×𴠧⠻èÌ ·¤æð ç·¤âÙð »æØæ? (1) àæð¹ÚU (2) ÜÿæðàßÚU (3) çßÁØæçÎˆØ (4) ⴋØæâè

4. ÒÒÌæðÂðÚU ÌæÂðÚU Õæ´ÏÙ ·¤æÌé·¤ÓÓ ¥æñÚU ÒÒ¥æð§ü ·¤è °Üð ¥æ·¤æàæÂæÚðUÓÓ ·ð¤ Õè¿ â´»èÌ â´ßæÎ ·¤æ dæðÌ çܹð´ Ñ (1) ÙÅUÚUæÁ «¤ÌéÚ´U»æðàææÜæ (2) àæðá Õáü‡æ (3) Ÿææß‡æ »æÍæ (4) Õáü×´»Ü

5. çÎÙð´ÎýÙæÍ ·¤è Ò©ˆâßÚUæÁÓ ·ð¤ M¤Â ×ð´ ç·¤âÙð Âýàæ´âæ ·¤è? (1) ÚUÕè‹ÎýÙæÍ (2) ¥ÕÙè‹ÎýÙæÍ (3) Âýàææ´Ì ¿´Îý ×ãÜæÙÕèàæ (4) Âý×ÍÙæÍ çÕcÅU

6. Ò·¤æÌüßèØü¥ÁéüÙæÓ ÅñU»æðÚU ·¤æ °·¤ ×ãˆßÂê‡æü â´ÎÖü çÕ´Îé ãñ, Áæð çِ٠×ð´ âð ç·¤â×ð´ ÂæØæ ÁæÌæ ãñ? (1) â´»èÌ ¥æð ·¤çÕÌæ (2) ¥´ÌÚU ÕæçãÚU (3) ¥æÜæ ¥æÜæð¿Ùæ (4) âéÚU ¥æð â´»çÌ

7. ·¤æñÙ ¿æãÌð Íð ç·¤ ÅñU»æðÚU ¹éÎ ¥ÂÙð »èÌæð´ ·¤æð ¥æñÚU ¥Ü´·ë¤Ì ÕÙæØð´? (1) àææ´çÌÎðß ƒææðá (2) çÎÜè ·é¤×æÚU ÚðU (3) ÏéÁüÅUè ÂýâæÎ ×é¹æðÂæŠØæØ (4) ¥ÌéÜ ÂýâæÎ âðÙ

D-9715 !D-9715-PAPER-III! 3 Paper-III 8. Tagore, in his letter, used the term ‘Hermaphroditic’. To whom he wrote this letter ? (1) Einstein (2) Romain Rolland (3) Dhurjati Prasad Mukhopadhyay (4) Shailojaranjan Mojumder

9. According to Tagore The word ‘Hermaphroditic’ related to : (1) Indira Devi and Pramatha Chowdhury (2) Tune and Rythem (3) Dinendranath and Kamala (4) The single conjugal form of the Purusha and Prakriti

10. Mention the sequence of the seasons depicted in the song “Viswa Veena Rabe” : (1) Monsoon - Autumn - Spring (2) Spring - Monsoon - Autumn (3) Spring - Autumn - Monsoon (4) Autumn - Spring - Monsoon

11. Who is the composer of the song - “Bimal Probhate Mili Aksathe” ? (1) Jyotirindranath (2) Satyendranath (3) Rabindranath (4) Devendranath

12. What is the British name of Ratan Devi ? (1) Alice Richardson (2) Madam Nelson (3) Madam Albery (4) Marguerite Wilkinson

13. Which one of the following taalas is created by Tagore ? (1) Surphank tal (2) Ardha Jhaptal (3) Naba tal (4) Rupak tal

14. Which book, Tagore’s all writing on music is compiled ? (1) Chhabi o gaan (2) Kabya Parikrama (3) Sangeet Chinta (4) Rabindra Katha

D-9715 !D-9715-PAPER-III! 4 Paper-III 8. ÅñU»æðÚU Ùð ¥ÂÙð ˜æ ×ð´ Ò©ÖØçÜ´»èÓ àæŽÎ ·¤æ ÂýØæð» ç·¤Øæ ÍæÐ Øã Â˜æ ©‹ãæð´Ùð ç·¤âð çܹæ Íæ? (1) ¥æ§´SÅUèÙ (2) ÚUæð×æ ÚUæñÜæ´ (3) ÏéÁüÅUè ÂýâæÎ ×é¹æðÂæŠØæØ (4) àæñÜæðÁæÚ´UÁÙ ×Áê×ÎæÚU

9. ÅñU»æðÚU ·ð¤ ¥ÙéâæÚU Ò©ÖØçÜ´»èÓ àæŽÎ ç·¤ââð â´Õ´çÏÌ Íæ? (1) §´çÎÚUæ Îðßè ¥æñÚU Âý×Íæ ¿æñÏÚUè (2) âéÚU ¥æñÚU ÌæÜ (3) çÎÙð´ÎýÙæÍ ¥æñÚU ·¤×Üæ (4) ÂéL¤á ¥æñÚU Âý·ë¤çÌ ·¤æ °·¤UÜ ßñßæçã·¤ SßM¤Â

10. ÒÒçßàß ßè‡ææ ÚUÕðÓÓ »èÌ ×ð´ ÂýÎçàæüÌ «¤Ìé¥æð ·¤æð âãè ·ý¤× ×ð´ çܹð´ Ñ (1) ßáæü - àæÚUÎ - Õâ´Ì (2) Õâ´Ì - ßáæü - àæÚUÎ (3) Õâ´Ì - àæÚUÎ - ßáæü (4) àæÚUÎ - Õâ´Ì - ßáæü

11. §â »èÌ ·ð¤ ÚU¿çØÌæ ·¤æñÙ ãñ´- ÒÒçÕ×Ü ÂýæðÖæÌð ç×Üè °·¤âæÍðÓÓ? (1) ’ØæðçÌçÚU´ÎýÙæÍ (2) âˆØð´ÎýÙæÍ (3) ÚUÕè´ÎýÙæÍ (4) Îðßð´ÎýÙæÍ

12. ÚUÌÙ Îðßè ·¤æ çÕýçÅUàæ Ùæ× €Øæ ãñ? (1) °çÜâ çÚU¿ÇüUâÙ (2) ×ñÇU× ÙðÜâÙ (3) ×ñÇU× ¥ËÕðÚUè (4) ×æ»üçÚUÅU çßÜç·¤‹âÙ

13. ÅñU»æðÚU Ùð çِÙçÜç¹Ì ×ð´ âð ç·¤â ÌæÜ ·¤è ÚU¿Ùæ ·¤è ãñ? (1) âéÚUȤ桷¤ ÌæÜ (2) ¥Ïü ÛæÂÌæÜ (3) ÙÕ ÌæÜ (4) M¤Â·¤ ÌæÜ

14. çِÙçÜç¹Ì ×ð´ âð ç·¤â ÂéSÌ·¤ ×ð´ â´»èÌ ÂÚU ÅñU»æðÚU ·¤è âæÚUè ÚU¿Ùæ°´ â´·¤çÜÌ ãñ´? (1) ÀUÕè ¥æð »æÙ (2) ·¤æŽØ ÂçÚU·ý¤×æ (3) â´»èÌ ç¿´Ìæ (4) ÚUÕè‹Îý ·¤Íæ

D-9715 !D-9715-PAPER-III! 5 Paper-III 15. Which song was the ‘Ashrama Sangeet’ of Santiniketan, prior to the composition of “Amader Santiniketan” ? (1) Bhubaneswara He (2) Mora Satyero Pore Mon (3) Padaprante Rakho Seboke (4) Deho Gnyan Divya Gnyan

16. Select the correct answer : “The Darkly Veiled June has Come” Is the translation of the song : (1) Abar Shravan Hoe Ele Phire (2) Abar Esechhe Ashadh (3) Aji Jhorer Rate (4) Ashadh Sandhya Ghonie Elo

17. Select the correct answer : “You keep me awake” - is the translation of the song : (1) Tomay Gaan Shonabo (2) Tumi Amay Dekechhile (3) Tor Vitore Jagia Ke Je (4) Ebar Amay Dakle Dure

18. Select the correct answer : “Here is thy Footstool” - is the translation of the song : (1) Tabo Sinhasaner Asan Hote (2) Jodi Amay Tumi Banchao (3) Jethay Thake Sabar Adham (4) Tumi Rabe Nirabe

19. I G G M | P D P I G 2 M | P D P I I G 2 M | P D P I M 2 G | 2 2 I ” Identify the song with the help of this notation. (Notation of 1st line of the song is given above) (1) Dekhe Ja Dekhe Ja Dekhe Ja Lo Tora (2) Gahana Kusuma Kunja Majhe (3) Sajani Sajani Radhika Lo (4) Manomandirosundori

20. Mention the song, derived from our ‘Gayatrimantra’ - “Om Bhurbhubaswah”. (1) Tumi Amader Pita (2) Shuvo Karmapathe (3) Akashe Dui Hate Prem Bilay (4) Akash Hote Akashpothe

D-9715 !D-9715-PAPER-III! 6 Paper-III 15. ÒÒ¥æ×æÎðÚU àææ´çÌçÙ·ð¤ÌÙÓÓ ·¤è ÚU¿Ùæ ·ð¤ Âêßü ·¤æñÙ âæ »èÌ àææ´çÌçÙ·ð¤ÌÙ ·¤æ Ò¥æŸæ× â´»èÌÓ Íæ? (1) ÖéÕÙðàßÚU ãð (2) ×æðÚUæ âˆØÚUæð ÂæðÚðU ×æðÙ (3) ÂæÎUÂýæ´Ìð ÚUæ¹æð âðÕæð·ð¤ (4) Îðãæð ™ææÙ çÎÃØ ™ææÙ

16. âãè ©žæÚU ¿éÙð´ Ñ ÒÒ·¤æÜè ƒæÅUæ¥æð´ ßæÜæ ÁêÙ ¥æ ¿é·¤æ ãñÓÓ Øã 緤⠻èÌ ·¤æ ¥ÙéßæÎ ãñ? (1) ¥æÕæÚU Ÿææ߇æ ãæðØð °Üð çȤÚðU (2) ¥æÕæÚU °âÀðU ¥æáæɸ (3) ¥Áè ÛææðÚðUÚU ÚUæÌð (4) ¥æáæɸ ⴊØæ ƒææðçÙØð °Üæð

17. âãè ©žæÚU ¿éÙð´ Ñ ÒÒÌé× ×éÛæð Áæ»ýÌ ÚU¹æðÓÓ - 緤⠻èÌ ·¤æ ¥ÙéßæÎ ãñ? (1) Ìæð×æØ »æÙ àææðÙæÕæð (2) Ìé×è ¥×æØ Îð·ð¤çÀUÜð (3) ÌæðÚU çÖÌæðÚðU Áæç»Øæ ·ð¤ Áð (4) °ÕæÚU ¥×æØ ÇUæ·¤Üð ÎéÚðU

18. âãè ©žæÚU ¿éÙð Ñ ÒÒØãæ¡ ãñ ÌéãæÚUæ Âæ¡ßÎUæÙÓÓ- 緤⠻èÌ ·¤æ ¥ÙéßæÎ ãñ? (1) ÌÕæð çâ´ãæâÙðÚU ¥æâÙ ãæðÌð (2) ÁæðçÎ ¥æ×æØ Ìé×è Õæ´¿æ¥æð (3) ÁðÍæØð Íæ·ð¤ âÕæÚU ¥Ï× (4) Ìé×è ÚUÕð çÙÚUÕð

19. I G G M | P D P I G 2 M | P D P I I G 2 M | P D P I M 2 G | 2 2 I ” §â SßÚU-â´·ð¤Ì (ÙæðÅðUàæÙ) ·¤è ×ÎÎ âð âãè »èÌ ¿éÙð Ñ (»èÌ ·¤è ÂãÜè ´ç€Ì ·ð¤ SßÚU-â´·ð¤Ì (ÙæðÅðUàæÙ) ª¤ÂÚU çΰ »° ãñ´) (1) Îð¹ð Áæ Îð¹ð Áæ Îð¹ð Áæ Üæð ÌæðÚUæ (2) »ãÙ ·é¤âé× ·é´¤Á ×æÛæð (3) âÁÙè âÁÙè ÚUæçÏ·¤æ Üæð (4) ×Ùæð×´çÎÚUæðâ´éÎÚUè

20. ã×æÚðU Ò»æؘæè ×´˜æÓ- ÒÒª¡¤ ÖéÖéüßÑSßÑÓÓ âð çÙÑâëÌ »èÌ §Ù×ð´ âð ·¤æñÙ ãñ´? (1) Ìé×è ¥æ×æÎðÚU çÂÌæ (2) àæéÖæð ·¤×üÂÍð (3) ¥æ·¤æàæð Îé§ü ãæÌð Âýð× çÕÜæØð (4) ¥æ·¤æàæ ãæðÌð ¥æ·¤æàæÂæòÍð

D-9715 !D-9715-PAPER-III! 7 Paper-III 21. Mention the song of ‘Gitali’, composed on a Railway Coach, moving from ‘Bela’ to ‘Gaya’ : (1) Nai Ba Dako Roibo (2) Choli Go Choli Go (3) Pantho Tumi Panthojaner Sakha He (4) Ogo Pother Sathi

22. Mention the 1st Notation of Rabindra Sangeet, composed by Dinendranath : (1) Na bole jeona chole (2) Hasire ki lukabi laje (3) Sara barash dekhi ne ma (4) Banchan banchi maren mori

23. Which one of the following songs is tuned in ‘Hambir’ Raga ? (1) Madhhyadiner Bijan Batayane (2) Madhhya dine Jabe Gan (3) Madhura Rupe Birajo (4) Madhura Basanta Echeshe

24. Which song is based in ‘Ekadashi Tal’ ? (1) Duar mor patha pashe (2) Dujane dekha holo (3) Duyare dao more (4) Dui hridayer nadi

25. Which one of the following songs is tuned in ‘Kafi’ Raga ? (1) Shraban Tumi Batashe Kar (2) Shraban Megher Adhek Duar (3) Abar Shraban Hoye Ele Phire (4) Sakarun Benu Bajaye

26. Pick the odd Taala : (1) Se kon pagol jay pathe tor (2) Sakal belar Aloy baje (3) Nai nai bhay (4) Bachha sahaj kore

27. The great Satyajit Ray was student of Visva Bharati, in : (1) Sangeet Bhavana (2) Kala Bhavana (3) Siksha Bhavana (4) Vidya Bhavana

D-9715 !D-9715-PAPER-III! 8 Paper-III 21. ÒÕðÜæÓ âð Ò»ØæÓ ·¤è Øæ˜ææ ·ð¤ ÎæñÚUæÙ ÅþðUÙ ·¤è âèÅU ÂÚU ÚUç¿Ì Ò»èÌæÜèÓ ·ð¤ »èÌ ·¤æ ©ËÜð¹ ·¤Úð´U Ñ

(1) Ùæ§ Õæ ÇUæ·¤æð ÚUæð§Õæð

(2) ¿æðÜè »æð ¿æðÜè »æð

(3) Âæ´Íæð Ìé×è Âæ´ÍæðÁæÙðÚU àææ¹æ ãð

(4) ¥æð»æð ÂæòÍðÚU âæÍè

22. çÎÙð‹ÎýÙæÍ mæÚUæ ÚUç¿Ì ÚUÕè‹Îý â´»èÌ ·ð¤ ÂýÍ× SßÚU â´·ð¤Ì (ÙæðÅðUàæÙ) ·¤æ ©ËÜð¹ ·¤Úð´U Ñ

(1) Ùæ ÕæðÜð Áð¥æðÙæ ¿æðÜð (2) ãæçâÚðU ·¤è Üé·¤Õè ÜæÁðð

(3) âæÚUæ ÕÚUá Îð¹è Ùð ×æ (4) Õæ´¿Ù Õæ´¿è ×æÚðUÙ ×æðÚUè

23. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ »èÌ Òã×ÕèÚUÓ ÚUæ» ×𴠊ßçÙÌ ãñ?

(1) ׊ØçÎÙðÚU çÕÁÙ ÕæÌæØÙð (2) ×ŠØ çÎÙð ÁæÕð »æÙ

(3) ×ÏéÚU M¤Âð çÕÚUæÁæð (4) ×ÏéÚU Õâ‹Ì °àæðâð

24. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ Ò°·¤æÎàæè ÌæÜÓ ÂÚU ¥æÏæçÚUÌ ãñ?

(1) Îé¥æÚU ×æðÚU ÂÆUæ Âæàæð (2) ÎéÁÙð Îð¹æ ãæðÜæð

(3) Îé¥æÚðU Îæ¥æð ×æðÚðU (4) Îé§ü NÎØðÚU ÙÎè

25. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ »èÌ Ò·¤æȤèÓ ÚUæ» ×𴠊ßçÙÌ ãñ ?

(1) ŸææÕÙ Ìé×è ÕæÌæâð ·¤ÚU (2) ŸææÕÙ ×ðƒæðÚU ¥Ïð·¤ mæÚU

(3) ¥ÕæÚU ŸææÕÙ ãæð° °ðÜð çȤÚðU (4) âæð·¤æðM¤Ù ÕðÙé ÕÁæØð

26. çِÙçÜç¹Ì ×ð´ âð çßá× ÌæÜ ·¤æð ¿éçÙØð Ñ

(1) âð ·¤æðÙ Âæ»æðÜ ÁæØ ÂÍð ÌæðÚU (2) â·¤Ü ÕðÜæÚU ¥æÜæðØ ÕæÁð

(3) Ùæ§ü Ùæ§ü ÖæØ (4) ÕæÀUæ âãÁ ·¤æðÚðU

27. ×ãæÙ âˆØÁèÌ ÚðU çßàß ÖæÚUÌè ·ð¤ ç·¤â ÖßÙ ·ð¤ çßlæÍèü Íð?

(1) â´»èÌ ÖßÙ (2) ·¤Üæ ÖßÙ

(3) çàæÿææ ÖßÙ (4) çßlæ ÖßÙ

D-9715 !D-9715-PAPER-III! 9 Paper-III 28. Assertion (A) : Rabindranath was the first Vice Chancellor of Viswa Bharati. Reasoning (R) : Rabindranath was a born artiste. (1) Both (A) and (R) are true (2) Both (A) and (R) are false (3) Both (A) and (R) are true, but (R) is not the correct explanation of (A) (4) (A) is true, but (R) is false

29. Who amongst the following artists recorded the song ‘e parabase rabe ke’ for Satyajit Ray’s film Kanchanjhangha ? (1) Amiya Tagore (2) Kanika Bandyopadhyay (3) Debabrata Biswas (4) Kishor Kumar

30. The frontispiece drawing of Geetanjali (The song offerings) is designed by : (1) Nandalal Basu (2) Abanindranath (3) William Rothenstein (4) W.B. Yeats

31. Which raga has been found in the song ‘Aaj dhaner kshete Roudrachhayay’ .. a song based on baulanga ? (1) Pancham (2) Bibhas (3) Bahar (4) Khamaj

32. Which of the following songs is based on dhoon tune ? (1) Maharaj E Ki Saje Ele (2) Olo Sai, Olo Sai (3) Dibanishi Koriya Jotan (4) Keho Karo Mon Bujhe Na

33. Which new combination of ragas were created by Tagore ? (1) Bhim palasree (2) Asawari Bhairavi (3) Asawari (4) Bagesree

34. Identify the correct raga and tal of “Timiramayo Nibironisha” : (1) Hamir - Kaharwa (2) Megh - Jhaptal (3) Behag - Trital (4) Imankalyan - Teoda

D-9715 !D-9715-PAPER-III! 10 Paper-III 28. ¥çÖ·¤ÍÙ (A) : ÚUÕè‹ÎýÙæÍ çßàß ÖæÚUÌè ·ð¤ ÂýÍ× ·é¤ÜÂçÌ ÍðÐ ·¤æÚU‡æ (R) : ÚUÕè‹ÎýÙæÍ °·¤ Á‹×ÁæÌ ·¤Üæ·¤æÚU ÍðÐ (1) (A) ¥æñÚU (R) ÎæðÙæ´ð âãè ãñ´Ð (2) (A) ¥æñÚU (R) ÎæðÙæ´ð »ÜÌ ãñ´Ð (3) (A) ¥æñÚU (R) ÎæðÙæð´ âãè ãñ´, Üðç·¤Ù (R), (A) ·¤è âãè ÃØæØæ Ùãè´ ãñÐ (4) (A) âãè ãñ, Üðç·¤Ù (R) »ÜÌ ãñÐ

29. çِÙæ´ç·¤Ì ×ð´ âð 緤⠷¤Üæ·¤æÚU Ùð âˆØÁèÌ ÚðU ·¤è çȤË× ·´¤¿ÙÁ´ƒææ ·ð¤ çÜ° Ò° ÂæÚUæÕæâð ÚUÕð ·¤èÓ »èÌ ÚðU·¤æÇüU ç·¤Øæ Íæ? (1) ¥ç×Øæ ÅñU»æðÚU (2) ·¤çÙ·¤æ Õ´ÏæðÂæŠØæØ (3) ÎðÕÕýÌ çÕàßæâ (4) ç·¤àææðÚU ·é¤×æÚU

30. »èÌæ´ÁçÜ ·¤æ ×é¹ ç¿˜æ (âæò‹» ¥æòȤçÚ´U») ç·¤â·ð¤ mæÚUæ ÌñØæÚU ç·¤Øæ »Øæ ãñ? (1) Ù´ÎÜæÜ Õâé (2) ¥ÕÙè‹ÎýÙæÍ (3) çßçÜØ× ÚUæðÍð‹âÅUUèÙ (4) ÇUŽËØê.Õè. ØèÅ÷Uâ

31. Õæ©Ü´»æ ÂÚU ¥æÏæçÚUÌ »èÌ Ò¥æÁ ÏæÙðÚU ÿæðÌð ÚUæñÎýÀUæØæØÓ.. ×ð´ ·¤æñÙ âæ ÚUæ» ãñ? (1) ´¿× (2) çÕÖæâ (3) ÕãæÚU (4) ¹×æÁ

32. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ-âè »èÌ ÏêÙ Å÷UØêÙ ÂÚU ¥æÏæçÚUÌ ãñ? (1) ×ãæÚUæÁ ° ç·¤ âæÁð °Üð (2) ¥æðÜæð âæ§ü, ¥æðÜæð âæ§ü (3) çÎÕæçÙàæè ·¤æðçÚUØæ ÁæðÌÙ (4) ·ð¤ãæð ·¤ÚUæð ×æðÙ ÕéÛæð Ùæ

33. ÅñU»æðÚU mæÚUæ ç·¤â ÙßèÙ ÚUæ» âç×Ÿæ‡æ ·¤è ÚU¿Ùæ ·¤è »§ü? (1) Öè× ÂÜæŸæè (2) ¥âæßÚUè ÖñÚUßè (3) ¥âæßÚUè (4) Õæ»ðŸæè

34. ÒÒçÌç×ÚUæ×Øæð çÙçÕÚUæðçÙàææÓÓ ·ð¤ âãè ÚUæ» ¥æñÚU ÌæÜ ·¤æð Âã¿æÙð´ Ñ (1) ã×èÚU - ·¤ãÚUßæ (2) ×ðƒæ - ÛæÂÌæÜ (3) Õðãæ» - ç˜æÌæÜ (4) §×Ù·¤ËØæ‡æ - çÌØæðÇUæ

D-9715 !D-9715-PAPER-III! 11 Paper-III 35. The original surname of Tagore was : (1) Kushari (2) Chattopadhyay (3) Dishari (4) Goswami

36. Who had directed the film ‘Natir Puja’ of Rabindra Nath Tagore ? (1) Rabindra Nath Tagore (2) Satyajit Ray (3) Mrinal Sen (4) Tarun Mazumdar

37. Which book has been Authored by Charuchandra Bandopadhyay ? (1) Bangaikatan (2) Rabi Rashmi (3) Ananda Sabakaje (4) Rasha Monjari

38. In which Tala the Song ‘Gopan prane ekla Manush..’ is based on : (1) Rupak (2) Teoda (3) Sasthi (4) Kaharwa

39. Which one of the following songs is based on Western Tune ? (1) Likhana tomar (2) Katabar bhebechhinu (3) Nishidin Bharsha rakhis (4) Nibira Ama timiro hote

40. Tagore composed the song ‘Aro Aro Prabhu Aro Aro’ for the drama : (1) Mukto dhara (2) Visarjan (3) Prayaschita (4) Raja

41. Which of the following songs is based on ‘Kirtan’ ? (1) KharaBayu Boy Bege (2) Phule Phule Dhole Dhole (3) Sakhi Bohe Gelo Bela (4) Maya bana Biharini Harini

42. In which language lyrics of “Bhanu Singher Padavali” was composed ? (1) Bangla (2) Maithili (3) Nepali (4) Bhojpuri

43. Trace out the correct pair from the following : (1) Amar Jibanopatra - Chitrangada (2) Kaho Kaho More Priye - Mayar Khela (3) Kahare Herilam - Shyama (4) Shravaner Kalo Je Megh - Chandalika

D-9715 !D-9715-PAPER-III! 12 Paper-III 35. ÅñU»æðÚU ·¤æ ×êÜ ©ÂÙæ× €Øæ Íæ? (1) ·é¤àææÚUè (2) ¿^æðÂæŠØæØ (3) çÎàææÚUè (4) »æðSßæ×è

36. ÚUÕè‹ÎýÙæÍ ÅñU»æðÚU ·¤è çȤË× ÒÙÅUèÚU ÂéÁæÓ ·¤æ çÙÎðüàæÙ ç·¤âÙð ç·¤Øæ Íæ? (1) ÚUÕè‹ÎýÙæÍ ÅñU»æðÚU (2) âˆØÁèÌ ÚðU (3) ×ë‡ææÜ âðÙ (4) ÌL¤‡æ ×Áé×ÎæÚU

37. ¿æL¤¿´Îý Õ´ÎæðÂæŠØæØ Ùð çِÙçÜç¹Ì ×ð´ âð ç·¤â ÂéSÌ·¤ ·¤è ÚU¿Ùæ ·¤è ãñ? (1) Õ´»§ü·ð¤ÌÙ (2) ÚUçÕ ÚUàæ×è (3) ¥æًΠâÕ·¤Áð (4) ÚUâ ×´ÁÚUè

38. »èÌ Ò»æðÂÙ Âýæ‡æð °·¤Üæ ×æÙéá..Ó ç·¤â ÌæÜ ÂÚU ¥æÏæçÚUÌ ãñ? (1) M¤Â·¤ (2) ÌðßÇUæ (3) âSÍè (4) ·¤ãÚUßæ

39. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ-âæ »èÌ Âçà¿×è ÏéÙ ÂÚU ¥æÏæçÚUÌ ãñ? (1) çܹÙæ Ìæð×æÚU (2) ·¤ÌÕæÚU ÖðÕðçÀUÙê (3) çÙçàæçÎÙ ÖæÚUâæ ÚUæç¹â (4) çÙçÕÇ¸æ ¥×æ çÌç×ÚUæð ãæðÌð

40. ÅñU»æðÚU Ùð Ò¥ÚUæð ¥ÚUæð ÂýÖé ¥ÚUæð ¥ÚUæðÓ »èÌ ·¤æð çِÙçÜç¹Ì ×ð´ âð ç·¤â ÙæÅU·¤ ·ð¤ çÜØð ÚU¿æ ãñ? (1) ×é€Ìæð ÏæÚUæ (2) çßâÁüÙ (3) ÂýæØç࿞æ (4) ÚUæÁæ

41. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ »èÌ Ò·¤èÌüÙÓ ÂÚU ¥æÏæçÚUÌ ãñ? (1) ¹ÚUæðÕæØæð ÕæòØ Õð»ðð (2) Èê¤Üð Èê¤Üð ÏæðÜð ÏæðÜð (3) â¹è Õæðãð »ðÜæð ÕðÜæ (4) ×Øæ ÕÙæ çÕãæçÚU‡æè ãçÚU‡æè

42. ÒÒÖæÙé çâ´»ðÚU ÂÎæßÜèÓÓ ·ð¤ ÕæðÜ ç·¤â Öæáæ ×ð´ ãñ? (1) Õ´»Üæ ×ð´ (2) ×ñçÍÜè ×ð´ (3) ÙðÂæÜè ×ð´ (4) ÖæðÁÂéÚUè ×ð´

43. çِ٠×ð´ âð âãè Øé‚× ·¤æ ÂÌæ ܻ水 Ñ (1) ¥×æÚU ÁèßÙæðÂæ˜ææ - 翘æ活Π(2) ·¤ãæð ·¤ãæð ×æðÚðU çÂýØð - ×æØÚU ¹ðÜæ (3) ·¤ãæÚðU ãðçÚUÜ× - àØæ× (4) ŸææßÙðÚU ·¤Üæð Áð ×ðƒæ - ¿´ÇUæçÜ·¤æ

D-9715 !D-9715-PAPER-III! 13 Paper-III 44. In which music drama we find ‘Ashok’ as a Character ? (1) Mayar Khela (2) Kalmrigaya (3) Valmiki - Pratibha (4) Tarer desh

45. Name the dance - drama written and published in 1936 : (1) Shyama (2) Chitrangada (3) Mayar Khela (4) Chandalika

46. In which dance drama we find character of ‘Anuchar’ ? (1) Biday - Abhishap (2) Chandalika (3) Chitrangada (4) Tarer desh

47. Single out the song tonally differing from the other three : (1) Amra Milechi Aaj Mayer Dake (2) Ami Shudhu Rainu Baki (3) Shyama Ebar Chere Cholechi Ma (4) Tomar Khola Haoya Lagie Pale

48. “Dhular Anchol Bhorechhe aaj paka Fasale” is a mid-line of a song used in the play : (1) Natir Puja (2) Bisarjan (3) Malini (4) Rakta karobi

49. Single out the song the metically different from the other three : (1) Amay Khamo He Khamo (2) Hay Hemantalakshmi (3) E Bela Daak Porechhe (4) Shushko taper doityopure

50. Who among great Esraj Artiste came to the Santiniketan Sangeet Bhavan as an artiste in the time of Gurudev Rabindranath Tagore ? (1) Nirmal Nandy (2) Ranadhir Roy (3) Ashesh Chandra Bandopadhyay (4) Abanindra Nath Tagore

51. Which song wrote Rabindra Nath Tagore in his earlier Life ? (1) He nutan dekha dik Arbar (2) Tumi Kon Bhangoner Pathe ele (3) Dinanta belay seser fashal (4) Keno bajao kakan kana - kana

D-9715 !D-9715-PAPER-III! 14 Paper-III 44. 緤⠻èÌ ÙæçÅU·¤æ ×ð´ Ò¥àææð·¤Ó °·¤ Âæ˜æ ·ð¤ M¤Â ×ð´ ãñ? (1) ×æØÚU ¹ðÜæ (2) ·¤æÜ×ë»Øæ (3) ßæË×èç·¤ ÂýçÌÖæ (4) ÌæÚðUÚU Îðàæ

45. ßáü 1936 ×ð´ çÜç¹Ì °ß´ Âý·¤æçàæÌ ÙëˆØ-ÙæçÅU·¤æ ·¤æ Ùæ× ÕÌæ°´ Ñ (1) àØæ× (2) 翘æ活Π(3) ×æØÚU ¹ðÜæ (4) ¿´ÇUæçÜ·¤æ

46. ç·¤â ÙëˆØ-ÙæçÅU·¤æ ×ð´ ã× Ò¥Ùé¿ÚUÓ ·¤æ Âæ˜æ ÂæÌð ãñ´? (1) çÕÎæØ ¥çÖàææ (2) ¿´ÇUæçÜ·¤æ (3) 翘æ活Π(4) ÌæÚðUÚU Îðàæ

47. çِÙçÜç¹Ì ×ð´ âð ßã »èÌ ·¤æñÙ âæ Áæð ¥‹Ø ÌèÙæð´ âð Âê‡æüÌÑ çÖóæ ãñ? (1) ¥×ÚUæ ç×ÜðçÀU ¥æÁ ×æØðÚU ÇUæ·ð¤ (2) ¥æç× âéÏé ÚUæðØÙé Õæ·¤è (3) àØæ×æ °ÕæÚU ÀðUǸð ¿æðÜðçÀU ×æ (4) Ìæð×æÚU ¹æðÜæ ãæßØæ Üæç»° ÂæÜð

48. ÒÒÏéÜðÚU ¥æ´¿æðÜ ÖæðÚUÀðU ¥æÁ Âæ·¤æ ȤâÜðÓÓ ç·¤â ÙæÅU·¤ ×ð´ ÂýØé€Ì »èÌ ·¤è Õè¿ ·¤è ´ç€Ì ãñ? (1) ÙÅUèÚU ÂêÁæ (2) çÕâÁüÙ (3) ×æçÜÙè (4) ÚU¹Ìæ ·¤ÚUæðÕè

49. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ »èÌ çßáØ ßSÌé ·¤è ÎëçcÅU âð ¥‹Ø ÌèÙæð´ âð çÖóæ ãñ? (1) ¥×æØ ÿæ×æð ãð ÿæ×æð (2) ãæØ ãð×´ÌÜÿ×è (3) ° ÕðÜæ ÇUæ·¤ ÂæðÚðUÀðU (4) àæéc·¤æð ÌæÂðÚU Îæð§žææðÂéÚðU

50. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âð ×ãæÙ ØàæÚUæÁ ·¤Üæ·¤æÚU »éL¤Îðß ÚUÕè‹ÎýÙæÍ ÅñU»æðÚU ·ð¤ â×Ø °·¤ ·¤Üæ·¤æÚU ·ð¤ M¤Â ×ð´ àææ´çÌçÙ·ð¤ÌÙ â´»èÌ ÖßÙ ¥æ° Íð? (1) çÙ×üÜ Ù´Îè (2) ÚU‡æÏèÚU ÚUæòØ (3) ¥æàæèá ¿‹Îý Õ´ÎæðÂæŠØæØ (4) ¥ßÙè‹Îý ÙæÍ ÅñU»æðÚU

51. ÚUÕè‹ÎýÙæÍ ÅñU»æðÚU ¥ÂÙð ÂêßüßÌèü ·¤æÜ ×ð´ ·¤æñÙ âæ »èÌ çܹæ Íæ ? (1) ãð ÙêÌÙ Îð¹æ çη¤ ¥æÚUÕæÚU (2) Ìé×è ·¤æðÙ Öæ´»æðÙðÚU ÂÍð °Üð (3) çÎÙæ‹Ìæð ÕðÜæ° àæðáðÚU ȤâÜ (4) ·ð¤Ùæð ÕæÁæ¥æ𠷤淤٠·¤‡ææð-·¤‡ææð

D-9715 !D-9715-PAPER-III! 15 Paper-III 52. Which song Rabindra Nath composed in raga ‘darbari kanhara’ ? (1) Ki gabo ami ki sunabo (2) Ebar nirab kore dao he tomar (3) Hridaye tomaro daya jeno pay (4) Ore bhai phagun legechhe bone bone

53. Which song is of Phalguni ? (1) Ami phul tulite alem bone (2) Yadi tare nai chini go (3) Dhire bandhu dhire (4) Jakhon Esechhile Andhakare

54. Mention the song from the following list taala of which is based not on a single taala : (1) Gram chara oi rangamatir path (2) Viswaveena robe (3) Amar Mollikabane (4) Surer guru

55. Match the following : List - I List - II (a) Tumi je surer Aagun (i) Tapati (b) Jago he rudra (ii) Achalayatan (c) Hriday Amar Prakash (iii) Gitimalyo (d) Sakal janamo Bhore (iv) Gitali Codes : (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (ii) (i) (iv) (iii) (3) (iii) (i) (iv) (ii) (4) (iv) (iii) (ii) (i)

56. Match the following two lists : List - I List - II (a) Aachho Apon Mohima loye (i) Aaswas upaparyay (b) Ore bhiru tomar hate (ii) Biswa upaparyay (c) Ki Karili Moher Chholane (iii) Bibidha upaparyay (d) Tumi dhanyo dhanyo he (iv) Puja-o-prarthana Codes : (a) (b) (c) (d) (1) (ii) (i) (iv) (iii) (2) (i) (ii) (iii) (iv) (3) (iii) (ii) (i) (iv) (4) (iv) (iii) (ii) (i)

D-9715 !D-9715-PAPER-III! 16 Paper-III 52. çِÙçÜç¹Ì ×ð´ âð ·¤æñÙ âæ »èÌ ÚUÕè‹Îý ÙæÍ Ùð ÚUæ» ÒÒÎÚUÕæÚUè ·¤‹ãæÚUæÓÓ ×ð´ ÚUç¿Ì ·¤è ãñ? (1) ç·¤ »æÕæð ¥ç× ç·¤ âéÙæÕæð (2) °ÕæÚU çÙÚUÕ ·¤æðÚðU Îæ¥æð ãð Ìæð×æÚU (3) NÎØð Ìæð×æÚU ÎØæ ÁðÙæð Âæ§ü (4) ¥æðÚðU Öæ§ü Ȥæ»éÙ Üð»ðÀðU ÕæðÙð ÕæðÙð

53. ·¤æñÙ âæ »èÌ È¤æË»éÙè ãñ? (1) ¥ç× Èé¤Ü ÌéçÜÌð °Üð× ÕæðÙð (2) ØçÎ ÌæÚðU Ùæ§ü ç¿çÙ »æð (3) çÏÚðU ՋÏé çÏÚðU (4) Áæ¹æðÙ °ðâðçÀUÜ𠥋Ϸ¤æÚðU

54. çِÙçÜç¹Ì âê¿è ×ð´ âð ßã »èÌ ÕÌæ° çÁâ·¤æ ÌæÜ °·¤Ü ÌæÜ ÂÚU ¥æÏæçÚUÌ Ùãè´ ãñ? (1) »ýæ× ÀUæÇ¸æ ¥æ§ü ÚUæ´»æ×æÅUèÚU ÂÍ (2) çßàßßè‡ææ ÚUæðÕð (3) ¥æ×æÚU ×æðçËÜ·¤æÕæðÙð (4) âéÚðUÚU »éL¤

55. çِÙçÜç¹Ì ·¤æð âé×ðçÜÌ ·¤èçÁ° Ñ âê¿è - I âê¿è - II (a) Ìé×è Áð âéÚððUÚU ¥æ»éÙ (i) ÌæÂÌè (b) Áæ»æð ãð L¤Îý (ii) ¥¿ÜØæÌÙ (c) NÎØ ¥æ×æÚU Âý·¤æàæ (iii) »èçÌ×æËØæð (d) â·¤Ü ÁÙ×æð ÖæðÚðU (iv) »èÌæÜè ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (ii) (i) (iv) (iii) (3) (iii) (i) (iv) (ii) (4) (iv) (iii) (ii) (i)

56. çِÙçÜç¹Ì ÎæðÙæð´ âêç¿Øæð´ ·¤æð âé×ðçÜÌ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) ¥æÀUæð ¥æÂæðÙ ×æðçã×æ ÜæðØð (i) ¥æâßæâ ©ÂÂØæüØ (b) ¥æðÚðU çÖL¤ Ìæð×æÚU ãæÌð (ii) çÕSßæ ©ÂÂØæüØ (c) ç·¤ ·¤çÚUÜè ×æðãðÚU ÀUæðÜæÙð (iii) çÕçÕÏæ ©ÂÂØæüØ (d) Ìé×è ϋØæð ϋØæð ãð (iv) ÂêÁæ-¥æð-ÂýæÍüÙæ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (ii) (i) (iv) (iii) (2) (i) (ii) (iii) (iv) (3) (iii) (ii) (i) (iv) (4) (iv) (iii) (ii) (i)

D-9715 !D-9715-PAPER-III! 17 Paper-III 57. Match the following :

List - I List - II

(a) Eso Sarater Amala Mohima (i) Chachoro Chikuro Adho

(b) He sakha mamo hridaye (ii) Baje jhanana jhanana

(c) Bendhechho premero pashe (iii) Kaishe katungi

(d) Timiro Bibhabori Kate (iv) E sakhi Aba Kaise

Codes :

(a) (b) (c) (d)

(1) (iv) (ii) (iii) (i)

(2) (ii) (iv) (i) (iii)

(3) (i) (ii) (iii) (iv)

(4) (iii) (ii) (iv) (i)

58. Match the following :

List - I List - II

(a) Saktirupo hero taro (i) Nachata Trivanga E

(b) Hridayo Nandanabone (ii) Sapta Surotina Grama

(c) Dao he hriday Bhoredao (iii) Udata Bandana Naba

(d) Bipula taranga re (iv) Payela Mujhe Bhari de

Codes :

(a) (b) (c) (d)

(1) (i) (ii) (iii) (iv)

(2) (ii) (i) (iv) (iii)

(3) (iv) (ii) (i) (iii)

(4) (ii) (iii) (iv) (i)

D-9715 !D-9715-PAPER-III! 18 Paper-III 57. çِÙçÜç¹Ì ·¤æð âé×ðçÜÌ ·¤èçÁ° Ñ

âê¿è - I âê¿è - II

(a) °âæð âÚUæÌðÚU ¥×Ü ×æðçã×æ (i) ¿æ¿æðÚUæð ç¿·é¤ÚUæð ¥Ïæð

(b) ãð â¹æ ××æð NÎØð (ii) ÕæÁð ÛæÙÙ-ÛæÙÙ

(c) Õð‹ÏðÀUæð Âýð×ðÚUæð Âæàæð (iii) ·ñ¤âð ·¤Åé´U»è

(d) çÌç×ÚUæð çÕÖæÕæðÚUè ·¤æÅð (iv) °ð â¹è ¥Õ ·ñ¤âð ·ê¤ÅU Ñ

(a) (b) (c) (d)

(1) (iv) (ii) (iii) (i)

(2) (ii) (iv) (i) (iii)

(3) (i) (ii) (iii) (iv)

(4) (iii) (ii) (iv) (i)

58. çِÙçÜç¹Ì ·¤æð âé×ðçÜÌ ·¤Úð´U Ñ

âê¿è - I âê¿è - II

(a) àæç€ÌM¤Âæð ãðÚUæð ÌæÚUæð (i) Ù¿Ì ç˜æß´» °

(b) NÎØæð Ù´ÎÙæðÕæðÙð (ii) âŒÌ âéÚUæðçÌÙæ »ýæ×æ

(c) Îæ¥æð ãð NÎØ ÖæðÚðUÎæ¥æð (iii) ©ÇUÌ Õ´ÎÙ ÙæÕæ

(d) çÕÂéÜæ ÌÚ´U» ÚðU (iv) ÂæØðÜæ ×éÛæð ÖæÚUè Îð ·ê¤ÅU Ñ

(a) (b) (c) (d)

(1) (i) (ii) (iii) (iv)

(2) (ii) (i) (iv) (iii)

(3) (iv) (ii) (i) (iii)

(4) (ii) (iii) (iv) (i)

D-9715 !D-9715-PAPER-III! 19 Paper-III 59. Match List - I with List - II

List - I List - II

(a) Kato Kal Pare Balo Bharat Re (i) Girindro Mohini

(b) Hay Ki Tamoshi Nishi (ii) Dwijendralal Roy

(c) Namo Namo Janani Ashesha Gunadharini (iii) Gobinda Chandra Roy

(d) Banga Amar Janani Amar (iv) Upendranath Das

Codes :

(a) (b) (c) (d)

(1) (i) (iii) (ii) (iv)

(2) (iv) (ii) (iii) (i)

(3) (ii) (i) (iv) (iii)

(4) (iii) (iv) (i) (ii)

60. Match List - I with List - II :

List - I List - II

(a) Prangane Mor Shirish Shakhai (i) Sandhan

(b) Amar Nayan Taba Nayaner (ii) Pratyasha

(c) Aji E Nirala Kunje (iii) Abashese

(d) Bahir Pathe Bibagi Hiya (iv) Barandala

Codes :

(a) (b) (c) (d)

(1) (i) (iii) (ii) (iv)

(2) (iv) (ii) (iii) (i)

(3) (ii) (i) (iv) (iii)

(4) (iii) (iv) (i) (ii)

D-9715 !D-9715-PAPER-III! 20 Paper-III 59. âê¿è - I ·¤æð âê¿è - II âð âé×ðçÜÌ ·¤Úð´U Ñ

âê¿è - I âê¿è - II

(a) ·¤Ìæð ·¤æÜ ÂæÚðU ÕÜæð ÖæÚUÌ ÚðU (i) ç»çÚU‹Îý ×æðçãÙè

(b) ãæØ ç·¤ Ìæ×æðàæè çÙçàæ (ii) çmÁð‹ÎýÜæÜ ÚUæòØ

(c) Ù×æð Ù×æð ÁÙçÙ ¥àæðàææ »é‡æÏæçÚU‡æè (iii) »æðçՋΠ¿‹Îý ÚUæòØ

(d) Õ´» ¥×æÚU ÁÙçÙ ¥×æÚU (iv) ©Âð‹ÎýÙæÍ Îæâ ·ê¤ÅU Ñ

(a) (b) (c) (d)

(1) (i) (iii) (ii) (iv)

(2) (iv) (ii) (iii) (i)

(3) (ii) (i) (iv) (iii)

(4) (iii) (iv) (i) (ii)

60. âê¿è - I ·¤æð âê¿è - II âð âé×ðçÜÌ ·¤Úð´U Ñ

âê¿è - I âê¿è - II

(a) Âýæ´»‡æð ×æðÚU çàæÚUèá â¹æØ (i) â´ÏæÙ

(b) ¥×æÚU ÙØÙ ÌÕ ÙØÙðÚU (ii) ÂýˆØæàææ

(c) ¥Áè ° çÙÚUæÜæ ·é´¤Áð (iii) ¥Õàæðáè

(d) ÕæçãÚU ÂÍð çÕÕæ»è çãØæ (iv) ÕÚUæ´ÇUÜæ ·ê¤ÅU Ñ

(a) (b) (c) (d)

(1) (i) (iii) (ii) (iv)

(2) (iv) (ii) (iii) (i)

(3) (ii) (i) (iv) (iii)

(4) (iii) (iv) (i) (ii)

D-9715 !D-9715-PAPER-III! 21 Paper-III 61. Match List - I with List - II List - I List - II (a) Naha Mata Naha Kanya (i) Khanika (b) Aji kon dhan Hote (ii) Chitra (c) Sakhi Pratidino Hay (iii) Chaitali (d) Krishnakali Ami Tarei Boli (iv) Kalpana Codes : (a) (b) (c) (d) (1) (iii) (ii) (i) (iv) (2) (iv) (i) (ii) (iii) (3) (ii) (iii) (iv) (i) (4) (i) (iv) (iii) (ii)

62. Match List - I with List - II : List - I List - II (a) Lajayay Bharat Zash Gaibo (i) Bishnuram Chattopadhyay (b) Balo Aei Ki Sei Bharat (ii) Swarno Kumari Debi (c) Bandi Tomay Bharat Janani (iii) Ganendranath Tagore (d) Shata Kanthe Karo Gan, Jananir Putanam (iv) Sarola Devi Codes : (a) (b) (c) (d) (1) (iv) (ii) (iii) (i) (2) (iii) (i) (iv) (ii) (3) (ii) (iv) (i) (iii) (4) (i) (iii) (ii) (iv)

63. Match the following : List - I List - II (a) Rabindra Nath Tagore (i) Kadambari devi (b) Jyotirindra Nath Tagore (ii) Pratima devi (c) Debendra Nath Tagore (iii) Mrinalini devi (d) Rathindra Nath Tagore (iv) Sarada devi Codes : (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (iii) (i) (iv) (ii) (3) (ii) (iii) (i) (iv) (4) (iv) (ii) (iii) (i)

D-9715 !D-9715-PAPER-III! 22 Paper-III 61. âê¿è - I ·¤æð âê¿è - II âð âé×ðçÜÌ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) Ùæãæ ×æÌæ Ùæãæ ·¤‹Øæ (i) ¹çÙ·¤æ (b) ¥æÁè ·¤æðÙ ÏÙ ãæðÌð (ii) 翘ææ (c) â¹è ÂýçÌçÎÙæð ãæØ (iii) ¿ñÌæÜè (d) ·ë¤c‡æ·¤Üè ¥æ×è ÌæÚðU§ü ÕæðÜè (iv) ·¤ËÂÙæ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iii) (ii) (i) (iv) (2) (iv) (i) (ii) (iii) (3) (ii) (iii) (iv) (i) (4) (i) (iv) (iii) (ii)

62. âê¿è - I ·¤æð âê¿è - II âð âé×ðçÜÌ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) ÜÁØæØ ÖæÚUÌ Áàæ »æ§üÕæð (i) çÕc‡æéÚUæ× ¿^æðÂæŠØæØ (b) ÕÜæð °§ü ç·¤ âð§ü ÖæÚUÌ (ii) S߇æü ·é¤×æÚUè ÎðÕè (c) Õ´ÇUè Ìæð×æØ ÖæÚUÌ ÁÙçÙ (iii) »Ùð‹ÎýÙæÍ ÅñU»æðÚU (d) àæÌ ·´¤Æð ·¤ÚUæð »æÙ, ÁÙÙèÚU ÂéÌÙæ× (iv) âÚUæðÜæ Îðßè ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iv) (ii) (iii) (i) (2) (iii) (i) (iv) (ii) (3) (ii) (iv) (i) (iii) (4) (i) (iii) (ii) (iv)

63. çِÙçÜç¹Ì ·¤æð âé×ðçÜÌ ·¤èçÁ° Ñ âê¿è - I âê¿è - II (a) ÚUÕè‹Îý ÙæÍ ÅñU»æðÚU (i) ·¤æΐÕÚUè Îððßè (b) ’ØæðçÌçÚU‹ÎýÙæÍ ÅñU»æðÚU (ii) ÂýçÌ×æ Îðßè (c) ÎðÕð‹Îý ÙæÍ ÅñU»æðÚU (iii) ×ë‡ææçÜÙè Îðßè (d) ÚUÍè‹Îý ÙæÍ ÅñU»æðÚU (iv) âæÚUÎæ Îðßè ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (iii) (i) (iv) (ii) (3) (ii) (iii) (i) (iv) (4) (iv) (ii) (iii) (i)

D-9715 !D-9715-PAPER-III! 23 Paper-III 64. Match the following : List - I List - II (a) Jage Natha jochhonarate (i) Lagi more Thumaka (b) Ananda dhara Bohichhe (ii) Jab Chhor Chale (c) Ore bhai Fagun legechhe (iii) Aaju ranga khelata (d) Kato Kal rabe balo (iv) Erima saba bana Codes : (a) (b) (c) (d) (1) (i) (iv) (ii) (iii) (2) (iii) (i) (iv) (ii) (3) (ii) (iii) (i) (iv) (4) (iv) (ii) (iii) (i)

65. Match the following : List - I List - II (a) Sakal belar kunri (i) Rajbijoy (b) Sanshaya timiro majhe (ii) Behag (c) Sakala kalusha tamasha (iii) Multan (d) Shraboner Dharar Mato (iv) Sahana Codes : (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (ii) (iii) (iv) (i) (3) (iii) (i) (iv) (ii) (4) (iv) (i) (iii) (ii)

66. Match List - I with List - II : List - I List - II (a) Ghumer Ghana gahan hote (i) Chitrangada (b) Sab Kichhu Keno nilona (ii) Chandalika (c) Bina Saje Saji (iii) Kalmrigaya (d) Ke jane kotha se (iv) Shyama Codes : (a) (b) (c) (d) (1) (i) (ii) (iv) (iii) (2) (iii) (i) (ii) (iv) (3) (ii) (iv) (i) (iii) (4) (iv) (iii) (ii) (i)

D-9715 !D-9715-PAPER-III! 24 Paper-III 64. çِÙçÜç¹Ì ·¤æð âé×ðçÜÌ ·¤èçÁ° Ñ âê¿è - I âê¿è - II (a) Áæ»ð ÙæÍæ ÁæðÀUÙæÚUæÌð (i) Üæ»è ×æðÚðU ÆUéU×·¤æ (b) ¥æ‹æ‹Î ÏæÚUæ ÕæðçãÀðU (ii) ÁÕ ÀUæðǸ ¿Üð (c) ¥æðÚðU Öæ§ü Ȥæ»éÙ Üð»ðÀðU (iii) ¥æÁê Ú´U» ¹ðÜÌæ (d) ·¤Ìæð ·¤æÜ ÚUÕð ßÜæð (iv) °ÚUè×æ âÕ ÕÙæ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (i) (iv) (ii) (iii) (2) (iii) (i) (iv) (ii) (3) (ii) (iii) (i) (iv) (4) (iv) (ii) (iii) (i)

65. çِÙçÜç¹Ì ·¤æð âé×ðçÜÌ ·¤ÚðU´ Ñ âê¿è - I âê¿è - II (a) â·¤Ü ÕðÜæÚU ·é¤ÙÚUè (i) ÚUæÁçßÁØ (b) â´àæØ çÅUç×ÚUæð ×æÛæð (ii) Õðãæ» (c) â·¤Ü ·¤Üéáæ Ìæ×æàææ (iii) ×éËÌæÙ (d) ŸææÕæðÙðÚU ÏæÚUæÚU ×Ìæð (iv) âãæÙæ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (ii) (iii) (iv) (i) (3) (iii) (i) (iv) (ii) (4) (iv) (i) (iii) (ii)

66. âê¿è - I ·¤æð âê¿è - II âð âé×ðçÜÌ ·¤Úð´U Ñ âê¿è - I âê¿è - II (a) ƒæé×ðÚU ƒæÙæ »ãÙ ãæðÌ (i) 翘ææ´»Îæ (b) âÕ ç·¤ÀéU ·ð¤Ùæð çÙÜæðÙæ (ii) ¿‡ÇUæçÜ·¤æ (c) çÕÙæ âæÁð âæÁè (iii) ·¤æÜ×ë»Øæ (d) ·ð¤ ÁæÙð ·¤æðÍæ âð (iv) àØæ×æ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (i) (ii) (iv) (iii) (2) (iii) (i) (ii) (iv) (3) (ii) (iv) (i) (iii) (4) (iv) (iii) (ii) (i)

D-9715 !D-9715-PAPER-III! 25 Paper-III 67. Match List - I with List - II : List - I List - II (a) Diner Belay Banshi (i) Anusthanik (b) Banshi Ami Bajai ni ki (ii) Natyageeti (c) Agni shikha eso eso (iii) Puja (d) Oto Aar phirbe na re (iv) Prem Codes : (a) (b) (c) (d) (1) (i) (iv) (iii) (ii) (2) (iv) (ii) (i) (iii) (3) (ii) (iii) (iv) (i) (4) (iii) (iv) (i) (ii)

68. To whom Rabindranath Tagore took back with him from Tripura in 1926 to introduce and to revive ‘Manipuri dance’ in Kolkata ? (1) Guru Bipin Singh (2) Guru Atomlea Singh (3) Guru Nabakumar Singh (4) Guru Amubi Singh

69. Who was the music teacher of Sourendra Mohan Tagore ? (1) Kali Prasanna Bandyopadhyay (2) Krishnadhan Bandyopadhyay (3) Radha Mohan Swami (4) Khetra Mohan Goswami

70. Which song is not composed by Rabindra Nath Tagore ? (1) Bone Emon phul phutechhe (2) Oi dekha jay bari Amar (3) Gharete Bhramar elo gungunie (4) Ami phul tulite elem bone

71. Which song is not style of Kheyal ? (1) Ankhi jal Muchhaile (2) Mon jago Mangal Loke (3) Ami Tarei Khunje Berai (4) Dao he hriday Bhore dao

D-9715 !D-9715-PAPER-III! 26 Paper-III 67. âê¿è - I ·¤æð âê¿è - II ·ð¤ âæÍ âé×ðçÜÌ ·¤èçÁ° Ñ

âê¿è - I âê¿è - II

(a) çÎÙðÚU ÕðÜð Õ´àæè (i) ¥ÙécÆUæçÙ·¤

(b) Õ´àæè ¥×è ÕÁæ§ü çÙ ·¤è (ii) ÙæÅ÷Ø»èçÌ

(c) ¥ç‚Ù çàæ¹æ °àææð °àææð (iii) ÂêÁæ

(d) ¥æðÌæð ¥æÚU çȤÚUÕð Ùæ ÚðU (iv) Âýð× ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (i) (iv) (iii) (ii) (2) (iv) (ii) (i) (iii) (3) (ii) (iii) (iv) (i) (4) (iii) (iv) (i) (ii)

68. ÚUÕè‹Îý ÙæÍ ÅñU»æðÚU Ùð Ò·¤æðÜ·¤æÌæ ×ð´ ×ç‡æÂéÚUè ÙëˆØÓ ·¤æð ÂýæÚ´UÖ ·¤ÚUÙð °ß´ ©âð ÂéÙÁèüçßÌ ·¤ÚUÙð ·ð¤ çÜ° ßáü 1926 ×ð´ ç˜æÂéÚUæ âð ç·¤âð ¥ÂÙð âæÍ ÜæØæ?

(1) »éL¤ çßçÂÙ çâ´ã (2) »éL¤ ¥Ì×æðÜæ çâ´ã

(3) »éL¤ Ùß·é¤×æÚU çâ´ã (4) »éL¤ ¥×éÕè çâ´ã

69. âæñÚðU‹Îý ×æðãÙ ÅñU»æðÚU ·ð¤ â´»èÌ çàæÿæ·¤ ·¤æñÙ Íð?

(1) ·¤æÜè ÂýSæ‹Ùæ Õ´ÎæðÂæŠØæØ (2) ·ë¤c‡æÏÙ Õ´ÎæðÂæŠØæØ

(3) ÚUæÏæ ×æðãÙ Sßæ×è (4) ¹ð˜æ ×æðãÙ »æðSßæ×è

70. 緤⠻èÌ ·¤è ÚU¿Ùæ ÚUÕè‹ÎýÙæÍ ÅñU»æðÚU mæÚUæ Ùãè´ ·¤è »Øè ãñ?

(1) ÕæðÙð °×æðÙ Èê¤Ü Èê¤ÅðUÀðU (2) ¥æð§ü Îð¹æ Áæ° ÕæÚUè ¥×æÚU

(3) ƒæÚUÌð Öý×ÚU °Üæð »éÙ»éçÙ° (4) ¥ç× Èê¤Ü ÌéçÜÌð °Üð× ÕæðÙð

71. çِ٠×ð´ ·¤æñÙ âæ »èÌ ØæÜ ·¤è àæñÜè Ùãè´ ãñ?

(1) ¥æ´¹è ÁÜ ×éÀUæ§Üð (2) ×Ù Áæ»æð ×´»Ü Üæð·ð¤

(3) ¥×è ÌæÚðU ¹´éÁð ÕðÚUæ§ü (4) Î檤 ãð NÎØ ÖæðÚðU Î檤

D-9715 !D-9715-PAPER-III! 27 Paper-III 72. Arrange the songs chronologically :

(a) Phul bale dhanya ami matir pore

(b) Bani mor nahi nahi

(c) Tomarei koriachhi jibanero dhrubotara

(d) Sakatare oi Kandichhe Sakale

Codes :

(1) (a), (b), (c), (d) (2) (b), (c), (a), (d) (3) (d), (c), (b), (a) (4) (c), (d), (a), (b)

73. Arrange sequentially :

(a) Tumi indramonir haar enechho

(b) Biswa veena rabe

(c) Kanna hasir dol dolano

(d) Sahena Sahena Kande Paran

Codes :

(1) (b), (c), (a), (d) (2) (c), (b), (d), (a) (3) (a), (b), (c), (d) (4) (d), (a), (b), (c)

74. Match List - I with List - II :

List - I List - II

(a) Jara Kache Ache Tara Kache Thak (i) Kari O Komal

(b) Ke eshe Jai Phire (ii) Khanika

(c) He Nirupama (iii) Naibedya

(d) Ogo Shono Ke Bajay (iv) Kalpana

Codes :

(a) (b) (c) (d)

(1) (iii) (iv) (ii) (i)

(2) (i) (ii) (iv) (iii)

(3) (iv) (iii) (i) (ii)

(4) (ii) (i) (iii) (iv)

D-9715 !D-9715-PAPER-III! 28 Paper-III 72. çِÙçÜç¹Ì »èÌæð´ ·¤æð ·¤æÜ·ý¤×æÙéâæÚU ÃØßçSÍÌ ·¤Úð´U Ñ

(a) Èê¤Ü ÕæðÜð Šæ‹Ø ¥ç× ×æçÅUÚU ÂæðÚðU

(b) Õæ‡æè ×æðÚ Ùãè´ Ùãè´

(c) Ìæð×æÚUè ·¤æðçÚUØæÀUè çÁÕæÙðÚUæð ÏýéßÌæÚUæ

(d) â·¤æÌæÚðU ¥æð§ü ·´¤ÇUèÀðU âæð·¤æÜð ·ê¤ÅU Ñ (1) (a), (b), (c), (d) (2) (b), (c), (a), (d) (3) (d), (c), (b), (a) (4) (c), (d), (a), (b)

73. ·ý¤×Õh ÃØßçSÍÌ ·¤Úð´U Ñ

(a) Ìé×è §´Îý×æðçÙÚU ãæÚU °ðÙÀUæð

(b) çßàß Õè‡ææ ÚUÕð

(c) ·¤‹Ùæ ãæçâÚU ÇUæðÜ ÇUæðÜÙæð

(d) âãÙæ âãÙæ ·¤æ´Îð ÂÚUæ‡æ ·ê¤ÅU Ñ (1) (b), (c), (a), (d) (2) (c), (b), (d), (a) (3) (a), (b), (c), (d) (4) (d), (a), (b), (c)

74. âê¿è - I ·¤æð âê¿è - II âð âé×ðçÜÌ ·¤Úð´ Ñ

âê¿è - I âê¿è - II

(a) ÁÚUæ ·¤æÀðU ¥æÀðU ÌÚUæ ·¤æÀðU Ìæ·¤ (i) ·¤æðÚUè ¥æð ·¤æð×Ü

(b) ·ð¤ °àæð ÁæØð çȤÚðU (ii) ¹éçÙ·¤æ

(c) ãð çÙM¤Â×æ (iii) Ù§ÕðÎ÷Øæð

(d) ¥æð»æð àææðÙæð ·ð¤ ÕæÁæØð (iv) ·¤ËÂÙæ ·ê¤ÅU Ñ (a) (b) (c) (d) (1) (iii) (iv) (ii) (i) (2) (i) (ii) (iv) (iii) (3) (iv) (iii) (i) (ii) (4) (ii) (i) (iii) (iv)

D-9715 !D-9715-PAPER-III! 29 Paper-III 75. Match List - I with List - II : List - I List - II (a) Sukumari (i) 1854 - 1920 (b) Sarat Kumari (ii) 1858 - 1948 (c) Swarna Kumari (iii) 1850 - 1864 (d) Barnakumari (iv) 1856 - 1932 Codes : (a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (iv) (iii) (ii) (i) (3) (iii) (i) (iv) (ii) (4) (ii) (iv) (i) (iii)

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D-9715 !D-9715-PAPER-III! 30 Paper-III 75. âê¿è- I âð âê¿è - II ·¤æð âé×ðçÜÌ ·¤Úð´U Ñ

âê¿è - I âê¿è - II

(a) âé·é¤×æÚUè (i) 1854 - 1920

(b) âÚUÌ ·é¤×æÚUè (ii) 1858 - 1948

(c) S߇æü ·é¤×æÚUè (iii) 1850 - 1864

(d) Շæü·é¤×æÚUè (iv) 1856 - 1932 ·ê¤ÅU Ñ

(a) (b) (c) (d) (1) (i) (ii) (iii) (iv) (2) (iv) (iii) (ii) (i) (3) (iii) (i) (iv) (ii) (4) (ii) (iv) (i) (iii)

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D-9715 !D-9715-PAPER-III! 31 Paper-III Space For Rough Work

D-9715 !D-9715-PAPER-III! 32 Paper-III