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Group QuestionThe passage given below is followed by a set of questions. Choose the most appropriate answer to each question.Every novel is an ideal plane inserted into the realm of reality; Cervantes takes pleasure in confusing the objective and the subjective, the world of the reader and the world of the book. In those chapters which argue whether the barbers basin is a helmet and the donkeys packsaddle a steeds fancy regalia, the problem is dealt with explicitly; other passages, insinuate this. In the sixth chapter of the first part, the priest and the barber inspect Don Quixotes library; astoundingly, one of the books examined is Cervantes own Galatea and it turns out that the barber is a friend of the author and does not admire him very much, and says that he is more versed in misfortunes than in verses and that the book possesses some inventiveness, proposes a few ideas and concludes nothing. The barber, a dream or the form of a dream of Cervantes, passes judgment on Cervantes.This play of strange ambiguities culminates in the second part; the protagonists have read the first part, the protagonists of the Quixote are, at the same time, readers of the Quixote. Here it is inevitable to recall the case of Shakespeare, who includes on the stage of Hamlet another stage where a tragedy more or less like that of Hamlet is presented; the imperfect correspondence of the principal and secondary works lessens the efficacy of this inclusion. Something similar is created by accident in the Thousand and One Nights. This collection of fantastic tales duplicates and reduplicates to the point of vertigo the ramifications of a central story in later and subordinate stories, but does not attempt to gradate its realities, and the effect (which should have been profound) is superficial, like a Persian carpet. The opening story of the series is well known: the terrible pledge of the king who every night marries a virgin who is then decapitated at dawn, and the resolution of Scheherazade, who distracts the king with her fables until a thousand and one nights have gone by and she shows him their son. The necessity of completing a thousand and one sections obliged the copyists of the work to make all manner of interpolations. None is more perturbing than that of the six hundred and second night, magical among all the nights. On that night, the king hears from the queen his own story. He hears the beginning of the story, which comprises all the others and also, monstrously, itself. Does the reader clearly grasp the vast possibility of this interpolation, the curious danger? That the queen may persist and the motionless king hear forever the truncated story of the Thousand and One Nights, now infinite and circular.Q. The author cites the example of Shakespeares Hamlet primarily in order toa)demonstrate how writers critique themselves through their works.b)highlight the nature of the relationship between an entity and its representation.c)examine the introspective nature of prose which helps engage its readers.d)draw parallels with Cervantes representation of Galatea in the Quixote.Correct answer is option 'B'. Can you explain this answer? for CAT 2025 is part of CAT preparation. The Question and answers have been prepared according to the CAT exam syllabus. Information about Group QuestionThe passage given below is followed by a set of questions. Choose the most appropriate answer to each question.Every novel is an ideal plane inserted into the realm of reality; Cervantes takes pleasure in confusing the objective and the subjective, the world of the reader and the world of the book. In those chapters which argue whether the barbers basin is a helmet and the donkeys packsaddle a steeds fancy regalia, the problem is dealt with explicitly; other passages, insinuate this. In the sixth chapter of the first part, the priest and the barber inspect Don Quixotes library; astoundingly, one of the books examined is Cervantes own Galatea and it turns out that the barber is a friend of the author and does not admire him very much, and says that he is more versed in misfortunes than in verses and that the book possesses some inventiveness, proposes a few ideas and concludes nothing. The barber, a dream or the form of a dream of Cervantes, passes judgment on Cervantes.This play of strange ambiguities culminates in the second part; the protagonists have read the first part, the protagonists of the Quixote are, at the same time, readers of the Quixote. Here it is inevitable to recall the case of Shakespeare, who includes on the stage of Hamlet another stage where a tragedy more or less like that of Hamlet is presented; the imperfect correspondence of the principal and secondary works lessens the efficacy of this inclusion. Something similar is created by accident in the Thousand and One Nights. This collection of fantastic tales duplicates and reduplicates to the point of vertigo the ramifications of a central story in later and subordinate stories, but does not attempt to gradate its realities, and the effect (which should have been profound) is superficial, like a Persian carpet. The opening story of the series is well known: the terrible pledge of the king who every night marries a virgin who is then decapitated at dawn, and the resolution of Scheherazade, who distracts the king with her fables until a thousand and one nights have gone by and she shows him their son. The necessity of completing a thousand and one sections obliged the copyists of the work to make all manner of interpolations. None is more perturbing than that of the six hundred and second night, magical among all the nights. On that night, the king hears from the queen his own story. He hears the beginning of the story, which comprises all the others and also, monstrously, itself. Does the reader clearly grasp the vast possibility of this interpolation, the curious danger? That the queen may persist and the motionless king hear forever the truncated story of the Thousand and One Nights, now infinite and circular.Q. The author cites the example of Shakespeares Hamlet primarily in order toa)demonstrate how writers critique themselves through their works.b)highlight the nature of the relationship between an entity and its representation.c)examine the introspective nature of prose which helps engage its readers.d)draw parallels with Cervantes representation of Galatea in the Quixote.Correct answer is option 'B'. Can you explain this answer? covers all topics & solutions for CAT 2025 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Group QuestionThe passage given below is followed by a set of questions. Choose the most appropriate answer to each question.Every novel is an ideal plane inserted into the realm of reality; Cervantes takes pleasure in confusing the objective and the subjective, the world of the reader and the world of the book. In those chapters which argue whether the barbers basin is a helmet and the donkeys packsaddle a steeds fancy regalia, the problem is dealt with explicitly; other passages, insinuate this. In the sixth chapter of the first part, the priest and the barber inspect Don Quixotes library; astoundingly, one of the books examined is Cervantes own Galatea and it turns out that the barber is a friend of the author and does not admire him very much, and says that he is more versed in misfortunes than in verses and that the book possesses some inventiveness, proposes a few ideas and concludes nothing. The barber, a dream or the form of a dream of Cervantes, passes judgment on Cervantes.This play of strange ambiguities culminates in the second part; the protagonists have read the first part, the protagonists of the Quixote are, at the same time, readers of the Quixote. Here it is inevitable to recall the case of Shakespeare, who includes on the stage of Hamlet another stage where a tragedy more or less like that of Hamlet is presented; the imperfect correspondence of the principal and secondary works lessens the efficacy of this inclusion. Something similar is created by accident in the Thousand and One Nights. This collection of fantastic tales duplicates and reduplicates to the point of vertigo the ramifications of a central story in later and subordinate stories, but does not attempt to gradate its realities, and the effect (which should have been profound) is superficial, like a Persian carpet. The opening story of the series is well known: the terrible pledge of the king who every night marries a virgin who is then decapitated at dawn, and the resolution of Scheherazade, who distracts the king with her fables until a thousand and one nights have gone by and she shows him their son. The necessity of completing a thousand and one sections obliged the copyists of the work to make all manner of interpolations. None is more perturbing than that of the six hundred and second night, magical among all the nights. On that night, the king hears from the queen his own story. He hears the beginning of the story, which comprises all the others and also, monstrously, itself. Does the reader clearly grasp the vast possibility of this interpolation, the curious danger? That the queen may persist and the motionless king hear forever the truncated story of the Thousand and One Nights, now infinite and circular.Q. The author cites the example of Shakespeares Hamlet primarily in order toa)demonstrate how writers critique themselves through their works.b)highlight the nature of the relationship between an entity and its representation.c)examine the introspective nature of prose which helps engage its readers.d)draw parallels with Cervantes representation of Galatea in the Quixote.Correct answer is option 'B'. Can you explain this answer?.

Solutions for Group QuestionThe passage given below is followed by a set of questions. Choose the most appropriate answer to each question.Every novel is an ideal plane inserted into the realm of reality; Cervantes takes pleasure in confusing the objective and the subjective, the world of the reader and the world of the book. In those chapters which argue whether the barbers basin is a helmet and the donkeys packsaddle a steeds fancy regalia, the problem is dealt with explicitly; other passages, insinuate this. In the sixth chapter of the first part, the priest and the barber inspect Don Quixotes library; astoundingly, one of the books examined is Cervantes own Galatea and it turns out that the barber is a friend of the author and does not admire him very much, and says that he is more versed in misfortunes than in verses and that the book possesses some inventiveness, proposes a few ideas and concludes nothing. The barber, a dream or the form of a dream of Cervantes, passes judgment on Cervantes.This play of strange ambiguities culminates in the second part; the protagonists have read the first part, the protagonists of the Quixote are, at the same time, readers of the Quixote. Here it is inevitable to recall the case of Shakespeare, who includes on the stage of Hamlet another stage where a tragedy more or less like that of Hamlet is presented; the imperfect correspondence of the principal and secondary works lessens the efficacy of this inclusion. Something similar is created by accident in the Thousand and One Nights. This collection of fantastic tales duplicates and reduplicates to the point of vertigo the ramifications of a central story in later and subordinate stories, but does not attempt to gradate its realities, and the effect (which should have been profound) is superficial, like a Persian carpet. The opening story of the series is well known: the terrible pledge of the king who every night marries a virgin who is then decapitated at dawn, and the resolution of Scheherazade, who distracts the king with her fables until a thousand and one nights have gone by and she shows him their son. The necessity of completing a thousand and one sections obliged the copyists of the work to make all manner of interpolations. None is more perturbing than that of the six hundred and second night, magical among all the nights. On that night, the king hears from the queen his own story. He hears the beginning of the story, which comprises all the others and also, monstrously, itself. Does the reader clearly grasp the vast possibility of this interpolation, the curious danger? That the queen may persist and the motionless king hear forever the truncated story of the Thousand and One Nights, now infinite and circular.Q. The author cites the example of Shakespeares Hamlet primarily in order toa)demonstrate how writers critique themselves through their works.b)highlight the nature of the relationship between an entity and its representation.c)examine the introspective nature of prose which helps engage its readers.d)draw parallels with Cervantes representation of Galatea in the Quixote.Correct answer is option 'B'. Can you explain this answer? in English & in Hindi are available as part of our courses for CAT. Download more important topics, notes, lectures and mock test series for CAT Exam by signing up for free.

Here you can find the meaning of Group QuestionThe passage given below is followed by a set of questions. Choose the most appropriate answer to each question.Every novel is an ideal plane inserted into the realm of reality; Cervantes takes pleasure in confusing the objective and the subjective, the world of the reader and the world of the book. In those chapters which argue whether the barbers basin is a helmet and the donkeys packsaddle a steeds fancy regalia, the problem is dealt with explicitly; other passages, insinuate this. In the sixth chapter of the first part, the priest and the barber inspect Don Quixotes library; astoundingly, one of the books examined is Cervantes own Galatea and it turns out that the barber is a friend of the author and does not admire him very much, and says that he is more versed in misfortunes than in verses and that the book possesses some inventiveness, proposes a few ideas and concludes nothing. The barber, a dream or the form of a dream of Cervantes, passes judgment on Cervantes.This play of strange ambiguities culminates in the second part; the protagonists have read the first part, the protagonists of the Quixote are, at the same time, readers of the Quixote. Here it is inevitable to recall the case of Shakespeare, who includes on the stage of Hamlet another stage where a tragedy more or less like that of Hamlet is presented; the imperfect correspondence of the principal and secondary works lessens the efficacy of this inclusion. Something similar is created by accident in the Thousand and One Nights. This collection of fantastic tales duplicates and reduplicates to the point of vertigo the ramifications of a central story in later and subordinate stories, but does not attempt to gradate its realities, and the effect (which should have been profound) is superficial, like a Persian carpet. The opening story of the series is well known: the terrible pledge of the king who every night marries a virgin who is then decapitated at dawn, and the resolution of Scheherazade, who distracts the king with her fables until a thousand and one nights have gone by and she shows him their son. The necessity of completing a thousand and one sections obliged the copyists of the work to make all manner of interpolations. None is more perturbing than that of the six hundred and second night, magical among all the nights. On that night, the king hears from the queen his own story. He hears the beginning of the story, which comprises all the others and also, monstrously, itself. Does the reader clearly grasp the vast possibility of this interpolation, the curious danger? That the queen may persist and the motionless king hear forever the truncated story of the Thousand and One Nights, now infinite and circular.Q. The author cites the example of Shakespeares Hamlet primarily in order toa)demonstrate how writers critique themselves through their works.b)highlight the nature of the relationship between an entity and its representation.c)examine the introspective nature of prose which helps engage its readers.d)draw parallels with Cervantes representation of Galatea in the Quixote.Correct answer is option 'B'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Group QuestionThe passage given below is followed by a set of questions. Choose the most appropriate answer to each question.Every novel is an ideal plane inserted into the realm of reality; Cervantes takes pleasure in confusing the objective and the subjective, the world of the reader and the world of the book. In those chapters which argue whether the barbers basin is a helmet and the donkeys packsaddle a steeds fancy regalia, the problem is dealt with explicitly; other passages, insinuate this. In the sixth chapter of the first part, the priest and the barber inspect Don Quixotes library; astoundingly, one of the books examined is Cervantes own Galatea and it turns out that the barber is a friend of the author and does not admire him very much, and says that he is more versed in misfortunes than in verses and that the book possesses some inventiveness, proposes a few ideas and concludes nothing. The barber, a dream or the form of a dream of Cervantes, passes judgment on Cervantes.This play of strange ambiguities culminates in the second part; the protagonists have read the first part, the protagonists of the Quixote are, at the same time, readers of the Quixote. Here it is inevitable to recall the case of Shakespeare, who includes on the stage of Hamlet another stage where a tragedy more or less like that of Hamlet is presented; the imperfect correspondence of the principal and secondary works lessens the efficacy of this inclusion. Something similar is created by accident in the Thousand and One Nights. This collection of fantastic tales duplicates and reduplicates to the point of vertigo the ramifications of a central story in later and subordinate stories, but does not attempt to gradate its realities, and the effect (which should have been profound) is superficial, like a Persian carpet. The opening story of the series is well known: the terrible pledge of the king who every night marries a virgin who is then decapitated at dawn, and the resolution of Scheherazade, who distracts the king with her fables until a thousand and one nights have gone by and she shows him their son. The necessity of completing a thousand and one sections obliged the copyists of the work to make all manner of interpolations. None is more perturbing than that of the six hundred and second night, magical among all the nights. On that night, the king hears from the queen his own story. He hears the beginning of the story, which comprises all the others and also, monstrously, itself. Does the reader clearly grasp the vast possibility of this interpolation, the curious danger? That the queen may persist and the motionless king hear forever the truncated story of the Thousand and One Nights, now infinite and circular.Q. The author cites the example of Shakespeares Hamlet primarily in order toa)demonstrate how writers critique themselves through their works.b)highlight the nature of the relationship between an entity and its representation.c)examine the introspective nature of prose which helps engage its readers.d)draw parallels with Cervantes representation of Galatea in the Quixote.Correct answer is option 'B'. Can you explain this answer?, a detailed solution for Group QuestionThe passage given below is followed by a set of questions. Choose the most appropriate answer to each question.Every novel is an ideal plane inserted into the realm of reality; Cervantes takes pleasure in confusing the objective and the subjective, the world of the reader and the world of the book. In those chapters which argue whether the barbers basin is a helmet and the donkeys packsaddle a steeds fancy regalia, the problem is dealt with explicitly; other passages, insinuate this. In the sixth chapter of the first part, the priest and the barber inspect Don Quixotes library; astoundingly, one of the books examined is Cervantes own Galatea and it turns out that the barber is a friend of the author and does not admire him very much, and says that he is more versed in misfortunes than in verses and that the book possesses some inventiveness, proposes a few ideas and concludes nothing. The barber, a dream or the form of a dream of Cervantes, passes judgment on Cervantes.This play of strange ambiguities culminates in the second part; the protagonists have read the first part, the protagonists of the Quixote are, at the same time, readers of the Quixote. Here it is inevitable to recall the case of Shakespeare, who includes on the stage of Hamlet another stage where a tragedy more or less like that of Hamlet is presented; the imperfect correspondence of the principal and secondary works lessens the efficacy of this inclusion. Something similar is created by accident in the Thousand and One Nights. This collection of fantastic tales duplicates and reduplicates to the point of vertigo the ramifications of a central story in later and subordinate stories, but does not attempt to gradate its realities, and the effect (which should have been profound) is superficial, like a Persian carpet. The opening story of the series is well known: the terrible pledge of the king who every night marries a virgin who is then decapitated at dawn, and the resolution of Scheherazade, who distracts the king with her fables until a thousand and one nights have gone by and she shows him their son. The necessity of completing a thousand and one sections obliged the copyists of the work to make all manner of interpolations. None is more perturbing than that of the six hundred and second night, magical among all the nights. On that night, the king hears from the queen his own story. He hears the beginning of the story, which comprises all the others and also, monstrously, itself. Does the reader clearly grasp the vast possibility of this interpolation, the curious danger? That the queen may persist and the motionless king hear forever the truncated story of the Thousand and One Nights, now infinite and circular.Q. The author cites the example of Shakespeares Hamlet primarily in order toa)demonstrate how writers critique themselves through their works.b)highlight the nature of the relationship between an entity and its representation.c)examine the introspective nature of prose which helps engage its readers.d)draw parallels with Cervantes representation of Galatea in the Quixote.Correct answer is option 'B'. Can you explain this answer? has been provided alongside types of Group QuestionThe passage given below is followed by a set of questions. Choose the most appropriate answer to each question.Every novel is an ideal plane inserted into the realm of reality; Cervantes takes pleasure in confusing the objective and the subjective, the world of the reader and the world of the book. In those chapters which argue whether the barbers basin is a helmet and the donkeys packsaddle a steeds fancy regalia, the problem is dealt with explicitly; other passages, insinuate this. In the sixth chapter of the first part, the priest and the barber inspect Don Quixotes library; astoundingly, one of the books examined is Cervantes own Galatea and it turns out that the barber is a friend of the author and does not admire him very much, and says that he is more versed in misfortunes than in verses and that the book possesses some inventiveness, proposes a few ideas and concludes nothing. The barber, a dream or the form of a dream of Cervantes, passes judgment on Cervantes.This play of strange ambiguities culminates in the second part; the protagonists have read the first part, the protagonists of the Quixote are, at the same time, readers of the Quixote. Here it is inevitable to recall the case of Shakespeare, who includes on the stage of Hamlet another stage where a tragedy more or less like that of Hamlet is presented; the imperfect correspondence of the principal and secondary works lessens the efficacy of this inclusion. Something similar is created by accident in the Thousand and One Nights. This collection of fantastic tales duplicates and reduplicates to the point of vertigo the ramifications of a central story in later and subordinate stories, but does not attempt to gradate its realities, and the effect (which should have been profound) is superficial, like a Persian carpet. The opening story of the series is well known: the terrible pledge of the king who every night marries a virgin who is then decapitated at dawn, and the resolution of Scheherazade, who distracts the king with her fables until a thousand and one nights have gone by and she shows him their son. The necessity of completing a thousand and one sections obliged the copyists of the work to make all manner of interpolations. None is more perturbing than that of the six hundred and second night, magical among all the nights. On that night, the king hears from the queen his own story. He hears the beginning of the story, which comprises all the others and also, monstrously, itself. Does the reader clearly grasp the vast possibility of this interpolation, the curious danger? That the queen may persist and the motionless king hear forever the truncated story of the Thousand and One Nights, now infinite and circular.Q. The author cites the example of Shakespeares Hamlet primarily in order toa)demonstrate how writers critique themselves through their works.b)highlight the nature of the relationship between an entity and its representation.c)examine the introspective nature of prose which helps engage its readers.d)draw parallels with Cervantes representation of Galatea in the Quixote.Correct answer is option 'B'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Group QuestionThe passage given below is followed by a set of questions. Choose the most appropriate answer to each question.Every novel is an ideal plane inserted into the realm of reality; Cervantes takes pleasure in confusing the objective and the subjective, the world of the reader and the world of the book. In those chapters which argue whether the barbers basin is a helmet and the donkeys packsaddle a steeds fancy regalia, the problem is dealt with explicitly; other passages, insinuate this. In the sixth chapter of the first part, the priest and the barber inspect Don Quixotes library; astoundingly, one of the books examined is Cervantes own Galatea and it turns out that the barber is a friend of the author and does not admire him very much, and says that he is more versed in misfortunes than in verses and that the book possesses some inventiveness, proposes a few ideas and concludes nothing. The barber, a dream or the form of a dream of Cervantes, passes judgment on Cervantes.This play of strange ambiguities culminates in the second part; the protagonists have read the first part, the protagonists of the Quixote are, at the same time, readers of the Quixote. Here it is inevitable to recall the case of Shakespeare, who includes on the stage of Hamlet another stage where a tragedy more or less like that of Hamlet is presented; the imperfect correspondence of the principal and secondary works lessens the efficacy of this inclusion. Something similar is created by accident in the Thousand and One Nights. This collection of fantastic tales duplicates and reduplicates to the point of vertigo the ramifications of a central story in later and subordinate stories, but does not attempt to gradate its realities, and the effect (which should have been profound) is superficial, like a Persian carpet. The opening story of the series is well known: the terrible pledge of the king who every night marries a virgin who is then decapitated at dawn, and the resolution of Scheherazade, who distracts the king with her fables until a thousand and one nights have gone by and she shows him their son. The necessity of completing a thousand and one sections obliged the copyists of the work to make all manner of interpolations. None is more perturbing than that of the six hundred and second night, magical among all the nights. On that night, the king hears from the queen his own story. He hears the beginning of the story, which comprises all the others and also, monstrously, itself. Does the reader clearly grasp the vast possibility of this interpolation, the curious danger? That the queen may persist and the motionless king hear forever the truncated story of the Thousand and One Nights, now infinite and circular.Q. The author cites the example of Shakespeares Hamlet primarily in order toa)demonstrate how writers critique themselves through their works.b)highlight the nature of the relationship between an entity and its representation.c)examine the introspective nature of prose which helps engage its readers.d)draw parallels with Cervantes representation of Galatea in the Quixote.Correct answer is option 'B'. Can you explain this answer? tests, examples and also practice CAT tests.