Q. 1: Which of the following does not contribute to the passage’s claim about the authorship of Aladdin?
1. The story-line of many French fairy tales of the 18th century
2. The depiction of the affluence of Versailles in Diyab’s travelogue
3. The narrative sensibility of Diyab’s travelogue.
4. Galland’s acknowledgment of Diyab in his diary.
1. Antoine Galland is the first European to translate the tale of Aladdin, which he claimed in his diary he heard from Diyab. Scholars however feel that the tale of Aladdin may well be the tale of Diyab himself marveling at the riches of the Versailles. Thus, options 2,3 and 4 contribute to the passage’s claim about the authorship of Aladdin.
Option 1, is mentioned in a different context. The following extract, “For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been inspired by the plots of French fairy tales that came out around the same time, or that the story was invented in that 18th century period as a byproduct of French Orientalism, a fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea that Diyab might have based it on his own life — the experiences of a Middle Eastern man encountering the French, not vice-versa — flips the script” proves that Diyab may well have written the story and thus nothing is owed to French fairy tales of the 18th century for this work.
Hence, the correct answer is option 1.
2. Paragraph 1 states that Galland received the story of Aladdin from Diyab while paragraph 3 mentions that modern scholars now think that Diyab based the story of Aladdin on his own life experiences. Option 3 states this assertion and is the correct answer.
Option 1 is incorrect. The author clearly states that Galland heard the story from Diyab and that Diyab never mentioned to Galland that it was his own story.
The story of Aladdin was not found in an incomplete medieval manuscript but was recounted by Diyab to Galland. Eliminate option 2. Option 4 is not stated in the passage as pertinent to the tale of Aladdin. It is relevant to Arabian Nights.
Hence, the correct answer is option 3.
Q. 3: Which of the following is the primary reason for why storytellers are still fascinated by the story of Aladdin?
3. The following extract from paragraph 4, ‘To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world today,” as Horta puts it’ clearly points to option 1 as the correct answer.
Although the story of Aladdin is a rags-to-riches tale, that is not the reason for the story’s fascination.
Eliminate option 2.
Option 3 is also not true for the storytellers’ fascination for the story of Aladdin. Eliminate option 3.
Option 4 is also not true for the story’s current popularity.
Hence, the correct answer is option 1.
Q. 4: All of the following serve as evidence for the character of Aladdin being based on Hanna Diyab EXCEPT:
4. The story of Aladdin was a rags-to-riches story (refer paragraph 3). This fact validates option 1.
In paragraph 2, the following extract “Diyab wrote something of his own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the extravagance of Versailles” serves as evidence for the character of Aladdin being based on Hanna Diyab. Therefore, option 2 is also validated.
In paragraph 3, Diyab’s cross cultural experience, similar to that of Aladdin, is also mentioned. This fact validates option 3.
The fact that Diyab narrated the story of Aladdin to Galland does not serve as evidence that the character of Aladdin was based on Diyab himself. Option 4 does not serve as any sort of evidence at all.
Hence, the correct answer is option 4.
Q. 5: Which of the following, if true, would invalidate the inversion that the phrase “flips the script” refers to?
5.“Flips the script” refers to the assertion made by modern day scholars that the story of Aladdin was that of Diyab himself. Refer to the following extract from paragraph 2, ‘The descriptions he (Diyab) uses were very similar to the descriptions of the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo, marveling at the jewels and riches of Versailles.” . . .’ This extract combined with the following extract from paragraph 4, “The idea that Diyab might have based it on his own life — the experiences of a Middle Eastern man encountering the French, not vice-versa — flips the script” that it was not the French encountering the orientals – rather it was the other way around. Had the two stories of Galland and Diyab borne no resemblance to each other scholars would not have guessed that the story of Aladdin was the story of Diyab himself. We have to choose that option that validates this conclusion and only option 3 does it correctly.
Option 1 cannot be validated from the passage.
Option 2 is incorrect. Diyab did describe the opulence of Versailles. It does not answer the question.
Option 4 has nothing to do with “flipping the script.” It is also not true. Galland acknowledged that he heard the story from Diyab only in his diary and not in his published translations.
Hence, the correct answer is option 3.
Verbal Ability : | Q.01- Q.05 | Q.06- Q.10 | Q.11- Q.15 | Q.16- Q.20 | Q.21- Q.24 | Q.25- Q.29 | Q.30 – Q.34 |
Logical Reasoning : | Q.01- Q.04 | Q.05- Q.08 | Q.09- Q.12 | Q.13- Q.16 | Q.17- Q.20 | Q.21- Q.24 | Q.25 – Q.28 | Q.29 – Q.32 |
Quantitative Aptitude: | Q.01- Q.05 | Q.06- Q.10 | Q.11- Q.15 | Q.16- Q.20 | Q.21- Q.25 | Q.26- Q.30 | Q.31 – Q.34 |
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