Section 1 Audio script: TAGORE: I was discussing with Dr Mendel [mutual friend] today the new mathematical discoveries

which tell us that in the realm of infinitesimal atoms chance has its play; the drama of existence is not absolutely predestined in character. EINSTEIN: The facts that make science tend toward this view do not say good-bye to causality. TAGORE: Maybe not, yet it appears that the idea of causality is not in the elements, but that some other force builds up with them an organised universe. EINSTEIN: One tries to understand in the higher plane how the order is. The order is there, where the big elements combine and guide existence, but in the minute elements this order is not perceptible. TAGORE: Thus duality is in the depths of existence, the contradiction of free impulse and the directive will which works upon it and evolves an orderly scheme of things. EINSTEIN: Modern physics would not say they are contradictory. Clouds look as one from a distance, but if you see them nearby, they show themselves as disorderly drops of water. TAGORE: I find a parallel in human psychology. Our passions and desires are unruly, but our character subdues these elements into a harmonious whole. Does something similar to this happen in the physical world? Are the elements rebellious, dynamic with individual impulse? And is there a principle in the physical world which dominates them and puts them into an orderly organisation? EINSTEIN: Even the elements are not without statistical order; elements of radium will always maintain their specific order, now and ever onward, just as they have done all along. There is, then, a statistical order in the elements. TAGORE: Otherwise, the drama of existence would be too desultory. It is the constant harmony of chance and determination which makes it eternally new and living. EINSTEIN: I believe that whatever we do or live for has its causality; it is good, however, that we cannot see through to it. TAGORE: There is in human affairs an element of elasticity also, some freedom within a small range which is for the expression of our personality. It is like the musical system in India, which is not so rigidly fixed as western music. Our composers give a certain definite outline, a system of melody and rhythmic arrangement, and within a certain limit the player can improvise upon it. He must be one with the law of that particular melody, and then he can give spontaneous

expression to his musical feeling within the prescribed regulation. We praise the composer for his genius in creating a foundation along with a superstructure of melodies, but we expect from the player his own skill in the creation of variations of melodic flourish and ornamentation. In creation we follow the central law of existence, but if we do not cut ourselves adrift from it, we can have sufficient freedom within the limits of our personality for the fullest self-expression. EINSTEIN: That is possible only when there is a strong artistic tradition in music to guide the peoples mind. In Europe, music has come too far away from popular art and popular feeling and has become something like a secret art with conventions and traditions of its own. TAGORE: You have to be absolutely obedient to this too complicated music. In India, the measure of a singers freedom is in his own creative personality. He can sing the composers song as his own, if he has the power creatively to assert himself in his interpretation of the general law of the melody which he is given to interpret. EINSTEIN: It requires a very high standard of art to realize fully the great idea in the original music, so that one can make variations upon it. In our country, the variations are often prescribed. TAGORE: If in our conduct we can follow the law of goodness, we can have real liberty of selfexpression. The principle of conduct is there, but the character which makes it true and individual is our own creation. In our music there is a duality of freedom and prescribed order. EINSTEIN: Are the words of a song also free? I mean to say, is the singer at liberty to add his own words to the song which he is singing? TAGORE: Yes. In Bengal we have a kind of song-kirtan, we call it which gives freedom to the singer to introduce parenthetical comments, phrases not in the original song. This occasions great enthusiasm, since the audience is constantly thrilled by some beautiful, spontaneous sentiment added by the singer. EINSTEIN: Is the metrical form quite severe? TAGORE: Yes, quite. You cannot exceed the limits of versification; the singer in all his variations must keep the rhythm and the time, which is fixed. In European music you have a comparative liberty with time, but not with melody. EINSTEIN: Can the Indian music be sung without words? Can one understand a song without words? TAGORE: Yes, we have songs with unmeaning words, sounds which just help to act as carriers of the notes. In North India, music is an independent art, not the interpretation of words and thoughts, as in Bengal. The music is very intricate and subtle and is a complete world of melody by itself.

Fill in with not more than three words for each blank. 1. The mutual friend of the speakers is ____1_____. 2. Modern physics would not say _____2_____. 3. There is in human affairs an element of elasticity also, some freedom within a small range which is for the expression _____3_____. 4. We can have sufficient freedom within the limits of our personality for _____4_____. 5. Our composers give a _____5_____, a system of melody and rhythmic arrangement, and within a certain limit the player _____6_____ upon it. 6. It requires a very high _____7_____ to realize fully the great idea in the _____8_____ music. 7. In North India, music is an _____9_____, not the interpretation of _____10_____.

Section 2 Audio script:

Patient : May I come in, Sir? Doctor : Yes, you may. Patient : Ive been suffering from fever for the past two days. Doctor : Did you take any medicine? Patient : No, I didnt. Ive got a cold too. (Doctor examines the patient.) Doctor : Your body temperature is 102 F. You must take medicines for at least three days. Patient : Can I attend office? Doctor : You shouldnt. You must take rest. Patient : What about the diet? Doctor : You should be on liquid diet. Patient : Should I see you again? Doctor : You neednt. But if the fever persists for more than three days, come and see me. Patient : Sure. Doctor : Here is the prescription. Patient : Thank you, Sir. Doctor : Youre welcome.

1. Say whether the statements are true or false. a. This is a dialogue between a doctor and a patient. b. The patient is suffering for the past two weeks. c. The patient is having fever. d. The doctor needs to give him medicines for a week. e. The patient is asked to have soup. 2. Fill in with not more than three words to complete the statements. a. The patient need _____6______ see the doctor again if the fever is cured in _____7______. b. The patients took no _____8_____ before visiting the doctor. c. The patient _____9_____ office now. d. The doctor advised him to ______10______. Section 3 Audio script: English folklore is the folk tradition that has evolved in England over the centuries. England abounds with folklore, in all forms, from such obvious manifestations as semi-historical Robin Hood tales, to contemporary urban myths and facets of cryptozoology such as the Beast of Bodmin Moor. The famous Arthurian legends may not have originated in England, but variants of these tales are associated with locations in England, such as Glastonbury and Tintagel. Examples of surviving English folk traditions include the Morris dance and related practices such as the Abbots Bromley Horn Dance and the Mummers Plays. In many, usually rural places, people still gather for May Day festivals on the first of May to celebrate the beginning of summer. This traditionally involves local children skipping around a maypole - a large pole erected on the village green (historically a tree would have been specially cut down) - each carrying a coloured ribbon, resulting in a multi-coloured plaited pattern. The festival traditionally features Morris dancing and various festivities, culminating in the crowning of a 'May Queen'. Many regional variations of the festivals exist; the oldest still practiced today is the "'Obby 'Oss festival of Padstow, which dates back to the 14th century. England has a long and rich musical history. The United Kingdom has, like most European countries, undergone a roots revival in the last half of the 20th century. English music has been an instrumental and leading part of this phenomenon, which peaked at the end of the 1960s and into the 1970s. The achievements of the Anglican choral tradition following on from 16th century composers such as Thomas Tallis, John Taverner and William Byrd have tended to overshadow instrumental composition. The semi-operatic innovations of Henry Purcell did not lead to a native operatic tradition, but George Frederick Handel found important royal patrons and

enthusiastic public support in England. The rapturous receptions afforded by audiences to visiting musical celebrities such as Haydn often contrasted with the lack of recognition for home-grown talent. However, the emergence of figures such as Edward Elgar and Arthur Sullivan in the 19th century showed a new vitality in English music. In the 20th century, Benjamin Britten and Michael Tippett emerged as internationally-recognised opera composers, and Ralph Vaughan Williams and others collected English folk tunes and adapted them to the concert hall. Cecil Sharp was a leading figure in the English folk revival. Finally, a new trend emerged out of Liverpool in 1962. The Beatles became the most popular musicians of their time, and in the composing duo of John Lennon and Paul McCartney, popularized the concept of the self-contained music act. Before the Beatles, very few popular singers composed the tunes they performed. The "Fab Four" opened the doors for other English acts such as The Rolling Stones, Cream, The Hollies, The Kinks, The Who, Queen, Led Zeppelin, Black Sabbath, and Pink Floyd to the globe. Some of England's leading contemporary artists include Eric Clapton, Elton John, George Michael, Blur, The Spice Girls, Bloc Party, Arctic Monkeys, Robbie Williams, Oasis, The Smiths, Radiohead, David Bowie, Coldplay and Muse. 1. Complete the following summary. Do not use more than three for one blank. a. English folklore is the folk tradition that has evolved in England _____1______. Examples of surviving English folk traditions include the _____2_____ and related practices such as the _____ 3_____ and the _____4_____. The United Kingdom has, like most _____5_____, undergone a roots revival in the last half of ____6_____. The achievements of the _____7_____following on from 16th century composers such as _____8_____, _____9_____ and _____10_____ have tended to overshadow instrumental composition. Section 4 Audio script: An atheist professor of philosophy speaks to his class on the problem science has with God, The Almighty. He asks one of his new Muslim students to stand and..... Professor: You are a Muslim, aren't you, son? Student : Yes, sir. Professor: So you believe in God? Student : Absolutely, sir. Professor: Is God good? Student: Sure. Prof: Is God all-powerful? Student: Yes.

Prof: My brother died of cancer even though he prayed to God to heal him. Most of us would attempt to help others who are ill. But God didn't. How is this God good then? Hmm? (Student is silent.) Prof: You can't answer, can you? Let's start again, young fella. Is God good? Student: Yes. Prof: Is Satan good? Student: No. Prof: Where does Satan come from? Student: From...God... Prof: That's right. Tell me son, is there evil in this world? Student: Yes. Prof: Evil is everywhere, isn't it? And God did make everything. Correct? Student: Yes. Prof: So who created evil? (Student does not answer.) Prof: Is there sickness? Immorality? Hatred? Ugliness? All these terrible things exist in the world, don't they? Student: Yes, sir. Prof: So, who created them? (Student has no answer.) Prof: Science says you have 5 senses you use to identify and observe the world around you. Tell me, son...Have you ever seen God? Student : No, sir. Prof: Tell us if you have ever heard your God? Student : No , sir. Prof: Have you ever felt your God, tasted your God, smelt your God? Have you ever had any sensory perception of God for that matter? Student : No, sir. I'm afraid I haven't. Prof: Yet you still believe in Him? Student : Yes. Prof: According to empirical, testable, demonstrable protocol, science says your GOD doesn't exist. What do you say to that, son? Student : Nothing. I only have my faith. Prof: Yes. Faith. And that is the problem science has. Student : Professor, is there such a thing as heat? Prof: Yes. Student : And is there such a thing as cold? Prof: Yes.

Student : No sir. There isn't. (The lecture theatre becomes very quiet with this turn of events.) Student : Sir, you can have lots of heat, even more heat, superheat, mega heat, white heat, a little heat or no heat. But we don't have anything called cold. We can hit 458 degrees below zero which is no heat, but we can't go any further after that. There is no such thing as cold. Cold is only a word we use to describe the absence of heat. We cannot measure cold. Heat is energy. Cold is not the opposite of heat, sir, just the absence of it. (There is pin-drop silence in the lecture theatre.) Student : What about darkness, Professor? Is there such a thing as darkness? Prof: Yes. What is night if there isn't darkness? Student : You're wrong again, sir. Darkness is the absence of something. You can have low light, normal light, bright light, flashing light....But if >you have no light constantly, you have nothing and it's called darkness, isn't it? In reality, darkness isn't. If it were you would be able to make darkness darker, wouldn't you? Prof: So what is the point you are making, young man? Student : Sir, my point is your philosophical premise is flawed. Prof: Flawed? Can you explain how? Student : Sir, you are working on the premise of duality. You argue there is life and then there is death, a good God and a bad God. You are viewing the concept of God as something finite, something we can measure. Sir, science can't even explain a thought. It uses electricity and magnetism, but has never seen, much less fully understood either one. To view death as the opposite of life is to be ignorant of the fact that death cannot exist as a substantive thing.

Complete the following statements with words from the audio. 1. The professor wanted to prove that there is _____1_____. 2. According to empirical, testable, _____2_____, science says your _____3_____ doesn't exist. 3. Science uses _____4_____, but has never seen, much less fully _____5_____ either one. 4. You can have lots of heat, even more heat, _____6_____, _____7_____, _____8_____, a little heat or no heat. But we don't have anything called cold. 5. According to the professor ______9______ is the problem that science has. 6. Science says you have _____10_____ you use to identify and observe the world around you.