According to Keats, suffering and pain caused by man's malice and his evil ways spreads the pall of despondence over our dark spirits. Man lacks noble qualities and his hostile and inhuman nature makes the world gloomy. This can be removed by some shape of beauty that is a source of constant joy

Definition: Liquidity means how quickly you can get your hands on your cash. In simpler terms, liquidity is to get your money whenever you need it.

Description: Liquidity might be your emergency savings account or the cash lying with you that you can access in case of any unforeseen happening or any financial setback. Liquidity also plays an important role as it allows you to seize opportunities.

If you have cash and easy access to fund and a great deal comes along, then it's easier for you to cease that opportunity. Cash, savings account, checkable account are liquid assets because they can be easily converted into cash as and when required.

A N S W E R

The term Non-Alignment was coined by Jawaharlal Nehru in his speech in 1954 in Colombo, Sri Lanka. After independence, India did not want to be a part of either of these blocs led by the USSR or USA. It chose to follow a policy of non-alignment.

Liquidity Ratios: Liquidity ratios measure the firm’s ability to fulfil its short-term financial obligations.
(i) Current ratio/Working capital ratio This ratio establishes relationship between current assets and current liabilities and is used to assess the short-term financial position of the business concern. Current ratio of 2:1 is considered to be ideal.

Items Included in Current Assets
(a) Current investments
(b) Inventories (Excluding loose tools, stores and spares)
(c) Trade receivables (bills receivable and sundry debtors less provision for doubtful debts)
(d) Cash and cash equivalents (cash in hand, cash at bank, cheques/drafts in hand)
(e) Short-term loans and advances
(f) Other current assets (prepaid expenses, interest receivable, etc.)
Items Included in Current Liabilities
(a) Short-term borrowings
(b) Trade payables (bills payable and sundry creditors)
(c) Other current liabilities (current maturities of long-term debts, interest, accrued but not due on borrowings, interest accrued and due on borrowings, outstanding expenses, unclaimed dividend, calls-in-advance, etc)
(d) Short-term provisions
(ii) Liquid ratio/Quick ratio/Acid test ratio This ratio establishes relationship between liquid assets and current liabilities and is used to measure the firm’s ability to pay the claims of creditors immediately. This ratio is a better indicator of liquidity and 1 : 1 is considered to be ideal.

Items Included in Liquid/Quick Assets
(i) Current investments.
(ii) Trade receivables (bill receivables, debtors less provisions for doubtful debts).
(iii) Cash and cash equivalents.
(iv) Short-term loans and advances.
(v) Other current assets except prepaid expenses.
Items excluded in liquid assets are inventories, prepaid expenses.
Items Included in Current Liabilities
(i) Short-term borrowings.
(ii) Trade payables (bills payable and sundry creditors).
(iii) Other short-term liabilities.
(iv) Short-term provisions.

1. Features of India’s pre-independence occupational structure. The following were the features of India’s pre-independence occupational structure. 1. Pre-dominance of agricultural sector: During pre-independence period agriculture was pre-dominant About 85% population of the country lived mostly in villages and.derived their livelihood directly or indirectly from agriculture. 2. Regional variation: There was growing regional variation The cotton textile mills mainly dominated by Indian’s were located in western parts of the country namely Maharashtra and Gujarat. The jute mills dominated by foreigners were mainly concentrated in Bengal. 3. Unbalanced growth: There was unbalanced growth in the economy. All the sectors of the economy were not growing equally during the second half of the 19th century. Modem industry began to take root in India but its progress remained Very slow. There was hardly any capital goods industry to help and promote further industrialisation in India the growth of the new industrial sector and its contribution.

The revolt of 1857 shook the foundation of British East India Company and disclosed their inefficiency in handling the Indian administration. The major impact was the introduction of Government of India act which abolished the rule of British East India Company and marked the beginning of British raj that bestowed powers in the hands of the British government to rule India directly through representatives.

(1) British conspiracy against Siraj-ud-daula -
The British conspired to remove the Nawab of Bengal Siraj-ud-daulah from power, as the British wanted to make the Nawab a puppet in their hands. For this, the British joined the Nawab's commander Mir Jafar with the greed to make him the Nawab of Bengal. The British had already turned courtiers like Amichand and Jagat Seth towards them. The British were very clever, so they found the rich people who were angry with the Nawab and got them on their side. For this reason, the army of Nawab Siraj-ud-Daulah did not fight with full loyalty in the plains.
(2) Tension between British and Nawab Siraj-ud-Daula
Tensions were going on in the relations between the British and Siraj-ud-Daula. There were several reasons for this, including the fact that the British did not send any gifts to Siraj-ud-daulah when they became the Nawabs of Thebalas, the British gave aid and refuge to the Nawab's rebels, the Nawab imposed fairly strict restrictions on the British trade.
(3) Fortifications by the British -
At this time, the British and the French started the fortifications of Calcutta and Qasim Bazar. Siraj-ud-daula opposed it. The French agreed to the order of the Nawab, but the British, not caring for him, continued the fortification, which angered the Nawab.
 (4) Right over Qasim Bazaar and Calcutta -
Enraged by the fortifications by the British, the Nawab won by sending his army to Kasim Bazar and Calcutta. Many British were also arrested.
More

(1) सिराजुद्दौला के विरुद्ध अंग्रेजों का षड्यन्त्र  - 

(2) अंग्रेजों और नवाब सिराजुद्दौला में तनाव - 

(3) अंग्रेजों द्वारा किलेबन्दी - 

 (4) कासिम बाजार व कलकत्ता पर अधिकार - 

Answer : At the crofter’s cottage, the peddler was welcomed warmly. The peddler had never been treated kindly by the world. He was meted out cold treatment wherever he went. So he was pleasantly surprised when the crofter greeted him with warmth.

 It is divided into five volumes. The first volume deals with the family of the emperor. The second gives details about the imperial servants, the military and the civil apparatus. The third volume elaborates on the administrative structure of the Mughal empire. It lists out and explains all the regulations prescribed for the judicial and executive departments and divisions of the empire. The fourth volume delas with Hindu philosophy, social customs, literature and science. Lastly, the fifth book contains the wise saying uttered by Emperor Akbar. It also gives details about the ancestry and biography of the author of ‘Ain-i-Akbari’.

Development

Two major factors contributed greatly to the development of Rajasthani Paintings. First, the economic prosperity enjoyed by the commercial community of Rajasthan. Second, the revival of Vaishnavism and the growth of Bhakti cult. In the 14th century the influence of poets and writers like Ramanuja , the worshipper of Lord Vishnu and Jaydev,the worshipper of Lord Krishna brought about great changes in the art, literature and spiritual awakening of the people all over India. The appearance of Sri Chaitanya and Meerabai and their total devotion and love for Lord Krishna swept over the whole of India. Rajasthani and Pahari paintings were greatly influenced by the advent (arrival) of Ramananda, Tulsidas, Kabir. lt resulted in the expansion of the imaginative horizon of the artists and in the inclusion of subjects related to Sri Ramcharit, Geet-Govida, Hara- Parvati, ancient tales, live of saints, Baramasa or the monthly festivities of the year and Rag-Raginis based on Indian classical music. Scenes from the Ramayana and Mahabharata, works belonging to the Krishna cult of the Geet-Govinda (written by the Bengali court-poet Jaydeva in 12th century), Bhagvat Puran, the works of Surdas, Keshavdas and Beharilal was a favourite subject-matter for Rajasthani painters because it deals exclusively with the romantic exploits of Radha and Krishna in a pastoral settings. The prepondering theme in these illustrations is love in all its form (treated in variety of ways), as in Nayak -Nayika Bheda" (classification of heros-heroins), Folk-lore and ballads (biraha, type of lok geet) like Dhola-Maru, Sohni-Mahinwal, Laur-Chand, (a papular north Indian biraha by Daut Maulana). Sanskrit classics like Kadambari by Banbhatta, Rasikpriya, Ramchandrika and love episode of Chaut-Panchasika, Nala-Damayanti were illustrated. 2 | P a g e These are the illustration of genre (variety) type paintings in Rajasthani Schools. All these changes in the approach to Rajasthani painting were direct result of the 14th century cultural renaissance that swept the whole Central and North-Western India. The special style of the Rajasthani paintings shows a primitive vigour, bold outlines and brilliant colours set in a harmonious pattern. Regional features in the depiction of facial types, local scenery and technical details can be found in different sub-schools. Rajasthani painting, like Indian literature, is a symbolic expression of a multiple aesthetic sentiments of lndian life, its nature and daily activities and sudden flashes of emotional thought is a unique feature of Rajasthani painting. The use of different colours to express different thought is very clear in this style. The artists reveal an unusual understanding of colour harmony. Colours carry for them distinct meaning as red depicts warm, emotion and fury, yellow the marvelous, brown the erotic. Colours are also used to represent specific musical modes which constitute a special feature of Indian Art in the Ragamala paintings. There is a special position in the series of Ragamala painting; bright colours and bold outlines are its salient feature. Paintings are left to the imagination and emotion of the viewers for interpretation. They are economical in choosing the subject-matters, but very expressive. These paintings are two-dimensional with simplification of lines and flat colour schemes with presentation of all figures in same dimension in complete disregard of perspective. The use of bright red, blue, yellow and green colours gave it a contrasting brilliance. In this style generally, when the artists painted the figure of a woman, the same figure would be duplicated for other woman in the painting as symbol of all femininity. All would have large lotus eyes, flowing tresses (curls), firm breasts, slender (slim) waists and rosy hands. Soon after Rajasthani painting was accepted as an established school of painting, it must have in close contact with Mughal School of painting and contact with Mughal court was inevitable. But it is an established fact that at no time the proud Rajput would yield in spirit to foreign masters. The nomenclature Rajasthani painting is not given to any rootless set of painting that grew indigenously at any one place, but is a concerted effort by group of master painters to develop this new type of painting where Western Indian painting, Jain Manuscript painting and Gujarat style were fused together to give rise to this new genre of painting. The centre where these activities and experiments were carrier through was Mewar which was least affected by series of Mughal attack and painters were left in peace to develop their own style.

The ‘Ain-i-Akbari’ was written by Abul Fazal, the minister and one of the nine jewels of Akbar’s court. It is one of the most important source materials on the administration and culture during the reign of Akbar. It is divided into five volumes. The first volume deals with the family of the emperor. The second gives details about the imperial servants, the military and the civil apparatus. The third volume elaborates on the administrative structure of the Mughal empire. It lists out and explains all the regulations prescribed for the judicial and executive departments and divisions of the empire. The fourth volume delas with Hindu philosophy, social customs, literature and science. Lastly, the fifth book contains the wise saying uttered by Emperor Akbar. It also gives details about the ancestry and biography of the author of ‘Ain-i-Akbari’.

(ए) 1832 तक, संथाल लोग दामिन-ए-कोह क्षेत्र में बस गए थे। संथाल बस्तियों का अब तेजी से विस्तार हुआ है। कृषि के लिए जंगलों को तेजी से साफ किया गया। खेती के विस्तार के रूप में कंपनी को अधिक राजस्व मिला।

(b) लेकिन संथाल धीरे-धीरे असंतुष्ट हो गए। उन्होंने पाया कि उन्हें उनका हक नहीं मिल रहा है और उनका शोषण किया जा रहा है। संप्रदाय उन पर भारी कर लगा रहा था।

(ग) साहूकारों ने उन पर उच्च ब्याज दर का आरोप लगाया और जब वे भुगतान करने में असमर्थ थे, तो उन्होंने अपनी जमीन पर कब्जा कर लिया।

(d) जमींदारों ने भी अपने क्षेत्र पर अपनी पकड़ बढ़ानी शुरू कर दी थी। इस प्रकार उन्होंने जमींदार, साहूकारों और राज्य के शोषण के खिलाफ विद्रोह किया।

(() विद्रोह के बाद, अंग्रेजों ने भागलपुर और बीरभूम जिलों से संथाल परगना बनाया। यह माना जाता था कि एक नए राज्य का निर्माण और उनकी सुरक्षा के लिए विशेष कानूनों को पारित करना संथालों को अपमानित करेगा