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Question 561

SSC Combined Graduate Level (CGL) 2025• English Comprehension• English Comprehension

Find the part of the sentence that contains an error:

The team's objective, despite its vagueness, (1)/ were understood by the evaluators (2)/ to focus more on inclusivity (3)/ than on quantifiable metrics. (4)

  1. AOption (a)

    1

  2. BOption (b)

    2

  3. COption (c)

    3

  4. DOption (d)

    4

View answer & explanation

Correct answer

Answer: (b)B.

2

Why this answer is correct

The correct answer is Option 2.

 

Key Points

  • The error in the sentence lies in subject-verb agreement in part 2.
  • The subject "The team's objective" is singular, so the verb should also be singular.
  • However, the verb "were" is plural, which creates a grammatical inconsistency.
  • The correct verb should be "was" to agree with the singular subject.

Therefore, the correct answer is Option 2.

 

Correct Sentence: "The team's objective, despite its vagueness, was understood by the evaluators to focus more on inclusivity than on quantifiable metrics."

 

Additional Information

  • Part 1: "The team's objective, despite its vagueness," – This part is correct as it properly introduces the singular subject.
  • Part 3: "to focus more on inclusivity" – This part is correct and grammatically sound.

Question 562

SSC Combined Graduate Level (CGL) 2025• English Comprehension• English Comprehension

Change the following from active to passive:

The authorities are to close the road.

  1. AOption (a)

    The road to be closed by the authorities.

  2. BOption (b)

    The road is to be closed by the authorities.

  3. COption (c)

    The road has to be closed by the authorities.

  4. DOption (d)

    The road will be closed by the authorities.

View answer & explanation

Correct answer

Answer: (b)B.

The road is to be closed by the authorities.

Why this answer is correct

The correct answer is Option 2.

 

Key Points

  • Passive voice structure: The object of the active voice sentence becomes the subject of the passive voice sentence.
  • In the active voice, the sentence is: "The authorities are to close the road."
  • To convert to passive voice: Place the object "the road" at the beginning.
  • Change the active verb form "are to close" to "is to be closed" (future passive modal).
  • Add the preposition "by" followed by the original subject "the authorities."

Therefore, the correct answer is Option 2.

 

Correct Sentence: "The road is to be closed by the authorities."

 

Additional Information

  • Option 1: "The road to be closed by the authorities." – Lacks the correct verb structure for passive voice.
  • Option 3: "The road has to be closed by the authorities." – Incorrect modal usage (has to be).
  • Option 4: "The road will be closed by the authorities." – Incorrect tense (future simple instead of future modal passive).

Question 563

SSC Combined Graduate Level (CGL) 2025• English Comprehension• English Comprehension

Select the sentence containing the homonym of the highlighted word:

The medieval monk copied the codex meticulously.

  1. AOption (a)

    The scribe placed the codex beside the incunabulum.

  2. BOption (b)

    The librarian digitized a rare codex from Florence.

  3. COption (c)

    The AI engineer optimized the codex for faster computation.

  4. DOption (d)

    The codex was bound in goatskin vellum.

View answer & explanation

Correct answer

Answer: (c)C.

The AI engineer optimized the codex for faster computation.

Why this answer is correct

The correct answer is: Option 3.

Key Points

  • The word "codex" originally refers to an ancient manuscript or book, particularly one written by hand before the advent of printing. (पांडुलिपि)
  • Example: The codex discovered in the library was dated back to the 12th century.
  • In modern contexts, "codex" is also used as a homonym to refer to a set of instructions or code, particularly in computing. (कोडेक्स, कंप्यूटर कोड के संदर्भ में)
  • Example: The developer optimized the codex to enhance the software's performance.
  • The sentence in Option 3 uses the homonym of the word "codex" in a modern context, referring to a set of instructions or a code in the field of AI or computing.

Therefore, the correct answer is: Option 3.

Additional Information

Here are the other options explained along with their Hindi meanings and example sentences:

  • Option 1: The scribe placed the codex beside the incunabulum. (पांडुलिपि)
  • This refers to the original meaning of "codex," as an ancient manuscript.
  • Example: The codex was carefully stored in the library's archives.
  • Option 2: The librarian digitized a rare codex from Florence. (पांडुलिपि)
  • This also refers to the original meaning of "codex," as a rare, handwritten book.
  • Example: The codex contained elaborate illustrations and text from the medieval period.
  • Option 4: The codex was bound in goatskin vellum. (पांडुलिपि)
  • This refers to the ancient manuscript meaning of "codex," describing its binding material.
  • Example: The codex, preserved in goatskin vellum, was a treasure for historians.

Question 564

SSC Combined Graduate Level (CGL) 2025• English Comprehension• English Comprehension

Convert the sentence provided below from its passive voice structure to an active voice structure:

The allegation that the system had been hacked was denied by the company.

  1. AOption (a)

    The company denied that the system had been hacked.

  2. BOption (b)

    The hacking of the system was denied by the company.

  3. COption (c)

    It was denied that the hacking occurred by the company.

  4. DOption (d)

    The company had denied hacking the system.

View answer & explanation

Correct answer

Answer: (a)A.

The company denied that the system had been hacked.

Why this answer is correct

The correct answer is Option 1.

 

Key Points

  • Passive voice structure: The object of the active voice sentence becomes the subject of the passive voice sentence.
  • In the passive voice, the sentence is: "The allegation that the system had been hacked was denied by the company."
  • To convert to active voice: Place the subject "the company" at the beginning.
  • Change the verb structure to reflect the active voice: "denied" remains the same.
  • Ensure that the rest of the sentence ("that the system had been hacked") remains intact.

Therefore, the correct answer is Option 1.

 

Correct Sentence: "The company denied that the system had been hacked."

 

Additional Information

  • Option 1: "The company denied that the system had been hacked." – This is the correct active voice conversion.
  • Option 2: "The hacking of the system was denied by the company." – This is a passive voice sentence.
  • Option 3: "It was denied that the hacking occurred by the company." – Incorrect structure and unclear phrasing.
  • Option 4: "The company had denied hacking the system." – This changes the original meaning by altering the verb tense and structure.

Question 565

SSC Combined Graduate Level (CGL) 2025• English Comprehension• English Comprehension

Choose the most suitable option to replace the highlighted part of the sentence:

He is more tall than his brother.

  1. AOption (a)

    taller to

  2. BOption (b)

    much taller than

  3. COption (c)

    taller than

  4. DOption (d)

    more taller than

View answer & explanation

Correct answer

Answer: (c)C.

taller than

Why this answer is correct

The correct answer is 'taller than'.

 

Key Points

  • The adjective "taller" is the correct comparative form of "tall."
  • The word "than" is used in comparisons to indicate the second part of the comparison.
  • Option 1 ("taller to") and Option 4 ("more taller than") are grammatically incorrect.
  • Option 2 ("much taller than") is correct but adds an unnecessary emphasis, which is not required in this context.

Therefore, the correct answer is Option 3.

 

Complete Sentence: "He is taller than his brother."

 

Additional Information

  • Option 1: "taller to" is incorrect because "to" cannot be used with comparative adjectives like "taller."
  • Option 2: "much taller than" is correct but introduces unnecessary emphasis in this context.
  • Option 4: "more taller than" is incorrect because "more" and "taller" cannot be used together.

Question 566

SSC Combined Graduate Level (CGL) 2025• English Comprehension• English Comprehension

Choose the most suitable option to replace the highlighted part of the sentence:

He did not succeed despite of his hard work.

  1. AOption (a)

    in spite of his working hard

  2. BOption (b)

    despite his hard work

  3. COption (c)

    although his hard work

  4. DOption (d)

    although he worked hard

View answer & explanation

Correct answer

Answer: (b)B.

despite his hard work

Why this answer is correct

The correct answer is 'despite his hard work'.

 

Key Points

  • The word "despite" is used to express contrast or concession without the preposition "of."
  • The phrase "despite his hard work" is grammatically correct and concise.
  • Option 1, "in spite of his working hard," is awkward and less commonly used.
  • Option 3, "although his hard work," is incomplete and does not make grammatical sense.
  • Option 4, "although he worked hard," introduces a clause but changes the sentence structure.

Therefore, the correct answer is Option 2.

 

Complete Sentence: "He did not succeed despite his hard work."

 

Additional Information

  • Option 1: "in spite of his working hard" is grammatically correct but less natural.
  • Option 3: "although his hard work" is incomplete and incorrect.
  • Option 4: "although he worked hard" is correct but does not fit the structure of the original sentence.

Question 567

SSC Combined Graduate Level (CGL) 2025• English Comprehension• English Comprehension

Read the following passage and answer the questions based on the passage:

Creativity, often misconstrued as a sporadic burst of inspiration, is in fact a cultivated disposition—a dynamic confluence of cognitive agility, emotional openness, and environmental stimuli. While society celebrates the mythos of the "lone genius," true creativity thrives within a matrix of intentional practice, structural latitude, and psychological resilience. The fostering of creativity, therefore, necessitates a paradigmatic shift from product-centric appraisals to process-oriented cultivation. At its epistemic root, creativity involves the capacity to transcend conventional schemas and synthesize seemingly disparate elements into novel configurations. This process is neither arbitrary nor purely intuitive; it rests upon a foundation of deep domain knowledge, iterative exploration, and recursive reflection. Innovation emerges not in spite of constraints but often because of them—forcing the mind to navigate beyond linearity into realms of associative reasoning and metaphorical abstraction. Pedagogically, fostering creativity demands a disruption of didactic orthodoxy. Traditional models that valorize rote memorization and standardized testing engender cognitive rigidity, discouraging risk-taking and divergent thinking. Instead, educational paradigms must prioritize open-ended inquiry, collaborative problem-solving, and transdisciplinary exposure. The cultivation of creative potential is as much about unlearning ossified habits as it is about acquiring new competencies. Equally vital is the emotional ecology in which creativity is incubated. Psychological safety—a space where failure is reframed as experimentation rather than inadequacy—empowers individuals to take imaginative leaps. Fear, perfectionism, and external validation often corrode the creative impulse, replacing curiosity with compliance. Thus, fostering creativity is inseparable from nurturing emotional intelligence and self-efficacy. Cultural narratives, too, shape the horizons of creative possibility. Societies that stigmatize deviation from normative behavior tend to pathologize originality. Conversely, environments that valorize heterodoxy and intellectual risk often become fertile grounds for creative flourishing. This implies that fostering creativity is a sociocultural endeavor as much as an individual one—it requires dismantling hierarchies of value that privilege conformity over experimentation. Technological mediation further complicates the landscape. While digital tools democratize access to creative resources, they can also overwhelm cognitive bandwidth with passive consumption. The algorithmic curation of attention favors predictability and virality over nuance and depth. Therefore, intentional disengagement—spaces of solitude, boredom, and analog play—must be reclaimed as essential components of creative incubation. Ultimately, fostering creativity is not a linear prescription but a multilayered praxis. It entails cognitive elasticity, emotional resilience, epistemic humility, and cultural permission. It is a commitment to living in questions rather than chasing answers, to constructing meaning rather than consuming it.

According to the passage, how do constraints impact creativity?

  1. AOption (a)

    They invariably limit original thinking.

  2. BOption (b)

    They catalyze creativity by challenging conventional problem-solving.

  3. COption (c)

    They make creative thinking predictable and repetitive.

  4. DOption (d)

    They increase reliance on external sources.

View answer & explanation

Correct answer

Answer: (b)B.

They catalyze creativity by challenging conventional problem-solving.

Why this answer is correct

The correct answer is 'Option 2'.

 

Key Points

  • A) They invariably limit original thinking.
  • This is not correct. The passage states that constraints do not simply limit creativity; instead, they often enhance it.
  • B) They catalyze creativity by challenging conventional problem-solving.
  • This is true. The passage explains that innovation often emerges because of constraints, as they force the mind to move beyond linear thinking into associative reasoning and abstraction.
  • C) They make creative thinking predictable and repetitive.
  • This is not correct. Constraints encourage divergent thinking rather than predictability.
  • D) They increase reliance on external sources.
  • This is not correct. The passage does not mention reliance on external sources as an effect of constraints.

Therefore, the correct answer is Option 2 (They catalyze creativity by challenging conventional problem-solving).

 

Additional Information

  • Option 1: Incorrect because constraints do not invariably limit creativity.
  • Option 2: Correct because constraints often catalyze creativity by forcing new approaches.
  • Option 3: Incorrect because constraints encourage novelty, not repetition.
  • Option 4: Incorrect because reliance on external sources is not mentioned in the passage.

Question 568

SSC Combined Graduate Level (CGL) 2025• English Comprehension• English Comprehension

Read the following passage and answer the questions based on the passage:

Creativity, often misconstrued as a sporadic burst of inspiration, is in fact a cultivated disposition—a dynamic confluence of cognitive agility, emotional openness, and environmental stimuli. While society celebrates the mythos of the "lone genius," true creativity thrives within a matrix of intentional practice, structural latitude, and psychological resilience. The fostering of creativity, therefore, necessitates a paradigmatic shift from product-centric appraisals to process-oriented cultivation. At its epistemic root, creativity involves the capacity to transcend conventional schemas and synthesize seemingly disparate elements into novel configurations. This process is neither arbitrary nor purely intuitive; it rests upon a foundation of deep domain knowledge, iterative exploration, and recursive reflection. Innovation emerges not in spite of constraints but often because of them—forcing the mind to navigate beyond linearity into realms of associative reasoning and metaphorical abstraction. Pedagogically, fostering creativity demands a disruption of didactic orthodoxy. Traditional models that valorize rote memorization and standardized testing engender cognitive rigidity, discouraging risk-taking and divergent thinking. Instead, educational paradigms must prioritize open-ended inquiry, collaborative problem-solving, and transdisciplinary exposure. The cultivation of creative potential is as much about unlearning ossified habits as it is about acquiring new competencies. Equally vital is the emotional ecology in which creativity is incubated. Psychological safety—a space where failure is reframed as experimentation rather than inadequacy—empowers individuals to take imaginative leaps. Fear, perfectionism, and external validation often corrode the creative impulse, replacing curiosity with compliance. Thus, fostering creativity is inseparable from nurturing emotional intelligence and self-efficacy. Cultural narratives, too, shape the horizons of creative possibility. Societies that stigmatize deviation from normative behavior tend to pathologize originality. Conversely, environments that valorize heterodoxy and intellectual risk often become fertile grounds for creative flourishing. This implies that fostering creativity is a sociocultural endeavor as much as an individual one—it requires dismantling hierarchies of value that privilege conformity over experimentation. Technological mediation further complicates the landscape. While digital tools democratize access to creative resources, they can also overwhelm cognitive bandwidth with passive consumption. The algorithmic curation of attention favors predictability and virality over nuance and depth. Therefore, intentional disengagement—spaces of solitude, boredom, and analog play—must be reclaimed as essential components of creative incubation. Ultimately, fostering creativity is not a linear prescription but a multilayered praxis. It entails cognitive elasticity, emotional resilience, epistemic humility, and cultural permission. It is a commitment to living in questions rather than chasing answers, to constructing meaning rather than consuming it.

What does the passage suggest about standardized education's effect on creativity?

  1. AOption (a)

    It fosters risk-taking by giving structured guidance.

  2. BOption (b)

    It creates an ideal environment for innovative thinking.

  3. COption (c)

    It impedes creative growth through rigid, memory-based methods.

  4. DOption (d)

    It enhances problem-solving by reinforcing tested frameworks.

View answer & explanation

Correct answer

Answer: (c)C.

It impedes creative growth through rigid, memory-based methods.

Why this answer is correct

The correct answer is 'Option 3'.

 

Key Points

  • A) It fosters risk-taking by giving structured guidance.
  • This is not correct. The passage states that standardized education discourages risk-taking rather than fostering it.
  • B) It creates an ideal environment for innovative thinking.
  • This is not correct. The passage criticizes traditional models for creating cognitive rigidity, which hinders innovation.
  • C) It impedes creative growth through rigid, memory-based methods.
  • This is true. The passage explicitly mentions that rote memorization and standardized testing discourage risk-taking and divergent thinking, thereby impeding creativity.
  • D) It enhances problem-solving by reinforcing tested frameworks.
  • This is not correct. The passage suggests that standardized education limits problem-solving by reinforcing rigidity rather than encouraging creative exploration.

Therefore, the correct answer is Option 3 (It impedes creative growth through rigid, memory-based methods).

 

Additional Information

  • Option 1: Incorrect because standardized education discourages risk-taking.
  • Option 2: Incorrect because it does not create an ideal environment for innovation.
  • Option 3: Correct because rote memorization and rigid methods hinder creativity.
  • Option 4: Incorrect because reinforcing tested frameworks limits divergent thinking.

Question 569

SSC Combined Graduate Level (CGL) 2025• English Comprehension• English Comprehension

Read the following passage and answer the questions based on the passage:

Creativity, often misconstrued as a sporadic burst of inspiration, is in fact a cultivated disposition—a dynamic confluence of cognitive agility, emotional openness, and environmental stimuli. While society celebrates the mythos of the "lone genius," true creativity thrives within a matrix of intentional practice, structural latitude, and psychological resilience. The fostering of creativity, therefore, necessitates a paradigmatic shift from product-centric appraisals to process-oriented cultivation. At its epistemic root, creativity involves the capacity to transcend conventional schemas and synthesize seemingly disparate elements into novel configurations. This process is neither arbitrary nor purely intuitive; it rests upon a foundation of deep domain knowledge, iterative exploration, and recursive reflection. Innovation emerges not in spite of constraints but often because of them—forcing the mind to navigate beyond linearity into realms of associative reasoning and metaphorical abstraction. Pedagogically, fostering creativity demands a disruption of didactic orthodoxy. Traditional models that valorize rote memorization and standardized testing engender cognitive rigidity, discouraging risk-taking and divergent thinking. Instead, educational paradigms must prioritize open-ended inquiry, collaborative problem-solving, and transdisciplinary exposure. The cultivation of creative potential is as much about unlearning ossified habits as it is about acquiring new competencies. Equally vital is the emotional ecology in which creativity is incubated. Psychological safety—a space where failure is reframed as experimentation rather than inadequacy—empowers individuals to take imaginative leaps. Fear, perfectionism, and external validation often corrode the creative impulse, replacing curiosity with compliance. Thus, fostering creativity is inseparable from nurturing emotional intelligence and self-efficacy. Cultural narratives, too, shape the horizons of creative possibility. Societies that stigmatize deviation from normative behavior tend to pathologize originality. Conversely, environments that valorize heterodoxy and intellectual risk often become fertile grounds for creative flourishing. This implies that fostering creativity is a sociocultural endeavor as much as an individual one—it requires dismantling hierarchies of value that privilege conformity over experimentation. Technological mediation further complicates the landscape. While digital tools democratize access to creative resources, they can also overwhelm cognitive bandwidth with passive consumption. The algorithmic curation of attention favors predictability and virality over nuance and depth. Therefore, intentional disengagement—spaces of solitude, boredom, and analog play—must be reclaimed as essential components of creative incubation. Ultimately, fostering creativity is not a linear prescription but a multilayered praxis. It entails cognitive elasticity, emotional resilience, epistemic humility, and cultural permission. It is a commitment to living in questions rather than chasing answers, to constructing meaning rather than consuming it.

The phrase "emotional ecology" in the context of creativity most likely refers to:

  1. AOption (a)

    The neurochemical balance in artistic individuals.

  2. BOption (b)

    The environment of emotional cues influencing creative potential.

  3. COption (c)

    A set of standardized emotional responses to failure.

  4. DOption (d)

    The artistic expression of environmental issues.

View answer & explanation

Correct answer

Answer: (b)B.

The environment of emotional cues influencing creative potential.

Why this answer is correct

The correct answer is 'Option 2'.

 

Key Points

  • A) The neurochemical balance in artistic individuals.
  • This is not correct. The passage does not discuss neurochemistry in relation to creativity.
  • B) The environment of emotional cues influencing creative potential.
  • This is true. The passage explains that “emotional ecology” refers to the supportive emotional environment where failure is reframed as experimentation, empowering individuals to take imaginative leaps.
  • C) A set of standardized emotional responses to failure.
  • This is not correct. The passage emphasizes reframing failure, not standardizing emotional responses.
  • D) The artistic expression of environmental issues.
  • This is not correct. The phrase “emotional ecology” is metaphorical here, not about environmental art.

Therefore, the correct answer is Option 2 (The environment of emotional cues influencing creative potential).

 

Additional Information

  • Option 1: Incorrect because neurochemical balance is not mentioned in the passage.
  • Option 2: Correct because emotional ecology refers to the supportive emotional environment that nurtures creativity.
  • Option 3: Incorrect because the passage emphasizes reframing failure, not standardizing emotions.
  • Option 4: Incorrect because the term does not relate to environmental issues or artistic expression of them.

Question 570

SSC Combined Graduate Level (CGL) 2025• English Comprehension• English Comprehension

Read the following passage and answer the questions based on the passage:

Creativity, often misconstrued as a sporadic burst of inspiration, is in fact a cultivated disposition—a dynamic confluence of cognitive agility, emotional openness, and environmental stimuli. While society celebrates the mythos of the "lone genius," true creativity thrives within a matrix of intentional practice, structural latitude, and psychological resilience. The fostering of creativity, therefore, necessitates a paradigmatic shift from product-centric appraisals to process-oriented cultivation. At its epistemic root, creativity involves the capacity to transcend conventional schemas and synthesize seemingly disparate elements into novel configurations. This process is neither arbitrary nor purely intuitive; it rests upon a foundation of deep domain knowledge, iterative exploration, and recursive reflection. Innovation emerges not in spite of constraints but often because of them—forcing the mind to navigate beyond linearity into realms of associative reasoning and metaphorical abstraction. Pedagogically, fostering creativity demands a disruption of didactic orthodoxy. Traditional models that valorize rote memorization and standardized testing engender cognitive rigidity, discouraging risk-taking and divergent thinking. Instead, educational paradigms must prioritize open-ended inquiry, collaborative problem-solving, and transdisciplinary exposure. The cultivation of creative potential is as much about unlearning ossified habits as it is about acquiring new competencies. Equally vital is the emotional ecology in which creativity is incubated. Psychological safety—a space where failure is reframed as experimentation rather than inadequacy—empowers individuals to take imaginative leaps. Fear, perfectionism, and external validation often corrode the creative impulse, replacing curiosity with compliance. Thus, fostering creativity is inseparable from nurturing emotional intelligence and self-efficacy. Cultural narratives, too, shape the horizons of creative possibility. Societies that stigmatize deviation from normative behavior tend to pathologize originality. Conversely, environments that valorize heterodoxy and intellectual risk often become fertile grounds for creative flourishing. This implies that fostering creativity is a sociocultural endeavor as much as an individual one—it requires dismantling hierarchies of value that privilege conformity over experimentation. Technological mediation further complicates the landscape. While digital tools democratize access to creative resources, they can also overwhelm cognitive bandwidth with passive consumption. The algorithmic curation of attention favors predictability and virality over nuance and depth. Therefore, intentional disengagement—spaces of solitude, boredom, and analog play—must be reclaimed as essential components of creative incubation. Ultimately, fostering creativity is not a linear prescription but a multilayered praxis. It entails cognitive elasticity, emotional resilience, epistemic humility, and cultural permission. It is a commitment to living in questions rather than chasing answers, to constructing meaning rather than consuming it.

Which of the following is NOT suggested by the passage as a factor in fostering creativity?

  1. AOption (a)

    Reclaiming spaces of solitude, boredom, and analog play.

  2. BOption (b)

    Engaging in open-ended inquiry and transdisciplinary exposure.

  3. COption (c)

    Reframing failure as an opportunity for experimentation.

  4. DOption (d)

    Relying on didactic orthodoxy and rote memorization.

View answer & explanation

Correct answer

Answer: (d)D.

Relying on didactic orthodoxy and rote memorization.

Why this answer is correct

The correct answer is 'Option 4'.

 

Key Points

  • A) Reclaiming spaces of solitude, boredom, and analog play.
  • This is suggested by the passage. It emphasizes that intentional disengagement and analog play are essential for creative incubation.
  • B) Engaging in open-ended inquiry and transdisciplinary exposure.
  • This is suggested by the passage. It highlights that educational paradigms should prioritize inquiry and exposure across disciplines to foster creativity.
  • C) Reframing failure as an opportunity for experimentation.
  • This is suggested by the passage. It stresses that psychological safety, where failure is seen as experimentation, empowers imaginative leaps.
  • D) Relying on didactic orthodoxy and rote memorization.
  • This is NOT suggested as a factor in fostering creativity. The passage criticizes traditional models of rote memorization and standardized testing for creating cognitive rigidity and discouraging divergent thinking.

Therefore, the correct answer is Option 4 (Relying on didactic orthodoxy and rote memorization).

 

Additional Information

  • Option 1: Suggested because solitude and analog play nurture creativity.
  • Option 2: Suggested because open-ended inquiry and transdisciplinary exposure foster creative growth.
  • Option 3: Suggested because reframing failure as experimentation supports risk-taking and imagination.
  • Option 4: Correct answer — rote memorization and didactic orthodoxy hinder creativity rather than foster it.