LIC AAO 2020 Mock Test 4 Prelims
LIC AAO 2020 Mock Test 4 Prelims
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Question 1 of 100
1. Question
1 point(s)Category: EnglishDirections
Read the following passage carefully and answer the questions given below it. Certain words/ Phrases have been printed in bold to help you locate them while answering some of the questions.
It’s this period of his life that a new exhibition at the British Museum seeks to display in an exhibition entitled ‘Hokusai: Beyond the Great Wave’. In his 70s, Hokusai would adopt a new name—Manji, meaning “ten thousand things” or “everything”. This was exactly what he wanted to draw.
Everything :
An understanding of the “form of things”—the Japanese Buddhist belief that all things, living and material, have a spiritual connection to one another—and the desire to portray—it was these that drove Hokusai in his quest for immortality as an artist.
Born in 1760 in Edo, modern Tokyo, Hokusai published his first Ukiyo-e prints in 1779. Meaning ‘floating world’, Ukiyo-e woodblock prints took hedonism and pleasure as their subjects, depicting gijin-ga (courtesans), yakusha-e (actors) and shunga (erotic couplings) in detail.
Hokusai’s work was no exception. But, in a career that saw him symbolically change his name 30 times, other themes began to interest him. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. He insisted he would achieve greatness only if he honed his craft till he turned 100. “I wish to work so that at one hundred years I will have achieved a divine state in my art,” he once wrote.
The ink he would use for Under the wave and other works was formed by blending traditional Japanese indigo with the newly available Prussian blue to create a fantastic deep, saturated colour that would define his most famous creations. One can almost feel the spray of the ocean in Kajikazawa in Kai Province, composed in early 1831. In Rainstorm beneath the summit, the deep blue at the top gives a real sense of the scale of the image, with the mighty Mt. Fuji nearly touching the heavens.
The mountain, sacred to both Buddhists and Shintoists, was a recurring subject in Hokusai’s work, appearing most famously in One Hundred Views. In drawing the famous mountain, Hokusai was also searching for his own permanence, for his legacy to bloom like a sakura tree and never wilt.
Fuji View Plain in Owari Province, printed in 1831, is vintage Hokusai: here, the mountain is but a small wedge on the horizon, the sky dissected into ocre, white and shades of blue. But the key element is the worker in the foreground. Hard at work, he is uninterested in the view behind him. Why would he be? For him, the spectacular has become banal.
That attention to the mundane— the worker’s tools drawn with as much detail as the delicate, wispy leaves of the tree beside him—is characteristic of Hokusai. For him, the pedestrian was worthy of commemoration. He captured urban life in Japan with a level of precision that would later inspire Western artists to do the same.
The father of modernism
Before he died aged 90, Hokusai changed his name one last time to Gakyo Rojin, the ‘old man crazy to paint’. He revisited themes, places, and mythology with the same *fervour* he had displayed decades earlier.
But how did Hokusai become so famous? Why is it that he became a household name while some of his contemporaries, like Ando Hiroshige and Kitagawa Utamaro, did not? Japan was in tumult during the last years of Hokusai’s life. The last shogunate was collapsing, and ensuing Meiji Restoration would irrevocably change the country and its place in the world.
Enterprising merchants visiting Japan for the first time in the 1850s saw great value in the Ukiyo-e prints, and sent them back to art markets in Europe. Hokusai and his peers’ works were initially undervalued; indeed, the first prints were initially used as packaging material for other art works. But all that changed in 1867, with Paris’ first Exposition Universelle, which boasted the first-ever Japanese pavilion in Paris. A key attraction? Hokusai.
Changing Japan
The Orientalist construction of Japan as an exotic land of beautiful women, with a deep connection to nature, and of solemn warriors clinging to codes of honour amidst blooming cherry blossom trees, also played its part in popularising him.
But this wouldn’t last. So long as Japan was evocative, but weak, it provided a source of inspiration to European artists looking for a different creative process. When that changed in 1905, after Japan triumphed against the Tsar’s imperial forces in the Russo-Japanese war, the country was rudely transformed in Western consciousness to that of a world power.
This may be why later artists like Picasso turned to Africa in search of their primitivist fantasies. After all, while escaping the constraints of Western art, as the Impressionists did, may have required gazing at worlds outside of Europe, they could not bear it when the people of those worlds stared right back at them.
Nearly 170 years later, Hokusai’s works are still admired. His legacy has contributed to some of the world’s most important art movements. He’s even on your smartphone: there’s a wave emoji, and last year’s wildly popular app, Prisma, can “wavify” any image you want.
In the end, the old man crazy to paint did find the immortality he was looking for all his life.
As per this article, which of the following Statements is /are true regarding ‘Hokusai’?
(A) Hokusai , Ando Hiroshige and Kitagawa Utamaro all were equally popular in Jpan household.
(B) The ink he used in his painting was formed by blending traditional Japanese indigo.
(C) He became famous after Paris’ first Exposition Universelle.
CorrectIncorrect -
Question 2 of 100
2. Question
1 point(s)Category: EnglishDirections
Read the following passage carefully and answer the questions given below it. Certain words/ Phrases have been printed in bold to help you locate them while answering some of the questions.
It’s this period of his life that a new exhibition at the British Museum seeks to display in an exhibition entitled ‘Hokusai: Beyond the Great Wave’. In his 70s, Hokusai would adopt a new name—Manji, meaning “ten thousand things” or “everything”. This was exactly what he wanted to draw.
Everything :
An understanding of the “form of things”—the Japanese Buddhist belief that all things, living and material, have a spiritual connection to one another—and the desire to portray—it was these that drove Hokusai in his quest for immortality as an artist.
Born in 1760 in Edo, modern Tokyo, Hokusai published his first Ukiyo-e prints in 1779. Meaning ‘floating world’, Ukiyo-e woodblock prints took hedonism and pleasure as their subjects, depicting gijin-ga (courtesans), yakusha-e (actors) and shunga (erotic couplings) in detail.
Hokusai’s work was no exception. But, in a career that saw him symbolically change his name 30 times, other themes began to interest him. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. He insisted he would achieve greatness only if he honed his craft till he turned 100. “I wish to work so that at one hundred years I will have achieved a divine state in my art,” he once wrote.
The ink he would use for Under the wave and other works was formed by blending traditional Japanese indigo with the newly available Prussian blue to create a fantastic deep, saturated colour that would define his most famous creations. One can almost feel the spray of the ocean in Kajikazawa in Kai Province, composed in early 1831. In Rainstorm beneath the summit, the deep blue at the top gives a real sense of the scale of the image, with the mighty Mt. Fuji nearly touching the heavens.
The mountain, sacred to both Buddhists and Shintoists, was a recurring subject in Hokusai’s work, appearing most famously in One Hundred Views. In drawing the famous mountain, Hokusai was also searching for his own permanence, for his legacy to bloom like a sakura tree and never wilt.
Fuji View Plain in Owari Province, printed in 1831, is vintage Hokusai: here, the mountain is but a small wedge on the horizon, the sky dissected into ocre, white and shades of blue. But the key element is the worker in the foreground. Hard at work, he is uninterested in the view behind him. Why would he be? For him, the spectacular has become banal.
That attention to the mundane— the worker’s tools drawn with as much detail as the delicate, wispy leaves of the tree beside him—is characteristic of Hokusai. For him, the pedestrian was worthy of commemoration. He captured urban life in Japan with a level of precision that would later inspire Western artists to do the same.
The father of modernism
Before he died aged 90, Hokusai changed his name one last time to Gakyo Rojin, the ‘old man crazy to paint’. He revisited themes, places, and mythology with the same *fervour* he had displayed decades earlier.
But how did Hokusai become so famous? Why is it that he became a household name while some of his contemporaries, like Ando Hiroshige and Kitagawa Utamaro, did not? Japan was in tumult during the last years of Hokusai’s life. The last shogunate was collapsing, and ensuing Meiji Restoration would irrevocably change the country and its place in the world.
Enterprising merchants visiting Japan for the first time in the 1850s saw great value in the Ukiyo-e prints, and sent them back to art markets in Europe. Hokusai and his peers’ works were initially undervalued; indeed, the first prints were initially used as packaging material for other art works. But all that changed in 1867, with Paris’ first Exposition Universelle, which boasted the first-ever Japanese pavilion in Paris. A key attraction? Hokusai.
Changing Japan
The Orientalist construction of Japan as an exotic land of beautiful women, with a deep connection to nature, and of solemn warriors clinging to codes of honour amidst blooming cherry blossom trees, also played its part in popularising him.
But this wouldn’t last. So long as Japan was evocative, but weak, it provided a source of inspiration to European artists looking for a different creative process. When that changed in 1905, after Japan triumphed against the Tsar’s imperial forces in the Russo-Japanese war, the country was rudely transformed in Western consciousness to that of a world power.
This may be why later artists like Picasso turned to Africa in search of their primitivist fantasies. After all, while escaping the constraints of Western art, as the Impressionists did, may have required gazing at worlds outside of Europe, they could not bear it when the people of those worlds stared right back at them.
Nearly 170 years later, Hokusai’s works are still admired. His legacy has contributed to some of the world’s most important art movements. He’s even on your smartphone: there’s a wave emoji, and last year’s wildly popular app, Prisma, can “wavify” any image you want.
In the end, the old man crazy to paint did find the immortality he was looking for all his life.
According to the writer of the above passage, Japan was rudely transformed in Western consciousness after
(A) Japan’s defeat in 2nd world war
(B) Japan’s defeat in 1st world war
(C) Japan triumphed against the Tsar’s imperial forces in the Russo-Japanese war
CorrectIncorrect -
Question 3 of 100
3. Question
1 point(s)Category: EnglishDirections
Read the following passage carefully and answer the questions given below it. Certain words/ Phrases have been printed in bold to help you locate them while answering some of the questions.
It’s this period of his life that a new exhibition at the British Museum seeks to display in an exhibition entitled ‘Hokusai: Beyond the Great Wave’. In his 70s, Hokusai would adopt a new name—Manji, meaning “ten thousand things” or “everything”. This was exactly what he wanted to draw.
Everything :
An understanding of the “form of things”—the Japanese Buddhist belief that all things, living and material, have a spiritual connection to one another—and the desire to portray—it was these that drove Hokusai in his quest for immortality as an artist.
Born in 1760 in Edo, modern Tokyo, Hokusai published his first Ukiyo-e prints in 1779. Meaning ‘floating world’, Ukiyo-e woodblock prints took hedonism and pleasure as their subjects, depicting gijin-ga (courtesans), yakusha-e (actors) and shunga (erotic couplings) in detail.
Hokusai’s work was no exception. But, in a career that saw him symbolically change his name 30 times, other themes began to interest him. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. He insisted he would achieve greatness only if he honed his craft till he turned 100. “I wish to work so that at one hundred years I will have achieved a divine state in my art,” he once wrote.
The ink he would use for Under the wave and other works was formed by blending traditional Japanese indigo with the newly available Prussian blue to create a fantastic deep, saturated colour that would define his most famous creations. One can almost feel the spray of the ocean in Kajikazawa in Kai Province, composed in early 1831. In Rainstorm beneath the summit, the deep blue at the top gives a real sense of the scale of the image, with the mighty Mt. Fuji nearly touching the heavens.
The mountain, sacred to both Buddhists and Shintoists, was a recurring subject in Hokusai’s work, appearing most famously in One Hundred Views. In drawing the famous mountain, Hokusai was also searching for his own permanence, for his legacy to bloom like a sakura tree and never wilt.
Fuji View Plain in Owari Province, printed in 1831, is vintage Hokusai: here, the mountain is but a small wedge on the horizon, the sky dissected into ocre, white and shades of blue. But the key element is the worker in the foreground. Hard at work, he is uninterested in the view behind him. Why would he be? For him, the spectacular has become banal.
That attention to the mundane— the worker’s tools drawn with as much detail as the delicate, wispy leaves of the tree beside him—is characteristic of Hokusai. For him, the pedestrian was worthy of commemoration. He captured urban life in Japan with a level of precision that would later inspire Western artists to do the same.
The father of modernism
Before he died aged 90, Hokusai changed his name one last time to Gakyo Rojin, the ‘old man crazy to paint’. He revisited themes, places, and mythology with the same *fervour* he had displayed decades earlier.
But how did Hokusai become so famous? Why is it that he became a household name while some of his contemporaries, like Ando Hiroshige and Kitagawa Utamaro, did not? Japan was in tumult during the last years of Hokusai’s life. The last shogunate was collapsing, and ensuing Meiji Restoration would irrevocably change the country and its place in the world.
Enterprising merchants visiting Japan for the first time in the 1850s saw great value in the Ukiyo-e prints, and sent them back to art markets in Europe. Hokusai and his peers’ works were initially undervalued; indeed, the first prints were initially used as packaging material for other art works. But all that changed in 1867, with Paris’ first Exposition Universelle, which boasted the first-ever Japanese pavilion in Paris. A key attraction? Hokusai.
Changing Japan
The Orientalist construction of Japan as an exotic land of beautiful women, with a deep connection to nature, and of solemn warriors clinging to codes of honour amidst blooming cherry blossom trees, also played its part in popularising him.
But this wouldn’t last. So long as Japan was evocative, but weak, it provided a source of inspiration to European artists looking for a different creative process. When that changed in 1905, after Japan triumphed against the Tsar’s imperial forces in the Russo-Japanese war, the country was rudely transformed in Western consciousness to that of a world power.
This may be why later artists like Picasso turned to Africa in search of their primitivist fantasies. After all, while escaping the constraints of Western art, as the Impressionists did, may have required gazing at worlds outside of Europe, they could not bear it when the people of those worlds stared right back at them.
Nearly 170 years later, Hokusai’s works are still admired. His legacy has contributed to some of the world’s most important art movements. He’s even on your smartphone: there’s a wave emoji, and last year’s wildly popular app, Prisma, can “wavify” any image you want.
In the end, the old man crazy to paint did find the immortality he was looking for all his life.
From where did Hokusai draw everyday life images (in his paintings/crafts)?
(A) Buddhist scriptures
(B) Japanese Mythology
(C) Chinese Mythology
CorrectIncorrect -
Question 4 of 100
4. Question
1 point(s)Category: EnglishDirections
Read the following passage carefully and answer the questions given below it. Certain words/ Phrases have been printed in bold to help you locate them while answering some of the questions.
It’s this period of his life that a new exhibition at the British Museum seeks to display in an exhibition entitled ‘Hokusai: Beyond the Great Wave’. In his 70s, Hokusai would adopt a new name—Manji, meaning “ten thousand things” or “everything”. This was exactly what he wanted to draw.
Everything :
An understanding of the “form of things”—the Japanese Buddhist belief that all things, living and material, have a spiritual connection to one another—and the desire to portray—it was these that drove Hokusai in his quest for immortality as an artist.
Born in 1760 in Edo, modern Tokyo, Hokusai published his first Ukiyo-e prints in 1779. Meaning ‘floating world’, Ukiyo-e woodblock prints took hedonism and pleasure as their subjects, depicting gijin-ga (courtesans), yakusha-e (actors) and shunga (erotic couplings) in detail.
Hokusai’s work was no exception. But, in a career that saw him symbolically change his name 30 times, other themes began to interest him. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. He insisted he would achieve greatness only if he honed his craft till he turned 100. “I wish to work so that at one hundred years I will have achieved a divine state in my art,” he once wrote.
The ink he would use for Under the wave and other works was formed by blending traditional Japanese indigo with the newly available Prussian blue to create a fantastic deep, saturated colour that would define his most famous creations. One can almost feel the spray of the ocean in Kajikazawa in Kai Province, composed in early 1831. In Rainstorm beneath the summit, the deep blue at the top gives a real sense of the scale of the image, with the mighty Mt. Fuji nearly touching the heavens.
The mountain, sacred to both Buddhists and Shintoists, was a recurring subject in Hokusai’s work, appearing most famously in One Hundred Views. In drawing the famous mountain, Hokusai was also searching for his own permanence, for his legacy to bloom like a sakura tree and never wilt.
Fuji View Plain in Owari Province, printed in 1831, is vintage Hokusai: here, the mountain is but a small wedge on the horizon, the sky dissected into ocre, white and shades of blue. But the key element is the worker in the foreground. Hard at work, he is uninterested in the view behind him. Why would he be? For him, the spectacular has become banal.
That attention to the mundane— the worker’s tools drawn with as much detail as the delicate, wispy leaves of the tree beside him—is characteristic of Hokusai. For him, the pedestrian was worthy of commemoration. He captured urban life in Japan with a level of precision that would later inspire Western artists to do the same.
The father of modernism
Before he died aged 90, Hokusai changed his name one last time to Gakyo Rojin, the ‘old man crazy to paint’. He revisited themes, places, and mythology with the same *fervour* he had displayed decades earlier.
But how did Hokusai become so famous? Why is it that he became a household name while some of his contemporaries, like Ando Hiroshige and Kitagawa Utamaro, did not? Japan was in tumult during the last years of Hokusai’s life. The last shogunate was collapsing, and ensuing Meiji Restoration would irrevocably change the country and its place in the world.
Enterprising merchants visiting Japan for the first time in the 1850s saw great value in the Ukiyo-e prints, and sent them back to art markets in Europe. Hokusai and his peers’ works were initially undervalued; indeed, the first prints were initially used as packaging material for other art works. But all that changed in 1867, with Paris’ first Exposition Universelle, which boasted the first-ever Japanese pavilion in Paris. A key attraction? Hokusai.
Changing Japan
The Orientalist construction of Japan as an exotic land of beautiful women, with a deep connection to nature, and of solemn warriors clinging to codes of honour amidst blooming cherry blossom trees, also played its part in popularising him.
But this wouldn’t last. So long as Japan was evocative, but weak, it provided a source of inspiration to European artists looking for a different creative process. When that changed in 1905, after Japan triumphed against the Tsar’s imperial forces in the Russo-Japanese war, the country was rudely transformed in Western consciousness to that of a world power.
This may be why later artists like Picasso turned to Africa in search of their primitivist fantasies. After all, while escaping the constraints of Western art, as the Impressionists did, may have required gazing at worlds outside of Europe, they could not bear it when the people of those worlds stared right back at them.
Nearly 170 years later, Hokusai’s works are still admired. His legacy has contributed to some of the world’s most important art movements. He’s even on your smartphone: there’s a wave emoji, and last year’s wildly popular app, Prisma, can “wavify” any image you want.
In the end, the old man crazy to paint did find the immortality he was looking for all his life.
What was the last name of ‘Hokusai ‘ before his death?
CorrectIncorrect -
Question 5 of 100
5. Question
1 point(s)Category: EnglishDirections
Read the following passage carefully and answer the questions given below it. Certain words/ Phrases have been printed in bold to help you locate them while answering some of the questions.
It’s this period of his life that a new exhibition at the British Museum seeks to display in an exhibition entitled ‘Hokusai: Beyond the Great Wave’. In his 70s, Hokusai would adopt a new name—Manji, meaning “ten thousand things” or “everything”. This was exactly what he wanted to draw.
Everything :
An understanding of the “form of things”—the Japanese Buddhist belief that all things, living and material, have a spiritual connection to one another—and the desire to portray—it was these that drove Hokusai in his quest for immortality as an artist.
Born in 1760 in Edo, modern Tokyo, Hokusai published his first Ukiyo-e prints in 1779. Meaning ‘floating world’, Ukiyo-e woodblock prints took hedonism and pleasure as their subjects, depicting gijin-ga (courtesans), yakusha-e (actors) and shunga (erotic couplings) in detail.
Hokusai’s work was no exception. But, in a career that saw him symbolically change his name 30 times, other themes began to interest him. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. He insisted he would achieve greatness only if he honed his craft till he turned 100. “I wish to work so that at one hundred years I will have achieved a divine state in my art,” he once wrote.
The ink he would use for Under the wave and other works was formed by blending traditional Japanese indigo with the newly available Prussian blue to create a fantastic deep, saturated colour that would define his most famous creations. One can almost feel the spray of the ocean in Kajikazawa in Kai Province, composed in early 1831. In Rainstorm beneath the summit, the deep blue at the top gives a real sense of the scale of the image, with the mighty Mt. Fuji nearly touching the heavens.
The mountain, sacred to both Buddhists and Shintoists, was a recurring subject in Hokusai’s work, appearing most famously in One Hundred Views. In drawing the famous mountain, Hokusai was also searching for his own permanence, for his legacy to bloom like a sakura tree and never wilt.
Fuji View Plain in Owari Province, printed in 1831, is vintage Hokusai: here, the mountain is but a small wedge on the horizon, the sky dissected into ocre, white and shades of blue. But the key element is the worker in the foreground. Hard at work, he is uninterested in the view behind him. Why would he be? For him, the spectacular has become banal.
That attention to the mundane— the worker’s tools drawn with as much detail as the delicate, wispy leaves of the tree beside him—is characteristic of Hokusai. For him, the pedestrian was worthy of commemoration. He captured urban life in Japan with a level of precision that would later inspire Western artists to do the same.
The father of modernism
Before he died aged 90, Hokusai changed his name one last time to Gakyo Rojin, the ‘old man crazy to paint’. He revisited themes, places, and mythology with the same *fervour* he had displayed decades earlier.
But how did Hokusai become so famous? Why is it that he became a household name while some of his contemporaries, like Ando Hiroshige and Kitagawa Utamaro, did not? Japan was in tumult during the last years of Hokusai’s life. The last shogunate was collapsing, and ensuing Meiji Restoration would irrevocably change the country and its place in the world.
Enterprising merchants visiting Japan for the first time in the 1850s saw great value in the Ukiyo-e prints, and sent them back to art markets in Europe. Hokusai and his peers’ works were initially undervalued; indeed, the first prints were initially used as packaging material for other art works. But all that changed in 1867, with Paris’ first Exposition Universelle, which boasted the first-ever Japanese pavilion in Paris. A key attraction? Hokusai.
Changing Japan
The Orientalist construction of Japan as an exotic land of beautiful women, with a deep connection to nature, and of solemn warriors clinging to codes of honour amidst blooming cherry blossom trees, also played its part in popularising him.
But this wouldn’t last. So long as Japan was evocative, but weak, it provided a source of inspiration to European artists looking for a different creative process. When that changed in 1905, after Japan triumphed against the Tsar’s imperial forces in the Russo-Japanese war, the country was rudely transformed in Western consciousness to that of a world power.
This may be why later artists like Picasso turned to Africa in search of their primitivist fantasies. After all, while escaping the constraints of Western art, as the Impressionists did, may have required gazing at worlds outside of Europe, they could not bear it when the people of those worlds stared right back at them.
Nearly 170 years later, Hokusai’s works are still admired. His legacy has contributed to some of the world’s most important art movements. He’s even on your smartphone: there’s a wave emoji, and last year’s wildly popular app, Prisma, can “wavify” any image you want.
In the end, the old man crazy to paint did find the immortality he was looking for all his life.
According to the passage, the meaning of ‘Manji’ is
CorrectIncorrect -
Question 6 of 100
6. Question
1 point(s)Category: EnglishDirections
Read the following passage carefully and answer the questions given below it. Certain words/ Phrases have been printed in bold to help you locate them while answering some of the questions.
It’s this period of his life that a new exhibition at the British Museum seeks to display in an exhibition entitled ‘Hokusai: Beyond the Great Wave’. In his 70s, Hokusai would adopt a new name—Manji, meaning “ten thousand things” or “everything”. This was exactly what he wanted to draw.
Everything :
An understanding of the “form of things”—the Japanese Buddhist belief that all things, living and material, have a spiritual connection to one another—and the desire to portray—it was these that drove Hokusai in his quest for immortality as an artist.
Born in 1760 in Edo, modern Tokyo, Hokusai published his first Ukiyo-e prints in 1779. Meaning ‘floating world’, Ukiyo-e woodblock prints took hedonism and pleasure as their subjects, depicting gijin-ga (courtesans), yakusha-e (actors) and shunga (erotic couplings) in detail.
Hokusai’s work was no exception. But, in a career that saw him symbolically change his name 30 times, other themes began to interest him. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. He insisted he would achieve greatness only if he honed his craft till he turned 100. “I wish to work so that at one hundred years I will have achieved a divine state in my art,” he once wrote.
The ink he would use for Under the wave and other works was formed by blending traditional Japanese indigo with the newly available Prussian blue to create a fantastic deep, saturated colour that would define his most famous creations. One can almost feel the spray of the ocean in Kajikazawa in Kai Province, composed in early 1831. In Rainstorm beneath the summit, the deep blue at the top gives a real sense of the scale of the image, with the mighty Mt. Fuji nearly touching the heavens.
The mountain, sacred to both Buddhists and Shintoists, was a recurring subject in Hokusai’s work, appearing most famously in One Hundred Views. In drawing the famous mountain, Hokusai was also searching for his own permanence, for his legacy to bloom like a sakura tree and never wilt.
Fuji View Plain in Owari Province, printed in 1831, is vintage Hokusai: here, the mountain is but a small wedge on the horizon, the sky dissected into ocre, white and shades of blue. But the key element is the worker in the foreground. Hard at work, he is uninterested in the view behind him. Why would he be? For him, the spectacular has become banal.
That attention to the mundane— the worker’s tools drawn with as much detail as the delicate, wispy leaves of the tree beside him—is characteristic of Hokusai. For him, the pedestrian was worthy of commemoration. He captured urban life in Japan with a level of precision that would later inspire Western artists to do the same.
The father of modernism
Before he died aged 90, Hokusai changed his name one last time to Gakyo Rojin, the ‘old man crazy to paint’. He revisited themes, places, and mythology with the same *fervour* he had displayed decades earlier.
But how did Hokusai become so famous? Why is it that he became a household name while some of his contemporaries, like Ando Hiroshige and Kitagawa Utamaro, did not? Japan was in tumult during the last years of Hokusai’s life. The last shogunate was collapsing, and ensuing Meiji Restoration would irrevocably change the country and its place in the world.
Enterprising merchants visiting Japan for the first time in the 1850s saw great value in the Ukiyo-e prints, and sent them back to art markets in Europe. Hokusai and his peers’ works were initially undervalued; indeed, the first prints were initially used as packaging material for other art works. But all that changed in 1867, with Paris’ first Exposition Universelle, which boasted the first-ever Japanese pavilion in Paris. A key attraction? Hokusai.
Changing Japan
The Orientalist construction of Japan as an exotic land of beautiful women, with a deep connection to nature, and of solemn warriors clinging to codes of honour amidst blooming cherry blossom trees, also played its part in popularising him.
But this wouldn’t last. So long as Japan was evocative, but weak, it provided a source of inspiration to European artists looking for a different creative process. When that changed in 1905, after Japan triumphed against the Tsar’s imperial forces in the Russo-Japanese war, the country was rudely transformed in Western consciousness to that of a world power.
This may be why later artists like Picasso turned to Africa in search of their primitivist fantasies. After all, while escaping the constraints of Western art, as the Impressionists did, may have required gazing at worlds outside of Europe, they could not bear it when the people of those worlds stared right back at them.
Nearly 170 years later, Hokusai’s works are still admired. His legacy has contributed to some of the world’s most important art movements. He’s even on your smartphone: there’s a wave emoji, and last year’s wildly popular app, Prisma, can “wavify” any image you want.
In the end, the old man crazy to paint did find the immortality he was looking for all his life.
Choose the word/group of words which is most similar in meaning to the word/group of words printed in bold as used in passage.
Honed
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Question 7 of 100
7. Question
1 point(s)Category: EnglishDirections
Read the following passage carefully and answer the questions given below it. Certain words/ Phrases have been printed in bold to help you locate them while answering some of the questions.
It’s this period of his life that a new exhibition at the British Museum seeks to display in an exhibition entitled ‘Hokusai: Beyond the Great Wave’. In his 70s, Hokusai would adopt a new name—Manji, meaning “ten thousand things” or “everything”. This was exactly what he wanted to draw.
Everything :
An understanding of the “form of things”—the Japanese Buddhist belief that all things, living and material, have a spiritual connection to one another—and the desire to portray—it was these that drove Hokusai in his quest for immortality as an artist.
Born in 1760 in Edo, modern Tokyo, Hokusai published his first Ukiyo-e prints in 1779. Meaning ‘floating world’, Ukiyo-e woodblock prints took hedonism and pleasure as their subjects, depicting gijin-ga (courtesans), yakusha-e (actors) and shunga (erotic couplings) in detail.
Hokusai’s work was no exception. But, in a career that saw him symbolically change his name 30 times, other themes began to interest him. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. He insisted he would achieve greatness only if he honed his craft till he turned 100. “I wish to work so that at one hundred years I will have achieved a divine state in my art,” he once wrote.
The ink he would use for Under the wave and other works was formed by blending traditional Japanese indigo with the newly available Prussian blue to create a fantastic deep, saturated colour that would define his most famous creations. One can almost feel the spray of the ocean in Kajikazawa in Kai Province, composed in early 1831. In Rainstorm beneath the summit, the deep blue at the top gives a real sense of the scale of the image, with the mighty Mt. Fuji nearly touching the heavens.
The mountain, sacred to both Buddhists and Shintoists, was a recurring subject in Hokusai’s work, appearing most famously in One Hundred Views. In drawing the famous mountain, Hokusai was also searching for his own permanence, for his legacy to bloom like a sakura tree and never wilt.
Fuji View Plain in Owari Province, printed in 1831, is vintage Hokusai: here, the mountain is but a small wedge on the horizon, the sky dissected into ocre, white and shades of blue. But the key element is the worker in the foreground. Hard at work, he is uninterested in the view behind him. Why would he be? For him, the spectacular has become banal.
That attention to the mundane— the worker’s tools drawn with as much detail as the delicate, wispy leaves of the tree beside him—is characteristic of Hokusai. For him, the pedestrian was worthy of commemoration. He captured urban life in Japan with a level of precision that would later inspire Western artists to do the same.
The father of modernism
Before he died aged 90, Hokusai changed his name one last time to Gakyo Rojin, the ‘old man crazy to paint’. He revisited themes, places, and mythology with the same *fervour* he had displayed decades earlier.
But how did Hokusai become so famous? Why is it that he became a household name while some of his contemporaries, like Ando Hiroshige and Kitagawa Utamaro, did not? Japan was in tumult during the last years of Hokusai’s life. The last shogunate was collapsing, and ensuing Meiji Restoration would irrevocably change the country and its place in the world.
Enterprising merchants visiting Japan for the first time in the 1850s saw great value in the Ukiyo-e prints, and sent them back to art markets in Europe. Hokusai and his peers’ works were initially undervalued; indeed, the first prints were initially used as packaging material for other art works. But all that changed in 1867, with Paris’ first Exposition Universelle, which boasted the first-ever Japanese pavilion in Paris. A key attraction? Hokusai.
Changing Japan
The Orientalist construction of Japan as an exotic land of beautiful women, with a deep connection to nature, and of solemn warriors clinging to codes of honour amidst blooming cherry blossom trees, also played its part in popularising him.
But this wouldn’t last. So long as Japan was evocative, but weak, it provided a source of inspiration to European artists looking for a different creative process. When that changed in 1905, after Japan triumphed against the Tsar’s imperial forces in the Russo-Japanese war, the country was rudely transformed in Western consciousness to that of a world power.
This may be why later artists like Picasso turned to Africa in search of their primitivist fantasies. After all, while escaping the constraints of Western art, as the Impressionists did, may have required gazing at worlds outside of Europe, they could not bear it when the people of those worlds stared right back at them.
Nearly 170 years later, Hokusai’s works are still admired. His legacy has contributed to some of the world’s most important art movements. He’s even on your smartphone: there’s a wave emoji, and last year’s wildly popular app, Prisma, can “wavify” any image you want.
In the end, the old man crazy to paint did find the immortality he was looking for all his life.
Choose the word/group of words which is most similar in meaning to the word/group of words printed in bold as used in passage.
Banal
CorrectIncorrect -
Question 8 of 100
8. Question
1 point(s)Category: EnglishDirections
Read the following passage carefully and answer the questions given below it. Certain words/ Phrases have been printed in bold to help you locate them while answering some of the questions.
It’s this period of his life that a new exhibition at the British Museum seeks to display in an exhibition entitled ‘Hokusai: Beyond the Great Wave’. In his 70s, Hokusai would adopt a new name—Manji, meaning “ten thousand things” or “everything”. This was exactly what he wanted to draw.
Everything :
An understanding of the “form of things”—the Japanese Buddhist belief that all things, living and material, have a spiritual connection to one another—and the desire to portray—it was these that drove Hokusai in his quest for immortality as an artist.
Born in 1760 in Edo, modern Tokyo, Hokusai published his first Ukiyo-e prints in 1779. Meaning ‘floating world’, Ukiyo-e woodblock prints took hedonism and pleasure as their subjects, depicting gijin-ga (courtesans), yakusha-e (actors) and shunga (erotic couplings) in detail.
Hokusai’s work was no exception. But, in a career that saw him symbolically change his name 30 times, other themes began to interest him. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. He insisted he would achieve greatness only if he honed his craft till he turned 100. “I wish to work so that at one hundred years I will have achieved a divine state in my art,” he once wrote.
The ink he would use for Under the wave and other works was formed by blending traditional Japanese indigo with the newly available Prussian blue to create a fantastic deep, saturated colour that would define his most famous creations. One can almost feel the spray of the ocean in Kajikazawa in Kai Province, composed in early 1831. In Rainstorm beneath the summit, the deep blue at the top gives a real sense of the scale of the image, with the mighty Mt. Fuji nearly touching the heavens.
The mountain, sacred to both Buddhists and Shintoists, was a recurring subject in Hokusai’s work, appearing most famously in One Hundred Views. In drawing the famous mountain, Hokusai was also searching for his own permanence, for his legacy to bloom like a sakura tree and never wilt.
Fuji View Plain in Owari Province, printed in 1831, is vintage Hokusai: here, the mountain is but a small wedge on the horizon, the sky dissected into ocre, white and shades of blue. But the key element is the worker in the foreground. Hard at work, he is uninterested in the view behind him. Why would he be? For him, the spectacular has become banal.
That attention to the mundane— the worker’s tools drawn with as much detail as the delicate, wispy leaves of the tree beside him—is characteristic of Hokusai. For him, the pedestrian was worthy of commemoration. He captured urban life in Japan with a level of precision that would later inspire Western artists to do the same.
The father of modernism
Before he died aged 90, Hokusai changed his name one last time to Gakyo Rojin, the ‘old man crazy to paint’. He revisited themes, places, and mythology with the same *fervour* he had displayed decades earlier.
But how did Hokusai become so famous? Why is it that he became a household name while some of his contemporaries, like Ando Hiroshige and Kitagawa Utamaro, did not? Japan was in tumult during the last years of Hokusai’s life. The last shogunate was collapsing, and ensuing Meiji Restoration would irrevocably change the country and its place in the world.
Enterprising merchants visiting Japan for the first time in the 1850s saw great value in the Ukiyo-e prints, and sent them back to art markets in Europe. Hokusai and his peers’ works were initially undervalued; indeed, the first prints were initially used as packaging material for other art works. But all that changed in 1867, with Paris’ first Exposition Universelle, which boasted the first-ever Japanese pavilion in Paris. A key attraction? Hokusai.
Changing Japan
The Orientalist construction of Japan as an exotic land of beautiful women, with a deep connection to nature, and of solemn warriors clinging to codes of honour amidst blooming cherry blossom trees, also played its part in popularising him.
But this wouldn’t last. So long as Japan was evocative, but weak, it provided a source of inspiration to European artists looking for a different creative process. When that changed in 1905, after Japan triumphed against the Tsar’s imperial forces in the Russo-Japanese war, the country was rudely transformed in Western consciousness to that of a world power.
This may be why later artists like Picasso turned to Africa in search of their primitivist fantasies. After all, while escaping the constraints of Western art, as the Impressionists did, may have required gazing at worlds outside of Europe, they could not bear it when the people of those worlds stared right back at them.
Nearly 170 years later, Hokusai’s works are still admired. His legacy has contributed to some of the world’s most important art movements. He’s even on your smartphone: there’s a wave emoji, and last year’s wildly popular app, Prisma, can “wavify” any image you want.
In the end, the old man crazy to paint did find the immortality he was looking for all his life.
Choose the word/group of words which is most opposite in meaning to the word/group of words printed in bold as used in passage.
Quest
CorrectIncorrect -
Question 9 of 100
9. Question
1 point(s)Category: EnglishDirections
Read the following passage carefully and answer the questions given below it. Certain words/ Phrases have been printed in bold to help you locate them while answering some of the questions.
It’s this period of his life that a new exhibition at the British Museum seeks to display in an exhibition entitled ‘Hokusai: Beyond the Great Wave’. In his 70s, Hokusai would adopt a new name—Manji, meaning “ten thousand things” or “everything”. This was exactly what he wanted to draw.
Everything :
An understanding of the “form of things”—the Japanese Buddhist belief that all things, living and material, have a spiritual connection to one another—and the desire to portray—it was these that drove Hokusai in his quest for immortality as an artist.
Born in 1760 in Edo, modern Tokyo, Hokusai published his first Ukiyo-e prints in 1779. Meaning ‘floating world’, Ukiyo-e woodblock prints took hedonism and pleasure as their subjects, depicting gijin-ga (courtesans), yakusha-e (actors) and shunga (erotic couplings) in detail.
Hokusai’s work was no exception. But, in a career that saw him symbolically change his name 30 times, other themes began to interest him. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. Hokusai drew everyday life, images from ancient Japanese and Chinese mythology and nature, besides experimenting with new techniques. He insisted he would achieve greatness only if he honed his craft till he turned 100. “I wish to work so that at one hundred years I will have achieved a divine state in my art,” he once wrote.
The ink he would use for Under the wave and other works was formed by blending traditional Japanese indigo with the newly available Prussian blue to create a fantastic deep, saturated colour that would define his most famous creations. One can almost feel the spray of the ocean in Kajikazawa in Kai Province, composed in early 1831. In Rainstorm beneath the summit, the deep blue at the top gives a real sense of the scale of the image, with the mighty Mt. Fuji nearly touching the heavens.
The mountain, sacred to both Buddhists and Shintoists, was a recurring subject in Hokusai’s work, appearing most famously in One Hundred Views. In drawing the famous mountain, Hokusai was also searching for his own permanence, for his legacy to bloom like a sakura tree and never wilt.
Fuji View Plain in Owari Province, printed in 1831, is vintage Hokusai: here, the mountain is but a small wedge on the horizon, the sky dissected into ocre, white and shades of blue. But the key element is the worker in the foreground. Hard at work, he is uninterested in the view behind him. Why would he be? For him, the spectacular has become banal.
That attention to the mundane— the worker’s tools drawn with as much detail as the delicate, wispy leaves of the tree beside him—is characteristic of Hokusai. For him, the pedestrian was worthy of commemoration. He captured urban life in Japan with a level of precision that would later inspire Western artists to do the same.
The father of modernism
Before he died aged 90, Hokusai changed his name one last time to Gakyo Rojin, the ‘old man crazy to paint’. He revisited themes, places, and mythology with the same *fervour* he had displayed decades earlier.
But how did Hokusai become so famous? Why is it that he became a household name while some of his contemporaries, like Ando Hiroshige and Kitagawa Utamaro, did not? Japan was in tumult during the last years of Hokusai’s life. The last shogunate was collapsing, and ensuing Meiji Restoration would irrevocably change the country and its place in the world.
Enterprising merchants visiting Japan for the first time in the 1850s saw great value in the Ukiyo-e prints, and sent them back to art markets in Europe. Hokusai and his peers’ works were initially undervalued; indeed, the first prints were initially used as packaging material for other art works. But all that changed in 1867, with Paris’ first Exposition Universelle, which boasted the first-ever Japanese pavilion in Paris. A key attraction? Hokusai.
Changing Japan
The Orientalist construction of Japan as an exotic land of beautiful women, with a deep connection to nature, and of solemn warriors clinging to codes of honour amidst blooming cherry blossom trees, also played its part in popularising him.
But this wouldn’t last. So long as Japan was evocative, but weak, it provided a source of inspiration to European artists looking for a different creative process. When that changed in 1905, after Japan triumphed against the Tsar’s imperial forces in the Russo-Japanese war, the country was rudely transformed in Western consciousness to that of a world power.
This may be why later artists like Picasso turned to Africa in search of their primitivist fantasies. After all, while escaping the constraints of Western art, as the Impressionists did, may have required gazing at worlds outside of Europe, they could not bear it when the people of those worlds stared right back at them.
Nearly 170 years later, Hokusai’s works are still admired. His legacy has contributed to some of the world’s most important art movements. He’s even on your smartphone: there’s a wave emoji, and last year’s wildly popular app, Prisma, can “wavify” any image you want.
In the end, the old man crazy to paint did find the immortality he was looking for all his life.
Choose the word/group of words which is most opposite in meaning to the word/group of words printed in bold as used in passage.
Hedonism
CorrectIncorrect -
Question 10 of 100
10. Question
1 point(s)Category: EnglishDirections
In each question, three meanings numbered I, II and III are given for the Idiom / Phrase underlined in the sentence. Out of the given three meanings, only one or two or all the three may be correct. Choose the alternative which best expresses the meaning of the Idiom / Phrase and mark it in the Answer Sheet.
It’s not that the management is not aware of few false bills here and there, but they don’t call it because it would expose many and stir up a hornet’s nest.
I. be disastrous
II. provoke trouble
III. to be in the good books
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Question 11 of 100
11. Question
1 point(s)Category: EnglishDirections
In each question, three meanings numbered I, II and III are given for the Idiom / Phrase underlined in the sentence. Out of the given three meanings, only one or two or all the three may be correct. Choose the alternative which best expresses the meaning of the Idiom / Phrase and mark it in the Answer Sheet.
I’ve more productive time in the day because I’ve developed this good habit of keeping video games at arm’s length .
I. Befriend
II. Foe
Same wavelength
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Question 12 of 100
12. Question
1 point(s)Category: EnglishDirections
In each question, three meanings numbered I, II and III are given for the Idiom / Phrase underlined in the sentence. Out of the given three meanings, only one or two or all the three may be correct. Choose the alternative which best expresses the meaning of the Idiom / Phrase and mark it in the Answer Sheet.
The hotel staff bent over backwards to make the visit of the dignitaries a memorable one.
I. Try to please someone to any extent
II. Try to a dismay someone to any extent
III. Try to accommodate someone to any extent
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Question 13 of 100
13. Question
1 point(s)Category: EnglishDirections
In these questions two sentences are given with blanks in them and you have to choose an appropriate word from the given options that can fill both the sentences making them grammatically and meaningfully complete.
I. In some high-profile resolution cases, revised bids have led to ___________ litigation, which has delayed the insolvency process.
II. My appointment was _________ because the doctor had to leave for emergency surgery.
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Question 14 of 100
14. Question
1 point(s)Category: EnglishDirections
In these questions two sentences are given with blanks in them and you have to choose an appropriate word from the given options that can fill both the sentences making them grammatically and meaningfully complete.
I. While the first Rafale has been formally inducted in the Indian Air Force (IAF), the first batch of four jets will fly to their home base in India next April-May.
II. The modern girl will be gradually inducted into her life-tasks by her teachers.
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Question 15 of 100
15. Question
1 point(s)Category: EnglishDirections
In these questions two sentences are given with blanks in them and you have to choose an appropriate word from the given options that can fill both the sentences making them grammatically and meaningfully complete.
I. The effects of global warming on plants and animals are expected to be widespread and ___________.
II. Without help, Rachel will not be able to overcome the _________________ challenges of her drug addiction.
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Question 16 of 100
16. Question
1 point(s)Category: EnglishDirections
In each question, four alternatives are given for the Idiom/ Phrase given in bold in the sentence. Choose the alternative which best expresses the meaning of the Idiom/ Phrase.
You could try to convince her till doomsday , but she will not drop her demands.
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Question 17 of 100
17. Question
1 point(s)Category: EnglishDirections
In each question, four alternatives are given for the Idiom/ Phrase given in bold in the sentence. Choose the alternative which best expresses the meaning of the Idiom/ Phrase.
The décor was really hit or miss in the big, old building.
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Question 18 of 100
18. Question
1 point(s)Category: EnglishDirections
In each question, four alternatives are given for the Idiom/ Phrase given in bold in the sentence. Choose the alternative which best expresses the meaning of the Idiom/ Phrase.
You can’t run fancy free when you have to take care of a business.
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Question 19 of 100
19. Question
1 point(s)Category: EnglishDirections
In each question, four alternatives are given for the Idiom/ Phrase given in bold in the sentence. Choose the alternative which best expresses the meaning of the Idiom/ Phrase.
The advertisements shown are meant to whet your appetite to buy those products.
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Question 20 of 100
20. Question
1 point(s)Category: EnglishDirections
In each question, four alternatives are given for the Idiom/ Phrase given in bold in the sentence. Choose the alternative which best expresses the meaning of the Idiom/ Phrase.
The management is turning over a new leaf concerning the reasons for project failure.
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Question 21 of 100
21. Question
1 point(s)Category: EnglishDirections
In the following passage, some of the words have been left out, each of which is indicated by a number. Find the suitable word from the options given against each number and fill up the blanks with appropriate words to make the paragraph meaningfully complete.
“Once upon a time, a man found a butterfly that was starting to hatch from its cocoon. He sat down and watched the butterfly for hours as it _________91__________to force itself through a tiny hole. Then, it suddenly stopped making progress and looked like it was________92_________. Therefore, the man decided to help the butterfly out. He took a pair of scissors and cut off the remaining bit of the cocoon. The butterfly then __________93___________easily, although it had a swollen body and small, shrivelled wings. The man thought nothing of it, and he sat there waiting for the wings to enlarge to _________94___________the butterfly. However, that never happened. The butterfly spent the rest of its life unable to fly, crawling around with small wings and a swollen body. Despite the man’s kind heart, he didn’t understand that the __________95____________cocoon and the struggle needed by the butterfly to get itself through the small hole were God’s way of forcing fluid from the body of the butterfly into its wings to prepare itself for flying once it was free.”
Choose the most appropriate option to fill the blank.
CorrectIncorrect -
Question 22 of 100
22. Question
1 point(s)Category: EnglishDirections
In the following passage, some of the words have been left out, each of which is indicated by a number. Find the suitable word from the options given against each number and fill up the blanks with appropriate words to make the paragraph meaningfully complete.
“Once upon a time, a man found a butterfly that was starting to hatch from its cocoon. He sat down and watched the butterfly for hours as it _________91__________to force itself through a tiny hole. Then, it suddenly stopped making progress and looked like it was________92_________. Therefore, the man decided to help the butterfly out. He took a pair of scissors and cut off the remaining bit of the cocoon. The butterfly then __________93___________easily, although it had a swollen body and small, shrivelled wings. The man thought nothing of it, and he sat there waiting for the wings to enlarge to _________94___________the butterfly. However, that never happened. The butterfly spent the rest of its life unable to fly, crawling around with small wings and a swollen body. Despite the man’s kind heart, he didn’t understand that the __________95____________cocoon and the struggle needed by the butterfly to get itself through the small hole were God’s way of forcing fluid from the body of the butterfly into its wings to prepare itself for flying once it was free.”
Choose the most appropriate option to fill the blank.
CorrectIncorrect -
Question 23 of 100
23. Question
1 point(s)Category: EnglishDirections
In the following passage, some of the words have been left out, each of which is indicated by a number. Find the suitable word from the options given against each number and fill up the blanks with appropriate words to make the paragraph meaningfully complete.
“Once upon a time, a man found a butterfly that was starting to hatch from its cocoon. He sat down and watched the butterfly for hours as it _________91__________to force itself through a tiny hole. Then, it suddenly stopped making progress and looked like it was________92_________. Therefore, the man decided to help the butterfly out. He took a pair of scissors and cut off the remaining bit of the cocoon. The butterfly then __________93___________easily, although it had a swollen body and small, shrivelled wings. The man thought nothing of it, and he sat there waiting for the wings to enlarge to _________94___________the butterfly. However, that never happened. The butterfly spent the rest of its life unable to fly, crawling around with small wings and a swollen body. Despite the man’s kind heart, he didn’t understand that the __________95____________cocoon and the struggle needed by the butterfly to get itself through the small hole were God’s way of forcing fluid from the body of the butterfly into its wings to prepare itself for flying once it was free.”
Choose the most appropriate option to fill the blank.
CorrectIncorrect -
Question 24 of 100
24. Question
1 point(s)Category: EnglishDirections
In the following passage, some of the words have been left out, each of which is indicated by a number. Find the suitable word from the options given against each number and fill up the blanks with appropriate words to make the paragraph meaningfully complete.
“Once upon a time, a man found a butterfly that was starting to hatch from its cocoon. He sat down and watched the butterfly for hours as it _________91__________to force itself through a tiny hole. Then, it suddenly stopped making progress and looked like it was________92_________. Therefore, the man decided to help the butterfly out. He took a pair of scissors and cut off the remaining bit of the cocoon. The butterfly then __________93___________easily, although it had a swollen body and small, shrivelled wings. The man thought nothing of it, and he sat there waiting for the wings to enlarge to _________94___________the butterfly. However, that never happened. The butterfly spent the rest of its life unable to fly, crawling around with small wings and a swollen body. Despite the man’s kind heart, he didn’t understand that the __________95____________cocoon and the struggle needed by the butterfly to get itself through the small hole were God’s way of forcing fluid from the body of the butterfly into its wings to prepare itself for flying once it was free.”
Choose the most appropriate option to fill the blank.
CorrectIncorrect -
Question 25 of 100
25. Question
1 point(s)Category: EnglishDirections
In the following passage, some of the words have been left out, each of which is indicated by a number. Find the suitable word from the options given against each number and fill up the blanks with appropriate words to make the paragraph meaningfully complete.
“Once upon a time, a man found a butterfly that was starting to hatch from its cocoon. He sat down and watched the butterfly for hours as it _________91__________to force itself through a tiny hole. Then, it suddenly stopped making progress and looked like it was________92_________. Therefore, the man decided to help the butterfly out. He took a pair of scissors and cut off the remaining bit of the cocoon. The butterfly then __________93___________easily, although it had a swollen body and small, shrivelled wings. The man thought nothing of it, and he sat there waiting for the wings to enlarge to _________94___________the butterfly. However, that never happened. The butterfly spent the rest of its life unable to fly, crawling around with small wings and a swollen body. Despite the man’s kind heart, he didn’t understand that the __________95____________cocoon and the struggle needed by the butterfly to get itself through the small hole were God’s way of forcing fluid from the body of the butterfly into its wings to prepare itself for flying once it was free.”
Choose the most appropriate option to fill the blank.
CorrectIncorrect -
Question 26 of 100
26. Question
1 point(s)Category: EnglishDirections
In each of the following questions a grammatically correct and meaningful sentence is given with four of its words printed in bold. One of the four bold words may be misspelt. You have to identify the misspelt word and choose the appropriate option as your answer. If none of the words are misspelt, then choose option 5, i.e., ‘None of these’ as your answer.
U.S. President Donald Trump opened up another front in the ongoing global trade war on Wednesday by ramping up retoric against the World Trade Organization (WTO).
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Question 27 of 100
27. Question
1 point(s)Category: EnglishDirections
In each of the following questions a grammatically correct and meaningful sentence is given with four of its words printed in bold. One of the four bold words may be misspelt. You have to identify the misspelt word and choose the appropriate option as your answer. If none of the words are misspelt, then choose option 5, i.e., ‘None of these’ as your answer.
In 1914, a group of lawyers headed by KS Arthanareeswara Aiyer aproached the then collector of Coimbatore with a request to grant them land to build their homes.
CorrectIncorrect -
Question 28 of 100
28. Question
1 point(s)Category: EnglishDirections
In each of the following questions a grammatically correct and meaningful sentence is given with four of its words printed in bold. One of the four bold words may be misspelt. You have to identify the misspelt word and choose the appropriate option as your answer. If none of the words are misspelt, then choose option 5, i.e., ‘None of these’ as your answer.
One of the most prystine Shola ecosystems in the Nilgiris, Avalanche has been decimated by rains and landslips.
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Question 29 of 100
29. Question
1 point(s)Category: EnglishDirections
In each of the following questions a grammatically correct and meaningful sentence is given with four of its words printed in bold. One of the four bold words may be misspelt. You have to identify the misspelt word and choose the appropriate option as your answer. If none of the words are misspelt, then choose option 5, i.e., ‘None of these’ as your answer.
With the final date for pablication of the National Register of Citizens drawing near, the dividing lines are becoming sharper.
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Question 30 of 100
30. Question
1 point(s)Category: EnglishDirections
In each of the following questions a grammatically correct and meaningful sentence is given with four of its words printed in bold. One of the four bold words may be misspelt. You have to identify the misspelt word and choose the appropriate option as your answer. If none of the words are misspelt, then choose option 5, i.e., ‘None of these’ as your answer.
The State has pladged to create 200 more FTs by September, but there is uncertainty over their being functional soon after.
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Question 31 of 100
31. Question
1 point(s)Category: Quantitative AptitudeDirections
What should come in place of the question mark (?) in the following number series?
6, 35, 204, ?, 4056, 12165
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Question 32 of 100
32. Question
1 point(s)Category: Quantitative AptitudeDirections
What should come in place of the question mark (?) in the following number series?
37, 39, 42, 59, ?, 379
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Question 33 of 100
33. Question
1 point(s)Category: Quantitative AptitudeDirections
What should come in place of the question mark (?) in the following number series?
22, 24, 40, 86, ?, 679
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Question 34 of 100
34. Question
1 point(s)Category: Quantitative AptitudeDirections
What should come in place of the question mark (?) in the following number series?
13, 22, 40, 67, 103, ?
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Question 35 of 100
35. Question
1 point(s)Category: Quantitative AptitudeDirections
What should come in place of the question mark (?) in the following number series?
22, 24, ?, 139, 551, 2761
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Question 36 of 100
36. Question
1 point(s)Category: Quantitative AptitudeDirections
The given below pie chart shows the percentage distribution of daily consumption of quantity of water by five different families in a building. Read the pie-chart carefully and answer the following questions .
Total quantity of water consumed in a day = 350 liters.
Note -Total quantity of water available = Total quantity of water consumed + total quantity of unused water
The average of quantity of water consumed by Sharma and Bisht families is what percent more/less than the average of quantity of water consumed by Rawat and Upreti families ?
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Question 37 of 100
37. Question
1 point(s)Category: Quantitative AptitudeDirections
The given below pie chart shows the percentage distribution of daily consumption of quantity of water by five different families in a building. Read the pie-chart carefully and answer the following questions .
Total quantity of water consumed in a day = 350 liters.
Note -Total quantity of water available = Total quantity of water consumed + total quantity of unused water
If 87.5% of the quantity of water available is consumed by all families, Then, find the ratio of quantity of unused water to the difference of the quantity of water consumed by Bisht and Negi families?
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Question 38 of 100
38. Question
1 point(s)Category: Quantitative AptitudeDirections
The given below pie chart shows the percentage distribution of daily consumption of quantity of water by five different families in a building. Read the pie-chart carefully and answer the following questions .
Total quantity of water consumed in a day = 350 liters.
Note -Total quantity of water available = Total quantity of water consumed + total quantity of unused water
Find the ratio of the quantity of water consumed by Bisht and Upreti families together to the quantity of water consumed by Sharma and Rawat families together?
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Question 39 of 100
39. Question
1 point(s)Category: Quantitative AptitudeDirections
The given below pie chart shows the percentage distribution of daily consumption of quantity of water by five different families in a building. Read the pie-chart carefully and answer the following questions .
Total quantity of water consumed in a day = 350 liters.
Note -Total quantity of water available = Total quantity of water consumed + total quantity of unused water
% of quantity of water consumed by Bisht family is what percent of quantity of water consumed by Rawat family.
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Question 40 of 100
40. Question
1 point(s)Category: Quantitative AptitudeDirections
The given below pie chart shows the percentage distribution of daily consumption of quantity of water by five different families in a building. Read the pie-chart carefully and answer the following questions .
Total quantity of water consumed in a day = 350 liters.
Note -Total quantity of water available = Total quantity of water consumed + total quantity of unused water
The difference of the quantity of water consumed by Upreti and Sharma families is how much more than the difference of the quantity of water consumed by Negi and Rawat families?
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Question 41 of 100
41. Question
1 point(s)Category: Quantitative AptitudeA train 385 metres long takes 14 seconds to cross a man walking at 4 km/hr in a direction opposite to that of the train. Find the speed of the train.
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Question 42 of 100
42. Question
1 point(s)Category: Quantitative AptitudeSix years ago, ratio of A’s to B’s age is 7:9 and B’s age six years ago is same as A’s present age. If C’s present age is average of present age of A and B, then find C’s age 3 year ago.
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Question 43 of 100
43. Question
1 point(s)Category: Quantitative AptitudeGauri got 25% of the maximum marks in an examination and failed by 28 marks. In the same examination Mansi got 40% of the total marks which is 14 marks more than the passing marks. What were the passing marks in the examination?
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Question 44 of 100
44. Question
1 point(s)Category: Quantitative AptitudeA trader marks all his goods at 60% above the costs price and offers a discount of 15% on the marked price. What is the actual profit % on the sales?
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Question 45 of 100
45. Question
1 point(s)Category: Quantitative AptitudePrachi and Himani work in a beauty parlour and Prachi’s salary is 5/8th of the salary of Himani. They spend same money of Rs 14000 and after that save all the money. If the ratio of savings of Prachi and Himani is 1 : 3, what is the salary of Prachi?
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Question 46 of 100
46. Question
1 point(s)Category: Quantitative AptitudeAvinash borrowed a sum at compound interest. The rate of interest is 6% pa and the simple interest incurred on the sum in 1 year is Rs 600. What is the amount returned in 2 years?
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Question 47 of 100
47. Question
1 point(s)Category: Quantitative AptitudeA student pays a fee of Rs.20000 monthly on an average for the first 3 months and Rs.16000 monthly for the next 9 months. He also pays Rs.18000 as admission fee in a year. His average monthly fee is:
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Question 48 of 100
48. Question
1 point(s)Category: Quantitative AptitudeRohan covered a distance of 250 km in 5 hours on a bike. How much distance will he cover on a bicycle in 5 hours if he rides the bicycle at (4/5) the speed of the bike?
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Question 49 of 100
49. Question
1 point(s)Category: Quantitative Aptitude5 men can do a piece of work in 12 days. 12 women can do it in 20 days and 8 children can do it in 25 days. In how many days can 12 men, 4 women and 10 children together complete the work?
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Question 50 of 100
50. Question
1 point(s)Category: Quantitative AptitudeA man takes 4 hours to row a boat 28 km downstream of a river and 6 hours to cover a distance of 30 km upstream. Find the speed of the river current in km/hr.
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Question 51 of 100
51. Question
1 point(s)Category: Quantitative AptitudeDirections
Study the following information carefully and answer the given questions.
Different number of people went for pacific mall in four different days in a week. Total number of peoples went for pacific mall in Thursday is 1200. The ratio of total number of peoples went for pacific mall in Tuesday, Wednesday and Thursday is 4: 6: 5. Total number of peoples went for pacific mall in Monday is 28% of the total number of peoples went for mall in all the given days.
Find the total number of peoples went for pacific mall in all the given days together?
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Question 52 of 100
52. Question
1 point(s)Category: Quantitative AptitudeDirections
Study the following information carefully and answer the given questions.
Different number of people went for pacific mall in four different days in a week. Total number of peoples went for pacific mall in Thursday is 1200. The ratio of total number of peoples went for pacific mall in Tuesday, Wednesday and Thursday is 4: 6: 5. Total number of peoples went for pacific mall in Monday is 28% of the total number of peoples went for mall in all the given days.
Total number of peoples went for pacific mall in Monday is approximately what percentage of total number of peoples went for pacific mall in Tuesday?
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Question 53 of 100
53. Question
1 point(s)Category: Quantitative AptitudeDirections
Study the following information carefully and answer the given questions.
Different number of people went for pacific mall in four different days in a week. Total number of peoples went for pacific mall in Thursday is 1200. The ratio of total number of peoples went for pacific mall in Tuesday, Wednesday and Thursday is 4: 6: 5. Total number of peoples went for pacific mall in Monday is 28% of the total number of peoples went for mall in all the given days.
If the ratio of total number of male, female and children went for pacific mall in Wednesday and Monday is 4: 5: 6 and 9: 8: 11 respectively, then find the difference between the total number of males went for pacific mall in both the days to that of total number of children went for pacific mall in both the days?
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Question 54 of 100
54. Question
1 point(s)Category: Quantitative AptitudeDirections
Study the following information carefully and answer the given questions.
Different number of people went for pacific mall in four different days in a week. Total number of peoples went for pacific mall in Thursday is 1200. The ratio of total number of peoples went for pacific mall in Tuesday, Wednesday and Thursday is 4: 6: 5. Total number of peoples went for pacific mall in Monday is 28% of the total number of peoples went for mall in all the given days.
Total number of peoples went for pacific mall in Tuesday is approximately what percentage less than the total number of peoples went for pacific mall in Wednesday?
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Question 55 of 100
55. Question
1 point(s)Category: Quantitative AptitudeDirections
Study the following information carefully and answer the given questions.
Different number of people went for pacific mall in four different days in a week. Total number of peoples went for pacific mall in Thursday is 1200. The ratio of total number of peoples went for pacific mall in Tuesday, Wednesday and Thursday is 4: 6: 5. Total number of peoples went for pacific mall in Monday is 28% of the total number of peoples went for mall in all the given days.
If the ratio of total number of male, female and children went for pacific mall in Wednesday and Monday is 4: 5: 6 and 9: 8: 11 respectively, then find the ratio between the total numbers of female went for pacific mall in Wednesday to that of Monday?
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Question 56 of 100
56. Question
1 point(s)Category: Quantitative AptitudeDirections
What value should come in place of (?).
784 ÷ 14 + 611 ÷ 13 + ? = 76% of 2100
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Question 57 of 100
57. Question
1 point(s)Category: Quantitative AptitudeDirections
What value should come in place of (?).
2750 ÷ 55 + √361 + √324 = ?2 × 435 ÷ 841 × 5
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Question 58 of 100
58. Question
1 point(s)Category: Quantitative AptitudeDirections
What value should come in place of (?).
?3 – 1700 – 28 + 9 = 369 ÷ 41
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Question 59 of 100
59. Question
1 point(s)Category: Quantitative AptitudeDirections
What value should come in place of (?).
[(126)2 ÷ 14 × 35] ÷ ? = 55 × 40
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Question 60 of 100
60. Question
1 point(s)Category: Quantitative Aptitude21 – (21)2 + 21 × (21 + 21 ÷ 0.21) = ?
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Question 61 of 100
61. Question
1 point(s)Category: Quantitative AptitudeDirections
Study the following table and answer the questions that follow:
The table represents the total sales value (in lakhs) of five watches A, B, C, D and E across eight watch company stores Titan, Fastrack, Fossil, G shock, Maxima, Apple, Sonata and Casio.
What is the ratio the total sales values of watch A across all the company stores and watch D across all the company stores?
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Question 62 of 100
62. Question
1 point(s)Category: Quantitative AptitudeDirections
Study the following table and answer the questions that follow:
The table represents the total sales value (in lakhs) of five watches A, B, C, D and E across eight watch company stores Titan, Fastrack, Fossil, G shock, Maxima, Apple, Sonata and Casio.
The sale of the watch C from watch company store Casio is what per cent of the total sale of watch C across all the watch company stores (rounded off to two places after the decimal)?
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Question 63 of 100
63. Question
1 point(s)Category: Quantitative AptitudeDirections
Study the following table and answer the questions that follow:
The table represents the total sales value (in lakhs) of five watches A, B, C, D and E across eight watch company stores Titan, Fastrack, Fossil, G shock, Maxima, Apple, Sonata and Casio.
What is the average sale (in lakh) of watch company store Maxima?
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Question 64 of 100
64. Question
1 point(s)Category: Quantitative AptitudeDirections
Study the following table and answer the questions that follow:
The table represents the total sales value (in lakhs) of five watches A, B, C, D and E across eight watch company stores Titan, Fastrack, Fossil, G shock, Maxima, Apple, Sonata and Casio.
Watch B constituted approximately what per cent of the total sales of watch company store Fossil?
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Question 65 of 100
65. Question
1 point(s)Category: Quantitative AptitudeDirections
Study the following table and answer the questions that follow:
The table represents the total sales value (in lakhs) of five watches A, B, C, D and E across eight watch company stores Titan, Fastrack, Fossil, G shock, Maxima, Apple, Sonata and Casio.
What is the total sales value (in lakh) of watch company store G Shock?
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Question 66 of 100
66. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the given questions.
When a number arrangement machine is given an input line of numbers, it arranges them following a certain rule. Following is an illustration of input and rearrangement.
INPUT: 94 13 29 42 86 73 57 69
Step I: 04 29 42 86 73 57 69 05
Step II: 11 04 42 73 57 69 05 02
Step III: 06 11 04 57 69 05 02 04
Step IV: 12 06 11 04 05 02 04 03
Step V: 02 03 04 04 05 06 11 12
Step V is the last step.
Find the appropriate steps for the following input given below;
INPUT: 46 28 53 62 75 89 37 97
How many steps are required to complete the arrangement?
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Question 67 of 100
67. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the given questions.
When a number arrangement machine is given an input line of numbers, it arranges them following a certain rule. Following is an illustration of input and rearrangement.
INPUT: 94 13 29 42 86 73 57 69
Step I: 04 29 42 86 73 57 69 05
Step II: 11 04 42 73 57 69 05 02
Step III: 06 11 04 57 69 05 02 04
Step IV: 12 06 11 04 05 02 04 03
Step V: 02 03 04 04 05 06 11 12
Step V is the last step.
Find the appropriate steps for the following input given below;
INPUT: 46 28 53 62 75 89 37 97
How many number/ numbers are completely divisible by 4 in step IV?
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Question 68 of 100
68. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the given questions.
When a number arrangement machine is given an input line of numbers, it arranges them following a certain rule. Following is an illustration of input and rearrangement.
INPUT: 94 13 29 42 86 73 57 69
Step I: 04 29 42 86 73 57 69 05
Step II: 11 04 42 73 57 69 05 02
Step III: 06 11 04 57 69 05 02 04
Step IV: 12 06 11 04 05 02 04 03
Step V: 02 03 04 04 05 06 11 12
Step V is the last step.
Find the appropriate steps for the following input given below;
INPUT: 46 28 53 62 75 89 37 97
Which step is this’ 10 10 10 53 62 02 01 02 ’ of the given input?
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Question 69 of 100
69. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the given questions.
When a number arrangement machine is given an input line of numbers, it arranges them following a certain rule. Following is an illustration of input and rearrangement.
INPUT: 94 13 29 42 86 73 57 69
Step I: 04 29 42 86 73 57 69 05
Step II: 11 04 42 73 57 69 05 02
Step III: 06 11 04 57 69 05 02 04
Step IV: 12 06 11 04 05 02 04 03
Step V: 02 03 04 04 05 06 11 12
Step V is the last step.
Find the appropriate steps for the following input given below;
INPUT: 46 28 53 62 75 89 37 97
If the sum of highest number in step I is 16, then what is the sum of 2nd highest number in step II?
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Question 70 of 100
70. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the given questions.
When a number arrangement machine is given an input line of numbers, it arranges them following a certain rule. Following is an illustration of input and rearrangement.
INPUT: 94 13 29 42 86 73 57 69
Step I: 04 29 42 86 73 57 69 05
Step II: 11 04 42 73 57 69 05 02
Step III: 06 11 04 57 69 05 02 04
Step IV: 12 06 11 04 05 02 04 03
Step V: 02 03 04 04 05 06 11 12
Step V is the last step.
Find the appropriate steps for the following input given below;
INPUT: 46 28 53 62 75 89 37 97
Which is step V of the given input?
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Question 71 of 100
71. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the questions below:-
Seven teachers –John, James, Julie, Simmi, Rosie, Grayson and Mason – who teaches different subjects English, Geography, Sanskrit, Economics, Civics, Hindi and History no in the same order. They all like different colour – Red, White, Black, Pink, Brown, Yellow and Green but not necessarily in the same order.
Simmi, who likes green, teaches on the fourth day of the week but neither Sanskrit nor English. Two persons teach between Simmi and Grayson and neither of them teaches on the 1st day of the week. There is one person between John and Rosie, but Rosie doesn’t teach either on 1st day or 3rd day of the week. Rosie likes yellow colour and teaches Sanskrit. The one who teaches History teaches on the last day of the week and likes red colour. James doesn’t teach on the day either immediately before or immediately after the class taken by John, who doesn’t like either brown, black or white colour.
Mason teaches immediately after Rosie and he likes white color. Julie does not like brown and teaches Hindi. John does not teach either English or Civics. The one who teaches geography takes class immediately after the day when Sanskrit has been taught.
Who among the following teaches economics?
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Question 72 of 100
72. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the questions below:-
Seven teachers –John, James, Julie, Simmi, Rosie, Grayson and Mason – who teaches different subjects English, Geography, Sanskrit, Economics, Civics, Hindi and History no in the same order. They all like different colour – Red, White, Black, Pink, Brown, Yellow and Green but not necessarily in the same order.
Simmi, who likes green, teaches on the fourth day of the week but neither Sanskrit nor English. Two persons teach between Simmi and Grayson and neither of them teaches on the 1st day of the week. There is one person between John and Rosie, but Rosie doesn’t teach either on 1st day or 3rd day of the week. Rosie likes yellow colour and teaches Sanskrit. The one who teaches History teaches on the last day of the week and likes red colour. James doesn’t teach on the day either immediately before or immediately after the class taken by John, who doesn’t like either brown, black or white colour.
Mason teaches immediately after Rosie and he likes white color. Julie does not like brown and teaches Hindi. John does not teach either English or Civics. The one who teaches geography takes class immediately after the day when Sanskrit has been taught.
On which day Rosie took the class?
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Question 73 of 100
73. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the questions below:-
Seven teachers –John, James, Julie, Simmi, Rosie, Grayson and Mason – who teaches different subjects English, Geography, Sanskrit, Economics, Civics, Hindi and History no in the same order. They all like different colour – Red, White, Black, Pink, Brown, Yellow and Green but not necessarily in the same order.
Simmi, who likes green, teaches on the fourth day of the week but neither Sanskrit nor English. Two persons teach between Simmi and Grayson and neither of them teaches on the 1st day of the week. There is one person between John and Rosie, but Rosie doesn’t teach either on 1st day or 3rd day of the week. Rosie likes yellow colour and teaches Sanskrit. The one who teaches History teaches on the last day of the week and likes red colour. James doesn’t teach on the day either immediately before or immediately after the class taken by John, who doesn’t like either brown, black or white colour.
Mason teaches immediately after Rosie and he likes white color. Julie does not like brown and teaches Hindi. John does not teach either English or Civics. The one who teaches geography takes class immediately after the day when Sanskrit has been taught.
John likes which color?
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Question 74 of 100
74. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the questions below:-
Seven teachers –John, James, Julie, Simmi, Rosie, Grayson and Mason – who teaches different subjects English, Geography, Sanskrit, Economics, Civics, Hindi and History no in the same order. They all like different colour – Red, White, Black, Pink, Brown, Yellow and Green but not necessarily in the same order.
Simmi, who likes green, teaches on the fourth day of the week but neither Sanskrit nor English. Two persons teach between Simmi and Grayson and neither of them teaches on the 1st day of the week. There is one person between John and Rosie, but Rosie doesn’t teach either on 1st day or 3rd day of the week. Rosie likes yellow colour and teaches Sanskrit. The one who teaches History teaches on the last day of the week and likes red colour. James doesn’t teach on the day either immediately before or immediately after the class taken by John, who doesn’t like either brown, black or white colour.
Mason teaches immediately after Rosie and he likes white color. Julie does not like brown and teaches Hindi. John does not teach either English or Civics. The one who teaches geography takes class immediately after the day when Sanskrit has been taught.
Who is teaching on the last day of the week?
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Question 75 of 100
75. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the questions below:-
Seven teachers –John, James, Julie, Simmi, Rosie, Grayson and Mason – who teaches different subjects English, Geography, Sanskrit, Economics, Civics, Hindi and History no in the same order. They all like different colour – Red, White, Black, Pink, Brown, Yellow and Green but not necessarily in the same order.
Simmi, who likes green, teaches on the fourth day of the week but neither Sanskrit nor English. Two persons teach between Simmi and Grayson and neither of them teaches on the 1st day of the week. There is one person between John and Rosie, but Rosie doesn’t teach either on 1st day or 3rd day of the week. Rosie likes yellow colour and teaches Sanskrit. The one who teaches History teaches on the last day of the week and likes red colour. James doesn’t teach on the day either immediately before or immediately after the class taken by John, who doesn’t like either brown, black or white colour.
Mason teaches immediately after Rosie and he likes white color. Julie does not like brown and teaches Hindi. John does not teach either English or Civics. The one who teaches geography takes class immediately after the day when Sanskrit has been taught.
Which subject is been taught on first day of the week?
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Question 76 of 100
76. Question
1 point(s)Category: REASONINGDirections
In each of the questions below are given some statements followed by some conclusions. You have to take the given statements to be true even if they seem to be at variance with commonly known facts. Read all the conclusions and then decide which of the given conclusions logically follows from the given statements disregarding commonly known facts. Give answer
Statements:
A few apples are not bananas.
All bananas are grape.
No grape is pear.
Conclusions:
I. No pear is a banana.
II. No apple is pear.
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Question 77 of 100
77. Question
1 point(s)Category: REASONINGDirections
In each of the questions below are given some statements followed by some conclusions. You have to take the given statements to be true even if they seem to be at variance with commonly known facts. Read all the conclusions and then decide which of the given conclusions logically follows from the given statements disregarding commonly known facts. Give answer
Statements:
Some soaps are mug
Some soaps are shampoo.
All shampoo are cream.
Conclusions:
I. Some mug are shampoo.
II. All cream are mug.
CorrectIncorrect -
Question 78 of 100
78. Question
1 point(s)Category: REASONINGDirections
In each of the questions below are given some statements followed by some conclusions. You have to take the given statements to be true even if they seem to be at variance with commonly known facts. Read all the conclusions and then decide which of the given conclusions logically follows from the given statements disregarding commonly known facts. Give answer
Statements:
No key is a lock.
Some locks are doors.
All locks are windows
Conclusions:
I. Some doors not being windows is a possibility.
II. Some doors are not keys.
CorrectIncorrect -
Question 79 of 100
79. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the questions below:
A, B, C, D are four couples who are married to four females namely P, Q, R and S not necessarily in the same order. U, W, X, Y and Z are five children to these couples.
B is married to S, who does not have any child. U is the only son of Q, who is not married to A. W and X are siblings and are of different genders. C is the father of two children. Y is the daughter of R, who does not have any other child. A has one daughter X. Z is the sister of U.
Who is the sibling of X in the family ?
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Question 80 of 100
80. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the questions below:
A, B, C, D are four couples who are married to four females namely P, Q, R and S not necessarily in the same order. U, W, X, Y and Z are five children to these couples.
B is married to S, who does not have any child. U is the only son of Q, who is not married to A. W and X are siblings and are of different genders. C is the father of two children. Y is the daughter of R, who does not have any other child. A has one daughter X. Z is the sister of U.
How many boys are there in the group of children?
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Question 81 of 100
81. Question
1 point(s)Category: REASONINGDirections
Study the following information carefully and answer the questions below:
A, B, C, D are four couples who are married to four females namely P, Q, R and S not necessarily in the same order. U, W, X, Y and Z are five children to these couples.
B is married to S, who does not have any child. U is the only son of Q, who is not married to A. W and X are siblings and are of different genders. C is the father of two children. Y is the daughter of R, who does not have any other child. A has one daughter X. Z is the sister of U.
Who is the father of Y?
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Question 82 of 100
82. Question
1 point(s)Category: REASONINGThe position of how many alphabets will remain unchanged if each of the alphabets in the word ‘COMMUNICATION’ is arranged in alphabetical order from left to right in such a way that Consonants are arranged first followed by Vowels?
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Question 83 of 100
83. Question
1 point(s)Category: REASONINGEach consonant of the word ‘DEMOCRACY’ is changed to the next letter in the English alphabetical series and each vowel is changed to the previous letter in the English alphabetical series. If the new alphabet thus formed are arranged in alphabetical order (from left to right), which of the following will be the Second last from the left?
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Question 84 of 100
84. Question
1 point(s)Category: REASONINGRohan and Abhishek are ranked Thirteenth and fifteenth respectively from the top in a class of 36 students. What will be their respective ranks from the bottom in the class?
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Question 85 of 100
85. Question
1 point(s)Category: REASONINGR started walking 2 km in east direction then takes two consecutive right turns walking 2 km and then again turned right and walked 4 km. In which direction is R’s final point with respect to her initial point?
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Question 86 of 100
86. Question
1 point(s)Category: REASONINGDirections
Study the following information and answer the questions:
A, B, E, F, P, Q, W and X are sitting around a circular table at an equal distance between each other, but necessarily in same order. Some of them are facing inside while some faces outside.
A sits second to the right of W. W faces the centre. F sits third to left of A. A faces outside the centre. Immediate neighbours of F faces the centre. X sits to the immediate left of P. E sits second to left of Q who faces same direction as F. Q is not an immediate neighbour of W. Immediate neighbours of A faces opposite direction.
Who is sitting between F and Q in the given sitting arrangement?
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Question 87 of 100
87. Question
1 point(s)Category: REASONINGDirections
Study the following information and answer the questions:
A, B, E, F, P, Q, W and X are sitting around a circular table at an equal distance between each other, but necessarily in same order. Some of them are facing inside while some faces outside.
A sits second to the right of W. W faces the centre. F sits third to left of A. A faces outside the centre. Immediate neighbours of F faces the centre. X sits to the immediate left of P. E sits second to left of Q who faces same direction as F. Q is not an immediate neighbour of W. Immediate neighbours of A faces opposite direction.
How many of them are facing outside the centre?
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Question 88 of 100
88. Question
1 point(s)Category: REASONINGDirections
Study the following information and answer the questions:
A, B, E, F, P, Q, W and X are sitting around a circular table at an equal distance between each other, but necessarily in same order. Some of them are facing inside while some faces outside.
A sits second to the right of W. W faces the centre. F sits third to left of A. A faces outside the centre. Immediate neighbours of F faces the centre. X sits to the immediate left of P. E sits second to left of Q who faces same direction as F. Q is not an immediate neighbour of W. Immediate neighbours of A faces opposite direction.
Who are the immediate neighbours of W, in the given arrangement?
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Question 89 of 100
89. Question
1 point(s)Category: REASONINGDirections
Study the following information and answer the questions:
A, B, E, F, P, Q, W and X are sitting around a circular table at an equal distance between each other, but necessarily in same order. Some of them are facing inside while some faces outside.
A sits second to the right of W. W faces the centre. F sits third to left of A. A faces outside the centre. Immediate neighbours of F faces the centre. X sits to the immediate left of P. E sits second to left of Q who faces same direction as F. Q is not an immediate neighbour of W. Immediate neighbours of A faces opposite direction.
X, is sitting on the immediate right of whom?
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Question 90 of 100
90. Question
1 point(s)Category: REASONINGDirections
Study the following information and answer the questions:
A, B, E, F, P, Q, W and X are sitting around a circular table at an equal distance between each other, but necessarily in same order. Some of them are facing inside while some faces outside.
A sits second to the right of W. W faces the centre. F sits third to left of A. A faces outside the centre. Immediate neighbours of F faces the centre. X sits to the immediate left of P. E sits second to left of Q who faces same direction as F. Q is not an immediate neighbour of W. Immediate neighbours of A faces opposite direction.
Which among the following does not belong to the group?
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Question 91 of 100
91. Question
1 point(s)Category: REASONINGDirections
Read the given information carefully and answer the questions:
Twelve Persons are sitting in two parallel rows – Tony, Sanya, Shiva, Raghu, Sanu and Anuj are sitting in row 1 facing south and Sai, Abhi, Naina, Ranu, Raju and Biswa are sitting in row 2 facing north. Ranu sits third to the left of Sai. Naina sits left of Biswa. Anuj does not face Sai. Neither Ranu nor Sai sits at extreme ends. Abhi sits at one of the extreme ends. Raju does not face Anuj. Two persons sit between Sanya and Shiva. Sanu faces Ranu. Anuj does not sit at any of the extreme ends. Only two people sit between Abhi and Raju. Anuj is not an immediate neighbour of Sanu. Shiva is not an immediate neighbour of Sanu. Tony does not face Sai.
Who among the following sits diagonally opposite to Abhi?
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Question 92 of 100
92. Question
1 point(s)Category: REASONINGDirections
Read the given information carefully and answer the questions:
Twelve Persons are sitting in two parallel rows – Tony, Sanya, Shiva, Raghu, Sanu and Anuj are sitting in row 1 facing south and Sai, Abhi, Naina, Ranu, Raju and Biswa are sitting in row 2 facing north. Ranu sits third to the left of Sai. Naina sits left of Biswa. Anuj does not face Sai. Neither Ranu nor Sai sits at extreme ends. Abhi sits at one of the extreme ends. Raju does not face Anuj. Two persons sit between Sanya and Shiva. Sanu faces Ranu. Anuj does not sit at any of the extreme ends. Only two people sit between Abhi and Raju. Anuj is not an immediate neighbour of Sanu. Shiva is not an immediate neighbour of Sanu. Tony does not face Sai.
Who among the following sits third to the left of the one who sits opposite to Naina?
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Question 93 of 100
93. Question
1 point(s)Category: REASONINGDirections
Read the given information carefully and answer the questions:
Twelve Persons are sitting in two parallel rows – Tony, Sanya, Shiva, Raghu, Sanu and Anuj are sitting in row 1 facing south and Sai, Abhi, Naina, Ranu, Raju and Biswa are sitting in row 2 facing north. Ranu sits third to the left of Sai. Naina sits left of Biswa. Anuj does not face Sai. Neither Ranu nor Sai sits at extreme ends. Abhi sits at one of the extreme ends. Raju does not face Anuj. Two persons sit between Sanya and Shiva. Sanu faces Ranu. Anuj does not sit at any of the extreme ends. Only two people sit between Abhi and Raju. Anuj is not an immediate neighbour of Sanu. Shiva is not an immediate neighbour of Sanu. Tony does not face Sai.
Who among the following person faces Shiva?
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Question 94 of 100
94. Question
1 point(s)Category: REASONINGDirections
Read the given information carefully and answer the questions:
Twelve Persons are sitting in two parallel rows – Tony, Sanya, Shiva, Raghu, Sanu and Anuj are sitting in row 1 facing south and Sai, Abhi, Naina, Ranu, Raju and Biswa are sitting in row 2 facing north. Ranu sits third to the left of Sai. Naina sits left of Biswa. Anuj does not face Sai. Neither Ranu nor Sai sits at extreme ends. Abhi sits at one of the extreme ends. Raju does not face Anuj. Two persons sit between Sanya and Shiva. Sanu faces Ranu. Anuj does not sit at any of the extreme ends. Only two people sit between Abhi and Raju. Anuj is not an immediate neighbour of Sanu. Shiva is not an immediate neighbour of Sanu. Tony does not face Sai.
Four of the following five form a group, which among the following does not belong to this group?
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Question 95 of 100
95. Question
1 point(s)Category: REASONINGDirections
Read the given information carefully and answer the questions:
Twelve Persons are sitting in two parallel rows – Tony, Sanya, Shiva, Raghu, Sanu and Anuj are sitting in row 1 facing south and Sai, Abhi, Naina, Ranu, Raju and Biswa are sitting in row 2 facing north. Ranu sits third to the left of Sai. Naina sits left of Biswa. Anuj does not face Sai. Neither Ranu nor Sai sits at extreme ends. Abhi sits at one of the extreme ends. Raju does not face Anuj. Two persons sit between Sanya and Shiva. Sanu faces Ranu. Anuj does not sit at any of the extreme ends. Only two people sit between Abhi and Raju. Anuj is not an immediate neighbour of Sanu. Shiva is not an immediate neighbour of Sanu. Tony does not face Sai.
How many persons sit between Naina and Biswa?
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Question 96 of 100
96. Question
1 point(s)Category: REASONINGDirections
Study the information and answer the following questions:
In a certain code language
“Free school day meal” is coded as “E$25 N#12 G#5 T#12”
“Eliminating idea budget deficit ” is coded as “J#1 C#20 F$7 E$20”
“Sharing information among them” is coded as “B$7 T$7 U#13 J$14”
What is the code for ‘gravity’ in the given code language?
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Question 97 of 100
97. Question
1 point(s)Category: REASONINGDirections
Study the information and answer the following questions:
In a certain code language
“Free school day meal” is coded as “E$25 N#12 G#5 T#12”
“Eliminating idea budget deficit ” is coded as “J#1 C#20 F$7 E$20”
“Sharing information among them” is coded as “B$7 T$7 U#13 J$14”
What is the code for ‘Dropping’ in the given code language?
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Question 98 of 100
98. Question
1 point(s)Category: REASONINGDirections
Study the information and answer the following questions:
In a certain code language
“Free school day meal” is coded as “E$25 N#12 G#5 T#12”
“Eliminating idea budget deficit ” is coded as “J#1 C#20 F$7 E$20”
“Sharing information among them” is coded as “B$7 T$7 U#13 J$14”
What may be the possible code for ‘Pure Soul’ in the given code language?
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Question 99 of 100
99. Question
1 point(s)Category: REASONINGDirections
Study the information and answer the following questions:
In a certain code language
“Free school day meal” is coded as “E$25 N#12 G#5 T#12”
“Eliminating idea budget deficit ” is coded as “J#1 C#20 F$7 E$20”
“Sharing information among them” is coded as “B$7 T$7 U#13 J$14”
What may be the possible code for ‘Automatic Reflexes’ in the given code language?
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Question 100 of 100
100. Question
1 point(s)Category: REASONINGDirections
Study the information and answer the following questions:
In a certain code language
“Free school day meal” is coded as “E$25 N#12 G#5 T#12”
“Eliminating idea budget deficit ” is coded as “J#1 C#20 F$7 E$20”
“Sharing information among them” is coded as “B$7 T$7 U#13 J$14”
What is the code for ‘Most Basic Rules’ in the given code language?
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