Comprehension Test Questions and Answers Practice Question and Answer
8 Q:Read the passage carefully and answer the question accordingly.
One should consciously engage in activities that will nourish your soul. Just as we nourish the body, we need to nurture the soul to connect to the creative power of the universe and to manifest joy in our lives. Often, we forget to address the soul, lost as we are in a jungle of material and sensual pleasures. But the more you embrace what feeds your soul, the happier you become. So if you want to enjoy the abundance of life, engage in what enriches your soul. Nurturing the soul is all about finding calm amidst chaos. There are a number of practices that empower people towards this end including silent contemplation, various forms of meditation, yoga and tai chi However, the rigor and discipline involved in the pursuit of such practices often seems to discourage people. Add to this, the temptations of the material world that leave little time and motivation for anyone to pursue the spiritual path. Poet Walt Whitman declared: “Whatever satisfies the soul is truth”. The good news is that simple, everyday activities can also nutrify the soul — like spending time in the midst of nature, dancing in the rain or just putting thoughts on paper. Do whatever is calming and pleases you. Creative pursuits are particularly appealing as inside each one of us, there is an artist craving for release and awaiting an opportunity for expression. One of the ways to indulge the artist within is to get started with the practice of any one or more of the creative art forms such as music, singing, dancing, acting, drawing, painting, sculpting, poetry, fiction or essay writing.
When you engage in such soul nourishing activities, all thought and energy gets focused toward goal accomplishment. At this point, you will find that even unknown forces of the universe are conniving to assist you in your amateurish but sincere attempts. As you progress, you are motivated to do better. You touch and access a faculty, a part of you that you never knew existed. Your inner artist is unleashed, baring the beauty of your soul that has found a fond medium of expression. For instance, a sculptor’s soul is seen in his artwork; a musician’s in his compositions; an actor’s in his acting, a painter’s in his paintings and so on. It is immaterial whether your effort is an immaculate artwork or just a clumsy attempt by a layperson. The idea is to try, be inspired and to create giving free rein to the mind. As Michelangelo remarked: “I saw the angel in the marble and carved until I set him free”!
What can you infer from Michelangelo’s statement - "I saw the angel in the marble and carved until I set him free"?
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612c721f4125af03ad0021be- 1Michelangelo wanted his artwork to look as close to real as possible.false
- 2Michelangelo’s mind felt free after setting the angel free in his artwork.false
- 3Michelangelo’s soul probably wanted to free the angel and hence his artwork portrayed the same.true
- 4Michelangelo didn’t like the angel and hence wanted to do away with itfalse
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Answer : 3. "Michelangelo’s soul probably wanted to free the angel and hence his artwork portrayed the same."
Q:Read the following passage and answer the questions that follow it. Each question has 4 options. Choose the correct option/answer for each question:
I worked for a brief while in a college in Delhi, and among my more uncomfortable memories is a language exercise, I gave a group of eight undergraduates: I asked them to imagine that they had already graduated and wanted them to write an application for a suitable job. Seven of the eight students wrote applications for the jobs of clerks. Even in one of the good universities, and in a college that had a reputation for its academic standards, the system has snuffed out all youthful ambition.
Choose the correct option:
"Snuffed out" in the passage means -
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639873c1c0ba0122ec85fdf9"Snuffed out" in the passage means -
- 1encouragedfalse
- 2killedtrue
- 3excitedfalse
- 4persuadedfalse
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Answer : 2. "killed"
Q:Read the following passage and answer the questions given after it.
Notwithstanding logistical challenges posed by COVID19 pandemic, India continues to expand its rice exports footprint in the African, Asian and European Union markets, thus having the largest share in global rice trade. The robust global demand also helped India’s growth in rice exports.
In 2020-21, India’s rice exports (Basmati and Non-Basmati) rose by a huge 87 per cent to 17.72 Million Tonne (MT) from 9.49 MT achieved in 2019-20. In terms of value realisation, India’s rice exports rose by 38 per cent to USD 8815 million in 2020-21 from USD 6397 million reported in 2019-20. In terms of Rupees, India’s rice export grew by 44 per cent to Rs 65298 crore in 2020-21 from Rs 45379 crore in the previous year. In the first seven months of the current financial year (2021-22), India’s rice exports rose by more than 33 per cent to 11.79 MT from 8.91 MT achieved during April-October, 2020-21. It is anticipated that India’s rice exports in 2021-22 would likely surpass the record feet of 17.72 MT achieved in 2020-21.
In 2020-21, India shipped non-basmati rice to nine countries - Timor-Leste, Puerto Rico, Brazil, Papua New Guinea, Zimbabwe, Burundi, Eswatini, Myanmar and Nicaragua, where exports were carried out for the first time or earlier the shipment was smaller in volume. India’s Non-Basmati rice exports was valued at USD 4796 million (Rs 35448crore) in 2020- 21, with Basmati Rice exports a close second at USD 4018 million (Rs 29,849 crore). In terms of volume of Basmati rice exports in 2020-21, top ten countries – Saudi Arabia, Iran, Iraq, Yemen, United Arab Emirates, United States of America, Kuwait, United Kingdom, Qatar and Oman have a share of close to 80 per cent in total shipments of aromatic long grained rice from India.
Top ten countries – Nepal, Benin, Bangladesh, Senegal, Togo, Cote D Ivoire, Guinea, Malaysia, Iraq, United Arab Emirates – have a share of 57 per cent in India’s total exports of non-Basmati rice in 2020-21 in terms of volume.
What is the estimate of rice export in the year 2021-22?
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64aadc6665d2524cbf1eb663- 1It will remain the same as the 17.72 MT rice export achieved in 2020-21.false
- 2It may fall below the 17.72 MT rice export achieved in 2020-21.false
- 3It will exceed the 17.72 MT rice export achieved in 2020-21.true
- 4It will not pass beyond the 17.72 MT rice export achieved in 2020-21.false
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Answer : 3. "It will exceed the 17.72 MT rice export achieved in 2020-21."
Q:Read the passage carefully and give the answer of following questions.
Our awareness of time has reached such a pitch of intensity that we suffer acutely whenever our travels take us into some corner of the world where people are not interested in minutes and seconds. The unpunctuality of the orient, for example is appalling to those who come freshly from a land of fixed meal-times and regular train services. For a modern American or Englishman, waiting is a psychological torture. An Indian accepts the blank hours with linked together by amazingly sensitive, near-instantaneous communications. Human work will move out of the factory and mass office into the community and the home. Machines will be synchronized, as some already are, to the billionth of a second; men will be de-synchronized. The factory whistle will vanish. Even the clock, “the key machine of the modern industrial age” as Lewis Mumford called it a generation ago, will lose some of its power over humans, as distinct from purely technological affairs. Simultaneously, the organisation needed to control technology shift from bureaucracy to Ad-hocracy, from permanence to transience, and from a concern with the present to a focus on the future.
In such a world, the most valued attributes of the industrial age become handicaps. The technology of tomorrow requires not millions of lightly lettered men, ready to work in unison at endlessly repetitive jobs, it requires not men who take orders in unblinking fashion, aware that the price of bread is mechanical submission to authority, but men who can make critical judgments, who can weave their way through novel environments, who are quick to spot new relationships in the rapidly changing reality. It requires men who, in C.P. Snow’s compelling terms, “have the future in their bones”.
If a person believes that the price of bread is mechanical submission to authority, he is
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638f378934f83f1472982921In such a world, the most valued attributes of the industrial age become handicaps. The technology of tomorrow requires not millions of lightly lettered men, ready to work in unison at endlessly repetitive jobs, it requires not men who take orders in unblinking fashion, aware that the price of bread is mechanical submission to authority, but men who can make critical judgments, who can weave their way through novel environments, who are quick to spot new relationships in the rapidly changing reality. It requires men who, in C.P. Snow’s compelling terms, “have the future in their bones”.
- 1a believer in devotion to duty.false
- 2a believer in taking things for granted.false
- 3a believer in doing what he is told, right or wrong.true
- 4a believer in the honesty of machines.false
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Answer : 3. "a believer in doing what he is told, right or wrong."
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Answer : 1. "vary "
Q:Read the following passage carefully and give the answer of following questions.
Art both reflects and interprets the notion that produced it. Portraiture was the dominant theme of British painting up to the end of the eighteenth century because of a persistent demand for it. It would be unfair to say that human vanity and pride of possessions were the only reasons for this persistent demand, but certainly these motives played their part in shaping the course of British painting. Generally speaking, it is the artist's enthusiasm that accounts for the vitality of the picture, but it is the client who dictates its subject-matter. The history of national enthusiasms can be pretty accurately estimated by examining the subject-matter of a nation's art.
There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.
British painting of the late eighteenth century and the first halt of the nineteenth century chiefly deals with
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5f3a23db1269c22e1267b750There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.
- 1a love of outdoor life directed into the channel of sporttrue
- 2a love of country life which cannot be found in any other countryfalse
- 3love in the open directed into a sporting channelfalse
- 4love out of doors with enough life in itfalse
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Answer : 1. "a love of outdoor life directed into the channel of sport"
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Answer : 2. "relegated"
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