Comprehension Test Questions and Answers Practice Question and Answer
8 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.
England has sporting pictures in abundance but
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5f3a244c1269c22e1267b91dThere 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.
- 1they are not easily availablefalse
- 2not many of them are significant as works of artfalse
- 3many of them are of real importance as works of arttrue
- 4they are only to be found in the private collection of country squires and no where elsefalse
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Answer : 3. "many of them are of real importance as works of art"
Q:You have eight brief passages with 10 questions following each passage. Read the passages carefully and choose the best answer to each question out of the four alternatives
A farmer accompanied by his young son was driving his ass to the market in the hope of selling the ass for a good price. On the road, they met a bevy of girls who laughed and exclaimed, “See this pair of fools ? They are trudging along the dusty road, when they can be riding !” The man thought that there was sense in what they were saying. So he mounted his son on the ass and he walked at the side. Presently, they met some of his old friends, who greeted him and said, “You’ll spoil your son, by letting him ride while you toil along on foot! Make him walk. It’ll be good for him.” The farmer followed their advice and took his son’s place on the back of the ass while the boy trudged along behind. They would not have gone far, they were seen by women and children. The farmer heard them say, “What a selfish old man ! He rides in comfort, but lets his poor little fellow walk the distance.” So he asked his son to get up behind him. Further along the road, they met some travellers. They asked the farmer whether the ass was his property or was it hired for the purpose. The farmer told them that he was taking his ass to the market to sell it. The travellers said, “Good Heavens ! With the load like this, the poor beast will look exhausted and no one would like to purchase him. Why don’t you carry him.” Immediately, the farmer got off the ass, tied its legs with the rope and slung him on a pole and carried him in between them. This was such an absurd sight that people laughed at it. They called the farmer and his son lunatics. They had then reached a bridge over a river. Frightened by the noise around, the ass struggled, kicked, broke the pole, fell into the river and died. The farmer returned home vexed and ashamed. In trying to please all, he in fact, had pleased none and he had lost the ass in the transaction.
The farmer made his son mount the ass because
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63a97f12e590d4085fc5b32d- 1the son could not walk the distance.false
- 2the son was adamant about riding the ass.false
- 3a group of girls laughed at the farmer’s folly.true
- 4the road was dusty.false
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Answer : 3. "a group of girls laughed at the farmer’s folly. "
Q:Directions: You have two brief passages with questions following each passage. Read the passages carefully and choose the best answer to each question out of the four alternatives
Ram had never thought much about the origin of wealth or inequalities in life. It was his firm belief that if this world was not good, the next would be good, and this faith sustained him. He was not like some others whom he knew, who would sell their souls to the devil. He always thought of God before doing anything. He lived the life of an honest man. He had not married but did not desire another man’s wife. He believed that women weakened men as was described in the story of Samson and Delilah.
By not desiring another man’s wife Ram showed that
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63a978c3e541fa7a0117dc58- 1he wanted to get married.false
- 2he was a man of principles.true
- 3he felt sorry for other men.false
- 4he had no desire for another’s wealth.false
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Answer : 2. "he was a man of principles. "
Q:Comprehension: In the following passage, some words have been deleted. Read the passage carefully and select the most appropriate option to fill in each blank.
Ants, like most insects, have (1) ______ are known as compound eyes. This means their eyes have multiple lenses, (2) ______ in general, most species of ant do not have particularly great eyes for seeing (3) ______ far. Ants can detect movement and see the areas around them, but (4) ______ more on senses and information they get from their legs and antennae (5) ______ from their eyes.
Select the most appropriate option to fill in blank number 5.
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64352a63a16c2dfa9cddc561Ants, like most insects, have (1) ______ are known as compound eyes. This means their eyes have multiple lenses, (2) ______ in general, most species of ant do not have particularly great eyes for seeing (3) ______ far. Ants can detect movement and see the areas around them, but (4) ______ more on senses and information they get from their legs and antennae (5) ______ from their eyes.
- 1thantrue
- 2whenfalse
- 3thenfalse
- 4Thusfalse
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Answer : 1. "than "
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Answer : 1. "adjoining "
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.
The motives that played their part in shaping the course of British painting are
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5f3a2205e2e6e42e42b7bf69There 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.
- 1the persistent demand for it and its supplyfalse
- 2the artist's enthusiasm for it and his effortsfalse
- 3human vanity and pride of possessionstrue
- 4the spirit of competition that prevailed then and the encouragement givenfalse
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Answer : 3. "human vanity and pride of possessions"
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Answer : 2. "Only (III)"
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