THE ENGLISH AND FOREIGN LANGUAGES UNIVERSITY

HYDERABAD – 50 007

MA ENGLISH (CAFETERIA) ENTRANCE EXAMINATION

Model paper

Maximum marks: 100

Duration: 2 hours

Section A (25 marks)

Read the following prose extract and answer the questions given below.

One of the changes has to do with attitudes towards the use of English. Many have referred to the

argument about the appropriateness of this language to Indian themes. And I hope all of us share

the view that we can‘t simply use the language in the way the British did; that it needs remaking

for our own purposes. Those of us who do use English do so in spite of our ambiguity towards it,

or perhaps because of that, perhaps because we can find in that linguistic struggle a reflection of

other struggles taking place in the real world, struggles between the cultures within ourselves and

the influences at work upon our societies. To conquer English may be to complete the process of

making ourselves free.

But the British Indian writer simply does not have the option of rejecting English, anyway. His

children, her children, will grow up speaking it, probably as a first language; and in the forging

of a British Indian identity the English language is of central importance. It must, in spite of

everything, be embraced. (The word ‗translation‘ comes, etymologically, from the Latin for

‗bearing across‘. Having been borne across the world, we are translated men. It is normally

supposed that something always gets lost in translation; I cling, obstinately, to the notion that

something can also be gained.)

To be an Indian writer in this society is to face, every day, problems of definition. What does it

mean to be ‗Indian‘ outside India? How can culture be preserved without becoming ossified?

How should we discuss the need for change within ourselves and our community without

seeming to play into the hands of our racial enemies? What are the consequences, both spiritual

and practical, of refusing to make any concessions to Western ideas and practices? What are the

consequences of embracing those ideas and practices and turning away from the ones that came

here with us? These questions are all a single, existential question: How are we to live in the

world?

I do not propose to offer, prescriptively, any answers to these questions; only to state that these

are some of the issues with which each of us will have to come to terms.

To turn my eyes outwards now, and to say a little about the relationship between the Indian

writer and the majority white culture in whose midst he lives, and with which his work will

sooner or later have to deal:

In common with many Bombay-raised middle-class children of my generation, I grew up with an

intimate knowledge of, and even sense of friendship with, a certain kind of England: a dream-

England composed of Test Matches at Lord's presided over by the voice of John Arlott, at which

Freddie Trueman bowled unceasingly and without success at Polly Umrigar; of Enid Blyton and

Billy Bunter, in which we were even prepared to smile indulgently at portraits such as 'Hurree

JamSet Ram Singh', 'the dusky nabob of Bhanipur‘. I wanted to come to England. I couldn't wait.

And to be fair, England has done all right by me; but I find it a little difficult to be properly

grateful. I can't escape the view that my relatively easy ride is not the result of the

dream-England's famous sense of tolerance and fair play, but of my social class, my freak fair

skin and my 'English' English accent. Take away any of these, and the story would have been

very different. Because of course the dream-England is no more than a dream.

Sadly, it‘s a dream from which too many white Britons refuse to awake. Recently, on a live radio

programme, a professional humorist asked me, in all seriousness, why I objected to being called

a wog. He said he had always thought it a rather charming word, a term of endearment. 'I was at

the zoo the other day,' he revealed, 'and a zoo keeper told me that the wogs were best with the

animals; they stuck their fingers in their ears and wiggled them about and the animals felt at

home.' The ghost of Hurree Jamset Ram Singh walks among us still.

As Richard Wright found long ago in America, black and white descriptions of society are no

longer compatible. Fantasy, or the mingling of fantasy and naturalism, is one way of dealing with

these problems. It offers a way of echoing in the form of our work the issues faced by all of us:

how to build a new, 'modern' world out of an old, legend-haunted civilization, an old culture

which we have brought into the heart of a newer one. But whatever technical solutions we may

find, Indian writers in these islands, like others who have migrated into the north from the south,

are capable of writing from a kind of double perspective: because they, we, are at one and the

same time insiders and outsiders in this society. This stereoscopic vision is perhaps what we can

offer in place of 'whole sight‘.

(from Imaginary Homelands by Salman Rushdie)

Choose the most appropriate answer. (5x2=10 marks)

1. The author‘s experience of England is not the normative experience of an ordinary Indian

because

A. Like the author the ordinary Indian has not nurtured a ‗dream-England‘ or aspirations

of reaching the dream land.

B. Like the author the ordinary Indian has acquired airs and nuances that are essentially

English but are betrayed by his/her complexion.

C. Unlike the author the ordinary Indian has a radical sense of nationhood, citizenship

and identity.

D. Unlike the author the ordinary Indian has not imbibed and cannot simulate signs of

English culture.

2. Assertion (A): An amalgam of fantasy and naturalism is one of the ways to deal with

contradictory perspectives on culture.

Reasoning (R): Stereoscopic vision provides an effective remedy to conflicting

perspectives on culture.

A. Both (A) and (R) are correct but (R) is not the correct explanation of (A).

B. Both (A) and (R) are correct and (R) is the correct explanation of (A).

C. (A) is right but (R) is wrong.

D. (A) is wrong but (R) is right.

3. In the context of the changing attitude to the use of English language ambiguity sneaks in

because

A. Linguistic struggles are ambiguous but cultural conflicts are unambiguous

B. Linguistic signs are ambiguous but cultural icons are unambiguous

C. Both linguistic struggles and cultural conflicts reflect ambiguity

D. Both linguistic signs and cultural icons are unambiguous

4. In dealing with the linguistic problems the Indian writer faces, the author sacrifices his

essential postcolonial perspective on identity and culture by

A. Failing to answer the questions on the various aspects of culture and identity

B. Leaving the essential question of diasporic identity and acculturation unaddressed

C. Regarding the questions on culture and identity as a monolithic existential problem

D. Foregrounding questions related to language rather than cultural questions

5. The professional humorist whom the author met regards the term ‗wog‘ a charming word

and a term of endearment. Which of the following statements is true in the light of the

comment of the zookeeper which informs the connotation given by the humorist?

A. The humorist thinks that ‗wog‘ is a harmless term and its meaning becomes more

positive in the light of the zookeeper‘s comment

B. The zookeeper‘s comment subverts the harmless connotation of the term ‗wog‘

C. The humorist thinks that ‗wog‘ is a harmless term and its meaning remains the same

even after considering the zookeeper‘s comment

D. The zookeeper‘s comment does not have any implication on the meaning attributed

by the humorist

Choose the most appropriate answer. (5x1=5 marks)

6. What struggles are identified in the struggles to make a language our own

A. a gender struggle

B. a class struggle

C. a struggle between cultures within us

D. a struggle to migrate

7. The British Indian writer cannot reject English Language because

A. language is central in forging a British Indian identity

B. it is the first language of their children

C. both A and B

D. neither A nor B

8. Richard Wright has been referring to

A. difference in black and white perspectives

B. difference in black and white experience

C. both A and B

D. neither A nor B

9. What is the literary concept referred to in the ―mingling of fantasy and naturalism?‖

A. Alienation

B. Magical realism

C. Metaphysical art

D. Objectivity

10. According to the author, ‗translation‘ is

A. a sense of loss

B. a process mediated between different meaning- making systems

C. a sense of gaining a new world

D. an imaginary prowess

Read the following poem and answer the questions that follow.

Stalin Epigram

We are living, but can‘t feel the land where we stay,

More than ten steps away you can‘t hear what we say.

But if people would talk on occasion,

They should mention the Kremlin Mountain man.

His thick fingers are bulky and fat like live-baits,

And his accurate words are as heavy as weights.

His cockroach moustaches are screaming,

And his boot-tops are shining and gleaming.

But around him a crowd of thin-necked henchmen,

And he plays with the services of these half-men.

Some are whistling, some meowing, some sniffing,

He‘s alone booming, poking and whiffing.

He is forging his rules and decrees like horseshoes –

Into groins, into foreheads, in eyes, and eyebrows.

Every killing for him is delight,

And Ossetian torso is wide.

(Osip Mandelstam)

Choose the most appropriate answer. (5x2=10 Marks)

11. His thick fingers are bulky and fat like live-baits,

And his accurate words are as heavy as weights. The images in these lines highlight

A. the occupation in which the tyrant was engaged in before acquiring power.

B. that he is casting traps to capture his enemies.

C. the physical features of the man which are like that of a giant and his harsh voice.

D. the predatory nature of the man and the irrefutable nature of his words.

12. Why are the henchmen pressed as ―meowing and sniffing‖?

A. They are as obedient as domesticated cats and dogs.

B. They are fond of pets like cats and dogs.

C. They are loving and adorable as cats and dogs.

D. They are agile and vigilant like cats and dogs.

13. How does the poet foreground the inhuman and callous nature of the tyrant?

A. By saying that he takes delight in killing.

B. By referring to his callous henchmen.

C. By describing him through dehumanized images.

D. By referring to the silenced men in the country.

14. Why does the poet say that the tyrant is forging his rules and decrees like horseshoes?

A. To highlight the cruelty of the tyrant through an image from the smithy.

B. To show that every rule and order of the tyrant is made to torture his subjects.

C. To reveal that framing rules is time consuming like making horseshoes.

D. To show that his rules are so strong and are not malleable like iron horseshoes.

15. The initial lines of the poem refer to the people but then it veers its focus entirely onto the

figure of the tyrant. What is the rationale for this?

A. As evident from its title, the poem focuses on the tyrant and not on the people.

B. In a totalitarian state the tyrant captures all attention and the people are insignificant.

C. In every poem the initial image should move on to the central theme.

D. The speaker is representative of the people and he/she deals with the threatening

figure of the tyrant.

Section B (25 marks)

Read passages I and II carefully, and choose the most appropriate answer for each of the

questions that follow.

Questions 16 & 17 carry 2 marks each. Questions 18-24 carry 3 marks each.

Passage I

MS Subbulakshmi‘s music in the early years of her stardom had a voice that could render a

musical phrase fast, irrespective of its complexity, with precision, elan and finesse. Her

renditions moved with great accuracy without ever compromising on musical definition. There

was no apparent conscious effort, no contrived intellectualisation—this aesthetic seemed second

nature to her. There was something in her singing then that was very avant-garde, stylish,

modern and carefree. This should not be taken to mean it was free of care, but free of fear—that

is, the fear of going wrong or falling short. Her style had a quality that was fleet but not hasty,

quick of movement but not jerky. The modern and the avant-garde are, after all, born from

unbound flight: musicians achieve the most elusive artistry when they reach out for the high

skies without a second thought.

Her early recordings create the impression of a very contemporary young musician, liberal and

feminist, who didn‘t care a damn for what people thought. This attitude, as others have observed,

is well in keeping with the Devadasi tradition of music. Artists of Devadasi origin had to be, if

anything, supremely assertive and artistically self-confident, in a bid to protect their lives from

exploitation as far as possible. They were not to be fooled around with, or taken for casual

performers. In aesthetic terms, this meant their work was to be respected; they were to be given

time and space to perform, to create that unmarked zone in which they were sovereign. There is a

clear streak of a non-patriarchal, non-conservative musical democracy born out of the organic

nature of Devadasi learning.

But MS‘s music was strikingly different even from that of the dominant Devadasi musical

tradition in Madras, from the school of the legendary Vina Dhanammal, who rose to prominence

at the turn of the twentieth century. This music was slower, with a focus on softer curves and

gentler phraseology, with intricate aural filigree. For the Carnatic community, the Dhanammal

variety of music later propagated by her grandchildren—T Brinda, T Mukta and T

Vishwanathan—has come to be accepted as the universal representation of the Devadasi

tradition. We seem to have forgotten that Devadasi homes nurtured diverse ideas of musical

aesthetics, but the early MS reminds us of this reality.

There are also musical reasons for the difference of texture. Some of MS‘s biographers,

including the journalist TJS George, have speculated that her father may have been the star

musician, Madurai Pushpavanam. He is said to have had a very racy and dynamic interpretation

of Carnatic music. It is at least possible that MS heard about his approach from her mother.

Shanmukhavadivu herself seems to have taught MS music that packed a punch. And then there

was GN Balasubramaniam, or GNB, as he came to be called—a dashing musician six years older

than MS, whom we now know she not only admired, but was also infatuated with.

By the late 1930s, GNB had revolutionised the tone, thought, and method of rendering Carnatic

music. All of a sudden, this genius had given the music an exciting, youthful expression, and he

became all the rage among Madras‘s young upper classes. MS‘s music from this period through

to the 1950s sounds akin to GNB‘s sound. This was probably the result of her conscious

internalisation of his music, as well as his subconscious impact.

By mid 1940, MS had become a name to reckon with, both as a singer on the rigorous stage, and

as an actor on the fluid screen. Both roles were complementary; on both, she became, quite

simply, a star. In July that year, she and Sadasivam were married, after the passing away of

Sadasivam‘s wife. It marked the officialisation of their relationship, and the point after which

everything began to change. The patriarchy that surrounded the Carnatic world governed every

aspect of MS and Sadasivam‘s social and cultural life. Sadasivam‘s politics were emancipatory,

but he was personally a conservative patriarch. He was instrumental in choreographing MS‘s

transformation. She may have wanted the legitimacy that came with it herself, of course. The

security of social respect and acceptance among the cultural elite was probably important to her.

On the practical side of things, she was aware that Sadasivam knew exactly what to do

professionally. What happened next can be called the transformation, or the psychological

realignment, even the taming, of Subbulakshmi. The free-spirited young woman was to become

the embodiment of the ideal Brahmin housewife, seen among the elite as the epitome of purity

and devotion.

By the late 1950s and early 1960s, her concert tours across India had become processional, like

Dasara in Mysore. They were great events, replete with social celebration and musical rejoicing.

Here, the striking changes in her music are first discerned in the texture of her voice. It starts

sounding heavier, even a little suppressed, as though forced into containment. Musically, the

carefree abandon disappears. She still does sing those beautiful ―runs,‖ but they sound more

structured. All of a sudden, the kite is tied down by a heavy boulder. After the success of the

film, Meera and her becoming a quasi-saint across India, her music had to reflect her new status.

[Adapted from T.M. Krishna‘s article ―MS Understood‖]

16. Describing MS Subbulakshmi‘s singing style in the early years, the author argues that

(2 marks)

A. it was a careful and measured style.

B. it was a conservative style that tried to preserve the Carnatic tradition.

C. it was a jerky and contrived style of singing.

D. it was an accomplished yet carefree and fresh style of singing.

17. According to the author, in the devadasi tradition of music, the artists (2 marks)

A. Could be casual in their training unlike later classical musicians

B. Could not undergo rigorous musical training due to exploitation

C. Needed to combine rigorous training with an assertive character

D. Were always worried about people‘s criticisms and comments

18. According to the author, the people who influenced MS‘s music in her early years were

(3 marks)

A. Vina Dhanammal, T. Mukta and T. Brinda.

B. Her mother, Shanmukhavadivu and the singer, G.N. Balasubramaniam.

C. Her husband, Sadasivam and the singer, G.N. Balasubramaniam.

D. The journalist TJS George and the musician Madurai Pushpavanam.

19. The author describes the transformation that occurred in MS Subbulakshmi‘s life. Which

of the following statements comes closest to his description? (3 marks)

A. She gave up her musical career after marriage and became a Brahmin housewife

B. Both her musical style and her outward appearance became less avant garde and more

respectable and structured after marriage.

C. She became very religious after marriage and was soon revered as a saint.

D. Her outward appearance changed after her marriage but her musical style remained the

same.

Passage II

In a widely remarked letter written to Ernest Jones in 1920, Sigmund Freud anxiously rebutted

Havelock Ellis's claim that he was actually more of an artist than a scientist. "This is all wrong,"

Freud contended, "I am sure that in a few decades my name will be wiped away and our results

will last." In so arguing, Freud was betraying his allegiance to an assumption, widespread then as

now, that artistic creation is inextricably tied to the proper name of its creator, whereas scientific

achievements are the fruit of a collective, intersubjective process in which individual names play

only an anecdotal role. Psychoanalysis, a term Freud coined in 1896, would thus have to forget,

one might even say repress, the name of its founder and submit itself to the disinterested critical

scrutiny guaranteed by the institution of science. It would have to enter that history of science

which would be a part of what Auguste Comte had called the positivist history without names.

It takes little imagination to discern the irony in Freud 's worried reply to Ellis with its woefully

misplaced confidence in the future anonymization, if we can call it that, of his theories. For

despite his claims to scientificity, claims that, to be sure, contemporary commentators like Adolf

Grünbaum continue to evaluate with utmost seriousness, Freud's ideas have remained intimately

tied to his own name and its continuing authority. Psychoanalysis is no less Freudianism today

than it was when Freud first sought to establish its scientific credentials. Its practical authority as

a therapeutic technique is grounded in large measure in a historical chain of training analyses

that can be traced back, through a kind of apostolic succession, to the personal analytic

interactions of Freud and his first disciples. And the cogency of his theories seems defended as

much by a reading and rereading of his original texts as by an independent process of

experimental testing, however that might be construed in the difficult case of the analytic cure.

Thus even the most innovative Freudians like Jacques Lacan have invited comparison with the

Protestant Reformers because of their insistence on returning to Freud's own writings, which

have been allegedly misinterpreted by intervening readers.

But contrary to Freud's own expectation that such an inability to forget the teller and remember

only the tale would mean the reduction of his ideas to mere artistic intuitions, his influence has

not suffered as a result. Indeed, much of his still potent spell may well be due precisely to such a

"failure,' at least in the humanistic disciplines that have found him so congenial.

It would be intriguing to pursue the reasons for this historic outcome solely with reference to

Freud's theories and their reception, but I want instead to investigate their larger implications.

For it is obvious that psychoanalysis is by no means alone in wrestling with the ambiguities of

personal versus anonymous authority. A parallel case that immediately comes to mind is that of

Marxism, which tenaciously retains the name of its founder, even as it lays claim to objective

scientificity. Marx's celebrated disclaimer, "I am not a Marxist," may, among other things, have

indicated his desire not to reduce his ideas to a sectarian doctrine based on the holy writ of a

founding father. According to Maximilien Rubel, even after Marx's death, Engels remained

deeply hostile to the appellation Marxist, which had been coined as a term of opprobrium by

their anarchist opponents in the Second International.

But, as in the case of psychoanalysis, a pattern of obsessively reading and rereading the founder's

original texts, whether literally or, as Althusser would have it, symptomatically, has emerged in

the history of Marxism. And often it has served as an antidote to the uncertainties of an

experimental or practical verification that fails to verify anything very convincingly.

Many other examples can be given of founding fathers or mothers of theoretical discourses who

retain their personal authority in spite of their ostensible denigration of its power. Think, for

example, of the aura surrounding names like Friedrich Nietzsche, Martin Heidegger, Hannah

Arendt, Leo Strauss, and so on, all of whom figure widely in contemporary humanist discourse

as charismatic legitimaters. It might even be conjectured that a clear mark of a thinker's power

over posterity is the readiness with which his or her name is given adjectival status as a

convenient label for a specific worldview. When this transformation fails to occur, it suggests the

weakness of their ultimate influence, although to be sure, the opposite is no guarantee of long-

term survival.

From the point of view of a scientific self-understanding, such as that espoused by Freud, this

state of affairs can only be an embarrassment. For it calls into question the putative impartiality

and neutrality of their verification or falsification procedures. Does it, however, create a similar

dilemma for humanists who never claim a truly scientific status for their arguments? How

compromised are they by the persistence of name-dropping as a mode of legitimation? To

answer these questions, it is important to be clear that we are not talking about the citation of

names by humanists for a variety of other purposes: as objects of inquiry, as convenient short-

hand points of reference, or as honestly acknowledged sources of ideas or information.

[Adapted from ‗Name-Dropping or Dropping Names?‘ by Martin Jay]

20. Freud‘s name continued to remain prominent because (3 marks)

A. In the field of psychoanalysis, one‘s authority over therapeutic technique is often judged by

belonging to genealogy of Freud and his disciples.

B. Freud‘s texts are constantly subjected to reading and re-reading by his successors.

C. Freud established certain scientific credentials so much so that psychoanalysis continues to

be no less Freudianism.

D. All of the above.

21. Which of the following is implied in the passage? (3 marks)

A. Freud‘s rebuttal of Ellis implied that Freud was interested in identifying himself as scientist

and not an artist.

B. Freud wanted to be identified as artist but his results to be scientific.

C. Freud believed that artists are not capable of producing durable results.

D. None of the above.

22. Which of the following views is implied by the author? (3 marks)

A. Because of Freud, psychoanalysis repressed the name of its founder and appears today as

anonymous.

B. Auguste Comte called psychoanalysis ―positivist history without names”.

C. Despite Freud‘s assertion that only results will remain but not names, his name and his

ideas have become inseparably connected.

D. Freud was correct in pointing out that psychoanalysis would be known by results

irrespective of who produced those results.

23. The author considers Marx and Marxism parallel to Freud and psychoanalysis for which of the

following reasons?

A. The writer considers Marx‘s statement, ―I am not a Marxist‖ as a gesture of splitting his

name from his doctrine.

B. Marxism as a doctrine claims to be a science and at the same time retains the name of the

founder without fail.

C. The writer feels Marxism, like psychoanalysis, wrestles with the ambiguities of personal

versus anonymous authority.

D. All of the above.

24. Which of the following is implied in the passage?

A. Theoretical discourses largely retain the personal authority of founding figures irrespective

of the views of those figures

B. Aura around the founding figure complicates the supposed scientific and objective claims

of critical discourses

C. Both A and B

D. Neither A nor B

Section C (25 marks)

Read the following passage and choose the most appropriate word to fill in the blanks.

(1x10=10 marks)

Example: 0 A. invented B. coined C. created D. made

Answer: B

“Nomophobia” is the fear of being out of mobile phone contact. The term, an abbreviation for

―no-mobile-phone phobia‖ was 0 by a research organization which 25 anxieties suffered by

mobile phone users. The study found that 26 53% of mobile phone users in Britain tend to be 27

when they ―lose their mobile phone, run out of battery or credit, or have no network 28‖. While

nearly 50% of men and women 29 the phobia, a small percentage feel stressed when their mobile

phones are off. More than half of those 30 cited keeping in touch with friends or family as the

main reason for their anxiety when they could not use their mobile phones. The stress levels 31

by the average case of nomophobia was found to be on-par with those of ―wedding day jitters‖

and trips to the dentists. Some said they needed to be 32 at all times because of work. It is,

however, 33 that the word ‗phobia‘ is misused and that in the majority of cases it is only a

34 anxiety.

25. A. studied B. considered C. examined D. viewed

26. A. closely B. virtually C. relatively D. nearly

27. A. frightened B. nervous C. anxious D. worried

28. A. coverage B. range C. signal D. bandwidth

29. A. suffer B. suffer with C. suffer from D. suffer due to

30. A. interviewed B. asked C. questioned D. surveyed

31. A. generated B. induced C. created D. developed

32. A. traceable B. approachable C. available D. accessible

33. A. arguable B. uncertain C. improbable D. undecided

34. A. natural B. typical C. usual D. normal

Read the sentences given below. Decide if there is an error in any of the underlined parts,

marked A, B, and C. If yes, mark that letter. If there is no error, mark D. (1x6=6 marks)

35. One of the greatest

ideas

A

of the twentieth century

were

B

Freud‘s concept of the

subconscious mind.

C

No error

D

36. The disguise was very

good,

A

but the big scar on his

nose

B

gave him off and he was

soon recognised.

C

No error

D

37. Disapproving of his

son‘s wish to leave,

A

the father told him that

B

he could not leave so

abruptly.

C

No error

D

38. Sushila has worked as

fast as she could

A

but she did not have

enough time

B

to draw the design in the

time allotted.

C

No error

D

39. The young

inexperienced hikers

A

were worried about

B

not have enough water to

drink.

C

No error

D

40. If the new striker were

A

a better goal-scorer,

B

we might win more

matches.

C

No error

D

Given below are sets of two sentences. Both sentences may be right or wrong, or one of the

two may be right. Select the correct option. (1x3=3 marks)

41. P: Sneha knew that Sumanth was going to leave her.

Q: This is largely due to the fact that many writers think, not before, but as they write.

A. Only P correct

B. Only Q correct

C. Both correct

D. Both incorrect

42. P: Looking up, the clock informed me I had little time to spare.

Q: Riding my bicycle through the woods, I suddenly saw a bear in front of me.

A. Only P correct

B. Only Q correct

C. Both correct

D. Both incorrect

43. P: The woodpecker and his mate tried their best to oust the squirrel who had stolen their

nest.

Q: Every cowboy, horse, pack mule, trail hand, and cook drank their fill at the desert oasis.

A. Only P correct

B. Only Q correct

C. Both correct

D. Both incorrect

Questions 44–46: In each of the following THREE incomplete paragraphs (S1 to S4),

two sentences (S2 and S3) are missing. From the options (P, Q, R) choose two sentences

which can be S2 and S3. (3x2 = 6 marks)

44. S1: In January 2016, after much hesitation, the Delhi government took its

first real emergency action against the deadly smog.

S2: _________________________________________

S3: _________________________________________

P: It introduced an odd and even scheme to ration the number of vehicles on

the road.

Q: But it is another matter that the scheme was riddled with exemptions and

problems.

R: The opposition to the scheme calling the action as unnecessary and

inconvenient, however, did not have any negative impact.

S4: So, unlike what is done in other parts of the world when drastic and

surgical action is taken to curb smog, the scheme in Delhi had limited

impact.

A. PQ B. PR C. RQ D. RP

45.

S1: India’s children now have the right to receive eight years of education

though it is different from other Constitutional rights.

S2: _________________________________________

S3: _________________________________________

P: The beneficiary, a six-year old child, cannot demand it, and cannot fight a

legal battle when the right is denied or violated..

Q: Also, where a child's right to education is denied, no compensation offered

later can be adequate or relevant for childhood does not last.

R: In all cases, it is the adult society which must act on behalf of the child.

S4: If a legal battle fought on behalf of a child is eventually won it will be of little

use to child, as the opportunity missed at school cannot serve the same

purpose later in life.

A. PR B. RQ C. RP D. PQ

46.

S1: China’s capital Beijing has launched electric sanitation vehicles to replace

gas-driven ones.

S2: _________________________________________

S3: _________________________________________

P: It is a measure to cut down emission levels in a city that has been battling

heavy pollution.

Q: The first set of vehicles include models covering road sanitation functions

from road sweeping and garbage transportation to garbage disposal.

R: By the end of 2017, about 45 per cent of all sanitation vehicles in Beijing will

be electricity driven.

S4: Following the changes, the authorities estimate that a 16-tonne electric-

powered sweeping truck will emit 80 tonnes less carbon dioxide a year

compared to the original gas-powered truck and significantly decrease

pollution levels in the city.

A. PR B. PQ C. RQ D. QP

Section D (25 marks)

Questions 47 - 71 carry 1 mark each.

Questions 47 to 56: A related pair of words is followed by four pairs of words. Select the

pair that expresses a relationship that comes nearest to the one expressed by the original

pair.

47. TRACTOR : TRAILER ::

A. horse : stable

B. farm : cart

C. horse : saddle

D. aeroplane : engine

48. FLOWER : BUD ::

A. ground : twig

B. plant : seed

C. bitter : taste

D. tree : flower

49. FLOW : RIVER ::

A. drought : rain

B. gulf : stream

C. stagnant : pool

D. lugubrious : canal

50. PAW : CAT ::

A. leg : lamb

B. hoof : horse

C. trunk : elephant

D. mane : lion

51. CAR : GARAGE ::

A. bird : port

B. table : depot

C. aeroplane : hangar

D. automobile : harbour

52. SWARM : FLIES ::

A. flock : ants

B. pack : sailors

C. pile : grapes

D. fleet : cars

53. CHIP : STONE::

A. flint : glass

B. flake : snow

C. flame: fire

D. paint : brush

54. HORSE : MARE ::

A. man: men

B. duck : drake

C. donkey : pony

D. dog: pack

55. DROUGHT : WATER ::

A. pallid : colour

B. flood : ice

C. mute: mike

D. oasis: oil

56. PESTICIDE : PESTS ::

5

6

3 1

A. genocide : king

B. rodenticide : cats

C. homicide : man

D. suicide : people

57. What comes next in the series?

T5AR, SB4S, RCT3, _____, PE1V

A. PQW1

B. SQV2

C. Q2DU

D. Q3UA

58. Which pair of numbers comes next in the series?

62, 59, 55, 52, 48, 45, 41

A. 38, 36

B. 38, 34

C. 37, 33

D. 37, 32

59. What number comes inside the triangle?

A. 6

B. 3

C. 4

D. 10

Questions 60 to 64: Pick the odd one out from the list.

60.

2

3

2 2

3

?

1 2

A. disposal

B. parental

C. bridal

D. global

61.

A. relish

B. detest

C. savor

D. enjoy

62.

A. pass out

B. pass away

C. pass on

D. pass in

63.

A. drizzle

B. downpour

C. flood

D. landslide

64.

A. nettled

B. contented

C. piqued

D. riled

Questions 65 and 66: Three of the following words have the same vowel sound. One word

has a different vowel sound. Choose the word that is different from the rest.

65.

A. meat

B. suite

C. brute

D. feat

66. A. bright

B. mean

C. eye

D. site

Questions 67 to 71: Read the following passage. Answer the questions by choosing the

correct option.

A jungle, an untamed river and disease – a formidable trio that made building a canal across the

country of Panama an almost impossible dream. Construction was impossible for a French

company already famous for building the Suez Canal in Egypt. They had tried it and failed in the

late 1880s. The Americans took over in 1904, and it took ten years to complete the 82 km long

canal through Panama. For ships, it was a huge improvement – instead of traveling around the tip

of South America, they could travel across Panama and save 14,400 km from trips between New

York and San Francisco. How did engineers pull off this amazing feat? Window screens. During

the French canal effort, yellow fever and malaria killed thousands of workers. There‘s definitely

a problem with a building project when three out of four workers die from disease. When the

Americans took over, they ran into the same problem. In fact, most of the American workers

booked passage home. That‘s where the window screens came in. The canal‘s Chief Sanitary

Officer, Dr. William Gorgas, believed in a new theory — mosquitoes spread the diseases. His

team first attacked the mosquito that carries yellow fever. It likes to live near humans, so Dr.

Gorgas targeted Panama City. All standing water — a great place for mosquitoes to lay eggs —

was eradicated, and mosquito netting and running water were provided to workers. Windows and

doors were screened, and in a matter of months yellow fever was wiped out in the city. Attacking

malaria-carrying mosquitoes, however, was like going after a jungle of beasts, Dr. Gorgas said.

They live just about everywhere, and the malaria they carry kills more people than yellow fever.

After researching the mosquito‘s habits, the team drained swamps, cleared vegetation, sprayed

oil on standing water, released minnows to eat mosquito larvae and bred spiders, ants and lizards

to feed on the adult insects. Malaria cases dropped. With disease under control, Chief Engineer

John Stevens turned to keeping the workers happy. While half of the 24,000 laborers were

digging a giant ―ditch‖ across Panama, the other half were constructing towns complete with

houses, dining halls, hospitals, hotels, churches and schools for workers and their families. They

even started a baseball league.

67. Which of the following statements is best supported by the passage?

A. Yellow fever is a more serious illness than malaria.

B. Dr. Gorgas had to convince engineers to prevent illness.

C. Dr. Gorgas had previously studied the habits of mosquitoes.

D. Yellow fever and malaria are carried by different types of mosquitoes.

68. What is the main purpose of the question (line 5) in the passage?

A. To lead in to the next topic.

B. To reveal the author‘s opinion.

C. To highlight the workers‘ skills.

D. To explain how the canal was built.

69. What is the most likely purpose of the article?

A. To explain the history of the canal.

B. To give interesting facts about the canal.

C. To show how much it costs to use the canal.

D. To explain the types of ships that use the canal.

70. Based on the passage, what does the word formidable mean?

A. Wild.

B. Difficult.

C. Unfamiliar.

D. Unexplored.

71. In the sentence It likes to live near humans, what does the pronoun ‗it‘ refer to?

A. Spiders.

B. Mosquitoes.

C. Yellow fever.

D. Insects.