InstructionThese instructions are applicable only to questions 1 to 6
From a very early age, I knew that when I grew up, I should be a writer. I had the lonely child's habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their sound . I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development. His subject -matter will be determined by the age he lives in - at least this is true in tumultuous, revolutionary ages like our own - but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. It is his job to discipline his temperament, but if he escapès from his early influences altogether, he will have killed his impulse to write. I think there are four great motives for writing, at any rate for writing prose. They are: (i) Sheer egoism: Des ire to seem clever, to be talked about, to be remembered after death, to.get your own back on grown -ups who snubbed you in childhood; (ii) Aesthetic enthusiasm: Desire to share an experience -which one feels is valuable and ought not to be missed (iii) Hist orical impulse: Desire to see things as they are, to find out true facts and store them up -for the use of posterity (iv) Political purpose : Desire to push the world in a certain direction, to alter other people's idea of the kind of society that they shou ld strive after.
Question 1.
For the author, aesthetic enthusiasm is an important motive for writing because it ...
Question 2.
The author strongly advocates the writers t ọ:
Question 3.
Which of the following is a synonym for the word "tumultuous"?
Question 4.
George Orwell's loneliness during childhood led to
Question 5.
Why does Orwell give background information?
Question 6.
If writer escapes from early impulses, he will ...
InstructionThese instructions are applicable only to questions 7 to 12
The right kind of education consists in understanding the child as he is without imposing upon him an ideal of what we think he should be. To enclose him in the framework of an ideal is to encourage him to conform, which breeds fear and produces in him a constant conflict between what he is and what he should be: and all inward conflicts have their outward manifestations in society. If the parent loves the child, he observes him, he studies his tendencies, his moods, and peculiarities. It is only when o ne feels no love for the child that one imposes upon him an ideal, for then one's ambitions are trying to fulfill themselves in him, wanting him to become this or that. If one loves, not the ideal but the child, then there is a possibility of helping him t o understand himself as he is. Ideals are a convenient escape, and the teacher who follows them is incapable of understanding his students and dealing with them intelligently; for him, the future ideal, the what should be, is far more important than the present child. The pursuit of an ideal excludes love, and without love no human problem can be solved. If the teacher is of the right kind, he will not depend on a method, but will study each individual pupil. In our relationship with children and young people, we are not dealing with metrical devices that can be quickly repaired, but with living beings who are impressionable, volatile, sensitive, afraid, affectionate: and to deal with them, we have to have great understanding, the strength of patience and love. When we lack these, we look to quick and easy remedies and hope for marvellous and automatic results. If we are unaware, mechanical in our attitudes and actions, we fight shy of any dema nd upon us that is disturbing and that cannot be met by an automatic response, and this is one of our major difficulties in education.
Question 7.
According to the passage, why do we look for quick and easy remedies and hope for marvellous and automatic results?
Question 8.
What does the passage highlight as the quality of a parent who really desires to understand his child?
Question 9.
What is the antonym for the word "volatile"?
Question 10.
Which of the following currently reflects the intention of the author of this passage?
Question 11.
In light of the above passage, what will be the result of forcing a child to conform to the framework of an ideal?
Question 12.
According to the author, what should be the attitude of a right kind of teacher?
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InstructionThese instructions are applicable only to questions 1 to 5
Everything she wanted was here, at Carignano, in Kasauli. Here, on the ridge of the mountain, in this quiet house. It was the place, and the time of life, that she had wanted and prepared for all her life-as she realized on the first day at Cangnano, with a great, cool flowering of relief and at last she had it. She wanted no one and nothing else. Whatever else came, or happened here, would be an unwelcome intrusion and distraction. This she tried to convey to the plodding postman with a cold and piercing stare from the height of the ridge onto his honest bull back. Unfortunately, he did not look up at her on the hilltop but stared stolidly down at the dust piling onto his shoes as he plodded on. A bullock -man, an oafish ox, she thought bitterly. She stepped backwards into the garden and the wind suddenly billowed up and threw the pine branches about as though to curtain her. She was grey, tall and thin and her silk sari made a sweeping, shivering sound and she fancied she could merge with the pine trees and be mistaken for one. To be a tree, no more and no less, was all she was prepared to undertake. What pleased and satisfied her so, here at Carignano, was its barrenness. This was the chief virtue of all Kasauli of course -its starkness. It had rocks, it had pines, it had light and air In every direction there was a sweeping view to the north of the mountains, to the south, of the plains. Occasionally an eagle swam through this clear unobstructed mass of light and air, that was all. And Carignano, her home on the ridge, had no more than that. Why should it? The sun shone on its white walls. Its windows were open the ones facing north opened on to the blue waves of the Himalayas flowing out and up to the line of ice and snow sketched upon the sky, while those that faced south looked down the plunging cliff to the plain stretching out, flat and sere to the blurred horizon. Yes, there were some apricot trees close to the house. There were clumps of iris that had finished blooming. There was the kitchen with a wing of smoke lifting out of its chimney and a stack of wood outside its door. But these were incidental, almost unimportant.
Question 1.
What does the protagonist's preference for "barrenness" and "starkness" at Carignano suggest about her personality?
Question 2.
What do you get to know about the protagonist's state of mind from her reaction towards the postman?
Question 3.
What does the protagonist's desire to be mistaken for a pine tree reveal about her mindset?
Question 4.
Which of the following statements are true about the protagonist's overall state of mind in Carignano? Statement I: She experienced a sense of constant restlessness and anguish Statement II: She felt isolated and disconnected from her environment. Statement III: She was content, fulfilled, and at peace with her surroundings
Question 5.
In the light of above passage, what role does nature play in the protagonist's life at Carignano?
InstructionThese instructions are applicable only to questions 6 to 10
Read an extract from A Scandal in Bohemia by Arthur Conan Doyle:
“I rang the door -bell and was shown up to the chamber which had formerly been in part my own.
With hardly a word spoken, Sherlock Holmes waved me to an armchair. Then he stood before the fire and looked me over in his singular introspective fashion. “Watson, you did not tell me that you intended to go into harness.”
“Then, how do you know?”
“I see it, I deduce it. How do I know that you have been getting yourself very wet lately, and that you have a most clumsy and careless servant girl?”
“My dear Holmes,” said I, “this is too much. It is true that I had a country walk on Thursday and came home in a dreadful mess, but as I have changed my clothes, I can’t imagine how you deduce it. As to Mary Jane, she is incorrigible, but there, again, I f ail to see how you work it out.”
“It is simplicity itself,” said he; “my eyes tell me that on the inside of your left shoe, just where the firelight strikes it, the leather is scored by six almost parallel cuts. Obviously, they have been causedby someone whohas very carelessly scaredround the edges of the sole in order to remove crusted mud from it. Hence, you see, my double deduction that you had been out in vile weather, and that you had a particularly malignant boot -slitting specimen of the London slavey.”
In fiction, detectives like Holmes are usually portrayed as people with exceptionally brilliant minds. They possess the rare skill to see and analyze what ordinary people can’t. They have incredible abilities to infer, deduce, induce and conclude.
Then, there is G.K. Chesterton’s fictional catholic priest, Father Brown who relies on his extraordinary power of sympathy and empathy that enable him to imagine and feel as criminals do. He explains, “I had thought out exactly how a thing like that could be done, and in what style or state of mind a man could really do it. And when I was quite sure that I felt exactly like the murderer myself, of course I knew who he was.”
Sherlock finds the criminal by starting from the outside. He relies on science, experimental methods and deduction. On the contrary, Father Brown uses varied psychological experiences learned from those who make confessions of crime to him. He relies on in trospection, intuition and empathy.
There is yet another set of detectives like those created by writers like Agatha Christie. Her Belgian detective, Hercule Poirot is a story -teller who draws information from the stories that others tell. He patiently listens to numerous accounts of what happened, where it happened and how it happened. He listens for credibility and ambiguity; he identifies why and how the pieces of the jig -saws don’t fit together. Ultimately, he uncovers the truth.
Question 6.
From the passage, it can be inferred that
Question 7.
It is evident that for solving cases, Father Brown relies largely on
Question 8.
For the three detectives mentioned in the passage, which one of these would be non - essential for solving criminal cases?
Question 9.
In order to solve cases, Poirot uses the art of _________the narratives that he has been told.
Question 10.
The word incorrigible is the antonym of
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