English Reading Comprehension

Cats are called crepuscular mammals because they resemble dogs and red pandas.

Directions: Read the passage and answer the following question.

The Cat (Felis silvestris catus), usually called the Domestic Cat or House Cat is a small flesh eating mammal. Cats are normally very active during twilight hours of the day like dogs, deer, mice, red pandas etc. and hence called crepuscular mammals. Domestic cats are considered to be very social and can easily get along with human beings and even with other pets kept by human beings. Another fact that endears cats to human beings is that cats feed on nuisance creating pests like worms, insects and rodents called vermin. Due to these reasons house cats are considered to be good companions to human beings and are greatly valued by them. According to researchers, the human-cat association has been there for more than 10,000 years.
Cats are highly skilled and specialized hunters. It is known that they hunt over 1,000 different species for food. They are also found to possess a higher level of intelligence and have also been known to have learnt to operate simple mechanisms such as doorknobs. Cats use varied vocalizations and typical body language for communication. These vocalizations include mewing (meow or miaow), purring, hissing, growling, squeaking, chirping, clicking, and grunting. Due to their popularity as preferred pets, cats are also bred and shown as registered pedigree pets. This is a hobby known as Cat Fancy.
A study conducted under the aegis of the National Cancer Institute and published in the journal Science says that all house cats are descendents of a group of self-domesticating wild cats called Felis silvestris lybica found in deserts in the middle east area about 10,000 years ago. Another interesting fact about cats in general is that while almost all wildcat subspecies can interbreed, no such cross breeding is seen in domestic cats and they are all genetically contained within the specie.

The ancestors of today's house cats were inhabitants of the Middle East areas.

Directions: Read the passage and answer the following question.

The Cat (Felis silvestris catus), usually called the Domestic Cat or House Cat is a small flesh eating mammal. Cats are normally very active during twilight hours of the day like dogs, deer, mice, red pandas etc. and hence called crepuscular mammals. Domestic cats are considered to be very social and can easily get along with human beings and even with other pets kept by human beings. Another fact that endears cats to human beings is that cats feed on nuisance creating pests like worms, insects and rodents called vermin. Due to these reasons house cats are considered to be good companions to human beings and are greatly valued by them. According to researchers, the human-cat association has been there for more than 10,000 years.
Cats are highly skilled and specialized hunters. It is known that they hunt over 1,000 different species for food. They are also found to possess a higher level of intelligence and have also been known to have learnt to operate simple mechanisms such as doorknobs. Cats use varied vocalizations and typical body language for communication. These vocalizations include mewing (meow or miaow), purring, hissing, growling, squeaking, chirping, clicking, and grunting. Due to their popularity as preferred pets, cats are also bred and shown as registered pedigree pets. This is a hobby known as Cat Fancy.
A study conducted under the aegis of the National Cancer Institute and published in the journal Science says that all house cats are descendents of a group of self-domesticating wild cats called Felis silvestris lybica found in deserts in the middle east area about 10,000 years ago. Another interesting fact about cats in general is that while almost all wildcat subspecies can interbreed, no such cross breeding is seen in domestic cats and they are all genetically contained within the specie.

Almost all cat species are genetically contained within the specie.

Directions: Read the passage and answer the following question.

The Cat (Felis silvestris catus), usually called the Domestic Cat or House Cat is a small flesh eating mammal. Cats are normally very active during twilight hours of the day like dogs, deer, mice, red pandas etc. and hence called crepuscular mammals. Domestic cats are considered to be very social and can easily get along with human beings and even with other pets kept by human beings. Another fact that endears cats to human beings is that cats feed on nuisance creating pests like worms, insects and rodents called vermin. Due to these reasons house cats are considered to be good companions to human beings and are greatly valued by them. According to researchers, the human-cat association has been there for more than 10,000 years.
Cats are highly skilled and specialized hunters. It is known that they hunt over 1,000 different species for food. They are also found to possess a higher level of intelligence and have also been known to have learnt to operate simple mechanisms such as doorknobs. Cats use varied vocalizations and typical body language for communication. These vocalizations include mewing (meow or miaow), purring, hissing, growling, squeaking, chirping, clicking, and grunting. Due to their popularity as preferred pets, cats are also bred and shown as registered pedigree pets. This is a hobby known as Cat Fancy.
A study conducted under the aegis of the National Cancer Institute and published in the journal Science says that all house cats are descendents of a group of self-domesticating wild cats called Felis silvestris lybica found in deserts in the middle east area about 10,000 years ago. Another interesting fact about cats in general is that while almost all wildcat subspecies can interbreed, no such cross breeding is seen in domestic cats and they are all genetically contained within the specie.

Which of the following most nearly means “Efficient”?

Directions: Read the given passage and answer the following question.

Xylem and Phloem. The Xylem is responsible for transporting water and certain nutrients from the root to the rest of the plant. The Phloem carries soluble organic material, i.e. food for the plant, which is produced in the leaves by photosynthesis to the other parts of the plant. The Xylem and phloem are the two types of vascular tissues that are present in plants. They are responsible for transporting water, minerals, food and other organic materials between the roots, stems and leaves of the plant. The Xylem and phloem form vascular bundles with each other, which means that together they are responsible for the efficient transportation of food, nutrients, minerals, and water in the plant, and hence the survival of the plant. Xylem is a type of transport tissue in vascular plants that is responsible for transporting water and certain nutrients from the root to the rest of the plant. Thus, it essentially flows in one direction, that is, from the bottom up to the sky towards the top of the plant. Its main function is to effectively transport water and nutrients from the soil to the various parts of the plant. The word ‘xylem’ is derived from the Greek word ‘xylon’, meaning wood. This is because wood is the best-known xylem tissue which is found throughout the tree. Xylem is a mixture of dead and living tissues, which are non-living at the time of maturity. It is made up of tracheids, vessels, xylem parenchyma, xylem fibres and ray parenchyma. Xylem cells are hard walled cells, which are stacked on top of each other and are mainly found in the center of the stem. Hence, xylem has another function, which is to provide mechanical support to the plant. The Xylem is surrounded by the phloem. The Phloem is the other type of transport tissue in vascular plants. Its main function is to carry soluble organic material, i.e. food for the plant, which is produced in the leaves by photosynthesis to the other parts of the plant. This process is called translocation. To do this effectively it flows both up and down the stem, unlike the xylem, which only flows up. The word ‘phloem’ is derived from the Greek word ‘phloos’, which means bark, as the phloem is the innermost layer of the bark in most trees. The Phloem is made up of sieve cells, sieve tube elements, phloem parenchyma, phloem fibres, and phloem ray cells. It consists of both living and dead soft-walled cells, where the outer phloem is made up of dead cells and the inner phloem is made of living cells.

Fill blank (x).

Directions: Read the following passage having some numbered blanks.

Motivating employees with traditional authority and financial _____(i)_____ has become increasingly _____(ii)_____ as employees become economically secure and their dependency on any one particular organization _____(iii)_____ According to expectancy theorists, the motivation to _____(iv)_____ increases when an employee feels his _____(v)_____ is an instrument for obtaining desired rewards. Nevertheless, in many organizations, today, employees are _____(vi)_____ to organisational rewards just by being employed. Unions, governmental regulations, and the nature of the job itself in some cases _____(vii)_____ management from _____(viii)_____ financial rewards for performance. People may be attracted to join and remain in organizations to receive organizational rewards, but _____(ix)_____ motivated to join an organization is _____(x)_____ the same as being motivated.

Choose the word most similar in meaning to the word 'languid', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

When you tell those of a malicious turn, any circumstance that has happened to another, though they perfectly know of whom you are speaking, they often affect to be at a loss, to forget his name, or to misapprehend you in some respect or other; and this merely to have an opportunity of slyly gratifying their malice by mentioning some unhappy defect or personal infirmity he labours under; and not contented "to tack his every error to his name," they will, by way of farther explanation, have recourse to the faults of his father, or the misfortunes of his family; and this with all the seeming simplicity and candour in the world, merely for the sake of preventing mistakes, and to clear up every doubt of his identity.
To hint at a fault, does more mischief than speaking out; for whatever is left for the imagination to finish, will not fail to be overdone: every hiatus will be more than filled up, and every pause more than supplied. There is less malice and less mischief too, in telling a man's name than the initials of it; as a worthier person may be involved in the most disgraceful suspicions by such a dangerous ambiguity.
More reputations are thus hinted away by false friends, than are openly destroyed by public enemies. And if, or a but, or a mortified look, or a languid defence, or an ambiguous shake of the head, or a hasty word affectedly recalled, will demolish a character more effectually, than the whole artillery of malice when openly levelled against it.
It is not that envy never praises - No that would be making a public profession of itself, and advertising its own malignity; whereas the greatest success of its efforts depends on the concealment of their end.
When envy intends to strike a stroke of Machiavellian policy, it sometimes affects the language of the most exaggerated applause; though it generally takes care, that the subject of its panegyric shall be a very indifferent and common character, so that it is well aware none of its praises will stick.
It is the unhappy nature of envy not to be contented with positive misery, but to be continually aggravating its own torments, by comparing them with the felicities of others. Perhaps envy, like lying and ingratitude, is practiced with more frequency, because it is practiced with impunity; but there being no human laws against these crimes, is so far from an inducement to commit them, that this very consideration would be sufficient to deter the wise and good, if all others were ineffectual; for of how heinous a nature must those sins be, which are judged above the reach of human punishment, and are reserved for the final justice of God!

Choose the word most similar in meaning to the word 'candour', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

When you tell those of a malicious turn, any circumstance that has happened to another, though they perfectly know of whom you are speaking, they often affect to be at a loss, to forget his name, or to misapprehend you in some respect or other; and this merely to have an opportunity of slyly gratifying their malice by mentioning some unhappy defect or personal infirmity he labours under; and not contented "to tack his every error to his name," they will, by way of farther explanation, have recourse to the faults of his father, or the misfortunes of his family; and this with all the seeming simplicity and candour in the world, merely for the sake of preventing mistakes, and to clear up every doubt of his identity.
To hint at a fault, does more mischief than speaking out; for whatever is left for the imagination to finish, will not fail to be overdone: every hiatus will be more than filled up, and every pause more than supplied. There is less malice and less mischief too, in telling a man's name than the initials of it; as a worthier person may be involved in the most disgraceful suspicions by such a dangerous ambiguity.
More reputations are thus hinted away by false friends, than are openly destroyed by public enemies. And if, or a but, or a mortified look, or a languid defence, or an ambiguous shake of the head, or a hasty word affectedly recalled, will demolish a character more effectually, than the whole artillery of malice when openly levelled against it.
It is not that envy never praises - No that would be making a public profession of itself, and advertising its own malignity; whereas the greatest success of its efforts depends on the concealment of their end.
When envy intends to strike a stroke of Machiavellian policy, it sometimes affects the language of the most exaggerated applause; though it generally takes care, that the subject of its panegyric shall be a very indifferent and common character, so that it is well aware none of its praises will stick.
It is the unhappy nature of envy not to be contented with positive misery, but to be continually aggravating its own torments, by comparing them with the felicities of others. Perhaps envy, like lying and ingratitude, is practiced with more frequency, because it is practiced with impunity; but there being no human laws against these crimes, is so far from an inducement to commit them, that this very consideration would be sufficient to deter the wise and good, if all others were ineffectual; for of how heinous a nature must those sins be, which are judged above the reach of human punishment, and are reserved for the final justice of God!

Choose the word most similar in meaning to the word 'exalted', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

There is hardly a composer concerning whom so many erroneous notions are current as concerning Chopin, and of all the histories of music I have seen that of Langhans is the only one which devotes to Chopin an amount of space approximately proportionate to his importance. One of the most absurd of the misconceptions is that Chopin's genius was born in full armor, and that it did not pass through several stages of development, like that of other composers. Chopin did display remarkable originality at the very beginning, but the apparent maturity of his first published works is due to the fact that he destroyed his earliest efforts and disowned those works which are known as posthumous, and which may have created confusion in some minds by having received a higher "opus" number than his last works.
Another misconception regarding Chopin is that his latest works are morbid and unintelligible. The same charge was brought by philistines against the best works of Beethoven, Schumann, and Wagner. The fact is that these last works are of an almost matchless harmonic depth and originality, as superior to his earlier works as Wagner's last music dramas are to his first operas. I make this comparison with Wagner advisedly because, although I have the most exalted notions of Wagner's grandeur and importance, I do not for a moment hesitate to say that in his own sphere Chopin is quite as original and has been almost as revolutionary and epoch-making as Wagner. Now, why has the world been so slow in recognizing that Chopin stands in the very front rank of creative musicians? One reason doubtless is that he was so quiet and retiring in his personal disposition. His still, small voice was lost in the din of musical warfare. He warmly defended the principles of the romantic school, if necessary, and had decided opinions of other musicians, especially of the popular pianists of his day who vitiated the public taste with their show pieces; but he generally kept them to himself or confided them only to his friends, whom he even occasionally implored to keep them secret. Had he, like Richard Wagner, attacked everybody, right and left, who stood in the way of the general recognition of his genius, his cause would have doubtless assumed greater prominence in the eyes of the public, even though the parlor piano does not afford so much play-ground for warfare as the operatic stage.

Choose the word most similar in meaning to the word 'erroneous', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

There is hardly a composer concerning whom so many erroneous notions are current as concerning Chopin, and of all the histories of music I have seen that of Langhans is the only one which devotes to Chopin an amount of space approximately proportionate to his importance. One of the most absurd of the misconceptions is that Chopin's genius was born in full armor, and that it did not pass through several stages of development, like that of other composers. Chopin did display remarkable originality at the very beginning, but the apparent maturity of his first published works is due to the fact that he destroyed his earliest efforts and disowned those works which are known as posthumous, and which may have created confusion in some minds by having received a higher "opus" number than his last works.
Another misconception regarding Chopin is that his latest works are morbid and unintelligible. The same charge was brought by philistines against the best works of Beethoven, Schumann, and Wagner. The fact is that these last works are of an almost matchless harmonic depth and originality, as superior to his earlier works as Wagner's last music dramas are to his first operas. I make this comparison with Wagner advisedly because, although I have the most exalted notions of Wagner's grandeur and importance, I do not for a moment hesitate to say that in his own sphere Chopin is quite as original and has been almost as revolutionary and epoch-making as Wagner. Now, why has the world been so slow in recognizing that Chopin stands in the very front rank of creative musicians? One reason doubtless is that he was so quiet and retiring in his personal disposition. His still, small voice was lost in the din of musical warfare. He warmly defended the principles of the romantic school, if necessary, and had decided opinions of other musicians, especially of the popular pianists of his day who vitiated the public taste with their show pieces; but he generally kept them to himself or confided them only to his friends, whom he even occasionally implored to keep them secret. Had he, like Richard Wagner, attacked everybody, right and left, who stood in the way of the general recognition of his genius, his cause would have doubtless assumed greater prominence in the eyes of the public, even though the parlor piano does not afford so much play-ground for warfare as the operatic stage.

Choose the word most similar in meaning to the word 'din', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

There is hardly a composer concerning whom so many erroneous notions are current as concerning Chopin, and of all the histories of music I have seen that of Langhans is the only one which devotes to Chopin an amount of space approximately proportionate to his importance. One of the most absurd of the misconceptions is that Chopin's genius was born in full armor, and that it did not pass through several stages of development, like that of other composers. Chopin did display remarkable originality at the very beginning, but the apparent maturity of his first published works is due to the fact that he destroyed his earliest efforts and disowned those works which are known as posthumous, and which may have created confusion in some minds by having received a higher "opus" number than his last works.
Another misconception regarding Chopin is that his latest works are morbid and unintelligible. The same charge was brought by philistines against the best works of Beethoven, Schumann, and Wagner. The fact is that these last works are of an almost matchless harmonic depth and originality, as superior to his earlier works as Wagner's last music dramas are to his first operas. I make this comparison with Wagner advisedly because, although I have the most exalted notions of Wagner's grandeur and importance, I do not for a moment hesitate to say that in his own sphere Chopin is quite as original and has been almost as revolutionary and epoch-making as Wagner. Now, why has the world been so slow in recognizing that Chopin stands in the very front rank of creative musicians? One reason doubtless is that he was so quiet and retiring in his personal disposition. His still, small voice was lost in the din of musical warfare. He warmly defended the principles of the romantic school, if necessary, and had decided opinions of other musicians, especially of the popular pianists of his day who vitiated the public taste with their show pieces; but he generally kept them to himself or confided them only to his friends, whom he even occasionally implored to keep them secret. Had he, like Richard Wagner, attacked everybody, right and left, who stood in the way of the general recognition of his genius, his cause would have doubtless assumed greater prominence in the eyes of the public, even though the parlor piano does not afford so much play-ground for warfare as the operatic stage.

Choose the word most similar in meaning to the word 'philistines', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

There is hardly a composer concerning whom so many erroneous notions are current as concerning Chopin, and of all the histories of music I have seen that of Langhans is the only one which devotes to Chopin an amount of space approximately proportionate to his importance. One of the most absurd of the misconceptions is that Chopin's genius was born in full armor, and that it did not pass through several stages of development, like that of other composers. Chopin did display remarkable originality at the very beginning, but the apparent maturity of his first published works is due to the fact that he destroyed his earliest efforts and disowned those works which are known as posthumous, and which may have created confusion in some minds by having received a higher "opus" number than his last works.
Another misconception regarding Chopin is that his latest works are morbid and unintelligible. The same charge was brought by philistines against the best works of Beethoven, Schumann, and Wagner. The fact is that these last works are of an almost matchless harmonic depth and originality, as superior to his earlier works as Wagner's last music dramas are to his first operas. I make this comparison with Wagner advisedly because, although I have the most exalted notions of Wagner's grandeur and importance, I do not for a moment hesitate to say that in his own sphere Chopin is quite as original and has been almost as revolutionary and epoch-making as Wagner. Now, why has the world been so slow in recognizing that Chopin stands in the very front rank of creative musicians? One reason doubtless is that he was so quiet and retiring in his personal disposition. His still, small voice was lost in the din of musical warfare. He warmly defended the principles of the romantic school, if necessary, and had decided opinions of other musicians, especially of the popular pianists of his day who vitiated the public taste with their show pieces; but he generally kept them to himself or confided them only to his friends, whom he even occasionally implored to keep them secret. Had he, like Richard Wagner, attacked everybody, right and left, who stood in the way of the general recognition of his genius, his cause would have doubtless assumed greater prominence in the eyes of the public, even though the parlor piano does not afford so much play-ground for warfare as the operatic stage.

Choose the word most similar in meaning to the word 'nocturnes', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

There is hardly a composer concerning whom so many erroneous notions are current as concerning Chopin, and of all the histories of music I have seen that of Langhans is the only one which devotes to Chopin an amount of space approximately proportionate to his importance. One of the most absurd of the misconceptions is that Chopin's genius was born in full armor, and that it did not pass through several stages of development, like that of other composers. Chopin did display remarkable originality at the very beginning, but the apparent maturity of his first published works is due to the fact that he destroyed his earliest efforts and disowned those works which are known as posthumous, and which may have created confusion in some minds by having received a higher "opus" number than his last works.
Another misconception regarding Chopin is that his latest works are morbid and unintelligible. The same charge was brought by philistines against the best works of Beethoven, Schumann, and Wagner. The fact is that these last works are of an almost matchless harmonic depth and originality, as superior to his earlier works as Wagner's last music dramas are to his first operas. I make this comparison with Wagner advisedly because, although I have the most exalted notions of Wagner's grandeur and importance, I do not for a moment hesitate to say that in his own sphere Chopin is quite as original and has been almost as revolutionary and epoch-making as Wagner. Now, why has the world been so slow in recognizing that Chopin stands in the very front rank of creative musicians? One reason doubtless is that he was so quiet and retiring in his personal disposition. His still, small voice was lost in the din of musical warfare. He warmly defended the principles of the romantic school, if necessary, and had decided opinions of other musicians, especially of the popular pianists of his day who vitiated the public taste with their show pieces; but he generally kept them to himself or confided them only to his friends, whom he even occasionally implored to keep them secret. Had he, like Richard Wagner, attacked everybody, right and left, who stood in the way of the general recognition of his genius, his cause would have doubtless assumed greater prominence in the eyes of the public, even though the parlor piano does not afford so much play-ground for warfare as the operatic stage.