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 of the twentieth century Freud‘s concept of the No error
ideas were subconscious mind.
A B C D

36. The disguise was very but the big scar on his gave him off and he was No error
good, nose soon recognised.
A B C D

37. Disapproving of his the father told him that he could not leave so No error
son‘s wish to leave, abruptly.
A B C D

38. Sushila has worked as but she did not have to draw the design in the No error
fast as she could enough time time allotted.
A B C D
 39. The young were worried about not have enough water to No error
inexperienced hikers B drink.
A C D
40. If the new striker were a better goal-scorer, we might win more No error
A B matches.
C 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 ::

 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?

2 5 3

3 6 ?

2 2 3 1 1 2

A. 6
B. 3
C. 4
D. 10

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

60.
 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.