PDF Quantitative Aptitude For Competitive Examinations 4Th Edition Dinesh Khattar Ebook Full Chapter

Quantitative Aptitude for Competitive
Examinations 4th Edition Dinesh

Khattar
Visit to download the full and correct content document:
https://textbookfull.com/product/quantitative-aptitude-for-competitive-examinations-4th
-edition-dinesh-khattar/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...
Quantitative Aptitude for the CAT 4th Edition Nishit K.

Sinha
https://textbookfull.com/product/quantitative-aptitude-for-the-
cat-4th-edition-nishit-k-sinha/
Complete Companion For GPAT & Other Competitive

Examinations In Pharmacy 4th Edition Umang Shah
https://textbookfull.com/product/complete-companion-for-gpat-
other-competitive-examinations-in-pharmacy-4th-edition-umang-
shah/
Complete Companion For Jee Main 2020 Mathematics Vol 1

5th Edition Dinesh Khattar
https://textbookfull.com/product/complete-companion-for-jee-
main-2020-mathematics-vol-1-5th-edition-dinesh-khattar/
Objective English for Competitive Examinations 6th

Edition Edgar Thorpe
https://textbookfull.com/product/objective-english-for-
competitive-examinations-6th-edition-edgar-thorpe/
Quantitative Aptitude for CAT 3rd Edition Disha
Publication Book Deepak Agarwal
https://textbookfull.com/product/quantitative-aptitude-for-
cat-3rd-edition-disha-publication-book-deepak-agarwal/
Indian Art and Culture for Civil Services and other

Competitive Examinations Nitin Singhania [Singhania
https://textbookfull.com/product/indian-art-and-culture-for-
civil-services-and-other-competitive-examinations-nitin-
singhania-singhania/
Foundation of Mathematics-Foundation Book For

Mathematical Olympiads, KVPY & Other Competitive
Examinations Second Edition Mrinal Nandi And Sourav
Sengupta
https://textbookfull.com/product/foundation-of-mathematics-
foundation-book-for-mathematical-olympiads-kvpy-other-
competitive-examinations-second-edition-mrinal-nandi-and-sourav-
sengupta/
The Pearson Guide to the GPAT and Other Competitive

Examinations in Pharmacy 3rd Edition Umang Shah
https://textbookfull.com/product/the-pearson-guide-to-the-gpat-
and-other-competitive-examinations-in-pharmacy-3rd-edition-umang-
shah/
ICT for Competitive Strategies-Proceedings of 4th

International Conference on Information and
Communication Technology for Competitive Strategies
(ICTCS 2019), December 13th-14th, 2019, Udaipur, India
1st Edition Durgesh Kumar Mishra (Editor)
https://textbookfull.com/product/ict-for-competitive-strategies-
proceedings-of-4th-international-conference-on-information-and-
communication-technology-for-competitive-strategies-

Quantitative
Aptitude
Dinesh Khattar

Quantitative
Quantitative Aptitude

Aptitude
Quantitative Aptitude forms an integral part for aspirants preparing for any competitive examination. This
edition of Quantitative Apptitude For Competitive Examinations has been conceptualized for the aspirants
aiming for Bank, LIC, Railways, SSC and similar government vacancy examinations.
Each chapter of the book provides lucid, explicit and concise definitions and explanations of the basic
principles, which are well-supported with the fully–solved examples for better understanding of the aspirants.
The book comprises variety of problems followed by apt solutions along with previous years’ questions from
various competitive examinations. The huge repository of problems will enable aspirants to understand the
exam patterns and build proficiency in solving questions.

 More than 7000 fully solved questions
 Fully–solved solution of past 8 years’ (Available online also)
 Short cut methods provided in each chapter with examples
 Comprehensive coverage of topics
Cover Image: Stilesta.shutterstock.com

Dinesh Khattar, M.Sc. (Mathematics), M.Phil., Ph.D., has impeccable academic credentials. He is a gold
medalist and topper of B.Sc. (Mathematics) and M.Sc. (Mathematics) from University of Delhi. Besides teaching
mathematics, for more than 25 years to undergraduates and postgraduates, he is also actively involved in
research projects. He has also presented research papers in prestigious international conferences across
several countries. He has authored more than 20 books on mathematics with renowned publications.
MRP Inclusive
`799.00

of all Taxes
in.pearson.com
www.pearsoned.co.in/DineshKhattar
Dinesh Khattar
Khattar
Size: 203x254mm Spine: 34mm ISBN: 9789353439552 Title Sub Title Edition Authors / Editors Name With CD Red Band Territory line URL Price mQuest
About Pearson
Pearson is the world’s learning company, with presence across 70 countries
worldwide. Our unique insights and world-class expertise comes from a long
history of working closely with renowned teachers, authors and thought
leaders, as a result of which, we have emerged as the preferred choice for
millions of teachers and learners across the world.
We believe learning opens up opportunities, creates fulfilling careers and
hence better lives. We hence collaborate with the best of minds to deliver you
class-leading products, spread across the Higher Education and K12 spectrum.
Superior learning experience and improved outcomes are at the heart of
everything we do. This product is the result of one such effort.
Your feedback plays a critical role in the evolution of our products and you
can contact us - reachus@pearson.com. We look forward to it.
This page is intentionally left blank
The Pearson Guide to
Quantitative
Aptitude
For Competitive Examinations
This page is intentionally left blank
The Pearson Guide to
Quantitative
Aptitude
For Competitive Examinations
(Fourth Edition)
Dinesh Khattar
Acting Principal
Kirori Mal College
University of Delhi
Copyright © 2019 Pearson India Education Services Pvt. Ltd
Published by Pearson India Education Services Pvt. Ltd, CIN: U72200TN2005PTC057128.
No part of this eBook may be used or reproduced in any manner whatsoever without the publisher’s
prior written consent.
This eBook may or may not include all assets that were part of the print version. The publisher
reserves the right to remove any material in this eBook at any time.
ISBN 978-93-534-3955-2
eISBN:
Head Office: 15th Floor, Tower-B, World Trade Tower, Plot No. 1, Block-C, Sector-16,
Noida 201 301,Uttar Pradesh, India.
Registered Office: 4th Floor, Software Block, Elnet Software City, TS-140, Block 2 & 9,
Rajiv Gandhi Salai, Taramani, Chennai 600 113, Tamil Nadu, India.
Fax: 080-30461003, Phone: 080-30461060
www.in.pearson.com, Email: companysecretary.india@pearson.com
Contents
Preface to the Fourth Edition viii 19 Logarithms19.1–19.8

Preface to the First Edition ix 20 Stocks, Shares and Debentures 20.1–20.14
Acknowledgement x 21 Discount (True and Banker’s) 21.1–21.18
Competitive Examinations: An Overview xi
22 Binary Number System 22.1–22.6
23 Series23.1–23.28
24 Clocks and Calendar 24.1–24.12
1 Numbers1.1–1.28
25 Polynomials25.1–25.12
2 H.C.F. and L.C.M. of Numbers 2.1–2.18
26 H.C.F. and L.C.M. of Polynomials 26.1–26.6
3 Square Root and Cube Root 3.1–3.18
27 Linear Equations 27.1–27.16
4 Simplification 4.1–4.48
28 Quadratic Equations 28.1–28.28
5 Percentage5.1–5.38
29 Progression29.1–29.16
6 Average6.1–6.32
30 Set Theory 30.1–30.16
7 Ratio and Proportion 7.1–7.34
31 Permutations and Combinations 31.1–31.20
8 Partnership8.1–8.8
32 Probability32.1–32.24
9 Profit and Loss 9.1–9.48
33 Mensuration I: Area and Perimeter 33.1–33.56
10 Time and Work, Work and Wages 10.1–10.32
34 Mensuration II:
11 Pipes and Cisterns 11.1–11.12 Volume and Surface Area 34.1–34.50
12 Time and Distance 12.1–12.36 35 Trigonometric Ratios 35.1–35.40
13 Boats and Streams 13.1–13.12 36 Heights and Distance 36.1–36.18
14 Races and Games of Skill 14.1–14.6 37 Plane Geometry 37.1–37.78
15 Alligation or Mixture 15.1–15.18 38 Co-ordinate Geometry 38.1–38.12
16 Problems on Ages 16.1–16.14 39 Data Interpretation 39.1–39.90
17 Simple Interest 17.1–17.24 40 Data Sufficiency 40.1–40.14
18 Compound Interest 18.1–18.22
Preface to the Fourth Edition
Since the publication of last edition of this book, I have received immense support from readers, and a lot of inputs
on how this book could be improved. With the aid of all this information, it gives me immense pleasure to present
a completely updated fourth edition of the book.
Following are noteworthy inclusion in this edition:
1. The book is updated with latest previous years’ questions asked in various competitive examination with
explanatory answers.
2. Alternated solutions have been given for teaching multiple approaches to learner.
3. Solution to each and every question in the book.
In order to provide a more focused approach, the obsolete previous years’ questions have been deleted in
every chapter, however the basic structure of the book has been kept intact. In preparing this fourth edition, I am
greatly indebted to many teachers at various coaching centers as wells students throughout the country who made
constructive criticism and extended valuable suggestions for the improvement of the book. Any suggestions to
ensure further improvement of the book will be greatly acknowledged.
I am extremely thankful to editorial team of Pearson Education for all the hard work they had put in this book
and made possible the publishing of this book in timely and precious manner.
Dinesh Khattar
Preface to the First Edition
With so many books available in the market on quantitative aptitude for students appearing in different competitive
examinations, the publication of yet another volume on the subject requires some explanation. It has been my
experience that the average student needs the treatment of theory in a manner easily understandable to him. An
effort, therefore, has been made, in this book to put across concepts in a lucid and unambiguous manner. The book
aims at helping students enhance their knowledge of quantitative aptitude and equipping them with the skills that
will enable them to succeed in any competitive examination.
The book is noteworthy in the following aspects:
1. Each chapter contains concise definitions and explanations of basic/fundamental principles, which are further
augmented with illustrative examples to enable students to learn and recall fast.
2. Each chapter has a separate section on short-cut methods covering all kinds of questions asked in competitive
examinations. In addition, each short-cut method is explained with the help of illustrative examples.
3. Completely worked-out solutions to a large range of problems have been included in the text. The number of
questions in each chapter has been kept sufficiently large to provide rigorous practice.
4. A large number of problems that have been asked in the competitive examinations in recent times are included
in every chapter with explanatory answers.
5. Practice exercises covering all the topics in each chapter are provided for self-assessment and to facilitate
understanding of the pattern and the type of questions asked in the examinations.
Every care has been taken to minimise typographical as well as factual errors. However, it is possible that a few
errors might have managed to dodge the vigilant eye. I will be grateful to the readers for bringing these errors to
my notice as also for their valuable suggestions. It is earnestly hoped that the book will help the students grasp
the subject and help them in obtaining a commendable score in the examination.
In preparing this edition, my deepest appreciation goes to many teachers at various coaching centres as well
as students throughout the editorial who made constructive criticism and extended valuable suggestions. I am also
extremely thankful to Pearson editorial team, for their unfailing cooperation.
I am deeply indebted to my parents without whose encouragement this dream could not have been translated
into reality. And last, but not the least, it was the cherubic smiles of my daughters Nikita and Nishita that inspired
me to treat my work as worship.
Dinesh Khattar
Acknowledgement
I would like to express my gratitude to my father to whom I owe all my achievements. Whatever I have achieved
in life is because of the dreams and wishes which he has always nurtured about me.
ComPetitive eXaminations: an overview
ssC ComPetitive eXaminations
sCheme of the eXamination for ComBined graduate level eXaminations
The Scheme of the Examination will be conducted in three tiers as indicated below:
●● 1st Tier-I Written Examination (Objective Multiple Choice Type)
●● 2nd Tier-II Main Written Examination (Objective Multiple Choice Type)
●● 3rd Tier-III Personality Test/Interview or Skill Test, where applicable Candidates opting for post of Sub-Inspector
in CPOs will be required to undergo Physical Endurance Test (PET)/Medical Examination at any convenient time
after declaration of result of Tier-I.
ComBineD GrADuATe level (Tier-i) exAminATion
Tier-I of the Combined Graduate level Examination would be common for all categories of posts and will be held
in one session. Total duration of the examination = 2 hours.
Part Subject Maximum Marks/Questions
I. General Intelligence and Reasoning 50

II. General Awareness 50
III. Numerical Aptitude 50
IV. English Comprehension 50
Syllabus of Numerical Aptitude: The questions are designed to test the ability of appropriate use of numbers
and number sense of the candidate. It will test sense of order among numbers, ability to translate from one name
to another, sense or order of magnitude, estimation or prediction of the outcome of computation, selection of an
appropriate operation for the solution of real life problems and knowledge of alternative computation procedures
tofindanswers.Thequestionswouldalsobebasedonarithmeticalconceptsandrelationshipbetweennumbersand
not on complicated arithmetical computation (The standard of the questions will be of 10 + 2 level).
ComBineD GrADuATe level (Tier-ii) exAminATion
Tier-II of the Combined Graduate Level Examination is an objective multiple-choice and is conducted over two
days during a weekend. It will consist of three different papers/subjects and depending upon the category of posts
applied for, the candidate will be required to appear in one, two or three papers, as the case may be.
For the post of Assistants, Inspector of Income Tax/Inspector (Central Excise, Inspector (PO), Inspector
(Examiner), Sub Inspector in CBI, Inspector of Posts, Assistant Enforcement Officer, Divisional Accountants,
Accountants, Auditors, Tax Assistants, UDCS, the examination will consist of two papers as under:
xii Competitive Examinations: An Overview
Part Subject Maximum Marks/Questions Duration For General Duration For

Candidates Vh Candidates
I Arithmetical Ability 200/100 2 Hours 2 Hours and 40 Minutes

II English Language and 200 2 Hours 2 Hours and 40 Minutes
Comprehension
For the post of Statistical Investigators GR.II & Compilers, the examination will consist of three papers as
under:
Part Subject Maximum Marks/Questions Duration For General Duration For

Candidates Vh Candidates
I Arithmetical Ability 200/100 2 Hours 2 Hours and 40 Minutes

II English Language and 200/200 2 Hours 2 Hours and 40 Minutes
Comprehension
III Commerce/Mathematics 200/200 2 Hours 2 Hours and 40 Minutes
Statistics/Economics
For The post of Sub-Inspector in Central Police Organisations, the examination will consist of one Paper as under:
Paper Subject Maximum Marks/Questions Duration For General Candidates
I English Language and 200/200 2 Hours

Comprehension
Syllabus For Tier-I (Paper-I): Arithmetic Ability—This paper will include questions on problems relating to
Number Systems, Computation of Whole Numbers, Decimals and Fractions and relationship between Numbers,
Fundamental Arithmetical Operations, Percentage, Ratio and Proportion, Average, Interest, Profit and Loss, Discount,
Use of Table and Graphs, Mensuration, Time and Distance, Ratio and Time, etc.
Clerks’ Grade Examination
Clerks Grade Examination is conducted by the Staff Selection Commission for recruitment to the posts of clerks
for the following groups of services/offices:
Group X
●● Indian Foreign Service (B) Grade VI
●● Railway Board Secretarial Clerical Service Grade II
●● Central Secretariat Clerical Service—Lower Division Grade
●● Armed Forces Headquarters Clerical Service—Lower Division Grade
●● Ministry of Parliamentary Affairs
●● President’s Secretariat
Group Y
●● Equivalent/comparable posts in Subordinate offices of Government of India located throughout India.
●● Offices of the Controller and Auditor General of India, Accountants General (Audit) and Accountants General
(Accounts and Estt.) in various states.
●● Controller General of Defence Accounts.
Competitive Examinations: An Overview xiii
●● Central Vigilance Commission.

●● Equivalent/comparable posts in other Departments and Attached Offices of Government of India not mentioned in
group ‘X’.
●● Equivalent/comparable posts in the offices of public sector undertakings, autonomous bodies, like Employees State
Insurance Corporation
●● Delhi Administration
●● Municipal Corporation of Delhi and New Delhi Municipal Corporation
●● University of Delhi
Age
18 to 25 years on the 1stAugust of the year of examination. Upper age limit relaxable for SC/ST etc.
Educational Qualifications
Matriculation or equivalent.
examination
Plan of the Examination: The examination shall consist of two parts. Part I-Written Examination and Part II-
Typewriting Test for those candidates who attain such minimum standards in the written test as may be fixed by
the commission in their discretion.
Examination Subjects: The subjects of written examination, the time allowed and the maximum marks for each
subject will be as follows:
S.No Subject Duration Max. Marks
1 General Intelligence and 50

Clerical Aptitude
2 English Language 2 Hours 50
3 Numerical Aptitude 50
4 General Awareness 50
Notes
(i) The questions in all the four tests will be Objective-Multiple Choice Type.
(ii) Candidates will be required to qualify in each of the tests separately.
Syllabus of Numerical Aptitude Test: Questions will be designed to test the ability of arithmetical computation
of whole numbers, decimals and fractions and relationship between numbers. The questions would be based on
arithmetical concepts and relationship between numbers and not on complicated arithmetical computation.
l.i.C/g.i.C. ComPetitive eXaminations
l.i.C. offiCers’ exAminATion
A competitive examination for the recruitment of the Assistant Administrative Officers etc, in Life Insurance
Corporation (LIC) it is held once a year, generally in the month of June. The blank application form and particulars
are published in the Employment News, usually the second week of May every year.
xiv Competitive Examinations: An Overview
Age
21 to 28 years on the 1st April of the year of examination. Upper age limit is relaxable for SC/ST, confirmed
L.I.C. employees, etc.
Bachelor’s/Master’s Degree from a recognised Indian or Foreign University with a minimum of 50% marks (relaxable
in the case of SC/ST candidates to 40%) in aggregate in either of the degrees.
Examination
Plan of the Examination: The examination comprises (i) written examination and (ii) interview of candidates who
qualify in the written test.
Examination Subjects: The written examination consists of the following papers:
Paper I (Objective)
1. Reasoning Ability (Bilingual)
2. General Knowledge and Current Affairs (Bilingual)
3. Numerical Ability (Bilingual): The purpose of this test is to ascertain how quick you are in working at numerical
calculations
4. English Language with special emphasis on grammar and vocabulary
Paper II (Descriptive)
1. Test on Essay (can be written in Hindi or English)
2. Precise and Comprehension in English
LIC Development Officers’ Examination
A competitive examination for the recruitment of Assistant Development Officers’ in the Life Insurance Corporation
is held once a year, generally in the month of September. The blank application forms and particulars are published
in the Employment News, generally in the month of July and the last date for submission of applications is generally
the first week of August.
Age
The applicants should have completed the age of 21 years on the 1st July of the year of examination.
Candidates must hold a bachelor’s degree in arts, science, commerce, agriculture or law of an Indian or foreign
university or an equivalent qualification.
Examination
Plan of the Examination: The examination comprises (i) written examination (ii) interview of such candidates,
who qualify in the written test.
Examination Subjects: The written test will consist of (i) test of reasoning and numerical ability and (ii) general
English/Hindi and general knowledge. The test papers will be set bilingual and the candidates will have choice to
write answers either in English or in Hindi.
G.I.C. Assistants’ Examination
This examination is held once a year, generally in the month of August. The blank application and particulars are
published in the Employment News, usually in the month of March. The last date for the submission of applications
is usually first week of April every year.
Competitive Examinations: An Overview xv
Age
18 to 28 years on 1 June of the year of examination.
Pass in higher secondary with 60% marks or graduate of a recognised university.
examination
Plan of the Examination: The examination comprises (i) written examination and (ii) interview of candidates
qualifying the written test.
Examination Subjects: (i) The written test will be objective type, consisting of test of reasoning, numerical ability,
clerical aptitude, English language and general knowledge. (ii) There will also be a descriptive test on essay, letter
and precise writing in English. Objective tests except English will be bilingual, i.e., both in English and Hindi.
Banking serviCes eXaminations

Banking has emerged as one of the most challenging sectors in the country. Openings are available at various
levels,frombankclericaltoprobationaryofficers(PO).Recruitmentforthepublicsectorbanksisdonethroughthe
Banking Service Recruitment Boards (BSRBs). The advertisements for recruitment appear in newspapers as well as
the Employment News. Recruitment is done on the basis of a written test, which consists of (a) test of reasoning,
(b) quantitative aptitude, (c) general awareness, (d) English language and (e) descriptive test.
The test is qualifying in nature and the marks obtained are not added in the final merit list. It is held on
Sundays. Except for the descriptive portion, all other sections contain objective-type questions. In the reasoning
test, there are verbal and non-verbal sections. In English, the test is aimed at judging the overall comprehension
and understanding of the language. The descriptive paper can be answered in English or Hindi. It judges the written
expression of the candidates.All sections must be qualified.
reserve Bank of india
sTAff offiCers’ GrADe-A exAminATion
Selection for this class I post is made on all-India basis by Reserve Bank of India Services Board, Hong Kong
Building, 6th Floor, M.G. Road, P.O. Box 10009, Hutatma Chow, Mumbai 400 001. Set up in July 1968, the Board
functions on the lines of the UPSC and conducts various examinations for recruitment of officers grade. There is
reservation of posts for SC/ST categories.
Age
21–26 years
Bachelor’s/Master’sDegree(50%)orChartered/CostAccountantwithBachelor’sDegreeorDegreeinManagement.
examination
Subjects: Written test consists of
(i) Paper I (Objective Type)—Test of reasoning, test of quantitative aptitude, test of English language, general awareness.
(ii) Paper II (Descriptive Type)—English essay, precise writing/comprehension.
(iii) Paper III (Descriptive Type)—Economic and social problems. Those who qualify the written test are called for interview.
xvi Competitive Examinations: An Overview
Staff Officer Grade B Examination
Age
21–28 years (maximum 26 years for degree holders). Relaxable by 5 years for SC/ST and Ex-Servicemen, and by
3 years for OBC candidates.
Min 60% marks (50% for SC/ST candidates) in bachelor’s degree as well as in 10th and 12th Standard.
Examination
(i) Phase 1: Paper I (Objective Type)—Test of Reasoning, Quantitative Aptitude, General Awareness and English Language.
Phase 2: Paper I—English (writing skills); Paper II—Economic and Social Issues; Paper III (optional)—Finance
and Management/ Economics/ Statistics.
Note
Written test is followed by interview which carries 50 marks.
State Bank Group
Probationary Officers’ Examination
This examination is held by Central Recruitment Board (State Bank Group) Madhuli, Second Floor, H/2 Shiv Nagar
Estate, Dr. Annie Besant Road, Worli, Mumbai 400 018 for recruitment of Probationary Officers in State Bank of
India and its associates banks, namely, State Bank of Bikaner and Jaipur, State Bank of Hyderabad, State Bank
of Indore, State Bank of Mysore, State Bank of Patiala, State Bank of Saurashtra and State Bank of Travancore.
There is reservation of posts for SC/ST, Ex-Servicemen, OBC, etc.
Age
18–26 years, relaxable for SC/ST, OBC and Ex-Servicemen
Degree
Examination
(i) Paper I (Objective Type)—Test of Reasoning Ability, Quantitative Aptitude, English Comprehension, General Awareness.
(ii) Paper II (Descriptive Type)—Essay, letter writing or precise writing in English.
Note
Those who qualify the written test are called for interview.
Clerical Cadre Examination (Regional Recruitment Board)
This examination is generally held annually to recruit the clerical cadre in State Bank of India and its associate
banks. There is resonation of posts for SC/ST, Ex-Servicemen and OBC, etc.
Age
18–26 years, relaxable for various categories as per rules.
Degree
Competitive Examinations: An Overview xvii
Examination
(i) Paper I—General Awareness, Reasoning Ability, English Language, Numerical Ability
(ii) Paper II—Essay writing, Letter writing, Precise writing
Nationalized Banks
In nationalized banks, the recruitment is made through competitive test held by Banking Service Recruitment Board.
Probationary Officers Examination
There are 15 Banking Service Recruitment Boards in the country. These Boards recruit probationary officers and
clerical cadre for the nationalised banks. There is reservation of posits for SC/ST, Ex-Servicemen, etc.
Age
21–28 years, relaxable for SC/ST, OBC and Ex-Servicemen
Degree
Examination
(i) Paper I (Objective Type)—Test of reasoning ability, quantitative aptitude, English comprehension, general awareness.
(ii) Paper II (Descriptive Type)—Essay (in English or regional language), letter writing or precise writing in English.
Clerical Cadre Examination
Age
18–26 years, relaxable for certain categories as per rules.
For Clerks, Typists—Degree or 10 + 2 (50%) or diploma in banking (50%) or matriculation (60%).
For Stenographers—matriculation.
Relaxation in percentage of marks in qualifying examination for SC/ST, Ex-Servicemen and physically handicapped.
Examination
Subjects: Written examination (200 marks)
(i) Paper I (Objective Type)—Reasoning Ability, English language, Numerical Ability, Clerical Aptitude
(ii) Paper II (Descriptive Type)—Three out of four questions of short essay or exposition type on a given proposition,
situation to be answered in Hindi or English.
For the posts of typists and stenographers, proficiency in typing and shorthand with the following minimum speed
is required:
(i) English typing speed 30 wpm
(ii) English shorthand speed 80 wpm
(iii) Hindi typing speed 25 wpm
(iv) Hindi shorthand speed 60 wpm
Proficiency test for typist/stenographer is held if they qualify the written test. Those ranking high in the written
examination are called for an interview (100 marks). Final selection is on the basis of candidate’s performance in
written tests and interview taken together. Probationary period is six months.
xviii Competitive Examinations: An Overview
National Bank for Agriculture and Rural Development (NABARD)
Development Officer Grade B Examination
Age
24–32 years, relaxable for certain categories as per rules
Master’s Degree in economics/agricultural economics (50%), Ph.D is desirable
Examination
Preliminary examination (objective type): General Awareness, English Language, Quantitative Aptitude, Reasoning
Ability.
Main examination:
(i) Paper I—General English and General Awareness
(ii) Paper II—Economic and Social Problems
(iii) Paper III—Economics/Agricultural Economics
Assistant Development Officer Grade ‘A’ Examination
Age
21–26 years. Relaxable for certain categories as per rules.
Bachelor’s Degree/Master’s Degree (50%)
Examination
Preliminary Examination (Objective Type)—General Awareness, English Language, Quantitative Aptitude, Reasoning Ability.
Main Examination:
(i) Paper I—General English and General Awareness.
(ii) Paper II—Economic and Social Problems.
CHAPT E R
1 Numbers
Introduction The set of all natural numbers can be represented by

In Hindu Arabic System, we use ten symbols 0, 1, 2, N = {1, 2, 3, 4, 5, ...}
3, 4, 5, 6, 7, 8, 9 called digits to represent any number.
This is the decimal system where we use the numbers Whole Numbers
0 to 9. 0 is called insignificant digit whereas 1, 2, 3, 4, If we include 0 among the natural numbers, then the
5, 6, 7, 8, 9 are called significant digits. numbers 0, 1, 2, 3, 4, 5, ... are called whole numbers.
A group of figures, denoting a number is called a The set of whole numbers can be represented by
numeral. For a given numeral, we start from extreme right
as Unit’s place, Ten’s place, Hundred’s place and so on. W = {0, 1, 2, 3, 4, 5, ...}
Illustration 1: We represent the number 309872546 Clearly, every natural number is a whole number
as shown below: but 0 is a whole number which is not a natural number.
Integers
Ten Thousand 104
All counting numbers and their negatives including zero

Ten Crore 108
Thousand 103
(million) 106
Hundred 102
are known as integers.

Crores 107
Ten Lakhs
Lakhs 105
Units 100
Ten’s 101
The set of integers can be represented by

Z or I = {..., – 4, –3, –2, –1, 0, 1, 2, 3, 4, ...}
3 0 9 8 7 2 5 4 6
Positive Integers
We read it as
‘Thirty crores, ninety-eight lakhs, seventy-two The set I + = {1, 2, 3, 4, ....} is the set of all positive
thousands five hundred and forty-six.’ integers. Clearly, positive integers and natural numbers
are synonyms.
In this numeral:
The place value of 6 is 6 × 1 = 6 Negative Integers
The place value of 4 is 4 × 10 = 40 The set I – = {–1, –2, –3, ...} is the set of all negative
The place value of 5 is 5 × 100 = 500 integers. 0 is neither positive nor negative.
The place value of 2 is 2 × 1000 = 2000 and so on.
The face value of a digit in a number is the value Non-negative Integers
itself wherever it may be. The set {0, 1, 2, 3, ...} is the set of all non-negative
Thus, the face value of 7 in the above numeral is 7. integers.
The face value of 6 in the above numeral is 6 and so on.
Rational Numbers
p
Number System The numbers of the form q , where p and q are integers
Natural Numbers and q ≠ 0, are known as rational numbers, e.g., 4 , 3 ,
Counting numbers 1, 2, 3, 4, 5, ... are known as natural 5 0 2 7 2
- , , - , etc.
numbers. 8 1 3
1.2 Chapter 1
The set of all rational numbers is denoted by Q. Note that the sum, difference or product of a rational
p and irrational number is irrational, e.g., 3 + 2 , 4 − 3 ,
That is, Q = {x:x = ; p, q ∈ I, q ≠ 0}
q 2
a - 5 , 4 3 , - 7 5 are all irrational.
Since every natural number ‘a’ can be written as , 5
1
every natural number is a rational number. Since 0 can even numbers
0 All those numbers which are exactly divisible by 2 are
be written as and every non-zero integer ‘a’ can be
1 called even numbers, e.g., 2, 6, 8, 10, etc., are even
a numbers.
written as , every integer is a rational number.
1
Every rational number has a peculiar characteristic
odd numbers
that when expressed in decimal form is expressible
either in terminating decimals or in non-terminating All those numbers which are not exactly divisible by
repeating decimals. 2 are called odd numbers, e.g., 1, 3, 5, 7, etc., are odd
1 1 22 numbers.
For example, = 0.2, = 0.333..., = 3.1428714287,
5 3 7
8 Prime numbers
= 0.181818 ..., etc.
44 A natural number other than 1, is a prime number if it
The recurring decimals have been given a short is divisible by 1 and itself only.
notation as For example, each of the numbers 2, 3, 5, 7, etc.,
are prime numbers.
0.333... = 0. 3
4.1555... = 4.05 composite numbers
0.323232... = 0.32 Natural numbers greater than 1 which are not prime,
are known as composite numbers.
Irrational numbers For example, each of the numbers 4, 6, 8, 9, 12,
etc., are composite numbers.
Those numbers which when expressed in decimal form
are neither terminating nor repeating decimals are known
Notes
as irrational numbers, e.g., 2 , 3 , 5 , π, etc.
1. The number 1 is neither a prime number nor a
22 22 composite number.
Note that the exact value of π is not ⋅ is rational
7 7 2. 2 is the only even number which is prime.
22
while π is irrational number. is approximate value of 3. Prime numbers up to 100 are:
7 2, 3, 5, 7, 11, 13, 17, 19, 23, 29, 31, 37, 41, 43,
π. Similarly, 3.14 is not an exact value of it. 47, 53, 59, 61, 67, 71, 73, 79, 83, 89, 97, i.e.,
25 prime numbers between 1 and 100.
4. Two numbers which have only 1 as the common
real numbers factor are called co-primes or relatively prime to
The rational and irrational numbers combined together each other, e.g., 3 and 5 are co-primes.
13 2 3
to form real numbers, e.g., , , - , 3 , 4 + 2 , etc.
are real numbers.
21 5 7 Note that the numbers which are relatively prime
The set of all real numbers is denoted by R. need not necessarily be prime numbers, e.g., 16 and
17 are relatively prime, although 16 is not a prime
number.
Numbers 1.3
baSIc formulae
addItIon and SubtractIon Solution: (a) 3893 × 99 = 389300 – 3893 = 385407

Addition and Subtraction is best illustrated with the help (b) 4327 × 999 = 4327000 – 4327 = 4322673
of following example: (c) 5863 × 9999 = 58630000 – 5863 = 58624137
Illustration 1: 54321 – (9876 + 8967 + 7689) = ? 02 Multiplication of a given number by 11, 101,
Step 1 Add Ist column: 54321 1001, etc., that is, by 10n + 1.
6 + 7 + 9 = 22 9876 Method: Place n zeros to the right of the multiplicant
To obtain 1 at unit’s place add 9 8967 and then add the multiplicant to the number so obtained.
to make 31. In the answer, write 7689
Illustration 3: Multiply:
9 at unit’s place and carry over 3. 2 7 7 8 9
(a) 4782 × 11 (b) 9836 × 101
Step 2 Add 2nd column: (c) 6538 × 1001
3 + 7 + 6 + 8 = 24 Solution: (a) 4782 × 11 = 47820 + 4782 = 52602
To obtain 2 at ten’s place, add 8 to make 32. (b) 9836 × 101 = 983600 + 9836 = 993436
In the answer, write 8 at ten’s place and carry (c) 6538 × 1001 = 6538000 + 6538 = 6544538
over 3.
03 Multiplication of a given number by 15, 25, 35,
Step 3 Add 3rd column: etc.
3 + 8 + 9 + 6 = 26 Method: Double the multiplier and then multiply the
To obtain 3 at hundred’s place, add 7 to make multiplicant by this new number and finally divide the
33. In the answer, write 7 at hundred’s place product by 2.
and carry over 3.
Illustrations 4: Multiply:
Step 4 Add 4th column:
(a) 7054 × 15 (b) 3897 × 25
3 + 9 + 8 + 7 = 27
(c) 4563 × 35
To obtain 4 at thousand’s place, add 7 to make
34. In the answer, write 7 at thousand’s place 1
Solution: (a) 7054 × 15 = (7054 × 30)
and carry over 3. 2
Step 5 5th column: 1
= (211620) = 105810
To obtain 5 at ten-thousand’s place add 2 to 2
it to make 5. In the answer, write 2 at the 1 1
(b) 3897 × 25 = (3897 × 50) = (194850)
ten-thousand’s place. 2 2
∴ 54321 – (9876 + 8967 + 7689) = 97425
= 27789. 1 1
(c) 4536 × 35 = (4563 × 70) = (319410)
2 2
multIPlIcatIon = 159705

625, etc., that is, by a number which is some power
etc., that is by 10n – 1
of 5.
Method: Put as many zeros to the right of the
Method: Place as many zeros to the right of the
multiplicant as there are nines in the multiplier and from
multiplicant as is the power of 5 in the multiplier, then
the result subtract the multiplicant and get the answer.
divide the number so obtained by 2 raised to the same
power as is the power of 5.
(a) 3982 × 5 (b) 4739 × 25
(a) 3893 by 99 (b) 4327 by 999
(c) 7894 × 125 (d) 4863 × 625
(c) 5863 by 9999
1.4 Chapter 1
39820 03 To square a number which is nearer to 10x.

Solution: (a) 3982 × 2 = = 19910
2
Method: Use the formula:
473900 473900
(b) 4739 × 25 = 2
= = 118475 x2 = (x2 – y2) + y2 = (x + y)(x – y) + y2
2 4
7894000 7894000 Illustration 10:
(c) 7894 × 125 = = (a) (97)2 = (97 + 3) (97 – 3) + 32
23 8
= 986750 = 9400 + 9 = 9409
48630000 (b) (102)2 = (102 – 2) (102 + 2) + 22
48630000
(d) 4863 × 625 = 4
= = 10400 + 4 = 10404
2 16 (c) (994)2 = (994 + 6) (994 – 6) + 62
= 3039375 = 988000 + 36 = 988036
distributive laws (d) (1005)2 = (1005 – 5) (1005 + 5) + 52
= 1010000 + 25 = 1010025
For any three numbers a, b, c, we have
(a) a × b + a × c = a × (b + c)
(b) a × b – a × c = a × (b – c) dIvISIon
Illustration 6: 438 × 637 + 438 × 367 = ? Division is repeated subtraction.
For example, when we divide 63289 by 43, it means
Solution: 438 × 637 + 438 × 367 = 438 × (637 + 367)
43 can be repeatedly subtracted 1471 times from 63289
= 430 × 1000 and the remainder 36 is left.
= 438000
Illustration 7: 674 × 832 – 674 × 632 = ? 1471 ← Quotient
Divisor → 43 63289 ← Dividend
Solution: 674 × 832 – 674 × 632 43
= 674 × (832 – 632) 202
= 674 × 200 = 134800 172
308
301
SQuareS 79
43
01 To square any number ending with 5.
36 ← Remainder
Method: (A5)2 = A(A + 1)/25 Dividend = (Divisor × Quotient ) + Remainder
Illustration 8: Dividend - Remainder
or, Divisor =
(a) (25)2 = 2(2 + 1)/25 = 6/25 = 625 Quotient
(b) (45)2 = 4(4 + 1)/25 = 20/25 = 2025 Illustration 11: On dividing 7865321 by a certain
(c) (85)2 = 8(8 + 1)/25 = 72/25 = 7225 number, the quotient is 33612 and the remainder is 113.
Find the divisor.
02 To square a number in which every digit is one.
Dividend - Remainder
Solution: Divisor =
Method: Count the number of digits in the given number Quotient
and start writing numbers in ascending order from one
7865321 - 113 7865208
to this number and then in descending order up to one. = = = 234
33612 33612
Illustration 9: Illustration 12: A number when divided by 315 leaves
(a) 112 = 121 remainder 46 and the value of quotient is 7. Find the
(b) 1112 = 12321 number.
(c) 11112 = 1234321
Solution: Number = (Divisor × Quotient) + Remainder
(d) 2222 = 22(111)2 = 4(12321) = 49284
(e) 33332 = 32(1111)2 = 9(1234321) = 11108889 = (315 × 7) + 46 = 2205 + 46 = 2251
Numbers 1.5
Illustration 13: Find the least number of 5 digits which

is exactly divisible by 632. and unit’s digit) is divisible by 4 or are both zero.
For example, the number 2616 is divisible by
Solution: The least number of 5 digits is 10000. Dividing
4 since 16 is divisible by 4.
this number by 632, the remainder is 520. So, the required
4. Divisibility by 5 A number is divisible by 5 if
number = 10000 + (632 + 520) = 10112.
the unit’s digit in the number is 0 or 5.
15 For example, 13520, 7805, 640, 745, etc., are
632 10000 all divisible by 5.
632 5. Divisibility by 6 A number is divisible by 6
3680 if the number is even and sum of its digits is
3160 divisible by 3.
520
For example, the number 4518 is divisible by
6 since it is even and sum of its digits 4 + 5 + 1 +
Illustration 14: Find the greatest number of 5 digits 8 = 18 is divisible by 3.
which is exactly divisible by 463. 6. Divisibility by 7 The unit digit of the given
Solution: The greatest number of 5 digits is 99999. number is doubled and then it is subtracted from
Dividing this number by 463, the remainder is 454. So, the number obtained after omitting the unit digit.
the required number = 99999 – 454 = 99545. If the remainder is divisible by 7, then the given
215 number is also divisible by 7.
463 99999 For example, consider the number 448. On
926 doubling the unit digit 8 of 448 we get 16.
739 Then, 44 – 16 = 28.
463 Since 28 is divisible by 7, 448 is divisible by 7.
2769 7. Divisibility by 8 A number is divisible by 8, if
2315
the number formed by the last 3 digits is divisible
454
by 8.
Illustration 15: Find the number nearest to 13700 For example, the number 41784 is divisible by
which is exactly divisible by 235. 8 as the number formed by last three digits, i.e.,
784 is divisible by 8.
Solution: On dividing the number 13700 by 235, the 8. Divisibility by 9 A number is divisible by 9 if
remainder is 70. Therefore, the nearest number to 13700, the sum of its digits is divisible by 9.
which is exactly divisible by 235 = 13700 – 70 = 13630. For example, the number 19044 is divisible by
58 9 as the sum of its digits 1 + 9 + 0 + 4 + 4 = 18
235 13700 is divisible by 9.
1175 9. Divisibility by 10 A number is divisible by 10,
1950 if it ends in zero.
1880 For example, the last digit of 580 is zero,
70 therefore, 580 is divisible by 10.
10. Divisibility by 11 A number is divisible by 11
if the difference of the sum of the digits at odd
Tests of Divisibility places and sum of the digits at even places is
1. Divisibility by 2 A number is divisible by 2 if either zero or divisible by 11.
the unit’s digit is zero or divisible by 2. For example, in the number 38797, the sum of
For example, 4, 12, 30, 18, 102, etc., are all the digits at odd places is 3 + 7 + 7 = 17 and the
divisible by 2. sum of the digits at even places is 8 + 9 = 17.
2. Divisibility by 3 A number is divisible by 3 if The difference is 17 – 17 = 0, so the number is
the sum of digits in the number is divisible by 3. divisible by 11.
For example, the number 3792 is divisible by 3 11. Divisibility by 12 A number is divisible by 12
since 3 + 7 + 9 + 2 = 21, which is divisible by 3. if it is divisible by 3 and 4.
3. Divisibility by 4 A number is divisible by 4 if the 12. Divisibility by 18 An even number satisfying
number formed by the last two digits (ten’s digit the divisibility test of 9 is divisible by 18.
1.6 Chapter 1
13. Divisibility by 25 A number is divisible by 25 14. Divisibility by 88 A number is divisible by 88

if the number formed by the last two digits is if it is divisible by 11 and 8.
divisible by 25 or the last two digits are zero. 15. Divisibility by 125 A number is divisible by 125
For example, the number 13675 is divisible by if the number formed by the last three digits is
25 as the number formed by the last two digits divisible by 125 or the last three digits are zero.
is 75 which is divisible by 25. For example, the number 5250 is divisible by
125 as 250 is divisible by 125.
SHort-cut metHodS
01 Test to find whether a given number is a 03 A number on being divided by d 1 and d 2

prime successively leaves the remainders r 1 and r2,
respectively. If the number is divided by d1 × d2,
Step 1 Select a least positive integer n such that n2 then the remainder is = (d1 × r2 + r1).
> given number.
Illustration 19: A number on being divided by 10
Step 2 Test the divisibility of given number by every and 11 successively leaves the remainders 5 and 7,
prime number less than n. respectively. Find the remainder when the same number
Step 3 The given number is prime only if it is not is divided by 110.
divisible by any of these primes. Solution: The required remainder
Illustration 16: Investigate, whether 571 is a prime = d1 × r2 + r1 = 10 × 7 + 5 = 75.
number
Solution: Since (23)2 = 529 < 571 and (24)2 = 576 > 571 04 To find the number of numbers divisible by a
∴ n = 24 certain integer.
Prime numbers less than 24 are 2, 3, 5, 7, 11, 13, The method is best illustrated with the help
17, 19, 23. Since 24 is divisible by 2, 571 is not a of following example.
prime number. Illustration 20: How many numbers up to 532 are
Illustration 17: Investigate whether 923 is a prime divisible by 15?
number. Solution: We divide 532 by 15
Solution: Since (30)2 = 900 < 923 and (31)2 = 961 > 923
532
∴ n = 31 = 35 × 15 + 7
15
Prime numbers less than 31 are 2, 3, 5, 7, 11, 13,
The quotient obtained is the required number of
17, 19, 23, 29. Since 923 is not divisible by any of these
numbers. Thus, there are 35 such numbers.
primes, therefore, 923 is a prime number.
Illustration 21: How many numbers up to 300 are
02 The least number, which when divided by d1, d2
divisible by 5 and 7 together?
and d 3 leaves the remainders r1, r 2 and r 3
respectively such that (d1 – r1) = (d2 – r2) = (d3 Solution: L.C.M. of 5 and 7 = 35
– r 3 ), is = (L.C.M. of d 1 , d 2 and d 3 ) – We divide 300 by 35
(d1 – r1) or (d2 – r2) or (d3 – r3).
300 = 8 × 35 + 20
Illustration 18: Find the least number which when
divided by 9, 10 and 15 leaves the remainders 4, 5 and Thus, there are 8 such numbers.
10, respectively.
Solution: Here, 9 – 4 = 10 – 5 = 15 – 10 = 5 05 Two numbers when divided by a certain divisor
give remainders r1 and r2. When their sum is
Also, L.C.M. (9, 10, 15) = 90,
divided by the same divisor, the remainder is r3.
∴ the required least number = 90 – 5 = 85. The divisor is given by r1 + r2 – r3.
Numbers 1.7
Illustration 22: Two numbers when divided by a certain Solution: The required divisor
divisor give remainders 473 and 298, respectively. When
= 437 + 298 – 236 = 499.
their sum is divided by the same divisor, the remainder
is 236. Find the divisor.
exercISe-1
1. 7372 × 7372 + 7372 × 628 = ? 9. Which number should replace both the ‘*’s in
(a) 58976000 (b) 58967000  ∗  * 
 ×  = 1?
(c) 5897600 (d) None of these  21   189 
2. 9999 + 8888 + 777 + ? = 19700 (a) 21 (b) 63
(c) 3969 (c) 147
(a) 36 (b) 16
(c) 64 (d) 26 10. In a division sum, the divisor is 12 times the quotient
and 5 times the remainder. If the remainder be 48,
3. 60 ? 6 × 111 = 666666 then the dividend is:
(a) 0 (b) 2 (a) 240 (b) 576
(c) 1 (d) 6 (c) 4800 (d) 4848
4. 3149 × 1 ? 5 = 425115 11. What least number must be subtracted from 1294 so
(a) 3 (b) 2 that the remainder when divided by 9, 11, 13 will
(c) 4 (d) 6 leave in each case the same remainder 6?
5. If the two digits of the age of Mr Manoj are reversed (a) 0 (b) 1
then the new age so obtained is the age of his wife. (c) 2 (d) 3
1
of the sum of their ages is equal to the difference 12. 24 is divided into two parts such that 7 times the
11 first part added to 5 times the second part makes
between their ages. If Mr Manoj is older than his wife
then find the difference between their ages. 146. The first part is:
(a) Cannot be determined (a) 11 (b) 13
(b) 8 years (c) 16 (d) 17
(c) 10 years 1 1
(d) 9 years 13. of a number subtracted from of the same number
4 3
(e) 7 years gives 12. The number is:
6. If in a long division sum, the dividend is 380606 (a) 144 (b) 120
and the successive remainders from the first to the (c) 72 (d) 63
last are 434, 125 and 413, then divisor is: 4
14. of a certain number is 64. Half of that number is:
(a) 451 (b) 843 3
(c) 4215 (d) 3372 (a) 32 (b) 40
x 3 6 y−x (c) 80 (d) 16
7. If = , then the value of  +  equals:
y 4 7 y+x 15. A fraction becomes 4 when 1 is added to both
the numerator and denominator; and it becomes 7
5 1 when 1 is subtracted from both the numerator and
(a) (b) 1
7 7 denominator. The numerator of the given fraction is:
(c) 1 (d) 2 (a) 2 (b) 3
8. The largest natural number by which the product of (c) 7 (d) 15
three consecutive even natural numbers is always
divisible, is: 16. Three numbers are in the ratio 3:4:5. The sum of
the largest and the smallest equals the sum of the
(a) 16 (b) 24 third and is 52. The smallest number is:
(c) 48 (d) 96
1.8 Chapter 1
(a) 20 (b) 27 (a) 997 (b) 999

(c) 39 (d) 52 (c) 991 (d) 993
17. The sum of three numbers is 68. If the ratio between 26. When a certain number is multiplied by 7, the product
first and second is 2:3 and that between second and consists entirely of fives; find the least value of such
third is 5:3, then the second number is: a number.
(a) 30 (b) 20 (a) 79365 (b) 78365
(c) 58 (d) 48 (c) 77365 (d) 79265
18. If 1 is added to the denominator of a fraction, the 27. In a division sum, the divisor is 10 times the quotient
and five times the remainder. What is the dividend,
fraction becomes 1 . If 1 is added to the numerator, if the remainder is 46?
2
the fraction becomes 1. The fraction is: (a) 5636 (b) 5536
4 5 (c) 5336 (d) 5436
(a) (b)
7 9 28. Which one of the following is the least number of
four digits divisible by 71?
2
(c) (c) 10 (a) 1006 (b) 1065
3 11 (c) 1094 (d) 1056
4 2 29. How many numbers up to 100 are divisible by 7?
19. of a number exceeds its by 8. The number is:
5 3 (a) 14 (b) 107
(c) 93 (d) 100
(a) 30 (b) 60
(c) 90 (d) None of these 30. How many numbers up to 500 are divisible by 23?
(a) 23 (b) 27
20. What is the sum of all prime numbers from 60 to 80?
(c) 21 (d) 19
(a) 361 (b) 341
(c) 351 (d) 349 31. How many numbers up to 200 are divisible 2 and
3 both?
21. The quotient arising from the division of 24446 by (a) 35 (b) 33
a certain divisor is 79 and the remainder is 35, what (c) 29 (d) 27
is the divisor?
32. How many numbers between 100 and 300 are
(a) 39 (b) 309 divisible by 11?
(c) 390 (d) 3009
(a) 11 (b) 10
22. In a division sum, the quotient is 120, the divisor (c) 12 (d) 18
456 and the remainder 333, find the dividend.
33. How many numbers between 150 and 500 are
(a) 5533 (b) 50553 divisible by 2, 3 and 7 together?
(c) 56053 (d) 55053 (a) 9 (b) 8
23. The quotient arising from a division of a number (c) 10 (d) 11
by 62 is 463 and the remainder is 60, what is the
34. The number of five figures to be added to a number
number?
of four fives to obtain the least number of six figures
(a) 28666 (b) 28766 exactly divisible by 357 is:
(c) 28576 (d) 28676
(a) 94762 (b) 94802
24. A number when divided by 221 gives a remainder (c) 94485 (d) None of these
43. What remainder will be obtained by dividing the
35. The nearest figure to 58701 which is divisible by
same number by 17?
567 is:
(a) 11 (b) 8
(a) 58968 (b) 58434
(c) 9 (d) 13
(c) 58401 (d) None of these
25. Which one of the following is the largest prime 36. The digits indicated by * in 3422213 ** so that this
number of three digits? number is divisible by 99 are:
Numbers 1.9
(a) 1, 9 (b) 3, 7 48. The difference between the squares of two consecutive
(c) 4, 6 (d) 5, 5 numbers is 35. The numbers are:
37. The least value to be given to * so that the number (a) 14, 15 (b) 15, 16
5 * 3457 is divisible by 11 is: (c) 17, 18 (d) 18, 19
(a) 2 (b) 3 49. Three-fourths of one-fifth of a number is 60. The
(c) 0 (d) 4 number is:
38. The nearest whole number to one million which is (a) 300 (b) 400
divisible by 537 is: (c) 450 (d) 1200
(a) 1000106 (b) 999894 50. The sum of squares of two numbers is 80 and the
(c) 1000437 (d) 999563 square of their difference is 36. The product of the
39. The smallest number between 400 and 500 which is two numbers is:
divisible by 9 is: (a) 22 (b) 44
(a) 414 (b) 405 (c) 58 (d) 116
51. A number when divided by 357 gives a remainder 37.
40. Which one of the following is the greatest number By dividing the same number by 17, the remainder
of five digits divisible by 231? would be:
(a) 99792 (b) 99892
(a) 3 (b) 4
(c) 99692 (d) 99972
41. Find the number nearest to 16386 which is exactly
divisible by 425. 52. The product of two numbers is 120. The sum of their
squares is 289. The sum of the two numbers is:
(a) 16575 (b) 16375
(c) 16050 (d) 16450 (a) 20 (b) 23
42. Find the least number which must be subtracted from
9269 so that resulting number is exactly divisible by 73? 53. Three numbers are in the ratio 4:5:6 and their average
(a) 17 (b) 57 is 25. The largest number is:
(c) 71 (d) 63 (a) 42 (b) 36
43. Find the least number which must be added to 15463 (c) 30 (d) 32
so that the resulting number is exactly divisible by 54. A number exceeds 20% of itself by 40. The number is:
107? (a) 50 (b) 60
(a) 52 (b) 71 (c) 80 (d) 320
(c) 55 (d) 19 55. If 16% of 40% of a number is 8, the number is:
44. What is the number just more than 5000 which is (a) 200 (b) 225
exactly divisible by 73? (c) 125 (d) 320
(a) 5001 (b) 5009 56. 4767 exactly divides *** 341, the missing digits are:
(c) 5037 (d) 5027
(a) 468 (b) 586
45. The sum of two numbers is 100 and their difference (c) 363 (d) None of these
is 37. The difference of their squares is:
57. A number when divided by a certain divisor left remainder
(a) 37 (b) 100 241, when twice the number was divided by the same
(c) 63 (d) 3700 divisor, the remainder was 112. Find the divisor.
46. The number of times 79 be subtracted from 50000, (a) 370 (b) 365
so that the remainder be 43759; is: (c) 380 (d) 456
(a) 69 (b) 79 58. Two numbers when divided by a certain divisor give
(c) 59 (d) None of these remainders 43 and 37 respectively, when their sum
47. The ratio between two numbers is 3:4 and their sum is divided by the same divisor, the remainder is 13.
is 420. The greater of the two numbers is: Find the divisor.
(a) 71 (b) 67
(a) 175 (b) 200
(c) 57 (d) 77
(c) 240 (d) 315
1.10 Chapter 1
59. Two numbers are such that the ratio between them is 67. Sum of three numbers is 132. First number is twice
3:5; but if each is increased by 10, the ratio between the second and third number is one-third of the first.
them becomes 5:7. The numbers are: Find the second number.
(a) 3, 5 (b) 7, 9 (a) 18 (b) 36
(c) 13, 22 (d) 15, 25 (c) 20 (d) 16
60. Divide 50 into two parts so that the sum of their 68. What least number must be added to 7231 so that
reciprocals is 1/12. the resulting number is exactly divisible by 5 and 9
(a) 20, 30 (b) 24, 26 together?
(c) 28, 22 (d) 36, 14
(a) 20 (b) 18
61. The sum of seven numbers is 235. The average of (c) 14 (d) 16
the first three is 23 and that of last three is 42. The
fourth number is: 69. Find a number nearest to 9231 which is exactly
(a) 40 (b) 126 divisible by 3 as well as by 11.
(c) 69 (d) 195 (a) 9240 (b) 9340
62. The sum of squares of two numbers is 68 and the (c) 9540 (d) 9440
squares of their difference is 36. The product of the 70. Find a nearest number to 12199 which is exactly
two numbers is: divisible by the product of the first four prime
(a) 16 (b) 32 numbers.
(c) 58 (d) 104 (a) 12181 (b) 12179
63. What is the least value of K so that the number (c) 11281 (d) 11279
6735K1 is divisible by 9? 71. The sum of squares of two numbers is 90 and the
(a) 5 (b) 7 squares of their difference is 46. The product of the
(c) 4 (d) 3 two numbers is:
64. For what value of K, the number 7236K2 is divisible (a) 22 (b) 24
by 8? (c) 26 (d) 28
(a) 7 (b) 5
72. If 40% of a number is 360, what will be 15% of
(c) 4 (d) 9
that number?
65. Find the least values of x and y so that the number
5x423y is divisible by 88. 1 1
(a) 20 (b) 20
(a) 8, 2 (b) 7, 3 4 2
(c) 9, 4 (d) 6, 5 1 1
(c) 22 (d) 22
4 2
66. 24 is divided into two parts such that 7 times the
first part added to 5 times the second part makes 73. The sum of the digits of a two-digit number is 8. If
146. The first part is: the digits are reversed the number is increased by
54. Find the number.
(a) 13 (b) 15
(c) 17 (d) 19 (a) 17 (b) 19
(c) 21 (d) 23
exercISe-2
(baSed on memory)
1. N is the largest two digit number, which when 2. A and B are positive integers. If A + B + AB = 65
divided by 3, 4 and 6 leaves the remainder 1, 2 then What is the difference between A and B (A, B
and 4 respectively, What is the remainder when N ≤ 15)?
is divided by 5? (a) 3 (b) 4
(a) 4 (b) 2 (c) 5 (d) 6
(c) 0 (d) 1 [SSC CGL Tier-II CBE, 2018]
[SSC CGL Tier-II CBE, 2018]
Another random document with
no related content on Scribd:
VI.
On the 17th of the following March, at the Hôtel de Chimay, now

connected with the École des Beaux Arts, the exhibition of the works
of him whom we have surnamed the “Primitif” was opened. All the
works of Bastien, with the exception of the Jeanne d’Arc, were
collected there.
On visiting this exhibition the most prejudiced minds were struck
with the suppleness, the fecundity, and power of the talent of this
painter, carried off at the age of thirty-six. For the first time his varied
and original work could be judged as a whole.
One could study in detail these productions of a thoroughly
conscientious artist, and follow the growth of each composition as
one follows the development of a beautiful plant—first in the
drawings, so pure, so sober, and expressive; then in the sketches so
truthful and sincere; and, lastly, in the finished pictures, so
harmonious and luminous. By the side of the great pictures, Les
Foins (The Hay), La Saison d’Octobre (October), Le Mendiant (The
Beggar), Père Jacques (Father Jacques), and L’Amour au Village
(Love in the Village), like windows opening upon life itself, one
admired that collection of small portraits in which the most
penetrating physiological observation was united with an execution
most masterly, precise, and delicate. One passed delighted from
those interiors worthy of the Dutch painters, such as La Forge and
La Lessive, to the landscapes breathing the odours of the fields and
of the woods, such as Le Vieux Gueux (The Old Beggar), Les
Vendanges (The Vintage), La Prairie (The Meadow), La Mare (The
Pool), Les Blés Mûrs (Ripe Corn), or to those full of air and motion,
like London Bridge and the Thames; then one stopped before La
Petite fille allant à la École (The Little Girl going to School), or that
poetic Idyl, Le Soir au Village (Evening in the Village).
The Inn.
By Jules Bastien-Lepage.
In this exhibition containing more than two hundred canvases and
a hundred drawings, there was nothing trifling, nothing indifferent.
The smallest sketches were interesting because they revealed
passionate worship of what is simple and natural, hatred of the
almost and the conventional, and the incessant striving of the artist
after his ideal, which is Truth.
A healthy and robust poetry exhaled from this collection. One left
the Hôtel de Chimay with a sensation of strengthening and reviving
pleasure, such as one gets from certain aspects of nature—deep
woods, limpid waters, and the bright sky of a summer morning.
Unhappily this joy was mixed with the sad thought of the sudden
death of the young man who had produced all this masterly work.
On first entering these rooms reserved for his pictures I was, for a
long time, impressed with a feeling that I had already experienced at
the exhibition of the works of the talented young artist, Mdlle.
Bashkirtseff, mown down like Bastien, in full youth, and at the same
time as he. This cruel death seemed only a bad dream.
On seeing again these unfinished sketches, these perfect
portraits, these canvases that I had seen him paint one after another,
I felt as if I was conversing with the painter and the friend who had
created all this. I felt that he was still living and in possession of all
his force. I expected every moment to see him appear among us,
smiling, happy, fortified by the now unanimous admiration of the
crowd gathered before his work.
Alas! instead of himself my eyes only met his portrait, placed in
the first room, and the mournful eloquence of the wreaths and
flowers attached to the frame recalled me harshly to the heartrending
reality.
The poor “Primitif” will paint no more. The atelier at Damvillers
where we have spent such happy hours is closed for ever. The
peasants of the village will no more meet their countryman on the
roads where he used to work in the open air. The rustic flowers that
he used to paint in the foreground of his pictures, the blue chicory
and the groundsel, will flower again this summer by the edges of the
fields, but he will not be there to study and admire them.
Among the sketches exhibited by the side of the great pictures
there was one that I had already remarked at Damvillers, and that I
now saw again with deep emotion. It represents an old peasant
woman going in the early morning into her garden to visit her apple
tree in blossom. The nights of April are perfidious, and the spring
frosts give mortal wounds; the old woman draws to her a flowering
branch and inspects with anxious eye the disasters caused by the
hurtful rays of the red moon. Bastien-Lepage was like this tree, full of
sap and of promising blossom. For years the heavens had been
clement to him, and the flowers had given many and rich fruits; then
in a single night a murderous frost destroyed all—the open flowers
by thousands, and the tree itself. All that remains is the splendid fruit
of past seasons, but the exquisite flavour of that the world will long
enjoy.
Things truly beautiful have wonderful vitality and last on through
the centuries, hovering above the earth where the generations of
men go turn by turn to sleep,—and this survival of the works of the
spirit of man is perhaps the surest immortality upon which he can
count.
JULES BASTIEN-LEPAGE AS
ARTIST.
Bas-Relief Portrait of Bastien-Lepage.
By Augustus Saint-Gaudens.
JULES BASTIEN-LEPAGE AS ARTIST.
The work of Bastien-Lepage ranks, to my mind, with the very best in

modern art. He brought to us what was in some ways a new view of
nature—one whose truth was at once admitted, but which was
nevertheless the cause of much discussion and criticism. It was
objected to mainly, I think, as not being in accord with established
rules, but nevertheless the objectors expressed their admiration for
the skill of the painter; while, on the other hand, for those who
accepted him (chiefly the younger men these), no praise was too
great, no admiration too enthusiastic.
It is only a few years since his untimely death was mourned as a
loss to the whole art-world, for his whole career is so recent that his
fellow-students are still young men, many of them only now
beginning to obtain full recognition; and yet it is perhaps long enough
ago to enable his work to be considered as a whole, and his place in
the art-movement to be seen. For although he was an innovator, and
one showing in all he did a strong individuality, the general direction
of his genius was given him by the artistic tendencies of his time.
It will be generally admitted that if painting has made any advance
in our day, if it shows in any direction a new departure, or fresh
revelation of the beauty that exists throughout nature, it is in the
development of the problems which have arisen from the study of
landscape and of the effects of light. There now prevails a close and
sincere study of nature, founded on the acceptance of things as they
are, and an increasing consciousness on the part of artists (or
perhaps it would be more correct to say an increasing courage on
the part of artists to express their conviction) that a picture should be
the record of something seen, of some impression felt, rather than
be formally constructed. And men have awakened at length to see
that all nature is beautiful, that all light is beautiful, and that there is
colour everywhere; that the endeavour to realize truly the natural
relation of people to their surroundings is better than to follow
unquestioning on the old conventional lines. This is, roughly
speaking, the modern standpoint, and it cannot be denied that it is
an enormous advance on the accepted artistic ideals of thirty or forty
years ago. And to the men who have brought this about—to the Pre-
Raphaelite brotherhood; to Millet, Corot, Rousseau, Courbet, Manet,
and Mr. Whistler—to all those who have fought the battle and to
whom our present clearer outlook is due, we owe a lasting debt of
gratitude.
It is a little surprising now, that the work of Bastien-Lepage, based
as it is on the simple acceptance of nature, should have caused so
much discussion on its first appearance. For time has justified him;
we feel on comparing his work with other men of his time that it
marks a new departure, and we realize that it has helped to form our
present standpoint. But as the majority of people tune their eyes by
pictures and not by nature, and only admire in nature that which is
made manifest to them by their artistic prophet, it may be taken as a
compliment to a man of independent genius that when he discloses
a fresh view of nature, it is not for some time accepted. “Good
gracious, sir!” said an eminent critic, referring to Claude Monet, “like
nature? Yes; of course it’s like nature; but a man has no business to
choose that aspect of it!”
Every picture may be said to appeal to the spectator from two
sides or points of view—the literary and the æsthetic.
A picture may tell its story to perfection—may point a moral and
all the rest of it, and so fulfil the purpose of its author—and still, or,
as some extreme persons would say, therefore—may be bad art,
may indeed be not worthy to rank as art at all. Such pictures are
frequently seen. And again, a picture may, by raising and defining to
some inner sense emotions dimly felt by us before nature, leave us
with a fuller sense of beauty, a feeling of something revealed to us.
And yet it need have no subject or story. We are convinced that this
picture is beautiful: that no other form of artistic expression can
precisely so touch us. Such pictures are rare, but happily they do
exist. Yet, from the nature of things, it is impossible but that such a
picture should speak to some—ever so slight—extent to the mind;
and also the most literary picture is never without evidence of some
desire to please the eye.
The work of Bastien-Lepage seems to me to embrace both these
points of view. The literary and æsthetic sides of art were very evenly
balanced in him. If we take any individual work, as, for example, the
Beggar, we find a most perfect realization of character: the whole
life-history of the man seen and brought before us—evidently this
was the motive of the picture; yet the painting is in itself so full of
charm, the perception of colour so fine, that we feel he was equally
interested in that. He tried to hold the balance even. His work shows
an extraordinary receptive power, an unequalled (almost microscopic
on occasion) clearness of vision, allied with an absolute mastery of
his material. His attitude towards nature is one of studied impartiality,
and seems to show the resolute striving of an intensely sympathetic
nature to get at the actual optical appearances and to suppress any
hint of his own feelings. And his subjects are presented with such
force and skill that their truth to nature is at once felt, and if a painter,
you cannot fail also to feel the charm of his simple and sincere
method. You cannot tally it by any other painter’s work: it stands by
itself.
His impartial attitude towards his model constitutes one of
Bastien-Lepage’s distinctions. I am not sure that it is not the distinct
note of all his work. He paints a man—and the man stands before
you, and you ask yourself, “What is he going to say? What does the
artist wish to express?” You may make what you can of him; Lepage
gives you no clue. To me, I confess, this quality is a very high one; it
seems to indicate a great gift, and to be, if I may presume to say so,
akin to Shakespeare’s method of presenting his characters without a
hint of his own feelings towards them.
Although it is no doubt owing to Millet that Lepage’s eyes were
opened to the paintableness of country life, he saw his subjects in
his own way and approached them from his own point of view. With
Millet the subject and type were everything—the individual nothing.
He was passionately moved by his subject, and once its action and
sentiment were expressed, everything was subordinated to them. He
cared nothing for the smaller truths of detail provided the general
impression were true to his mental image, and his aim was avowedly
to impose his mental impression on the spectator. Lepage, on the
contrary, appears to avoid communicating his mental impression. He
will give you the visual impression, as truly as he possibly can; you
may, if you please, find—as he has found—pathos and poetry in it:
as before the same scene in nature, if you have sympathy; but for
his part he will not help you by any comment of his own.
And whereas with Millet the interest always centres in the subject,
in Lepage it centres in the individual. His pictures become portraits.
He chooses a good type, and sets himself to paint him at his work
and amid his natural surroundings, and, somehow or other, the
subject, as motive and reason for the picture, takes a subordinate
place. And yet this is not because anything belonging to the subject
is slurred, but because the attention is taken beyond the subject to
the actors in it. For his figures not only live; they convince us of their
identity as individuals, and gradually we get so interested in them
that we begin to forget what they are doing, and almost to wonder
why they are there. We are, in fact, brought so close to them that we
cannot get away from the sense of their presence. It is no small
tribute to Lepage’s skill that his people do so interest us; but is not
this interest a conflicting element in the picture? Is it to the
advantage of the picture that the interest should be so equally
divided? I cannot tell: when before a picture of Lepage’s I accept it in
everything—on thinking it over, I begin to doubt. There is no room for
doubt about Millet; no mistake about what he meant. With him the
attention is always concentrated on the business in hand: and
without desiring to qualify the great respect and admiration which I
have for Lepage’s work, it seems to me that the point of view of
Millet included more essential truths (or perhaps excluded those
which were not essential to the expression of the subject); and that
for this reason Lepage’s most successful pictures depend least upon
the interest of subject, and most upon the interest of portraiture.
For it is in his portraits that the great capacity of the man is best
seen; and they are altogether admirable. His people stand before
you, and you feel that they must be true to the very life. He loves to
place them in an even, open, light, and simply accepting the ordinary
conditions of his sitters, produces a surprisingly original result. There
is no forcing of effect, no slurring of detail—everything is searched
out relentlessly, lovingly. There is the same impartial standpoint—the
same apparent determination to keep himself out of the picture.
From the artist’s point of view they are altogether delightful; modelled
with the thoroughness of a sculptor, the colour and atmosphere are
always true, and the execution is unlaboured and direct. It would be
difficult to point to any modern portraits which surpass for technical
mastery and charm such works as the “First Communion,” the
portraits of his parents, his grandfather, of M. Theuriet, Albert Woolf,
Sarah Bernhardt, “Pas Meche,” and the Beggar. Each of these is a
complete picture, as well as being a portrait. The elaborate dress of
the actress, the cheap muslin and ill-fitting gloves of the child, in the
“First Communion”—all the matters of minor detail are dwelt on with,
in each case, the fullest sense of their literary importance to the
picture, and yet the painting of these things, as of all else, is so
delightful in itself that the artist desires no other reason.
While landscape entered as a matter of course into his rustic
pictures, it was always subordinate to the figures; although he
carried the finish of the foregrounds in these pictures to the farthest
possible point, delighting to express the beauty of everything—
weeds, sticks, stones, the clods of earth—all was felt, and shown to
be beautiful. But he painted also some admirable landscapes: of
these I have seen but few, and the recollection of one in particular
remains with me as one of the most beautiful things I have seen. It is
a field of ripe golden corn; beyond are the distant fields and low hills,
and overhead in the clear blue sky a few clouds. The corn is swaying
and rustling in the breeze, and small birds are flitting about. The
whole scene is bathed in daylight and fresh air: with no great stretch
of fancy one can see the corn moving, and hear the singing of the
birds. One is filled with a sense of the sweetness of nature and the
beauty of the open fields. And the picture is so simple—no effort in
design, no artifice apparent—it impresses as a pure piece of nature.
This love of nature and resolute determination not to depart from
the strict literal truth as he saw it, marks all the work of Bastien-
Lepage. As far as it was possible for an artist nowadays, he appears
to have been uninfluenced by the old masters. The only lesson he
seems to have learnt from them was that nature, which sufficed for
them, should suffice for him also. It is this attitude of mind which
brings him into kinship with the early painters, and which led to his
being styled “the primitive.” He did not set out to form his art on the
methods of the older painters, but going as they did, direct to nature,
he resolutely put on one side (as far as was possible to one familiar
with them) the accepted pictorial artifices. He seems to have set
himself the task of going over the ground from the beginning; and the
fact that his uncompromising and unconventional presentment of his
subjects should be expressed by means of a most highly
accomplished, very modern, and very elegant technique, was one of
the things which, while it greatly charmed, at the same time puzzled
and surprised people. It was so different from what had been seen,
or might reasonably have been expected; and one can understand
some critics feeling that a man so thoroughly master of his art, so
consummate a painter, must be wilfully affected in the treatment of
his subjects, his simple acceptance of nature appearing to them as a
pose. But it was not long before he was understood; and one has
only to read the very interesting memoir of M. Theuriet to see how
mistaken this view was, and how simply and naturally his art
developed from his early life and associations. It is seldom indeed
that one finds an artist so completely adjusted to his surroundings—
so much so that he is able to go back for his mature inspiration not
only to his first impressions, but to the very scenes and, in some
cases no doubt, the individuals who awakened them. As a rule an
artist nowadays is led in many directions before he finds himself.
Bastien-Lepage had his doubts and hesitations, of course, but they
were soon over, and almost from the start he seems to have decided
on his path.
The advantage of this to him in his work must have been
enormous, as any one who has painted in the country will know; for
villages contain no surplus population—every one has his work to
do; and the peasant is slow to understand, and distrustful of all that
lies outside his own experience: so that it is difficult, and in many
cases impossible, for an artist to get models in a village. But one can
imagine Lepage to have been friends with all his models, and that
his pictures excited as lively an interest (though, of course, on
different grounds) in Damvillers as in Paris; and it was, I think, due to
some extent to this, as well as to his own untiring energy, that he
was enabled to complete so much. As far as I am aware, he was
unique among contemporary artists in being so happily
circumstanced; and it is evidence of the simple sincerity of the man
that he found his ideal in the ordinary realities of his own experience:
feeling, no doubt, that beauty exists everywhere waiting for him who
has eyes to see.
It has been frequently said of Bastien-Lepage that he had no
feeling for beauty—or, at any rate, that he was indifferent to it; but as
it is impossible to arrive at any satisfactory definition of beauty, this
point cannot be discussed. Taking the word, however, in its obvious
and generally accepted meaning, that of personal beauty, it seems to
me that there is no fair ground for the charge; for such works as the
“First Communion,” the portrait of Sarah Bernhardt, and “Joan of
Arc,” all show a most refined and delicate appreciation of personal
beauty, and should surely have led his critics to consider whether the
man who painted them had not very good reasons for painting
people who were not beautiful, too. For all work cannot be judged
from one point of view; we recognize that a work of art is the
outcome of a personal impression, and that the artist’s aim is to give
expression to his views; and the deeper his insight into nature, the
greater the result. And yet, curiously enough, the fact that Bastien-
Lepage’s insight into nature was exceptionally deep and wide
renders it difficult to form a clear judgment, as his work appeals
equally from different points of view. His love of beauty, for instance,
seems to go hand-in-hand with a psychological, or even pathological
interest: and this equal prominence of different tendencies is a very
puzzling element in his work. We expect an artist to give us a
strongly personal view; but here is one who gives us something very
like an analysis, and whose personal view it is impossible to define—
and the premature ending of his career leaves it now for ever
doubtful which was the strongest bias of his mind. It seems to me
that his sympathies were so wide as to try and include everything,
and that he has helped to widen the bounds of beauty, by showing
its limitless possibilities. The words of Blake, “To see a world in a
grain of sand, and heaven in a wild flower,” suggest, I think, his
general feeling towards nature.
In spite of the wide range of his work and the extraordinary
versatility of his execution, he kept, as a rule, within certain
limitations of treatment. He did not care for the strong opposition of
light and shadow, and he seems almost to have avoided those
aspects of nature which depend for their beauty on the changes and
contrasts of atmosphere and light. All that side of nature which
depends on memory for its realization was left almost untouched by
him, and yet it is idle to suppose that so richly gifted a man could not
have been keenly sensible to all nature’s beauty; but I think he found
himself hedged in by the conditions necessary to the realization of
the qualities he sought. For in painting a large figure-picture in the
open air, the painter must almost of necessity limit himself to the
effect of grey open daylight. This he realized splendidly: at the same
time it may be said that he sought elaboration of detail perhaps at
the expense of effect, approaching nature at times too much from
the point of view of still-life. This is not felt in his small pictures, in
which the point of view is so close that the detail and general effect
can be seen at the same time; but in his large works much that is
charming in the highest degree when examined in detail, fails to
carry its full value to the eye at a distance necessary to take in the
whole work. This was the case with “Joan of Arc” in the Paris
Exhibition of two years ago; and it was instructive to compare this
picture with Courbet’s “Stone-breakers,” which hung near it on the
same wall. Courbet had generalized as much as possible—
everything was cleared away but the essentials; and at a little
distance Courbet showed in full power and completeness, while the
delicate and beautiful work in “Joan of Arc” was lost, and the picture
flat and unintelligible in comparison. No doubt Bastien-Lepage
worked for truth of impression and of detail too, but it is apparently
impossible to get both; and this seems to show that the building-up
or combining a number of facts, each of which may be true of itself
and to the others, does not in its sum total give the general
impression of truth. It is but a number of isolated truths. Bastien-
Lepage has carried his endeavour in this direction farther than any of
his predecessors—in fact it may be said that he has carried literal
representation to its extreme limit: so much so as to leave clearly
discernible to us the question which was doubtless before him, but
which has at any rate developed itself from his work, whether it is
possible to attain literal truth without leaving on one side much of
that which is most beautiful in nature? And further, the question
arises, whether literal truth is the highest truth. For realism, as an
end in art, leads nowhere; it is an impasse. Surely it is but the means
to whatever the artist has it in him to express.
I feel convinced that realism was not the end with Bastien-
Lepage. I believe that his contribution to art, great as it was, and
covering as it does an amount of work which might well represent a
whole life’s work instead of the work of a few short years, was but
the promise of his full power, and that, had he lived, his work would
have shown a wider range of nature than that of any other artist,
except perhaps Rembrandt. But it was not to be.
He gave his best, and the world is richer for his work; his name
will not die.
“Quiet consummation have;
And renowned be thy grave.”
GEORGE CLAUSEN.
MODERN REALISM IN PAINTING.
The Little Sweep.
By Jules Bastien-Lepage.
MODERN REALISM IN PAINTING.
Much has been written about Jean François Millet, and mostly from
two points of view. The picturesque surroundings of the plain of
Barbizon and the peasant’s blouse have tempted the sentimental
biographer to dwell on the personal note of poverty, which we now
know was not the dominant one in Millet’s life. The picturesque writer
has amplified, with more or less intelligence, reflections suggested
by the subjects of his pictures. In all this, the painter’s point of view,
which is, after all, the only one that matters, has, so far as its
expression in print is concerned, been overlooked and omitted.
The important fact about Millet is not that he struggled with
poverty, or that he expressed on canvas the dignity of labour, but
that he was a great artist. As corollaries, he was a great
draughtsman and a great colourist. He was gifted with the
comprehension in its entirety of the import of any scene in nature
which he wished to render. An unerring analysis enabled him to
select what were the vital constituents of such a scene, and exquisite
perceptions, trained by incessant labour, to render them in fitting
terms in accordance with the tradition which governs the use of each
material.
It may seem that the process here summarized is after all only
that which governs all art production, and that the work of the
second-rate and the ordinary differs only from that of the master in
the degree of capacity exercised. But this is not so. It differs totally in
kind. The conception, conscious or unconscious, of the nature and
aim of art is in the two cases different, and, as a consequence, the
practice is different.
It would be affectation to ignore that, for good or for evil, Paris is
the art-centre of European painting, and that the most serious
training in drawing and painting that is procurable on European lines
is procurable in Paris. I should therefore consider it a service of great
utility to serious art if it were possible to make clear the reasons for
my conviction that the tendency of the mass of exhibition painting in
France, and, by reflection, in England, has been in an inartistic
direction, and has led inevitably to the sterile ideal of the
instantaneous camera. And, on the other hand, that the narrow
stream of purely artistic painting, that has trickled its more
sequestered course parallel with the broad flood of exhibition work,
owes its vitality to a profound and convinced reverence for tradition.
For the illustration of that tradition I can find no more convenient
source than the work of Jean François Millet, and for a typical
monument of its disregard, the more fair to cite in that it is
respectable in achievement, the work of Bastien-Lepage affords me
a timely and perhaps the most appropriate example possible.
What, then, is the main difference? How did Millet work, and with
what objects? How did Lepage work, and what is it he strove to
attain?
To begin with, Millet, ninety-nine times out of a hundred, had seen
his picture happen somewhere in nature. Its treatment generally
involved complex difficulties of suggestion of movement, or at least
of energy, to say nothing of those created by the variety of lighting
and atmospheric effect; the management of sunlight, of twilight, of
the lighting of interiors. All these elements he was enabled, by
means of a highly-trained artistic memory, to retain and render in the
summary method which we call inspiration, and which has nothing in
common with the piecemeal and futile copying of nature of a later
school. Dealing with materials in their essential nature living and
fleeting, his execution was in the main separated from his
observation. His observation was thus uninterrupted by the
exigencies of execution, and his execution untrammelled by the
fortuitous inconveniences incident on the moment of observation,
and undisturbed, moreover, by the kaleidoscopic shifting of the
pictorial elements which bewilder and mislead the mere plein-airiste.
He did not say to the woman at the washtub, “Do as if you were
washing, and stay like that for me for four or five hours a day, while I
paint a picture from you.” Or to the reaper, “Stay like that with the
scythe drawn back, pretending to reap.” “La nature ne pose pas”—to
quote his own words. He knew that if figures in movement were to be
painted so as to be convincing, it must be by a process of cumulative
observation. This truth one of the greatest heirs of the great school
of 1830 has not been slow to understand, and it is to its further and
more exquisite development that we owe the profoundly learned and
beautiful work of Degas. His field of observation is shifted from the
life of the village and the labour of the plains, to the sordid toil of the
greenroom and the hectic mysteries of stage illumination; but the
artistic problem remains the same, and its solution is worked out on
the same lines.
Millet observed and observed again, making little in the way of
studies on the spot, a note sometimes of movement on a cigarette-
paper. And when he held his picture he knew it, and the execution
was the singing of a song learned by heart, and not the painful
performance in public of a meritorious feat of sight-reading. The
result of this was that his work has style—style which is at the same
time in the best traditions and strictly personal. No one has been
more imitated than Millet, and no one is more inimitable.
Holding in the hollow of his hand the secrets of light and life and
movement, the secrets of form and colour, learnt from the visible
world, he was equipped, like the great masters of old, for the
treatment of purely fanciful themes; and, when he painted a reluctant
nymph being dragged through the woods by a turbulent crowd of
cupids, he was as much at home as when he rendered the recurring
monotone of the peasant’s daily labours. My quarrel with the
gentlemen who escape from the laws of anatomy and perspective by
painting full-length portraits of souls, and family groups of
abstractions, is, not that they paint these things, but that they have
not first learnt something about the laws which govern the incidence
of light on concrete bodies. It might be well if they would discover
whether they can paint their brother, whom they have seen, before
they elect to flounder perennially in Olympus.
Let it also be noted here that the work of Jean François Millet
was, with scarcely an exception, free from a preoccupation with the
walls of an exhibition. The scale of his pictures and their key were

PDF Quantitative Aptitude For Competitive Examinations 4Th Edition Dinesh Khattar Ebook Full Chapter

Uploaded by

Copyright:

Available Formats

You might also like

PDF Quantitative Aptitude For Competitive Examinations 4Th Edition Dinesh Khattar Ebook Full Chapter

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

PDF Quantitative Aptitude For Competitive Examinations 4Th Edition Dinesh Khattar Ebook Full Chapter

Uploaded by

Copyright:

Available Formats

Quantitative Aptitude for Competitive

Examinations 4th Edition Dinesh

Quantitative Aptitude for the CAT 4th Edition Nishit K.

Complete Companion For GPAT & Other Competitive

Complete Companion For Jee Main 2020 Mathematics Vol 1

Objective English for Competitive Examinations 6th

Indian Art and Culture for Civil Services and other

Foundation of Mathematics-Foundation Book For

The Pearson Guide to the GPAT and Other Competitive

ICT for Competitive Strategies-Proceedings of 4th

 Dinesh Khattar

Cover Image: Stilesta.shutterstock.com

Published by Pearson India Education Services Pvt. Ltd, CIN: U72200TN2005PTC057128.

Preface to the Fourth Edition viii 19 Logarithms19.1–19.8

ssC ComPetitive eXaminations

sCheme of the eXamination for ComBined graduate level eXaminations

ComBineD GrADuATe level (Tier-i) exAminATion

Part Subject Maximum Marks/Questions

I. General Intelligence and Reasoning 50

ComBineD GrADuATe level (Tier-ii) exAminATion

Part Subject Maximum Marks/Questions Duration For General Duration For

I Arithmetical Ability 200/100 2 Hours 2 Hours and 40 Minutes

Part Subject Maximum Marks/Questions Duration For General Duration For

I Arithmetical Ability 200/100 2 Hours 2 Hours and 40 Minutes

Paper Subject Maximum Marks/Questions Duration For General Candidates

I English Language and 200/200 2 Hours

Clerks’ Grade Examination

●● Central Vigilance Commission.

S.No Subject Duration Max. Marks

1 General Intelligence and 50

l.i.C/g.i.C. ComPetitive eXaminations

l.i.C. offiCers’ exAminATion

LIC Development Officers’ Examination

G.I.C. Assistants’ Examination

Banking serviCes eXaminations

reserve Bank of india

sTAff offiCers’ GrADe-A exAminATion

Staff Officer Grade B Examination

State Bank Group

Probationary Officers’ Examination

Clerical Cadre Examination (Regional Recruitment Board)

Probationary Officers Examination

Clerical Cadre Examination

National Bank for Agriculture and Rural Development (NABARD)

Development Officer Grade B Examination

Assistant Development Officer Grade ‘A’ Examination

Introduction The set of all natural numbers can be represented by

All counting numbers and their negatives including zero

are known as integers.

The set of integers can be represented by

addItIon and SubtractIon Solution: (a) 3893 × 99 = 389300 – 3893 = 385407

04 Multiplication of a given number by 5, 25, 125,

39820 03 To square a number which is nearer to 10x.

Illustration 13: Find the least number of 5 digits which

13. Divisibility by 25 A number is divisible by 25 14. Divisibility by 88 A number is divisible by 88

01 Test to find whether a given number is a 03 A number on being divided by d 1 and d 2

(a) 20 (b) 27 (a) 997 (b) 999

On the 17th of the following March, at the Hôtel de Chimay, now

Dinesh Khattar

Preface to the Fourth Edition viii 19 Logarithms19.1–19.8