Q47. Unscramble the following letters to frame a meaningful word.

Then find out the correct numerical position of the letters:

B C U S M E L R N A
1 2 3 4 5 6 7 8 9 10
2 1 3 4 6 8 9 7 5 10
6 1 4 3 2 5 8 7 9 10
3 1 5 7 10 4 2 6 9 8
3 9 4 2 8 10 5 1 7 6

Answer of above question: 3 9 4 2 8 10 5 1 7 6

Q48. The heights of three towers are in the ratio 5 : 6 : 7. If a spider takes 15 minutes to climb the smallest tower, how much time will it take to climb the highest one?

15 minutes
18 minutes
21 minutes
54 minutes

Answer of above question: 21 minutes

Q49. If the English alphabet is written in reverse order, which will be the fifth letter to the left of the ninth letter from the right?

P
None of these options
D
W

Answer of above question: None of these options

Q50. If in a particular year June month has 5 Mondays then that year started with which one of the following days?
(i) Thursday or Friday
(ii) Friday or Wednesday
(iii) Thursday or Saturday

Only (i)

Only (i) and (ii)

Only (i) and (iii)

None of these

Only (i) and (iii)

Answer of above question:

Q51. An idiomatic expression and its four possible meanings are given in the following question. Find out the correct meaning of the idiomatic expression and mark that meaning.

A man of spirit is
a very talented man
a spiritual person
a very courageous man
a unique person

Answer of above question: a very courageous man

Q52. Directions: Every word has four options. You have to find out the word exactly opposite in meaning to the given word.

Chaste:
Proper
Neat
Corrupt
Controlled

Answer of above question: Corrupt

Q53. DIRECTIONS: In the following question, out of the four alternatives, choose the one which best expresses the meaning of the given word

Hackneyed:
Tired
Fresh
Uncommon
New

Answer of above question: Tired

Q54. DIRECTIONS: Mark the out-of-context sentence for your answer

A. I am particularly optimistic about the potential for technological innovation to improve the lives of the poorest people in the world.
B. Companies are then willing to make the investments required to build new systems, and customers are able to accept the transition costs of adopting new behaviours.
C. But I believe that a realistic appraisal of the human condition compels an optimistic worldview.
D. Usually, “optimism” and “realism” are used to describe two different outlooks on life.
Only A
Only B
Only C
Only D
Answer of above question: Only B

Q55. Directions: Every sentence is followed by four options. You have to find out the one-word substitution for given sentences.
Words uttered Impiously about God

Logic
Blasphemy
Philosophy
Amoral

Answer of above question: Blasphemy

Q56. Directions: Choose the best word(s) to complete each sentence.

Well-behaved and innocent, the child was completely morally pure; in fact, he was practically a ______.

A. dastard B. seraph C. paragon D. Gnostic E. bromide

B
C
E
D

Answer of above question: B

Q57. DIRECTIONS: In the following sentence, a word or phrase has been italicized. For each italicized part, four words/phrases are listed below each sentence. Choose the word nearest in meaning to the italicized
part.

A man of unsound mind, he was exonerated from all responsibility for his actions.
exculpated
prevented
excused
liberated

Answer of above question: exculpated

Q58. Directions: Choose the word that is most nearly opposite in meaning to the word in capital letters.

EXPEND
stash
dispatch
splurge
smother

Answer of above question: stash

Q59. Fill in the blanks with appropriate options.

After the police questioned him about his whereabouts on the fateful night, they established that he had an air-tight alibi and told him that he was off the..................... for the murders. He was relieved as he could
once again resume his normal life.
shelf
path
hook
list

Answer of above question: hook

Q60. "I can't stand my neighbors next door. They are up till...............hours of the night even on weekdays and they are always playing loud, annoying music," Jenny told Lilly.
wee
small
late
all

Answer of above question: all

Q61. Fill in the blank with the appropriate option

After all why should you two continue to be free and I have to give up my ................ .
latitude
liberty
scope
immunity

Answer of above question: liberty

Q62. Fill in the blank with the appropriate option

It is always when............... you misunderstand the customs of other countries.
embarrassing
peculiar
singular
attitude

Answer of above question: embarrassing

Q63. Fill in the blank with the appropriate option

The factory was in a _____ conditions and needed restoration work before anything could be initiated.

depreciated
inundated
deterioration
dilapidated

Answer of above question: dilapidated

 Q64. One Word Substitution for given sentences:

A group of people who band together for secret purpose especially for political intrigue
assembly
junta
tribunal
dictator

Answer of above question: junta

Q65. One-word Substitution for the following sentences:

A post without remuneration.

Honorary
Sinecure
Voluntary
Involuntary

Answer of above question: Honorary

Q66. Choose the correctly spelled word?

Orphanege
Orphanage
Orphannage
All are Misspelled

Answer of above question: Orphanage

Q67. Find the correctly spelt word

liebertarian
laibertarian
liberatrian
libertarian

Answer of above question: libertarian

Q68. They’re ________ to build a new factory here.

planning
pretending
thinking
suggesting

Answer of above question: planning

Q69. Choose the correct synonym of the given word:

Nascent
Initial
Unpleasant
Latest
Crude

Answer of above question: Initial

Q70. What is an antonym of 'gloomy'?

bright
ominous
dark
dreadful

Answer of above question: bright

Q71. What is an antonym of 'stillness'?

uproar
tranquility
serenity
tameness

Answer of above question: uproar

Q72. What is an antonym of 'neglect'?

abandon
mistreat
nurture
delegate

Answer of above question: nurture

Q73. What is an antonym of 'jovial'?

cheerful
miserable
jolly
happy

Answer of above question: miserable

Q74. Complete the following sentence with the help of appropriate options.

Her ability to inspire others is her best ____________ .

attribute
 feasible
coherence
acumen

Answer of above question: attribute

Q75. Complete the following sentence with the help of appropriate options.

Most people will find the film silly and childish in its humor; the most ______ viewers will find it downright crass and offensive.
servile
petulant
fastidious
arcane

Answer of above question: fastidious

Q76. The author of Passage 1 most likely believes that

Directions:: Read the passage. Then answer the questions below.
Passage 1
“In Xanadu did Kubla Khan, a stately pleasure dome decree.” These words are as immortal and indeed as famed as any by Shakespeare, and yet they introduce a far stranger work than even The Tempest,
perhaps the oddest of all the Bard’s plays. The lines are the first of “Kubla Khan,” by the English poet Samuel Taylor Coleridge, one of the most beloved works of the Romantic period. But for a poem so revered,
its meaning is surprisingly ambiguous.
The poem has two main parts, with the first describing the dome the Mongol Kubla Khan constructed on the banks of the River Alph. Said dome is destroyed toward the end of the first section, and, in the
second, the narrator recounts an Abyssinian maid he once saw. The maid was capable of inspiring him and giving him godlike powers. Indeed, at the end of the poem, the speaker imagines others fearing his
“flashing eyes” and “floating hair.” As might be apparent from the summary of the two disjointed sections, making sense of the poem’s two parts is not an easy task.
Contemporary critics have suggested “Kubla Khan” is a poem about the creation of poetry, but only the second half of the poem seems to support this. Others have argued it is a poem about
the destructive forces of nature, but only the first half of the poem seems to support that reading. Still others have suggested the poem is about the contrasting idylls and terrors of the dream world, arguing
that the poem suggests man is capable of both creating personal utopias and personal hells. While this author tends to support that last analysis, there are aspects of the poem that still leave her scratching her
head and wondering just what in the heck Coleridge was trying to say. As one contemporary of Coleridge’s put it, Coleridge was the best writer of “nonsense verse” in the English language, and it is often hard
to separate nonsense from necessary phrases when determining the abstract meaning (or perhaps meanings!) of the poem.
Regardless of its meaning, the poem endures because of the power it contains. A reader of the poem cannot help but get lost in the figurative language of the poem and the robust force the poem uses to
create its image. It is a masterwork by a master of language, and to read it is to gain a better appreciation for the powers of language. As such, perhaps the meaning of the poem does not really matter, for the
meaning of the poem might simply come from the experience of reading it and getting lost in the dream it creates.
Passage 2
Coleridge’s “Kubla Khan” is a poem as well known for its origin myth as for its content. The poet christened his work with a subtitle: “Or, a vision in a dream. A Fragment.” And, according to legend, the poem
was merely that: a vision Coleridge had in a dream. One night, he took laudanum, a medicinal preparation of opium that, like most opium preparations, caused slight hallucinations. (This was the early 19th
century, and doctors routinely prescribed drugs now known to be dangerous to consume.) Coleridge had a dream about Kubla Khan making a dome in a beautiful natural setting and then dreamed of
himself writing a poem about it. He woke up and wrote the poem down, creating what we know today as the first half of “Kubla Khan.” Then, he paused and forgot the dream and instead began to describe
what he calls in the poem, another “vision once [he] saw,” that of an Abyssinian maid.
This is a great story and one that is, of course, as impossible to verify as it is to refute. All readers can agree the poem is excellently written, but certainly the legend has added to its intrigue. The
tales raises questions about artistic inspiration and also meaning: if a poem is not so much created as merely
thought, does it even have meaning?
Such a discussion is not limited to the works of Coleridge. Later poets—namely the French Symbolists and the American Beats—would similarly claim to have just dreamt up poems, and other poets—
notably W.B. Yeats—would occasionally indulge in automatic writing. In fact, many poets like to pretend that they are divinely inspired. And, as poetry readers, we love the idea of the poet as divine creator, even
though we know the truth: that writing poetry is a painstaking process in which a poet will spend literally months writing two lines. But it certainly is fun to dream about dreaming up a classic of the English
canon!
poets often lie about their inspirations
all poems have just one intended meaning
Shakespeare could not have written something like “Kubla Khan”
most popular poems are easy to understand

Answer of above question: most popular poems are easy to understand

Q77. Based on its use in paragraph 3 of Passage1, it can be inferred that the word idylls belongs to which of the following word groups?
Directions:: Read the passage. Then answer the questions below.
Passage 1
“In Xanadu did Kubla Khan, a stately pleasure dome decree.” These words are as immortal and indeed as famed as any by Shakespeare, and yet they introduce a far stranger work than even The Tempest,
perhaps the oddest of all the Bard’s plays. The lines are the first of “Kubla Khan,” by the English poet Samuel Taylor Coleridge, one of the most beloved works of the Romantic period. But for a poem so revered,
its meaning is surprisingly ambiguous.
The poem has two main parts, with the first describing the dome the Mongol Kubla Khan constructed on the banks of the River Alph. Said dome is destroyed toward the end of the first section, and, in the
second, the narrator recounts an Abyssinian maid he once saw. The maid was capable of inspiring him and giving him godlike powers. Indeed, at the end of the poem, the speaker imagines others fearing his
“flashing eyes” and “floating hair.” As might be apparent from the summary of the two disjointed sections, making sense of the poem’s two parts is not an easy task.
Contemporary critics have suggested “Kubla Khan” is a poem about the creation of poetry, but only the second half of the poem seems to support this. Others have argued it is a poem about the
destructive forces of nature, but only the first half of the poem seems to support that reading. Still others have suggested the poem is about the contrasting idylls and terrors of the dream world, arguing that
the poem suggests man is capable of both creating personal utopias and personal hells. While this author tends to support that last analysis, there are aspects of the poem that still leave her scratching her
head and wondering just what in the heck Coleridge was trying to say. As one contemporary of Coleridge’s put it, Coleridge was the best writer of “nonsense verse” in the English language, and it is often hard
to separate nonsense from necessary phrases when determining the abstract meaning (or perhaps meanings!) of the poem.
Regardless of its meaning, the poem endures because of the power it contains. A reader of the poem cannot help but get lost in the figurative language of the poem and the robust force the poem
uses to create its image. It is a masterwork by a master of language, and to read it is to gain a better appreciation for the powers of language. As such, perhaps the meaning of the poem does not really matter,
for the meaning of the poem might simply come from the experience of reading it and getting lost in the dream it creates.
Passage 2
Coleridge’s “Kubla Khan” is a poem as well known for its origin myth as for its content. The poet christened his work with a subtitle: “Or, a vision in a dream. A Fragment.” And, according to legend, the poem
was merely that: a vision Coleridge had in a dream. One night, he took laudanum, a medicinal preparation of opium that, like most opium preparations, caused slight hallucinations. (This was the early 19th
century, and doctors routinely prescribed drugs now known to be dangerous to consume.) Coleridge had a dream about Kubla Khan making a dome in a beautiful natural setting and then dreamed of himself
writing a poem about it. He woke up and wrote the poem down, creating what we know today as the first half of “Kubla Khan.” Then, he paused and forgot the dream and instead began to describe what he
calls in the poem, another “vision once [he] saw,” that of an Abyssinian maid.
This is a great story and one that is, of course, as impossible to verify as it is to refute. All readers can agree the poem is excellently written, but certainly the legend has added to its intrigue. The tales
raises questions about artistic inspiration and also meaning: if a poem is not so much created as merely
thought, does it even have meaning?
Such a discussion is not limited to the works of Coleridge. Later poets—namely the French Symbolists and the American Beats—would similarly claim to have just dreamt up poems, and other poets—
notably W.B. Yeats—would occasionally indulge in automatic writing. In fact, many poets like to pretend that they are divinely inspired. And, as poetry readers, we love the idea of the poet as divine creator, even
though we know the truth: that writing poetry is a painstaking process in which a poet will spend literally months writing two lines. But it certainly is fun to dream about dreaming up a classic of the English
canon!
bungalows, homes, abodes
horrors, miseries, hells
heavens, nirvanas, cosmos
utopias, paradises, Shangri-Las

Answer of above question: utopias, paradises, Shangri-Las

Q78. The author of Passage 1 argues that “Kubla Khan”

Directions:: Read the passage. Then answer the questions below.
Passage 1
 “In Xanadu did Kubla Khan, a stately pleasure dome decree.” These words are as immortal and indeed as famed as any by Shakespeare, and yet they introduce a far stranger work than even The Tempest,
perhaps the oddest of all the Bard’s plays. The lines are the first of “Kubla Khan,” by the English poet Samuel Taylor Coleridge, one of the most beloved works of the Romantic period. But for a poem so revered,
its meaning is surprisingly ambiguous.
The poem has two main parts, with the first describing the dome the Mongol Kubla Khan constructed on the banks of the River Alph. Said dome is destroyed toward the end of the first section, and, in
the second, the narrator recounts an Abyssinian maid he once saw. The maid was capable of inspiring him and giving him godlike powers. Indeed, at the end of the poem, the speaker imagines others fearing
his “flashing eyes” and “floating hair.” As might be apparent from the summary of the two disjointed sections, making sense of the poem’s two parts is not an easy task.
Contemporary critics have suggested “Kubla Khan” is a poem about the creation of poetry, but only the second half of the poem seems to support this. Others have argued it is a poem about the
destructive forces of nature, but only the first half of the poem seems to support that reading. Still others have suggested the poem is about the contrasting idylls and terrors of the dream world, arguing that
the poem suggests man is capable of both creating personal utopias and personal hells. While this author tends to support that last analysis, there are aspects of the poem that still leave her scratching her
head and wondering just what in the heck Coleridge was trying to say. As one contemporary of Coleridge’s put it, Coleridge was the best writer of “nonsense verse” in the English language, and it is often hard
to separate nonsense from necessary phrases when determining the abstract meaning (or perhaps meanings!) of the poem.
Regardless of its meaning, the poem endures because of the power it contains. A reader of the poem cannot help but get lost in the figurative language of the poem and the robust force the
poem uses to create its image. It is a masterwork by a master of language, and to read it is to gain a better appreciation for the powers of language. As such, perhaps the meaning of the poem does not really
matter, for the meaning of the poem might simply come from the experience of reading it and getting lost in the dream it creates.
Passage 2
Coleridge’s “Kubla Khan” is a poem as well known for its origin myth as for its content. The poet christened his work with a subtitle: “Or, a vision in a dream. A Fragment.” And, according to legend, the poem
was merely that: a vision Coleridge had in a dream. One night, he took laudanum, a medicinal preparation of opium that, like most opium preparations, caused slight hallucinations. (This was the early 19th
century, and doctors routinely prescribed drugs now known to be dangerous to consume.) Coleridge had a dream about Kubla Khan making a dome in a beautiful natural setting and then dreamed of himself
writing a poem about it. He woke up and wrote the poem down, creating what we know today as the first half of “Kubla Khan.” Then, he paused and forgot the dream and instead began to describe what he
calls in the poem, another “vision once [he] saw,” that of an Abyssinian maid.
This is a great story and one that is, of course, as impossible to verify as it is to refute. All readers can agree the poem is excellently written, but certainly the legend has added to its intrigue. The
tales raises questions about artistic inspiration and also meaning: if a poem is not so much created as merely
thought, does it even have meaning?
Such a discussion is not limited to the works of Coleridge. Later poets—namely the French Symbolists and the American Beats—would similarly claim to have just dreamt up poems, and other
poets—notably W.B. Yeats—would occasionally indulge in automatic writing. In fact, many poets like to pretend that they are divinely inspired. And, as poetry readers, we love the idea of the poet as divine
creator, even though we know the truth: that writing poetry is a painstaking process in which a poet will spend literally months writing two lines. But it certainly is fun to dream about dreaming up a classic of
the English canon!
has two parts that flow together to create a clear meaning
has no clear meaning but still resonates with the reader
is about the creation of poetry and not about nature’s wrath
is popular because of its legendary origins and its ambiguity

Answer of above question: has no clear meaning but still resonates with the reader

Q79. Which of the following best describes Passage 2? It

Directions: Read the passage. Then answer the questions below.
Passage 1
“In Xanadu did Kubla Khan, a stately pleasure-dome decree.” These words are as immortal and indeed as famed as any by Shakespeare, and yet they introduce a far stranger work than even The Tempest,
perhaps the oddest of all the Bard’s plays. The lines are the first of “Kubla Khan,” by the English poet Samuel Taylor Coleridge, one of the most beloved works of the Romantic period. But for a poem so revered,
its meaning is surprisingly ambiguous.
The poem has two main parts, with the first describing the dome the Mongol Kubla Khan constructed on the banks of the River Alph. Said dome is destroyed toward the end of the first
section, and, in the second, the narrator recounts an Abyssinian maid he once saw. The maid was capable of inspiring him and giving him godlike powers. Indeed, at the end of the poem, the speaker imagines
others fearing his “flashing eyes” and “floating hair.” As might be apparent from the summary of the two disjointed sections, making sense of the poem’s two parts is not an easy task.
Contemporary critics have suggested “Kubla Khan” is a poem about the creation of poetry, but only the second half of the poem seems to support this. Others have argued it is a poem about the
destructive forces of nature, but only the first half of the poem seems to support that reading. Still others have suggested the poem is about the contrasting idylls and terrors of the dream world, arguing that
the poem suggests man is capable of both creating personal utopias and personal hells. While this author tends to support that last analysis, there are aspects of the poem that still leave her scratching her
head and wondering just what in the heck Coleridge was trying to say. As one contemporary of Coleridge’s put it, Coleridge was the best writer of “nonsense verse” in the English language, and it is often hard
to separate nonsense from necessary phrases when determining the abstract meaning (or perhaps meanings!) of the poem.
Regardless of its meaning, the poem endures because of the power it contains. A reader of the poem cannot help but get lost in the figurative language of the poem and the robust force the
poem uses to create its image. It is a masterwork by a master of language, and to read it is to gain a better appreciation for the powers of language. As such, perhaps the meaning of the poem does not really
matter, for the meaning of the poem might simply come from the experience of reading it and getting lost in the dream it creates.
Passage 2
Coleridge’s “Kubla Khan” is a poem as well known for its origin myth as for its content. The poet christened his work with a subtitle: “Or, a vision in a dream. A Fragment.” And, according to legend, the poem
was merely that: a vision Coleridge had in a dream. One night, he took laudanum, a medicinal preparation of opium that, like most opium preparations, caused slight hallucinations. (This was the early 19th
century, and doctors routinely prescribed drugs now known to be dangerous to consume.) Coleridge had a dream about Kubla Khan making a dome in a beautiful natural setting and then dreamed of himself
writing a poem about it. He woke up and wrote the poem down, creating what we know today as the first half of “Kubla Khan.” Then, he paused and forgot the dream and instead began to describe what he
calls in the poem, another “vision once [he] saw,” that of an Abyssinian maid.
This is a great story and one that is, of course, as impossible to verify as it is to refute. All readers can agree the poem is excellently written, but certainly the legend has added to its intrigue. The tales
raises questions about artistic inspiration and also meaning: if a poem is not so much created as merely
thought, does it even have meaning?
Such a discussion is not limited to the works of Coleridge. Later poets—namely the French Symbolists and the American Beats—would similarly claim to have just dreamt up poems, and other poets—
notably W.B. Yeats—would occasionally indulge in automatic writing. In fact, many poets like to pretend that they are divinely inspired. And, as poetry readers, we love the idea of the poet as divine creator, even
though we know the truth: that writing poetry is a painstaking process in which a poet will spend literally months writing two lines. But it certainly is fun to dream about dreaming up a classic of the English
canon!
discusses the creation of “Kubla Khan” and uses it to ask a larger question about the role of artistic inspiration on meaning
refutes a common tale about the source of “Kubla Khan” and uses it to make a larger point about the role of artistic inspiration on meaning
argues for a new interpretation of “Kubla Khan” based on the story only recently uncovered about the poem’s dream origins
questions why “Kubla Khan” has remained so popular and argues that the story about its origins should make readers dismiss it

Answer of above question: discusses the creation of “Kubla Khan” and uses it to ask a larger question about the role of artistic inspiration on meaning

Q80. Passage 2 states that which of the following claimed to dream up poems.
Directions: Read the passage. Then answer the questions below.
Passage 1
“In Xanadu did Kubla Khan, a stately pleasure dome decree.” These words are as immortal and indeed as famed as any by Shakespeare, and yet they introduce a far stranger work than even The Tempest,
perhaps the oddest of all the Bard’s plays. The lines are the first of “Kubla Khan,” by the English poet Samuel Taylor Coleridge, one of the most beloved works of the Romantic period. But for a poem so revered,
its meaning is surprisingly ambiguous.
The poem has two main parts, with the first describing the dome the Mongol Kubla Khan constructed on the banks of the River Alph. Said dome is destroyed toward the end of the first section,
and, in the second, the narrator recounts an Abyssinian maid he once saw. The maid was capable of inspiring him and giving him godlike powers. Indeed, at the end of the poem, the speaker imagines others
fearing his “flashing eyes” and “floating hair.” As might be apparent from the summary of the two disjointed sections, making sense of the poem’s two parts is not an easy task.
Contemporary critics have suggested “Kubla Khan” is a poem about the creation of poetry, but only the second half of the poem seems to support this. Others have argued it is a poem about
the destructive forces of nature, but only the first half of the poem seems to support that reading. Still others have suggested the poem is about the contrasting idylls and terrors of the dream world, arguing
that the poem suggests man is capable of both creating personal utopias and personal hells. While this author tends to support that last analysis, there are aspects of the poem that still leave her scratching her
head and wondering just what in the heck Coleridge was trying to say. As one contemporary of Coleridge’s put it, Coleridge was the best writer of “nonsense verse” in the English language, and it is often hard
to separate nonsense from necessary phrases when determining the abstract meaning (or perhaps meanings!) of the poem.
Regardless of its meaning, the poem endures because of the power it contains. A reader of the poem cannot help but get lost in the figurative language of the poem and the robust force the poem
uses to create its image. It is a masterwork by a master of language, and to read it is to gain a better appreciation for the powers of language. As such, perhaps the meaning of the poem does not really matter,
for the meaning of the poem might simply come from the experience of reading it and getting lost in the dream it creates.
Passage 2
Coleridge’s “Kubla Khan” is a poem as well known for its origin myth as for its content. The poet christened his work with a subtitle: “Or, a vision in a dream. A Fragment.” And, according to legend, the poem
was merely that: a vision Coleridge had in a dream. One night, he took laudanum, a medicinal preparation of opium that, like most opium preparations, caused slight hallucinations. (This was the early 19th
century, and doctors routinely prescribed drugs now known to be dangerous to consume.) Coleridge had a dream about Kubla Khan making a dome in a beautiful natural setting and then dreamed of himself
writing a poem about it. He woke up and wrote the poem down, creating what we know today as the first half of “Kubla Khan.” Then, he paused and forgot the dream and instead began to describe what he
 calls in the poem, another “vision once [he] saw,” that of an Abyssinian maid.
This is a great story and one that is, of course, as impossible to verify as it is to refute. All readers can agree the poem is excellently written, but certainly the legend has added to its intrigue. The tales
raises questions about artistic inspiration and also meaning: if a poem is not so much created as merely
thought, does it even have meaning?
Such a discussion is not limited to the works of Coleridge. Later poets—namely the French Symbolists and the American Beats—would similarly claim to have just dreamt up poems, and other
poets—notably W.B. Yeats—would occasionally indulge in automatic writing. In fact, many poets like to pretend that they are divinely inspired. And, as poetry readers, we love the idea of the poet as divine
creator, even though we know the truth: that writing poetry is a painstaking process in which a poet will spend literally months writing two lines. But it certainly is fun to dream about dreaming up a classic of
the English canon!
Yeats and the Baroques
Yeats and Shakespeare
Coleridge and the Symbolists
Coleridge and the Romantics

Answer of above question: Coleridge and the Symbolists

Q81. Unlike Passage 1, Passage 2 does NOT.

Directions: Read the passage. Then answer the questions below.
Passage 1
“In Xanadu did Kubla Khan, a stately pleasure dome decree.” These words are as immortal and indeed as famed as any by Shakespeare, and yet they introduce a far stranger work than even The Tempest,
perhaps the oddest of all the Bard’s plays. The lines are the first of “Kubla Khan,” by the English poet Samuel Taylor Coleridge, one of the most beloved works of the Romantic period. But for a poem so revered,
its meaning is surprisingly ambiguous.
The poem has two main parts, with the first describing the dome the Mongol Kubla Khan constructed on the banks of the River Alph. Said dome is destroyed toward the end of the first section,
and, in the second, the narrator recounts an Abyssinian maid he once saw. The maid was capable of inspiring him and giving him godlike powers. Indeed, at the end of the poem, the speaker imagines others
fearing his “flashing eyes” and “floating hair.” As might be apparent from the summary of the two disjointed sections, making sense of the poem’s two parts is not an easy task.
Contemporary critics have suggested “Kubla Khan” is a poem about the creation of poetry, but only the second half of the poem seems to support this. Others have argued it is a poem
about the destructive forces of nature, but only the first half of the poem seems to support that reading. Still others have suggested the poem is about the contrasting idylls and terrors of the dream world,
arguing that the poem suggests man is capable of both creating personal utopias and personal hells. While this author tends to support that last analysis, there are aspects of the poem that still leave her
scratching her head and wondering just what in the heck Coleridge was trying to say. As one contemporary of Coleridge’s put it, Coleridge was the best writer of “nonsense verse” in the English language, and it
is often hard to separate nonsense from necessary phrases when determining the abstract meaning (or perhaps meanings!) of the poem.
Regardless of its meaning, the poem endures because of the power it contains. A reader of the poem cannot help but get lost in the figurative language of the poem and the
robust force the poem uses to create its image. It is a masterwork by a master of language, and to read it is to gain a better appreciation for the powers of language. As such, perhaps the meaning of the poem
does not really matter, for the meaning of the poem might simply come from the experience of reading it and getting lost in the dream it creates.
Passage 2
Coleridge’s “Kubla Khan” is a poem as well known for its origin myth as for its content. The poet christened his work with a subtitle: “Or, a vision in a dream. A Fragment.” And, according to legend, the poem
was merely that: a vision Coleridge had in a dream. One night, he took laudanum, a medicinal preparation of opium that, like most opium preparations, caused slight hallucinations. (This was the early 19th
century, and doctors routinely prescribed drugs now known to be dangerous to consume.) Coleridge had a dream about Kubla Khan making a dome in a beautiful natural setting and then dreamed of himself
writing a poem about it. He woke up and wrote the poem down, creating what we know today as the first half of “Kubla Khan.” Then, he paused and forgot the dream and instead began to describe what he
calls in the poem, another “vision once [he] saw,” that of an Abyssinian maid.
This is a great story and one that is, of course, as impossible to verify as it is to refute. All readers can agree the poem is excellently written, but certainly the legend has added to its intrigue.
The tales raises questions about artistic inspiration and also meaning: if a poem is not so much created as merely
thought, does it even have meaning?
Such a discussion is not limited to the works of Coleridge. Later poets—namely the French Symbolists and the American Beats—would similarly claim to have just dreamt up poems, and other
poets—notably W.B. Yeats—would occasionally indulge in automatic writing. In fact, many poets like to pretend that they are divinely inspired. And, as poetry readers, we love the idea of the poet as divine
creator, even though we know the truth: that writing poetry is a painstaking process in which a poet will spend literally months writing two lines. But it certainly is fun to dream about dreaming up a classic of
the English canon!
describe biographical details of Coleridge
provide an analysis of “Kubla Khan”
quote any aspect of “Kubla Khan”
list any specific critics of Coleridge’s poetry

Answer of above question: provide an analysis of “Kubla Khan”

Q82. The authors of both passages are interested in

Directions: Read the passage. Then answer the questions below.
Passage 1
“In Xanadu did Kubla Khan, a stately pleasure dome decree.” These words are as immortal and indeed as famed as any by Shakespeare, and yet they introduce a far stranger work than even The Tempest,
perhaps the oddest of all the Bard’s plays. The lines are the first of “Kubla Khan,” by the English poet Samuel Taylor Coleridge, one of the most beloved works of the Romantic period. But for a poem so revered,
its meaning is surprisingly ambiguous.
The poem has two main parts, with the first describing the dome the Mongol Kubla Khan constructed on the banks of the River Alph. Said dome is destroyed toward the end of the first section,
and, in the second, the narrator recounts an Abyssinian maid he once saw. The maid was capable of inspiring him and giving him godlike powers. Indeed, at the end of the poem, the speaker imagines others
fearing his “flashing eyes” and “floating hair.” As might be apparent from the summary of the two disjointed sections, making sense of the poem’s two parts is not an easy task.
Contemporary critics have suggested “Kubla Khan” is a poem about the creation of poetry, but only the second half of the poem seems to support this. Others have argued it is a poem
about the destructive forces of nature, but only the first half of the poem seems to support that reading. Still others have suggested the poem is about the contrasting idylls and terrors of the dream world,
arguing that the poem suggests man is capable of both creating personal utopias and personal hells. While this author tends to support that last analysis, there are aspects of the poem that still leave her
scratching her head and wondering just what in the heck Coleridge was trying to say. As one contemporary of Coleridge’s put it, Coleridge was the best writer of “nonsense verse” in the English language, and it
is often hard to separate nonsense from necessary phrases when determining the abstract meaning (or perhaps meanings!) of the poem.
Regardless of its meaning, the poem endures because of the power it contains. A reader of the poem cannot help but get lost in the figurative language of the poem and the robust force
the poem uses to create its image. It is a masterwork by a master of language, and to read it is to gain a better appreciation for the powers of language. As such, perhaps the meaning of the poem does not
really matter, for the meaning of the poem might simply come from the experience of reading it and getting lost in the dream it creates.
Passage 2
Coleridge’s “Kubla Khan” is a poem as well known for its origin myth as for its content. The poet christened his work with a subtitle: “Or, a vision in a dream. A Fragment.” And, according to legend, the poem
was merely that: a vision Coleridge had in a dream. One night, he took laudanum, a medicinal preparation of opium that, like most opium preparations, caused slight hallucinations. (This was the early 19th
century, and doctors routinely prescribed drugs now known to be dangerous to consume.) Coleridge had a dream about Kubla Khan making a dome in a beautiful natural setting and then dreamed of himself
writing a poem about it. He woke up and wrote the poem down, creating what we know today as the first half of “Kubla Khan.” Then, he paused and forgot the dream and instead began to describe what he
calls in the poem, another “vision once [he] saw,” that of an Abyssinian maid.
This is a great story and one that is, of course, as impossible to verify as it is to refute. All readers can agree the poem is excellently written, but certainly the legend has added to its intrigue.
The tales raises questions about artistic inspiration and also meaning: if a poem is not so much created as merely
thought, does it even have meaning?
Such a discussion is not limited to the works of Coleridge. Later poets—namely the French Symbolists and the American Beats—would similarly claim to have just dreamt up poems, and
other poets—notably W.B. Yeats—would occasionally indulge in automatic writing. In fact, many poets like to pretend that they are divinely inspired. And, as poetry readers, we love the idea of the poet as
divine creator, even though we know the truth: that writing poetry is a painstaking process in which a poet will spend literally months writing two lines. But it certainly is fun to dream about dreaming up a
classic of the English canon!
the source of artistic inspiration
trying to uncover the meaning of “Kubla Khan”
the story of the creation of “Kubla Khan”
the interpretations of poetic works

Answer of above question: the interpretations of poetic works

Q83. Which of the following best describes the organization of this passage?
Directions: Read the passage. Then answer the questions below.
 The average computer user has between 5 and 15 username/password combinations to log in to email accounts, social networking sites, discussion boards, news and entertainment sites, online stores, online
banking accounts, or other websites. For people who use email or other internet applications at work, the number of required username/password combinations may surpass 30. Some of these accounts
demand that you use a specific number of symbols and digits, while others require you to change your password every 60 days. When you add to this list the codes needed to access things like ATMs,
home alarm systems, padlocks, or voicemail, the number of passwords becomes staggering. The feeling of frustration that results from maintaining a memorized list of login credentials has grown so prevalent
that it actually has a name: password fatigue.
Having to remember so many different passwords is irritating, but it can also be dangerous.Because it is virtually impossible to remember a unique password for each of these accounts, many people
leave handwritten lists of usernames and passwords on or next to their computers. Others solve this problem by using the same password for every account or using extremely simple passwords. While these
practices make it easier to remember login information, they also make it exponentially easier for thieves to hack into accounts.
Single sign-on (SSO) authentication and password management software can help mitigate this problem, but there are drawbacks to both approaches. SSO authentication can be used for related,
but independent software systems. With SSO, users log in once to access a variety of different applications. Users only need to remember one password to log in to the main system; the SSO software
then automatically logs the user in to other accounts within the system. SSO software is typically used by large companies, schools, or libraries. Password management software, such as KeePass and Password
Safe, is most often used on personal computers. These software programs which have been built into many major web browsers—store passwords in a remote database and automatically "remember"
users’ passwords for a variety of sites.
The problem with both SSO authentication and password management software is that the feature that makes them useful is also what makes them vulnerable. If a user loses or forgets the password
required to log in to SSO software, the user will then lose access to all of the applications linked to the SSO account.
Furthermore, if a hacker can crack the SSO password, he or she will then have access to all of the linked accounts. Users who rely on password management software are susceptible to the same problems,
but they also incur the added threat of passwords being compromised because of computer theft.
Although most websites or network systems allow users to recover or change lost passwords by
providing email addresses or answering a prompt, this process can waste time and cause further frustration. What is more, recovering a forgotten password is only a temporary solution; it does not address the
larger problem of password fatigue.
Some computer scientists have suggested that instead of passwords, computers rely on biometrics.This is a method of recognizing human users based on unique traits, such as fingerprints, voice, or
DNA. Biometric identification is currently used by some government agencies and private companies, including the Departmen of Defense and Disney World. While biometrics would certainly eliminate the need
for people to remember passwords, the use of biometrics raises ethical questions concerning privacy and can also be expensive to implement.
The problems associated with SSO, password management software, and biometrics continue to stimulate software engineers and computer security experts to search for the cure to password
fatigue. Until they find the perfect solution, however, everyone will simply have to rely on the flawed password system currently in place.
The passage organizes ideas in order of increasing importance.
The author presents an argument and then uses evidence to dismiss opposing views.
The author explains a problem, explores solutions, and then dismisses these solutions as inadequate.
The author explains a problem and then persuades readers to agree with his or her solution to the problem.

Answer of above question: The author explains a problem, explores solutions, and then dismisses these solutions as inadequate.

Q84. The passage discusses all of the following solutions to password fatigue EXCEPT
Directions: Read the passage. Then answer the questions below.
The average computer user has between 5 and 15 username/password combinations to log in to email accounts, social networking sites, discussion boards, news and entertainment sites, online stores, online
banking accounts, or other websites. For people who use email or other internet applications at work, the number of required username/password combinations may surpass 30. Some of these accounts
demand that you use a specific number of symbols and digits, while others require you to change your password every 60 days. When you add to this list the codes needed to access things like ATMs, home
alarm systems, padlocks, or voicemail, the number of passwords becomes staggering. The feeling of frustration that results from maintaining a memorized list of login credentials has grown so prevalent that it
actually has a name: password fatigue.
Having to remember so many different passwords is irritating, but it can also be dangerous. Because it is virtually impossible to remember a unique password for each of these accounts, many people
leave handwritten lists of usernames and passwords on or next to their computers. Others solve this problem by using the same password for every account or using extremely simple passwords. While these
practices make it easier to remember login information, they also make it exponentially easier for thieves to hack into accounts.
Single sign-on (SSO) authentication and password management software can help mitigate this problem, but there are drawbacks to both approaches. SSO authentication can be used for
related,but independent software systems. With SSO, users log in once to access a variety of different applications.Users only need to remember one password to log in to the main system; the SSO software
then automatically logs the user in to other accounts within the system. SSO software is typically used by large companies,schools, or libraries. Password management software, such as KeePass and Password
Safe, is most often used on personal computers. These software programs which have been built into many major web browsers—store passwords in a remote database and automatically "remember" users’
passwords for a variety of sites.
The problem with both SSO authentication and password management software is that the feature that makes them useful is also what makes them vulnerable. If a user loses or forgets the password
required to log in to SSO software, the user will then lose access to all of the applications linked to the SSO account.
Furthermore, if a hacker can crack the SSO password, he or she will then have access to all of the linked accounts. Users who rely on password management software are susceptible to the same
problems, but they also incur the added threat of passwords being compromised because of computer theft.
Although most websites or network systems allow users to recover or change lost passwords by providing email addresses or answering a prompt, this process can waste time and cause further frustration.
What is more, recovering a forgotten password is only a temporary solution; it does not address the larger problem of password fatigue.
Some computer scientists have suggested that instead of passwords, computers rely on biometrics. This is a method of recognizing human users based on unique traits, such as fingerprints, voice,
or DNA. Biometric identification is currently used by some government agencies and private companies, including the Department of Defense and Disney World. While biometrics would certainly eliminate the
need for people to remember passwords, the use of biometrics raises ethical questions concerning privacy and can also be expensive to implement.
The problems associated with SSO, password management software, and biometrics continue to stimulate software engineers and computer security experts to search for the cure to password
fatigue. Until they find the perfect solution, however, everyone will simply have to rely on the flawed password system currently in place.

handwritten lists
voice-recognition software
using very simple passwords
intelligent encryption

Answer of above question: intelligent encryption

Q85. As used in paragraph 3, which is the best synonym for mitigate?

Directions:: Read the passage. Then answer the questions below.
The average computer user has between 5 and 15 username/password combinations to log in to email accounts, social networking sites, discussion boards, news and entertainment sites, online stores, online
banking accounts, or other websites. For people who use email or other internet applications at work, the number of required username/password combinations may surpass 30. Some of these accounts
demand that you use a specific number of symbols and digits, while others require you to change your password every 60 days. When you add to this list the codes needed to access things like ATMs, home
alarm systems, padlocks, or voicemail, the number of passwords becomes staggering. The feeling of frustration that results from maintaining a memorized list of login credentials has grown so prevalent that it
actually has a name: password fatigue.
Having to remember so many different passwords is irritating, but it can also be dangerous.Because it is virtually impossible to remember a unique password for each of these accounts, many people
leave handwritten lists of usernames and passwords on or next to their computers. Others solve this problem by using the same password for every account or using extremely simple passwords. While these
practices make it easier to remember login information, they also make it exponentially easier for thieves to hack into accounts.
Single sign-on (SSO) authentication and password management software can help mitigatethis problem,but there are drawbacks to both approaches. SSO authentication can be used for related,
but independent software systems. With SSO, users log in once to access a variety of different applications. Users only need to remember one password to log in to the main system; the SSO software then
automatically logs the user in to other accounts within the system. SSO software is typically used by large companies, schools, or libraries. Password management software, such as KeePass and Password Safe, is
most often used on personal computers. These software programs which have been built into many major web browsers—store passwords in a remote database and automatically "remember" users’ passwords
for a variety of sites.
The problem with both SSO authentication and password management software is that the feature that makes them useful is also what makes them vulnerable. If a user loses or forgets the password
required to log in to SSO software, the user will then lose access to all of the applications linked to the SSO account.
Furthermore, if a hacker can crack the SSO password, he or she will then have access to all of the linked accounts. Users who rely on password management software are susceptible to the same
problems, but they also incur the added threat of passwords being compromised because of computer theft.
Although most websites or network systems allow users to recover or change lost passwords by providing email addresses or answering a prompt, this process can waste time and cause further frustration.
What is more, recovering a forgotten password is only a temporary solution; it does not address the larger problem of password fatigue.
Some computer scientists have suggested that instead of passwords, computers rely on biometrics. This is a method of recognizing human users based on unique traits, such as fingerprints, voice,
or DNA. Biometric identification is currently used by some government agencies and private companies, including the Department of Defense and Disney World. While biometrics would certainly eliminate the
need for people to remember passwords, the use of biometrics raises ethical questions concerning privacy and can also be expensive to implement.
The problems associated with SSO, password management software, and biometrics continue to
stimulate software engineers and computer security experts to search for the cure to password fatigue.
Until they find the perfect solution, however, everyone will simply have to rely on the flawed password
system currently in place.
 predict
postpone
investigate
lessen

Answer of above question: lessen

Q86. According to the passage, SSO authentication software may be safer than password management software because
I. stolen personal computers contain passwords memorized by a user’s web browser
II. if a user of password management software forgets his or her login credentials, the user can no longer access any of the applications protected by the password
III. hackers who access password management software can gain access to all of the applications protected by that password
Directions:: Read the passage. Then answer the questions below.
The average computer user has between 5 and 15 username/password combinations to log in to email accounts, social networking sites, discussion boards, news and entertainment sites, online stores, online
banking accounts, or other websites. For people who use email or other internet applications at work, the number of required username/password combinations may surpass 30. Some of these accounts
demand that you use a specific number of symbols and digits, while others require you to change your password every 60 days. When you add to this list the codes needed to access things like ATMs, home
alarm systems, padlocks, or voicemail, the number of passwords becomes staggering. The feeling of frustration that results from maintaining a memorized list of login credentials has grown so prevalent that it
actually has a name: password fatigue.
Having to remember so many different passwords is irritating, but it can also be dangerous. Because it is virtually impossible to remember a unique password for each of these accounts, many people
leave handwritten lists of usernames and passwords on or next to their computers. Others solve this problem by using the same password for every account or using extremely simple passwords. While these
practices make it easier to remember login information, they also make it exponentially easier for thieves to hack into accounts.
Single sign-on (SSO) authentication and password management software can help mitigate this problem, but there are drawbacks to both approaches. SSO authentication can be used for
related,but independent software systems. With SSO, users log in once to access a variety of different applications. Users only need to remember one password to log in to the main system; the SSO software
then automatically logs the user in to other accounts within the system. SSO software is typically used by large companies,schools, or libraries. Password management software, such as KeePass and Password
Safe, is most often used on personal computers. These software programs which have been built into many major web browsers—store passwords in a remote database and automatically "remember" users’
passwords for a variety of sites.
The problem with both SSO authentication and password management software is that the feature that makes them useful is also what makes them vulnerable. If a user loses or forgets the password
required to log in to SSO software, the user will then lose access to all of the applications linked to the SSO account.
Furthermore, if a hacker can crack the SSO password, he or she will then have access to all of the linked accounts. Users who rely on password management software are susceptible to the same
problems, but they also incur the added threat of passwords being compromised because of computer theft.
Although most websites or network systems allow users to recover or change lost passwords by providing email addresses or answering a prompt, this process can waste time and cause further
frustration. What is more, recovering a forgotten password is only a temporary solution; it does not address the larger problem of password fatigue.
Some computer scientists have suggested that instead of passwords, computers rely on biometrics. This is a method of recognizing human users based on unique traits, such as fingerprints, voice, or
DNA. Biometric identification is currently used by some government agencies and private companies, including the Department of Defense and Disney World. While biometrics would certainly eliminate the
need for people to remember passwords, the use of biometrics raises ethical questions concerning privacy and can also be expensive to implement.
The problems associated with SSO, password management software, and biometrics continue to
stimulate software engineers and computer security experts to search for the cure to password fatigue. Until they find the perfect solution, however, everyone will simply have to rely on the flawed password
system currently in place.

I only
II only
I and II only
I, II, and III

Answer of above question: I only

Q87. Which of the following statements from the passage represents an opinion, as opposed to a fact?
Directions: Read the passage. Then answer the questions below.

The average computer user has between 5 and 15 username/password combinations to log in to email accounts, social networking sites, discussion boards, news and entertainment sites, online stores, online
banking accounts, or other websites. For people who use email or other internet applications at work, the number of required username/password combinations may surpass 30. Some of these accounts
demand that you use a specific number of symbols and digits, while others require you to change your password every 60 days. When you add to this list the codes needed to access things like ATMs, home
alarm systems, padlocks, or voicemail, the number of passwords becomes staggering. The feeling of frustration that results from maintaining a memorized list of login credentials has grown so prevalent that it
actually has a name: password fatigue.
Having to remember so many different passwords is irritating, but it can also be dangerous. Because it is virtually impossible to remember a unique password for each of these accounts,
many people leave handwritten lists of usernames and passwords on or next to their computers. Others solve this problem by using the same password for every account or using extremely simple passwords.
While these practices make it easier to remember login information, they also make it exponentially easier for thieves to hack into accounts.
Single sign-on (SSO) authentication and password management software can help mitigate this
problem, but there are drawbacks to both approaches. SSO authentication can be used for related, but
independent software systems. With SSO, users log in once to access a variety of different applications. Users only need to remember one password to log in to the main system; the SSO software then
automatically logs the user in to other accounts within the system. SSO software is typically used by large companies, schools, or libraries. Password management software, such as KeePass and Password Safe, is
most often used on personal computers. These software programs which have been built into many major web browsers—store passwords in a remote database and automatically "remember" users’ passwords
for a variety of sites.
The problem with both SSO authentication and password management software is that the feature that makes them useful is also what makes them vulnerable. If a user loses or forgets the
password required to log in to SSO software, the user will then lose access to all of the applications linked to the SSO account.
Furthermore, if a hacker can crack the SSO password, he or she will then have access to all of the linked accounts. Users who rely on password management software are susceptible to the same
problems, but they also incur the added threat of passwords being compromised because of computer theft.
Although most websites or network systems allow users to recover or change lost passwords by providing email addresses or answering a prompt, this process can waste time and cause further
frustration. What is more, recovering a forgotten password is only a temporary solution; it does not address the larger problem of password fatigue.
Some computer scientists have suggested that instead of passwords, computers rely on biometrics. This is a method of recognizing human users based on unique traits, such as fingerprints,
voice, or DNA. Biometric identification is currently used by some government agencies and private companies, including the Department of Defense and Disney World. While biometrics would certainly
eliminate the need for people to remember passwords, the use of biometrics raises ethical questions concerning privacy and can also be expensive to implement.
The problems associated with SSO, password management software, and biometrics continue to stimulate software engineers and computer security experts to search for the cure to password
fatigue. Until they find the perfect solution, however, everyone will simply have to rely on the flawed password system currently in place.
For people who use email or other internet applications at work, the number of required username/password combinations may surpass 30.”
The feeling of frustration that results from maintaining a memorized list of login credentials has grown so prevalent that it actually has a name: password fatigue.
Having to remember so many different passwords is irritating, but it can also be dangerous.
Additionally, recovering a forgotten password is only a temporary solution; it does not address the larger problem of password fatigue.

Answer of above question: Having to remember so many different passwords is irritating, but it can also be dangerous.

Q88. In paragraph 6, the author notes that “the use of biometrics raises ethical questions concerning privacy.” Which of the following situations could be used as an example to illustrate this point?
Directions:: Read the passage. Then answer the questions below.

The average computer user has between 5 and 15 username/password combinations to log in to email accounts, social networking sites, discussion boards, news and entertainment sites, online stores, online
banking accounts, or other websites. For people who use email or other internet applications at work, the number of required username/password combinations may surpass 30. Some of these accounts
demand that you use a specific number of symbols and digits, while others require you to change your password every 60 days. When you add to this list the codes needed to access things like ATMs, home
alarm systems, padlocks, or voicemail, the number of passwords becomes staggering. The feeling of frustration that results from maintaining a memorized list of login credentials has grown so prevalent that it
actually has a name: password fatigue.
Having to remember so many different passwords is irritating, but it can also be dangerous.
Because it is virtually impossible to remember a unique password for each of these accounts, many people leave handwritten lists of usernames and passwords on or next to their computers. Others solve this
problem by using the same password for every account or using extremely simple passwords. While these practices make it easier to remember login information, they also make it exponentially easier for
thieves to hack into accounts.
Single sign-on (SSO) authentication and password management software can help mitigate this problem, but there are drawbacks to both approaches. SSO authentication can be used for
 related, but
independent software systems. With SSO, users log in once to access a variety of different applications. Users only need to remember one password to log in to the main system; the SSO software then
automatically logs the user in to other accounts within the system. SSO software is typically used by large companies, schools, or libraries. Password management software, such as KeePass and Password Safe, is
most often used on personal computers. These software programs which have been built into many major web browsers—store passwords in a remote database and automatically "remember" users’ passwords
for a variety of sites.
The problem with both SSO authentication and password management software is that the
feature that makes them useful is also what makes them vulnerable. If a user loses or forgets the password required to log in to SSO software, the user will then lose access to all of the applications linked to the
SSO account.
Furthermore, if a hacker can crack the SSO password, he or she will then have access to all of the linked accounts. Users who rely on password management software are susceptible to the same
problems, but they also incur the added threat of passwords being compromised because of computer theft.
Although most websites or network systems allow users to recover or change lost passwords by
providing email addresses or answering a prompt, this process can waste time and cause further frustration. What is more, recovering a forgotten password is only a temporary solution; it does not address the
larger problem of password fatigue.
Some computer scientists have suggested that instead of passwords, computers rely on biometrics. This is a method of recognizing human users based on unique traits, such as fingerprints, voice, or
DNA. Biometric identification is currently used by some government agencies and private companies, including the Department of Defense and Disney World. While biometrics would certainly eliminate the
need for people to remember passwords, the use of biometrics raises ethical questions concerning privacy and can also be expensive to implement.
The problems associated with SSO, password management software, and biometrics continue to
stimulate software engineers and computer security experts to search for the cure to password fatigue.Until they find the perfect solution, however, everyone will simply have to rely on the flawed password
system currently in place.
A thief steals a personal computer with password management software and gains access to private email accounts, credit card numbers, and bank statements.
An employee at a company uses a voice recognition system to log in to his computer, only to becalled away by his boss. While he is away from the computer but still logged in, another employee snoops on his
A computer hacker gains access to a system that uses SSO software by cracking the password,thus gaining private access to all linked accounts.
A company that employs fingerprint identification security software turns over its database of fingerprints to the local police department when a violent crime occurs on its grounds.

Answer of above question: A company that employs fingerprint identification security software turns over its database of fingerprints to the local police department when a violent crime occurs on its ground

Q89. The author’s tone in the final paragraph can best be described as
Directions:: Read the passage. Then answer the questions below.
The average computer user has between 5 and 15 username/password combinations to log in to email accounts, social networking sites, discussion boards, news and entertainment sites, online stores, online
banking accounts, or other websites. For people who use email or other internet applications at work, the number of required username/password combinations may surpass 30. Some of these accounts
demand that you use a specific number of symbols and digits, while others require you to change your password every 60 days. When you add to this list the codes needed to access things like ATMs, home
alarm systems, padlocks, or voicemail, the number of passwords becomes staggering. The feeling of frustration that results from maintaining a memorized list of login credentials has grown so prevalent that it
actually has a name: password fatigue.
Having to remember so many different passwords is irritating, but it can also be dangerous.
Because it is virtually impossible to remember a unique password for each of these accounts, many people leave handwritten lists of usernames and passwords on or next to their computers. Others solve this
problem by using the same password for every account or using extremely simple passwords. While these practices make it easier to remember login information, they also make it exponentially easier for
thieves to hack into accounts.
Single sign-on (SSO) authentication and password management software can help mitigate this problem, but there are drawbacks to both approaches. SSO authentication can be used for
related, but
independent software systems. With SSO, users log in once to access a variety of different applications. Users only need to remember one password to log in to the main system; the SSO software then
automatically logs the user in to other accounts within the system. SSO software is typically used by large companies, schools, or libraries. Password management software, such as KeePass and Password Safe, is
most often used on personal computers. These software programs which have been built into many major web browsers—store passwords in a remote database and automatically "remember" users’ passwords
for a variety of sites.
The problem with both SSO authentication and password management software is that the
feature that makes them useful is also what makes them vulnerable. If a user loses or forgets the password required to log in to SSO software, the user will then lose access to all of the applications linked to the
SSO account.
Furthermore, if a hacker can crack the SSO password, he or she will then have access to all of the linked accounts. Users who rely on password management software are susceptible to the same
problems, but they also incur the added threat of passwords being compromised because of computer theft.
Although most websites or network systems allow users to recover or change lost passwords by
providing email addresses or answering a prompt, this process can waste time and cause further frustration. What is more, recovering a forgotten password is only a temporary solution; it does not address the
larger problem of password fatigue.
Some computer scientists have suggested that instead of passwords, computers rely on biometrics. This is a method of recognizing human users based on unique traits, such as fingerprints,
voice, or DNA. Biometric identification is currently used by some government agencies and private companies, including the Department of Defense and Disney World. While biometrics would certainly
eliminate the need for people to remember passwords, the use of biometrics raises ethical questions concerning privacy and can also be expensive to implement.
The problems associated with SSO, password management software, and biometrics continue to
stimulate software engineers and computer security experts to search for the cure to password fatigue.Until they find the perfect solution, however, everyone will simply have to rely on the flawed password
system currently in place.

animated
resigned
confused
hopeful

Answer of above question: resigned

Q90. Based on its use in paragraph 2, it can be understood that the word vernacular belongs to which of the following word groups?
Directions:: Read the passage. Then answer the questions below.

Firefighters fight fire. They're heroes. But they're different from comic book heroes. See, unlike comic book heroes, their enemy isn't a bad guy that can be defeated simply by locking him in jail or giving him a
stiff right hook to the jaw. No, unfortunately for firefighters, defeating their enemy is more complicated than that. That's because fire is a chemical reaction, and a chemical reaction cannot be punched or put in
jail. To fight a chemical reaction, firefighters must stop it from existing altogether. To do this, they deny it one of the following elements: fuel, heat, or oxygen.
To stop a fire, firefighters deny it fuel. In firefighter vernacular, the word "fuel" is defined as anything nearby that can burn. Wood, coal, gas, and oil are commonly considered fuel. And although they may
not catch fire as quickly, living things like humans, animals, and plants can also be considered fuel. Fires like fuel because it breaks down under heat. When this happens, fuel releases the gasses fire needs to
burn. These gasses, combined with oxygen, produce fire. As a fire spreads, its heat grows, causing more fuel to release even more gasses. With access to a plentiful amount of fuel, fire can move rapidly,
traveling at approximately 14 miles per
hour. In a single afternoon, an entire forest can be transformed into a sea of flames. For this reason, it is critical for firefighters to remove all nearby sources of fuel from a fire. Unfortunately, it is not
always possible to do this (some fuels like houses, forests, etc. are immovable). In these cases, firefighters may go for the next best alternative: separate the fire from the fuel. Using blocking and rerouting
tactics, firefighters can separate a fire from fuel it may have otherwise consumed. But this is not always necessary. When fuel is in limited supply, the fire just dies out on its own. The firefighters simply stand
by and watch it burn itself out.
In addition to fuel, firefighters deny a fire heat. As explained above, heat releases the gases in nearby fuel. Once released, these gases combine with oxygen in the air. This produces the chemical reaction
we call fire. And as the fire grows, it produces more heat. That heat, in turn, releases more gases from fuel. So, heat causes fire not only to start but also to spread. To combat heat, firefighters use a not so-
special weapon: water. By covering nearby fuel sources in water, firefighters can lower their temperature. This makes them harder to ignite. When this happens, the fire usually stops. After all, eliminating heat
from a fire is like eliminating the leader of a gang. Without a leader to push them, the gang members will likely stop what they are doing. But occasionally, removing the leader of a gang can also be dangerous
—it can anger the gang. Likewise, fighting fire with water can also be dangerous. Believe it or not, putting water on some fires can actually make them worse! In these cases, firefighters must try to eliminate
something else, like oxygen.
In addition to fuel and heat, firefighters deny a fire oxygen. Oxygen combines with the gases released from fuel to make fire. With fresh supplies of oxygen from air, especially from wind, fires can grow
and spread quickly. Without those oxygen supplies, however, fire is not possible. Firefighters often use heavy materials (such as blankets or sand) or heavy gases (such as carbon dioxide) to suffocate
fire,denying it the oxygen it needs to burn.
To stop a fire, firefighters deny it fuel, heat, or oxygen. It's a tough job, that of a firefighter. It's dangerous, too.That's why we consider firefighters heroes. But they're not the stuff of comic books. No, they
are different. They fight a different kind of enemy. And in many ways, this enemy is more determined—even more monomaniacal—than those found in comic books.
brotherhood, clan, society
tradition, custom, practice
code, law, policy
 lingo, speech, language

Answer of above question: lingo, speech, language

Q91. With access to a plentiful amount of fuel, how far can a fire move in an hour?
Directions:: Read the passage. Then answer the questions below.
Firefighters fight fire. They're heroes. But they're different from comic book heroes. See, unlike comic book heroes, their enemy isn't a bad guy that can be defeated simply by locking him in jail or giving him a
stiff right hook to the jaw. No, unfortunately for firefighters, defeating their enemy is more complicated than that. That's because fire is a chemical reaction, and a chemical reaction cannot be punched or put in
jail. To fight a chemical reaction, firefighters must stop it from existing altogether. To do this, they deny it one of the following elements: fuel, heat, or oxygen.
To stop a fire, firefighters deny it fuel. In firefighter vernacular, the word "fuel" is defined as anything nearby that can burn. Wood, coal, gas, and oil are commonly considered fuel. And although
they may not catch fire as quickly, living things like humans, animals, and plants can also be considered fuel. Fires like fuel because it breaks down under heat. When this happens, fuel releases the gasses fire
needs to burn. These gasses, combined with oxygen, produce fire. As a fire spreads, its heat grows, causing more fuel to release even more gasses. With access to a plentiful amount of fuel, fire can move
rapidly, traveling at approximately 14 miles per hour. In a single afternoon, an entire forest can be transformed into a sea of flames. For this reason, it is critical for firefighters to remove all nearby sources of fuel
from a fire. Unfortunately, it is not always possible to do this (some fuels like houses, forests, etc. are immovable). In these cases, firefighters may go for the next best alternative: separate the fire from the fuel.
Using blocking and rerouting tactics, firefighters can separate a fire from fuel it may have otherwise consumed. But this is not always necessary. When fuel is in limited supply, the fire just dies out on its own.
The firefighters simply stand by and watch it burn itself out.
In addition to fuel, firefighters deny a fire heat. As explained above, heat releases the gases in nearby fuel. Once released, these gases combine with oxygen in the air. This produces the chemical reaction
we call fire. And as the fire grows, it produces more heat. That heat, in turn, releases more gases from fuel. So, heat causes fire not only to start but also to spread. To combat heat, firefighters use a not so-
special weapon: water. By covering nearby fuel sources in water, firefighters can lower their temperature. This makes them harder to ignite. When this happens, the fire usually stops. After all, eliminating heat
from a fire is like eliminating the leader of a gang. Without a leader to push them, the gang members will likely stop what they are doing. But occasionally, removing the leader of a gang can also be dangerous
—it can anger the gang. Likewise, fighting fire with water can also be dangerous. Believe it or not, putting water on some fires can actually make them worse! In these cases, firefighters must try to eliminate
something else, like oxygen.
In addition to fuel and heat, firefighters deny a fire oxygen. Oxygen combines with the gases released from fuel to make fire. With fresh supplies of oxygen from air, especially from wind, fires can grow
and spread quickly. Without those oxygen supplies, however, fire is not possible. Firefighters often use heavy materials (such as blankets or sand) or heavy gases (such as carbon dioxide) to suffocate
fire,denying it the oxygen it needs to burn.
To stop a fire, firefighters deny it fuel, heat, or oxygen. It's a tough job, that of a firefighter. It's dangerous, too.That's why we consider firefighters heroes. But they're not the stuff of comic books. No, they
are different. They fight a different kind of enemy. And in many ways, this enemy is more determined—even more monomaniacal—than those found in comic books.

1 mile
7 miles
14 miles
21 miles

Answer of above question: 14 miles

Q92. As used in paragraph 2, the word critical most nearly means

Directions:: Read the passage. Then answer the questions below.

Firefighters fight fire. They're heroes. But they're different from comic book heroes. See, unlike comic book heroes, their enemy isn't a bad guy that can be defeated simply by locking him in jail or giving him a
stiff right hook to the jaw. No, unfortunately for firefighters, defeating their enemy is more complicated than that. That's because fire is a chemical reaction, and a chemical reaction cannot be punched or put in
jail. To fight a chemical reaction, firefighters must stop it from existing altogether. To do this, they deny it one of the following elements: fuel, heat, or oxygen.
To stop a fire, firefighters deny it fuel. In firefighter vernacular, the word "fuel" is defined as anything nearby that can burn. Wood, coal, gas, and oil are commonly considered fuel. And although
they may not catch fire as quickly, living things like humans, animals, and plants can also be considered fuel. Fires like fuel because it breaks down under heat. When this happens, fuel releases the gasses fire
needs to burn. These gasses, combined with oxygen, produce fire. As a fire spreads, its heat grows, causing more fuel to release even more gasses. With access to a plentiful amount of fuel, fire can move
rapidly, traveling at approximately 14 miles per hour. In a single afternoon, an entire forest can be transformed into a sea of flames. For this reason, it is critical for firefighters to remove all nearby sources of fuel
from a fire. Unfortunately, it is not always possible to do this (some fuels like houses, forests, etc. are immovable). In these cases, firefighters may go for the next best alternative: separate the fire from the fuel.
Using blocking and rerouting tactics, firefighters can separate a fire from fuel it may have otherwise consumed. But this is not always necessary. When fuel is in limited supply, the fire just dies out on its own.
The firefighters simply stand by and watch it burn itself out.
In addition to fuel, firefighters deny a fire heat. As explained above, heat releases the gases in nearby fuel. Once released, these gases combine with oxygen in the air. This produces the chemical
reaction we call fire. And as the fire grows, it produces more heat. That heat, in turn, releases more gases from fuel. So, heat causes fire not only to start but also to spread. To combat heat, firefighters use a
not so-special weapon: water. By covering nearby fuel sources in water, firefighters can lower their temperature. This makes them harder to ignite. When this happens, the fire usually stops. After all, eliminating
heat from a fire is like eliminating the leader of a gang. Without a leader to push them, the gang members will likely stop what they are doing. But occasionally, removing the leader of a gang can also be
dangerous—it can anger the gang. Likewise, fighting fire with water can also be dangerous. Believe it or not, putting water on some fires can actually make them worse! In these cases, firefighters must try to
eliminate something else, like oxygen.
In addition to fuel and heat, firefighters deny a fire oxygen. Oxygen combines with the gases released from fuel to make fire. With fresh supplies of oxygen from air, especially from wind, fires can
grow and spread quickly. Without those oxygen supplies, however, fire is not possible. Firefighters often use heavy materials (such as blankets or sand) or heavy gases (such as carbon dioxide) to suffocate
fire,denying it the oxygen it needs to burn.
To stop a fire, firefighters deny it fuel, heat, or oxygen. It's a tough job, that of a firefighter. It's dangerous, too.That's why we consider firefighters heroes. But they're not the stuff of comic books.
No, they are different. They fight a different kind of enemy. And in many ways, this enemy is more determined—even more monomaniacal—than those found in comic books.
very costly
very difficult
very important
very complicated

Answer of above question: very important

Q93. Which of the following would most likely be categorized as a "blocking or rerouting" tactic as described in paragraph 2?
Directions:: Read the passage. Then answer the questions below.
Firefighters fight fire. They're heroes. But they're different from comic book heroes. See, unlike comic book heroes, their enemy isn't a bad guy that can be defeated simply by locking him in jail or giving him a
stiff right hook to the jaw. No, unfortunately for firefighters, defeating their enemy is more complicated than that. That's because fire is a chemical reaction, and a chemical reaction cannot be punched or put in
jail. To fight a chemical reaction, firefighters must stop it from existing altogether. To do this, they deny it one of the following elements: fuel, heat, or oxygen.
To stop a fire, firefighters deny it fuel. In firefighter vernacular, the word "fuel" is defined as anything nearby that can burn. Wood, coal, gas, and oil are commonly considered fuel. And although they may
not catch fire as quickly, living things like humans, animals, and plants can also be considered fuel. Fires like fuel because it breaks down under heat. When this happens, fuel releases the gasses fire needs to
burn. These gasses, combined with oxygen, produce fire. As a fire spreads, its heat grows, causing more fuel to release even more gasses. With access to a plentiful amount of fuel, fire can move rapidly,
traveling at approximately 14 miles per
hour. In a single afternoon, an entire forest can be transformed into a sea of flames. For this reason, it is critical for firefighters to remove all nearby sources of fuel from a fire. Unfortunately, it is not always
possible to do this (some fuels like houses, forests, etc. are immovable). In these cases, firefighters may go for the next best alternative: separate the fire from the fuel. Using blocking and rerouting tactics,
firefighters can separate a fire from fuel it may have otherwise consumed. But this is not always necessary. When fuel is in limited supply, the fire just dies out on its own. The firefighters simply stand by and
watch it burn itself out.
In addition to fuel, firefighters deny a fire heat. As explained above, heat releases the gases in nearby fuel. Once released, these gases combine with oxygen in the air. This produces the chemical
reaction we call fire. And as the fire grows, it produces more heat. That heat, in turn, releases more gases from fuel. So, heat causes fire not only to start but also to spread. To combat heat, firefighters use a
not so-special weapon: water. By covering nearby fuel sources in water, firefighters can lower their temperature. This makes them harder to ignite. When this happens, the fire usually stops. After all, eliminating
heat from a fire is like eliminating the leader of a gang. Without a leader to push them, the gang members will likely stop what they are doing. But occasionally, removing the leader of a gang can also be
dangerous—it can anger the gang. Likewise, fighting fire with water can also be dangerous. Believe it or not, putting water on some fires can actually make them worse! In these cases, firefighters must try to
eliminate something else, like oxygen.
In addition to fuel and heat, firefighters deny a fire oxygen. Oxygen combines with the gases released from fuel to make fire. With fresh supplies of oxygen from air, especially from wind, fires can
grow and spread quickly. Without those oxygen supplies, however, fire is not possible. Firefighters often use heavy materials (such as blankets or sand) or heavy gases (such as carbon dioxide) to suffocate
fire,denying it the oxygen it needs to burn.
To stop a fire, firefighters deny it fuel, heat, or oxygen. It's a tough job, that of a firefighter. It's dangerous, too.That's why we consider firefighters heroes. But they're not the stuff of comic books. No, they
are different. They fight a different kind of enemy. And in many ways, this enemy is more determined—even more monomaniacal—than those found in comic books.

Bulldozers form a wall of dirt to redirect a fire away from a neighborhood.

A helicopter drops 2,000 gallons of water in the center of a raging forest fire.
 Fire retardant is applied directly to burning fuel.
Carbon dioxide, blankets, and sand are used to suffocate a fire

Answer of above question: Bulldozers form a wall of dirt to redirect a fire away from a neighborhood.

Q94. Paragraph 4 does each of the following EXCEPT

Directions:: Read the passage. Then answer the questions below.

Firefighters fight fire. They're heroes. But they're different from comic book heroes. See, unlike comic book heroes, their enemy isn't a bad guy that can be defeated simply by locking him in jail or giving him a
stiff right hook to the jaw. No, unfortunately for firefighters, defeating their enemy is more complicated than that. That's because fire is a chemical reaction, and a chemical reaction cannot be punched or put in
jail. To fight a chemical reaction, firefighters must stop it from existing altogether. To do this, they deny it one of the following elements: fuel, heat, or oxygen.
To stop a fire, firefighters deny it fuel. In firefighter vernacular, the word "fuel" is defined as anything nearby that can burn. Wood, coal, gas, and oil are commonly considered fuel. And although
they may not catch fire as quickly, living things like humans, animals, and plants can also be considered fuel. Fires like fuel because it breaks down under heat. When this happens, fuel releases the gasses fire
needs to burn. These gasses, combined with oxygen, produce fire. As a fire spreads, its heat grows, causing more fuel to release even more gasses. With access to a plentiful amount of fuel, fire can move
rapidly, traveling at approximately 14 miles per
hour. In a single afternoon, an entire forest can be transformed into a sea of flames. For this reason, it is critical for firefighters to remove all nearby sources of fuel from a fire. Unfortunately, it is not always
possible to do this (some fuels like houses, forests, etc. are immovable). In these cases, firefighters may go for the next best alternative: separate the fire from the fuel. Using blocking and rerouting tactics,
firefighters can separate a fire from fuel it may have otherwise consumed. But this is not always necessary. When fuel is in limited supply, the fire just dies out on its own. The firefighters simply stand by and
watch it burn itself out.
In addition to fuel, firefighters deny a fire heat. As explained above, heat releases the gases in nearby fuel. Once released, these gases combine with oxygen in the air. This produces the chemical
reaction we call fire. And as the fire grows, it produces more heat. That heat, in turn, releases more gases from fuel. So, heat causes fire not only to start but also to spread. To combat heat, firefighters use a
not so-special weapon: water. By covering nearby fuel sources in water, firefighters can lower their temperature. This makes them harder to ignite. When this happens, the fire usually stops. After all, eliminating
heat from a fire is like eliminating the leader of a gang. Without a leader to push them, the gang members will likely stop what they are doing. But occasionally, removing the leader of a gang can also be
dangerous—it can anger the gang. Likewise, fighting fire with water can also be dangerous. Believe it or not, putting water on some fires can actually make them worse! In these cases, firefighters must try to
eliminate something else, like oxygen.
In addition to fuel and heat, firefighters deny a fire oxygen. Oxygen combines with the gases released from fuel to make fire. With fresh supplies of oxygen from air, especially from wind, fires can
grow and spread quickly. Without those oxygen supplies, however, fire is not possible. Firefighters often use heavy materials (such as blankets or sand) or heavy gases (such as carbon dioxide) to suffocate
fire,denying it the oxygen it needs to burn.
To stop a fire, firefighters deny it fuel, heat, or oxygen. It's a tough job, that of a firefighter. It's dangerous, too.That's why we consider firefighters heroes. But they're not the stuff of comic books. No, they
are different. They fight a different kind of enemy. And in many ways, this enemy is more determined—even more monomaniacal—than those found in comic books.
provide examples of "heavy materials"
explain why fire suffocation works
discuss the effects of wind on fire
liken heat to the leader of a gang

Answer of above question: liken heat to the leader of a gang

Q95. Using the passage as a guide, we can understand that firefighters would NEVER do which of the following?
Directions: Read the passage. Then answer the questions below.
Firefighters fight fire. They're heroes. But they're different from comic book heroes. See, unlike comic book heroes, their enemy isn't a bad guy that can be defeated simply by locking him in jail or giving him a
stiff right hook to the jaw. No, unfortunately for firefighters, defeating their enemy is more complicated than that. That's because fire is a chemical reaction, and a chemical reaction cannot be punched or put in
jail. To fight a chemical reaction, firefighters must stop it from existing altogether. To do this, they deny it one of the following elements: fuel, heat, or oxygen.
To stop a fire, firefighters deny it fuel. In firefighter vernacular, the word "fuel" is defined as anything nearby that can burn. Wood, coal, gas, and oil are commonly considered fuel. And although
they may not catch fire as quickly, living things like humans, animals, and plants can also be considered fuel. Fires like fuel because it breaks down under heat. When this happens, fuel releases the gasses fire
needs to burn. These gasses, combined with oxygen, produce fire. As a fire spreads, its heat grows, causing more fuel to release even more gasses. With access to a plentiful amount of fuel, fire can move
rapidly, traveling at approximately 14 miles per hour. In a single afternoon, an entire forest can be transformed into a sea of flames. For this reason, it is critical for firefighters to remove all nearby sources of fuel
from a fire. Unfortunately, it is not always possible to do this (some fuels like houses, forests, etc. are immovable). In these cases, firefighters may go for the next best alternative: separate the fire from the fuel.
Using blocking and rerouting tactics, firefighters can separate a fire from fuel it may have otherwise consumed. But this is not always necessary. When fuel is in limited supply, the fire just dies out on its own.
The firefighters simply stand by and watch it burn itself out.
In addition to fuel, firefighters deny a fire heat. As explained above, heat releases the gases in nearby fuel. Once released, these gases combine with oxygen in the air. This produces the chemical
reaction we call fire. And as the fire grows, it produces more heat. That heat, in turn, releases more gases from fuel. So, heat causes fire not only to start but also to spread. To combat heat, firefighters use a
not so-special weapon: water. By covering nearby fuel sources in water, firefighters can lower their temperature. This makes them harder to ignite. When this happens, the fire usually stops. After all, eliminating
heat from a fire is like eliminating the leader of a gang. Without a leader to push them, the gang members will likely stop what they are doing. But occasionally, removing the leader of a gang can also be
dangerous—it can anger the gang. Likewise, fighting fire with water can also be dangerous. Believe it or not, putting water on some fires can actually make them worse! In these cases, firefighters must try to
eliminate something else, like oxygen.
In addition to fuel and heat, firefighters deny a fire oxygen. Oxygen combines with the gases released from fuel to make fire. With fresh supplies of oxygen from air, especially from wind, fires can
grow and spread quickly. Without those oxygen supplies, however, fire is not possible. Firefighters often use heavy materials (such as blankets or sand) or heavy gases (such as carbon dioxide) to suffocate
fire,denying it the oxygen it needs to burn.
To stop a fire, firefighters deny it fuel, heat, or oxygen. It's a tough job, that of a firefighter. It's dangerous, too.That's why we consider firefighters heroes. But they're not the stuff of comic books. No,
they are different. They fight a different kind of enemy. And in many ways, this enemy is more determined—even more monomaniacal—than those found in comic books.

pour water on a fire

blow wind on a fire
block a nearby source of fuel
stand by and watch a fire

Answer of above question: blow wind on a fire

Q96. The author mentions comic books in the first and last paragraphs to
Directions:: Read the passage. Then answer the questions below.

Firefighters fight fire. They're heroes. But they're different from comic book heroes. See, unlike comic book heroes, their enemy isn't a bad guy that can be defeated simply by locking him in jail or giving him a
stiff right hook to the jaw. No, unfortunately for firefighters, defeating their enemy is more complicated than that. That's because fire is a chemical reaction, and a chemical reaction cannot be punched or put in
jail. To fight a chemical reaction, firefighters must stop it from existing altogether. To do this, they deny it one of the following elements: fuel, heat, or oxygen.
To stop a fire, firefighters deny it fuel. In firefighter vernacular, the word "fuel" is defined as anything nearby that can burn. Wood, coal, gas, and oil are commonly considered fuel. And although they
may not catch fire as quickly, living things like humans, animals, and plants can also be considered fuel. Fires like fuel because it breaks down under heat. When this happens, fuel releases the gasses fire needs
to burn. These gasses, combined with oxygen, produce fire. As a fire spreads, its heat grows, causing more fuel to release even more gasses. With access to a plentiful amount of fuel, fire can move rapidly,
traveling at approximately 14 miles per
hour. In a single afternoon, an entire forest can be transformed into a sea of flames. For this reason, it is critical for firefighters to remove all nearby sources of fuel from a fire. Unfortunately, it is not always
possible to do this (some fuels like houses, forests, etc. are immovable). In these cases, firefighters may go for the next best alternative: separate the fire from the fuel. Using blocking and rerouting tactics,
firefighters can separate a fire from fuel it may have otherwise consumed. But this is not always necessary. When fuel is in limited supply, the fire just dies out on its own. The firefighters simply stand by and
watch it burn itself out.
In addition to fuel, firefighters deny a fire heat. As explained above, heat releases the gases in nearby fuel. Once released, these gases combine with oxygen in the air. This produces the chemical
reaction we call fire. And as the fire grows, it produces more heat. That heat, in turn, releases more gases from fuel. So, heat causes fire not only to start but also to spread. To combat heat, firefighters use a
not so-special weapon: water. By covering nearby fuel sources in water, firefighters can lower their temperature. This makes them harder to ignite. When this happens, the fire usually stops. After all, eliminating
heat from a fire is like eliminating the leader of a gang. Without a leader to push them, the gang members will likely stop what they are doing. But occasionally, removing the leader of a gang can also be
dangerous—it can anger the gang. Likewise, fighting fire with water can also be dangerous. Believe it or not, putting water on some fires can actually make them worse! In these cases, firefighters must try to
eliminate something else, like oxygen.
In addition to fuel and heat, firefighters deny a fire oxygen. Oxygen combines with the gases released from fuel to make fire. With fresh supplies of oxygen from air, especially from wind, fires can
grow and spread quickly. Without those oxygen supplies, however, fire is not possible. Firefighters often use heavy materials (such as blankets or sand) or heavy gases (such as carbon dioxide) to suffocate
fire,denying it the oxygen it needs to burn.
To stop a fire, firefighters deny it fuel, heat, or oxygen. It's a tough job, that of a firefighter. It's dangerous, too.That's why we consider firefighters heroes. But they're not the stuff of comic books. No,
they are different. They fight a different kind of enemy. And in many ways, this enemy is more determined—even more monomaniacal—than those found in comic books.
 draw a comparison
make an argument
provide an example
present a problem

Answer of above question: draw a comparison

Q97. The main idea of the passage is that Eastern Tropics

Directions:: Read the passage. Then answer the questions below.

Director Daryl Renowski’s latest film, Eastern Tropics, combines the dreamlike, nonlinear elements of French New Wave and Italian Art House cinema with the light, frothy plots and familiar characters of the
Anglo-American romantic comedy. While this attempt at creativity is admirable, the result is something like mixing spaghetti with ice cream. Sometimes great tastes do not taste great together—a valuable
lesson that I wish I did not have to sit through two and a half hours of this film to learn.
On paper, the plot probably seemed like a good idea. Two middle-aged divorcees—Trevor and Layla—meet in a coffee shop and fall in love. They quickly learn, however, that their mutual attraction is based
on more than just physical appearance. Both Trevor and Layla are committed, daydreamers. They do not just get distracted while working on a mundane task; both of these characters have created a complex
dream world with recurring characters, plots, and settings that, on the surface at least, have little to do with their waking lives. Both are reluctant to reveal their dream worlds at first, but they soon recognize one
another’s uniquely imaginative existence. The film then shifts from a conventional love story to a portrayal of the complex and disorienting process of Trevor and Layla integrating each other into their respective
dream worlds.
This is where Eastern Tropics gets weird. For the duration of the film, viewers are never sure whether they are watching Trevor’s dream world, Layla’s real life, or something else entirely. Renowski’s goal
seems to be to document the unfolding of an incredibly unique relationship. However, the relationship becomes so unique that the audience can no longer relate to it. Do you know any couples who have been
together for so long that they almost seem to speak their own language? On the one
hand, it is amazing to watch two people share such intimacy, but it quickly becomes frustrating when you cannot communicate with them on the same level. Watching this movie is like an interminable
dinner party with that couple.
At root, this problem is a function of Renowski’s attempt to merge two essentially incompatible genres. Great romantic comedies—films like When Harry Met Sally or Annie Hall—work because the
love story they depict is familiar and comfortable. Granted, in romantic comedies there is always tension between what makes each character unique and what makes them click, but ultimately that tension
must be at least partially resolved as the protagonists share something universal and familiar: love. The characters in Eastern Tropics are simply too unique for their own good. Renowski explores Trevor’s
and Layla’s individual psyches in so much depth that the audience’s attempts to relate to these characters are constantly thwarted. We do not always have to relate to a protagonist; in fact, some of the best
films of all time have protagonists who are downright despicable. However, in a romantic comedy viewers should be able to share the rush of energy that occurs when the two main characters fall in love. I
never got that feeling from Eastern Tropics; Trevor and Layla’s relationship is so relentlessly idiosyncratic that it feels unhealthy, like codependence rather than true love.
Despite these frustrations, Eastern Tropics is visually gorgeous. Renowski is an astute student of filhistory, and when he appropriates, for instance, the stark visuals of Truffaut’s early work, he does so with
remarkable style and grace. Film, however, is different from painting. It must be more than simply something beautiful to look at. It must draw the viewer in and help him or her experience another
world. Despite all of its strengths and promise, rather than drawing us in, Eastern Tropics only succeeds in pushing viewers away.
is an off-putting and largely unsuccessful film
presents an extraordinarily unique relationship
fails because it attempts to combine two incompatible genres
pushes the audience away rather than draws viewers in

Answer of above question: fails because it attempts to combine two incompatible genres

Q98. The function of paragraph 2 is to provide

Directions:: Read the passage. Then answer the questions below.
Director Daryl Renowski’s latest film, Eastern Tropics, combines the dreamlike, nonlinear elements of French New Wave and Italian Art House cinema with the light, frothy plots and familiar characters of the
Anglo-American romantic comedy. While this attempt at creativity is admirable, the result is something like mixing spaghetti with ice cream. Sometimes great tastes do not taste great together—a valuable
lesson that I wish I did not have to sit through two and a half hours of this film to learn.
On paper, the plot probably seemed like a good idea. Two middle-aged divorcees—Trevor and Layla—meet in a coffee shop and fall in love. They quickly learn, however, that their mutual attraction is
based on more than just physical appearance. Both Trevor and Layla are committed daydreamers. They do not just get distracted while working on a mundane task; both of these characters have created a
complex dream world with recurring characters, plots, and settings that, on the surface at least, have little to do with their waking lives. Both are reluctant to reveal their dream worlds at first, but they soon
recognize one another’s uniquely imaginative existence. The film then shifts from a conventional love story to a portrayal of the complex and disorienting process of Trevor and Layla integrating each other into
their respective dream worlds.
This is where Eastern Tropics gets weird. For the duration of the film, viewers are never sure whether they are watching Trevor’s dream world, Layla’s real life, or something else entirely. Renowski’s goal
seems to be to document the unfolding of an incredibly unique relationship. However, the relationship becomes so unique that the audience can no longer relate to it. Do you know any couples who have been
together for so long that they almost seem to speak their own language? On the one
hand, it is amazing to watch two people share such intimacy, but it quickly becomes frustrating when you cannot communicate with them on the same level. Watching this movie is like an interminable dinner
party with that couple.
At root, this problem is a function of Renowski’s attempt to merge two essentially incompatible genres. Great romantic comedies—films like When Harry Met Sally or Annie Hall—work because the love
story they depict is familiar and comfortable. Granted, in romantic comedies there is always tension between what makes each character unique and what makes them click, but ultimately that tension must be
at least partially resolved as the protagonists share something universal and familiar: love. The characters in Eastern Tropics are simply too unique for their own good. Renowski explores Trevor’s and Layla’s
individual psyches in so much depth that the audience’s attempts to relate to these characters are constantly thwarted. We do not always have to relate to a protagonist; in fact, some of the best films of all time
have protagonists who are downright despicable. However, in a romantic comedy viewers should be able to share the rush of energy that occurs when the two main characters fall in love. I never got that
feeling from Eastern Tropics; Trevor and Layla’s relationship is so relentlessly idiosyncratic that it feels unhealthy, like codependence rather than true love.
Despite these frustrations, Eastern Tropics is visually gorgeous. Renowski is an astute student of filhistory, and when he appropriates, for instance, the stark visuals of Truffaut’s early work, he does so with
remarkable style and grace. Film, however, is different from painting. It must be more than simply something beautiful to look at. It must draw the viewer in and help him or her experience another world.
Despite all of its strengths and promise, rather than drawing us in, Eastern Tropics only succeeds in pushing viewers away.

a list of the film’s strongest traits

support for the author’s claim that the film does not work
an admission that the film is not terrible
a summary of the film’s plot

Answer of above question: a summary of the film’s plot

Q99. Which of the following statements would the author be most likely to agree with?
Directions:: Read the passage. Then answer the questions below.

Director Daryl Renowski’s latest film, Eastern Tropics, combines the dreamlike, nonlinear elements of French New Wave and Italian Art House cinema with the light, frothy plots and familiar characters of the
Anglo-American romantic comedy. While this attempt at creativity is admirable, the result is something like mixing spaghetti with ice cream. Sometimes great tastes do not taste great together—a valuable
lesson that I wish I did not have to sit through two and a half hours of this film to learn.
On paper, the plot probably seemed like a good idea. Two middle-aged divorcees—Trevor and Layla—meet in a coffee shop and fall in love. They quickly learn, however, that their mutual attraction
is based on more than just physical appearance. Both Trevor and Layla are committed daydreamers. They do not just get distracted while working on a mundane task; both of these characters have created a
complex dream world with recurring characters, plots, and settings that, on the surface at least, have little to do with their waking lives. Both are reluctant to reveal their dream worlds at first, but they soon
recognize one another’s uniquely imaginative existence. The film then shifts from a conventional love story to a portrayal of the complex and disorienting process of Trevor and Layla integrating each other into
their respective dream worlds.
This is where Eastern Tropics gets weird. For the duration of the film, viewers are never sure whether they are watching Trevor’s dream world, Layla’s real life, or something else entirely. Renowski’s
goal seems to be to document the unfolding of an incredibly unique relationship. However, the relationship becomes so unique that the audience can no longer relate to it. Do you know any couples who have
been together for so long that they almost seem to speak their own language? On the one
hand, it is amazing to watch two people share such intimacy, but it quickly becomes frustrating when you cannot communicate with them on the same level. Watching this movie is like an interminable dinner
party with that couple.
At root, this problem is a function of Renowski’s attempt to merge two essentially incompatible genres. Great romantic comedies—films like When Harry Met Sally or Annie Hall—work because the
love story they depict is familiar and comfortable. Granted, in romantic comedies there is always tension between what makes each character unique and what makes them click, but ultimately that tension must
be at least partially resolved as the protagonists share something universal and familiar: love. The characters in Eastern Tropics are simply too unique for their own good. Renowski explores Trevor’s and Layla’s
individual psyches in so much depth that the audience’s attempts to relate to these characters are constantly thwarted. We do not always have to relate to a protagonist; in fact, some of the best films of all time
have protagonists who are downright despicable. However, in a romantic comedy viewers should be able to share the rush of energy that occurs when the two main characters fall in love. I never got that
feeling from Eastern Tropics; Trevor and Layla’s relationship is so relentlessly idiosyncratic that it feels unhealthy, like codependence rather than true love.
 Despite these frustrations, Eastern Tropics is visually gorgeous. Renowski is an astute student of filhistory, and when he appropriates, for instance, the stark visuals of Truffaut’s early work, he does so with
remarkable style and grace. Film, however, is different from painting. It must be more than simply something beautiful to look at. It must draw the viewer in and help him or her experience another world.
Despite all of its strengths and promise, rather than drawing us in, Eastern Tropics only succeeds in pushing viewers away.
The most important thing in moviemaking is to have an original idea.
Romantic comedies are almost never worth the viewer’s time.
Romantic comedies are often simple and formulaic, but they can still be good movies.
Filmmaking reached its artistic peak with the French New Wave cinema of the 1960’s

Answer of above question: Romantic comedies are often simple and formulaic, but they can still be good movies.

Q100. As used in paragraph 4, which is the best antonym for thwarted?

Directions:: Read the passage. Then answer the questions below.
Director Daryl Renowski’s latest film, Eastern Tropics, combines the dreamlike, nonlinear elements of French New Wave and Italian Art House cinema with the light, frothy plots and familiar characters of the
Anglo-American romantic comedy. While this attempt at creativity is admirable, the result is something like mixing spaghetti with ice cream. Sometimes great tastes do not taste great together—a valuable
lesson that I wish I did not have to sit through two and a half hours of this film to learn.
On paper, the plot probably seemed like a good idea. Two middle-aged divorcees—Trevor and Layla—meet in a coffee shop and fall in love. They quickly learn, however, that their mutual attraction is
based on more than just physical appearance. Both Trevor and Layla are committed, daydreamers. They do not just get distracted while working on a mundane task; both of these characters have created a
complex dream world with recurring characters, plots, and settings that, on the surface at least, have little to do with their waking lives. Both are reluctant to reveal their dream worlds at first, but they soon
recognize one another’s uniquely imaginative existence. The film then shifts from a conventional love story to a portrayal of the complex and disorienting process of Trevor and Layla integrating each other into
their respective dream worlds.
This is where Eastern Tropics gets weird. For the duration of the film, viewers are never sure whether they are watching Trevor’s dream world, Layla’s real life, or something else entirely. Renowski’s goal
seems to be to document the unfolding of an incredibly unique relationship. However, the relationship becomes so unique that the audience can no longer relate to it. Do you know any couples who have been
together for so long that they almost seem to speak their own language? On the one hand, it is amazing to watch two people share such intimacy, but it quickly becomes frustrating when you cannot
communicate with them on the same level. Watching this movie is like an interminable dinner party with that couple.
At root, this problem is a function of Renowski’s attempt to merge two essentially incompatible genres. Great romantic comedies—films like When Harry Met Sally or Annie Hall—work because
the love story they depict is familiar and comfortable. Granted, in romantic comedies there is always tension between what makes each character unique and what makes them click, but ultimately that tension
must be at least partially resolved as the protagonists share something universal and familiar: love. The characters in Eastern Tropics are simply too unique for their own good. Renowski explores Trevor’s and
Layla’s individual psyches in so much depth that the audience’s attempts to relate to these characters are constantly thwarted. We do not always have to relate to a protagonist; in fact, some of the best films of
all time have protagonists who are downright despicable. However, in a romantic comedy viewers should be able to share the rush of energy that occurs when the two main characters fall in love. I never got
that feeling from Eastern Tropics; Trevor and Layla’s relationship is so relentlessly idiosyncratic that it feels unhealthy, like codependence rather than true love.
Despite these frustrations, Eastern Tropics is visually gorgeous. Renowski is an astute student of filhistory, and when he appropriates, for instance, the stark visuals of Truffaut’s early work, he does
so with remarkable style and grace. Film, however, is different from painting. It must be more than simply something beautiful to look at. It must draw the viewer in and help him or her experience another
world. Despite all of its strengths and promise, rather than drawing us in, Eastern Tropics only succeeds in pushing viewers away.

clarified
denied
accepted
encouraged

Answer of above question: encouraged