A passage is given with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives and click the button corresponding to it.

Until he was ten, young Alexander Fleming attended the nearby Loudoun Moor School. He was then transferred to Darvel School which he attended with his brothers.
Alexander learned a good deal about nature during that four mile downhill hike to school and the four mile uphill return trip. He was a quick student and at twelve, the age limit prescribed for Darvel school, he was sent to Kilmarmock Academy. Two years later he joined his brothers John and Robert at the home of his elder brother Thomas, who was to become a successful occultist in London. However, the economic success of the family was yet to be and Alexander was forced to leave school for economic reasons. When he was sixteen, he obtained a job in a shipping company. Good fortune, however, was on his side and on the side of humanity. In 1901, he received a share in a legacy which made it possible for him to return to school. He decided to study medicine.

Alexander became well off

• By working in a shipping company

• When his brother became a successful occultist

• Because he studied medicine

• Because he studied medicine

A passage is given with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives and click the button corresponding to it.

Until he was ten, young Alexander Fleming attended the nearby Loudoun Moor School. He was then transferred to Darvel School which he attended with his brothers.
Alexander learned a good deal about nature during that four mile downhill hike to school and the four mile uphill return trip. He was a quick student and at twelve, the age limit prescribed for Darvel school, he was sent to Kilmarmock Academy. Two years later he joined his brothers John and Robert at the home of his elder brother Thomas, who was to become a successful occultist in London. However, the economic success of the family was yet to be and Alexander was forced to leave school for economic reasons. When he was sixteen, he obtained a job in a shipping company. Good fortune, however, was on his side and on the side of humanity. In 1901, he received a share in a legacy which made it possible for him to return to school. He decided to study medicine.

Alexander left school:

• To study economics

• To work with his brother

• To study medicine

• To study medicine

A passage is given with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives and click the button corresponding to it.

In general, it is better to use too little make-up than too much. The audience should not be aware that the actor's face is painted. For the actor who is playing his own age, the artist uses make-up to strengthen the features, particularly eyes and mouth, and to add lifelike colour to the face. Character make-up does these things in addition to transforming the face to another age, another type or another race. This transformation, particularly for young actors playing old characters, can be helped greatly by hats and hairdos.
Make-up consists of applying a base colour, then modelling the face by highlighting and shadowing (sinking the cheeks, for example, with a darker colour). Sometimes, modelling is done by applying false (putty or plastic) noses, enlarged eyebrows, or scars. Lines to suggest wrinkles are drawn on with a dark make-up pencil (brown or maroon, not black) or brush. Each line is highlighted with another line, either white or a light tint of the base colour. Lips are outlined and coloured, and a similar colour is applied to the cheeks. After make-up is complete, powder is applied.

The artist uses make-up to strengthen the features, particularly eyes and mouth, and to add life like colours to the face for the actor who is playing _____ .

• the lead role

• the old man or woman

• his own age

• his own age

A passage is given with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives and click the button corresponding to it.

In general, it is better to use too little make-up than too much. The audience should not be aware that the actor's face is painted. For the actor who is playing his own age, the artist uses make-up to strengthen the features, particularly eyes and mouth, and to add lifelike colour to the face. Character make-up does these things in addition to transforming the face to another age, another type or another race. This transformation, particularly for young actors playing old characters, can be helped greatly by hats and hairdos.
Make-up consists of applying a base colour, then modelling the face by highlighting and shadowing (sinking the cheeks, for example, with a darker colour). Sometimes, modelling is done by applying false (putty or plastic) noses, enlarged eyebrows, or scars. Lines to suggest wrinkles are drawn on with a dark make-up pencil (brown or maroon, not black) or brush. Each line is highlighted with another line, either white or a light tint of the base colour. Lips are outlined and coloured, and a similar colour is applied to the cheeks. After make-up is complete, powder is applied.

What do artists use to help young actors playing old men?

• Wig and moustache

• Hats and hairdos

• Wheel chairs and walking sticks

• Wheel chairs and walking sticks

A passage is given with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives and click the button corresponding to it.

In general, it is better to use too little make-up than too much. The audience should not be aware that the actor's face is painted. For the actor who is playing his own age, the artist uses make-up to strengthen the features, particularly eyes and mouth, and to add lifelike colour to the face. Character make-up does these things in addition to transforming the face to another age, another type or another race. This transformation, particularly for young actors playing old characters, can be helped greatly by hats and hairdos.
Make-up consists of applying a base colour, then modelling the face by highlighting and shadowing (sinking the cheeks, for example, with a darker colour). Sometimes, modelling is done by applying false (putty or plastic) noses, enlarged eyebrows, or scars. Lines to suggest wrinkles are drawn on with a dark make-up pencil (brown or maroon, not black) or brush. Each line is highlighted with another line, either white or a light tint of the base colour. Lips are outlined and coloured, and a similar colour is applied to the cheeks. After make-up is complete, powder is applied.

What is the correct sequence for make-up?

• Modelling the face by highlighting and shadowing then applying a base colour

• Highlighting and shadowing, then applying a base colour and modelling the face

• Applying a base colour, then modelling the face by highlightning and shadowing

• Applying a base colour, then modelling the face by highlightning and shadowing

A passage is given with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives and click the button corresponding to it.

In general, it is better to use too little make-up than too much. The audience should not be aware that the actor's face is painted. For the actor who is playing his own age, the artist uses make-up to strengthen the features, particularly eyes and mouth, and to add lifelike colour to the face. Character make-up does these things in addition to transforming the face to another age, another type or another race. This transformation, particularly for young actors playing old characters, can be helped greatly by hats and hairdos.
Make-up consists of applying a base colour, then modelling the face by highlighting and shadowing (sinking the cheeks, for example, with a darker colour). Sometimes, modelling is done by applying false (putty or plastic) noses, enlarged eyebrows, or scars. Lines to suggest wrinkles are drawn on with a dark make-up pencil (brown or maroon, not black) or brush. Each line is highlighted with another line, either white or a light tint of the base colour. Lips are outlined and coloured, and a similar colour is applied to the cheeks. After make-up is complete, powder is applied.

Lines are drawn with a dark make-up pencil or brush to suggest..........

• dimples

• wrinkles

• smiles

• smiles

A passage is given with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives and click the button corresponding to it.

In general, it is better to use too little make-up than too much. The audience should not be aware that the actor's face is painted. For the actor who is playing his own age, the artist uses make-up to strengthen the features, particularly eyes and mouth, and to add lifelike colour to the face. Character make-up does these things in addition to transforming the face to another age, another type or another race. This transformation, particularly for young actors playing old characters, can be helped greatly by hats and hairdos.
Make-up consists of applying a base colour, then modelling the face by highlighting and shadowing (sinking the cheeks, for example, with a darker colour). Sometimes, modelling is done by applying false (putty or plastic) noses, enlarged eyebrows, or scars. Lines to suggest wrinkles are drawn on with a dark make-up pencil (brown or maroon, not black) or brush. Each line is highlighted with another line, either white or a light tint of the base colour. Lips are outlined and coloured, and a similar colour is applied to the cheeks. After make-up is complete, powder is applied.

When is powder usually applied?

• Before the make-up

• As make-up foundation

• After the make-up

• After the make-up

A passage is given with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives and click the button corresponding to it. 

Worry is a very common thing. Even children worry as much as grown-up people. In his childhood, the writer used to fear that his parents would die suddenly at night. His fear and anxiety was just imaginary.
When he was on the war front in Mesopotamia, the writer came to a certain conclusion on worrying. He was a subaltern officer. It was not his duty to plan future actions of war. He was there only to carry out what the superiors would decide. So it was useless to worry. When he took that stand he slept soundly without worry.
Here, the writer had some real reason to worry. But he could get rid of it when he found it was useless to worry.
He followed the same principle when he was a prisoner of war and he was in Asiatic Turkey. There, too, he banished his worries because nothing of his future depended on himself. The future of the prisoners of war would depend on the various governments. Thus he was able to live there without much worry though he was a prisoner.
But his deliberate suppression of worry during the war and as a prisoner did not wholly eradicate his worries. The fear had gone to his subconscious mind and remained there buried. After the war the writer was at home. But whenever a member of his family was absent he feared all sorts of mishap happening to him or her. Moreover, he had a recurring nightmare that he had become a prisoner of war and the war was not going to end. The worries without any real cause here were the manifestations of the fears that he had banished deliberately earlier.

Why was the writer able to live in jail without much worry?

• Because nothing of his future depended on himself

• He was comfortable in jail

• Because he was a prisoner of war

• Because he was a prisoner of war

489.

A passage is given with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives and click the button corresponding to it. 

Worry is a very common thing. Even children worry as much as grown-up people. In his childhood, the writer used to fear that his parents would die suddenly at night. His fear and anxiety was just imaginary.
When he was on the war front in Mesopotamia, the writer came to a certain conclusion on worrying. He was a subaltern officer. It was not his duty to plan future actions of war. He was there only to carry out what the superiors would decide. So it was useless to worry. When he took that stand he slept soundly without worry.
Here, the writer had some real reason to worry. But he could get rid of it when he found it was useless to worry.
He followed the same principle when he was a prisoner of war and he was in Asiatic Turkey. There, too, he banished his worries because nothing of his future depended on himself. The future of the prisoners of war would depend on the various governments. Thus he was able to live there without much worry though he was a prisoner.
But his deliberate suppression of worry during the war and as a prisoner did not wholly eradicate his worries. The fear had gone to his subconscious mind and remained there buried. After the war the writer was at home. But whenever a member of his family was absent he feared all sorts of mishap happening to him or her. Moreover, he had a recurring nightmare that he had become a prisoner of war and the war was not going to end. The worries without any real cause here were the manifestations of the fears that he had banished deliberately earlier.

What was the fear of the writer in his childhood?

• That his parents might drive him out of home

• That his parents would die suddenly at night

• That he might fail in the examinations

• That he might fail in the examinations

A passage is given with 5 questions following it. Read the passage carefully and choose the best answer to each question out of the four alternatives and click the button corresponding to it. 

Worry is a very common thing. Even children worry as much as grown-up people. In his childhood, the writer used to fear that his parents would die suddenly at night. His fear and anxiety was just imaginary.
When he was on the war front in Mesopotamia, the writer came to a certain conclusion on worrying. He was a subaltern officer. It was not his duty to plan future actions of war. He was there only to carry out what the superiors would decide. So it was useless to worry. When he took that stand he slept soundly without worry.
Here, the writer had some real reason to worry. But he could get rid of it when he found it was useless to worry.
He followed the same principle when he was a prisoner of war and he was in Asiatic Turkey. There, too, he banished his worries because nothing of his future depended on himself. The future of the prisoners of war would depend on the various governments. Thus he was able to live there without much worry though he was a prisoner.
But his deliberate suppression of worry during the war and as a prisoner did not wholly eradicate his worries. The fear had gone to his subconscious mind and remained there buried. After the war the writer was at home. But whenever a member of his family was absent he feared all sorts of mishap happening to him or her. Moreover, he had a recurring nightmare that he had become a prisoner of war and the war was not going to end. The worries without any real cause here were the manifestations of the fears that he had banished deliberately earlier.

What was the writer when he concluded that worry was useless?

• The writer was in Asiatic Turkey

• The writer was at home

• The writer was on the war front in Mesopotamia

• The writer was on the war front in Mesopotamia