Select the most appropriate meaning of the given idiom.

In queer street

Read the given passage and answer the questions that follow.

Her name was Sulekha, but since her childhood everyone had been calling her Bholi, the simpleton. She was the fourth daughter of Ramlal. When she was ten months old, she had fallen off the cot on her head and perhaps it had damaged some part of her brain. That was why she remained a backward child and came to be known as Bholi, the simpleton. At birth, the child was very fair and pretty. But when she was two years old, she had an attack of smallpox. Only the eyes were saved, but the entire body was permanently disfigured by deep black pockmarks. Little Sulekha could not speak till she was five as she was a slow learner, and when at last she learnt to speak, she stammered. The other children often made fun of her and mimicked her. As a result, she talked very little. Ramlal had seven children — three sons and four daughters, and the youngest of them was Bholi. It was a prosperous farmer’s household and there was plenty to eat and drink. All the children except Bholi were healthy and strong. The sons had been sent to the city to study in schools and later in colleges. Of the daughters, Radha, the eldest, had already been married. The second daughter Mangla’s marriage had also been settled, and when that was done, Ramlal would think of the third, Champa. They were good-looking, healthy girls, and it was not difficult to find bridegrooms for them. But Ramlal was worried about Bholi. She had neither good looks nor intelligence. From her very childhood Bholi was neglected at home. She was seven years old when Mangla was married. The same year a primary school for girls was opened in their village. The Tehsildar sahib came to perform its opening ceremony. He said to Ramlal, “As a revenue official you are the representative of the government in the village and so you must set an example to the villagers. You must send your daughters to school.” That night when Ramlal consulted his wife, she cried, “Are you crazy? If girls go to school, who will marry them?” But Ramlal had not the courage to disobey the Tehsildar. At last his wife said, “I will tell you what to do. Send Bholi to school. As it is, there is little chance of her getting married, with her ugly face and lack of sense. Let the teachers at school worry about her.”

‘Backward child’ in the passage means:

Given below are four jumbled sentences. Select the option that gives their correct order.

A. On the other hand, the Saracen chief looked slighter and shorter, but he was also strong.

B. The Briton was a huge powerful man with thick brown hair.

C. They went side by side to the well, where they ate their simple meal and rested.

D. They were a great contrast to each other.

Sentences of a paragraph are given below in jumbled order. Arrange the sentences in the right order to form a meaningful and coherent paragraph.

A. They stopped at a village on the way to rest and drink water and found the entire village had gathered to watch a weightlifter who was putting on a performance.

B. Tenali was very impressed and exclaimed, “You are very strong!”

C. With his big arms and bulging muscles, he picked up a 200-kg bag of rice with ease.

D. One day Tenali Raman and his wife were on their way to Hampi.

Select the incorrect pair of synonyms. 

Select the option that can be used as a one-word substitute for the given group of words.

A word that has the same or nearly the same meaning as another word in the same language

Choose the correct exclamatory form of the following sentence from the given options:
 He is a great doctor.

Read the following passage carefully and give the answer of following questions.

Art both reflects and interprets the notion that produced it. Portraiture was the dominant theme of British painting up to the end of the eighteenth century because of a persistent demand for it. It would be unfair to say that human vanity and pride of possessions were the only reasons for this persistent demand, but certainly these motives played their part in shaping the course of British painting. Generally speaking, it is the artist's enthusiasm that accounts for the vitality of the picture, but it is the client who dictates its subject-matter. The history of national enthusiasms can be pretty accurately estimated by examining the subject-matter of a nation's art.
 There is one type of subject which recurs again and again in British painting of the late eighteenth century and the jart half of the nineteenth and which is hardly met with in the jart of any other country ---- the sporting picture, or rather the picture in which a love of outdoor life is directed into the channel of sport. The sporting picture is really an extension of the conversation piece. In it the emphasis is even more firmly based on the descriptive side of painting. It made severe demands on the artist and it must be-confessed that painters capable of satisfying these demands were rare. The ability to paint a reasonably convincing landscape is not often combined with the necessary knowledge of horses and dogs in movement and the power to introduce a portrait when necessary. To weld such diverse elements into a satisfactory aesthetic unity requires exceptional ability. It is not surprising, therefore, that while sporting pictures abound in England, especially in the private collections of country squires, not many of them are of real importance as works of art. What makes the sporting picture worth noting in, a history of British painting is the fact that it is as truly indigenous and as truly popular a form of art in England as was the religious ikon in Russia.

British painting of the late eighteenth century and the first halt of the nineteenth century chiefly deals with