# L&T Infotech Sample Verbal Questions

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1. One who is unable to pay one's debt
1. Insolvent
2. Borrower
3. Bankrupt
4. Payee
One word for this is – Insolvent.
2. A cure for all diseases
1. Panacea
2. Antidote
3. Antiseptic
4. Fatal
One word for this is - Panacea.
DIRECTIONS for the question 3: Fill in the blank.
1. Beauty is to ugliness as adversity is to ________.
1. happiness
2. Prosperity
3. Cowardice
4. Misery
Beauty is the opposite of ugly; similarly adversity is the opposite of prosperity.
DIRECTIONS for the question 4 to 5: A word has been written in four different ways out of which only one is correctly spelt. Choose the correctly spelt word.
2. 1. Collaboration 2. Collaberation 3. Colaboration 4. Coleberation
1. 1
2. 2
3. 3
4. 4
The correct spellings are – “Collaboration”.
3. 1. Etiquete 2. Ettiquete 3. Etiquette 4. Ettiquette
1. 1
2. 2
3. 3
4. 4
The correct spellings are – “Etiquette”.
DIRECTIONS for the question 6 to 10: Read the following passage carefully and choose the most appropriate option from the choices given.
(1) When the thriller writer Robert Ludlum died in March 2001, several of his obituarists tellingly recalled the reaction of a Washington Post reviewer to one of the author's many, phenomenally popular novels: It's a lousy book. So I stayed up until 3am to finish it.' This anecdotal, tongue-in-cheek confession neatly captures the ambivalence associated with a hugely successful mode of crime writing, a guilty sense that its lack of literary merit has always somehow been inseparable from the compulsiveness with which its narrative pleasures are greedily gobbled up, relegating the thriller to the most undeserving of genres. To describe a thriller as deeply satisfying and sophisticated' (to pluck a blurb at random from the bookshelves) is already to beg the insidious question: how satisfying and sophisticated can it be?
(2) It might be thought that this kind of skeptical response is likely to be encouraged by any type of popular literature that could be considered formulaic, or that relies upon stock characters or highly conventionalised narrative structures, or whose enjoyment comes from the repetition of certain well-worn themes or devices. But the thriller is unusual in its reliance upon, or subordination to, the single- minded drive to deliver a starkly intense literary effect. Thus, in the words of The New York Times Book Review's suitably lurid verdict on the novel that famously first unleashed Dr Hannibal Lecter upon an unsuspecting public, Thomas Hanis’s Red Dragon (1981) 'is an engine designed for one purpose – to make the pulse pound, the heart palpitate, the fear glands secrete'. Judgments like these, carefully filleted and recycled as paperback blurbs, make a virtual contract with potential purchasers, offering an irresistible reading experience that will stretch them to the limit. To be reckoned 'as good as the crime thriller gets', to quote from the cover of Lawrence Block's A Walk Among The Tombstones (1992), the suspense' will be relentless'; indeed it will hold readers gaga with suspense'.
(3) Of course, such overblown appeals to a hyperventilated state of pleasurably anxious unknowing can easily be dismissed as little more than a sign of the extent to which popular criticism has been debased by the inflated currency of contemporary marketing. But they do offer some important clues to the thriller's provenance and distinctiveness.
4. Which of the following conclusions can be drawn from the first paragraph?
1. 1. Robert Ludlum wrote short stories
2. 2. Literary merit and popularity always go together
3. 3. Literary merit and popularity often do not go together
4. 4. None of the above
Refer line 3, para 1. “It's a lousy book. So I stayed up until 3am to finish it.' This anecdotal, tongue-in-cheek confession neatly captures the ambivalence associated with a hugely successful mode of crime writing, a guilty sense that its lack of literary merit has always somehow been inseparable from the compulsiveness with which its narrative pleasures are greedily gobbled up, relegating the thriller to the most undeserving of genres.”. This line means that even though the thriller has no literal sense it still captures it’s the reader. And thus the answer is option 3.
5. Dr. Hannibal Lecter is a character created by
1. Lawrence Block
2. Robert Ludlum
3. Thomas Hanis
4. Anthony Hopkins
Refer line 5, para 2. “Thus, in the words of The New York Times Book Review's suitably lurid verdict on the novel that famously first unleashed Dr Hannibal Lecter upon an unsuspecting public, Thomas Hanis’s Red Dragon (1981) 'is an engine designed for one purpose – to make the pulse pound, the heart palpitate, the fear glands secrete'.” From this line it is clear that this character was introduced in Thomas Hani’s book red dragon.
6. What expression or word from the passage means "with ironic or flippant intent"?
1. Well-worn
2. Gaga
3. Debased
4. Tongue-in-cheek
Tongue-in-cheek is related to humour and saying something in a humourous manner, hence this is the answer, as irony is also related to humour. Also it is also present in the passage. Refer the 3rd line, para 1, “This anecdotal, tongue-in-cheek confession neatly captures the ambivalence associated with a hugely successful mode of crime writing, a guilty sense that its lack of literary merit has always somehow been inseparable from the compulsiveness with which its narrative pleasures are greedily gobbled up, relegating the thriller to the most undeserving of genres.”
7. What expression or word from the passage also means “origin” or “source”?
1. Anecdotal
2. Blurb
3. Hyperventilated
4. Provenance