Idiom of At once ?->(Show Answer!)

1. Idiom of At once

Answer: Immediately

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MCQ-> Read the following passage carefully and answer the questions given below it. Certain words/phrases have been printed in bold to help you locate them while answering some of the questions. Once upon a time, there lived a lion in a forest. A jackal, a crow and a wolf had developed friendship. They knew that the lion was the king of the forest and friendship with such a fierce creature would always help them. To meet their selfish ends, they started obeying and were always at the service of the lion. They didn’t have to make any efforts to search for their food, as the lion gave his leftover meals to them. Moreover, they became powerful as they were next to the king of the forest. One day, a camel, who came from some distant land, lost his way and entered the same forest where these friends lived. In the meantime, these three friends happened to pass the same way that the camel was wandering. When they saw the camel, they realized that he did not belong to their forest. The jackal suggested to his other two friends, “Let’s kill and eat him.” The wolf replied, “It is a big animal. We cannot kill him like this. I think, we should first inform our king about this camel.” The crow agreed with the wolf s idea. All of them went to meet the lion. On reaching the lion’s den, the jackal approached the lion and said, Your Majesty, an unknown camel has dared to enter your kingdom without your consent, Let’s kill him; he could make a nice meal.” The lion roared loudly on hearing this and said, ‘What are you saying ? The camel has come for refuge in ray kingdom. It is unethical to kill him. We should provide him the best shelter. Go and bring him to me,” All of them were dispirited to hear these words from the king. They unwillingly went to the camel and told him about the lion’s desire to meet him, The camel was scared about the strange offer. He thought that his end had come and in a little while he would become the lion’s meal. As he couldn’t even escape, he decided to meet the lion. The selfish friends escorted the camel to the lion’s den. The lion welcomed the camel warmly and assured him of a safe stay in the forest. The camel was totally amazed to hear the lion’s words. He happily started living with the jackal, the crow and the wolf. One day, when the lion was hunting for food, he had a struggle with a mighty elephant. The lion was badly injured in the struggle and became incapable of hunting for his food. Thus the lion had to sustain without food for days. Due to this, his friends too had to go hungry for days as they totally depended on the lion’s kill for their food. But the camel was satisfied grazing around in the forest. All the three friends were worried and discussed the matter among them, As the jackal, the crow and the wolf had set their evil eyes on the camel, they met once again and devised a plan to kill the camel. They went to the camel and said, “Dear Friend, you know our king has not eaten anything for many days now. He is unable to hunt due to his wounds and sickness. Under such circumstances, it becomes our duty to sacrifice ourselves to save the life of our king. Come with us, we will offer our bodies as food for him.” The camel didn’t understand their plan, but innocently nodded in favour of it. All of them approached the lion’s den. First of all, the crow came forward and said, “Your Majesty, I can’t see you like this. So please eat me.” The lion replied, “I would prefer to die than to perform such a sinful deed.” Then, the jackal came forward and said, “Your Majesty, crow’s body is too small for your appetite. I offer myself to you, as it is my duty to save your life.” The lion politely rejected the offer. As per the plan, now it was the wolf’s turn to offer himself to the king. So, the wolf came forward and said, “Your Majesty, jackal is quite small to gratify your hunger. I offer myself for this kind job, Please, kill me and appease your hunger.” But the Lion didn’t kill any of them. The camel, who was watching the whole scene felt reassured of his safety and also decided to go forward and complete the formality. He marched forward and said, “Your Majesty, why don’t you kill me ? You are my friend. Please allow me to offer you my body.” The lion found the offer quite appropriate as the camel himself had offered his body for food. The lion attacked the camel at once, ripped open his body and lore him into pieces. The lion and his friends feasted on the poor camel for days together.‘Why could the lion not hunt anymore ?
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MCQ->In each of the questions, four alternatives are given for the Idiom/Phrase. Choose the alternative which best expresses the meaning of the Idiom/Phrase and click the button corresponding to it. Once in a blue moon...

MCQ-> Directions : In the following questions', four alternatives are given for the idiom/phrase and bold italicised in the sentence. Choose the alternative which best expresses the meaning of the idiom/phrase as your answer. -Once the case reached the court, the police washed their hands off it.
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MCQ-> One of the criteria by which we judge the vitality of a style of painting is its ability to renew itself- its responsiveness to the changing nature and quality of experience, the degree of conceptual and formal innovation that it exhibits. By this criterion, it would appear that the practice of abstractionism has failed to engage creatively with the radical change in human experience in recent decades. it has, seemingly, been unwilling to re-invent itself in relation to the systems of artistic expression and viewers’ expectations that have developed under the impact of the mass media. The judgement that abstractionism has slipped into ‘inertia gear’ is gaining endorsement, not only among discerning viewers and practitioners of other art forms, but also among abstract painters themselves. Like their companions elsewhere in the world, abstraction lists in India are asking themselves an overwhelming question today: Does abstractionism have a future? The major- crisis that abstractionists face is that of revitalising their picture surface; few have improvised any solutions beyond the ones that were exhausted by the I 970s. Like all revolutions, whether in politics or in art, abstractionism must now confront its moment of truth: having begun life as a new and radical pictorial approach to experience, it has become an entrenched orthodoxy itself. Indeed, when viewed against a historical situation in which a variety of subversive, interactive and richly hybrid forms are available to the art practitioner, abstractionism assumes the remote and defiant air of an aristocracy that has outlived its age; trammelled by formulaic conventions yet buttressed by a rhetoric of sacred mystery, it seems condemned to being the last citadel of the self-regarding ‘fine art’ tradition, the last hurrah of painting for painting’s sake. The situation is further complicated in India by the circumstances in which an indigenous abstractionism came into prominence here during the 1960s. From the beginning it was propelled by the dialectic between two motives, one revolutionary and the other conservative-it was inaugurated as an act of emancipation from the dogmas of the nascent Indian nation state, when an’ was officially viewed as an indulgence at worst, and at best, as an instrument for the celebration of the republic’s hopes and aspirations. Having rejected these dogmas, the pioneering abstractionists also went on to reject the various figurative styles associated with the Santiniketan circle and others. In such a situation, abstractionism was a revolutionary move, It led art towards the exploration of the s 3onsc)ous mind, the spiritual quest and the possible expansion of consciousness. Indian painting entered into a phase of self-inquiry, a meditative inner space where cosmic symbols and non-representational images ruled. Often, the transition from figurative idioms to abstractionist ones took place within the same artist. At the same time, Indian abstractionists have rarely committed themselves wholeheartedly to a nonrepresentational idiom. They have been preoccupied with the fundamentally metaphysical project of aspiring to the mystical- holy without altogether renouncing the symbolic) This has been sustained by a hereditary reluctance to give up the murti, the inviolable iconic form, which explains why abstractionism is marked by the conservative tendency to operate with images from the sacred repertoire of the past. Abstractionism thus entered India as a double-edged device in a complex cultural transaction. ideologically, it served as an internationalist legitimisation the emerging revolutionary local trends. However, on entry; it was conscripted to serve local artistic preoccupations a survey of indigenous abstractionism will show that its most obvious points of affinity with European and American abstract art were with the more mystically oriented of the major sources of abstractionist philosophy and practice, for instance the Kandinsky-Klee school. There have been no takers for Malevich’s Suprematism, which militantly rejected both the artistic forms of the past and the world of appearances, privileging the new- minted geometric symbol as an autonomous sign of the desire for infinity. Against this backdrop, we can identify three major abstractionist idioms in Indian art. The first develops from a love of the earth, and assumes the form of a celebration of the self’s dissolution in the cosmic panorama; the landscape is no longer a realistic, transcription of the scene, but is transformed into a visionary occasion for contemplating the cycles of decay and regeneration. The second idiom phrases its departures from symbolic and archetypal devices as invitations to heightened planes of awareness. Abstractionism begins with the establishment or dissolution of the motif, which can be drawn from diverse sources, including the hieroglyphic tablet, the Sufi meditation dance or the Tantrie diagram. The third- idiom is based on the lyric play of forms guided by gesture or allied with formal improvisations like the assemblage. Here, sometimes, the line dividing abstract image from patterned design or quasi-random expressive marking may blur. The flux of forms can also be regimented through the poetics of pure colour arrangements, vector-diagrammatic spaces anti gestural design. In this genealogy, some pure lines of descent follow their logic to the inevitable point of extinction, others engage in cross-fertilisation and yet others undergo mutation to maintain their energy. However, this genealogical survey demonstrates the wave at its crests, those points where the metaphysical and the painterly have been fused in images of abiding potency, ideas sensuously ordained rather than fabricated programmatically to a concept. It is equally possible to enumerate the troughs where the two principles do not come together, thus arriving at a very different account. Uncharitable as it may sound, the history of Indian abstractionism records a series of attempts to avoid the risks of abstraction by resorting to an overt and near-generic symbolism which many Indian abstractionists embrace when they find themselves bereft of the imaginative energy to negotiate the union of metaphysics and painterliness. Such symbolism falls into a dual trap: it succumbs to the pompous vacuity of pure metaphysics when the burden of intention is passed off as justification; or then it is desiccated by the arid formalism of pure painterliness, with delight in the measure of chance or pattern guiding the execution of a painting. The ensuing conflict of purpose stalls the progress of abstractionism in an impasse. The remarkable Indian abstractionists are precisely those who have overcome this and addressed themselves to the basic elements of their art with a decisive sense of independence from prior models. In their recent work, we see the logic of Indian abstractionism pushed almost to the furthest it can be taken. Beyond such artists stands a lost generation of abstractionists whose work invokes a wistful, delicate beauty but stops there. Abstractionism is not a universal language; it is an art that points up the loss of a shared language of signs in society. And yet, it affirms the possibility of its recovery through the effort of awareness. While its rhetoric has always emphasised a call for new forms of attention, abstractionist practice has tended to fall into a complacent pride in its own incomprehensibility; a complacency fatal in an ethos where vibrant new idioms compete for the viewers’ attention. Indian abstractionists ought to really return to basics, to reformulate and replenish their understanding of the nature of the relationship between the painted image and the world around it. But will they abandon their favourite conceptual habits and formal conventions, if this becomes necessary?Which one of the following is not stated by the author as a reason for abstractionism losing its vitality?
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MCQ->A fires 5 shots to B's 3 but A kills only once in 3 shots while B kills once in 2 shots. When B has missed 27 times, A has killed:...