Which of the following words is opposite to BASE? ?->(Show Answer!)

1. Which of the following words is opposite to BASE?

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MCQ-> DIRECTIONS for questions:These questions are based on the situation given below:Recently, Ghosh Babu spent his winter vacation on Kyakya Island. During the vacation, he visited the local casino where he came across a new card game. Two players, using a normal deck of 52 playing cards, play this game. One player is called the Dealer and the other is called the Player. First, the Player picks a card at random from the deck. This is called the base card. The amount in rupees equal to the face value of the base card is called the base amount. The face values of Ace, King, Queen and Jack are ten. For other cards, the face value is the number on the card. Once, the Player picks a card from the deck, the Dealer pays him the base amount. Then the dealer picks a card from the deck and this card is called the top card. If the top card is of the same suit as the base card, the Player pays twice the base amount to the Dealer. If the top card is of the same colour as the base card (but not the same suit) then the Player pays the base amount to the Dealer. If the top card happens to be of a different colour than the base card, the Dealer pays the base amount to the Player. Ghosh Babu played the game 4 times. First time he picked eight of clubs and the Dealer picked queen of clubs. Second time, he picked ten of hearts and the dealer picked two of spades. Next time, Ghosh Babu picked six of diamonds and the dealer picked ace of hearts. Lastly, he picked eight of spades and the dealer picked jack of spades. Answer the following questions based on these four games.If Ghosh Babu stopped playing the game when his gain would be maximized, the gain in Rs. would have been
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MCQ-> The highest priced words are ghost-written by gagmen who furnish the raw material for comedy over the air and on the screen. They have a word-lore all their own, which they practise for five to fifteen hundred dollars a week, or fifteen dollars a gag at piece rates. That's sizable rate for confounding acrimony with matrimony, or extracting attar of roses from the other.Quite apart from the dollar sign on it, gagmen's word-lore is worth a close look, if you are given to the popular American pastime of playing with words — or if you're part of the 40 per cent who make their living in the word trade. Gag writers' tricks with words point up the fact that we have two distinct levels of language: familiar, ordinary words that everybody knows; and more elaborate words that don't turn up so often, but many of which we need to know if we are to feel at home in listening and reading today.To be sure gagmen play hob with the big words, making not sense but fun of them. They keep on confusing bigotry with bigamy, illiterate with illegitimate, monotony with monogamy, osculation with oscillation. They trade on the fact that for many of their listeners, these fancy terms linger in a twilight zone of meaning. It’s their deliberate intent to make everybody feel cozy at hearing big words, jumbled up or smacked down. After all, such words loom up over-size in ordinary talk, so no wonder they get the bulldozer treatment from the gagmen.Their wrecking technique incidentally reveals our language as full of tricky words, some with 19 different meanings, others which sound alike but differ in sense. To ring good punning changes, gag writers have to know their way around in the language. They don't get paid for ignorance, only for simulating it.Their trade is a hard one, and they regard it as serious business. They never laugh at each other's jokes; rarely at their own. Like comediennes, they are usually melancholy men in private life.Fertile invention and ingenious fancy are required to clean up ‘blue’ burlesque gags for radio use. These shady gags are theoretically taboo on the air. However, a gag writer who can leave a faint trace of bluing when he launders the joke is all the more admired — and more highly paid. A gag that keeps the blue tinge is called a ‘double intender’, gag-land jargon for double entendre. The double meaning makes the joke funny at two levels. Children and other innocents hearing the crack for the first time take it literally, laughing at the surface humour; listeners who remember the original as they heard it in vaudeville or burlesque, laugh at the artfulness with which the blue tinge is disguised.Another name for a double meaning of this sort is ‘insinuendo’. This is a portmanteau word or ‘combo’, as the gagmen would label it, thus abbreviating combination. By telescoping insinuation and innuendo, they get insinuendo, on the principle of blend words brought into vogue by Lewis Caroll. ‘Shock logic’ is another favourite with gag writers. Supposedly a speciality of women comediennes, it is illogical logic more easily illustrated than defined. A high school girl has to turn down a boy's proposal, she writes:Dear Jerry, I'm sorry, but I can't get engaged to you. My mother thinks I am too young to be engaged and besides, I'm already engaged to another boy. Yours regretfully. Guess who.Gag writers' lingo is consistently funnier than their gags. It should interest the slang-fancier. And like much vivid jargon developed in specialised trades and sports, a few of the terms are making their way into general use. Gimmick, for instance, in the sense either of a trick devised or the point of a joke, is creeping into the vocabulary of columnists and feature writers.Even apart from the trade lingo, gagmen's manoeuvres are of real concern to anyone who follows words with a fully awakened interest. For the very fact that gag writers often use a long and unusual word as the hinge of a joke, or as a peg for situation comedy, tells us something quite significant: they are well aware of the limitations of the average vocabulary and are quite willing to cash in on its shortcomings.When Fred Allens' joke-smiths work out a fishing routine, they have Allen referring to the bait in his most arch and solemn tones: "I presume you mean the legless invertebrate." This is the old minstrel trick, using a long fancy term, instead of calling a worm a worm. Chico Marx can stretch a pun over 500 feet of film, making it funnier all the time, as he did when he rendered, "Why a duck?"And even the high-brow radio writers have taken advantage of gagmen's technique. You might never expect to hear on the air such words as lepidopterist and entymologist. Both occur in a very famous radio play by Norman Corvine, ‘My client Curly’, about an unusual caterpillar which would dance to the tune ‘yes, sir, she's my baby’ but remained inert to all other music. The dancing caterpillar was given a real New York buildup, which involved calling in the experts on butterflies and insects which travel under the learned names above. Corvine made mild fun of the fancy professional titles, at the same time explaining them unobtrusively.There are many similar occasions where any one working with words can turn gagmen's trade secrets to account. Just what words do they think outside the familiar range? How do they pick the words that they ‘kick around’? It is not hard to find out.According to the writer, a larger part of the American population
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MCQ->What will be the output of the following program? #include<iostream.h> class Base { int x, y; public: Base() { x = y = 0; } Base(int xx) { x = xx; } Base(int p, int q = 10) { x = p + q; y = q; } void Display(void) { cout<< x << " " << y << endl; } }objDefault(1, 1); class Derived: public Base { Base obj; public: Derived(int xx, int yy): Base(xx, xx + 1) { } Derived(Base objB = objDefault) { } }; int main() { Derived objD(5, 3); Derived ptrD = new Derived(objD); ptrD->Display(); delete ptrD; return 0; }....

MCQ-> Study the following information carefully and answer the given questions :A word and number arrangement machine when given an input line of words and numbers rearranges them following a particular rule in each step. The following is an illustration of input and rearrangement. Input : base 35 or gone 62 49 87 ahead Step 1 : 87 base 35 or gone 62 49 ahead Step II : 87 ahead base 35 or gone 62 49 Step Ill : 87 ahead 62 base 35 or gone 49 Step IV : 87 ahead 62 base 49 35 or gone Step V : 87 head 62 base 49 gone 35 or and Step V is the last step of the rearrangement. As per the rules followed in the above steps, find out in each of the following questions the appropriate step for the given input.Input : how was your stay 56 25 36 64. Which of the following will be step VI ?
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MCQ->What will be the output of the following program? #include<iostream.h> class Base { public: int S, A, M; Base(int x, int y) { S = y - y; A = x + x; M = x x; } Base(int, int y = 'A', int z = 'B') { S = y; A = y + 1 - 1; M = z - 1; } void Display(void) { cout<< S << " " << A << " " << M << endl; } }; class Derived : public Base { int x, y, z; public: Derived(int xx = 65, int yy = 66, int zz = 67): Base(x) { x = xx; y = yy; z = zz; } void Display(int n) { if(n) Base::Display(); else cout<< x << " " << y << " " << z << endl; } }; int main() { Derived objDev; objDev.Display(-1); return 0; }....