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

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

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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-> Read the following passage and answer the questions. Passage: An old man with steel rimmed spectacles and very dusty clothes sat by the side of the road. There was a pontoon bridge across the river and carts, trucks, and men, women and children were crossing it. The mule-drawn carts staggered up the steep bank from the bridge with soldiers helping to push against the spokes of the wheels. The trucks ground up and away heading out of it all and the peasants plodded along in the ankle deep dust. But the old man sat there without moving. He was too tired to go any farther. It was my business to cross the bridge, explore the bridgehead beyond and find out to what point the enemy had advanced. I did this and returned over the bridge. There were not so many carts now and very few people on foot, but the old man was still there. "Where do you come from?" I asked him. "From San Carlos," he said, and smiled. That was his native town and so it gave him pleasure to mention it and he smiled. "I was taking care of animals." he explained. "Oh," I said, not quite understanding. "Yes," he said, "I stayed. you see, taking care of animals. I was the last one to leave the town of San Carlos." He did not look like a shepherd nor a herdsman and I looked at his black dusty clothes and his gray dusty face and his steel rimmed spectacles and said. "What animals were they?" "Various animals." he said. and shook his head. "I had to leave them." I was watching the bridge and the African looking country of the Ebro Delta wondering how long now it would be before we would see the enemy.. "What animals were they?" I asked. "There were three animals altogether," he explained. "There were two goats and a cat and then there were four pairs of pigeons." "And you had to leave them?" I asked. "Yes. Because of the artillery. The captain told me to go because of the artillery." "And you have no family?" I asked, watching the far end of the bridge where a few last carts were hurrying down the slope of the bank. "No," he said, "only the animals I stated. The cat, of course, will be all right. A cat can look out for itself. but I cannot think what will become of the others." "What politics have you?" I asked. "I am without politics," he said. "I am seventy-six years old. I have come twelve kilometers now and I think now I can go no further." "This is not a good place to stop," I said. "If you can make it, there are trucks up the road where it forks for Tortosa." "I will wait a while," he said, "and then I will go. Where do the trucks go?" "Towards Barcelona," I told him.Where was the old man coming from?
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MCQ->Select the set in which the statements are logically related. A. All good bridge players play good chess. B. Many good chess players are not bridge players. C. Goren is a good bridge player. D. Goren plays chess well. E. Spassky plays chess well. F. Spassky plays bridge badly. ....

MCQ-> Studies of the factors governing reading development in young children have achieved a remarkable degree of consensus over the past two decades. The consensus concerns the causal role of ‘phonological skills in young children’s reading progress. Children who have good phonological skills, or good ‘phonological awareness’ become good readers and good spellers. Children with poor phonological skills progress more poorly. In particular, those who have a specific phonological deficit are likely to be classified as dyslexic by the time that they are 9 or 10 years old.Phonological skills in young children can be measured at a number of different levels. The term phonological awareness is a global one, and refers to a deficit in recognising smaller units of sound within spoken words. Development work has shown that this deficit can be at the level of syllables, of onsets and rimes, or phonemes. For example, a 4-year old child might have difficulty in recognising that a word like valentine has three syllables, suggesting a lack of syllabic awareness. A five-year-old might have difficulty in recognizing that the odd work out in the set of words fan, cat, hat, mat is fan. This task requires an awareness of the sub-syllabic units of the onset and the rime. The onset corresponds to any initial consonants in a syllable words, and the rime corresponds to the vowel and to any following consonants. Rimes correspond to rhyme in single-syllable words, and so the rime in fan differs from the rime in cat, hat and mat. In longer words, rime and rhyme may differ. The onsets in val:en:tine are /v/ and /t/, and the rimes correspond to the selling patterns ‘al’, ‘en’ and’ ine’.A six-year-old might have difficulty in recognising that plea and pray begin with the same initial sound. This is a phonemic judgement. Although the initial phoneme /p/ is shared between the two words, in plea it is part of the onset ‘pl’ and in pray it is part if the onset ‘pr’. Until children can segment the onset (or the rime), such phonemic judgements are difficult for them to make. In fact, a recent survey of different developmental studies has shown that the different levels of phonological awareness appear to emerge sequentially. The awareness of syllables, onsets, and rimes appears to merge at around the ages of 3 and 4, long before most children go to school. The awareness of phonemes, on the other hand, usually emerges at around the age of 5 or 6, when children have been taught to read for about a year. An awareness of onsets and rimes thus appears to be a precursor of reading, whereas an awareness of phonemes at every serial position in a word only appears to develop as reading is taught. The onset-rime and phonemic levels of phonological structure, however, are not distinct. Many onsets in English are single phonemes, and so are some rimes (e.g. sea, go, zoo).The early availability of onsets and rimes is supported by studies that have compared the development of phonological awareness of onsets, rimes, and phonemes in the same subjects using the same phonological awareness tasks. For example, a study by Treiman and Zudowski used a same/different judgement task based on the beginning or the end sounds of words. In the beginning sound task, the words either began with the same onset, as in plea and plank, or shared only the initial phoneme, as in plea and pray. In the end-sound task, the words either shared the entire rime, as in spit and wit, or shared only the final phoneme, as in rat and wit. Treiman and Zudowski showed that four- and five-year-old children found the onset-rime version of the same/different task significantly easier than the version based on phonemes. Only the sixyear- olds, who had been learning to read for about a year, were able to perform both versions of the tasks with an equal level of success.From the following statements, pick out the true statement according to the passage.
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