In a row of trees, a tree is 7th from left end and 14th from the right end. How many trees are there in the row? ?->(Show Answer!)

1. In a row of trees, a tree is 7th from left end and 14th from the right end. How many trees are there in the row?

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MCQ-> Read the passage carefully and answer the questions given below it. Certain words/phrases have been given in bold to help you locate them while answering some of the questions. Long time ago, in a forest, there lived a young antelope. He was fond of the fruits of a particular tree. In a village bordering the forest, there lived a hunter who captured and killed antelopes for various reasons. He used to set traps for animals under fruitbearing trees. When the animal came to eat the fruit, it would be caught in the trap. He would then take it away and kill it for its meat. One day, while visiting the forest in search of game, the hunter happened to see the antelope under its favourite tree, eating fruit. He was delighted. ‘What a big, plump antelope!’ he thought. ‘I must catch him. I will get a lot of money from selling his meat.’ Thereafter, for many days, the hunter kept track of the antelope’s movements. He realised that the antelope was remarkably vigilant and fleet footed animal that it would be virtually impossible for him to track him down. However, he had a weakness for that particular tree. The crafty concluded that he could use this weakness to capture him. Early one morning, the hunter entered the forest with some logs of wood. He climbed the tree and put up a machan (platform used by hunters) on one of its branches by tying the logs together. Having set his trap at the foot of the tree, he then took up position on the machan and waited for the antelope. He strewed a lot of iy ,ovef mrui bts eo rn2thoeig6round beneath the 11.004.3, tree to conceal the trap and lure the antelope. Soon, the antelope came strolling along. He was very hungry and was eagerly looking forward to his usual breakfast of delicious ripe fruits. On the treetop, the hunter, having sighted him, sat with bated breath, willing him to come closer and step into his trap. However, the antelope was no fool. As he neared the tree he stopped short. The number of fruits lying under the tree seemed considerably more than usual. Surely, something was amiss, decided the antelope. He paused just out of reach of the tree and carefully began examining the ground. Now, he saw what distinctly looked like a human footprint. Without going closer, he looked suspiciously at the tree. The hunter was well hidden in its thick foliage, nevertheless the antelope, on close scrutiny, was now sure that his suspicions had not been unfounded. He could see a corner of the machan peeping out of the leaves. Meanwhile the hunter was getting desperate. Suddenly, he had a brainwave. Let me try throwing some fruit at him,’ he thought. So the hunter plucked some choice fruits and hurled them in the direction of the antelope. Alas, instead of luring him closer, it only confirmed his fears! Raising his voice, he spoke in the direction of the tree —”Listen, my dear tree, until now you have always dropped your fruits on the earth. Today, you have started throwing them at me! This is the most unlikely action of yours and I’m not sure I like the change! Since you have changed your habits, I too will change mine. I will get my fruits from a different tree from now onone that still acts like a tree!’ The hunter realised that the antelope had outsmarted him with his cleverness. Parting the leaves to reveal himself, he I grabbed his javelin and flung it wildly at the antelope. But the clever antelope was well prepared for any such action on his part. Giving a saucy chuckle, he leapt nimbly out of the harm’s way.As mentioned in the story, which of the following can be said about the hunter ?
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MCQ->In a row of trees, a tree is 7th from left end and 14th from the right end. How many trees are there in the row?....

MCQ-> Have you ever come across a painting, by Picasso, Mondrian, Miro, or any other modern abstract painter of this century, and found yourself engulfed in a brightly coloured canvas which your senses cannot interpret? Many people would tend to denounce abstractionism as senseless trash. These people are disoriented by Miro's bright, fanciful creatures and two- dimensional canvases. They click their tongues and shake their heads at Mondrian's grid works, declaring the poor guy played too many scrabble games. They silently shake their heads in sympathy for Picasso, whose gruesome, distorted figures must be a reflection of his mental health. Then, standing in front of a work by Charlie Russell, the famous Western artist, they'll declare it a work of God. People feel more comfortable with something they can relate to and understand immediately without too much thought. This is the case with the work of Charlie Russell. Being able to recognize the elements in his paintings - trees, horses and cowboys - gives people a safety line to their world of "reality". There are some who would disagree when I say abstract art requires more creativity and artistic talent to produce a good piece than does representational art, but there are many weaknesses in their arguments.People who look down on abstract art have several major arguments to support their beliefs. They feel that artists turn abstract because they are not capable of the technical drafting skills that appear in a Russell; therefore, such artists create an art form that anyone is capable of and that is less time consuming, and then parade it as artistic progress. Secondly, they feel that the purpose of art is to create something of beauty in an orderly, logical composition. Russell's compositions are balanced and rational, everything sits calmly on the canvas, leaving the viewer satisfied that he has seen all there is to see. The modern abstractionists, on the other hand, seem to compose their pieces irrationally. For example, upon seeing Picasso's Guernica, a friend of mine asked me, "What's the point?" Finally, many people feel that art should portray the ideal and real. The exactness of detail in Charlie Russell's work is an example of this. He has been called a great historian because his pieces depict the life style, dress, and events of the times. His subject matter is derived from his own experiences on the trail, and reproduced to the smallest detail.I agree in part with many of these arguments, and at one time even endorsed them. But now, I believe differently. Firstly, I object to the argument that abstract artists are not capable of drafting. Many abstract artists, such as Picasso, are excellent draftsmen. As his work matured, Picasso became more abstract in order to increase the expressive quality of his work. Guernica was meant as a protest against the bombing of that city by the Germans. To express the terror and suffering of the victims more vividly, he distorted the figures and presented them in a black and white journalistic manner. If he had used representational images and colour, much of the emotional content would have been lost and the piece would not have caused the demand for justice that it did. Secondly, I do not think that a piece must be logical and aesthetically pleasing to be art. The message it conveys to its viewers is more important. It should reflect the ideals and issues of its time and be true to itself, not just a flowery, glossy surface. For example, through his work, Mondrian was trying to present a system of simplicity, logic, and rational order. As a result, his pieces did end up looking like a scrabble board.Miro created powerful, surrealistic images from his dreams and subconscious. These artists were trying to evoke a response from society through an expressionistic manner. Finally, abstract artists and representational artists maintain different ideas about 'reality'. To the representational artist, reality is what he sees with his eyes. This is the reality he reproduces on canvas. To the abstract artist, reality is what he feels about what his eyes see. This is the reality he interprets on canvas. This can be illustrated by Mondrian's Trees series. You can actually see the progression from the early recognizable, though abstracted, Trees, to his final Explanation, the grid system.A cycle of abstract and representational art began with the first scratchings of prehistoric man. From the abstractions of ancient Egypt to representational, classical Rome, returning to abstractionism in early Christian art and so on up to the present day, the cycle has been going on. But this day and age may witness its death through the camera. With film, there is no need to produce finely detailed, historical records manually; the camera does this for us more efficiently. Maybe, representational art would cease to exist. With abstractionism as the victor of the first battle, may be a different kind of cycle will be touched off. Possibly, some time in the distant future, thousands of years from now, art itself will be physically non-existent. Some artists today believe that once they have planned and constructed a piece in their mind, there is no sense in finishing it with their hands; it has already been done and can never be duplicated.The author argues that many people look down upon abstract art because they feel that:
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