In the following question, out of the four alternatives, select the alternative which is the best substitute of the words/sentence.Characterized by bitterness or resentment<br/> ?->(Show Answer!)

1. In the following question, out of the four alternatives, select the alternative which is the best substitute of the words/sentence.Characterized by bitterness or resentment

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MCQ-> Read the following passage and answer the questions given below it. Certain words/phrases in the passage have been printed in bold to help you locate them while answering some of the questions.Marc Rodin flicked-off the switch of his transistor radio and rose from the table, leaving the breakfast tray almost untouched. He walked over to the window, lit another in the endless chain of cigarettes and gazed out at the snow-en-crusted landscape which the late arriving spring had not yet started to dismantle. He murmured a word quietly and with great venom, following up with other strong nouns and epithets that expressed his feeling towards the French President, his Government and the Action Service. Rodin was unlike his predecessor in almost every way. Tall and spare, with a cadaverous face hollowed by the hatred within, he usually masked his emotions with an un-Latin frigidity. For him there had been no Ecole Polytechnic to open doors to promotion. The son of a cobbler, he had escaped to England by fishing boat in the halcyon days of his late teens when the Germans overran France, and had enlisted as a private soldier under the banner of the Cross of Lorraine. Promotion through sergeant to warrant officer had come the hard way, in bloody battles across the face on North Africa under Koenig and later through the hedgerows of Normandy with Leclerc. A field commission during the fight for Paris had got him the officer’s chevrons his education and breeding could never have obtained and in post-war France the choice had been between reverting to civilian life or staying in the Army. But revert to what ? He had no trade but that of cobbler which his father had taught him, and he found the working class of his native country dominated by Communists, who had also taken over the Resistance and the Free French of the Interior. So he stayed in the Army, later to experience the bitterness of an officer from the ranks who saw a new young generation of educated boys graduating from the officer schools, earning in theoretical lessons carried out in classrooms the same chevrons he had sweated blood for. As he wanted them pass him in tank and privilege the bitterness started to set in. There was only one thing left to do, and that was join one of the colonial regiments, the tough crack soldiers who did the fighting while the conscript army paraded round drill squares. He managed a transfer to the colonial para-troops. Within a year he had been a company commander in Indo-China, living among other men who spoke and thought as he did. For a young man from a cobbler’s bench, promotion could still be obtained through combat, and more combat. By the end of the Indo-China campaign he was a major and after an unhappy and frustrating year in France he was sent to Algeria. The French withdrawal from Indo-China do the year he spent in France had turned his latent bitterness into a consuming loathing of politicians and Communists, whom he regarded as one and the same thing. Not until Franco was ruled by a soldier could she ever be weaned away from the grip of the treators and lickspittles who permeated her public life. Only in the Army were both breeds extinct. Like most combat officers who had seen their men die and occasionally buried the hideously mutilated bodies of those unlucky enough to be taken alive. Rodin worshipped soldiers as the true salt of the earth, the men who sacrificed themselves in blood so that the bourgeoisie could live at home in comfort. To learn from the civilians of native land after eight years of combat in the forests of Indo-China that most of them cared not a fig for the soldier, to read the denunciations of the military by the left-wing intellectuals for more trifles like the toturing of prisoners to obtain vital information, had set off inside Marc Rodin a reaction which combined with the native bitterness stemming from his own lack of opportunity, had turned into zealotry. He remained convinced that given enough backing by the civil authoritieS on the spot and the Government and people back home, the Army could have beaten the Viet-Minh. The cession of Indo-China had been a massive betrayal of the thousands of fine young men who had died there seemingly for nothing. For Rodin there would be, could be, no more betrayals. Algeria would prove it. He left the shore of Marseilles in the spring of 1956 as ner a happy man as he would ever be, convinced that the distant hills of Algeria would see the consummation of what he regarded as his life’s work, the apotheosis of the French Army in the eys of the world.What was the period when Rodin escaped to England ?
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MCQ-> In the following question, out of the four alternatives, select the alternative which is the best substitute of the words/sentence.Characterized by bitterness or resentment
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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->In the following question, out of the four alternatives, select the alternative which is the best substitute of the words/sentence. Causing annoyance or resentment....