Question:
Find the odd one out from the following group:
WINDSHIELD, SPARK PLUG, CLUTCH PEDAL, CAR, ENGINE
Find the odd one out from the following group:
WINDSHIELD, SPARK PLUG, CLUTCH PEDAL, CAR, ENGINE
WINDSHIELD, SPARK PLUG, CLUTCH PEDAL, CAR, ENGINE
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When identifying odd items in a group, look for the one that is a whole item rather than a component.
Updated On: Aug 18, 2025
- Car
- Engine
- Windshield
- Spark Plug
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The Correct Option is A
Solution and Explanation
All options except "Car" are parts of a car. "Car" is a complete entity, whereas the others are components of a car's machinery. Therefore, the odd one out is "Car".
Option (B) Engine: This is a component of a car.
Option (C) Windshield: This is a part of a car.
Option (D) Spark Plug: This is a component of a car.
Option (B) Engine: This is a component of a car.
Option (C) Windshield: This is a part of a car.
Option (D) Spark Plug: This is a component of a car.
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From a very early age, I knew that when I grew up, I should be a writer. I had the lonely child's habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their sound. I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development.
His subject-matter will be determined by the age he lives in — at least this is true in tumultuous, revolutionary ages like our own — but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. It is his job to discipline his temperament, but if he escapes from his early influences altogether, he will have killed his impulse to write. I think there are four great motives for writing, at any rate for writing prose. They are: (i) Sheer egoism: Desire to seem clever, to be talked about, to be remembered after death, to get your own back on grown-ups who snubbed you in childhood; (ii) Aesthetic enthusiasm: Desire to share an experience which one feels is valuable and ought not to be missed (iii) Historical impulse: Desire to see things as they are, to find out true facts and store them up for the use of posterity (iv) Political purpose: Desire to push the world in a certain direction, to alter other people's idea of the kind of society that they should strive after.
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Ideals are a convenient escape, and the teacher who follows them is incapable of understanding his students and dealing with them intelligently; for him, the future ideal, the what should be, is far more important than the present child. The pursuit of an ideal excludes love, and without love no human problem can be solved. If the teacher is of the right kind, he will not depend on a method, but will study each individual pupil. In our relationship with children and young people, we are not dealing with mechanical devices that can be quickly repaired, but with living beings who are impressionable, volatile, sensitive, afraid, affectionate: and to deal with them, we have to have great understanding, the strength of patience and love. When we lack these, we look to quick and easy remedies and hope for marvellous and automatic results. If we are unaware, mechanical in our attitudes and actions, we fight shy of any demand upon us that is disturbing and that cannot be met by an automatic response, and this is one of our major difficulties in education.
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