Number of Units Manufactured (M) and Number of Units Sold (S) (in hundreds) by five different companies over the years.
| Year | A | B | C | D | E | |||||
|---|---|---|---|---|---|---|---|---|---|---|
| M | S | M | S | M | S | M | S | M | S | |
| 2006 | 2.8 | 1.3 | 3.3 | 2.2 | 2.6 | 1.7 | 3.0 | 2.2 | 1.9 | 1.4 |
| 2007 | 3.2 | 2.0 | 2.4 | 1.6 | 2.2 | 1.5 | 2.5 | 1.9 | 2.0 | 1.7 |
| 2008 | 1.9 | 0.9 | 2.9 | 1.6 | 2.1 | 1.0 | 2.3 | 1.5 | 1.6 | 1.1 |
| 2009 | 1.0 | 0.4 | 2.4 | 1.3 | 2.8 | 1.4 | 2.1 | 1.2 | 3.2 | 2.5 |
| 2010 | 2.5 | 1.5 | 2.3 | 1.2 | 2.6 | 2.1 | 1.8 | 1.1 | 3.1 | 2.6 |
The table given below provides the details of monthly sales (in lakhs of rupees) and the value of products returned by the customers (as a percentage of sales) of an e-commerce company for three product categories for the year 2024. Net sales (in lakhs of rupees) is defined as the difference between sales (in lakhs of rupees) and the value of products returned (in lakhs of rupees).

A pie chart shows the distribution of students across 5 faculties in a university. If 20% are in Arts, 25% in Science, 15% in Law, 30% in Engineering, and the rest in Commerce, what is the angle (in degrees) for Commerce?
The plots below depict and compare the average monthly incomes (in Rs. ’000) of males and females in ten cities of India in the years 2005 and 2015. The ten cities, marked A-J in the records, are of different population sizes. For a fair comparison, to adjust for inflation, incomes for both the periods are scaled to 2025 prices. Each red dot represents the average monthly income of females in a particular city in a particular year, while each blue dot represents the average monthly income of males in a particular city in a particular year. The gender gap for a city, for a particular year, is defined as the absolute value of the average monthly income of males, minus the average monthly income of females, in that year.
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.
[Extracted with edits from George Orwell's "Why I Write"]