The word "perennial" refers to something that lasts for a long time or is constant.
The antonym of "perennial" would describe something that is not long-lasting or temporary.
The correct antonym of "perennial" is "temporary".
The word "metamorphosis" refers to a complete change or transformation, especially in the form or structure of an organism.
The synonym of "metamorphosis" is "transformation", as both words refer to a significant change in appearance or form.
The correct answer is "Transformation".
The correct answer is "A blockbuster animated film".
"Finding Nemo" is a famous animated film, which is why option (B) is the correct choice.
The other options refer to organizations or entities mentioned in the passage, but they are not related to the film "Finding Nemo".
The correct answer is "A blockbuster animated film".
The correct one-word substitute for "a place to brood eggs of hens and fish" is "Hatchery".
A "hatchery" is a place where eggs of various species, including hens and fish, are hatched and raised.
Since none of these terms match the meaning of a place where eggs are hatched, they are incorrect options.
The correct answer is "Hatchery".
According to the passage, NBFGR helps villagers in Maharashtra’s mangrove belt make a living by “cashing in on the popularity of clownfish.”
The phrase "cashing in on" means taking advantage of a demand or market opportunity. In this context, it refers to utilizing the popularity of clownfish to create income opportunities for villagers.
The correct answer is:
(A) Cashing in on the popularity of clownfish
The correct answer is "cashing in on the popularity of clownfish".
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"]
Read the sentence and infer the writer's tone: "The politician's speech was filled with lofty promises and little substance, a performance repeated every election season."