The four sentences (labelled 1, 2, 3, and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer.
1. As books age, the cellulose and lignin in the paper begin to break down, releasing a mix of volatile organic compounds into the air.
2. Old books carry a scent that many people instantly recognize—and even love.
3. These compounds are benzaldehyde, which gives off an almond-like scent, vanillin, which smells like vanilla, ethyl hexanol (floral scent), toluene (sweet), and furfural (which has a slightly bready scent).
4. This familiar aroma isn’t just dust or mildew; it’s actually a result of slow chemical changes happening inside the paper and ink.
1. As books age, the cellulose and lignin in the paper begin to break down, releasing a mix of volatile organic compounds into the air.
2. Old books carry a scent that many people instantly recognize—and even love.
3. These compounds are benzaldehyde, which gives off an almond-like scent, vanillin, which smells like vanilla, ethyl hexanol (floral scent), toluene (sweet), and furfural (which has a slightly bready scent).
4. This familiar aroma isn’t just dust or mildew; it’s actually a result of slow chemical changes happening inside the paper and ink.
Show Hint
- Option 2
- Option 4
- Option 1
- Option 3
The Correct Option is B
Solution and Explanation
The passage talks about the process by which old books produce a distinctive scent due to the breakdown of materials in the paper.
Step 2: Analyzing the Options:
- (1) Option 2: This sentence fits naturally as an opening statement, introducing the aroma of old books.
- (2) Option 4: This sentence follows the previous one by explaining that the aroma is not due to dust or mildew but is the result of chemical processes.
- (3) Option 1: This provides further details on how the scent is produced by the breakdown of cellulose and lignin.
- (4) Option 3: This fits as the final sentence, explaining the compounds involved in the smell.
Step 3: Conclusion:
Option (2) is the best choice as it logically completes the sequence by describing the chemical changes inside books.
Top Questions on Para Completion
- The given sentence is missing in the paragraph below. Decide where it best fits among the options 1, 2, 3, or 4 indicated in the paragraph.
Sentence: In each of the affected males, the genetic defect was located to the X chromosome in the region of p11-12.
Paragraph: The first suggested evidence of a human genetic mutation associated with aggressive behaviour came from a study in 1993. ____ (1)____. Genetic and metabolic studies were conducted on a large Dutch family in which several of the males has a syndrome of borderline mental retardation and abnormal behaviour. ____ (2)____. The undesirable behaviour included impulsive aggression, arson and exhibitionism. ____ (3)____. A point mutation was identified in the eighth exon of the monoamine oxidase A (MAOA) structural gene which changes glutamine to a termination codon. ____ (4)____. - The given sentence is missing in the paragraph below. Decide where it best fits among the options 1, 2, 3, or 4 indicated in the paragraph.
Sentence: Productivity gains, once expected to feed through to broader living standards, now primarily serve to enhance returns to wealth.
Paragraph: Economists now argue that inequality is no longer a by-product of growth but a condition of it. ____ (1)____. Unlike wages, wealth reflects not just income but also access to assets, favourable institutional conditions—such as low interest rates—and public policies like low taxes and housing shortages. ____ (2)____. In other words, wealth depends on political choices in ways that income currently does not. It’s not just the inequality itself that is the issue but the erosion of mechanisms that once constrained it. ____ (3)____. Wealth and income inequality are linked, but where wages have stagnated and collective bargaining has weakened, capital income—derived from profits, rents and interest—has been boosted by design. ____ (4)____. The given sentence is missing in the paragraph below. Decide where it best fits among the options 1, 2, 3, or 4 indicated in the paragraph.
Sentence: While taste is related to judgment, with thinkers at the time often writing, for example, about “judgments of taste” or using the two terms interchangeably, taste retains a vital link to pleasure, embodiment, and personal specificity that is too often elided in post-Kantian ideas about judgment—a link that Arendt herself was working to restore.
Paragraph: \(\underline{(1)}\) Denneny focused on taste rather than judgment in order to highlight what he believed was a crucial but neglected historical change. \(\underline{(2)}\) Over the course of the seventeenth century and early eighteenth century, across Western Europe, the word taste took on a new extension of meaning, no longer referring specifically to gustatory sensation and the delights of the palate but becoming, for a time, one of the central categories for aesthetic—and ethical—thinking. \(\underline{(3)}\) Tracing the history of taste in Spanish, French, and British aesthetic theory, as Denneny did, also provides a means to recover the compelling and relevant writing of a set of thinkers who have been largely neglected by professional philosophy. \(\underline{(4)}\)
The given sentence is missing in the paragraph below. Decide where it best fits among the options 1, 2, 3, or 4 indicated in the paragraph.
Sentence- The region’s Western customers found it hard to believe that Dhaka muslin could possibly have been made by human hands – there were rumours that it was woven by mermaids, fairies and even ghosts.
Once upon the silty banks of the Meghna River, a miracle was spun — a fabric so light it was called “baft-hawa”, or woven air. This was Dhaka Muslin — the world’s most coveted cloth. \(\underline{(1)}\) Handspun from a rare cotton called Phuti Karpas, found nowhere else on Earth, and woven with a 16-step sacred ritual — beginning with cleaning the cotton using the teeth of a river catfish! \(\underline{(2)}\) Every spring, the maple-like leaves pushed up through the grey, silty soil to produce a single daffodil-yellow flower twice a year, which gave way to a snowy floret of cotton fibres. \(\underline{(3)}\) Spun at dawn on boats by sharp-eyed young women, its threads were so fine the elderly could barely see them. Motifs of wildflowers, river breeze, and soul were etched into each piece — some so sleek, a 91-metre bolt could pass through a ring, or a 60’ length fit inside a snuffbox. It draped Greek goddesses, Roman nobles, Mughal emperors, and European aristocrats. Marie Antoinette, Empress Joséphine — even Jane Austen adored its floating grace. \(\underline{(4)}\).- The four sentences (labelled 1, 2, 3, and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer.
1. "Literature on screen" suggests something more capacious and defining than citation: the possibility that literary adaptations are at once cinema and literature.
2. Even though a growing number of films eligible for Academy Awards for Best Screenplay Based on Material from Another Medium borrow that material from print journalism, franchise characters, television series, comic books, video games and toys, academic studies of adaptation remain stubbornly attached to literature as cinema’s natural progenitor.
3. It is as if adaptation studies, by borrowing the cultural cachet of literature, sought to claim its institutional respectability and gravitas even while insuring adaptation’s enduring aesthetic and methodological subordination to literature proper.
4. Beneath this contradictory notion of film adaptations as not merely hybrid texts but texts holding dual citizenship in two modes of presentation is an even more pervasive legacy that haunts adaptation studies: the assumption that the primary context within which adaptations are to be studied is literature.
Questions Asked in CAT exam
Imagine a world in which artificial intelligence is entrusted with the highest moral responsibilities: sentencing criminals, allocating medical resources, and even mediating conflicts between nations. This might seem like the pinnacle of human progress: an entity unburdened by emotion, prejudice or inconsistency, making ethical decisions with impeccable precision. . . .
Yet beneath this vision of an idealised moral arbiter lies a fundamental question: can a machine understand morality as humans do, or is it confined to a simulacrum of ethical reasoning? AI might replicate human decisions without improving on them, carrying forward the same biases, blind spots and cultural distortions from human moral judgment. In trying to emulate us, it might only reproduce our limitations, not transcend them. But there is a deeper concern. Moral judgment draws on intuition, historical awareness and context qualities that resist formalisation. Ethics may be so embedded in lived experience that any attempt to encode it into formal structures risks flattening its most essential features. If so, AI would merely reflect human shortcomings; it would strip morality of the very depth that makes ethical reflection possible in the first place.
Still, many have tried to formalise ethics, by treating certain moral claims not as conclusions, but as starting points. A classic example comes from utilitarianism, which often takes as a foundational axiom the principle that one should act to maximise overall wellbeing. From this, more specific principles can be derived, for example, that it is right to benefit the greatest number, or that actions should be judged by their consequences for total happiness. As computational resources increase, AI becomes increasingly well-suited to the task of starting from fixed ethical assumptions and reasoning through their implications in complex situations.
But, what exactly, does it mean to formalise something like ethics? The question is easier to grasp by looking at fields in which formal systems have long played a central role. Physics, for instance, has relied on formalisation for centuries. There is no single physical theory that explains everything. Instead, we have many physical theories, each designed to describe specific aspects of the Universe: from the behaviour of quarks and electrons to the motion of galaxies. These theories often diverge. Aristotelian physics, for instance, explained falling objects in terms of natural motion toward Earth’s centre; Newtonian mechanics replaced this with a universal force of gravity. These explanations are not just different; they are incompatible. Yet both share a common structure: they begin with basic postulates assumptions about motion, force or mass– and derive increasingly complex consequences. . . .
Ethical theories have a similar structure. Like physical theories, they attempt to describe a domain– in this case, the moral landscape. They aim to answer questions about which actions are right or wrong, and why. These theories also diverge, and even when they recommend similar actions, such as giving to charity, they justify them in different ways. Ethical theories also often begin with a small set of foundational principles or claims, from which they reason about more complex moral problems.- CAT - 2025
- Reading Comprehension
In 1982, a raging controversy broke out over a forest act drafted by the Government of India. This act sought to strengthen the already extensive powers enjoyed by the forest bureaucracy in controlling the extraction, disposal and sale of forest produce. It also gave forest officials greater powers to strictly regulate the entry of any person into reserved forest areas. While forest officials justified the act on the grounds that it was necessary to stop the continuing deforestation, it was bitterly opposed by representatives of grassroots organisations, who argued that it was a major violation of the rights of peasants and tribals living in and around forest areas. . . .
The debate over the draft forest act fuelled a larger controversy over the orientation of state forest policy. It was pointed out, for example, that the draft act was closely modelled on its predecessor, the Forest Act of 1878. The earlier Act rested on a usurpation of rights of ownership by the colonial state which had little precedent in precolonial history. It was further argued that the system of forestry introduced by the British—and continued, with little modification, after 1947—emphasised revenue generation and commercial exploitation, while its policing orientation excluded villagers who had the most longstanding claim on forest resources. Critics called for a complete overhaul of forest administration, pressing the government to formulate policy and legislation more appropriate to present needs. . . .
That debate is not over yet. The draft act was shelved, though it has not as yet been formally withdrawn. Meanwhile, the 1878 Act (as modified by an amendment in 1927) continues to be in operation. In response to its critics, the government has made some important changes in forest policy, e.g., no longer treating forests as a source of revenue, and stopping ecologically hazardous practices such as the clearfelling of natural forests. At the same time, it has shown little inclination to meet the major demand of the critics of forest policy—namely, abandoning the principle of state monopoly over forest land by handing over areas of degraded forests to individuals and communities for afforestation.
. . . [The] 1878 Forest Act itself was passed only after a bitter and prolonged debate within the colonial bureaucracy, in which protagonists put forward arguments strikingly similar to those being advanced today. As well known, the Indian Forest Department owes its origin to the requirements of railway companies. The early years of the expansion of the railway network, c. 1853 onwards, led to tremendous deforestation in peninsular India owing to the railway’s requirements of fuelwood and construction timber. Huge quantities of durable timbers were also needed for use as sleepers across the new railway tracks. Inexperienced in forestry, the British called in German experts to commence systematic forest management. The Indian Forest Department was started in 1864, with Dietrich Brandis, formally a Lecturer in Botany, as the first Inspector General of Forests. The early years of the forest department, even as it grew, continued to meet the railway needs for timber and wood. These systems first emerged as part of the needs of the expanding empire.- CAT - 2025
- Reading Comprehension
Over the course of the twentieth century, humans built, on average, one large dam a day, hulking structures of steel and concrete designed to control flooding, facilitate irrigation, and generate electricity. Dams were also lucrative contracts, large-scale employers, and the physical instantiation of a messianic drive to conquer territories and control nature. Some of the results of that drive were charismatic mega-infrastructure—the Hoover on the Colorado River or the Aswan on the Nile—but most of the tens of thousands of dams that dot the Earth’s landscape have drawn little attention. These are the smaller, though not inconsequential, barriers that today impede the flow of water on nearly two-thirds of the world’s large waterways. Chances are, what your map calls a “lake” is actually a reservoir, and that thin blue line that emerges from it once flowed very differently.
Damming a river is always a partisan act. Even when explicit infrastructure goals—irrigation, flood control, electrification—were met, other consequences were significant and often deleterious. Across the world, river control displaced millions of people, threatening livelihoods, foodways, and cultures. In the western United States, dams were often an instrument of colonialism, used to dispossess Indigenous people and subsidize settler agriculture. And as dams slowed the flow of water, inhibited the movement of nutrients, and increased the amount of toxic algae and other parasites, they snuffed out entire river ecologies. Declining fish populations are the most evident effect, but dams also threaten a host of other animals—from birds and reptiles to fungi and plants—with extinction. Every major dam, then, is also a sacrifice zone, a place where lives, livelihoods, and ways of life are eliminated so that new sorts of landscapes can support water-intensive agriculture and cities that sprout downstream of new reservoirs.
Such sacrifices have been justified as offerings at the temples of modernity. Justified by—and for—whom, though? Over the course of the twentieth century, rarely were the costs and benefits weighed thoughtfully and decided democratically. As Kader Asmal, chair of the landmark 2000 World Commission on Dams, concluded, “There have been precious few, if any, comprehensive, independent analyses as to why dams came about, how dams perform over time, and whether we are getting a fair return from our 2 trillion Dollar investment.” A quarter-century later, Asmal’s words ring ever truer. A litany of dams built in the mid-twentieth century are approaching the end of their expected lives, with worrying prospects for their durability. Droughts, magnified and multiplied by the effects of climate change, have forced more and more to run below capacity. If ever there were a time to rethink the mania for dams, it would be now.
There is some evidence that a combination of opposition, alternative energy sources, and a lack of viable projects has slowed the construction of major dams. But a wave of recent and ongoing construction, from India and China to Ethiopia and Canada, continues to tilt the global balance firmly in favor of water impoundment.- CAT - 2025
- Reading Comprehension
Once a society accepts a secular mode of creativity, within which the creator replaces God, imaginative transactions assume a self-conscious form. The tribal imagination, on the other hand, is still to a large extent dreamlike and hallucinatory. It admits fusion between various planes of existence and levels of time in a natural and artless manner. In tribal stories, oceans fly in the sky as birds, mountains swim in water as fish, animals speak as humans and stars grow like plants. Spatial order and temporal sequence do not restrict the narrative. This is not to say that tribal creations have no conventions or rules, but simply that they admit the principle of association between emotion and the narrative motif. Thus stars, seas, mountains, trees, men and animals can be angry, sad or happy.
It might be said that tribal artists work more on the basis of their racial and sensory memory than on the basis of a cultivated imagination. In order to understand this distinction, we must understand the difference between imagination and memory. In the animate world, consciousness meets two immediate material realities: space and time. We put meaning into space by perceiving it in terms of images. The image-making faculty is a genetic gift to the human mind—this power of imagination helps us understand the space that envelops us. With regard to time, we make connections with the help of memory; one remembers being the same person today as one was yesterday.
The tribal mind has a more acute sense of time than the sense of space. Somewhere along the history of human civilization, tribal communities seem to have realized that domination over territorial space was not their lot. Thus, they seem to have turned almost obsessively to gaining domination over time. This urge is substantiated in their ritual of conversing with their dead ancestors: year after year, tribals in many parts of India worship terracotta or carved-wood objects representing their ancestors, aspiring to enter a trance in which they can converse with the dead. Over the centuries, an amazingly sharp memory has helped tribals classify material and natural objects into a highly complex system of knowledge. . .
One of the main characteristics of the tribal arts is their distinct manner of constructing space and imagery, which might be described as ‘hallucinary’. In both oral and visual forms of representation, tribal artists seem to interpret verbal or pictorial art as demarcated by an extremely flexible ‘frame’. The boundaries between art and non-art become almost invisible. Atribal epic can begin its narration from a trivial everyday event; tribal paintings merge with living space as if the two were one and the same. And within the narrative itself, or within the painted imagery, there is no deliberate attempt to follow a sequence. The episodes retold and the images created take on the apparently chaotic shapes of dreams. In a way, the syntax of language and the grammar of painting are the same, as if literature were painted words and painting were a song of images.- CAT - 2025
- Reading Comprehension
- The passage given below is followed by four summaries. Choose the option that best captures the essence of the passage.
In investigating memory-beliefs, there are certain points which must be borne in mind. In the first place, everything constituting a memory-belief is happening now, not in that past time to which the belief is said to refer. It is not logically necessary to the existence of a memory-belief that the event remembered should have occurred, or even that the past should have existed at all. There is no logical impossibility in the hypothesis that the world sprang into being five minutes ago, exactly as it then was, with a population that "remembered" a wholly unreal past. There is no logically necessary connection between events at different times; therefore nothing that is happening now or will happen in the future can disprove the hypothesis that the world began five minutes ago. Hence the occurrences which are CALLED knowledge of the past are logically independent of the past; they are wholly analysable into present contents, which might, theoretically, be just what they are even if no past had existed.- CAT - 2025
- Para Summary