Find out the error parts of the following sentences.

Find the synonyms of the following words.

Choose the Correct Antonyms of the following words.

Find the correctly spelt word.

Find the correct one word substitute from the following options.

The real significance of the word sahitya or literature is inherent in the word itself, for the characteristic of literature is ‘to move together,’ keeping abreast of life. Literature is no invention of the superficiality of social life, nor is it the colourful spell of any fantasia. Rather it is the portrait of real life – an external expression of the internal recesses of the mind – a bold and powerful expression of the suppressed sighs of the human heart. In order to preserve the sanctity and prestige of its name, literature must maintain its rhythm in pace with the dynamic currents of society.
The word sahitya can be interpreted in another way as well: sa + hita = hitena saha; ‘that which co-exists with hita or ‘welfare.’ Where there is no inner spirit of welfare, we cannot use the term sahitya. The creations or compositions of those who proclaim that “Art is for art’s sake,” cannot be treated as sahitya. Indeed, that welfare which pertains to the mundane world is relative; its definition also may change according to the changes in time, place and person. But that aspect of the term hita which leads human beings to absolute truth is one and the same for all ages and countries.
In order to communicate with people at different states of development, and of different ideas, the same concept of welfare has to be expressed through different branches of knowledge. The grand, benevolent flow of ideas, with the common people on one side, and the state of Supreme Bliss on the other – this is called literature; for in every particle, in every rhythmic expression of this very benevolent thought process, the Supreme Bliss is lying dormant.
Thus ‘literature’ is that which moves together with society, which leads society towards true fulfilment and welfare by providing the inspiration for service. We could say, “Art for service and blessedness.”
In every expression, in every stratum of this universe, however crude or subtle, only one refrain prevails, and that refrain is the attainment of bliss. In that artistic movement towards welfare both the attainment and the bestowal of happiness find simultaneous expression. When litterateurs dedicate themselves to the service of literature, they have to let their creative genius flow in this very current: they have to cleanse all that is turbid, all that is inauspicious in individual life in the holy waters of their universal mentality, and then convey it sweetly and gracefully into the heart of humanity. Herein lies the fulfilment of their service, the consummation of their sadhana.
If the sweet, benevolent sentiment of individual life fails to inspire collective life, we cannot consider such a creation as art. Those who are unwilling or unable to create sahitya as a means of service, should not try to place the blame on the collective mind, hiding their own impure thoughts behind their grandiloquence and bluster
The aim of artistic creation is to impart joy and bliss. The bestowers of this bliss, the servers of the people, cannot keep their daily lives aloof from commonplace events, mingled with pleasures and pains, smiles and tears. People seek deliverance from the whirlpools of darkness; they aspire to illuminate their lives and minds with ever-new light. In all their actions, in all their feelings, there is an inherent tendency to move forward; therefore, if at all they are to be offered something, the creator of art cannot remain idle or inert.

The word purana comes from the Sanskrit word ‘pure nava’ which means 'that which is new in the city'. It is a new way of presenting things. Puranas are full of colourful illustrations and stories. On the surface they appear to be mere fantasy, but actually, they contain subtle truths.
An asura king, Hiranyakashyapa, wanted everyone to worship him. But his son Prahlada was a devotee of  Narayana, the king's sworn enemy. Angry, the king wanted Holika, his sister, to get rid of Prahlada. Empowered to withstand fire, Holika sat on a burning pyre holding Prahlada on her lap. But it was Holika who was burnt; Prahlada came out unharmed.
Hiranyakashyapa symbolises the one who is gross. Prahlada embodies innocence, faith and bliss/joy. The spirit cannot be confined to love of material only. Hiranyakashyapa wanted all joy to come from the material world. It did not happen that way. The individual jivatma cannot be bound to the material forever. It's natural to eventually move towards Narayana, the higher Self.
Holika stands for past burdens that try to burn Prahlada's innocence. But Prahlada, so deeply rooted in Narayana bhakti, could burn all past sanskaras or impressions and joy springs up with new colours. Life becomes a celebration. Burning the past, you gear up for a new beginning. Your emotions, like fire, burn you. But when they are a fountain of colours, they add charm to your life. In ignorance, emotions are a bother; in knowledge, the same emotions add colour.
Each emotion is associated with a colour — anger with red, jealousy with green, vibrancy and happiness with yellow, love with pink, vastness with blue, peace with white, sacrifice with saffron and knowledge with violet.
Like Holi should be colourful, not boring. When each colour is seen clearly, it is colourful. When all the colours get mixed, you end up with black. So also in life, we play different roles. Each role and emotion needs to be clearly defined. Emotional confusion creates problems. When you are a father, you have to play the part of a father. You can't be a father at office. When you mix the roles in your life, you start making mistakes. Whatever role you play in life, give yourself fully to it. Harmony in diversity makes life vibrant and more colourful.
One legend talks about the time when Parvati was in tapasya and Shiva was in samadhi. In facilitating the divine union of the two, Kamadeva, the Lord of Love, gets burnt to ashes by Shiva. Shiva had to come out of His samadhi to join Parvati, for celebration to take place. 'Parva' is festival and 'Parvati' means 'born out of festival' — celebration!
For samadhi to unite with celebration, the presence of desire was necessary. So, Kama or desire was invoked. But again, to celebrate, you need to overcome desire. So Shiva opened his third eye and burned Kama. When desire in the mind is burnt, celebration happens.
Focus attention on the desire and surrender it. This act of focusing awareness or sight on the desire or Kama is called 'kamakshi'. With awareness, desire loses its grip and surrender happens and then nectar flows out from within. The goddess, Kamakshi, holds a sugarcane stem in one hand and a flower in the other. The sugarcane stem is so hard and has to be squeezed in order to obtain sweetness, while the flower is soft and collecting nectar from it is so easy. This truly represents life, which indeed has a little of both!

There are four alternatives to the idiom phrases. Choose the correct one.

There are four alternatives, choose the correct one which can improve the sentence.

There are four alternatives. Choose the correct alternatives to fill the blank.

For Questions 45 to 47 choose the correct Indirect Narration and For Questions 48 to 50 choose the correct passive voice.