Attempt SSC CGL 2025 Tier-I (15th Sep 2025

Question 1 of 100

If 6 * 4 = 40 and 8 * 3 = 33, then 5 * 6 = ?

A 64 B 70 C 68 D 66

Question 86 of 100

Select the correct option for the Direct Speech conversion of the sentence below. The ecologist cautioned that the region’s carrying capacity might be surpassed if invasive organisms multiplied without control.

A The ecologist said, “The region’s carrying capacity will be surpassed if invasive organisms multiply without control.” B The ecologist said, “Had invasive organisms multiplied without control, the region’s carrying capacity would be surpassed.” C The ecologist said, “The region’s carrying capacity might be surpassed if invasive organisms multiply without control.” D The ecologist said, “If invasive organisms multiplied without control, the carrying capacity had been surpassed.”

Question 90 of 100

What does the passage suggest by calling art an “epistemic act”? Read the following passage and answer the questions based on the passage: Art, across its many expressions—painting, theatre, literature, music, and more—moves beyond practical usefulness into the spheres of meaning, emotion, and transformation. Its place in society is not merely ornamental or entertaining; it functions as a med ium of critique, a repository of shared memory, and an engine of cultural change. At its centre, art unsettles reality by reshaping how we see. Whether through the disorienting imagery of surrealism or the unsettling textures of experimental sound, art pulls the viewer out of comfort and demands renewed attention to the world. In doing so, art becomes not only aesthetic but an epistemic act —one that questions accepted “truths,” disrupts dominant frameworks, and widens the space for voices kept at the margins. Across history, art has also acted as a record of civilisations, preserving within its forms the desires, fears, conflicts, and ideals of a given age. From sacred temple murals to rebellious street art on crumbling city walls, creative work becomes a language through which authority, resistance, and identity are negotiated at once. This deep historical grounding makes art vital for understanding not only what societies produce, but what they prize and what they dread. In contemporary democracies, art often takes on a political charge. Where speech is curtailed, art can carry dissent; where logic falls short, it can generate empathy. Satire, documentary cinema, and performance frequently communicate what cannot be stated directly, using symbol, metaphor, and suggestion to evade suppression. Yet this very power exposes art to risk —censorship, marketing pressures, and ideological capture. When art loses autonomy, it can slide into propaganda or empty prestige, stripped of its questioning force. Art also performs a social role by building community and inviting self -examination at the same time. Participatory forms—street theatre, public installations, folk practices—blur the line between maker and viewer, broadening access to aesthetic experience. Meanwhile, private engagement with a poem or painting may trigger insight, catharsis, or moral reflection. However, in an algorithm-driven era where visibility and virality often decide worth, art increasingly faces the commodification of art. The aesthe tic is repackaged as a spectacle for quick consumption, detached from complexity, nuance, and risk. The challenge, therefore, is to protect artistic integrity against market and media forces that may reduce it to banality. Ultimately, art’s role is neither fixed nor singular: it is a dialectical energy—both mirror and blueprint, disruptive and restorative. To protect art is to protect the human capacity to feel, to question, and to reimagine.

A Art exists only to stir emotions. B Art helps form and challenge ways of knowing and understanding. C Art is valuable only as a historical record. D Art mainly promotes government-approved beliefs.

Question 91 of 100

In the passage, the phrase “commodification of art” most nearly means: Read the following passage and answer the questions based on the passage: Art, across its many expressions—painting, theatre, literature, music, and more—moves beyond practical usefulness into the spheres of meaning, emotion, and transformation. Its place in society is not merely ornamental or entertaining; it functions as a med ium of critique, a repository of shared memory, and an engine of cultural change. At its centre, art unsettles reality by reshaping how we see. Whether through the disorienting imagery of surrealism or the unsettling textures of experimental sound, art pulls the viewer out of comfort and demands renewed attention to the world. In doing so, art becomes not only aesthetic but an epistemic act —one that questions accepted “truths,” disrupts dominant frameworks, and widens the space for voices kept at the margins. Across history, art has also acted as a record of civilisations, preserving within its forms the desires, fears, conflicts, and ideals of a given age. From sacred temple murals to rebellious street art on crumbling city walls, creative work becomes a language through which authority, resistance, and identity are negotiated at once. This deep historical grounding makes art vital for understanding not only what societies produce, but what they prize and what they dread. In contemporary democracies, art often takes on a political charge. Where speech is curtailed, art can carry dissent; where logic falls short, it can generate empathy. Satire, documentary cinema, and performance frequently communicate what cannot be stated directly, using symbol, metaphor, and suggestion to evade suppression. Yet this very power exposes art to risk —censorship, marketing pressures, and ideological capture. When art loses autonomy, it can slide into propaganda or empty prestige, stripped of its questioning force. Art also performs a social role by building community and inviting self -examination at the same time. Participatory forms—street theatre, public installations, folk practices—blur the line between maker and viewer, broadening access to aesthetic experience. Meanwhile, private engagement with a poem or painting may trigger insight, catharsis, or moral reflection. However, in an algorithm-driven era where visibility and virality often decide worth, art increasingly faces the commodification of art. The aesthe tic is repackaged as a spectacle for quick consumption, detached from complexity, nuance, and risk. The challenge, therefore, is to protect artistic integrity against market and media forces that may reduce it to banality. Ultimately, art’s role is neither fixed nor singular: it is a dialectical energy—both mirror and blueprint, disruptive and restorative. To protect art is to protect the human capacity to feel, to question, and to reimagine.

A Art being stored and protected in official museums. B Art being turned into a sellable product that loses its critical edge. C Art being created only for classroom learning. D Art being used solely to encourage political awareness.

Question 92 of 100

As per the passage, what role can art play under politically restrictive conditions? Read the following passage and answer the questions based on the passage: Art, across its many expressions—painting, theatre, literature, music, and more—moves beyond practical usefulness into the spheres of meaning, emotion, and transformation. Its place in society is not merely ornamental or entertaining; it functions as a med ium of critique, a repository of shared memory, and an engine of cultural change. At its centre, art unsettles reality by reshaping how we see. Whether through the disorienting imagery of surrealism or the unsettling textures of experimental sound, art pulls the viewer out of comfort and demands renewed attention to the world. In doing so, art becomes not only aesthetic but an epistemic act —one that questions accepted “truths,” disrupts dominant frameworks, and widens the space for voices kept at the margins. Across history, art has also acted as a record of civilisations, preserving within its forms the desires, fears, conflicts, and ideals of a given age. From sacred temple murals to rebellious street art on crumbling city walls, creative work becomes a language through which authority, resistance, and identity are negotiated at once. This deep historical grounding makes art vital for understanding not only what societies produce, but what they prize and what they dread. In contemporary democracies, art often takes on a political charge. Where speech is curtailed, art can carry dissent; where logic falls short, it can generate empathy. Satire, documentary cinema, and performance frequently communicate what cannot be stated directly, using symbol, metaphor, and suggestion to evade suppression. Yet this very power exposes art to risk —censorship, marketing pressures, and ideological capture. When art loses autonomy, it can slide into propaganda or empty prestige, stripped of its questioning force. Art also performs a social role by building community and inviting self -examination at the same time. Participatory forms—street theatre, public installations, folk practices—blur the line between maker and viewer, broadening access to aesthetic experience. Meanwhile, private engagement with a poem or painting may trigger insight, catharsis, or moral reflection. However, in an algorithm-driven era where visibility and virality often decide worth, art increasingly faces the commodification of art. The aesthe tic is repackaged as a spectacle for quick consumption, detached from complexity, nuance, and risk. The challenge, therefore, is to protect artistic integrity against market and media forces that may reduce it to banality. Ultimately, art’s role is neither fixed nor singular: it is a dialectical energy—both mirror and blueprint, disruptive and restorative. To protect art is to protect the human capacity to feel, to question, and to reimagine.

A It strengthens official propaganda through imagery. B It becomes irrelevant to society. C It becomes a vehicle for dissent and expresses what cannot be said openly. D It remains limited to universities and scholars.

Question 93 of 100

Which option best explains the “dialectical” character of art mentioned in the passage? Read the following passage and answer the questions based on the passage: Art, across its many expressions—painting, theatre, literature, music, and more—moves beyond practical usefulness into the spheres of meaning, emotion, and transformation. Its place in society is not merely ornamental or entertaining; it functions as a med ium of critique, a repository of shared memory, and an engine of cultural change. At its centre, art unsettles reality by reshaping how we see. Whether through the disorienting imagery of surrealism or the unsettling textures of experimental sound, art pulls the viewer out of comfort and demands renewed attention to the world. In doing so, art becomes not only aesthetic but an epistemic act —one that questions accepted “truths,” disrupts dominant frameworks, and widens the space for voices kept at the margins. Across history, art has also acted as a record of civilisations, preserving within its forms the desires, fears, conflicts, and ideals of a given age. From sacred temple murals to rebellious street art on crumbling city walls, creative work becomes a language through which authority, resistance, and identity are negotiated at once. This deep historical grounding makes art vital for understanding not only what societies produce, but what they prize and what they dread. In contemporary democracies, art often takes on a political charge. Where speech is curtailed, art can carry dissent; where logic falls short, it can generate empathy. Satire, documentary cinema, and performance frequently communicate what cannot be stated directly, using symbol, metaphor, and suggestion to evade suppression. Yet this very power exposes art to risk —censorship, marketing pressures, and ideological capture. When art loses autonomy, it can slide into propaganda or empty prestige, stripped of its questioning force. Art also performs a social role by building community and inviting self -examination at the same time. Participatory forms—street theatre, public installations, folk practices—blur the line between maker and viewer, broadening access to aesthetic experience. Meanwhile, private engagement with a poem or painting may trigger insight, catharsis, or moral reflection. However, in an algorithm-driven era where visibility and virality often decide worth, art increasingly faces the commodification of art. The aesthetic is repackaged as a spectacle for quick consumption, detached from complexity, nuance, and risk. The challenge, therefore, is to protect artistic integrity against market and media forces that may reduce it to banality. Ultimately, art’s role is neither fixed nor singular: it is a dialectical energy—both mirror and blueprint, disruptive and restorative. To protect art is to protect the human capacity to feel, to question, and to reimagine.

A Art is always harmful and on the margins. B Art operates through tensions—reflecting society while also reshaping it. C Art survives only inside elite galleries. D Art exists only to preserve the past.

Question 94 of 100

. What is the closest meaning of the word “banality” as used in the passage? Read the following passage and answer the questions based on the passage: Art, across its many expressions—painting, theatre, literature, music, and more—moves beyond practical usefulness into the spheres of meaning, emotion, and transformation. Its place in society is not merely ornamental or entertaining; it functions as a med ium of critique, a repository of shared memory, and an engine of cultural change. At its centre, art unsettles reality by reshaping how we see. Whether through the disorienting imagery of surrealism or the unsettling textures of experimental sound, art pulls the viewer out of comfort and demands renewed attention to the world. In doing so, art becomes not only aesthetic but an epistemic act —one that questions accepted “truths,” disrupts dominant frameworks, and widens the space for voices kept at the margins. Across history, art has also acted as a record of civilisations, preserving within its forms the desires, fears, conflicts, and ideals of a given age. From sacred temple murals to rebellious street art on crumbling city walls, creative work becomes a language through which authority, resistance, and identity are negotiated at once. This deep historical grounding makes art vital for understanding not only what societies produce, but what they prize and what they dread. In contemporary democracies, art often takes on a political charge. Where speech is curtailed, art can carry dissent; where logic falls short, it can generate empathy. Satire, documentary cinema, and performance frequently communicate what cannot be stated directly, using symbol, metaphor, and suggestion to evade suppression. Yet this very power exposes art to risk —censorship, marketing pressures, and ideological capture. When art loses autonomy, it can slide into propaganda or empty prestige, stripped of its questioning force. Art also performs a social role by building community and inviting self -examination at the same time. Participatory forms—street theatre, public installations, folk practices—blur the line between maker and viewer, broadening access to aesthetic experience. Meanwhile, private engagement with a poem or painting may trigger insight, catharsis, or moral reflection. However, in an algorithm-driven era where visibility and virality often decide worth, art increasingly faces the commodification of art. The aesthe tic is repackaged as a spectacle for quick consumption, detached from complexity, nuance, and risk. The challenge, therefore, is to protect artistic integrity against market and media forces that may reduce it to banality. Ultimately, art’s role is neither fixed nor singular: it is a dialectical energy—both mirror and blueprint, disruptive and restorative. To protect art is to protect the human capacity to feel, to question, and to reimagine.

A Energy B Triviality C Flexibility D Harshness

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SSC CGL 2025 Tier-I (15th Sep 2025 - Shift 2)

If 6 * 4 = 40 and 8 * 3 = 33, then 5 * 6 = ?

In a certain code, SCHOOL is written as XHMTTQ. How is TEACHER written?

Choose the address that is exactly the same as the one given below. A-27, Green Valley, Sector-5, Noida, Uttar Pradesh - 201301

Which of the following will fill the blanks? mn, op, __, st, uv

Arrange the following words in dictionary order and choose the second word. apple, ape, april, ant

Apply the same pattern: DOG → FQI CAT → ?

Complete the analogy: Write : Pen :: Draw : ?

P is Q’s mother . R is P’s brother . How is R related to Q?

If the letters of the word IMPORTANT are arranged alphabetically, how many letters are between P and T (1st from left) ?

Using the same logic: If A = 1, Z = 26, then CAT = ?

If ‘+’ means ‘-’, ‘-’ means ‘×’, ‘×’ means ‘÷’ and ‘÷’ means ‘+’, then find the value of: 8 + 4 - 12 × 6 ÷ 3

Statement: The office remains open from 10 AM to 6 PM. Conclusions: I. Employees cannot enter before 10 AM. II. Office is closed after 6 PM.

Statement: Online education is growing rapidly because of easy internet access. Assumptions: I. Internet access is available to many people. II. People prefer online education over traditional methods.

Find the odd one out.

Find the odd one out.

Find the person who does not belong to the group:

If ‘×’ means ‘+’ and ‘+’ means ‘-’, which equation is incorrect?

In a zoo, there are only deer and birds. Total heads = 36 and total legs = 100. How many birds are there?

Complete the pattern: 5, 11, 23, 47, ?

Which of the following will replace the question mark? Alpha, Beta, Gamma, Delta, ?

A says, “My father’s only daughter is B.” How is A related to B?

What comes next? 2, 8, 64, ?

Which is the 3rd last word in the sentence: "Learning new skills improves confidence steadily"?

What is the value of middle if Left = 10, Right = 26, and Middle is the average of both?

If ‘@’ means ‘+’, ‘#’ means ‘×’, then find the value of: 6 @ 4 # 3?

Which feature is most associated with Baul folk music of Bengal?

The Kaladan Multi-Modal Project connects India with which neighboring country?

Which Indian leader received the Nobel Peace Prize in 2014?

The Teesta River is a tributary of which river system?

Which of the following statements is/are correct? 1.Money Bills can be introduced only in Lok Sabha. 2. Rajya Sabha can amend a Money Bill.

In basketball, which of the following is considered a violation?

The Regulating Act of 1773 mainly aimed to:

Which harvest festival of Assam is celebrated with community feasts and bonfires in January?

Increased ionization in the ionosphere mainly affects:

Which of the following statements is/are correct? 1. Kuchipudi originated in Andhra Pradesh. 2. It is performed only by men.

The Mars Orbiter Mission of India is popularly known as:

The book 'Wings of Fire' is primarily about:

Match the following Yoga terms: 1. Asana 2. Pranayama 3. Dhyana 4. Samadhi | A. Meditation B. Breath control C. Posture D. Complete absorption

Where does oxygenated blood from the lungs enter the heart?

Assertion (A): Cotton textile industries are widespread in India. Reason (R): India has diverse climatic conditions suitable for cotton cultivation.

India’s first female Olympic medallist won her medal in which sport and at which Olympic Games?

When light travels from air to glass, what happens to its speed?

Assertion (A): The Western Ghats receive heavy rainfall. Reason (R): They intercept the southwest monsoon winds.

Consider the statements: 1.Ordinances are issued by the President. 2. They require parliamentary approval later .

Which region in India is famous for mangrove forests?

The Santosh Trophy is associated with which sport?

The rock-cut temples at Mahabalipuram were primarily patronized by which dynasty?

Which Article deals with the Election Commission of India?

Fundamental Duties were added to the Indian Constitution by:

'Beti Bachao, Beti Padhao' scheme focuses on:

Which of the following equals 20?

A runner has to cover a distance of 100 km. After running for 5 hours and 20 minutes, he finds that he has completed 2/3rd of the total distance. What is his speed in km/h?

C is four times more efficient as a worker than D, which allows C to complete a work in 45 days less than D. If they work together, they can finish the work in:

What is the average of all numbers between 2000 and 2400 that are divisible by 50?

What is the value of (5 6 ×3.6)÷0.9?

A merchant has two types of tea: one costing ₹70/kg and the other costing ₹100/kg. He mixes them and sells the mixture at ₹91/kg, earning a 25% profit. In what ratio did he mix the two types of tea?

A retailer marked a product 40% above its cost price. She then offered two successive discounts of 12% and 15% to a buyer . If she made a profit of ₹50, at what price did she sell the product?

If p : q = 4 : 5, then find (8p + 3q) : (8p - 3q).

Kavya invested amounts in three schemes P , Q, and R at simple interest rates of 11% p.a., 13% p.a., and 16% p.a. respectively. If the total interest in one year was ₹2,850 and the amount in Scheme R was 200% of Scheme P and 300% of Scheme Q, what was the amount invested in Scheme Q?

X and Y invest ₹60,000 and ₹80,000 respectively in a business. After 1 year, the total profit is distributed including simple interest at 8% per annum on the capital of each partner . If the total profit including interest is ₹22,400, what is X's share of the profit?

Evaluate: 75% of 400 - 32.5% of 200 + 18% of 300

A shop sells a watch for ₹ B, incurring a loss of 8%. During a clearance sale, they mark it up to ₹1.3B. At the sale, they offer a discount of 15% on this marked price. What will be the percentage profit or loss during the sale?

A sector of a circle with radius 8 cm has a central angle of 45°. What is the area of the corresponding segment?

If the lateral surface area of a cylinder is 320 cm² and height is 10 cm, what is the radius?

Solve system: y = 3x - 2 and y = x + 4

If the perimeter of a regular hexagon is 72 cm, what is the side length?

Two chords, PQ and RS, are equal in length and are at a distance of 12 cm from the center of a circle. If the radius is 20 cm, what is the length of PQ?

A right circular cone has radius 8 cm and height 20 cm. A sphere is inscribed in the cone such that it touches the base and the lateral surface. Find the radius of the inscribed sphere.

A vertical tower of height H stands on the ground. From point A on the ground, the angle of elevation to the top is 45°. From point B, located 15 meters away from A (directly along the line extending from the base), the angle of elevation is 30°. What is the height of the tower?

A circular disc is divided into 6 equal sectors. If the area of one sector is 66 cm², what is the radius of the disc?

If two circles are touching externally how many common tangents do they have?

Express 0.363636... as a fraction.

Simplify: √72 - √18 + √50

Find the part of the sentence that contains an error: Neither did the committee acknowledge the financial irregularities, (1)/ nor did they consider the repeated warnings (2)/ issued by auditors, which, according to reports, (3)/ has been ignored for a long time. (4)/

Choose the right collocation: The report delivers a _____ evaluation of the new policy framework.

Select the sentence containing the homonym of the highlighted word: The monk carried a carved crosier into the sanctuary.

Choose the most suitable option to replace the highlighted part of the sentence: They are planning to go to abroad for training.

A sentence is provided in direct speech. From the four given options, choose the one that most accurately conveys the sentence in its corresponding indirect speech. She said, “I purchased a new smartphone.”

Select the most appropriate synonym of the given word: INEXORABLE