Question:
Five jumbled sentences (labelled 1, 2, 3, 4, and 5), related to a topic, are given below. Four of them can be put together to form a coherent paragraph. Identify the odd sentence out and key in the number of that sentence as your answer.
Five jumbled sentences (labelled 1, 2, 3, 4, and 5), related to a topic, are given below. Four of them can be put together to form a coherent paragraph. Identify the odd sentence out and key in the number of that sentence as your answer.
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For “odd sentence out” questions, first build the strongest possible mini-paragraph with four sentences; the one that doesn’t fit that structure—by topic or logical flow—is your answer.
Updated On: Jul 6, 2026
- The Bayeux tapestry was, therefore, an obvious way to tell people about the downfall of the English and the rise of the Normans.
- So if we take expert in Anglo-Saxon culture Gale Owen-Crocker’s idea that the tapestry was originally hung in a square with certain scenes facing each other, people would have stood in the centre.
- Art historian Linda Neagley has argued that pre-Renaissance people interacted with art visually, kinaesthetically (sensory perception through bodily movement) and physically.
- That would make it an 11th-century immersive space with scenes corresponding and echoing each other, drawing the viewer’s attention, playing on their senses and understanding of the story they thought they knew.
- The Bayeux tapestry would have been hung at eye level to enable this.
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The Correct Option is A
Approach Solution - 1
Approach: For an odd-one-out, first build the tightest chain of four that flows without gaps, then the sentence that has no slot in that chain is the misfit. Hunt for a clear opener, then follow the connectors.
Step 1 (find the opener): Sentence 3 introduces a general idea with a named authority and no back-reference: pre-Renaissance people interacted with art visually, kinaesthetically, and physically. It depends on nothing before it, so it starts the paragraph.
Step 2 (chain the rest): Sentence 5 says the tapestry would have been hung at eye level to enable this, where this points straight back to the physical interaction in 3. So 3 then 5. Sentence 2 opens with So if we take... the idea that the tapestry hung in a square with scenes facing each other, people would have stood in the centre, extending the staging. So 5 then 2. Sentence 4 begins That would make it an 11th-century immersive space, where That refers to the square arrangement of 2. So 2 then 4. The chain 3-5-2-4 is seamless and complete.
Step 3 (test the leftover): Sentence 1 says the tapestry was therefore an obvious way to tell people about the downfall of the English and the rise of the Normans. Its therefore needs a prior point about political messaging, which the immersive-experience chain never supplies. Its theme is the tapestry's propaganda function, a different topic from how viewers physically experienced it.
Step 4: Sentence 1 fits nowhere in 3-5-2-4 and breaks the theme.
Answer: Sentence 1.
Step 1 (find the opener): Sentence 3 introduces a general idea with a named authority and no back-reference: pre-Renaissance people interacted with art visually, kinaesthetically, and physically. It depends on nothing before it, so it starts the paragraph.
Step 2 (chain the rest): Sentence 5 says the tapestry would have been hung at eye level to enable this, where this points straight back to the physical interaction in 3. So 3 then 5. Sentence 2 opens with So if we take... the idea that the tapestry hung in a square with scenes facing each other, people would have stood in the centre, extending the staging. So 5 then 2. Sentence 4 begins That would make it an 11th-century immersive space, where That refers to the square arrangement of 2. So 2 then 4. The chain 3-5-2-4 is seamless and complete.
Step 3 (test the leftover): Sentence 1 says the tapestry was therefore an obvious way to tell people about the downfall of the English and the rise of the Normans. Its therefore needs a prior point about political messaging, which the immersive-experience chain never supplies. Its theme is the tapestry's propaganda function, a different topic from how viewers physically experienced it.
Step 4: Sentence 1 fits nowhere in 3-5-2-4 and breaks the theme.
Answer: Sentence 1.
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Approach Solution -2
Step 1: Find a coherent sequence among four sentences. & nbsp;
Sentence 3 gives a general claim: how pre-Renaissance people interacted with art (visually, kinaesthetically, physically).
Sentence 5 applies this idea specifically to the Bayeux tapestry: it would have been hung at eye level “to enable this” — i.e., the kind of embodied interaction mentioned in 3. So we get: 3 → 5.
Sentence 2 then introduces Owen-Crocker’s idea about the tapestry being hung in a square with viewers in the centre — further specifying how people would interact with it spatially.
Sentence 4 draws the conclusion from 2: “That would make it an 11th-century immersive space...”, clearly referring back to the arrangement described in 2.
Thus, a coherent paragraph is: 3 → 5 → 2 → 4
Step 2: Identify the odd one out.
Sentence 1 talks about the Bayeux tapestry as a way to tell people about the downfall of the English and rise of the Normans — its narrative/political function. This does not connect to the rest of the sentences, which focus on how people physically and sensorially interacted with the tapestry as an immersive space.
Conclusion:
Therefore, the odd sentence out is: 1
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