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ACT Exam  >  ACT Questions  >  Which of the following is not true about proj... Start Learning for Free
Which of the following is not true about projectile motion?
  • a)
    It is an example of motion in a plane
  • b)
    It is an example of motion along a curve
  • c)
    It is not an example of motion in space
  • d)
    The acceleration keeps changing in projectile motion
Correct answer is option 'A'. Can you explain this answer?
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Verified Answer
Which of the following is not true about projectile motion?a)It is an ...
The only acceleration in projectile motion is the acceleration due to gravity. If the maximum height of the projectile motion is not large, and can be neglected with respect to the radius of earth (which usually is the case), the acceleration due to gravity remains constant. Hence, the acceleration in projectile motion remains constant.
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Which of the following is not true about projectile motion?a)It is an ...
Projectile Motion
Projectile motion is the motion of an object thrown or projected into the air, subject to only the force of gravity and air resistance (if present).

Not True Statement

a) It is an example of motion in a plane
This statement is not true because projectile motion is actually an example of motion in two dimensions, not just a single plane. In projectile motion, an object moves both horizontally and vertically at the same time. This means that the motion occurs in a plane but not just in one plane.

True Statements

b) It is an example of motion along a curve
Projectile motion follows a curved path known as a parabola. The object's trajectory is curved due to the combined effects of its horizontal and vertical motion.

c) It is not an example of motion in space
Projectile motion does take place in space, as the object is moving through the air in a gravitational field. However, it is important to note that it is not considered motion in outer space.

d) The acceleration keeps changing in projectile motion
In projectile motion, the acceleration due to gravity is constant and acts vertically downward. While the magnitude of the velocity changes, the acceleration remains constant throughout the motion.
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Adapted from "Review ofWyandotté, or The Hutted Knoll” inThe Complete Works of Edgar Allan Poe—Vol. XI: Literary Criticismby Edgar Allan Poe (1843; ed. 1902)It will be at once seen that there is nothingoriginalin this story. On the contrary, it is even excessively common-place. The lover, for example, rescued from captivity by the mistress; the Knoll carried through the treachery of an inmate; and the salvation of the besieged, at the very last moment, by a reinforcement arriving, in consequence of a message borne to a friend by one of the besieged, without the cognizance of the others; these, we say, are incidents which have been the common property of every novelist since the invention of letters. And as forplot, there has been no attempt at any thing of the kind. The tale is a mere succession of events, scarcely any one of which has any necessary dependence upon any one other. Plot, however, is, at best, an artificial effect, requiring, like music, not only a natural bias, but long cultivation of taste for its full appreciation; some of the finest narratives in the world—Gil-BlasandRobinson Crusoe, for example—have been written without itsemployment; andThe Hutted Knoll, like all the sea and forest novels of Cooper, has been made deeply interesting, although depending upon this peculiar source of interest not at all. Thus the absence of plot can never be critically regarded as adefect; although its judicious use, in all cases aiding and in no case injuring other effects, must be regarded as of a very high order of merit.There are one or two points, however, in the mereconductof the story now before us, which may, perhaps, be considered as defective. For instance, there is too muchobviousnessin all that appertains to the hanging of the large gate. In more than a dozen instances, Mrs. Willoughby is made to allude to the delay in the hanging; so that the reader is too positively and pointedly forced to perceive that this delay is to result in the capture of the Knoll. As we are never in doubt of the fact, we feel diminished interest when it actually happens. A single vague allusion, well-managed, would have been in the true artistical spirit.Again; we see too plainly, from the first, that Beekman is to marry Beulah, and that Robert Willoughby is to marry Maud. The killing of Beulah, of Mrs. Willoughby, and Jamie Allen, produces, too, a painful impression which does not properly appertain to the right fiction. Their deaths affect us as revolting and supererogatory; since the purposes of the story are not thereby furthered in any regard. To Willoughby’s murder, however distressing, the reader makes no similar objection; merely because in his decease is fulfilled a species of poetical justice. We may observe here, nevertheless, that his repeated references to his flogging [another character] seem unnatural, because we have otherwise no reason to think him a fool, or a madman, and these references, under the circumstances, are absolutely insensate. We object, also, to the manner in which the general interest is dragged out, or suspended. The besieging party are kept before the Knoll so long, while so little is done, and so many opportunities of action are lost, that the reader takes it for granted that nothing of consequence will occur—that the besieged will be finally delivered. He gets so accustomed to the presence of danger that its excitement, at length, departs. The action is not sufficiently rapid. There is too much procrastination. There is too much mere talk for talk’s sake. The interminable discussions between Woods and Captain Willoughby are, perhaps, the worst feature of the book, for they have not even the merit of referring to the matters on hand. In general, there is quite too much colloquy for the purpose of manifesting character, and too little for the explanation of motive. The characters of the drama would have been better made out by action; while the motives to action, the reasons for the different courses of conduct adopted by thedramatis personae, might have been made to proceed more satisfactorily from their own mouths, in casual conversations, than from that of the author in person. To conclude our remarks upon the head of ill-conduct in the story, we may mention occasional incidents of the merest melodramatic absurdity: as, for example, at page 156, of the second volume, where “Willoughby had an arm round the waist of Maud, and bore her forward with a rapidity to which her own strength was entirely unequal.” We may be permitted to doubt whether a young lady of sound health and limbs, exists, within the limits of Christendom, who could not run faster, on her own proper feet, for any considerable distance, than she could be carried upon one arm of either the Cretan Milo or of the Hercules Farnese.Q. Poe says that the main defect of the novel is__________.

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Which of the following is not true about projectile motion?a)It is an example of motion in a planeb)It is an example of motion along a curvec)It is not an example of motion in spaced)The acceleration keeps changing in projectile motionCorrect answer is option 'A'. Can you explain this answer?
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