Odisha BSE Madhyama Sanskruta Sahityam cheat sheet

Svara sandhi: a/ā + i/ī → e; a/ā + u/ū → o; a/ā + ṛ → ar; a/ā + e/ai → ai; a/ā + o/au → au (e.g., rāma + īśaḥ → rāmeśaḥ).

Visarga sandhi: -aḥ before voiced sound → -o (rāmaḥ + gacchati → rāmo gacchati); -aḥ + a- → -o ' (rāmaḥ + api → rāmo'pi); -āḥ/-īḥ/-ūḥ + vowel → -ā/-ī/-ū + r (rāmāḥ + iti → rāmā iti).

Consonant sandhi: -t/-d before voiced consonant → -d (tat + gacchati → tad gacchati); before c/ch → -c, before ṭ/ṭh → -ṭ, before ś → -cch (tat + śrutvā → tacchrutvā); -n → ṇ after ṛ/ṣ/ś except before vowels and h.

Guṇa and vṛddhi: i/u/ṛ → e/o/ar (guṇa) and ai/au/ār (vṛddhi); applied in sandhi of a/ā with i/u/ṛ and in kṛt/taddhita formations (nī + a → naya; budh + a → bodha).

Shabda rūpa: rāma (a-stem masc.) - rāmaḥ, rāmau, rāmāḥ; rāmam, rāmau, rāmān; rāmeṇa, rāmābhyām, rāmaiḥ; rāmāya, rāmebhyaḥ; rāmāt, rāmebhyaḥ; rāmasya, rāmayoḥ, rāmāṇām; rāme, rāmayoḥ, rāmeṣu; he rāma, he rāmau, he rāmāḥ.

Shabda rūpa: phala (a-stem neut.) - phalam, phale, phalāni; phalam, phale, phalāni; phalena, phalābhyām, phalaiḥ; phalāya, phalebhyaḥ; phalāt; phalasya; phale, phalayoḥ, phaleṣu - nominative and accusative are identical in the neuter.

Shabda rūpa: nadī (ī-stem fem.) - nadī, nadyau, nadyaḥ; nadīm, nadyau, nadīḥ; nadyā, nadībhyām, nadībhiḥ; nadyai, nadībhyaḥ; nadyāḥ; nadyāḥ, nadyoḥ, nadīnām; nadyām, nadyoḥ, nadīṣu; he nadi.

Shabda rūpa: munī (in-stem) - munir, munī, munayaḥ; munim, munī, munīn; muninā, munibhyām, munibhiḥ; munaye, munibhyaḥ; muneḥ; muneḥ, munyoḥ, munīnām; munau, munyoḥ, muniṣu; he mune.

Dhatu rūpa (laṭ, parasmaipada, present): paṭh - paṭhati, paṭhataḥ, paṭhanti; pathasi, paṭhathaḥ, paṭhatha; paṭhāmi, paṭhāvaḥ, paṭhāmaḥ. Root classes (gaṇa) determine the present stem: bhū (1st) → bhavati; ad (2nd) → atti; hu (3rd) → juhoti; div (4th) → dīvyati; su (5th) → sunoti; tud (6th) → tudati; rudh (7th) → ruṇaddhi; kṛ (8th) → karoti; krī (9th) → krīṇāti; cur (10th) → corayati.

Gadya kāvya is divided into kathā (invented plot, e.g., Bāṇabhaṭṭa's Kādambarī) and ākhyāyikā (historical/legendary plot with a hero, e.g., Bāṇa's Harṣacarita, Subandhu's Vāsavadattā).

Bāṇabhaṭṭa (7th c. CE, court poet of Harṣavardhana) wrote Harṣacarita (ākhyāyikā on King Harṣa) and Kādambarī (completed by his son Bhūṣaṇabhaṭṭa); his prose is noted for long compounds and elaborate description.

Daṇḍin's Daśakumāracarita narrates the adventures of ten princes; his prose mixes kathā and ākhyāyikā features, and the opening verse salutes the four puruṣārthas.

Subandhu's Vāsavadattā is an early prose romance (c. 6th–7th c. CE) famous for yamaka and śleṣa; the heroine Vāsavadattā is separated from prince Kandarpaketu.

Ambikādatta Vyāsa's Sivarājavijaya and other late prose works show the campū and prose-romance styles; prose passages in examinations are read for sandhi splitting (vigraha) and identification of compounds (samāsa).

Comprehension method: split sandhi joints, identify the compound type (tatpuruṣa - case relation; bahuvrīhi - refers to an outside noun; dvandva - conjunction; avyayībhāva - indeclinable prefix; karmadhāraya - adjective+noun).

Key prose vocabulary: kathā (story), ākhyāyikā (legend-based narrative), carita (biography), upanyāsa (novel/essay), prabandha (composition), vākya (sentence), anuvāda (translation), sāra (summary).

Anuvāda (translation) rules: preserve tense and voice; Sanskrit passive (karmani, e.g., tena gamyate) becomes active in translation; Sanskrit dual (dvivacana) must be rendered as 'two' or with both objects named.

Mahākāvya features: begins with a benediction (āśīrvāda) or salutation (namaskriyā), a description of the hero's lineage, and uses sarga (canto) divisions; it treats the four puruṣārthas and dharma, artha, kāma, mokṣa.

Kālidāsa's Raghuvaṃśa (19 sargas) traces the solar dynasty from Dilīpa to Agnivarṇa; Meghadūta is a sandeśa-kāvya (messenger poem) of 111–121 stanzas in Mandākrāntā metre.

Kālidāsa's Kumārasambhava (8 sargas) describes the marriage of Śiva and Pārvatī and the birth of Kumāra; the first seven sargas are generally accepted as authentic.

Bhavabhūti's Uttararāmacarita and Mahāvīracarita, Bhāravi's Kirātārjunīya, Māgha's Śiśupālavadha, and Śrīharṣa's Naiṣadhīya are standard mahākāvyas studied for style and figures.

Upamā (simile): comparison with 'iva', 'yathā', 'sadṛśa' (e.g., 'mukham iva candraḥ'); Upameya is the subject compared, Upamāna the object compared to, and sādhāraṇadharma the shared quality.

Rūpaka (metaphor): the upameya is identified with the upamāna without a comparison word (e.g., 'rājā eva sūryaḥ' → 'rājā sūryaḥ'); in rūpaka the subject is described as the object itself.

Anuprāsa (alliteration): repetition of the same consonant or syllable cluster in close proximity; Yamaka: repetition of the same syllable group in different senses; Śleṣa: one word expressing two meanings.

Utprekṣā (poetic fancy): the subject is imagined as something else ('as if'), using 'iva' or 'manye'; Atiśayokti is hyperbole - the subject is described as surpassing its own class.

Nāṭya consists of ten rūpakas (major types): nāṭaka, prakaraṇa, bhāṇa, vyāyoga, samavakāra, ḍima, īhāmṛga, aṅka, vīthī, prahasana; the nāṭaka is the highest form, in five to ten acts, with a dhīrodātta hero.

Bhāva and rasa: the eight rasas are śṛṅgāra, hāsya, karuṇa, raudra, vīra, bhayānaka, bībhatsa, adbhuta; śānta is often added as ninth; rasa arises from the combination of vibhāva, anubhāva, and vyabhicāribhāva.

Nāṭaka structure: pañcasandhi - mukha (opening), pratimukha (progression), garbha (development), vimarśa (pause/reflection), nirvahaṇa (conclusion); sandhyāṅgas are the sub-elements of each sandhi.

Kālidāsa's Abhijñānaśākuntala (7 acts): Duṣyanta, Śakuntalā, Kaṇva, Anasūyā, Priyaṃvadā; the lost ring (mudrā) gives the play its name; the recognition scene resolves the curse of Durvāsas.

Kālidāsa's Mālavikāgnimitra (5 acts) and Vikramorvaśīya (5 acts) are the other two plays; Vikramorvaśīya uses the vidūṣaka and a celestial heroine, and includes the hero's madness scene.

Bhavabhūti's Mahāvīracarita (Rāma's heroism), Uttararāmacarita (later life of Rāma, 7 acts, with karuṇa rasa), and Mālatīmādhava (love and magic, prakaraṇa-like) are prescribed plays; the last is noted for its śleṣa and description of night.

Viśākhadatta's Mudrārākṣasa is a political nāṭaka in 7 acts about Cāṇakya and Candragupta; the hero is dhīra (Cāṇakya), and the play uses a bīja (seed) - the signet ring of Rākṣasa.

Nāṭya conventions: nāndī (opening benediction), sūtradhāra (stage manager), naṭī, vidūṣaka (comic confidant), kaiśika (heroine's friend), and the use of prākṛta by women and lower characters, Sanskrit by heroes and kings.

Letter-writing (patra-rachana) format: place and date (sthāna, dināṅka), address and salutation (namaḥ), body with the matter (viṣaya), and closing with blessing and signature.

Anuvāda (translation) direction: Sanskrit→Odia/English and Odia/English→Sanskrit; Sanskrit passive constructions (tena kṛtam) are rendered as active in translation.

Sanskrit sentence order: subject (kartā) - object (karma) - verb (kriyā); verbs agree with the subject in person and number; the object takes the accusative (dvitīyā).

Causative (ṇijanta) formation: kṛ → kārayati (cause to do); the causal takes the accusative of the agent in the karmani construction (rāmeṇa kāryate).

Ktavatu and kta participles: kṛ + kta → kṛta (done); kṛ + ktavatu → kṛtavān (one who has done); passive past (tena kṛtam) and active past (sa kṛtavān) are translated accordingly.

Sambodhana (vocative) usage: he rāma, he rāmau, he rāmāḥ; in prose, the vocative is used for direct address and is often combined with 'bhoḥ' or 'he'.

Samāsa formation in composition: tatpuruṣa (rājñaḥ putraḥ → rājaputraḥ), bahuvrīhi (dīrghaḥ karṇaḥ yasya → dīrghakarṇaḥ), dvandva (rāmaś ca lakṣmaṇaś ca → rāmalakṣmaṇau), karmadhāraya (nīlaṃ kamalam → nīlakamalam).

Common composition phrases: 'iti' to close a quotation, 'ca' for 'and', 'tu' for 'but', 'api' for 'also', 'eva' for emphasis; these are placed after the word they govern.

Vedic period (c. 1500–500 BCE): Ṛgveda, Sāmaveda, Yajurveda, Atharvaveda; each Veda has four parts - Saṃhitā, Brāhmaṇa, Āraṇyaka, Upaniṣad.

Epic period: Rāmāyaṇa (Vālmīki, 24,000 ślokas, 7 kāṇḍas) and Mahābhārata (Vyāsa, c. 100,000 ślokas, 18 parvas); the Bhagavadgītā is in the Bhīṣmaparva.

Classical period: Aśvaghoṣa (Buddhacarita), Kālidāsa (Raghuvaṃśa, Kumārasambhava, Meghadūta, Abhijñānaśākuntala), Bhāravi, Māgha, Bhavabhūti, Bāṇa, Daṇḍin, Subandhu.

Prose and historical works: Harṣacarita and Kādambarī (Bāṇa), Daśakumāracarita (Daṇḍin), Vāsavadattā (Subandhu), Rājataraṅgiṇī (Kalhaṇa, 12th c., history of Kashmir), Vikramāṅkadevacarita (Bilhaṇa).

Scientific and technical literature: Aṣṭādhyāyī (Pāṇini, c. 4th c. BCE), Arthśāstra (Kauṭilya), Suśrutasaṃhitā (Suśruta), Carakasaṃhitā (Caraka), Āryabhaṭīya (Āryabhaṭa), Brāhmasphuṭasiddhānta (Brahmagupta).

Ālaṅkārika tradition: Bhāmaha's Kāvyālaṅkāra, Daṇḍin's Kāvyādarśa, Ānandavardhana's Dhvanyāloka (dhvani theory), Abhinavagupta's Abhinavabhāratī, Mammaṭa's Kāvyaprakāśa.

Modern period: Sanskrit studies continue with Śaṅkara, Rāmānuja, and the neo-Sanskrit writings of the 19th–20th centuries; Odisha's Sanskrit tradition includes the Gajapati court poets and the Sāradā and Madala Pānji chronicles.

Ṛgveda: 10 maṇḍalas, 1028 sūktas; the Puruṣasūkta (10.90) and Nāsadīya sūkta (10.129) are key philosophical hymns; the Gāyatrī mantra (3.62.10) is the most recited Vedic verse.

Vedic recitation styles: ṛk (Ṛgveda), sāman (Sāmaveda, sung), yajus (Yajurveda, prose formulas); the Sāmaveda is the source of Indian music (sāmagaṇa).

The four āśramas: brahmacarya (student), gṛhastha (householder), vānaprastha (forest dweller), sannyāsa (renunciant); the four varṇas are brāhmaṇa, kṣatriya, vaiśya, śūdra.

Upaniṣads: 108 traditionally, of which 13 are principal (īśa, kena, kaṭha, praśna, muṇḍaka, māṇḍūkya, taittirīya, aitareya, chāndogya, bṛhadāraṇyaka, śvetāśvatara, kauṣītaki, maitrāyaṇī).

Mahāvākyas: 'tat tvam asi' (Chāndogya), 'aham brahmāsmi' (Bṛhadāraṇyaka), 'ayam ātmā brahma' (Māṇḍūkya), 'prajñānaṃ brahma' (Aitareya); they express the identity of ātman and brahman.

Ṣaḍdarśana (six systems): Nyāya (logic), Vaiśeṣika (atomism/categories), Sāṃkhya (puruṣa-prakṛti), Yoga (Patañjali's aṣṭāṅga), Mīmāṃsā (ritual), Vedānta (Upaniṣadic).

Indian culture: the puruṣārthas (dharma, artha, kāma, mokṣa), the concept of ṛta (cosmic order), yajña (sacrifice), and the guru-śiṣya paramparā are foundational values reflected in Sanskrit texts.

Smṛti literature: Manusmṛti, Yājñavalkyasmṛti, and the 18 mahāpurāṇas (e.g., Bhāgavata, Viṣṇu, Śiva) form the basis of dharma and mythology studied in the curriculum.

Alaṃkāra = ornament; two classes: śabdālaṃkāra (sound-based: anuprāsa, yamaka, śleṣa, citrakāvya) and arthālaṃkāra (sense-based: upamā, rūpaka, utprekṣā, atiśayokti, svabhāvokti, sandeha, dṛṣṭānta).

Upamā has four elements: upameya (subject), upamāna (object of comparison), sādhāraṇadharma (common quality), and upamāvācaka (word of comparison: iva, yathā, sadṛśa).

Chhanda (metre) is measured in akṣara (syllables) and gaṇa (groups of three syllables: ya, ra, ta, bha, ja, sa, ma, na, plus laghu 'I' and guru 'S').

Anuṣṭubh (śloka): 8 syllables per quarter (pāda), 4 pādas = 32 syllables; the 5th syllable of each pāda is laghu in the odd pādas and the pattern alternates in even pādas.

Indravajrā: 11 syllables per pāda, pattern ta-ta-ja-ga-ga (S S I S S I S I I S I I); Upendravajrā: 11 syllables, ja-ta-ja-ga-ga; both are used in mahākāvya benedictions.

Mandākrāntā: 17 syllables per pāda, pattern ma-bha-na-ta-ta-ga-ga (S S S S S S I S S I S S I S I I S I I); used in Meghadūta.

Vasantatilakā: 14 syllables, ta-bha-ja-ja-ga-ga; Śārdūlavikrīḍita: 19 syllables, ma-sa-ja-sa-ta-ta-ga; Sragdharā: 21 syllables, ma-ra-bha-na-ya-ya-ya.

Rasa theory: rasa is the aesthetic relish produced by the union of vibhāva (stimulus), anubhāva (response), and vyabhicāribhāva (transient states); Bharata's Nāṭyaśāstra lists eight rasas, and Abhinavagupta explains rasa as universalized experience.

Bṛhattrayī (three great Ayurvedic works): Carakasaṃhitā (internal medicine, attributed to Caraka, redacted by Dṛḍhabala), Suśrutasaṃhitā (surgery, Suśruta), and Aṣṭāṅgahṛdaya (Vāgbhaṭa, concise compendium).

Aṣṭāṅga Ayurveda: eight limbs - kāyacikitsā (internal medicine), śalyatantra (surgery), śālākyatantra (ENT/eye), kaumārabhṛtya (pediatrics), agadatantra (toxicology), bhūtavidyā (psychiatry), rasāyana (rejuvenation), vājīkaraṇa (aphrodisiac therapy).

Tridoṣa theory: vāta (wind/movement), pitta (bile/heat), kapha (phlegm/cohesion); health is the equilibrium of the three doṣas, and disease is their imbalance (vaiṣamya).

Ayurvedic diagnosis: trividha parīkṣā (darśana - observation, sparśana - palpation, praśna - questioning); pañcakarma therapies include vamana, virecana, basti, nasya, and raktamokṣaṇa.

Jyotiṣa (astronomy/astrology) is one of the six Vedāṅgas; the Vedāṅga Jyotiṣa (Lagadha) describes the 5-year yuga and the nakṣatra system for timing sacrifices.

Āryabhaṭa I (476–550 CE), Āryabhaṭīya: earth rotates on its axis, pi ≈ 3.1416, sine tables; Brahmagupta's Brāhmasphuṭasiddhānta (628 CE) introduces rules for zero and negative numbers.

Varāhamihira's Bṛhatsaṃhitā (encyclopedic omens and astronomy) and Pañcasiddhāntikā (five astronomical schools); Bhāskara II's Līlāvatī and Siddhāntaśiromaṇi cover arithmetic, algebra, and calculus-like methods.

Sanskrit scientific vocabulary: gaṇita (mathematics), jyotiṣa (astronomy), rasaśāstra (chemistry/alchemy), vāstuśāstra (architecture), śilpaśāstra (crafts), and nighaṇṭu (medical lexicon, e.g., Amarakośa).