BSEB Inter Magahi flashcards

32 cards. Read the term and the definition here. The deck at the top of this page is optional.

Magadhi Prakrit

The Middle Indo-Aryan speech of the ancient Magadha region from which Magahi descends; Ashokan edicts in the Magadha area show related forms, and Magahi's core vocabulary and morphology derive from it.

Kaithi script

A historical north Indian script used for Magahi, Bhojpuri and legal records before Devanagari dominance; most modern Magahi printing is in Devanagari, and Kaithi survives chiefly in old documents.

Bihari language group

The Eastern Indo-Aryan subgroup containing Magahi, Bhojpuri, Maithili and Bajjika; these are linguistically distinct languages, although Indian census practice often returns them under Hindi.

Rahul Sankrityayan

Polyglot scholar and writer who produced grammatical and linguistic work on Magahi and other Bihari languages; a standard name to associate with the modern linguistic study of Magahi.

Swar sandhi

Vowel-to-vowel junction, as when a word ending in a vowel meets a word beginning with one; the result may be a long vowel, a diphthong, or a glide consonant.

Bahuvrihi samas

A compound whose meaning points to a third entity not named by either member, such as 'one whose crown is beautiful' meaning a king; it functions as an adjective rather than a noun.

Dvandva samas

A coordinate compound in which both members are equally important and the compound means both together, e.g. 'mother and father'; neither member qualifies the other.

Karak vibhakti mismatch

A karak is a semantic role while vibhakti is a case ending; the same vibhakti may mark different karak, and one karak may take more than one vibhakti, so name the role from meaning.

Lakar (tense-mood forms)

Sanskrit verb paradigms: lat (present), lot (imperative), lang (imperfect), vidhiling (optative), lrit (future), lit (perfect), lun (aorist), lrng (conditional); each takes purush and vachan endings.

Magahi honorific pronouns

Magahi grades second-person reference by honorific level, roughly tu (intimate), tohaar/raua (familiar), and aapan/apne (respectful); the verb ending must agree with the chosen level.

Ergative perfective agreement

In Magahi and neighbouring Bihari languages, a transitive verb in the perfective typically agrees with the object rather than the subject, and the subject takes an ergative postposition.

Navrasa

The nine rasas of classical poetics: shringar, hasya, karuna, raudra, veer, bhayanak, bibhatsa, adbhut and shant; each is traced to a corresponding sthayi bhav in the reader.

Sthayi bhav to rasa

The permanent emotion that becomes rasa: rati gives shringar, shoka gives karuna, krodh gives raudra, utsaha gives veer, vismaya gives adbhut, and nirveda gives shant.

Upama alankar

A comparison in which the subject is likened to something else using words meaning 'like' or 'as'; the two things remain distinct, unlike rupak where they are identified.

Rupak alankar

A figure in which the subject is not compared to but identified with another thing, so that the two are fused; the marker of comparison is absent.

Utpreksha alankar

A figure of imagined supposition in which the poet presents a possibility as if it were fact, typically using words meaning 'perhaps' or 'as if'.

Atishayokti alankar

Deliberate hyperbole in which a thing is described beyond plausible limits to convey intensity; it must be distinguished from factual overstatement in ordinary prose.

Anupras alankar

A sound-based figure in which the same consonant is repeated in close succession, producing an echo effect; it works on sound, not on meaning.

Matra-based chhanda

A metre measured by morae per line rather than syllable count; chaupai and doha are familiar examples, and identification begins by counting matras.

Varna-based chhanda

A metre measured by syllable count and gana pattern per line; anushtubh has eight syllables per quarter, and indravajra follows a fixed gana sequence.

Vibhav, anubhav, vyabhichari

The three components of rasa: vibhav is the stimulus (person or situation), anubhav the outward response, and vyabhichari bhav the transient feelings that arise alongside the permanent emotion.

Sahrdaya

The qualified reader or spectator who relishes rasa; classical poetics holds that rasa is tasted by the sahrdaya rather than manufactured by the poet's words alone.

Shabdalankar vs arthalankar

Shabdalankar figures depend on sound repetition such as anupras and yamak, while arthalankar figures depend on meaning relations such as upama and rupak.

Guna of poetry

Three qualities of poetic diction recognised in classical criticism: madhurya (sweetness), ojas (vigour) and prasad (clarity); match the guna to the sound and diction of the verse.

Rasa dosha

A fault that obstructs relish of rasa, such as an emotion that is out of place for the character or situation; criticism questions often ask which fault weakens the verse.

Vyakhya answer structure

A prose or verse explanation should move from literal word-meaning to overall sense, then to rasa or alankar, then to the writer's intent, covering each step the marks reward.

Magahi prose themes

Recurring concerns of prescribed Magahi prose: village and agrarian life, caste hierarchy, migration, women's experience, folk belief, and the defence of the mother tongue.

Nibandh structure

Essay format in three parts: bhumika introducing the topic, vishay-vistar developing two or three points with reasons or examples, and upasamhar drawing the conclusion.

Formal letter components

Fixed order: sender's address, date, receiver's address, salutation, subject, body, closing, signature; omitting the subject line or date costs marks in formal letters.

Sankshep (summary) rule

Keep the central proposition and its supporting logic, drop examples, repetition and ornament, and compress to roughly one-third of the original without adding new points.

Translation register

Translation must preserve tone and level of speech; honorific pronouns and idioms should be rendered by their functional equivalents rather than word-for-word substitutions.

Muhavara explanation

An idiom is explained by its figurative meaning, not its literal words; a full answer gives the sense in one line and then uses it in a short Magahi sentence.