BSEB Inter Magahi key terms

Prose writing that flows in ordinary sentences rather than metrical lines; in the Magahi syllabus it covers essays, sketches and short narratives prescribed for study of theme, character and author's purpose.

Metrical composition arranged in lines and stanzas; Magahi poems are studied for rasa, alankar, chhanda and the poet's emotional intent.

Explanatory commentary on a prescribed passage, giving its literal sense, implied meaning, context in the text and the literary devices used, written in clear Magahi prose.

The intended or implied meaning of a passage as distinct from its surface wording; candidates identify it by reading context, tone and the author's stated or suggested attitude.

The central point or moral an author or poet conveys; stating it briefly and supporting it with textual detail is a standard requirement of prose and poetry answers.

The subject matter of a text - what it is about at the level of event, character and setting - summarized before moving to interpretation and evaluation.

Character portrayal: the techniques an author uses to present a figure's appearance, speech, motives and development, and how those traits serve the work's theme.

The central figure of a narrative or poem whose actions and feelings organize the work; in Magahi poetry the nayak may be a lover, a devotee or a national symbol.

The aesthetic relish a reader experiences when a stable emotion (sthayi bhava) in the character is fully aroused by supporting conditions; classical theory recognizes nine rasas, including shringar, karun and veer.

The permanent, latent emotion such as love, grief, anger or wonder that, when developed by vibhava, anubhava and sanchari bhava, matures into the corresponding rasa.

The determinant cause that awakens an emotion - for example the beloved's presence in shringar or a death in karun rasa - classified as alamban (person/object) and uddipan (stimulus).

The outward physical expression of an inner emotion, such as tears, trembling, smiling or sighing, which the reader reads as evidence that the emotion is genuinely present.

Transient feelings like envy, anxiety, joy or despair that pass through the mind and strengthen the dominant emotion, helping it ripen into rasa.

The rasa of love, divided into sambhog (union) and vipralambh (separation); common in Magahi folk-influenced lyrics describing the beloved's beauty or a woman's longing.

The rasa arising from sorrow, loss or helpless suffering, produced when a sympathetic figure faces bereavement or separation; tears and lamentation are its typical anubhava.

The rasa of courage and heroic resolve, evoked by warriors, sacrifice or patriotic struggle; its sthayi bhava is utsaha, shown through bold speech and fearless action.

A poetic device that ornaments expression; broadly divided into shabd alankar, which depends on sound repetition, and arth alankar, which depends on meaning.

Simile: an explicit comparison of one thing with another of a different kind, usually marked by words such as 'जइसन', 'नियर' or 'समान', where the common property is stated.

Metaphor: an implied identification in which the subject is described directly as the object of comparison, without a word of likeness; contrast with upama, which keeps the comparison explicit.

Alliteration: deliberate repetition of the same consonant sound, especially at the beginning of syllables, within a line or stanza, producing musical rhythm.

Poetic fancy in which the poet suspects or imagines the subject to be something else, typically signalled by words meaning 'as if' or 'perhaps', such as 'जना' in Magahi.

Metre: the regulated arrangement of syllables, pauses and feet that gives a poem its rhythmic pattern; identifying the metre is part of analysing prescribed Magahi verse.

The phonetic joining of two adjacent sounds into one, with change or elision at the junction; Magahi grammar study classifies these as swar sandhi and vyanjan sandhi with named subtypes.

Compound formation in which two or more words combine into a single unit; analysis names the type, such as tatpurush, dvandva, bahuvrihi or karmadharay, and the vigrah (expanded form).

The expanded phrase that shows the underlying words and relationship of a compound; writing the correct vigrah is the standard proof that a samas has been identified properly.

The grammatical role a noun phrase plays in relation to the verb - doer, object, instrument, recipient, source or locus - marked in Magahi by postpositions and verb agreement.

An inflectional case ending or, in modern Indic languages, the postpositional marker that signals a noun's karak relation, such as the genitive and objective markers in Magahi.

The declined paradigm of a noun or pronoun showing its forms across cases and numbers; candidates are expected to recite and apply these patterns in Magahi.

The conjugated paradigm of a verbal root across tense, aspect, person and number, including the root's meaning and its inflected forms as used in Magahi sentences.

An eastern Indo-Aryan language spoken mainly in the Magadh region of Bihar, closely related to Bhojpuri and Maithili and traditionally written in Kaithi and Devanagari scripts.

The Middle Indo-Aryan Prakrit associated with the Magadha region, regarded as an ancestor of Magahi and other eastern languages; its features explain many Magahi sound changes.

A Prakrit sharing features of Magadhi and Shauraseni, used in Jain canonical literature; its relation to Magadhi is a standard point in histories of the language.

A historical cursive script of Bihar used for Magahi, Bhojpuri and Maithili records and land documents before Devanagari became dominant in printing and education.

The script in which modern Magahi is normally printed and taught, used for prescribed textbooks, examinations and most contemporary literary publication.

Oral and traditional literature - folk songs, riddles, proverbs and ballads - that preserves older Magahi forms and strongly shapes its written poetry.

A structured composition on a single topic with introduction, developed body paragraphs and conclusion; exam essays in Magahi require relevance, coherence and correct spelling.

Letter writing in prescribed format, including sender's address, date, salutation, body and closing; formal and informal registers differ in tone and address forms.

A concise restatement of a passage's main ideas in the writer's own words, omitting examples and repetition while preserving order and emphasis.

Translation of a passage between Magahi, Hindi or English, requiring fidelity to meaning, natural target-language idiom and correct technical vocabulary.

An unseen prose passage followed by comprehension and vocabulary questions; answers must be drawn from the passage itself rather than from memorized material.