Karnataka II PUC Sanskrit (KSEAB) flashcards

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

Guṇa sandhi examples

Guṇa replaces a simple vowel after a/ā: a + i → e, a + u → o, a + ṛ → ar. Example: rāma + īśaḥ → rāmeśaḥ; sūrya + udayaḥ → sūryodayaḥ.

Vṛddhi sandhi examples

Vṛddhi strengthens a following e/ai/o/au: a + e → ai, a + o → au. Example: eka + eka → aikya; vana + oṣadhi → vanauṣadhi.

Yaṇ sandhi rule

A final i/ī becomes y, u/ū becomes v, ṛ becomes r, and ḷ becomes l before a dissimilar vowel. Example: iti + api → ityapi; madhu + āsavaḥ → madhvāsavaḥ.

Visarga sandhi rules

Final -aḥ before a voiced sound becomes o (aḥ + a → o '), and before a voiced consonant becomes r. Example: rāmaḥ + gacchati → rāmo gacchati.

Savarṇa-dīrgha sandhi

A simple vowel followed by an identical simple vowel merges into the corresponding long vowel. Examples: rāma + āgamaḥ → rāmāgamaḥ; kavi + indraḥ → kavīndraḥ; vadhū + uvāca → vadhūvāca.

Seven vibhaktis order

The standard Indian order is prathamā (nominative), dvitīyā (accusative), tṛtīyā (instrumental), caturthī (dative), pañcamī (ablative), ṣaṣṭhī (genitive), saptamī (locative), followed by sambodhana (vocative).

Rāma a-stem declension

Singular forms: rāmaḥ, rāmam, rāmeṇa, rāmāya, rāmāt, rāmasya, rāme. Dual: rāmau, rāmau, rāmābhyām, rāmābhyām, rāmābhyām, rāmayoḥ, rāmayoḥ.

Latā ā-stem declension

Singular: latā, latām, latayā, latāyai, latāyāḥ, latāyāḥ, latāyām. Dual: late, late, latābhyām, latābhyām, latābhyām, latayoḥ, latayoḥ. Plural: latāḥ, latāḥ, latābhiḥ, latābhyaḥ, latābhyaḥ, latānām, latāsu.

Ten verb gaṇas

The ten classes are bhvādi, adādi, juhotyādi, divādi, svādi, tudādi, rudhādi, tanādi, kryādi, and curādi. Each is named after a model root such as bhū, ad, hu, div, or cur.

Parasmaipada present endings

Primary parasmaipada endings are -mi, -si, -ti; -vaḥ, -thaḥ, -taḥ; -maḥ, -tha, -anti. Example with √bhū: bhavāmi, bhavasi, bhavati; bhavāvaḥ, bhavathaḥ, bhavataḥ; bhavāmaḥ, bhavatha, bhavanti.

Ātmanepada present endings

Primary ātmanepada endings are -e, -se, -te; -vahe, -āthe, -āte; -mahe, -dhve, -ante. Example with √labh: labhe, labhase, labhate; labhāvahe, labhethe, labhete.

Root as present tense

The copula √as (adādi) takes parasmaipada endings: asmi, asi, asti; svaḥ, sthaḥ, staḥ; smaḥ, stha, santi. It expresses identity or existence and takes a predicate nominative, not an object.

Root kṛ present tense

The tanādi root √kṛ forms karomi, karoṣi, karoti; kurvaḥ, kuruthaḥ, kurutaḥ; kurmaḥ, kurutha, kurvanti. The medial vowel changes to -o- in strong forms and -u- before vowel endings.

Imperative loṭ paradigm

The imperative of √bhū is bhavāni, bhava or bhavatāt, bhavatu; bhavāva, bhavatam, bhavatām; bhavāma, bhavata, bhavantu. The second singular in -a is the ordinary command form.

Optative liṅ paradigm

The optative of √bhū is bhaveyam, bhaveḥ, bhavet; bhaveva, bhavetam, bhavetām; bhavema, bhaveta, bhaveyuḥ. The characteristic -e- infix precedes the personal endings throughout.

Future lṛṭ formation

The simple future adds -iṣya- or -sya- to the strengthened root: bhaviṣyāmi, bhaviṣyasi, bhaviṣyati; bhaviṣyāvaḥ, bhaviṣyathaḥ, bhaviṣyataḥ; bhaviṣyāmaḥ, bhaviṣyatha, bhaviṣyanti.

Perfect liṭ reduplication

The perfect reduplicates the root's first syllable: babhūva, babhūvitha, babhūva; babhūviva, babhūvathuḥ, babhūvatuḥ; babhūvima, babhūva, babhūvuḥ. The perfect normally refers to past action not witnessed by the speaker.

Kāraka to vibhakti mapping

In the active voice, kartṛ takes prathamā, karma dvitīyā, karaṇa tṛtīyā, sampradāna caturthī, apādāna pañcamī, and adhikaraṇa saptamī. Ṣaṣṭhī marks the possessor or relation.

Passive voice transformation

In karmaṇi prayoga, the object becomes nominative (prathamā), the agent takes instrumental (tṛtīyā), and the verb takes ātmanepada endings with -ya-. Example: rāmeṇa phalaṃ khādyate, the fruit is eaten by Rāma.

Five samāsa types

The five main compounds are tatpuruṣa (case relation), dvigu (numeral), dvandva (coordination), bahuvrīhi (possessive, referring to an outside noun), and avyayībhāva (indeclinable preverb). Examples: rājaputra, tridaśa, rāmalakṣmaṇau, dīrghabāhuḥ, pratyaham.

Kṛt suffixes list

Frequent kṛt suffixes are -tum (infinitive), -tvā and -ya (absolutive), -ta and -na (past participle), and -anīya, -ya, -tavya (gerundive). Example: kṛtvā, gatvā, draṣṭum, kārya, kartavya.

Taddhita suffixes list

Common taddhita suffixes include -in, -vat, -mat (possessive), -tva and -tā (abstract), -ya (relational), and -eya (descendant). Examples: buddhimān, dhanavān, putratva, rājya.

Alaṃkāra: upamā

Upamā is explicit comparison using particles such as iva, vat, yathā, or sadṛśa. Example: mukhaṃ candra iva, the face is like the moon. It names both compared items and the common quality.

Alaṃkāra: rūpaka

Rūpaka is metaphor, where the compared object is identified with the standard without a comparative particle. Example: ayam eva rājā māṃ pratāpayati, treating the king as fire itself.

Alaṃkāra: utprekṣā

Utprekṣā is poetic fancy, ascribing an imagined action or state to something as if it were real. Example: the moon looks as though it were holding the night in its lap.

Alaṃkāra: atiśayokti

Atiśayokti is hyperbole, describing something so strongly that ordinary limits are exceeded. Example: the hero's fame covers the three worlds, used for deliberate exaggeration rather than literal fact.

Alaṃkāra: anuprāsa

Anuprāsa is alliteration, the repetition of a consonant sound in close proximity for euphony. Example: rāmo ramyaṃ rājyaṃ rarakṣa, where the repeated r gives rhythmic effect.

Nine rasas

The nine rasas are śṛṅgāra (love), hāsya (comedy), karuṇa (compassion), raudra (fury), vīra (heroism), bhayānaka (fear), bībhatsa (disgust), adbhuta (wonder), and śānta (peace).

Chandas: anuṣṭubh

Anuṣṭubh has four pādas of eight syllables each, the common epic metre. The Rāmāyaṇa and Mahābhārata are largely composed in it. Variants differ in the cadence of the odd pādas.

Chandas: vasantatilakā

Vasantatilakā is a 14-syllable per-pāda metre with the gaṇa pattern ta-bha-ja-ja-ga-ga. It is frequent in classical kāvya and often used for descriptive or reflective verses.

Chandas: śārdūlavikrīḍita

Śārdūlavikrīḍita has 19 syllables per pāda in the pattern ma-sa-ja-sa-ta-ta-ga. Its name means tiger's play, and it is used for energetic or heroic description.

Kālidāsa's major works

Kālidāsa wrote the plays Abhijñānaśākuntala, Vikramorvaśīya, and Mālavikāgnimitra; the mahākāvyas Raghuvaṃśa and Kumārasambhava; the Meghadūta and Ṛtusaṃhāra.

Rāmāyaṇa seven kāṇḍas

The seven kāṇḍas are Bāla, Ayodhyā, Araṇya, Kiṣkindhā, Sundara, Yuddha, and Uttara. The epic is attributed to Vālmīki and is written chiefly in anuṣṭubh metre.