Maharashtra HSC Kannada (MSBSHSE) flashcards

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

Halegannada period

Old Kannada, roughly the 9th to 12th centuries. Its landmark works include Kaviraajamarga and the poems of Pampa, Ranna, and Janna, written in early Kannada literary form.

Kaviraajamarga

A Kannada work on poetics by Ranna, valued as one of the earliest available Kannada prose and critical texts, and a standard reference in Halegannada literary history items.

Vachana literature

Short rhythmic devotional sayings of the 12th-century Veerashaiva sharana movement, associated with Basavanna and Allamaprabhu, written in simple spoken-style Kannada rather than classical metre.

Navodaya movement

Early 20th-century Kannada literary movement that introduced the modern novel, short story, and essay under Western and nationalist influences, marking the shift to Hosagannada prose forms.

Navya movement

Mid-20th-century Kannada modernist movement whose poets and writers favoured free verse, interior experience, and experimental form, reacting against Navodaya idealism and sentimentality.

Bandaya literature

Late 20th-century Kannada protest literature that foregrounded caste, class, and marginalised voices, reacting against modernist aesthetics and asserting social and political commitment in writing.

Sandhi

The junction of two sounds at a word boundary, with the resulting form determined by what meets there. Kannada types include svara, vyanjana, and visarga sandhi, each with named subtypes.

SavarNadeergha sandhi

A vowel sandhi in which a short vowel meets the same vowel and the result is its long form, as when a plus a becomes aa. Identify it by matching vowels on both sides.

GuNa sandhi

A vowel sandhi where a meets i or ee to give e, or a meets u or oo to give o. The result is a guNa vowel, distinct from the stronger vRuddhi outcomes ai and au.

Samasa

A Kannada compound in which two or more words join into a single word. Types include tatpuruSha, karmadharaya, dvigu, dvandva, bahuvrIhi, and avyayIbhava, each with a vigraha vaakhya.

Vigraha vaakhya

The expanded phrase that shows how a compound word is built from its parts. If a question asks for a vigraha vaakhya, the item concerns samasa rather than sandhi.

Vibhakti

A grammatical case in Kannada, marked by a suffix on the noun stem. Kannada recognises eight cases, including the vocative sambodhana, and case identification follows the suffix used.

Linga and vachana

Gender and number in Kannada. Three genders are recognised: poMlinga, streelinga, and napuMsaka; number is singular or plural, with neuter plurals often taking the suffix -gaLu.

Upame alankaara

The simile figure of speech, signalled in Kannada by comparison words such as ante or hage. Name the device and quote the line containing the comparison in poetry answers.

Roopaka alankaara

The metaphor figure of speech, in which one thing is directly identified with another without a comparison word. Contrast it with upame, which keeps an explicit comparative marker.

Prasa

A sound-based figure of speech involving repetition of similar sounds or syllables, often at line beginnings or endings, producing rhyme and rhythm in Kannada poetry.

Chandassu

Kannada metre, defined by patterned syllable sequences called vaLagana. Metre questions ask for the metre name or for identification of the rhythm pattern from a quoted line.

Bhaava and rasa

Bhaava is the emotion expressed in a poem; rasa is the aesthetic experience it evokes in the reader. Answers should name the emotion and quote the situation producing it.

Kavi parichaya

The poet introduction printed in the textbook headnote, giving period, place, major works, and the theme of the prescribed poem. Objective items pair the poem with these facts.

Pallavi-like refrain

A repeated line or phrase in a Kannada poem, often closing each stanza. Identifying a refrain helps answer structure and sangathana questions about repetition and emphasis.

Prabandha

An essay-form prose piece built around a thesis and supporting argument. Distinguish it from kathe, the narrative story form, before answering author's-purpose questions in gadya.

Atmakathana versus jeevana charitre

Atmakathana is autobiography, written in first person about the author's own life. Jeevana charitre is biography, written in third person about someone else's life.

Gadya versus padya

Gadya is prose, organised in paragraphs and dialogue; padya is poetry, organised in lines and stanzas with metre or rhythm. The form tells you which question types apply.

Theme question strategy

State the central idea in one sentence, then support it with one quoted line and one paraphrase from the extract. A bare general statement without textual evidence earns little credit.

Character sketch elements

Three required parts: a defining trait, one supporting incident from the text, and the character's change or lack of change by the end of the work.

Upayukta pustaka focus

The non-detailed Kannada text is tested mainly on plot sequence, character, and theme. Read for event order and episode context rather than for stylistic analysis.

Précis length rule

A Kannada saaraansha should reduce the original to roughly one-third, stay in third person, drop examples and repetition, and add no opinion of the writer's own.

Formal letter components

Sender's address, date, receiver's address, salutation, subject line, body paragraphs, closing, and signature. The subject line is required in formal Kannada letters and is commonly missed.

Expansion of ideas structure

State the idea, explain it in two or three sentences, support it with one example or illustration, then close by linking back to the idea. Opinion alone is not sufficient.

Dialogue writing rules

Each speaker's turn starts on a new line with the name, uses natural spoken register, and serves a clear purpose that reaches resolution by the final exchange.

Vocabulary in context

Substitute each option into the original sentence and keep only the option that preserves the sentence's meaning. The most common dictionary sense is often wrong for the passage.

Suitable title rule

A title for an unseen passage must be a short noun phrase naming the central subject, not a full sentence, and must not introduce information absent from the passage.