Maharashtra SSC Punjabi (First Language) flashcards

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

ਗਦਯ (Gadya)

Punjabi term for prose. In the First Language paper it covers prescribed prose lessons tested through comprehension, theme, character and applied language-study questions.

ਮੁੱਖ ਭਾਵ (theme)

The central message of a prose lesson, stated as a full sentence about human experience and supported by one incident and one quoted line from the text.

Character sketch order

Name and role, two revealing details, two significant actions, one line of direct speech, then a closing judgement adjective such as ਦਿਆਲੂ or ਹਿੰਮਤੀ.

Direct to indirect speech

Reported-speech conversion shifts present to past tense, first person to third person, and time words like 'today' and 'tomorrow' to 'that day' and 'the next day'.

ਮੁਹਾਵਰਾ versus ਅਖਾਣ

A ਮੁਹਾਵਰਾ is a non-literal verb phrase used inside a sentence; an ਅਖਾਣ is a complete sentence of folk wisdom. Form, not familiarity, decides the label.

Summary (ਸਾਰ) rule

A prose summary keeps event sequence and drops dialogue and descriptive detail, aiming at roughly one-third of the original passage length.

ਤੁਕਾਂਤ (rhyme)

Repetition of end sounds at line endings in a poem. It is a sound pattern and should not be confused with syllable count, which is metre.

ਮਾਤਰਾ ਗਿਣਤੀ (metre)

The syllable count per line of a poem. Lines of a metrical poem usually match in count, while irregular counts indicate free verse.

ਉਪਮਾ (simile)

A comparison marked by words such as ਵਾਂਗ, ਜਿਵੇਂ or ਸਮਾਨ. The presence of a marker word separates it from ਰੂਪਕ.

ਰੂਪਕ (metaphor)

A comparison stated directly without ਵਾਂਗ, ਜਿਵੇਂ or ਸਮਾਨ, identifying one thing as another rather than saying it is like another.

ਅਨੁਪ੍ਰਾਸ (alliteration)

Repetition of the same initial consonant sound in nearby words of a line, used for musical effect in recitation.

ਯਮਕ

Repetition of the same word in a line with two different meanings. It is a sound-and-sense device, distinct from alliteration.

ਮਾਨਵੀਕਰਨ (personification)

A device giving human actions, feelings or speech to non-human things such as rivers, trees or the wind.

ਟੇਕ (refrain)

A line repeated at intervals in a poem. It often states or reinforces the central idea and is a strong clue in appreciation questions.

Recitation marking

Marks depend on accurate memorisation, correct stress, audible pace and natural pauses at line and stanza breaks, with tone matching the poem's mood.

ਪੂਰਕ ਪੁਸਤਕ scope

Supplementary reading tests the wider prescribed text through plot order, character motivation, turning point and moral rather than line-level grammar.

Plot-order answers

Sequence questions are answered chronologically with markers such as ਪਹਿਲਾਂ, ਫਿਰ and ਅੰਤ ਵਿੱਚ, placing causes before their effects.

Motivation triad

Character motivation is explained in three parts: what the character wants, the obstacle faced, and the action that results from the tension.

Conflict types

Narrative conflict is labelled as person versus person, person versus society, or person versus self; the resolution reveals the value the text endorses.

First-person narration

Narration using ਮੈਂ, which limits the reader to one character's knowledge and cannot directly report other characters' private thoughts.

ਸਿੱਖਿਆ (moral)

A general principle drawn from a supplementary text, stated without plot summary and tied to one specific incident as supporting evidence.

Eight ਕਾਰਕ

ਕਰਤਾ, ਕਰਮ, ਕਰਣ, ਸੰਪਰਦਾਨ, ਅਪਾਦਾਨ, ਸੰਬੰਧ, ਅਧਿਕਰਣ and ਸੰਬੋਧਨ - the case relations marked by postpositions such as ਨੇ, ਨੂੰ, ਤੋਂ, ਦਾ and ਵਿੱਚ.

Gender and number agreement

Punjabi verbs and adjectives must match their noun in gender (ਪੁਲਿੰਗ/ਇਸਤਰੀ ਲਿੰਗ) and number (ਇਕਵਚਨ/ਬਹੁਵਚਨ).

Tense auxiliary markers

ਹੈ/ਹਨ marks present, ਸੀ/ਸਨ marks past, and ਹੋਵੇਗਾ/ਹੋਣਗੇ marks future; the participle alone does not determine tense.

ਉਪਸਰਗ versus ਪ੍ਰਤਿਅਯ

An ਉਪਸਰਗ is a prefix placed before a root, as in ਅ + ਸੰਭਵ; a ਪ੍ਰਤਿਅਯ is a suffix placed after it, as in ਮਿੱਤਰ + ਤਾ.

ਸਮਾਸ types

Compounds are classified by the relation of parts: ਤਤਪੁਰਸ਼ with the last part dominant, ਬਹੁਵ੍ਰੀਹੀ referring to a third thing, ਦਵੰਦ joining both with 'and'.

Active to passive

The object becomes the subject, the verb takes a passive participle form, and the original subject is marked with the agent postposition ਤੋਂ.

Formal letter layout

Sender address, date, receiver designation and address, compulsory subject line, salutation, two or three body paragraphs, closing and signature.

Informal letter features

No subject line; kinship salutation such as ਪਿਆਰੇ ਪਿਤਾ ਜੀ; personal tone; closing with ਭਾਵੁਕ ਤੁਹਾਡਾ or ਤੁਹਾਡੀ.

Essay structure

Three-part ਲੇਖ: ਭੂਮਿਕਾ introducing the topic, ਵਿਸਥਾਰ with two or three single-idea paragraphs, and ਸਿੱਟਾ concluding without new material.

Report (ਰਿਪੋਰਟ) rules

A headed piece answering the five Ws in the first paragraph, written in past tense and third person, ending with the reporter's name.

Notice (ਸੂਚਨਾ) rules

A boxed announcement under about fifty words giving date, time, venue, purpose and issuer, with no salutation and no signature paragraph.

Internal assessment components

School-conducted marks for listening, speaking, recitation and project or portfolio work, reported separately from the written examination.