UPMSP High School Odia key terms

Two adjacent sounds joining into one, with the change shown at the junction; classified as swara, byanjana, or bisarga sandhi, e.g. ଦେବ + ଆଲୟ = ଦେବାଲୟ.

Sandhi between two vowels where the meeting point is a vowel sound, such as ବିଦ୍ୟା + ଆଲୟ = ବିଦ୍ୟାଲୟ or ହିମ + ଅଦ୍ରି = ହିମାଦ୍ରି.

Sandhi where a consonant stands at the junction and is doubled or changed, as in ଜଗତ + ଜନନୀ = ଜଗଜ୍ଜନନୀ or ଉତ + ଗମ = ଉଦ୍ଗମ.

Sandhi in which a final bisarga meets a following vowel or consonant and changes accordingly, as ନିଃ + ଚୟ = ନିଶ୍ଚୟ or ଦୁଃ + ଖ = ଦୁଃଖ.

The reverse operation of sandhi: splitting a joined word back into its original components, a standard question type in the grammar section.

Vowel sandhi in which ଅ or ଆ followed by ଇ, ଉ, or ଋ produces ଏ, ଓ, or ଅର respectively, as ନର + ଇନ୍ଦ୍ର = ନରେନ୍ଦ୍ର.

Vowel sandhi where ଅ or ଆ before ଏ or ଓ yields ଐ or ଔ, for example ଏକ + ଏକ = ଏକୈକ and ସୁର + ଓଘ = ସୁରୌଘ.

Compounding of two or more words into a single pada whose members lose separate case endings; types include ଦ୍ୱନ୍ଦ୍ୱ, ତତ୍ପୁରୁଷ, ବହୁବ୍ରୀହି, କର୍ମଧାରୟ and ଅବ୍ୟୟୀଭାବ.

Compound in which the members are joined by 'and' and all could take the same case ending, as ମାତା ଓ ପିତା = ମାତାପିତା; often written with a joining ଓ.

Determinative compound where the first member qualifies the last, which carries the sense of the whole, as ରାଜାର ପୁତ୍ର = ରାଜପୁତ୍ର; the ପୂର୍ବପଦ is subordinate.

Compound whose meaning points to something other than its members, as ଦଶ ଆନନ ଯାହାର = ଦଶାନନ (Ravana); the whole denotes a third entity.

Appositional compound in which both members describe the same thing and the second is the principal, as ମହାନ ଆତ୍ମା = ମହାତ୍ମା.

The grammatical relation a noun bears to the verb of its sentence, traditionally six: କର୍ତ୍ତା, କର୍ମ, କରଣ, ସମ୍ପ୍ରଦାନ, ଅପାଦାନ and ଅଧିକରଣ.

Case ending attached to a noun to mark its karaka relation; Odia recognises eight, from ପ୍ରଥମା to ସମ୍ବୋଧନ, each with singular and plural forms.

The doer of the action, taking the first case (ପ୍ରଥମା) when the verb is active, as ରାମ ପଢ଼େ; with passive verbs it takes ଦ୍ୱିତୀୟା.

The object directly affected by the action, marked by ଦ୍ୱିତୀୟା, as in ମା ପୁଅକୁ ଡାକିଲେ; it becomes the subject in passive construction.

The locus of the action - place, time, or occasion - marked by ସପ୍ତମୀ, as ଘରେ ବସିଛି or ସକାଳେ ଆସିବ.

Changing a sentence into another form - active to passive, direct to indirect speech, affirmative to negative - without altering its meaning.

Detecting and removing errors of agreement, case, tense, or word order in a given sentence; a recurring grammar question in the paper.

The aesthetic relish produced in a reader when a ସ୍ଥାୟୀଭାବ is awakened by a ବିଭାବ, ଅନୁଭାବ and ବ୍ୟଭିଚାରୀଭାବ; nine rasas are counted, including କରୁଣ and ବୀର.

A figure of speech that ornaments meaning or sound; ଅର୍ଥାଳଙ୍କାର such as ଉପମା and ରୂପକ, and ଶବ୍ଦାଳଙ୍କାର such as ଅନୁପ୍ରାସ.

Simile: an object is likened to another of different kind through words like ପରି, ସମ, or ପ୍ରାୟ, as ମୁଖ ଚନ୍ଦ୍ର ପରି.

Metaphor: the object compared and the object of comparison are identified as one without a comparing word, as ମୁଖ ଚନ୍ଦ୍ର.

Metrical system of Odia verse defined by the number of letters per pada and by ଗଣ patterns; common metres include ରଣସ୍ତୁଭ, ମାଳିନୀ and ଓଡ଼ିଆ ଦାଣ୍ଡି.

A group of three syllables classified as ଗୁରୁ or ଲଘୁ; the eight ganas (ଯ, ମ, ତ, ର, ଜ, ଭ, ନ, ସ) are the building blocks of chhanda.

A line or quarter of a verse; the number of letters in each pada and the pattern of ganas determine the name of the metre.

Composition of a structured prose piece on a given topic, with introduction, developed body paragraphs, and conclusion, in formal Odia.

Writing a formal or personal letter with sender's address, date, salutation, body, and closing, in the layout expected by the marking scheme.

Composing a short, single-topic prose passage with a topic sentence, supporting details, and a closing line, usually within a fixed word limit.

An unseen prose passage set in the paper; candidates read it and answer short comprehension questions drawn directly from its content.

An unseen verse given for appreciation: the candidate explains its meaning, identifies rasa and alankara, and answers questions on it.

The prose paraphrase or plain-sense explanation of a verse, written in the candidate's own words rather than as a literal word-by-word gloss.

The inner or implied meaning of a passage, going beyond the surface sense; asked especially in poetry and unseen-prose questions.

The divisions of Odia literary history: ପ୍ରାଚୀନ ଯୁଗ (ଆଦି, ଭକ୍ତି, ରୀତି) and ଆଧୁନିକ ଯୁଗ, each with characteristic forms and leading authors.

Fourteenth-century poet of the ଆଦି ଯୁଗ, credited with ମହାଭାରତ in Odia and honoured in the opening of the Odia literary tradition.

Nineteenth-century poet of the modern period, known for narrative poems such as ଚିଲିକା, ଉର୍ବଶୀ and ଦରବାର; a founder of modern Odia poetry.

A fixed figurative expression whose meaning is not the sum of its words, e.g. ଆଖି କାଢ଼ିବା meaning to scold or threaten; used to enrich language.

A traditional, pithy saying carrying folk wisdom, such as ଅଧିକ ଲାଳସା ଅମଙ୍ଗଳ; proverbs are quoted whole and often carry a moral.

A word having the same or nearly the same meaning as another, as ଜଳ and ପାଣି, or ଘର and ଗୃହ; tested by direct substitution.

A word opposite in meaning to another, as ଉଚ୍ଚ against ନୀଚ, or ଦିନ against ରାତି; asked as a matching or fill-in item.

Building new words by adding prefixes (ଉପସର୍ଗ) and suffixes (ପ୍ରତ୍ୟୟ) to a root, or by compounding, as ଅ + ଜ୍ଞାନ = ଅଜ୍ଞାନ.

An affix placed before a root that modifies its meaning, such as ଅ, ନି, ପ୍ର, ଅନୁ, or ଦୁଃ in ଦୁର୍ଗମ and ପ୍ରଗତି.

An affix added after a root or stem to form a new word or show grammatical relation, as -ଆ in ପଢ଼ିବା → ପଢ଼ା or -ତା in ମିଠା → ମିଠାତା.