UPMSP Intermediate Odia - Code 110 cheat sheet

Prescribed prose lessons typically include works by Fakir Mohan Senapati, Gopinath Mohanty, and Surendra Mohanty; identify author–text pairs from the syllabus list.

Theme questions: state the central idea in one sentence, then support with two textual details; avoid plot summary.

Character analysis: use direct traits (honest, ambitious) plus one action or dialogue that proves the trait.

Language style: note use of dialect (e.g., Sambalpuri in Gopinath Mohanty's fiction), satire, and direct address.

Fakir Mohan Senapati's prose is realistic and satirical, often exposing social hypocrisy and colonial exploitation.

Comprehension order: read questions first, locate keywords in the passage, answer in your own words, not by copying long stretches.

For 'explain the line' items, give literal meaning, then contextual significance, then author's attitude.

Vocabulary in context: infer meaning from surrounding clauses; confirm with word roots (Sanskrit tatsama vs. tadbhava).

Nine rasas: shringara, hasya, karuna, raudra, veera, bhayanaka, bibhatsa, adbhuta, shanta; identify by dominant emotion.

Alankara decision rule: comparison with 'like/as' = upama; implied comparison without comparator = rupaka; exaggeration = atishayokti.

Anuprasa = repetition of same consonant; Yamaka = repetition of same syllable with different meaning.

Chhanda: count matras per pada; Odia meters include banamala, radha, and chautisha (four-line stanza).

Central idea (mukhya bhaba): state the poet's message in one sentence, then cite two images that support it.

Radhanath Ray: epic and nature poetry (Chilika, Mahayatra); Madhusudan Das: patriotic and reformist verse.

Gopabandhu Das: poems of compassion and service (e.g., 'Dharmapada'); Mayadhar Mansingh: romantic and lyrical.

For 'rasa' questions, name the rasa, quote the triggering line, and explain the sthayi bhava (permanent emotion).

Sandhi: svara sandhi (vowel + vowel), vyanjana sandhi (consonant + vowel/consonant), visarga sandhi; e.g., deva + alaya = devalaya.

Samasa: dvandva (both members retained), tatpurusha (second member dominant), bahubrihi (third referent), avyayibhava (first member indeclinable), karmadharaya (qualifier + qualified).

Karaka: karta (nominative agent), karma (object), karana (instrument), sampradana (recipient), apadana (source), adhikarana (locus).

Vibhakti endings in Odia: -e/-ku (karta/karma contexts), -ru (apadana), -re (adhikarana), -saha (sahita).

Transformation: active to passive changes karta to -dwara/-kara and promotes karma to subject; direct to indirect changes pronouns and tense.

Identify samasa by asking: does the compound denote a third entity? If yes, bahubrihi.

Sandhi rule for 'a' + 'a' = 'a' (long); 'i' + 'i' = 'i' (long); 'u' + 'u' = 'u' (long).

Vibhakti vs. karaka: vibhakti is the suffix form; karaka is the semantic role; one vibhakti can express multiple karakas.

Synonyms (samanarthi): identify by substituting in a sentence; e.g., 'sundara' ~ 'manohara' ~ 'ramaniya'.

Antonyms (biruddharthi): pair by polarity; e.g., 'uchha' (high) vs. 'nicha' (low); 'sukha' vs. 'duhkha'.

Laghubakya (idioms): meaning is non-literal; e.g., 'hata khaiba' = to be defeated, not to eat a hand.

Tatsama words are Sanskrit borrowings unchanged; tadbhava are evolved Odia forms; desaja are indigenous.

Prefixes (upasarga): a-, ni-, pra-, vi-, sam- modify meaning; e.g., 'pra' + 'hara' = prahara (strike).

Suffixes (pratyaya): -kara (doer), -ta (abstract noun), -may (full of).

Phrase usage: replace underlined phrase with the idiom that preserves tense and number.

Distinguish homophones by context: 'kara' (hand/tax/do) resolved by sentence meaning.

Essay structure: introduction (thesis), 2–3 body paragraphs (one point each), conclusion (restate + implication).

Letter format: sender address, date, receiver address, salutation, subject, body, closing, signature; formal vs. informal register.

Report format: headline, byline, dateline, lead paragraph (who/what/when/where/why), body with quotes, conclusion.

Precis: one-third of original length; retain main idea; no examples, no direct speech, no personal opinion; write in third person.

Precis title: short noun phrase capturing the passage's subject, not a full sentence.

Essay word budget: 250–300 words for 10-mark questions; allocate 5 minutes to outline before writing.

Formal letter avoids contractions and colloquialisms; use 'Yours faithfully' with 'Dear Sir/Madam'.

Report uses past tense for events and passive voice for official findings.

Skim for gist in 60 seconds, then scan for question keywords; underline them in the passage.

Inference questions: answer must follow from the text, not from general knowledge; cite the supporting phrase.

Vocabulary-in-context: substitute each option into the sentence and test coherence.

True/false items: locate the exact clause; a single contradicting word (not, never, only) flips the answer.

Summary item: compress to one sentence per paragraph, preserving cause–effect links.

Author's purpose: inform, persuade, entertain, or instruct; identify by tone words and structure.

Avoid lifting full sentences; paraphrase to show comprehension.

Time rule: 8–10 minutes per unseen passage including all sub-questions.

Periods: Adi (early, 10th–15th c.), Madhya (16th–18th c.), Adhunika (19th c. onward).

Sarala Das (15th c.): Odia Mahabharata, Chandi Purana; called 'Adikavi' of Odia literature.

Panchasakha: Balarama Das, Jagannatha Das, Ananta Das, Achyutananda Das, Jasobanta Das; devotional (bhakti) poetry.

Jagannatha Das: Odia Bhagabata, a foundational bhakti text read in households.

19th-century renaissance: Radhanath Ray, Madhusudan Das, Fakir Mohan Senapati; print and school movements.

Fakir Mohan Senapati: 'Chha Mana Atha Guntha' (first Odia novel), short stories, autobiography.

Gopabandhu Das: poet and social reformer; 'Dharmapada' and nationalist prose.

Modern: Gopinath Mohanty (Jnanpith for 'Mati Matala'), Surendra Mohanty, Ramakanta Rath, Sitakant Mahapatra.