UPMSP Intermediate Odia - Code 110 flashcards

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

Adikavi of Odia

Sarala Das, 15th-century poet who wrote the Odia Mahabharata, Chandi Purana, and Vilanka Ramayana; regarded as the first major Odia literary figure.

Panchasakha

Five 16th-century Odia bhakti poets: Balarama Das, Jagannatha Das, Ananta Das, Achyutananda Das, and Jasobanta Das; their devotional verse shaped Odia literature.

Odia Bhagabata

Jagannatha Das's 16th-century Odia rendering of the Bhagavata Purana; widely read in Odia households and a landmark of bhakti literature.

First Odia novel

'Chha Mana Atha Guntha' by Fakir Mohan Senapati, published in 1897–99; a realist novel exposing rural exploitation and colonial revenue policy.

Jnanpith Odia winners

Gopinath Mohanty (1973, for 'Mati Matala') and Sitakant Mahapatra (1993, for poetry) are Odia recipients of India's Jnanpith Award.

Radhanath Ray

19th-century Odia poet known for nature and epic poetry, including 'Chilika' and 'Mahayatra'; a leading figure of the Odia literary renaissance.

Nine rasas

Shringara (love), hasya (humor), karuna (compassion), raudra (anger), veera (heroism), bhayanaka (fear), bibhatsa (disgust), adbhuta (wonder), shanta (peace).

Upama alankara

Simile: an explicit comparison using words like 'like' or 'as' between two dissimilar objects sharing a common quality.

Rupaka alankara

Metaphor: an implied comparison in which one object is identified with another without an explicit comparator such as 'like'.

Anuprasa

Alliteration: repetition of the same consonant sound in nearby words, used for musical effect in Odia poetry.

Chhanda

Odia poetic meter; determined by the number and arrangement of matras (syllabic weight) per line, as in banamala and radha meters.

Sthayi bhava

The permanent or dominant emotion in a literary work that, when developed, becomes a rasa (aesthetic relish).

Atishayokti

Hyperbole: deliberate exaggeration used for emphasis or rhetorical effect, not meant to be taken literally.

Svara sandhi

Vowel junction: when a word ending in a vowel meets a word beginning with a vowel, they combine; e.g., deva + alaya = devalaya.

Dvandva samasa

Copulative compound in which both members are equally important and usually joined by 'and'; e.g., rama-lakshmana.

Bahubrihi samasa

Compound whose meaning refers to a third entity not identical with either member; e.g., 'dashanana' (ten-faced) means Ravana.

Tatpurusha samasa

Determinative compound in which the second member is dominant and the first qualifies it; e.g., raja-putra (king's son).

Karaka

Semantic role of a noun in relation to the verb: karta (agent), karma (object), karana (instrument), sampradana (recipient), apadana (source), adhikarana (locus).

Vibhakti

Case ending attached to a noun or pronoun to mark its grammatical relation; Odia uses endings such as -e, -ku, -ru, -re.

Karmadharaya samasa

Descriptive compound in which the first member qualifies the second, which remains the head; e.g., 'nila-padma' (blue lotus).

Avyayibhava samasa

Compound whose first member is an indeclinable (avyaya) and which functions as a single indeclinable; e.g., 'prati-dina' (every day).

Tatsama word

A word borrowed from Sanskrit into Odia without phonetic change, such as 'vidya' or 'dharma'; contrasts with tadbhava.

Tadbhava word

An Odia word derived from Sanskrit but phonetically changed over time, e.g., Sanskrit 'dugdha' becoming Odia 'dudha'.

Laghubakya

Odia idiom or short expressive phrase whose meaning is figurative rather than literal; e.g., 'hata khaiba' means to be defeated.

Samanarthi shabda

Synonyms: words with closely similar meanings, such as 'sundara', 'manohara', and 'ramaniya' for beautiful.

Biruddharthi shabda

Antonyms: words with opposite meanings, such as 'sukha' (happiness) and 'duhkha' (sorrow), or 'uchha' (high) and 'nicha' (low).

Upasarga

Prefix added to a root or word to modify its meaning, such as 'pra-', 'vi-', 'sam-', and 'ni-' in Odia word formation.

Precis writing

A concise summary of a passage, usually about one-third of the original length, retaining the main idea in the writer's own words without examples or opinion.

Formal letter closing

In Odia formal letters, use 'Yours faithfully' with 'Dear Sir/Madam'; avoid contractions and colloquialisms throughout the body.

Report lead paragraph

The opening paragraph of a news report answering who, what, when, where, and why in one or two sentences before details follow.

Unseen passage strategy

Skim for gist, scan for question keywords, underline supporting clauses, and paraphrase answers instead of copying full sentences from the passage.

Fakir Mohan Senapati

19th-century Odia writer known as the father of Odia fiction; author of 'Chha Mana Atha Guntha', short stories, and an autobiography, writing in realist and satirical modes.