UPMSP Intermediate Odia - Code 110 key terms

The phonological joining of two adjacent sounds into one form, as when a word-final vowel meets a word-initial vowel. Odia grammar classifies these as svara, byanjana, and visarga sandhi.

A sandhi formed when a vowel-ending sound meets another vowel, producing a long vowel, diphthong, or a substituted glide such as y or w. Examples include ଅ + ଅ becoming ଆ.

A sandhi arising when a consonant meets a vowel or consonant, often with insertion or doubling of a consonant. It is contrasted with vowel sandhi in traditional Odia grammar texts.

A vowel sandhi in which ଅ or ଆ before a short vowel yields a gun letter such as ଏ, ଓ, or ଅର. It is one of the standard sandhi subtypes tested in Odia grammar papers.

A vowel combination where ଅ or ଆ before a vowel produces a vriddhi vowel such as ଆଇ or ଆଉ. Recognising it helps split compound words correctly in sandhi questions.

The reverse operation of sandhi, splitting a joined form back into its original components. Exam items commonly ask candidates to break a given word and name the sandhi rule applied.

The compounding of two or more words into a single unit without sandhi, used to compress meaning. Odia grammar recognises types such as tatpurusha, dwandwa, bahubrihi, and abyayibhaba.

A compound in which the first member qualifies or depends on the second, and the final member carries the main sense. The compound's meaning centres on the last word.

A compound joining two or more words of equal grammatical rank, usually linked by 'and'. Each member retains its separate meaning within the combined form.

A compound whose overall meaning points to something other than either member, often a person or thing described by the compound. It functions like an adjective naming an outside referent.

The grammatical role a noun or pronoun plays in relation to a verb, such as doer, object, instrument, or recipient. Odia recognises karma, karta, karana, sampradana, apadana, and adhikarana karaka.

A case ending attached to a noun or pronoun to mark its karaka relation. Odia has eight vibhaktis, each with singular and plural forms and characteristic suffixes.

The karaka denoting the direct object of a transitive verb, the thing the action is done to. It typically takes the second vibhakti, though accusative marking varies with animacy.

The genitive case, expressing possession, relation, or belonging, usually rendered by 'of' or the possessive suffix. It answers questions about whose or of what.

An idiom or fixed short expression whose figurative meaning differs from the literal words. Candidates must both explain the sense and use it correctly in a sentence.

A synonym: a word sharing a close meaning with another, such as different terms for 'water' or 'king'. Synonym items test precision, since near-synonyms differ in register and context.

An antonym: a word expressing the opposite of another, such as 'day' versus 'night'. Pairs may be graded or complementary, and the exam expects the standard Odia counterpart.

Word formation: how roots combine with prefixes and suffixes to create new words. Questions may ask for a derived form, its class, or the meaning contributed by an affix.

A prefix added to a root or word to modify its meaning, such as a prefix signalling 'away' or 'towards'. Odia grammar lists a fixed set of Sanskrit-derived upasargas.

A suffix attached to a root or stem to form a new word or grammatical form. Krita and taddhita suffixes are the two main classes discussed in Odia grammar.

The aesthetic flavour or emotional relish a poem evokes in a prepared reader. Odia poetics names nine rasas, including karuna, raudra, bibhatsa, and shringara.

The rasa of love and attraction, whether in union or separation. It is treated as the foremost rasa in classical poetics and is common in Odia lyric poetry.

The rasa of compassion and sorrow, aroused by suffering, loss, or pathos. Poems of parting or bereavement are typically analysed under this rasa.

A poetic figure that ornaments meaning or sound, such as simile, metaphor, or alliteration. Odia poetics divides them into arthalankara and shabdalankara.

Simile: an explicit comparison between two things using a word such as 'like' or 'as'. The compared objects must belong to different classes for the figure to hold.

Metaphor: an implied identification in which the subject is presented as the image itself, without a comparative word. It differs from simile precisely by suppressing the comparison marker.

Alliteration: repetition of a consonant sound, usually at the start of syllables, to create musical effect. It is a shabdalankara because the ornament lies in sound rather than sense.

Metre: the regulated pattern of syllables and pauses in a verse. Odia metres are analysed by counting matras or ganas and by the position of caesuras.

A syllabic beat used to measure metre, where a short vowel counts as one unit and a long vowel or heavy syllable as two. Metres such as the matra-based Odia forms are defined by total matra counts.

A metrical foot made of three syllables classified by their light or heavy pattern, yielding eight standard ganas. Scanning a line into ganas identifies its metre.

The central idea or governing sentiment of a poem or prose piece, stated in one or two sentences. Answers on theme must synthesise the whole passage rather than quote a single line.

Character portrayal: how an author builds a figure through action, dialogue, and description. Questions ask candidates to assess a character's traits with textual support.

The prescribed prose section of the syllabus, containing essays and stories by named Odia authors. Questions cover comprehension, theme, character, and author background.

The prescribed poetry section, containing poems set for detailed study. Questions test rasa, alankara, chhanda, central idea, and the poet's context.

An unseen prose passage followed by comprehension and inference questions. Candidates must answer from the passage itself and draw careful conclusions beyond literal restatement.

Inference: a conclusion drawn from textual evidence rather than stated directly. Unseen-passage items often ask what the writer implies about a person's motive or attitude.

A précis or summary that condenses a passage to its essential points in the candidate's own words, preserving proportion and omitting illustration. It is usually written at about one-third of the original length.

A formal essay organised into introduction, body paragraphs, and conclusion, with a clear thesis. Odia composition papers often offer a choice among descriptive, reflective, and current-affairs topics.

Letter writing, both formal and informal, following Odia conventions of salutation, body, and closing. Formal letters include applications and complaints to officials or institutions.

Report writing: a factual account of an event, usually with a headline, dateline, and objective third-person narration. It answers what, when, where, who, and why concisely.

Modern Odia literature, generally dated from the mid-nineteenth century, shaped by prose printing, reformist journalism, and nationalist thought. It includes the Radhanath era and later experiment.

The era dominated by Radhanath Ray, whose narrative and patriotic poems reshaped Odia poetry with new metres and themes. It marks the transition from early modern to high modern verse.

A period associated with Gopabandhu Das and his circle, blending patriotic feeling with social reform and moral idealism in poetry and prose. Its writers were closely tied to public service and education.