WBCHSE HS Hindi (Second Language - HINB) flashcards

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

Sandhi kya hai

The phonetic joining of two adjacent sounds, where the final sound of the first word and the initial sound of the second combine into one form, as in vidya + alaya becoming vidyalaya.

Dirgha sandhi

A svar sandhi in which a simple or long vowel of the same class meets its counterpart and a long vowel results, as in deva + alaya giving devalaya type forms with aa.

Guna sandhi

A svar sandhi where a or aa is followed by i, ii, u, uu or ri and is replaced by e, o or ar respectively, as in nara + indra giving narendra.

Vriddhi sandhi

A svar sandhi in which a or aa meets e, ai, o or au and produces ai or au, for example ek + ek giving ekai.

Tatpurush samas

A compound in which the second member is the principal one and the relation of the first member is expressed by a hidden case particle, as in rajputra meaning a king's son.

Bahuvrihi samas

A compound whose meaning refers to something other than its members, functioning as an adjective for an outside referent, as in dashanan for a ten-headed person.

Dvandva samas

A compound joining two or more words of equal status that can be separated by aur, as in mata-pita, where neither member is subordinate to the other.

Karan kaarak

The case denoting the instrument or means of an action, marked in Hindi by se or ke dwara, as in kalam se likhna where the pen is the instrument.

Sampradan kaarak

The case denoting the person or thing to whom something is given, marked by ko where giving is implied, as in brahman ko dana dena.

Apurn bhoot kaal

The past tense expressing an action still continuing or incomplete at a past reference point, formed with the participle plus raha tha, as in vah padh raha tha.

Karmavachya

The passive voice, where the object becomes the grammatical subject, the verb takes a past participle with gaya, and the agent appears with ke dwara or se.

Mishrit vakya

A complex sentence containing one main clause and at least one dependent clause joined by a yojak such as jo, kyoki, agar or jabki.

Rasa kya hai

The aesthetic relish produced in a sympathetic reader when vibhava, anubhava and vyabhichari bhava combine around a permanent emotion, the sthayi bhava.

Karuna rasa

The rasa arising from the sthayi bhava shoka, or sorrow, evoked by loss, suffering or separation, common in elegies and in poems on death.

Veer rasa

The rasa rooted in utsaha, or heroic energy, evoked by courage, battle, sacrifice and patriotic resolve, frequent in national and chivalric poems.

Anupras alankar

A sound figure in which the same consonant is repeated in close proximity without exact word repetition, producing an echo that supports the mood.

Upma alankar

A comparison in which one thing is likened to another of a different class through words such as sa, jaise or iva, the two remaining distinct.

Rupak alankar

A figure in which the object of comparison is directly identified with the thing compared, so that the words jaise or sa are absent, as in calling a face a lotus.

Utpreksha alankar

A figure of imagined identification in which the poet supposes one thing to be another, often with words such as mano or jaise in a speculative sense.

Vyakhya kaise likhein

State the literal sense of the line, then its implied meaning, then the emotion or intent of the poet, and finally name the figure of speech present in the line.

Natak ka ghatna-kram

The plot sequence of a drama: initial situation, rising complication, climax of conflict, and resolution, with some events reported rather than staged.

Charitra-chitran

A character sketch giving social identity, one dominant trait supported by a specific incident, and the character's contribution to the plot or theme.

Kahani ka vatavaran

The social and physical setting of a story, including time, place and community, which shapes the characters' choices and the story's central problem.

Ekanki

A one-act play with a single setting and few characters, concentrating on one incident or conflict rather than a spread-out plot.

Nibandh ka upsanhar

The closing paragraph of an essay, which restates the central argument in a fresh sentence and offers a conclusion, without introducing a new point.

Aupcharik patra

A formal letter containing sender address, date, receiver address, a compulsory vishay line, formal salutation, body, and closing with signature.

Suchna lekhan

A boxed notice of under fifty words giving a heading, date, issuing authority and contact detail, written in third person without salutation.

Prativedan lekhan

A factual report written in past tense and third person, covering what, when, where, who and why, with a heading, reporter's name and date.

Pratishekh lekhan

A precis that retains only the passage's central ideas in the writer's own third-person words, omitting examples and repetition, and states its own word count.

Apathit gadyansh

An unseen prose passage followed by questions on meaning, inference and vocabulary, answered in the candidate's own words rather than by copying sentences.

Paryayvachi shabd

A word having the same or nearly the same meaning as another word in the same language, such as the several Hindi words available for water.

Vilom shabd

A word expressing the opposite meaning of another word, formed by semantic contrast rather than by prefix alone, as in din and raat.