WBCHSE HS Nepali (Second Language) flashcards
WBCHSE HS Nepali (Second Language) · Build recall with a focused review session.
32 cards. Read the term and the definition here. The deck at the top of this page is optional.
- Mukhya bhav
- The central sentiment or dominant emotional tone of a poem or prose piece, such as deshbhakti, karuna, or shringar; identified by recurring images and the poet's stated message.
- Upama alankar
- A figure of speech comparing two dissimilar things using words like 'jastai', 'sari', or 'jhai'; the comparison is explicit and the common quality is stated.
- Rupak alankar
- A metaphor in which one object is identified as another without a comparison word; the upameya and upamana are treated as identical, as in 'jivan ek yatra ho'.
- Anupras
- Alliteration; repetition of the same initial consonant sound in nearby words, used to create rhythm and musical effect in poetry.
- Yamak
- Repetition of the same word or phrase with different meanings in the same sentence or stanza, producing a pun-like effect distinct from alliteration.
- Tek
- The refrain line repeated at the end of each stanza in a poem; it often carries the central theme and reinforces the poem's emotional impact.
- Chhanda
- Metre in Nepali poetry; determined by the number and arrangement of matras (syllabic weight) per line, with named patterns such as anushtup and shardulvikridita.
- Vyanjana shabda-shakti
- The suggestive power of a word; meaning implied beyond the literal and indicative senses, often carrying emotional or cultural associations in literary texts.
- Nirnayak kshan
- The turning point or decisive moment in a short story where the conflict reaches a point of no return and the outcome becomes inevitable.
- Katha-bindu
- The climax of a fictional narrative; the point of highest tension where the central conflict is confronted, preceding the resolution (ant).
- Pancha sandhi
- Five stages of classical Sanskrit and Nepali drama: mukha (opening), pratimukha (development), garbha (complication), vimarsha (crisis), and nirvahana (resolution).
- Dvandva
- The central conflict in a drama or fiction; the opposition between characters, values, or forces that drives the plot toward its resolution.
- Kartri vachya
- Active voice; the subject performs the action and the verb agrees with the subject, as in 'ramle kitab padhyo' (Ram read the book).
- Karma vachya
- Passive voice; the object becomes the subject and the verb takes a passive marker, as in 'ramdvara kitab padhiyo' (the book was read by Ram).
- Dirgha sandhi
- A vowel sandhi rule where a or ā followed by a or ā produces the long vowel ā; e.g., 'vidya' + 'alaya' becomes 'vidyalaya'.
- Guna sandhi
- A vowel sandhi where a or ā followed by i or ī gives e, and followed by u or ū gives o; e.g., 'nara' + 'indra' becomes 'narendra'.
- Vriddhi sandhi
- A vowel sandhi where a or ā followed by e or o gives ai, and followed by o gives au; e.g., 'eka' + 'ekam' becomes 'aikya'.
- Tatpurush samasa
- A compound in which the first member stands in a case relation to the second; expanded by adding a vibhakti, as in 'rajkumar' (king's son).
- Bahuvrihi samasa
- A possessive compound that denotes an external object possessing the qualities named; e.g., 'lambakarna' means 'one with long ears', not 'long ear'.
- Dvandva samasa
- A coordinative compound joining two or more items of equal status, usually connected by 'ra' in expansion; e.g., 'aama-buwa' (mother and father).
- Karan karaka
- The instrumental case role indicating the means or instrument by which an action is performed; marked by '-le' in Nepali, as in 'kalemle lekhyo'.
- Apadan karaka
- The ablative case role indicating the source or point of separation; marked by '-bata' or '-dekhi' in Nepali, as in 'gharbata ayo'.
- Paryayvachi shabda
- A synonym; a word having the same or nearly the same meaning as another, such as 'surya' and 'ravi' for the sun.
- Vilom shabda
- An antonym; a word expressing the opposite meaning of another, such as 'din' (day) and 'rat' (night).
- Ukhan
- An idiom or proverb whose meaning is figurative rather than literal; must be explained with its idiomatic sense and used in a contextual sentence.
- Nibandha structure
- Essay format with three parts: bhumika (introduction stating the topic), vishaya-vistara (body developing points with examples), and upasamhar (conclusion restating the thesis).
- Aupacharik patra
- A formal letter using respectful salutation such as 'Mahodaya', a subject line, formal register, and closing with 'Bhavadiya' or 'Agyakari' followed by the sender's signature.
- Nivedan patra
- An application letter; states the purpose in the opening paragraph, provides supporting details in the body, and requests specific action in the closing.
- Suchana
- A public notice written in third person, containing date, issuing authority, and concise information; displayed publicly rather than sent to an individual.
- Anuvad
- Translation; rendering a text from one language to another while preserving meaning, tense, number, and register, avoiding word-for-word literal rendering.
- Sankshep
- A summary; retains the main argument and key supporting points while omitting examples and repetition, typically about one-third of the original length.
- Patra-lekhan format
- Letter-writing layout: sthan ra miti (place and date), sambodhan (salutation), vishesh (subject), mukhya kura (body), and hasthakshar (signature), in that order.