sanskrit-alankar-chhand-sa-l2 MCQ - Practice Questions with Answers

In the eight-gana scheme each gana is a fixed triple of laghu and guru: ma-gana is guru-guru-guru, the only group of three heavy syllables. Ya-gana is laghu-guru-guru, na-gana is laghu-laghu-laghu (the mirror of ma), and ta-gana is guru-guru-laghu. The mnemonic ya-ma-ta-ra-ja-bha-na-sa-la-ga read in overlapping triples regenerates each pattern, so Karan can derive ma-gana by reading the second triple of the chant rather than memorising it cold.

Both statements are true and the reason explains the assertion. Rupaka is metaphor: the upamana (candra, the moon) is superimposed on and identified with the upameya (mukha, the face), and crucially the like-word iva or yatha is dropped. The compound mukha-candrah does exactly this, so A is true; and R states precisely the dropped-vacaka identification mechanism that makes it rupaka rather than upama, so R correctly explains A. Asha, who confuses rupaka with upama, should test for the missing like-word: its absence with identification is the rupaka signature.

Anustubh, the common sloka, has thirty-two syllables arranged as four padas of eight syllables each; its loose rule chiefly fixes the fifth syllable laghu and the sixth guru in every pada. The distractors each substitute the syllable count of a different textbook metre: eleven per pada is indravajra or upendravajra, fourteen is vasantatilaka, and seventeen is mandakranta. Joseph, who recites metres but miscounts, should anchor anustubh as the eight-per-pada baseline against which the longer vrttas are measured.

A syllable with a short vowel is laghu by default, but it is reckoned guru when it is followed by a conjunct consonant, an anusvara, or a visarga, and also when the vowel itself is long or the syllable is line-final (optionally). Position at the start of a pada, repetition of a vowel elsewhere, and Vedic accent are all irrelevant to quantity here. This is the single rule whose neglect makes candidates miscount indravajra; Imran must apply the following-conjunct test to every short-vowel syllable before totalling.

Atisayokti is hyperbole: the description exceeds the natural limit so far that the upamana wholly swallows the upameya, as in a sword whose tip touches the sky. Drstanta would set a general statement beside a parallel illustrative instance as two independent sentences, upama would keep a measured comparison with a like-word, and slesa would pack two meanings into one wording. Asha should treat the breach of the natural limit as the decisive cue for atisayokti, distinct from the calm parallelism of drstanta.