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2026 Statistics
Key Facts: RBSE VU Sahitya Shastra Exam
087
RBSE subject code for Sahitya Shastra
RBSE 2026 subject-wise statistics
100
Typical full marks for the subject scheme
RBSE syllabus examination scheme
3.15 hrs
Typical theory paper duration
RBSE Varishtha Upadhyaya syllabus scheme
33%
Typical minimum pass marks (confirm circular)
RBSE examination regulations
100
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RBSE Varishtha Upadhyaya Sahitya Shastra (code 087) is a real Board of Secondary Education, Rajasthan public-examination subject with appeared candidates in the 2026 main examination subject-wise statistics. Passing generally 33% (and separate practical pass where applicable). Use these free MCQs for theory revision only.
Sample RBSE VU Sahitya Shastra Practice Questions
Try these sample questions to test your RBSE VU Sahitya Shastra exam readiness. Each question includes a detailed explanation. Start the interactive quiz above for the full 100+ question experience with AI tutoring.
1Chandraloka, the principal alankara text in RBSE Varishtha Upadhyaya Sahitya Shastra (code 087), is traditionally attributed to which author?
A.Kalidasa
B.Anandavardhana
C.Bharata Muni
D.Jayadeva
Explanation: Chandraloka is an alankara-shastra treatise by Jayadeva, arranged in mayukhas (rays). The prescribed portion for this paper is the 5th mayukha from karika 51 through the 10th mayukha.
2In Chandraloka, the major structural divisions of the text are called:
A.Mayukhas
B.Sargas
C.Adhyayas of the Mahabharata type only
D.Ankas only
Explanation: Chandraloka is organized into mayukhas (literally 'rays of moonlight'). The official syllabus covers from the 5th mayukha (from karika 51) through the 10th mayukha for 40 theory marks.
3Upama alankara is best defined as a figure in which:
A.The primary meaning is permanently discarded
B.Only the sound of words is repeated for ornament
C.A similarity between upameya and upamana is stated with a comparative marker (e.g., iva, yatha)
D.The upameya is asserted to be identical with the upamana without a comparative word
Explanation: Upama (simile) presents a likeness between the subject of description (upameya) and the standard of comparison (upamana) through words such as iva, yatha, or samana. Distinction of upama from rupaka is a core alankara skill in Chandraloka study.
4Rupaka alankara differs from upama primarily because in rupaka:
A.The figure must always use the word 'iva'
B.No poetic meaning is intended
C.Only alliteration is used
D.Upameya and upamana are treated as identical, without words of comparison
Explanation: In rupaka (metaphorical identification), the upameya is overlaid with the upamana as if they were one (e.g., mukha-padma 'face-lotus'), without iva/yatha. Upama keeps the two distinct while stating likeness.
5Utpreksha alankara is present when the poet:
A.Denies any possibility of comparison
B.Repeats the same word with different meanings only
C.Imagines or fancies a thing as something else, often with markers like manye, iva, nunam
D.Lists only historical kings without imagery
Explanation: Utpreksha is poetic fancy or conjecture: the poet imagines the upameya as the upamana (or ascribes a cause/state) with a sense of possibility, often signalled by manye, iva, nunam, shanke, and similar words.
6Atishayokti alankara essentially involves:
A.Complete absence of emotion
B.Only grammatical sandhi rules
C.Hyperbolic or intensified statement that goes beyond ordinary limits
D.Strictly literal understatement only
Explanation: Atishayokti is the figure of hyperbole: meaning is stretched beyond common measure (ati-shaya) for poetic force—e.g., extreme praise or exaggeration of a quality.
7Anuprasa is classified primarily as which type of alankara?
A.A form of lakshana
B.Shabdalankara based on recurrence of similar sounds
C.Rasa alankara only
D.A type of metre (chhandas) exclusively
Explanation: Anuprasa (alliteration) is a shabdalankara: beauty arises from repetition of similar consonants/sounds. It is distinguished from arthalankaras such as upama and rupaka, which ornament through meaning.
8Yamaka alankara is characterized by:
A.Suggestion of rasa without any verbal form
B.Only the use of compound sandhi
C.Complete identity of upameya and upamana without sound play
D.Repetition of similar sound-groups or words, often with difference of meaning
Explanation: Yamaka is a shabdalankara in which the same or closely similar phonetic sequence recurs, frequently carrying different meanings in different positions—creating ornamental echo.
9Shlesha alankara (double entendre) depends mainly on:
A.Only the nine rasas listed without language play
B.Metres of the Vedas alone
C.A single expression yielding two or more distinct meanings
D.Strict prohibition of any second meaning
Explanation: Shlesha (pun / double meaning) makes one word or phrase simultaneously support two (or more) coherent senses—often admired in ornate Sanskrit kavya and discussed among alankaras.
10Vyatireka alankara typically highlights:
A.Grammar of case endings only
B.Only silence as the sole poetic device
C.Complete equality of upameya and upamana with no contrast
D.Superiority of the upameya over the upamana by stating a difference
Explanation: Vyatireka presents a comparison that stresses difference: the upameya surpasses or falls short of the upamana in a stated respect, turning contrast into ornament.
About the RBSE VU Sahitya Shastra Practice Questions
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