ICSE Class 9 Odia Syllabus 2026-27

Aims of the Odia Syllabus

•        To appreciate Odia as an effective means of communication and as a classical language of India.

•        To acquire knowledge of the elements of the Odia language: grammar, vocabulary, syntax, and idiom.

•        To develop a genuine interest in the Odia language and its rich literary heritage.

•        To understand Odia when spoken at normal conversational speed.

•        To understand the basic structural patterns of Odia, including sentence construction and vocabulary.

•        To develop the ability to read, comprehend, and respond to unseen prose passages in Odia.

•        To develop the ability to write compositions and letters in correct, idiomatic Odia.

•        To develop an appreciation of Odia literature through engagement with the prescribed texts.

Examination Structure

Internal Assessment: Subject Teacher (Internal Examiner): 10 marks + External Examiner nominated by Head of School: 10 marks. Both assess independently.

Section A: Language (40 Marks) -- Compulsory

All four components must be attempted.

1. Composition (Prabandha Rachana)

•        Write one composition in Odia from a choice of subjects (narrative, descriptive, or expressive).

•        Topics may be suggested through language prompts, pictures, photographs, or objects.

•        Assessed on: relevance, organisation, clarity, grammar (byakarana), spelling (barna binyasa), vocabulary (shabda sampada).

2. Letter Writing (Patra Lekhana)

•        Write one letter from a choice of two given subjects.

•        Formal letters (adhikarik patra): to authorities, editors, organisations; informal letters (byaktigata patra): to relatives and friends.

•        The layout (date, address, salutation, body, conclusion, signature) forms part of the assessment.

3. Comprehension (Apathita Gadya / Abodha Pariksha)

•        Unseen prose passage of approximately 250 words in Odia.

•        Questions test understanding of content, meaning, and language of the passage.

•        All questions and answers must be written in Odia.

4. Grammar (Byakarana)

Tests practical use of Odia language. Formal knowledge of grammatical definitions is NOT required.

Nama / Sangna (Nouns)

•        Types: Jatibachak (common), Byaktibachak (proper), Bhababachak (abstract), Samuhbachak (collective), Drabybachak (material)

•        Linga (Gender): Pullinga (masculine), Strillinga (feminine), Kleebalinga (neuter); gender rules and examples

•        Bachana (Number): Ekabachana (singular) and Bahubachana (plural); plural formation rules in Odia

Sarbanama (Pronouns)

•        Types: Purushbachak (personal: mun/aame, tu/tame, se/teun), Nishchayabachak (definite), Anishchayabachak (indefinite), Prashnabachak (interrogative: ke, ki, kana), Sambandhbachak (relative)

•        Correct use in sentences; pronoun-verb agreement

Bisheshan (Adjectives)

•        Types: Gunabachak (qualitative), Sankhyabachak (numeral), Parimanabachak (quantitative), Sarbanamika (pronominal)

•        Degrees of comparison: Samana (positive), Adhika (comparative: -tara suffix), Sarbashreshtha (superlative: -tama suffix)

Kriya (Verbs) and Abaya (Indeclinables)

•        Verb types: Sakarmaka (transitive), Akarmaka (intransitive), Preranaarthi (causative)

•        Kala (Tense): Bartamana (present), Atita (past), Bhabisyat (future) in all forms; verb agreement for gender, number, and person

•        Kriyabisheshan (Adverbs): Kalabachak (time), Sthanabachak (place), Prakarabachak (manner), Parimanabachak (degree)

•        Samyojaka Abaya (Conjunctions): o/ebam, kintu, ba, je, jebe, tahaleki

•        Bismayabachak Abaya (Exclamations): aho!, arey!, shabas!

Kaaraka / Bibhakti (Case and Case Suffixes)

•        Eight cases: Kartaa (nominative: no suffix), Karma (accusative: -ku), Karana (instrumental: -dwaara/-re), Sampradana (dative: -paaiin/-ku), Apadana (ablative: -tharu), Sambandha (genitive: -ra), Adhikarana (locative: -re/-madhyare), Sambodhan (vocative: -e/-a)

•        Correct use of Bibhakti suffixes in Odia sentences

Wakya Paribartan (Sentence Transformation)

•        Types by structure: Sarala (simple), Misbrita (compound), Sanjukta (complex)

•        Types by meaning: Bidhanabachak (declarative), Nishedhbachak (negative), Prashnabachak (interrogative), Aajnaabachak (imperative), Bismayabachak (exclamatory)

•        Kartari Prayoga (Active Voice) and Karmani Prayoga (Passive Voice): transformation between the two

•        Pratyaksha Ukti to Paroksha Ukti: Direct to Indirect speech conversion

•        Converting between simple, compound, and complex sentences

Sandhi (Phonetic Junction)

•        Swara Sandhi (Vowel Sandhi): rules for combining adjacent vowels

•        Byanjana Sandhi (Consonant Sandhi): rules for combining consonants

•        Bisarga Sandhi: rules involving the bisarga at junctions

•        Sandhi Bigraha: splitting a sandhi form back into its components

Samasa (Compound Words)

•        Types: Dwandwa (copulative: e.g. maa-bapa, dina-rata), Tatpurusa (determinative), Karmadharaya (attributive), Bahubrihi (possessive/exocentric), Abayiyibhaba (adverbial)

•        Samasa Bigraha: splitting the compound and explaining the grammatical relationship

Alankar (Figures of Speech)

•        Shabdalankar (sound-based): Anupras (alliteration), Yamaka (repetition with different meanings)

•        Arthalankar (meaning-based): Upama (simile: pari/bhali), Rupaka (metaphor), Utpreksha (poetic fancy: mano/mane ki), Atishayokti (hyperbole), Manabikaran (personification)

Chhanda (Poetic Metre)

•        Akshara Chhanda: syllabic metre (number of syllables per line)

•        Matra Chhanda: moraic metre (short syllable = 1 matra, long = 2 matras)

•        Common Odia metres: Chaupadi (four-line stanzas; used in Sarala Das's Mahabharata and Panchasakha literature); Bisa Akshara (twenty-syllable metre); Chhakadi (six-line stanzas); Manika (pearl-metre); Janana (folk and devotional metre)

•        Identifying the type of Chhanda in a given verse; counting syllables or matras

•        Vocabulary: synonyms (Samanaarthi Shabda), antonyms (Biparitaarthi Shabda), one-word substitutions, idioms (Muhabhara), proverbs (Prababada), Tatsama/Tadbhava words

Section B: Prescribed Texts (40 Marks)

Candidates answer four questions from ONLY two of the prescribed textbooks. All questions and answers must be in Odia.

Always confirm the exact prescribed textbooks with your school or from the official CISCE website before the start of the academic session.

Types of Prescribed Texts

•        Prose anthology (Gadya Sankalan): essays, short stories, biographical sketches by notable Odia authors

•        Poetry anthology (Kabita Sankalan): poems by classical and modern Odia poets across various literary periods

•        A novel or supplementary reader may be prescribed in some sessions

Authors and Literary Traditions

Classical and Medieval Odia Literature

•        Sarala Das (15th century): Adi Kabi (first poet) of Odia literature; Sarala Mahabharata; introduced the Chaupadi metre

•        Panchasakha Saints (15th-16th century): Balaram Das, Jagannath Das (Odia Bhagabata in Chaupadi metre), Achyutananda Das, Ananta Das, Yashovanta Das; devotional literature

•        Upendra Bhanja (17th-18th century): Kabi Samrat (Emperor of Poets); ornate classical poetry; Baidehisa Bilasa, Koti Brahmanda Sundari

•        Dinakrushna Das: Rasaakallola (celebrated romantic epic)

Modern Odia Literature

•        Fakir Mohan Senapati (1843-1918): father of modern Odia prose; Chaa Maana Atha Guntha (first Odia novel); themes of social realism and peasant life

•        Radhanath Ray: pioneer of modern Odia poetry; Chandrabhaga, Nandikeshwari; romantic and nationalist themes

•        Gangadhar Meher: lyric poet; nature, love, and devotion; Tapaswini

•        Kalindi Charan Panigrahi: Matira Manisha (landmark Odia novel)

•        Gopinath Mohanty: Jnanpith award winner; Paraja, Dadi Budha; tribal life and village culture

•        Manoj Das: acclaimed short story writer; folklore, mystery, and the human condition

Nature of Questions in Section B

•        Explanation of passages or stanzas: meaning in the student's own words

•        Short answer questions: factual questions on content, characters, or events

•        Character analysis: role and significance of a character

•        Thematic questions: central theme, moral, or idea of a prose piece or poem

•        Context questions (Prasanga Bicharana): speaker, context, and significance of a quotation

•        Language appreciation: identifying Alankar and Chhanda in the prescribed poems

Internal Assessment (20 Marks)

Required Assignments: Class IX (2 to 3 assignments)

At least two must be written: one from language, one from literature.

Language Assignments

•        Creative writing (300-400 words): music, sounds, a picture/photograph, an opening sentence, or a newspaper clipping

•        Factual writing (informative or argumentative); Expressive writing (descriptive or imaginative)

•        A film or book review in Odia

•        Aural assignment: listening to a passage in Odia, then summarising or answering questions

Literature Assignments

•        Character analysis: essay on a character from the prescribed text

•        Thematic analysis: central theme or message of a prescribed work

•        Socio-cultural or historical background: essay on the context of a prescribed work

•        Summary or paraphrase (Saransha / Artha Bibarana): in the student's own words

Grading Criteria: Creative Writing

Grading Criteria: Literature (Prescribed Texts)

Preparation Tips for Students

For Section A: Language

•        Practise writing Odia compositions (prabandha) on a variety of topics with clear paragraphing and correct barna binyasa (spelling).

•        Practise both formal (adhikarik patra) and informal (byaktigata patra) letters; memorise the correct Odia letter format.

•        Read unseen Odia prose passages regularly; answer comprehension questions in complete Odia sentences.

•        Revise all grammar topics: Bibhakti (all eight cases: -ku, -dwaara, -paaiin, -tharu, -ra, -re), Samasa and Bigraha, Sandhi and Bigraha, Alankar (Shabdalankar and Arthalankar), Chhanda (Chaupadi, Bisa Akshara, Chhakadi), Wakya Paribartan (Kartari/Karmani, direct/indirect), Kala (all tenses with gender/number/person agreement).

•        Maintain a vocabulary notebook for synonyms, antonyms, idioms (muhabhara), proverbs (prababada), and Tatsama/Tadbhava words.

For Section B: Prescribed Texts

•        Read all prescribed prose and poems thoroughly and repeatedly; do not rely on summaries alone.

•        For each prose piece: note central idea, key events, characters, and the author's social or cultural message.

•        For each poem: understand theme, imagery, Alankar, Chhanda, and the poet's message; explain individual stanzas.

•        Study the authors and their literary context: Panchasakha devotional tradition; Fakir Mohan Senapati's social realism; modern authors Gopinath Mohanty and Manoj Das.

•        Practise context questions (Prasanga Bicharana): who is speaking, to whom, and in what context.

•        Solve ICSE Odia previous year question papers to understand question style and format.

For official syllabus: Visit the official CISCE website and download the prescribed syllabus document for the latest and authoritative information.