OpenLLM-France/wikimedia huggingface dataset:
# Muggles' Guide to Harry Potter/Magic/Revulsion Jinx
## Overview

The Revulsion Jinx is apparently used to force someone to let go of the spell caster. It apparently works with somewhat explosive force, as the one time we see it used, it is accompanied by a loud bang.

## Extended Description

In Harry Potter and the Deathly Hallows, Hermione says that she had to dislodge Yaxley with this jinx after he caught hold of her and traveled with the Trio to Grimmauld Place by side-along Apparition. We never hear the incantation if there is one, and the spell itself happens outside Harry's view, so we really know very little about this spell.

## Questions

Study questions are meant to be left for each student to answer; please don't answer them here.
# Muggles' Guide to Harry Potter/Magic/Re'em
## Overview

The Re'em is a magical beast resembling a large ox with golden hide. Its blood gives the drinker immense strength for a limited time.

## Questions

Study questions are meant to be left for each student to answer; please don't answer them here.
# Muggles' Guide to Harry Potter/Magic/Red Cap
## Overview

Red Caps are dwarf-like creatures that are found wherever blood has been spilled.

## Extended Description

In the Muggle world, we find the Red Cap in Scottish folklore. The Red Cap is a thoroughly evil creature. He is a short, stocky old man with long gray hair and claws instead of hands. He lives on the Scottish Border in ancient ruins of castles, especially in those with a bloody history of war and murder. He owes his name to the fact that he wears a red hat, which is colored by the blood of his victims. Red Cap moves with remarkable speed, despite the fact that he wears iron boots. He can overcome even the strongest man, unless the intended victim remembers to quote a few words from the bible. (Encyclopedia Mythica; thanks to Elizabeth Quest for the tip)
The Red Cap is introduced to Harry by Professor Lupin, then teaching Defence Against the Dark Arts, but while we hear the name in passing, we do not hear any description of it. We also hear it mentioned later when Hermione is telling Professor Snape, then filling in for an ill Lupin, what topics they have covered. Finally, a Red Cap is featured as part of the final Defence Against the Dark Arts exam, again without significant description.

## Questions

Study questions are meant to be left for each student to answer; please don't answer them here.
# Muggles' Guide to Harry Potter/Magic/Relashio
## Overview

Relashio is a spell that is used to release an object from another object that is binding it, like chains.

## Extended Description

If used underwater, this spell creates a jet of boiling water. Harry used this spell underwater when he is attacked by Grindylows in Harry Potter and the Goblet of Fire as a part of the Second Task.

## Questions

Study questions are meant to be left for each student to answer; please don't answer them here.
# Muggles' Guide to Harry Potter/Magic/Reducio
## Overview

Reducio is a charm that makes things small.

## Extended Description

This spell seems to reverse the action of the engorgement charm Engorgio. The first time we see this charm used, it is used by Professor Moody to reduce a tailless whip scorpion back to its normal size after it has been used in a classroom demonstration.

## Analysis

Like many spells, there must be a mental component to this spell; it is necessary to control the size that you want the object to shrink to, so that size must be controlled mentally.

## Questions

Study questions are meant to be left for each student to answer; please don't answer them here.
# Muggles' Guide to Harry Potter/Magic/Reducto
## Overview

Reducto, also known as the Reductor curse, is a destruction spell, used to reduce objects to dust.

## Extended Description

While its main purpose is to reduce an object to dust, it can also cause that dust to spread violently, making a small explosion. More powerful spellcasters can, of course, cast this spell on larger objects, making larger explosions if they care to.

## Analysis

We first see this spell when Harry is preparing for the Triwizard Tournament's third task. During the task, he tries (and fails) to use it to destroy a patch of magical golden mist, and later, successfully, to burn a hole through the hedges making up the maze.
We next see this spell when Harry is reflecting on the progress of his students in Dumbledore's Army. Harry recalls that Parvati Patil had performed this curse so well that she had reduced the entire table under the sneakoscopes to dust. Later, during the battle at the Ministry of Magic, Harry's companions use this spell to destroy the shelves in the Department of Mysteries, creating a diversion that allows them to escape the Death Eaters pursuing them.
We believe this spell may be similar in effect to the Deprimo spell.

## Questions

Study questions are meant to be left for each student to answer; please don't answer them here.
# Muggles' Guide to Harry Potter/Magic/Remembrall
## Overview

A Remembrall is a glass sphere filled with white smoke. If you hold the ball in your hand, the smoke will turn red to indicate you have forgotten something. The name is apparently a portmanteau of "remember", "all", and "ball".

## Extended Description

Neville is sent a Remembrall by his grandmother in his second week at Hogwarts, and it immediately turns red when he holds it, to tell him that he has forgotten something. However, it cannot tell him what he has forgotten.

## Analysis

As written, the Remembrall, while neat, is not particularly useful; everyone has always forgotten something, so the Remembrall would always indicate that something had been forgotten. Perhaps the shade of red would indicate how important the forgotten item is?
The main purpose of the Remembrall is to give Draco Malfoy something that he can steal, to show off his character, and to make it necessary for Harry to fly to recover it. Forcing Harry onto a broom, in a situation where he can show off his natural talent unfettered by organized lessons, is necessary to allow us to share Harry's joy at finding something he is good at in the Wizarding world.
After the byplay on the brooms, Neville's Remembrall plays no further significant part on the story, and no others are mentioned.

## Questions

Study questions are meant to be left for each student to answer; please don't answer them here.
* How could a Remembrall be made more useful?
# Muggles' Guide to Harry Potter/Magic/Renervate
## Overview

Renervate is a general revival spell, used when trying to resuscitate someone who has been left unconscious by magical means. In some editions of the books, it is mistakenly spelled "rennervate".

## Extended Description

We see this spell used once: Harry uses it to attempt to revive Professor Dumbledore after Dumbledore has succumbed to the potion guarding the locket in the lake. Harry has limited success.
This may seem to be a special version of Enervate, the charm that counters the effect of a Stun spell, as it seems to be used for more general resuscitation. As mentioned in the article on that spell, however, "enervate" is in direct opposition to the action of that spell, so the author apparently chose to rename the spell in the course of writing the books. We further note that in some early editions of the later books it was misspelled "rennervate", a misspelling that was corrected in later editions.

## Questions

Study questions are meant to be left for each student to answer; please don't answer them here.
# Piano/Playing by Ear: Lesson 01/Hint 01

Hint 01
Did you try to play it slower? Try to listen to it more often, whilst humming to the tune.
Back to lesson 01.
# Piano/Playing by Ear: Lesson 01/Hint 02

Hint 02
It starts with the C note and ends with the C note.
Back to lesson 01.
# Piano/Playing by Ear: Lesson 01/Notes 01

Voilá! Did you get it right?
# Piano/Playing by Ear: Lesson 02/Hint 02

Hint
This song starts and ends with the C note and goes up and down, like a rollercoaster.
# Piano/Playing by Ear: Lesson 02/Hint 01

Hint
This song repeats its first part, and in all only uses four notes; the C note, D note, E note and F note.
# Piano/Playing by Ear: Lesson 01

This book is part of a series on playing by ear:
Lesson 1 Lesson 2 Lesson 3
Listen to the following tune, and try to play it by ear. If you have any problems, try the hints.
First hint
Second hint
and now, if you're done (or if you gave up, shame on you) look at the notes:
Notes

## Next lesson!

Did you get it? Try lesson number 2; Lesson 02
# Piano/Playing by Ear: Lesson 02

This book is part of a series on playing by ear:
Lesson 1 Lesson 2 Lesson 3
Whoa, so you managed to finish lesson 01? Ok then, we shall see if you can take lesson 02 on- just listen to the sound byte below, and try to play it on your piano.
And if you run into problems you can look at some of the hints:
First hint
Second hint
And when you're finished you can check the notes out.
Notes

## Next lesson

Did you get it? Well then try lesson number 3; Lesson 03
# Piano/Playing by Ear: Lesson 02/Notes 02

Voilá! Did you get it right?
# Piano/Playing by Ear

This book is part of a series on playing by ear:
Lesson 1 Lesson 2 Lesson 3

## Playing by Ear

Playing by ear is when you "pick" up notes from something you listen to. For example if you're listening to a catchy song and you want to play it but don't have the notes or score you have to play it by ear. The basic process that can be used to play any song by ear on the piano is: 1) recognize intervals between adjacent notes in a melody (e.g. in key of C, C=1, D=2, E=3, F=4, etc.) and using the intervals to help you find and play those notes in sequence on the piano; 2) play the bass note with each melodic note on the main down beats (typically note at 1, 3, or 5 intervals below the melodic note); and 3) play the notes of a specific chord based on the a given bass note (e.g., notes at 1, 3, and 5 intervals above the bass note).
Useful Tips:
    1) A good start when trying to play a song or a tune by ear, is to start humming it. This might not be a good choice when other people are around you if you want to keep a certain facade of sanity, but it certainly helps. The reason is that sometimes the hardest part is actually finding the main notes in the song, and when you hum a song, you are really humming the main notes! So just hum away, and start playing by ear.
    2) Play slowly! If you're having trouble picking something up, you are not going to make it easier by playing with haste. Just think that there are only a limited amount of notes you use when you're a beginner, no more than 10-15, so finding the first note is not that hard if you are patient. Of course if you're going to guess every single note it would take a really long time playing a long and complicated song by ear- that's why you practice playing short, simple songs by ear.
    3) Start the song on the key of C to avoid having to use any of the black keys. To find the first note of the song on the piano so that you play the song in the key of C: 1) hum to the very last note of the song; 2) hum the first note of the song; 3) hum up or down from the last to the first song notes to count the number of intervals separating these two note; and 4) place your finger on the key of C on the piano and go up (or down) the number of counted intervals to determine the starting note of the song.
= also note that there are a lot of different materials online that might help you train your ear. Earmaster for example, is a program that aids you identifying intervals, scales and chords. it also aids in the imitation of rhythms. Alternatively you can try to guess a key that is played on the piano at random.
# Odia/Greetings

Template:Odia

## Hellos

Let us get familiar with some Odia phrases and sentences regarding greeting other people and striking a conversation.
| English | Odia | Transliteration |
| Hello | ନମସ୍କାର | namaskār |
| Good morning | ସୁପ୍ରଭାତ | suprabhāta |
| Good evening | ଶୁଭ ସନ୍ଧ୍ୟା | śubha sandhyā |
| Good night | ଶୁଭରାତ୍ରୀ | śubharātri |
| Have a nice day. | ଆପଣଙ୍କ ଦିନ ଶୁଭ ହେଉ। | āpanankā dina subha hou |
| How are you ?(Formal) | ଆପଣ କେମିତି ଅଛନ୍ତି ? | āpana kemiti achanti ? |
| How are you (Informal) | କେମିତି ଅଛ? | kemiti acha ? |
| I am fine, thanks. | ମୁଁ ଭଲ ଅଛି, ଧନ୍ୟବାଦ। | muṃ bhala achi, dhanyabād. |
| Nothing special. | ବିଶେଷ କିଛି ନୁହେଁ। | biśeṣa kichi nuhẽ. |
| See you later. | ପରେ ଦେଖା ହେବା। | pare dekhā hebā |

## Requests

Now that we have got over with basic hellos let us learn how to make requests and thank people.
| English | Odia | Transliteration |
| Please | ଦୟାକରି | dayākarī |
| Thank you | ଧନ୍ୟବାଦ | dhanyabād |
| Thank you very much | ବହୁତ ଧନ୍ୟବାଦ | bahut dhanyabād |
| Excuse me, sorry, please forgive me | କ୍ଷମା କରିବେ | khyamā karībe |
| Excuse me (lit. please listen) | ଟିକେ ଶୁଣିବେ | tike sunibe |
# Odia/Household Objects
### Useful House Materials in Oriya Language

| ENGLISH WORD | ORIYA WORD | ORIYA WORD PRONOUNCED IN ENGLISH |
| materials of the house | ଗୃହର ଉପକରଣ | gruhar upakarana |
| tar | ଆଲକାତରା,ରାଳ | alakatara,rala |
| brick | ଇଟା | ita |
| brick dust | ଇଟାଗୁଣ୍ଡ | itagunda |
| brick-field | ଇଟାପୋଡା ଜାଗା | itapoda jaga |
| cross-beam | ଓରା | ora |
| mud | କାଦୁଅ | kadua |
| wood | କାଠ | katha |
| beam | କାଠକଡି | kathakadi |
| hook | କିଳା | kila |
| nail | କଣ୍ଟା | kanta |
| hinges | କବ୍ଜା | kabja |
| timber | କାଠଗଡ | kathagada |
| king post | ଗୁଜ୍ | guj |
| lime | ଚୂନ | chuna |
| white wash | ଚୂନ ସଫେଇ | chuna safei |
| clay | ଚିକିଟାମାଟି | chikitamati |
| straw | ଛଣ | chhana |
| tile | ଟାଇଲି | taili |
| wire | ତାର | tara |
| rope | ଦଉଡି | daudi |
| rammer | ଧୁର୍ମୁସ | dhurmusa |
| plank | ପଟା | pata |
| screw | ପେଚ | pecha |
| stone | ପଥର | pathara |
| plastering | ପଲସ୍ତରା | palastara |
| bamboo | ବାଉଁଶ | bausha |
| split bamboos | ବତା | bata |
| cane | ବେତ | beta |
| rafter | ବର୍ଗା | barga |
| sand | ବାଲି | bali |
| laterite stone | ମାଙ୍କଡା ପଥର | mankada pathara |
| wattle | ରୁଅ | rua |
| cement | ସିମେଣ୍ଟ୍ | cement |
| bar | ହୁଡକା | hudka |
# Odia/Numbers

| English Numerals | Odia Numerals | Spelling of Odia Numerals |
| 0 | ୦ | ଶୂନ |
| 1 | ୧ | ଏକ |
| 2 | ୨ | ଦୁଇ |
| 3 | ୩ | ତିନି |
| 4 | ୪ | ଚାରି |
| 5 | ୫ | ପାଞ୍ଚ |
| 6 | ୬ | ଛଅ |
| 7 | ୭ | ସାତ |
| 8 | ୮ | ଆଠ |
| 9 | ୯ | ନଅ |
| 10 | ୧୦ | ଦଶ |
| 11 | ୧୧ | ଏଗାର |
| 12 | ୧୨ | ବାର |
| 13 | ୧୩ | ତେର |
| 14 | ୧୪ | ଚଉଦ |
| 15 | ୧୫ | ପନ୍ଦର |
| 16 | ୧୬ | ଷୋହଳ |
| 17 | ୧୭ | ସତର |
| 18 | ୧୮ | ଅଠର |
| 19 | ୧୯ | ଉଣେଇଶି |
| 20 | ୨୦ | କୋଡ଼ିଏ |
| 21 | ୨୧ | ଏକୋଇଶି |
| 22 | ୨୨ | ବାଇଶି |
| 23 | ୨୩ | ତେଇଶି |
| 24 | ୨୪ | ଚବିଶି |
| 25 | ୨୫ | ପଚିଶି |
| 26 | ୨୬ | ଛବିଶି |
| 27 | ୨୭ | ସତେଇଶି |
| 28 | ୨୮ | ଅଠେଇଶି |
| 29 | ୨୯ | ଅଣତିରିଶି |
| 30 | ୩୦ | ତିରିଶି |
| 31 | ୩୧ | ଏକତିରିଶି |
| 32 | ୩୨ | ବତିଶି |
| 33 | ୩୩ | ତେତିଶି |
| 34 | ୩୪ | ଚଉତିରିଶି |
| 35 | ୩୫ | ପଇଁତିରିଶି |
| 36 | ୩୬ | ଛତିଶି |
| 37 | ୩୭ | ସଇଁତିରିଶି |
| 38 | ୩୮ | ଅଠତିରିଶି |
| 39 | ୩୯ | ଅଣଚାଳିଶି |
| 40 | ୪୦ | ଚାଳଶି |
| 41 | ୪୧ | ଏକଚାଳଶି |
| 42 | ୪୨ | ବୟାଳିଶି |
| 43 | ୪୩ | ତେୟାଳିଶି |
| 44 | ୪୪ | ଚଉରାଳିଶି |
| 45 | ୪୫ | ପଇଁଚାଳିଶି |
| 46 | ୪୬ | ଛୟାଳିଶି |
| 47 | ୪୭ | ସତଚାଳିଶି |
| 48 | ୪୮ | ଅଠଚାଳିଶି |
| 49 | ୪୯ | ଅଣଚାଶ |
| 50 | ୫୦ | ପଚାଶ |
Read
# Odia/Sounds

The Odia script (Odia: ଓଡ଼ିଆ ଲିପି) Utkalakshar (ଉତ୍କଳାକ୍ଷର) is used to write the Odia language, and can be used for several other Indian languages, for example, Sanskrit. It has developed from the Brahmi script as most of the other scripts that are used to write South-Asian Languages.

### Odia Vowels

The vowels "ଇ" ("i"), "ଈ" ("ī"), "ଉ" ("u") and "ଊ" ("ū") are pronounced same in spoken Odia . ୠ, ଌ,and ୡ are extinct in Odia.
| ଅ | ଆ | ଇ | ଈ | ଉ | ଊ | ଋ | ୠ | ଌ | ୡ | ଏ | ଐ | ଓ | ଔ |
| a | ā | i | ī | u | ū | r̥ | r̥̄ | l̥ | l̥̄ | e | ai | o | au |
| [ɔ] | [aː] | [i] | [iː] | [u] | [uː] | [ru] | [ruː] | [lu] | [luː] | [eː] | [ɔi̯] | [ɔ] | [ɔu̯] |

### Odia Consonants

The consonants ja and ya are pronounced the same in Odia. Initial ḍa, ḍha vary with intervocalic ṛa, ṛha. Although kṣa is a conjunct of କ and ଷ, it has a unique pronunciation.
| କ | ଖ | ଗ | ଘ | ଙ | ଚ | ଛ | ଜ | ଝ | ଞ | ଟ | ଠ | ଡ | ଢ | ଡ଼ | ଢ଼ | ଣ | ତ | ଥ | ଦ | ଧ | ନ | ପ | ଫ | ବ | ଭ | ମ | ଯ | ୟ | ର | ଲ | ଳ | ୱ | ଶ | ଷ | ସ | ହ | କ୍ଷ |
| ka | kha | ga | gha | ṅa | ca | cha | ja | jha | ña | ṭa | ṭha | ḍa | ḍha | ṛa | ṛha | ṇa | ta | tha | da | dha | na | pa | pha | ba | bha | ma | ya | ẏa | ra | ḷa | la | wa | śa | ṣa | sa | ha | kṣa |
| [kɔ] | [kʰɔ] | [ɡɔ] | [ɡʱɔ] | [ŋɔ] | [tʃɔ] | [tʃʰɔ] | [dʒɔ] | [dʒʱɔ] | [ɲɔ] | [ʈɔ] | [ʈʱɔ] | [ɖɔ] | [ɖʱɔ] | [ɽɔ] | [ɽʱɔ] | [ɳɔ] | [t̪ɔ] | [t̪ʰɔ] | [d̪ɔ] | [d̪ʱɔ] | [nɔ] | [pɔ] | [pʰɔ] | [bɔ] | [bʱɔ] | [mɔ] | [dʒɔ] | [jɔ] | [ɾɔ] | [lɔ] | [ɭɔ] | [wɔ] | [sɔ] | [sɔ] | [sɔ] | [hɔ] | kʰjɔ |

### Other Diacritics

As in other abugida scripts, Odia consonant letters have an inherent vowel. It is transliterated as ⟨a⟩, phonetic value [ɔ]. Its absence is marked by a halanta (ହଳନ୍ତ):
Some other diacritics are:
| କ | କ +ଁଁ=କଁ | କ +ଂ=କଂ | କ +ଃ=କଃ | କ+୍=କ୍ |
| ka | kã | kaṁ | kaḥ | k |
| [kɔ] | [kɔ̃] | [kɔŋ] | [kɔh] | [k] |
| କ | କା | କି | କୀ | କୁ | କୂ | କୃ | କୄ | କୢ | କୣ | କେ (େକ) | କୈ (େକୖ) | କୋ (େକା) | କୌ (େକୗ) |
| ka | kā | ki | kī | ku | kū | kr̥ | kr̥̄ | kl̥ | kl̥̄ | ke | kai | ko | kau |
| [kɔ] | [kaː] | [ki] | [kiː] | [ku] | [kuː] | [kru] | [kruː] | [klu] | [kluː] | [keː] | [kɔi̯] | [kɔ] | [kɔu̯] |
Vowel diacritics may be more or less fused with the consonants, though in modern printing such ligatures have become less common.
# Odia/Birds

| ENGLISH WORD | ODIA WORD | ROMANIZATION |
| eagle | ଗରୁଡ଼/ଗଡ଼ସି | garuṛa/gaṛasi |
| emu | ଈମୂ | īmū |
| ostrich | ଓଟପକ୍ଷୀ | oṭapakhī |
| dove | କପୋତ | kapota |
| crow | କାଉ | kāu |
| pond heron | କାଣ୍ଟିବଗ | kāṇṭibaga |
| woodpecker | କାଠହଣା | kāṭhahaṇā |
| cockatoo | କାକତୁଆ | kāktuā |
| snipe | କାଦୁଅଖୁମ୍ପି | kāduakhumpi |
| cock | ଗଞ୍ଜା | gañjā |
| hen | କୁକୁଡ଼ା | kukuṛā |
| hornbill | କୋଚିଲାଖାଇ | kochilākhāi |
| cuckoo | କୋଇଲି | koili |
| black drongo | କଜଳପାତୀ | kajaḷpātī |
| strix | କଳାପେଚା | kaḷāpechā |
| chicken | କୁକୁଡ଼ାଛୁଆ | kukuṛāchuā |
| wagtail | ଖଞ୍ଜନ | khañjana |
| curlew,bittern | କ୍ରୌଞ୍ଚ | krouñca |
| quail | ଗୁଣ୍ଠୁରୀ | guṇṭhurī |
| grey crane | ଗେଣ୍ଡାଳିଆ | geṇḍāḷiā |
| nightingale | ଗୋବରା ,ବୁଲବୁଲ | gobarā, bulbul |
| sparrow | ଘରଚଟିଆ | gharcaṭiā |
| ruddy goose | ଚକ୍ରବାକ | cakrabāka |
| swallow | ଚାତକ | cātaka |
| kite | ଚିଲ | cila |
| bird | ଚଢେଇ | caṛhei |
| falcon | ଛଞ୍ଚାଣ | chañcāṇa |
| water fowl | ଜଳଚର ପକ୍ଷୀ | jaḷcara pakhī |
| lorikeet | ଟିଆ (ପାତିଶୁଆ) | ṭiā (pātiśuā) |
| tattler bird | ଟେଣ୍ଟେଇ | ṭeṇṭei |
| rook,raven | ଡାମରାକାଉ | dāmrākāu |
| water hen | ଡାହୁକ | dāhuk |
| partridge | ତିତିରି, ହରଡ | titiri, harada |
| magpie robin, redstarts robin | ଦୟାଳୁ ଚଢେଇ | dayāḷu cåṛhei |
| pigeon | ପାରା | pārā |
| little cormorant | ପାଣିକୁଆ | pāṇikuā |
| drake | ପାତିହଂସ | pātihaṅsa |
| duck | ପାତିହଂସୀ | pātihaṅsī |
| owl | ପେଚା | pecā |
| stork | ବଢ଼ିଆକାଙ୍କ, ସାରସ | baṛhiākaṅka, sārasa |
| heron | ବଗ | baga |
| myna, mina | ବଣି | baṇi |
| weaver bird | ବାୟାଚଢେଇ | bāyācaṛhei |
| hawk | ବାଜ | bāj |
| sandpiper | ବାଲିଟେଣ୍ଟେଇ | bāliṭeṇṭei |
| bat | ବାଦୁଡ଼ି | bāduṛi |
| dabchick | ବିଲହଂସ | bilahaṅsa |
| large egret | ବଗୁଲା | bagulā |
| lark | ଭରତିଆ | bharatiā |
| peacock | ମୟୂର | mayūr |
| peahen | ମୟୂରୀ | mayūri |
| king-fisher | ମାଛରଙ୍କା | mācharaṅkā |
| gander | ରାଜହଂସ | rājhaṅsa |
| goose | ରାଜହଂସୀ | rājhaṅsī |
| tumbler | ଲୋଟଣୀପାରା | lotaṇiparā |
| vulture | ଶାଗୁଣା | śāguṇā |
| parrot | ଶୁଆ | śuā |
| chat | ସାତଭାୟା | sāaåbhāyā |
| golden oriole, mango bird | ହଳଦୀବସନ୍ତ | haḷadī basanta |
| greylag goose | ହଂସରାଡ଼ି | haṅsarāṛi |
| adjutant | ହାଡ଼ଗିଳା | hāṛagiḷā |
# Odia/Conjuncts
## Consonant ligatures

Clusters of two or more consonants form a ligature. Basically Oriya has two types of such consonant ligatures. The "northern" type is formed by fusion of two ore more consonants as in northern scripts like Devanāgarī (but to a lesser extent also in the Malayalam script in the south). In some instances the components can be easily identified, but sometimes completely new glyphs are formed. With the "southern" type the second component is reduced in size and put under the first as in the southern scripts used for Kannada and Telugu (and to some extent also for Malayalam script. The following table shows the most commonly used ligatures. (Different fonts may use different ligatures.)

### Special forms

⟨ẏ⟩ and ⟨r⟩ as components of a ligature are given a special treatment. As last member they become ୍ୟ and ୍ର respectively:
⟨r⟩ as first member of a ligature becomes (called Repha as in other Indic scripts) and is shifted to the end of the ligature:

## Ambiguities

The Oriya alphabet exhibits quite a few ambiguities which add to the difficulties beginners encounter in learning it.
Some of the letters of the script may easily be confounded. In order to reduce ambiguities a small oblique stroke is added at the lower right end as a diacritic. It resembles Halanta (Virāma) but it is joined to the letter, whereas Halanta is not joined. When the consonant forms a vowel ligature by which the lower right end is affected, this stroke is shifted to another position. This applies also to consonant ligatures baring the stroke (see table of consonant ligatures).
Some of the subjoined consonants, some other ligature components and variants of vowel diacritics have changing functions:
Open top consonants get a subjoined variant of the vowel diacritic for ⟨i⟩ as in
This same little hook is used in some consonant ligatures to denote ⟨t⟩ as first component:
The subjoined form of ⟨ch⟩ is also used for subjoined ⟨th⟩:
The subjoined form of ⟨bh⟩ serves also as a diacritic for different purposes:
The subjoined forms of ⟨ṇ⟩ and ⟨tu⟩ are almost identical:
The sign for the nasal ⟨ṁ⟩ may be used as a diacritic too: