PSEB Matric Urdu Elective cheat sheet

Nasr ki aam iqsaam mein kahani, afsana, mazmoon, khaka, safarnama aur tanqeedi mazmoon shamil hain; har qism ka maqsad aur asloob alag hota hai.

Kahani ke bunyadi ajza tema, kirdaar, waqt-o-makan, kasheedgi aur anjaam hain; kirdaar ka tajziya us ke amaal, guftagu aur doosron ke tabsure se kiya jata hai.

Markazi khayal nikalne ke liye sabaq ke aghaz, har paragraph ke topic sentence aur aakhri para ka natija dekhen; takrar shuda maani markazi tema ki nishani hoti hai.

Mazmoon mein dalleel aur misalen markazi dawe ki taeed karti hain; kahani mein sabak ya nateeja aksar aakhri hisse mein zahir hota hai.

Khaka mein shakhs ki zati khubiyan aur numayan kirdaar par roshni hoti hai; safarnama mein manazir, tajurba aur musafir ka tabsura milta hai.

Tanqeedi mazmoon mein dawe ke saath saboot, hawala ya matni misal zaroori hai; sirf ray dene se tanqeed mukammal nahin hoti.

Sabaq ke kirdaar ka kirdar-e-khususi us ke maslak, zabaan aur doosre kirdaar ke saath taluq se wazeh hota hai; hero aur villain ki sakht takseem se bachna behtar hota hai.

Ghazal ke bunyadi ajza matla, radif, qafiya, behr aur maqta hain; radif har sher ke aakhir mein dohraya jane wala lafz ya ibarat hota hai.

Qafiya radif se pehle aane wala hum-aawaz lafz hai; matla ghazal ka pehla sher hai jis ke dono misre hum-qafiya aur hum-radif hote hain.

Behr arooz ki wazan hai; ise taqti se pehchan kar sher ke arkan milaye jate hain; ghalat behr se sher ka wazan toot jata hai.

Nazm mein ek markazi tema hota hai aur misron ka rasta usi tema ki taraf hota hai; ghazal ke ashar mein alag alag tema ho sakte hain.

Tashbeeh mein 'jaise', 'jaisa' ya 'ki tarah' ke alfaaz ke saath shabeeh aur mushabbah milte hain; istiara mein ek lafz ko majazi maani mein istemal kiya jata hai.

Sanat-e-tazad mutazad alfaaz ko qareeb la kar maani ko wazeh karti hai; sanat-e-mubaligha mein baat ko asar ke liye barha charha kar pesh kiya jata hai.

Sher ke do misron ko misra-e-oola aur misra-e-sani kaha jata hai; sher ka wazan aur radif-qafiya ka nizam us ki sail ke liye ahem hai.

Ghazal ke aakhri sher ko maqta kaha jata hai; is mein shayar aksar apna takhallus istemal karta hai.

Urdu mein bunyadi suraatein kalam ism, fail aur harf hain; ism kisi cheez ya shakhs ka naam, fail kaam, harf taluq zaahir karta hai.

Ism ki qismein ism-e-khas, ism-e-aam, ism-e-jamid aur ism-e-mushtaq hain; ism-e-khas khaas shakhs ya jagah ka naam hota hai.

Fail ki qismein fail-e-lazim, fail-e-mutaaddi, fail-e-mazi aur fail-e-mustaqbil hain; fail-e-lazim ko mafool ki zaroorat nahin hoti.

Jumla-e-ismiya mein mubtada aur khabar hoti hai; jumla-e-failiya mein fail, fail ka faail aur mafool tarteeb se aate hain.

Wahid se jama banane ke liye aam tor par aakhir mein 'ein' ya 'aat' lagti hai; be-qawaid jama yaad rakhne padte hain.

Muzakkar aur muannas ki tafreeq sifaat, fail aur zameer mein zahir hoti hai; muannas ke liye aksar 'i' ya 'aat' ki nishani hoti hai.

Mutazad alfaz woh hain jin ke maani ek doosre ke ulat hain; hum-maani alfaz ke maani qareeb hotay hain.

Muhawara apne lafzi maani se nahin balki istilahi maani mein samjha jata hai; jumle mein us ka maani se mail zaroori hai.

Jumla durust karne ke liye fail ka mubtada ke saath mutabiq hona, waqt ki nishani aur mafool ki tarteeb check karen.

Mazmoon ki tarteeb unwan, tamheed, tafseel aur natija hai; har hissa apne maqsad ke mutabiq tarteebwar hota hai.

Mazmoon ka unwan markazi tema ki taraf ishara karta hai; tamheed mein parichay aur dawe ki wazeh ishara hota hai.

Paragraph mein topic sentence, taeedi jumle aur khatma hota hai; be-taluq jumla paragraph ki unity todta hai.

Tafseel mein misal, saboot ya waqia dena dawe ko mazboot karta hai; takrar se nukta kamzor hota hai.

Natija tamheed ke dawe ko tafseel ke baad mukhtasar band karta hai; naya markazi dawe wahan nahin jorna chahiye.

Kahani mein aghaz, kasheedgi, hal aur anjaam hota hai; kirdaar ka maqsad kasheedgi se wazeh hota hai.

Tasveer-nigari mein manzar ke tafseel, hiss aur tarteeb par tawajjuh di jati hai; har jumla tasveer ka ek hissa banata hai.

Mazmoon ki zabaan mein rawani, wazeh alfaz aur munasib taluq zaroori hain; ghair-zaroori tashbeehat asar kam karti hain.

Unseen passage ke liye pehle poora safha ek bar parh kar markazi khayal aur lehja tay karen; phir sawal ke mutabiq maeeni talash karen.

Lafz ka maani siyaq se tay hota hai; hum-maani, mutazad aur ishtiqaq se andaza lagana madad karta hai.

Sawal ka jawab passage ke alfaaz mein na ho to bhi maani passage se hi liya jaye; apni ray dalna fahm ka jawab nahin hota.

Urdu se English tarjume mein fail ka waqt, shakhsiyat aur jumle ki tarteeb badalni padti hai; lafzi tarjuma nahin, maani ka tarjuma karen.

Idiom aur muhaware ka lafzi tarjuma nahin hota; un ke barabar ka English ya Punjabi istilah istemal kiya jata hai.

Punjabi rendering mein Urdu ke ism, fail aur harf ke barabar Punjabi roop chunen; tehzeebi aur mazhabi istilahat ko jaisa hai waisa rakhen.

Tarjume mein khaas naam, jagah aur adad ko tabdeel nahin karte; sirf zaroorat par transliteration ya wazeh tarteeb dete hain.

Jumla lamba ho to us ko chhote hisson mein tor kar har hissa ka fail aur mafool alag karen; is se tarjuma qabil-e-fahm hota hai.

Darkhwast mein bhejne wale ka pata, tareekh, mukhatib, salam, mazmoon aur dastakhat hota hai; mazmoon mukhtasar aur wazeh hona chahiye.

Chhutti ki darkhwast mein wajah, muddat aur wapsi ki tafseel hoti hai; wajah ke liye muzahmat wazeh aur nazuk honi chahiye.

Notice mein kya, kab, kahan, kaun aur kyun wazeh ho; unwan aur zariya-e-rabta zaroori hai.

Advertisement mein headline, faida, qeemat ya offer aur rabta number hota hai; chhote jumle aur wazeh alfaz istemal hote hain.

Rasmi khat mein munasib salutation, khat ka maqsad aur 'Aap ka' ke saath dastakhat hota hai.

Application mein darkhwast ki zabaan rasmi aur mulayam hoti hai; ghusse ya ilzaam se bachna chahiye.

Notice board ke liye notice mein tareekh aur dene wale ka naam hota hai; mazmoon aam fahm aur chhota hota hai.