WBBSE Madhyamik Gujarati (First Language) cheat sheet

Read the whole gadyansh once for global meaning before answering; question order usually follows paragraph order.

Answer in your own words where the question says 'apane shabdomā'; copying the passage verbatim may lose marks.

Identify the central bhāv (theme) first: most passages carry a moral, social message, or personal reflection.

Distinguish 'kathan' (narrative), 'varnan' (description), and 'vichār' (reflection) - the type decides the tone of the answer.

For 'shirshak' (title) questions, choose a phrase that covers the whole passage, not just the opening line.

Vocabulary-in-context questions: replace the word in the sentence and check whether the meaning still fits.

Quote line numbers or key phrases when asked 'kathanā ādhāre' - evidence earns credit.

Watch for sandhi-split or compound words inside the passage; splitting reveals the literal meaning.

Answer length should match marks: 1 mark = one short sentence; 3 marks = two to three connected sentences.

Read aloud once to catch laya (rhythm) and yati (pause); rhythm often signals the emotional tone.

Locate the mukhyabhāv (central sentiment) - karuṇā, vīr, shṛṅgār, vismay, or bhakti are the usual categories.

Identify the vaktā (speaker) and sambodhya (addressee): 'he' indicates an address, often to a deity, nature, or the reader.

Alaṅkāra questions: 'upamā' uses 'jevo/jem'; 'rūpaka' equates without comparison words; 'anupṛāsa' repeats consonants.

Answer 'kavi kya kahe chhe' by paraphrasing the idea in prose, not by copying the verse.

Note the number of lines and the pattern - a four-line stanza with rhyme usually marks a 'padya' or 'kavita'.

For 'shabda-artha' questions, give the meaning as used in the poem, not a dictionary alternative that breaks the sense.

Rasa questions: karuṇ = sorrow, vīr = courage, hāsya = laughter, bhayānak = fear, adbhut = wonder.

When asked for 'sār', compress the poem into one or two sentences covering both literal meaning and inner message.

Anchor every answer to the prescribed text: name the author, the work, and the episode before explaining.

Know the central vichār of each chapter - most prose lessons carry a single thesis the question tests.

Character questions require two traits plus one textual instance for each trait.

Distinguish 'kathā' (what happens) from 'uddeshya' (why the author tells it); marks differ.

For 'kyā kahyu chhe' questions, paraphrase the author's statement, then add the implied meaning.

Memorise key phrases from each lesson; examiners accept a short quoted phrase as evidence.

Rājā, sādhu, shikshak, and kisan characters recur; check the role before describing motive.

If asked for 'shiksha' or 'sandesh', state the moral in one sentence and then justify it from the text.

Watch for questions comparing two characters or two lessons; structure the answer as a parallel contrast.

Name the kavi and the poem before answering; marks are often allotted for correct attribution.

Each prescribed poem has a fixed mukhyabhāv; state it in the first line of the answer.

Alaṅkāra identification must be followed by the words that create it - 'upamā' needs 'jevo', 'rūpaka' needs direct identification.

For 'kavi ne kyā kahyu' questions, paraphrase the line and then give the inner meaning.

Note the form: some prescribed poems are 'padya', some 'bhajan', some 'gīt' - the form affects the tone.

Rasa and bhāv questions: match the emotion to the whole poem, not a single line.

Memorise one representative line per poem as textual evidence.

For 'sār' questions, cover the opening situation, the central idea, and the closing message.

If asked about 'chhand' or 'laya', describe the syllable pattern rather than guessing a name.

Druṭapaṭhan passages test speed: read the questions first, then scan for the answer location.

Answers are short - usually one sentence or a phrase; do not write essays.

Match names, dates, and numbers exactly; druṭapaṭhan questions often test factual recall.

Skim for keywords from the question (proper nouns, verbs) rather than reading word by word.

If the passage is a story excerpt, note the sequence of events - order questions appear frequently.

Watch for 'kone kahyu' (who said) questions; the speaker is often different from the subject.

Do not add outside information; answers must come from the given passage.

If a question asks for 'kāraṇ' (cause), look for 'kāraṇ', 'ethi', 'māṭe' in the passage.

Time-box: spend no more than one minute per question; return to difficult ones at the end.

Sandhi: 'svar sandhi' joins vowels; 'vyañjan sandhi' joins consonants; 'visarga sandhi' involves 'ḥ'.

Common svar sandhi: a + a = ā, a + i = e, a + u = o, a + ṛ = ar.

Samāsa types: 'dvandva' (both joined by 'ane'), 'tatpuruṣa' (second word dominant), 'bahuvrīhi' (refers to a third thing), 'dvigu' (number first), 'karmadhāraya' (adjective first).

Sandhi-vichchhed reverses sandhi; samāsa-vigraha reverses samāsa - do not confuse the two.

Kārak: kartā (subject), karma (object), karaṇ (instrument), sampradān (recipient), apādān (source), adhikaraṇ (location), sambandh (relation).

Vibhakti endings: -ne (karma/sampradān), -thī (karaṇ/apādān), -mā (adhikaraṇ), -no/-nī/-nu (sambandh).

Vachan (number) and liṅga (gender) must agree between viśeṣaṇa (adjective) and viśeṣya (noun).

Kriyā (verb) forms: vartamān (present), bhūt (past), bhaviṣya (future); 'chhe' marks present, 'hato' marks past.

Vākya-rachana: identify 'uddhishta' (subject) and 'vidheya' (predicate) before rewriting a sentence.

Nibandh (essay) structure: prastāvanā (introduction), madhya (body with two to three points), upasamhār (conclusion).

Formal letter format: sender's address, date, receiver's address, subject line, salutation, body, closing, signature.

Informal letter omits the receiver's address and subject line; tone is personal.

Notice format: heading 'Sūchanā', date, subject, body of two to three sentences, name and designation of issuer.

Report format: heading, reporter's name and date, then past-tense narration of the event.

Essay length should match the marks: 100–150 words for a short essay, 200–250 for a full one.

Use connectives - 'uparānt', 'tethī', 'parantu', 'ākhares' - to link paragraphs.

Avoid first-person in reports and notices; use third person and passive where appropriate.

In letters, the subject line goes after the salutation in Gujarati school format; follow the pattern shown in the textbook.

Idiom (kahevat/rūḍhi prayog) meaning must be given as a whole phrase, not word by word.

Common idiom: 'āṅkhno tāro' = very dear; 'hāth pākhavā' = to help; 'kān khāḍā karavā' = to refuse to listen.

Proverb (kahevat) questions ask for meaning plus a one-line usage.

Synonyms (paryāyavāchī): 'sūraj' = bhāskar, dinakar, ravī; 'pāṇī' = jal, nīr, ambu.

Antonyms (viruddhārthī): 'prakāsh' ↔ andhakār; 'satyā' ↔ asatya; 'jaya' ↔ parājaya.

Sama-shabda (homophones) differ in meaning: 'kal' (yesterday/tomorrow), 'par' (feather/foreign).

Word-formation: 'kṛdanta' from verbs, 'taddhita' from nouns; recognise suffixes like -āī, -pāṇu, -tva.

Jodanī (compound spelling): 'rām-ravan', 'mātā-pitā' take a hyphen; single-word compounds take none.

For 'shabda-samūh' (one word for a phrase): 'jene koi nā hoy' = anāth; 'jene khabar na hoy' = ajāṇ.

Read the question twice before writing; marks are lost for answering a different question than asked.

Underline the operative word: 'kāraṇ', 'udāharaṇ', 'sār', 'shirshak', 'vyākhyā' - each demands a different answer type.

Number answers exactly as the question paper numbers them; unnumbered answers may not be marked.

For 'kathanā ādhāre' questions, quote a short phrase from the passage as evidence.

If unsure of an answer, write a short, accurate sentence rather than a long, vague paragraph.

Allocate time in proportion to marks; a 5-mark question deserves about five minutes.

Cross out rough work clearly; examiners do not award marks for cancelled text.

For 'tumhāre mat' or 'tumhāru abhiprāy' questions, give your own view with one reason.

Gujarati prose and poetry in the WBBSE syllabus include works by Gandhi, Meghani, and other standard authors; verify the exact lesson list from the current syllabus.

For each prescribed lesson, memorise the author, the source work, and the central theme.

Questions of the form 'kavi kone kahyu' test attribution; answer with the author's full name where known.

Distinguish 'anuvād' (translation) from original composition; some lessons are translated from other languages.

If a lesson is an excerpt, name the larger work it belongs to.

For poet questions, know the era: medieval (bhakti) versus modern (nationalist, reformist).

Do not attribute a line to the wrong poet; if unsure, use null rather than guessing.

Total time is usually three hours; divide into reading (15 min), gadyansh/padyansh (40 min), grammar (30 min), composition (50 min), revision (15 min).

Attempt the section you know best first to build confidence and save time.

Leave space after each answer for additions; do not cram answers together.

Grammar questions are quick marks - answer them before long compositions.

Keep a margin for corrections; examiners penalise untidy scripts.

Write the question number and sub-number clearly; mismatched numbering loses marks.

For multiple-choice sections, answer all questions; there is no negative marking in WBBSE.

Reserve the last ten minutes to check spelling, numbering, and completeness.

'ṛ' (mūrdhanya) versus 'r' (dantya) changes meaning: 'kṛpā' vs 'krapā'.

Long and short vowels matter: 'dīn' (poor) vs 'din' (day).

Anusvāra (ṃ) and anunāsik (m̐) are not interchangeable: 'haṃs' vs 'hām̐s'.

Visarga (ḥ) appears in Sanskrit loans: 'duḥkh', 'antaḥkaraṇ'.

Jodanī rules: hyphenate paired opposites ('din-rāt'), but not compound nouns ('rājdhānī').

Do not split a sandhi incorrectly: 'sūryoday' = 'sūrya + uday', not 'sūryo + day'.

Check plural endings: -o, -ā, -ī, -u change with gender and case.

Common misspellings: 'shikshaṇ' (not 'shikṣaṇ'), 'prārthanā' (not 'prathanā').

For each prose lesson, list the main characters and one defining trait each.

Identify the conflict: man vs nature, man vs society, or man vs self - most lessons fit one.

The 'nāyak' (protagonist) usually embodies the author's message; the 'pratināyak' opposes it.

Theme questions require a one-sentence statement plus textual support.

Note the setting (village, city, school, forest) - it often reinforces the theme.

For 'kyā sandesh' questions, state the moral and then show how a character enacts it.

Compare characters using parallel structure: 'A ... , whereas B ...'.

Watch for minor characters who deliver the message - the author often speaks through them.

Upamā: explicit comparison with 'jevo', 'jem', 'sama'.

Rūpaka: metaphor - one thing is identified as another without comparison words.

Anupṛāsa: repetition of the same consonant for sound effect.

Yamak: repetition of the same word with different meanings.

Shlesh: one word carrying two meanings simultaneously.

Utprekṣā: imagining a possibility ('jāṇe ke ...').

Atishayokti: hyperbole - deliberate exaggeration.

Virodhābhās: apparent contradiction that resolves into a deeper truth.

Rasa: karuṇ (sorrow), vīr (courage), hāsya (laughter), bhayānak (fear), adbhut (wonder), shānt (peace), shṛṅgār (love).

Sanskrit roots: 'kṛ' (to do), 'gam' (to go), 'dā' (to give), 'paṭh' (to read), 'likh' (to write).

Prefixes: 'a-' (negation), 'su-' (good), 'dur-' (bad), 'vi-' (separation), 'pra-' (forward).

Suffixes: '-tva' (abstract noun), '-tā' (state), '-āī' (quality), '-kār' (doer).

Examples: 'sukṛt' = good deed; 'duṣkṛt' = bad deed; 'vigam' = departure; 'pragati' = progress.

Taddhita forms: 'rājā' → 'rājyā' (kingdom); 'putra' → 'pautra' (grandson).

Kṛdanta forms: 'bhāv' (to be) → 'bhāvanā'; 'rach' (to compose) → 'rachnā'.

Recognising a root helps decode unfamiliar words in unseen passages.

For 'shabda-samūh' questions, identify the key noun in the phrase and apply the matching suffix.

Varnanātmak (descriptive) essay: describe a place, festival, or object using sensory detail.

Vichārātmak (reflective) essay: argue a position with two or three reasons and a conclusion.

Kathātmak (narrative) essay: tell a story with a clear beginning, climax, and resolution.

Sāmājik (social) essay: identify a problem, its causes, and a solution.

For 'māhiti' essays, present facts in order: definition, features, importance, conclusion.

Open with a hook sentence - a question, a quotation, or a striking fact.

Close with a forward-looking sentence, not a repetition of the introduction.

Use at least one proverb or idiom in a reflective essay to show language control.

Formal letters begin with the sender's address, then date, then receiver's address.

The subject line is short and noun-based: 'Viṣay: rajā māṭe arjī'.

Salutation: 'Ādarśa mahoday' for formal, 'Priya mitra' for informal.

Body paragraphs: purpose, details, request or action, closing.

Closing: 'Āpano viśhvāsī' for formal, 'Tamāro' for informal.

Applications must state the specific request in the first paragraph.

Do not use contractions or slang in formal letters.

Sign with your name below the closing phrase; leave no blank space for signature in school format.

Notice heading: 'Sūchanā' at the centre, followed by the date and subject.

Notice body: two to three sentences covering what, when, where, and who.

Notice ends with the issuer's name and designation, not a signature.

Report heading states the event; the byline gives reporter name and date.

Report body uses past tense and third person throughout.

Include a quotation from an organiser or participant to add authenticity.

Keep report length to 100–150 words unless the question specifies otherwise.

Do not express personal opinion in a report; report facts only.

Inference questions ask 'what is implied', not 'what is stated'; answer beyond the literal text.

Tone words: vyangyātmak (satirical), gambhīr (serious), hāsyapūrṇ (humorous), karuṇ (sorrowful), āshāvādī (hopeful).

Identify the author's attitude from adjectives and adverbs, not just from stated opinion.

For 'kāraṇ ane pariṇām' questions, link cause to effect with 'tethī' or 'pariṇām-svarūpe'.

Distinguish fact from opinion: opinions carry evaluative words like 'uttam', 'kharāb', 'joie'.

When asked to summarise, compress to one-third of the original length.

For 'shirshak' questions, prefer a phrase that names both topic and stance.

If a passage has dialogue, note who speaks and what each speaker reveals about themselves.

Re-read the prescribed prose and poetry lesson list and confirm author names for each.

Revise the five samāsa types with one example each.

Revise the four sandhi types with two examples each.

Memorise ten common idioms and ten proverbs with meanings.

Practise one formal letter, one notice, and one report under timed conditions.

Review kārak and vibhakti endings with a short exercise.

Check the format of a nibandh: introduction, body, conclusion.

Confirm the exam pattern and marks distribution from the current syllabus.

Practise one unseen gadyansh and one padyansh for speed.

Write answers in complete sentences; one-word answers rarely earn full marks unless asked.

Underline key terms (author names, technical terms) to guide the examiner.

Use bullet points only for list-type questions; prose is expected for explanation questions.

Begin each answer on a new line with the question number.

For 1-mark questions, give a single sentence; for 5-mark questions, give a structured paragraph.

Do not repeat the question in the answer; begin directly with the response.

If a question has two parts ('kyā' and 'kā'), answer both explicitly.

Neat handwriting and margins affect impression marking in composition sections.

'Sūrya + uday' = 'sūryoday' (svar sandhi, a + u = o).

'Hima + ālay' = 'himālay' (svar sandhi, a + ā = ā).

'Sat + jan' = 'sajjan' (vyañjan sandhi, t + j = j).

'Nara + indra' = 'narendra' (svar sandhi, a + i = e).

'Rājā + putra' = 'rājputra' (tatpuruṣa samāsa).

'Mātā ane pitā' = 'mātā-pitā' (dvandva samāsa).

'Nīlā āṅkho jevo' = 'nīlāṅkha' (bahuvrīhi samāsa).

'Chār pāyo jevo' = 'chau-pāyo' (dvigu samāsa).

'Mahān puruṣ' = 'mahāpuruṣ' (karmadhāraya samāsa).

'Āṅkhno tāro' = very dear person.

'Hāth pākhavā' = to lend support.

'Mūnkhmā hīrā' = to keep a secret.

'Kān khāḍā karavā' = to refuse to listen.

'Nāk mā āṅgḷo' = to meddle unnecessarily.

'Āg mā ghee hālavā' = to worsen a quarrel.

'Ek hāth thī tāḷī na vāge' = cooperation is necessary.

'Jem nāgo tyāṃ loḍho' = a bad thing is always exposed.

'Kāḷāje chhe' = there is no alternative.

'Dūdh mā pāṇī bharavā' = to spoil a good thing.

'Sūraj': bhāskar, dinakar, ravī, āditya.

'Chandra': shashī, indu, nishākar, himakara.

'Pāṇī': jal, nīr, ambu, toy.

'Agnī': agni, vahni, anal, hutāshan.

'Pṛthvī': dharā, bhūmi, vasundharā, dharitrī.

'Prakāsh' ↔ andhakār; 'satyā' ↔ asatya; 'jaya' ↔ parājaya; 'sukh' ↔ dukh; 'din' ↔ rāt.

'Uttam' ↔ adham; 'sundar' ↔ kudar; 'shīt' ↔ uṣhṇa; 'nīr' ↔ kūp.

Use synonyms in essay writing to avoid repetition.

Antonym questions in grammar sections often test prefixes 'a-' and 'dur-'.

Skim the passage for keywords from the question before reading in detail.

Read the first and last sentence of each paragraph for the gist.

Underline names, numbers, and dates as you scan.

Answer factual questions first; leave inference questions for later.

Do not read every word twice; one pass with a question in mind suffices.

If a question asks for a sequence, note the order of events in the margin.

Match the exact wording of the answer to the passage wording for factual questions.

Practise with a timer: aim for 200–250 words per minute in Gujarati.

'Māru gām' (My village): location, people, occupations, festivals, conclusion on its charm.

'Varshā ṛtu' (Monsoon): description of rain, effects on nature, human life, sentiment.

'Vidyārthī jīvan' (Student life): duties, discipline, study, recreation, conclusion.

'Svatantratā divas' (Independence Day): historical background, celebration, message.

'Paryāvaraṇ surakshā' (Environmental protection): problems, causes, solutions, appeal.

'Mātṛ-bhāṣā' (Mother tongue): importance, role in identity, appeal to preserve.

'Sāmājik madhyam' (Social media): benefits, harms, balanced conclusion.

Each outline should yield three to four paragraphs of 50–70 words each.

Vartamān kāḷ: 'chhe', 'chho', 'chhu' mark present tense.

Bhūt kāḷ: 'hato', 'hatī', 'hatā' mark past tense.

Bhaviṣya kāḷ: 'hase', 'hasho', 'hashu' mark future tense.

Vidhyarthī kriyā: 'karavā' form expresses purpose or request.

Sanket kriyā: 'jo ... to' expresses condition.

Vākya-rachana: identify subject and predicate before rewriting.

Pratyakṣh vākya (direct speech) uses quotation marks; apratyakṣh (indirect) removes them.

Convert direct to indirect by changing pronouns and tense markers consistently.

A shirshak (title) should be short - three to six words - and capture the whole passage.

Avoid shirshak that names only the opening incident; it must cover the conclusion too.

For 'sār' (summary) questions, write one-third of the passage length.

A sār should include the main idea, key supporting points, and conclusion.

Do not introduce new facts in the sār; use only the passage content.

Use connectives to link summary sentences: 'uparānt', 'tethī', 'ākhares'.

Start the sār with the central idea, not with 'ā kathāmā ...'.

If the passage is a story, the sār should mention the main character and the outcome.

Karuṇ rasa: sorrow, loss, separation - signalled by words like 'dukh', 'vilāp', 'rākh'.

Vīr rasa: courage, battle, patriotism - signalled by 'vīr', 'yuddh', 'jaya'.

Hāsya rasa: laughter, satire - signalled by 'hās', 'majāk', 'ṭhamāk'.

Bhayānak rasa: fear - signalled by 'bhay', 'kāḷ', 'bhūt'.

Adbhut rasa: wonder - signalled by 'vismay', 'āshcharya', 'navā'.

Shānt rasa: peace, devotion - signalled by 'shānti', 'bhakti', 'dhyān'.

Shṛṅgār rasa: love, beauty - signalled by 'prem', 'sundar', 'mohak'.

Match the rasa to the whole poem, not to a single line.

Mismatch of liṅga: 'sundar chhokrī' should be 'sundar chhokrī' only if adjective agrees; check gender.

Wrong vibhakti: 'rāmne' (object) versus 'rāmthī' (instrument) - meaning changes.

Double negation: 'koi nathī āvyo nahi' is wrong; use one negative.

Wrong sandhi split: 'rāmāyaṇ' = 'rām + ayaṇ', not 'rāma + yan'.

Incorrect plural: 'chhokrāo' is non-standard; use 'chhokrā'.

Missing anusvāra: 'haṃs' not 'has' when meaning swan.

Confusion of 'chhe' and 'chho' - 'chho' is plural or respectful.

Wrong word order in questions: verb usually precedes subject in Gujarati interrogatives.

Choose the essay topic you can outline in two minutes; do not pick the longest title.

Write the outline in the margin before beginning the essay.

Keep paragraphs to four to six sentences each.

Use at least two idioms or proverbs in the essay.

For letters, confirm format before writing the body.

For notices, keep the body to three sentences.

Reserve five minutes to check spelling and numbering in the composition section.

Do not exceed the word limit by more than ten percent.

'Gadyansh' = prose passage; 'padyansh' = poetry passage.

'Bhāv' = sentiment or idea; 'mukhyabhāv' = central idea.

'Kathan' = narrative; 'varnan' = description; 'vichār' = reflection.

'Nāyak' = protagonist; 'pratināyak' = antagonist.

'Kavi' = poet; 'kavayitrī' = poetess.

'Chhand' = metre; 'laya' = rhythm; 'yati' = pause.

'Alaṅkāra' = poetic device; 'rasa' = aesthetic emotion.

'Sandhi' = joining of sounds; 'samāsa' = compound word.

'Kahevat' = proverb; 'rūḍhi prayog' = idiom.

Identify the author's purpose: to instruct, to inspire, or to criticise.

Most prose lessons end with a moral statement; locate the final paragraph.

The title of a lesson often hints at the theme; connect the title to the ending.

For 'shiksha' questions, state the moral in one sentence and then justify from the text.

Watch for lessons that contrast two ways of life (traditional vs modern).

Note the historical context if the lesson refers to the freedom movement.

For 'sandesh' questions, distinguish the message to the reader from the message to a character.

Use one quoted phrase as evidence for each theme claim.

'Jene khabar na hoy' = ajāṇ (ignorant).

'Jene koi nā hoy' = anāth (orphan).

'Jene shiksha na mali hoy' = nirkshar (illiterate).

'Jene krodh āve' = krodhī (angry).

'Jene lobh hoy' = lobhī (greedy).

'Jene sahan karavā śhakti hoy' = sahanśhīl (tolerant).

'Jene satya priya hoy' = satyavādī (truthful).

'Jene dukh na hoy' = sukhī (happy).

'Jene āḷas hoy' = āḷasī (lazy).

Replace the target word with each option and check whether the sentence still reads naturally.

Look at surrounding words for clues: synonyms, antonyms, or examples.

Use word roots to guess meaning: 'a-' negation, 'su-' good, 'dur-' bad.

Do not choose a dictionary meaning that contradicts the passage's tone.

For 'viruddhārthī' questions, look for contrast markers: 'parantu', 'chhatāṃ'.

For 'paryāyavāchī' questions, check gender and number agreement.

If two options seem correct, choose the one that fits the grammatical role in the sentence.

Confirm the answer by re-reading the full sentence.

Heading: 'Vṛkṣāropan mahotsav - ek ahaivāl'.

Byline: reporter name, place, date.

Opening sentence: what event, where, when.

Body: who inaugurated, how many participated, key activities.

Include one quotation from the chief guest.

Closing: outcome or appeal.

Keep to third person and past tense.

Length: 100–150 words.

Heading: 'Sūchanā' centred at the top.

Date below the heading.

Subject line: 'Viṣay: ...'.

Body: what, when, where, who should attend.

Two to three sentences only.

Issuer's name and designation at the bottom.

No signature required in school format.

Tone: formal, third person.

Direct speech uses quotation marks and a reporting verb.

Indirect speech removes quotation marks and changes pronouns.

Change 'huṃ' to 'te' when the speaker becomes third person.

Change 'chhe' to 'hato' if the reporting verb is past.

Change 'ā' to 'te' and 'ahīṃ' to 'tyāṃ'.

Questions in indirect speech use 'ke' or 'jo'.

Commands use 'karavā' or 'kahyu ke ...'.

Keep the meaning intact; only form changes.

Active: subject performs the action.

Passive: object becomes subject; verb takes 'thī' or 'dvārā'.

Kartā (agent) in passive is marked with 'thī'.

Example: 'rāme patra lakhyu' → 'rām dvārā patra lakhyu gayu'.

Passive is common in reports and notices.

Keep tense consistent between active and passive.

Do not use passive in personal letters.

Check that the object becomes the subject in passive.

Day 1–2: revise prescribed prose lessons and author names.

Day 3–4: revise prescribed poetry and alaṅkāra list.

Day 5: practise one gadyansh and one padyansh.

Day 6: revise grammar (sandhi, samāsa, kārak).

Day 7: write one essay, one letter, one notice, one report.

Day 8: revise idioms, proverbs, synonyms, antonyms.

Day 9: solve one full mock paper under timed conditions.

Day 10: review mistakes and re-read weak topics.