WBCHSE HS Hindi (Second Language - HINB) cheat sheet

Passage-based answers must quote the exact phrase from the extract before interpreting it; a claim without textual support earns no credit in WBCHSE marking.

Vyakhya (explanation) answers follow a fixed order: literal meaning of the line, its deeper sense, the writer's intent, and the contextual link to the surrounding text.

Identify the gadya ki vidha first - nibandh (essay), rekhachitra (portrait), sansmaran (memoir), jivani (biography), kahani - because the expected appreciation vocabulary changes with the form.

For 'central idea' questions, state the theme in one sentence, then supply two textual proofs; pure summary without theme statement is treated as incomplete.

Author-context facts worth memorising: name, period, region, and one major work per prescribed prose piece; examiners ask these as short 1–2 mark items.

Language-function questions (muhavara, lokokti, tatpurush word) inside a prose passage are answered from the passage itself, not from general knowledge.

When asked 'why did the writer say this', answer with cause and effect drawn from the passage; moralising outside the text is penalised.

Distinguish kathanak (narrative) from vichar (reflection) in a prose extract; the 'uddeshya' question usually targets the reflective portion.

Rasa arises only when vibhava, anubhava and vyabhichari bhava combine; naming the sthayi bhava alone is not a full rasa answer.

Nine rasas to name precisely: shringar, hasya, karuna, raudra, veer, bhayanak, bibhatsa, adbhut, shant.

Mukhya rasas in devotional and national poems are usually veer, karuna or shant; identify the sthayi bhava first, then label the rasa.

Alankar identification needs the definition plus the example from the line: anupras (repeated consonants), yamak (same word, different sense), upma (comparison with 'sa/jaise'), rupak (direct identification), utpreksha (as-if imagination).

Chhand recognition: count matras per charan; 16-16 matras with specific laghu-guru order indicates chaupai, 11-11 indicates doha-type patterns; name the chhand only when the matra count fits.

Vyakhya of a poem must state the literal sense, the implied sense, the bhav, and the alankar present in that line.

For 'kavi ka uddeshya', link the message to the poet's era and reformist or devotional stance rather than offering a general moral.

Reetikal, Bhaktikal and Adhunik features are asked comparatively; keep one identifying feature per period ready (e.g., shringar elaboration, sagun bhakti, progressive social voice).

Natak answers separate drishya (stage-visible action) from vachik (reported) events; plot questions often hinge on what happens off-stage.

Character sketches require three elements: physical/social identity, one dominant trait with an incident as proof, and the character's function in the plot.

Conflict structure in a natak: udbhav (rising), virodh ka vikas (complication), charam (climax), samadhan (resolution); name the stage when asked about ghatna-kram.

Theme answers must be phrased as a claim about human or social values, then supported by two incidents from the text.

For kahani, distinguish charitra (character), ghatna (event) and vatavaran (milieu); the 'kahani ka uddeshya' question wants theme plus milieu.

Title-justification answers cite at least two textual moments where the title's word or idea recurs literally or symbolically.

Know the text type: ekanki (one-act) versus poorn natak (full-length), and whether the work is translated or original; this affects the expected vocabulary of appreciation.

Dialogue-based questions quote the speaker and the addressee; misattributing a line to the wrong character is the most common lost mark.

Sandhi rule check: svar sandhi when two vowels meet (dirgha, guna, vriddhi, yan, ayadi); vyanjan sandhi when a consonant follows a vowel; visarga sandhi when visarga precedes a vowel or consonant.

Dirgha: a/aa + a/aa → aa; i/ii + i/ii → ii; u/uu + u/uu → uu. Guna: a + i/ii → e; a + u/uu → o; a + ri → ar. Vriddhi: a + e/ai → ai; a + o/au → au.

Samas identification: tatpurush when the first member modifies or governs the second (case relation hidden); karmadharaya when both words describe the same thing; dvigu when the first member is a numeral; bahuvrihi when the compound denotes something other than its members; dvandva when members are joined by 'aur'.

Kaarak mapping: karta (nominative, 'ne' with transitive perfect), karma (accusative, 'ko'), karan (instrumental, 'se/ke dwara'), sampradan ('ko' for giving), apadan ('se' for separation), adhikaran ('mein/par').

Kaal: vartaman, bhoot (saamanya, poorn, apurn), bhavishya; perfect tense uses 'tha/thi/the' with the past participle, and apurn bhoot uses 'raha tha'.

Vachya transformation: karmavachya converts the object into the subject and the verb into the past participle with 'gaya/gayi/gaye'; karta in karmavachya takes 'ke dwara' or 'se'.

Muhavara answers give the idiomatic meaning, not the literal gloss; lokokti answers give the shared folk wisdom the saying encodes.

Rachna ke aadhar par vakya bhed: saral (one finite verb), sanyukt (joined by yojak 'aur/lekin'), mishrit (main plus dependent clause with 'jo/kyonki/agar').

Nibandh structure: prastavna (2–3 sentences), vishay-vistar in 3–4 paragraphs with one idea each, and upsanhar; word count and time are fixed, so plan before writing.

Nibandh types to recognise: varnanatmak (descriptive), vicharatmak (reflective), bhavnatmak (emotional), and samasyatmak (problem-solution); the introduction style differs for each.

Aupcharik patra (formal letter) order: sender address, date, receiver address, vishay line, salutation, body, closing, signature - vishay is compulsory and omission loses marks.

Anupcharik patra (informal) uses 'priya' or 'aadarniya' salutation, personal address, and no vishay line; the tone is first person and conversational.

Report (prativedan) answers the five Ws in past tense, third person, with a heading, reporter's name and date; opinion must be excluded.

Suchna (notice) is boxed, under 50 words, with heading, date, issuing authority and contact; no salutation and no personal address.

Pratishekh (precis) keeps only the central idea, uses the third person, drops examples and repetition, and states the word count of the precis at the end.

Essay titles must be addressed directly in the first sentence; a digression in the opening paragraph is the main cause of low marks in nibandh.

Read the questions before the passage so that the second reading is targeted; answer in the order asked and keep numbering identical to the question paper.

Answers to apathit passages must be written in your own words; lifting a full sentence verbatim is usually not credited.

Vocabulary questions ask for paryayvachi (synonym), vilom (antonym) and shabd-bhed; answer with a single word, not a phrase.

For apathit padyansh, identify the sthayi bhava and the alankar before answering the meaning question, because the interpretation depends on them.

'Kavi ka naam' or 'lekhak ka naam' is not asked in a true apathit passage; if the passage is attributed, the attribution is printed, so read the credit line.

Inference questions use 'kyon', 'kaise' or 'kya ashay' - answer with a because-clause drawn from the passage, not with general knowledge.

Title-suggestion questions require a phrase taken from the passage's central idea, not a single abstract noun.

Muhavara or lokokti inside an unseen passage is explained from the context of that passage, since the same idiom can carry a different shade.