WBCHSE HS Nepali (Second Language) cheat sheet

Prescribed prose includes essays, short stories, and biographical sketches; identify the genre of each text before answering.

For each prose lesson, note the author's full name, the source text, and the central theme (mukhya bhav).

Character analysis questions require naming the character, their role, and one supporting incident from the text.

Theme questions often ask for the 'uddeshya' (purpose) of the essay; answer with the author's stated or implied message.

Distinguish between 'varnan' (description) and 'vichar' (thought) passages; questions on style may ask which dominates.

For story-based prose, know the sequence of events (krama) and the turning point (nirnayak kshan).

Quotations from prose texts may be tested for context; memorize 2–3 key lines per lesson with speaker and situation.

Questions on 'shirshak' (title) justification require linking the title to the main event or idea, not merely restating it.

Compare-and-contrast questions across two prose lessons need one similarity and one difference with textual evidence.

Identify the 'kavi' (poet), 'kavita' title, and 'chhanda' (metre) where prescribed; metre questions may ask for 'matra' count.

Central sentiment (mukhya bhav) of a poem is usually one of: deshbhakti, prakriti prem, manavta, or atmabishwas.

Figure-of-speech questions: 'upama' (simile) uses 'jastai/सरि'; 'rupak' (metaphor) identifies one object as another without comparison words.

Anupras (alliteration) is repetition of the same initial consonant sound; Yamak is repetition of the same word with different meaning.

For 'bhavarth' (meaning) questions, paraphrase the stanza in simple Nepali and state the implied message.

Poems with refrain (tek) require identifying the repeated line and explaining its thematic function.

Know the difference between 'shabda-shakti' types: abhidha (literal), lakshana (indicative), and vyanjana (suggestive).

Historical or patriotic poems may ask for the poet's contemporary context; link the poem's message to its period.

When asked to compare two poems, use one point of similarity in theme and one difference in tone or style.

For drama, identify 'natakkar', main characters (patra), and the central conflict (dvandva) that drives the plot.

Know the five sandhi (plot stages) in classical drama: mukha, pratimukha, garbha, vimarsha, and nirvahana.

Dialogue-based questions test who said what to whom; memorize 3–4 pivotal dialogues per prescribed drama.

Fiction questions may ask for 'katha-bindu' (climax) and 'ant' (ending); distinguish climax from resolution.

Character motivation questions require citing an action or statement from the text, not personal opinion.

For long fiction, outline the setting (sthan), time period, and social context in which the story unfolds.

Questions on 'uddeshya' of a drama often concern social reform; state the vice criticized and the ideal proposed.

Narrative technique questions may ask whether the story uses first-person (uttam purush) or third-person (pratham purush) narration.

Sandhi: 'swar sandhi' joins vowels; 'vyanjan sandhi' joins consonants; 'visarga sandhi' involves visarga. Identify the type before applying the rule.

Common swar sandhi rules: dirgha (a/ā + a/ā → ā), guna (a + i/u → e/o), vriddhi (a + e/o → ai/au).

Samasa types: tatpurush (case relation), karmadharaya (adjective), dvigu (numeral), dvandva (coordination), bahuvrihi (possessive).

For samasa questions, expand the compound into a phrase to identify the type; bahuvrihi refers to an external object.

Karaka (case) questions: identify the role (karta, karma, karan, sampradan, apadan, adhikaran) before assigning vibhakti.

Vibhakti endings in Nepali: -le (karan/karta), -lai (karma/sampradan), -bata (apadan), -ma (adhikaran).

Tense and aspect: distinguish 'samanya vartaman' (simple present), 'purna vartaman' (present perfect), and 'apurna' (continuous).

Voice (vachya): 'kartri vachya' (active) vs 'karma vachya' (passive); passive requires the object to become subject and verb to agree.

Paryayvachi (synonyms) and vilom (antonyms) questions: give one standard synonym/antonym, not a descriptive phrase.

Ukhān (idioms) must be used in a sentence; the answer requires the idiomatic meaning plus a contextual example.

Nibandha (essay) structure: bhumika (introduction), vishaya-vistara (body paragraphs), and upasamhar (conclusion).

Each body paragraph should develop one point with an example or reason; avoid mixing unrelated points in one paragraph.

Word limit questions: a 200-word essay needs roughly 3–4 paragraphs; a 300-word essay needs 4–5 paragraphs.

Use formal register (shisht bhasha) in essays; avoid colloquial contractions and first-person anecdotes unless the topic is personal.

For 'vishaya-vistara' marks, include at least one factual reference (date, place, or statistic) where the topic allows.

Conclusion should restate the thesis and offer a suggestion or forward-looking statement, not introduce new arguments.

Patra-lekhan (letter) format: sthan ra miti, sambodhan, vishesh, mukhya kura, and hasthakshar in the correct order.

Report writing (prativedan) requires a title, date, place, and a factual account in past tense; avoid personal opinion.

Dialogue writing (samvad) must maintain turn-taking and appropriate politeness markers for the relationship between speakers.

Formal letter (aupacharik patra) uses 'Mahodaya/Mahodaya' and ends with 'Bhavadiya' or 'Agyakari'; informal uses 'Priya' and personal closing.

Order of formal letter: sender's address, date, receiver's designation and address, subject line, salutation, body, closing, signature.

Application (nivedan patra) must state the purpose in the first paragraph and provide supporting details in the second.

Complaint letter (gunnaso patra) should describe the problem, its impact, and a specific request for action.

Invitation (nimantran) includes event, date, time, venue, and a request for confirmation; keep it brief and precise.

Notice (suchana) is written in third person, includes date and issuing authority, and is displayed publicly.

Advertisement (vigyapan) uses short imperative phrases and highlights the product's unique selling point.

Email format in Nepali: 'Vishaya' line, salutation, concise body, and formal closing; avoid SMS-style abbreviations.

For 'patra-lekhan' marks, format carries weight: missing date, salutation, or signature loses marks even if content is good.

Unseen passage questions: read the questions first, then locate the answer in the passage; answers must be in your own words unless quoting is asked.

For 'shirshak' (title) of an unseen passage, choose a phrase that captures the main idea, not a minor detail.

Vocabulary-in-context questions require the meaning as used in the passage, not the dictionary's first sense.

Translation (anuvad) from Nepali to English must preserve tense, number, and register; avoid word-for-word literal translation.

Translation from English to Nepali: keep technical terms in English where standard, and use Nepali case markers correctly.

Idioms in translation should be rendered by an equivalent idiom, not a literal gloss, when one exists.

Inference questions ask what the passage implies; the answer must be supported by textual clues, not outside knowledge.

For summary (sankshep) questions, retain the main argument and omit examples; aim for one-third of the original length.

True/false or matching questions on a passage: verify each option against a specific line before marking.