Urdu

The senior secondary Urdu texts for RPSC School Lecturer Paper II should be prepared as an author-work-form map covering prescribed prose, rhetoric, poetry forms and named poets. According to the RPSC School Lecturer Urdu Paper II syllabus, the question paper carries a maximum of 300 marks. The senior secondary block should be prepared as a prescribed-text map, because the paper can ask either direct identification or a contextual question about form, author and literary quality. In prose, Agha Hashr Kashmiri is attached to the drama Yahoodi Ki Ladki. He is important as a stage dramatist whose language, dramatic conflict and heightened dialogue belong to the Parsi theatre-influenced tradition, so the work should be revised as drama rather than as ordinary prose. The short-story group is compact but diverse: Quratulain Haider's Photographer, Balwant Singh's Lamhe, Surendra Prakash's Bajooka and Iqbal Majeed's Sukoon Ki Neend. For each, keep a three-column note: author, work and core narrative mode. Haider is usually associated with historical consciousness and modern narrative refinement; Balwant Singh with human situations and social observation; Surendra Prakash with modern short-story experiment and symbolic pressure; Iqbal Majeed with compact urban and psychological storytelling. The exam does not require a long literary essay, but it does require confident author-work recognition and the ability to separate afsana from drama, inshaiya, tanqeed and khaka.

Khwaja Hasan Nizami's Machhar falls under inshaiya, so read it as an informal, reflective prose piece with wit, personality and a conversational surface. Ehtesham Hussain's Khuji is listed under tanqeed, which means the emphasis is criticism: method, evaluation, literary judgement and reasoned discussion. Khaka is represented by Ahmed Jamal Pasha's Kaleemuddin Ahmed and Shahid Ahmed Dehlavi's Meer Baqar Ali Dastan Go. A khaka is a literary sketch, not a full biography; it selects manner, speech, habit and literary personality to create a memorable profile. Shahid Ahmed Dehlavi's association with a dastan narrator also lets the paper connect khaka with the older oral narrative tradition.

Poetry at this level is organised by form. Ghazaliyat includes Wali Dakkani, Meer Taqi Meer, Meer Dard, Moin Ahsan Jazbi, Nasir Kazmi and Jan Nisar Akhtar. Revise these poets by period and tone: Wali links Dakkan and the northern ghazal tradition; Meer and Dard represent classical Delhi sensibility; Jazbi, Nasir Kazmi and Jan Nisar Akhtar bring modern or progressive-era shades into lyric expression. Manzoomat includes Nazeer Akbarabadi, Ismail Merathi, Akbar Allahabadi, Makhdoom Mohiuddin and Noon Meem Rashid. Here the question may ask whether a poet is linked with social realism, reformist tone, satire, progressive romanticism or modernist experiment. Marsiya is represented by Anees, whose name should immediately signal elegiac narrative, Karbala, rhetorical grandeur and musaddas-style movement. Rubaiyat includes Jagat Mohan Lal Rawan and Amjad Haiderabadi; revise the rubai as a four-line compact poem with a pointed thought, often moral, philosophical or reflective. Geet includes Akhtar Sheerani, Meeraji, Salam Machhli Shehari and Ehsan Danish. The useful distinction is that geet moves closer to song-like lyricism, rhythm and emotional immediacy, while ghazal remains built on autonomous couplets, matla, maqta, radeef and qafiya where applicable. A strong answer habit is to identify the form first, then attach the author, then state the likely literary movement or register.