The Sermon at Benares: Class 10 English Chapter 8 Hinglish mein

8.1 Padhne se pehle

Woh waqt yaad karo jab tumhare kisi kareebi ne koi keemti cheez kho di thi: dada-dadi, koi pet, ya best friend jo doosre sheher chala gaya. Logon ne unhe tasalli dene ke liye kya kaha? Kuch words madad karte hain. Kuch sirf dard ko aur tez kar dete hain. Yeh unit ek young maa ke baare mein hai jo apne bachche ki death ko accept nahi kar paati, aur ek teacher ke baare mein jo bina ek bhi daant-phatkar ke uski madad karte hain.

Title se shuru karte hain. Sermon (प्रवचन) religion ya sahi tarah jeene par ek talk hota hai, jo koi spiritual teacher un logon ko deta hai jo seekhne aaye hain. Lecture bhi sikhata hai, lekin uska subject knowledge hota hai: jaise koi professor samjhaye ki monsoon winds kaise banti hain. Talk kisi bhi cheez par ho sakta hai, cricket se lekar coding tak. Log sermon word ko mazaak ya shikayat ke taur par bhi use karte hain, aisi lambi advice ke liye jo kisi ne maangi hi nahi: “Didi gave me a sermon on keeping my phone away at dinner.”

Do sermons poori duniya mein famous hain. Sermon on the Mount Jesus Christ ne diya tha. Yeh Gospel of Matthew (chapters 5–7) mein likha hai aur ismein apne dushmanon se bhi pyaar karne ki teaching hai. Is unit ka sermon Buddha aur Benares se juda hai, jo Ganga kinaare Varanasi ka purana naam hai.

Textbook kehti hai ki padhne se pehle chhe words ka meaning dhoondh lo. Har card ko flip karke uska meaning aur use ka ek example dekho.

Inmein se paanch words us kahani ka emotional safar dikhate hain jo tum padhne wale ho (Fig. 8.1). Dekho kaise mood girta hai, ek pal ke liye uthta hai, phir girta hai aur aakhir mein shaant ho jaata hai.

8.2 Prince se Buddha tak

Text teacher ki life ke ek chhote sketch se shuru hota hai. Gautama Buddha ka janm Prince Siddhartha Gautama ke roop mein Lumbini mein hua tha, jo aaj ke Nepal mein India ki northern border ke paas hai. Textbook unki life ko 563–483 BCE ka batati hai; aaj kai historians ise thoda baad ka maante hain. Unke shuru ke saal us life ke bilkul ulte the jo unhone baad mein chuni: daulat, padhai, ek princess se shaadi, ek beta, aur dukh ki koi jhalak tak nahi.

Yeh hifaazat unke twenties mein toot gayi. Palace ke bahar chaar achanak mulaqaaton ne, jinhe aaj four sights kehte hain, unhe bimaari, budhapa, death (ek funeral) aur bhiksha par jeene wala ek ghoomta hua monk dikhaya. Pehle teen se unhone seekha ki koi bhi, ek prince bhi, dukh se nahi bach sakta. Chautha ek raasta dikhata tha: aaraam chhodo aur sach ki khoj karo. Siddhartha ne bilkul yahi kiya.

Iske baad saalon tak khoj chali. Khoj ek peepal tree ke neeche khatam hui, jahan unhone meditate kiya, is irade se ki jab tak jawab nahi milega tab tak wahin rahenge. Jab enlightenment (बोध) mila, to woh Buddha ban gaye, yaani ‘jaaga hua’, aur tab se us tree ko Bodhi Tree kehte hain (bodhi ka matlab hai jaagna). Phir unhone sikhana shuru kiya. Textbook ke hisaab se unka pehla sermon Benares mein hua, Ganga kinaare woh pavitra sheher jahan pilgrims ghaaton se nahaate hain.

Yeh introduction aage aane wali kahani ke liye kyun zaroori hai? Jis sach ne young prince ko hila diya tha, ki koi bhi bimaari, budhape aur death se nahi bachta, yahi woh sach hai jise samajhne mein woh ek dukhi maa ki madad karenge. Textbook uske dukh ko inscrutable kehti hai: itna gehra aur itna personal ki sirf logic wahan tak nahi pahunch sakta.

8.3 Kisa Gotami ki kahani

Text ka dil kuch paragraphs mein kahi gayi ek chhoti kahani hai. Pehle ise apni textbook mein padho. Phir in chaar scenes se check karo ki tumne har mod ko follow kiya hai.

Scene 1: ek maa jo chhodne ko taiyaar nahi. Kahani ek loss se shuru hoti hai: Kisa Gotami ka iklauta bachcha mar gaya hai. Grief (शोक) ki wajah se woh sach maanne se inkaar kar deti hai. Woh chhote se shareer ko lekar poore mohalle mein ghoomti hai, is yakeen ke saath ki kahin na kahin koi dawa use jaga degi. Padosiyon ko yeh case bekaar lagta hai, aur woh maan lete hain ki dukh ne uska dimaag kharab kar diya hai. Sirf ek insaan uski request ko seriously leta hai. Uske paas khud koi ilaaj nahi hai, lekin woh use ek bade healer ki taraf bhejta hai: Buddha.

Scene 2: ek ajeeb nuskha. Kisa Gotami Buddha ke paas jaati hai aur ilaaj ki bheekh maangti hai. Woh na mana karte hain, na use kadwa sach batate hain. Iske bajaye woh kuch aisa maangte hain jo aasaan lagta hai: mutthi bhar mustard seed. Lagbhag har Indian kitchen mein mustard seed hota hai, isliye uski ummeed aasmaan chhoo leti hai. Phir woh ek shart jodte hain. Ismein ek pench hai. Seed aise ghar se aana chahiye jahan death ne kabhi kadam na rakha ho.

Scene 3: doosra round. Doosra round pehle wale ka bilkul ulta aaina hai. Is baar padosi meharbaan hain, aur har darwaaze par uske haathon mein seed thama diya jaata hai. Mushkil uske agle sawaal mein hai, family mein hui deaths ke baare mein. Har ghar ke paas loss ki ek kahani hai, aur kuch log usse kehte hain ki unke purane zakhm na kurede. Darwaaze dar darwaaze sach saamne aata jaata hai: death sab ke ghar aa chuki hai.

Scene 4: lamps ka sabak. Thaki-haari woh shaam dhalte sadak kinaare baith jaati hai, aur uski nazar sheher ke lamps par jaati hai. Ek bhadak uthta hai, doosra bujh jaata hai, aur dheere dheere raat un sabko nigal leti hai. Yahin kahani chupchaap mod leti hai. Un chhoti si roshniyon mein use har insaani life ki shakal dikhti hai, apne bete ki bhi. Iske saath woh khud ko imaandaari se dekhti hai: uska dukh sirf uske apne loss ke baare mein tha, jabki har family yahi bojh uthati hai. Use ummeed ki ek jhalak bhi milti hai. Jo bhi is apne aap mein simte grief ko chhod de, woh isse paar paa sakta hai.

Selfish se uska kya matlab hai? Woh khud ko laalchi ya rude nahi keh rahi. Uska matlab hai ki uske grief ne uski poori duniya ko ek insaan aur ek loss tak chhota kar diya tha. Usne apne bete ki death ko aisa galat maana jo sirf uske saath hua, jabki jin gharon mein woh gayi, un sabne yahi dukh jhela tha. Jaise hi use yeh dikhta hai, uska dukh uske aur doosre logon ke beech deewar nahi rehta. Woh unse jodne wala rishta ban jaata hai.

8.4 Buddha ka sermon

Text ka doosra hissa khud sermon hai. Yeh kahani nahi balki ek argument hai, aur yeh facts se advice ki taraf badhta hai. Ise apni textbook mein padho, phir is section se uske chaar bade ideas follow karo.

1. Death tay hai. Buddha aise facts se shuru karte hain jin par koi behas nahi kar sakta. Har life chhoti hai aur usmein kuch na kuch dukh hai, aur janm ka ant hamesha death mein hota hai. Woh ise gaon ki life ki tasveeron se saaf dikhate hain. Jab koi fruit pak jaata hai, to wahi sabse pehle girne ke khatre mein hota hai. Kumhaar ka banaya har mitti ka ghada ek din toot jaayega. Umar aur hoshiyaari se koi fark nahi padta: bachcha aur buzurg, vidwaan aur moorkh, sab mortal (नश्वर) hain.

2. Koi kisi ko bacha nahi sakta. Pyaar koi dhaal nahi hai. Family kitni bhi parwah kare, jab death aati hai to woh kisi member ko zinda nahi rakh sakti. Buddha ki image kathor hai: marne wale aise le jaaye jaate hain jaise kisi bail ko kasaai ke paas le jaate hain, aur family aansuon mein bebas dekhti rehti hai. Maksad kroorta nahi, imaandaari hai. Grief ke peeche aksar ek dukh bhara vishwas chhupa hota hai ki kisi ko yeh loss rok lena chahiye tha.

3. Rone se kuch nahi hota. Aansu natural hain, lekin Buddha poochhte hain ki kabhi na khatam hone wala maatam aakhir kya haasil karta hai: mare hue ke liye kuch nahi, aur zinda logon ke liye nuksaan. Shok manane wala bas aur dukh uthata hai, yahan tak ki uski sehat bhi jawab de jaati hai. Isliye jo log samajhte hain ki life kaise chalti hai, woh grief ko khud par haavi nahi hone dete.

4. Teer bahar nikalo. Sermon apni sabse yaadgaar tasveer ke saath khatam hota hai (Fig. 8.6). Socho ki dil mein ek teer dhansa hai: Buddha ka “arrow of lamentation”, jo lamentation (विलाप), shikayat aur grief se bana hai. Use andar chhod do to zakhm khula rehta hai. Bahar nikaal do to bharna shuru ho sakta hai. Jo aisa karta hai, woh composed (शांत) ho jaata hai, shaant aur sthir, aur mann ki shaanti paata hai. Dukh ko jeet lene ke baad aisa insaan usse azaad ho jaata hai.

Dhyaan do ki Buddha kya nahi karte. Woh kabhi nahi kehte, “Your son is dead; everyone dies; stop crying.” Aise words pehle hi fail ho chuke the: padosiyon ne use saaf saaf bata diya tha ki bachcha mar chuka hai, aur usne suna hi nahi. Iske bajaye woh use ek aisa kaam dete hain jisse woh khud sach dhoondh le, pyaar se aur ek ek ghar karke. Jab tak woh sermon sunti hai, woh uske liye taiyaar ho chuki hoti hai, kyunki woh use pehle hi jee chuki hai. Teachers ise learning by discovery kehte hain.

8.5 Characters, themes aur message

Text mein do main characters hain. Padosi lagbhag ek chorus ki tarah kaam karte hain: dono rounds mein woh Kisa Gotami ko sach dikhate hain, pehle rookhe tareeke se aur phir pyaar se.

Kisa Gotami ek pyaar karne wali, samarpit maa hai. Bete ki death ko accept na karna bewakoofi nahi hai; yeh aisa pyaar hai jo chhod nahi paata. Woh persistent aur ummeed bhari bhi hai: woh ek ke baad ek darwaaza khatkhatati hai, ek baar nahi balki do baar. Sabse badi baat, woh seekhne ke liye khuli hai. Jab aakhir mein sach us tak pahunchta hai, to woh kadwi nahi hoti. Woh imaandaari se khud ko dekhti hai aur badal jaati hai.

Buddha wise, patient aur compassionate hain. Woh uske grief ko sudhaarne ke bajaye uski izzat karte hain, aur samajhte hain ki use sach khud dhoondhna hoga. Woh ek skilled teacher hain jo dawa ki request ko life ke sabak mein badal dete hain. Unka sermon shaant aur tark bhara hai, aur uski tasveerein roz ki life se aati hain, isliye koi bhi unhe samajh sakta hai.

• Death universal hai. Har jeev ko marna hai; yeh life ka nature hai, koi saza nahi.
• Grief aur acceptance. Grief natural hai, lekin shaanti tabhi aati hai jab hum loss ko accept karte hain.
• Grief mein selfishness. Dukh humein bhula sakta hai ki doosre bhi dukh uthate hain; apna saanjha dard dekhna healing ki shuruaat hai.
• Experience se seekhna. Sabse gehre sabak khud dhoondhe jaate hain, bataaye nahi jaate.
• Compassion. Buddha ki dayaluta is baat mein dikhti hai ki woh kaise sikhate hain, sirf is mein nahi ki kya sikhate hain.

Message. Death se bacha nahi ja sakta, lekin kabhi na khatam hone wale shok se bacha ja sakta hai. Jab hum dekhte hain ki loss har life ka hissa hai, to hum apne dukh ko jaane de sakte hain, shaanti paa sakte hain, aur doosre logon se door hone ke bajaye unki taraf mud sakte hain.

8.6 Language ke baare mein sochna

Text purani style ka lagta hai kyunki yeh do hazaar saal se bhi zyada purani ek ghatna ko purane English translations ki style mein dobara sunata hai. Language work ke do hisse hain: us purani style ki English ko modern words mein likhna, aur clauses ko semicolon ya dash se jodna.

8.6.1 Purani style ki English

Archaic (पुरातन) words aur forms bahut pehle common the lekin aaj kam hi use hote hain, sivaay purani books, prayers aur poetry ke. Aam taur par tum context se inka matlab nikaal sakte ho. Table mein woh forms hain jo textbook tumse dhoondhne ko kehti hai, har ek ka matlab aur aaj hum use kaise kahenge.

Yahan wahi forms naye sentences mein hain, taaki tum pattern dekh sako:

• Thou art my friend, and thy door is always open → You are my friend, and your door is always open.
• Pray, be seated → Please sit down.
• After dinner, the guests repaired to the terrace → After dinner, the guests went to the terrace.
• There was no student but knew the topper's name → Every student knew the topper's name.
• Mark my words → Listen carefully to what I am saying.

8.6.2 Clauses ko semicolon ya dash se jodna

Clause (उपवाक्य) words ka aisa group hai jiska apna subject aur verb hota hai. Do clauses jo alag alag sentences ban sakte hain, aam taur par and, but, or, yet ya so jaise word se jode jaate hain. Kabhi kabhi koi joining word fit nahi hota, kyunki ideas ka rishta and se zyada kareebi hai lekin contrast ya result bhi nahi hai. Tab hum semicolon (अर्धविराम) ya dash use kar sakte hain.

• Semicolon (;) barabar weight ke do kareebi, poore clauses ko jodta hai. The shop was shut; we bought milk at the station.
• Dash (—) clauses ko tab jodta hai jab doosra clause pehle par comment kare, use samjhaye ya tezi se mod de. Yeh zyada lively aur informal hai. I finished the whole paper in an hour — I still can't believe it.
• Semicolon ke baad capital letter nahi (jab tak agla word koi naam na ho), aur uske saath and ya but bhi nahi.
• Comma nahi. Akela comma do poore sentences ko nahi jod sakta. It rained all night, the river rose galat hai; semicolon ya full stop use karo.

Ab sermon ka woh sentence dhoondho jo “For there is not any means…” se shuru hota hai. Yeh teen clauses ko do semicolons se ek saath pirota hai. Simple modern sentences mein todne par uske ideas aise chalte hain: Nobody who is born can escape death. Death follows old age. All living beings are made this way.

Dono versions zor se padho. Teen chhote sentences saaf hain lekin jhatkedaar, alag alag dhol ki thaap jaise. Ek sentence ek lambi saans mein behta hai, aur har semicolon par ruka hua pal ek idea ko jamne deta hai, phir agla idea uspar banta hai. Yeh sthir, gambheer rhythm sermon par jachti hai, isliye zyada readers original ko pasand karte hain.

8.7 Speaking: grief, tab aur ab

Buddha ka sermon 2,500 saal se bhi zyada purana hai. Textbook grief par do modern pieces iske saath rakhti hai aur ek bada sawaal poochti hai: kya Buddha ke ideas aur unke sikhane ka tareeka aaj bhi humse baat karte hain, ya ab hum loss ko behtar tareekon se sambhalte hain? Yahan short mein bataya hai ki dono pieces kya kehte hain. Inhe poora apni book mein padho.

• Text I: death ke baad sambhalne ki ek guide. Yeh grief mein doobe logon ke do chhote examples se shuru hoti hai, phir un feelings ki list deti hai jo loss ke baad common hain: udaasi, gussa, guilt, anxiety, akelapan, thakaan aur yakeen na hona. Aakhir mein yeh friends aur family ko advice deti hai: haath badhao, sabr rakho, aur dikhao ki tumhe parwah hai, chahe woh insaan baat na karna chahe.
• Text II: Amitai Etzioni ki ‘Good Grief’, ek sociologist jo apne losses ke baare mein likhte hain: road accident mein unki wife aur, kai saal baad, unka bada beta. Woh is idea ko nahi maante ki grief ko fixed stages se sahi order mein guzarna hi padta hai. Ek rishtedaar ki advice unki madad karti hai: yeh mat poochho ki kyun hua, balki yeh ki bache hue log ek doosre ke liye kya kar sakte hain. Unki family ko ek doosre ki dekhbhaal mein tasalli milti hai, khaas kar bete ki young widow aur uske chhote bachche ki.

Dhyaan do ki teeno kis baat par sehmat hain, aur kahan alag hain. Teeno maante hain ki loss life ka hissa hai, aur teeno peeche jaane ke bajaye aage badhne ka raasta dhoondhte hain. Buddha andar ke sukoon aur acceptance par zor dete hain; modern writers feelings aur doosron ke saath par zor dete hain. Kisa Gotami ki kahani mein dono ideas hain: use apne andar shaanti tabhi milti hai jab woh doosron ke grief se milti hai.

8.8 Writing: teen paragraph mein ek page

Writing task mein teen topics mein se kisi ek par ek page, lagbhag teen paragraphs, likhna hai. Tum text ke ideas use kar sakte ho aur apna experience bhi jod sakte ho. Topics yeh hain: kisi ko naya ya mushkil idea samajhne mein madad karna; log mushkil waqt mein ek doosre ka saath kaise dete hain; aur kya tum khud ko anokha maante ho ya arabon mein se ek insaan.

• Mushkil idea sikhana: woh waqt jab tumhe kuch samajhne mein mushkil hui → Buddha ka tareeka (learner ko khud dhoondhne do) aur koi teacher ya bhai-behen jisne yahi kiya → khud dhoondhna batane se behtar kyun hai.
• Mushkil waqt mein ek doosre ki madad: tumhari family, school ya town ka koi mushkil waqt → Kisa Gotami ke padosi aur Etzioni ki family → chhote kaam jo madad karte hain: sunna, paas rehna, kaam baantna.
• Anokhe, ya arabon mein se ek? ek chaunkane wala fact (akele India mein 1.4 billion se zyada log hain) → Kisa Gotami ko laga ki uska loss sirf uska hai, phir pata chala ki yeh sabka saanjha hai → hum dono hain: apni feelings mein anokhe, apni kismat mein sabke jaise.

8.9 For Anne Gregory

Socho koi tumse kahe ki log tumhe sirf tumhare looks ki wajah se pasand karte hain. Tumhe achha lagega, ya thoda bura? Yahi sawaal is chhoti, mazedaar poem ke dil mein hai. Yeh teen stanzas mein ek baatcheet hai. Ek young man bolta hai, sunehre khoobsurat baalon wali ek young woman jawab deti hai, aur aakhri baat woh kehta hai. Woh halke-phulke andaaz mein behas kar rahe hain ki kya koi kabhi use uske asli roop ke liye pyaar kar sakta hai.

8.9.1 Stanza by stanza

Stanza 1: young man ka daava. Poem ek bold prediction se shuru hoti hai: use kabhi sirf uske liye pyaar nahi milega. Wajah hai uske baal. Woh unhe uske chehre ke chaaron taraf badi sunehri deewaron ki tarah dekhta hai, itne chamakdaar ki young men na poori hone wali chaahat mein doob jaate hain. Woh ishaara karta hai ki jo bhi aadmi usse pyaar karega, woh uske baalon se bhi pyaar kar raha hoga. Yeh compliment jaisa lagta hai, lekin ismein ek chubhan hai: uski khoobsurti use chhupa deti hai.

Stanza 2: young woman ka jawab. Uske paas ek practical hal hai. Baalon ka rang badla ja sakta hai! Woh unhe brown, black ya carrot-red bhi rang sakti hai, taaki aadmiyon ko uske baalon se aage dekhkar asli insaan se pyaar karna pade. Uska jawab dikhata hai ki woh chahti hai ki use uske dimaag aur nature ke liye value kiya jaaye, looks ke liye nahi. Yeh thoda natkhat bhi hai: woh ek gehre sawaal ko simple solution wali simple problem ki tarah leti hai.

Stanza 3: aakhri baat. Woh maanta nahi, aur religion ka hawala dekar jawab deta hai. Woh batata hai ki ek dharmik boodhe aadmi ne scripture mein saboot dhoondha hai: kisi se sirf uske liye pyaar karna, uske looks ke baare mein soche bina, yeh sirf God kar sakta hai. Doosre shabdon mein, insaani pyaar kabhi bhi kisi insaan ko uske looks se poori tarah alag nahi karta; sirf divine love akeli aatma ko dekhta hai. Poem isi thought par ruk jaati hai aur use jawab dene ka mauka nahi deti.

8.9.2 Devices, mood aur tone

Poem ki sabse chaunkane wali image ek metaphor (रूपक) hai: uske baal “honey-coloured ramparts” ki tarah. Ramparts fort ki oonchi, chaudi deewarein hoti hain. Yeh image ek saath teen baatein kehti hai. Baal ghane aur shaandaar hain; shahad jaise sunehre hain; aur uske kaan aur chehre ke chaaron taraf deewar ki tarah khade hain. Deewarein logon ko bahar rakhti hain. Speaker ishaara karta hai ki uske baal uske asli self ko har paas aane wale se bachate hain, kyunki admirers bahar hi ruk jaate hain (Fig. 8.12).

Refrain. Har stanza lagbhag ek hi jodi lines par khatam hota hai, “for yourself alone” pyaar paane ke baare mein, “yellow hair” ke liye nahi. Sirf pronouns badalte hain: stanzas 1 aur 3 mein you aur your, stanza 2 mein me aur my. Yeh chhota sa badlaav humein batata hai ki kaun bol raha hai, aur repetition main sawaal ko hamare kaanon mein goonjta rakhta hai.

Mood aur tone. Mood halka aur chhed-chhaad bhara hai, jaise ek bade admirer aur ek young woman ke beech dostana nok-jhonk. Is mazaak ke neeche ek serious, thoda udaas thought hai: shayad koi bhi insaani pyaar poori tarah shuddh nahi hota. Tone flattering (stanza 1) se defiant (stanza 2) aur phir wise aur final (stanza 3) tak jaati hai.

Theme aur message. Poem bahari khoobsurti aur andar ke self ko explore karti hai. Log pehle looks se kheenche jaate hain, aur insaanon ke liye dono ko alag karna mushkil, shayad namumkin, hai. Poem ishaara karti hai ki sirf God ka pyaar sach mein bina shart ka hai. Message: logon ko unke asli roop ke liye value karo, aur saath hi imaandaari se maano ki looks hum sab par asar daalte hain.

8.9.3 Poem ke baare mein sochna

Textbook ke questions poem se life ki taraf badhte hain. Kuch cheezein humein doosron se zyada kyun chahiye hoti hain? Kya hum logon se unki qualities ke liye pyaar karte hain, ya unke liye? Aur kya ‘person’ ko kabhi uske dikhne aur vyavhaar karne ke tareeke se alag kiya ja sakta hai?

Cheezein. Hum cheezon ko un qualities ke liye value karte hain jinki list bana sakte hain: phone ko uske camera, battery aur price ke liye; cycle ko uski speed, aaraam aur mazbooti ke liye. Bechne wala bilkul inhi qualities par zor deta hai. Agar tum apni purani cycle bech rahe hote, to tum uske naye tyres, smooth gears aur halke frame ki taraf dhyaan dilaate.

The dancer and the dance. Ek aur poem, ‘Among School Children’ (The Tower, 1928 mein collected), ke end mein Yeats poochhte hain ki hum dancer ko dance se kaise alag pehchaan sakte hain. Insaan apne chalne, bolne aur kaam karne ke tareeke se dikhata hai ki woh kaun hai, isliye ‘real self’ aur uske bahari nishaan aapas mein bandhe hain. Apne dada-dadi ke baare mein socho. Saalon mein unke looks badal gaye, phir bhi tumhara pyaar gehra hua hai, kyunki jis self ko tum jaante ho woh unki aadaton, kahaniyon aur dayaluta mein rehta hai, sirf unke chehre mein nahi.

8.10 Revision aur board practice

CBSE paper is unit ko extract-based questions, lagbhag 40–50 words ke short answers aur lagbhag 100–120 words ke long answers se test karta hai. Extract questions kisi passage ya stanza ki taraf ishaara karte hain; har part ka answer ek ya do sentences mein do. Short answers mein text se do ya teen sateek points chahiye. Long answers ke liye plan chahiye (Fig. 8.13): ek opening line, evidence ke saath teen points, aur ek conclusion.