ISC Class 12 Sanskrit Syllabus 2026-27

Section A: Textual Questions (40 Marks)

•        Seen passage questions based on prescribed Gadya (prose) and Padya (poetry) texts

•        Unseen passage: a short Sanskrit passage not from the prescribed texts, with comprehension and vocabulary questions

•        Literary questions: questions on the theme, meaning, figures of speech (Alankar), and significance of prescribed texts

•        Anvaya (word-by-word prose order): rearranging poetic verses into grammatical prose order

•        Sandhi Vichchhed and Samas Vigraha applied to words from prescribed texts

Section B: Grammar - Vyakaran (30 Marks)

Section B tests knowledge and application of Sanskrit grammar including Sandhi, Samas, Karak and Vibhakti, verb conjugation, declension of nouns and pronouns, and figures of speech.

Section C: Translation and Composition (30 Marks)

•        Sanskrit to English translation: translating unseen Sanskrit prose passages into accurate English

•        English to Sanskrit translation: translating short English sentences or a passage into correct Sanskrit

•        Sanskrit composition: writing a short essay (Nibandh), letter (Patra), or passage in Sanskrit on a given topic

•        Story writing or expansion: completing or writing a short Sanskrit story (Katha) based on a given outline or moral

Section A: Prescribed Texts

The prescribed texts for ISC Class 12 Sanskrit are drawn from the officially approved textbook published for this syllabus. Students must confirm the current prescribed textbook title and edition from the CISCE official website (www.cisce.org) or their school, as texts may be updated between sessions. The following outlines the nature and scope of the prescribed text content.

Prescribed Gadya (Prose) Texts

Nature and Scope of Prescribed Prose

•        Prose selections drawn from classical Sanskrit literature including excerpts from Panchatantra, Hitopadesha, Kathasaritsagara, biographical prose (Charita), and other classical Sanskrit narrative and didactic texts

•        Thematic coverage: ethical and moral instruction (Niti), stories of wisdom and statecraft, narratives of virtuous conduct, tales of gods and sages, and didactic fables

•        Each prose piece is studied for its vocabulary, grammatical structures, literary style, and the moral or philosophical message it conveys

•        Authors and sources represent the major traditions of Sanskrit prose: didactic literature, Puranic narrative, and classical Charita (biographical) writing

Key Skills Tested Through Gadya

•        Shloka artha or Gadyartha (meaning): explaining the meaning of a given prose passage in Sanskrit or English

•        Vocabulary (Shabdartha): giving the Sanskrit meaning or English translation of underlined words in context

•        Grammatical identification: identifying the Karak, Vibhakti, Lakara, Purusha, and Vachana of specified words in the passage

•        Comprehension questions: answering questions on the content of the passage in Sanskrit or English

•        Sandhi Vichchhed and Samas Vigraha of words taken from the prose passage

Prescribed Padya (Poetry) Texts

Nature and Scope of Prescribed Poetry

•        Poetry selections drawn from classical Sanskrit literature including works of Kalidasa (Meghaduta, Raghuvamsha, Kumarasambhava, Abhijnana Shakuntalam), Bhartrhari (Nitishatakam, Shringarashatakam, Vairagyashatakam), Bhartrihari, the Bhagavad Gita (selected shlokas), the Hitopadesh shlokas, and other canonical Sanskrit poetic works

•        Range of metres (Chhandas): Anushtup (the most common Sanskrit metre of 32 syllables per verse), Shardulvikridita, Vasantatilaka, Mandakranta, Indravajra, and other prescribed metres

•        Thematic coverage: Niti (ethical wisdom), Shringar (beauty and love), Vairagya (renunciation and detachment), nature poetry, devotion, heroism, and philosophical reflection

•        Each shloka or verse is studied for its Anvaya, meaning, metre, figures of speech, and significance within the Sanskrit literary tradition

Key Skills Tested Through Padya

•        Anvaya: rearranging the shloka into natural grammatical prose order (breaking the inverted poetic word order)

•        Shloka artha (paraphrase): explaining the meaning of the shloka in the student's own words in Sanskrit or in English

•        Shabdartha (word meanings): giving the meaning of specified Sanskrit words or compounds from the shloka

•        Chhandas (metre) identification: identifying the metre of a given shloka from the prescribed list

•        Alankar (figures of speech): identifying and naming the figure of speech used in the shloka

•        Central idea (Bhavartha): stating the main idea, message, or philosophical significance of the shloka

•        Grammatical analysis: identifying Vibhakti, Lakara, Purusha, Vachana, and Pratyaya of specified words

Section B: Vyakaran (Grammar) Syllabus

The grammar section tests knowledge and application of classical Sanskrit grammar as systematised in the Paninian tradition. Students are expected to identify, explain, and apply all prescribed grammar structures accurately.

Unit 1: Sandhi (Junction of Sounds)

•        Meaning and importance of Sandhi in Sanskrit: the phonological rules governing the junction of sounds at word boundaries

•        Swar Sandhi (Vowel Sandhi): Dirgh Sandhi (lengthening), Guna Sandhi, Vriddhi Sandhi, Yaan Sandhi, Ayan Sandhi, Prakriti Bhav

•        Vyanjan Sandhi (Consonant Sandhi): Shchutva, Shtutva, Jashchutva, Char Sandhi, Anunasik Sandhi, Visarg Sandhi

•        Visarg Sandhi: rules for the transformation of Visarga (aH) before various consonants and vowels; Satsanhi rules

•        Sandhi Vichchhed: splitting a sandhi form into its component words or morphemes; must be shown with the correct notation (e.g., rama + isha = ramesha)

•        Sandhi Nirman: forming the correct sandhi from given component words

Unit 2: Samas (Compound Words)

•        Meaning and classification of Samas in Sanskrit grammar

•        Avyayibhav Samas: indeclinable compounds; first member is an indeclinable; e.g., yathashakti, upagangam

•        Tatpurush Samas: determinative compound; second member is the principal word; subtypes: Karmadharaya, Dvigu, Nañ Tatpurush

•        Karmadharaya Samas: both members in apposition or one is an adjective of the other; e.g., nilakamalam, maharaja

•        Dvigu Samas: first member is a numeral; e.g., trisandhya, chaturdisha

•        Bahuvrihi Samas: exocentric compound; the compound refers to something external to both members; e.g., pitambar, dashanana

•        Dvandva Samas: copulative compound; both members are of equal importance; Itaretara Dvandva and Samahara Dvandva; e.g., rama-lakshmana, panipada

•        Samas Vigraha: expanding a compound word into its component parts with the appropriate Vibhakti ending and the conjunction

•        Samas Nirman: forming the correct Samas from a given Vigraha

Unit 3: Karak and Vibhakti (Case and Case Endings)

•        The eight Karakas: Karta (subject), Karma (object), Karan (instrument), Sampradan (recipient / purpose), Apadaan (point of separation), Sambandh (relation), Adhikaran (location), Sambodhan (address)

•        Vibhakti (case endings): the seven Vibhaktis (Prathamaa to Saptamii) and Sambodhan; their association with each Karak

•        Rules for Karak use: which Vibhakti is used for each Karak; Upapada Vibhakti (case governed by specific verbs and indeclinables)

•        Identifying the Karak and Vibhakti of specified words in given Sanskrit sentences

•        Common Upapada Vibhakti rules: Dvitiya with 'abhi, anu, prati, upa'; Chaturthi with 'namah, svaha, svadha'; Panchami with 'bhay, duure'; Saptami with 'sadrishya, vishvas'

Unit 4: Shabda Roop (Noun and Pronoun Declension)

•        Declension of nouns: all three genders (Pullinga, Strillinga, Napunsak Linga) across all seven Vibhaktis and Sambodhan, in singular (Ekavachan), dual (Dvivachan), and plural (Bahuvachan)

•        Akaarant Pullinga: nouns ending in -a (masculine); e.g., Rama, Deva, Nara

•        Aakarant Strillinga: nouns ending in -aa (feminine); e.g., Rama, Sita, Lata

•        Ikarant and Ukarant nouns: masculine, feminine, and neuter patterns; e.g., Kavi, Mati, Sindhu, Dhenu

•        Consonant-ending nouns (Halant Shabda): important paradigms; e.g., Raj, Jagat, Aatman

•        Declension of pronouns: Sarvanam (Asmad: I/we; Yusmad: you; Tad: he/she/it/they; Yad: who/which; Etat: this; Kim: who/which/what)

•        Declension of adjectives: agreement of adjective with noun in gender, number, and case

Unit 5: Dhatu Roop (Verb Conjugation)

•        Sanskrit verb system: ten Ganas (conjugation classes); Parasmaipada and Aatmanepada voices; Ubhayapada verbs

•        Lakara (tenses and moods): the ten Lakaras; prescribed Lakaras for ISC: Lat (Present), Lit (Perfect), Lut (First Future), Lrit (Second Future), Lot (Imperative), Lang (Imperfect), Vidhi-Ling (Potential / Optative), Ashir-Ling (Benedictive), Lung (Aorist), Lring (Conditional)

•        Prescribed Dhatus and their conjugation: Bhoo, Aas, Dhaa, Daa, Drish, Gam, Han, Hu, Jiv, Labh, Maan, Nand, Path, Prach, Rudh, Stha, Shru, Tud, Vad, Vrit, Yaj, and other prescribed root verbs across all required Lakaras and Vachan

•        Parasmaipada conjugation: Prathama, Madhyama, and Uttama Purusha in Ekavachan, Dvivachan, and Bahuvachan

•        Aatmanepada conjugation: same Purusha and Vachana structure as Parasmaipada but with different endings

•        Identifying Dhatu, Lakara, Purusha, and Vachana of specified verb forms in given sentences

Unit 6: Pratyaya (Suffixes and Derived Forms)

•        Krit Pratyaya: suffixes added to verb roots to form nouns and adjectives; prescribed Krit Pratyayas: Shtr (agent noun, e.g., gachhat, pashyat), Shaanach (Aatmanepada agent noun), Tavya / Aniya / Ya (gerundive / potential passive participle meaning 'should be done'), Kta / Ktavatu (past passive participle / past active participle), Ktva (absolutive / gerund: 'having done'), Lyap (absolutive with prefix), Tumun (infinitive: 'in order to do')

•        Taddhit Pratyaya: suffixes added to nouns; prescribed examples: An / Ina (relating to), Mat / Vat (possessing), Tva / Taa (abstract noun suffix meaning '-ness' or '-hood')

•        Stri Pratyaya: feminine suffixes: Taa, Ii, Iip, Ang, Taap used to form feminine nouns from masculine bases

•        Identifying the Pratyaya and Mool Dhatu or Mool Shabd of a given derived form

Unit 7: Alankar (Figures of Speech)

•        Shabdalankar (sound-based figures): Anupras (alliteration: repetition of consonants), Yamak (repetition of a word or syllable with different meanings), Shles (pun: a word with two or more meanings simultaneously)

•        Arthalankar (sense-based figures): Upama (simile: comparison using Upamavachak words like iva, yatha, vat), Rupak (metaphor: direct identification of two unlike things), Utpreksha (personification or fancy: treating the Upameya as if it were the Upaman using iva, manye, manyate in the sense of 'as if'), Atishipyokti (hyperbole: exaggeration for effect), Drshtant (illustration: a general statement supported by an example), Arthantaranas (corroboration: a particular illustrated by a general or vice versa), Virodhabhas (apparent contradiction)

•        Identifying the Alankar from prescribed shlokas or given lines

•        Writing the definition and one example of each prescribed Alankar

Unit 8: Chhandas (Metres)

•        Meaning and importance of Chhandas in Sanskrit poetry

•        Anushtup (Shloka): the most common Sanskrit metre; 4 padas of 8 syllables each (32 syllables per shloka); rules for the 5th, 6th, and 7th syllables of each pada

•        Indravajra: 11 syllables per pada; pattern: Ta Ta Ja Ga Ga (ttagagaa)

•        Upendravajra: 11 syllables per pada; differs from Indravajra in the first syllable (short instead of long)

•        Upajati: combination of Indravajra and Upendravajra padas in the same verse

•        Vasantatilaka: 14 syllables per pada; pattern: Ta Bha Ja Ja Ga Ga

•        Mandakranta: 17 syllables per pada; used notably in Kalidasa's Meghaduta

•        Shardulvikridita: 19 syllables per pada; the 'lion's sport' metre; one of the most complex prescribed metres

•        Malini: 15 syllables per pada

•        Identifying the Chhandas of a given shloka by scanning syllables and matching to the pattern

Unit 9: Upsarg (Prefixes) and Nipat (Indeclinables)

•        Upsarg (Prefixes): the 22 Sanskrit verbal prefixes and their meanings: Pra, Paraa, Apa, Sam, Anu, Ava, Nis/Nih, Dus/Dur, Vi, Aa, Ni, Adhi, Api, Ati, Su, Ut/Ud, Ab, Prati, Pari, Upa, Man, Ava

•        Effect of Upsarg on verb meaning: how the same root verb (Dhatu) changes meaning when different prefixes are added; e.g., Gam: aagam (to come), nigam (to conclude), vigam (to go away), sangam (to meet)

•        Nipat (Indeclinables): particles that do not change their form; types: conjunctions (cha, vaa, tu, api, kintu, parantu), adverbs (atra, tatra, kutra, sada, kadaa, yadaa, tadaa), and other indeclinables (eva, na, ma, iti, alam, nanu)

•        Avyaya (uninflected words): identifying and classifying Avyayas in sentences

Section C: Translation and Composition Syllabus

Section C tests the ability to translate accurately between Sanskrit and English and to produce well-formed original Sanskrit in a variety of composition formats.

Sanskrit to English Translation (Anuvad: Sanskrit se Angrezi)

•        Translating an unseen Sanskrit prose passage of approximately 8 to 12 sentences into accurate, idiomatic English

•        Understanding context and selecting the most appropriate English equivalents for Sanskrit words and constructions

•        Handling Sanskrit syntax: recognising the subject, verb, and object despite the free word order of Sanskrit; translating compound words (Samas) and participial forms correctly

•        Translating verb forms: identifying Dhatu, Lakara, Purusha, and Vachana to produce the correct English tense and person

•        Translating Sandhi and Samas forms that appear in the passage by first performing Vichchhed / Vigraha and then translating

English to Sanskrit Translation (Anuvad: Angrezi se Sanskrit)

•        Translating short English sentences (approximately 5 to 8 sentences) into correct Sanskrit

•        Selecting the correct Sanskrit vocabulary for the given English words and constructions

•        Applying correct Vibhakti to all nouns based on their Karak (grammatical role) in each sentence

•        Conjugating verbs correctly: using the appropriate Dhatu, Lakara, Purusha, and Vachana based on the English sentence's subject and tense

•        Applying Sandhi rules where words are written in continuous Sanskrit prose

•        Forming Samas where compound expressions are best expressed as Sanskrit compound words

Sanskrit Nibandh Lekhan (Essay Writing in Sanskrit)

•        Writing a short essay of 80 to 120 words in Sanskrit on a given topic

•        Common essay topics: Mama Vidyalaya (My School), Mama Priya Utsava (My Favourite Festival), Adarsha Vidyarthi (Ideal Student), Vriksha Mahattvam (Importance of Trees), Bharatadeshasya Vaibhavam (Glory of India), Adhunika Jivanam (Modern Life), Swachha Bharatam (Clean India), Pustakasya Mahattvam (Importance of Books), Maitrasya Mahattvam (Importance of Friendship)

•        Structure: a brief introduction (Prarambha), developed body sentences (Vishaya Vistar), and a short conclusion (Upasamhar)

•        Use of correct Sanskrit grammar: Vibhakti, Sandhi, verb conjugation, and simple but accurate Sanskrit sentence structures are assessed

Sanskrit Patra Lekhan (Letter Writing in Sanskrit)

•        Writing a formal or informal letter in Sanskrit of approximately 60 to 80 words

•        Formal letter (Aupcharik Patra): letter to a headmaster (Pradhanacharya), letter to an authority requesting something, or letter of complaint

•        Informal letter (Anaupcharik Patra): letter to a friend or family member sharing news or an invitation

•        Sanskrit letter format: Seva / Priya with the recipient's name (salutation), body in Sanskrit prose, and Bhavatah/Bhavatyah priya or Mitrasya (closing)

•        Grammatical accuracy in both formal and informal register is assessed

Sanskrit Katha Lekhan (Story Writing in Sanskrit)

•        Writing or completing a short Sanskrit story (Katha) of 60 to 80 words based on a given outline, moral (Niti), or opening sentence

•        Common Katha themes: Panchatantra-style animal fables with a moral, stories of honesty and virtue, stories from Indian mythology or history

•        Elements of a Sanskrit Katha: setting (Desha-Kala), character introduction, event or conflict, resolution, and the stated moral (Iti Niti / Tasmaat)

ISC Class 12 Sanskrit Syllabus Overview

Grammar Topics at a Glance

Most Important Topics for ISC Sanskrit Exam

Based on analysis of previous ISC Sanskrit board papers, the following topics are consistently tested and should receive focused preparation:

ISC Class 12 Sanskrit Marking Scheme 2026-27

How to Prepare for ISC Class 12 Sanskrit: Expert Tips

1. Memorise All Shabda Roop and Dhatu Roop Tables

The foundation of ISC Sanskrit is mastery of Shabda Roop (noun declension) and Dhatu Roop (verb conjugation). Memorise the declension tables for all prescribed noun paradigms (Akaarant, Aakarant, Ikarant, Ukarant, Halant) across all seven Vibhaktis and Sambodhan in all three Vachanas. Similarly, memorise the conjugation of all prescribed Dhatus in all required Lakaras in both Parasmaipada and Aatmanepada. These tables are the backbone of translation, grammatical identification, and composition in every section of the paper.

2. Practise Sandhi and Samas Daily

Sandhi and Samas are tested in both Section A and Section B and errors here cost marks across the paper. Practise Sandhi Vichchhed (splitting) and Sandhi Nirman (forming) for all types daily. For Samas, practise Samas Vigraha (expanding) and Samas Nirman (forming) for all six types with a range of examples. Create a personal list of 10 examples for each Samas type and review them until you can identify and manipulate them instantly.

3. Write Complete Anvaya for Every Prescribed Shloka

Anvaya is a compulsory component of the poetry section and one of the most marks-bearing tasks in Section A. For every prescribed shloka, write out the complete Anvaya (grammatical prose order) with the words rearranged from the poetic inverted order into subject-verb-object sequence. After writing the Anvaya, write the Shloka artha (meaning) and identify the Alankar and Chhandas. This three-step practice for each shloka ensures you can answer every question type that appears on that poem.

4. Learn Krit Pratyaya Forms in Context

Krit Pratyaya forms such as the past passive participle (Kta), gerundive (Tavya, Aniya, Ya), and absolutive (Ktva, Lyap) appear extensively in classical Sanskrit prose and are tested both as grammar exercises and in translation. Rather than memorising them in isolation, read them in the context of your prescribed prose texts. When you encounter a Krit form in the text, identify its Mool Dhatu and Pratyaya. This contextual learning reinforces both grammar and translation skills simultaneously.

5. Practise English to Sanskrit Translation Systematically

English to Sanskrit translation is one of the most challenging tasks in Section C because it requires simultaneous application of vocabulary, Vibhakti rules, Dhatu Roop, and Sandhi. Build a systematic approach: first identify the subject and assign Prathama Vibhakti, then the direct object with Dvitiya Vibhakti, then all other nominals with their appropriate Karakas. Select the verb root, apply the correct Lakara and Purusha-Vachana, and finally apply Sandhi where needed. Practise 5 to 10 sentences daily from past papers until the process becomes automatic.

6. Master the Essay (Nibandh) with Sanskrit Sentence Patterns

Sanskrit Nibandh Lekhan in Section C rewards students who can write grammatically correct, flowing Sanskrit rather than a literal word-by-word translation of English thoughts. Build a repertoire of useful Sanskrit sentence patterns for common essay contexts: introductory sentences, general statements using Sarvana (everyone) and Sarve janaah (all people), connective sentences using cha, api, kintu, parantu, and concluding sentences using atah / tasmaat / ittham siddham yat (therefore it is established that). Using these patterns confidently produces essays that are natural and grammatically sound.

7. Identify and Memorise Chhandas by Syllable Pattern

Metre identification is a regular Section A task. Learn to identify each prescribed Chhandas by counting syllables per pada and matching to the prescribed pattern. The simplest check: Anushtup has 8 syllables per pada; Shardulvikridita has 19; Mandakranta has 17; Vasantatilaka has 14; Indravajra and Upendravajra have 11. Practise scanning (marking long and short syllables) of the prescribed shlokas until you can identify each metre within seconds.

8. Solve Previous 10 Years ISC Sanskrit Papers

Past papers are the most effective preparation resource for ISC Class 12 Sanskrit. They reveal which prescribed shlokas and prose passages are most frequently set for questions, which Sandhi and Samas types appear most often, which Dhatu Roop and Shabda Roop forms are tested, the typical English to Sanskrit sentence structures, and the expected length and format of Nibandh and Patra compositions. Practise completing full papers within the 3-hour time limit and review your answers for grammatical accuracy, correct Vibhakti use, and completeness.

Frequently Asked Questions

Q1. What is the subject code for ISC Class 12 Sanskrit?

The subject code for ISC Class 12 Sanskrit is 861.

Q2. How is the ISC Class 12 Sanskrit paper structured?

The written paper carries 100 marks over 3 hours. Section A (40 marks) covers textual questions on prescribed Gadya and Padya texts plus an unseen passage. Section B (30 marks) covers Sanskrit grammar including Sandhi, Samas, Karak, Shabda Roop, Dhatu Roop, Pratyaya, Alankar, Chhandas, and Upsarg. Section C (30 marks) covers Sanskrit-to-English translation, English-to-Sanskrit translation, and Sanskrit composition.

Q3. Which grammar topics are most important in ISC Class 12 Sanskrit?

The most consistently tested topics are Sandhi Vichchhed and Nirman, Samas Vigraha and Nirman, Dhatu Roop across all prescribed Lakaras, Shabda Roop across all Vibhaktis, Karak and Vibhakti identification, and Krit Pratyaya identification. These appear in both Section A and Section B and underpin the translation tasks in Section C.

Q4. Which texts are prescribed for ISC Class 12 Sanskrit 2026-27?

The prescribed Gadya and Padya texts are specified in the official CISCE approved textbook for ISC Class 12 Sanskrit. Students must confirm the current prescribed texts by consulting their school or the official CISCE website at www.cisce.org, as prescribed texts and specific shlokas may be updated between sessions.

Q5. How should I write a good Sanskrit Nibandh (essay)?

A strong ISC Sanskrit Nibandh of 80 to 120 words should begin with a brief introductory sentence defining or introducing the topic, develop the body in 4 to 6 grammatically correct Sanskrit sentences covering the main points, and conclude with a short closing sentence. Use simple but accurate Sanskrit, apply Sandhi correctly where words join, and ensure that all verbs agree with their subjects in Purusha and Vachana. Avoid attempting overly complex constructions; clarity and grammatical accuracy earn more marks than ambitious but error-prone sentences.

Q6. Is there an oral or project component in ISC Class 12 Sanskrit?

No. ISC Class 12 Sanskrit is assessed entirely through the written examination of 100 marks. There is no separate oral examination, listening component, or project work. All marks are earned through the 3-hour written paper covering textual comprehension, grammar, and translation and composition.

Q7. Where can I find the official ISC Class 12 Sanskrit syllabus for 2026-27?

The official ISC Class 12 Sanskrit syllabus for 2026-27 is published on the CISCE official website at www.cisce.org. Students should also confirm the prescribed textbook, specific prose and poetry selections, and any grammar updates with their school before beginning preparation.