HPPSC Assistant Professor English SAT Syllabus and Pattern
The HPPSC Assistant Professor (College Cadre) English paper is a descriptive Subject Aptitude Test of 3 hours carrying 120 marks, split into Part-I of 60 marks and Part-II of 60 marks, with units printed from Unit I to Unit XII. The revised syllabus is dated 24.07.2026.
Open the Official Syllabus PageThe PDF opens on the official site. Every topic in it is explained in plain language below — you do not have to open the PDF to read the syllabus.
Compiled from the official syllabus · check it against the official link
One descriptive paper: 3 hours, 120 marks, two equal parts ↑
This page is built from a single official document — the Himachal Pradesh Public Service Commission's revised syllabus for the Descriptive Subject Aptitude Test, issued for recruitment to the post of Assistant Professor (College Cadre) in English, Department of Higher Education, issued under No. 3-26/2026-PSC(R-I) and dated 24.07.2026. Every figure and every topic below is read off that PDF and written out here in our own words. The document itself is linked in the next section.
The header of that document states the pattern in one sentence: the paper is of three hours' duration, carries 120 marks, and consists of two parts, Part-I and Part-II. The line printed under the header repeats the same figures — Duration: 3 Hours, Subject: English, Max. Marks 120 — and the two part headings inside the paper carry 60 marks each.
The word doing the most work in that title is descriptive. This is a written paper on named texts and named critical essays, not an objective screening test. The document does not state how many questions there are, how long an answer should be, or whether choice is offered — so we do not state it either.
| What the document states | Value as printed |
|---|---|
| Post | Assistant Professor (College Cadre) in English, Department of Higher Education |
| Paper | Descriptive Subject Aptitude Test (SAT) |
| Duration | 3 Hours |
| Maximum marks | 120 |
| Structure | Two parts — Part-I and Part-II |
| Part-I | 60 Marks |
| Part-II | 60 Marks |
| Units printed | Unit I to Unit XII |
| Negative marking | Not mentioned anywhere in this document |
| Number of questions | Not stated |
| Document reference | No. 3-26/2026-PSC(R-I), dated 24.07.2026, headed REVISED SYLLABUS |
HPPSC does not publish one syllabus for all subjects — this is the English one ↑
One thing has to be said plainly before any topic list, because getting it wrong would cost a candidate months. The Commission does not issue a single combined Assistant Professor syllabus. It issues a separate document for each subject of the College Cadre, and the syllabus for Hindi, Commerce, Botany, Chemistry, Physics, Mathematics, History, Political Science, Sanskrit, Economics and the other subjects is a different PDF with different units.
The document behind this page covers English, and nothing else. Everything below applies to a candidate sitting the English paper. Do not carry these units — or even the 60 and 60 split — across to another subject. That split is stated in the English document; only the document for your own subject can state it for yours.
If your subject is not English, go to the Commission's own website, hppsc.hp.gov.in, open the syllabus listing and read the header line of your subject's PDF the way we have read this one. We have not seen those PDFs, so we will not summarise them here, and any page that summarises all of them from one source is guessing.
- The one official document behind this page — HPPSC revised SAT syllabus, Assistant Professor (College Cadre) in English, No. 3-26/2026-PSC(R-I) dated 24.07.2026: https://hppsc.hp.gov.in/CommonControls/CMSFileView?qs=oeMK915q2HkdpWSZ%2B0aaIFmLDoF0cTjGvKykbXugJ5Hsur8Ugd6bkb%2F6Rcx8wI1FUvNVy%2FcqGWmQ683hC2pHeDkM%2BaTAPQaV0TtIh0HZmFE%3D
- The Commission's own website, where the syllabus for every other College Cadre subject is listed: hppsc.hp.gov.in
Part-I at a glance — six units for 60 marks ↑
Part-I is the literature-history half. It runs from Unit I to Unit VI and carries 60 marks, and its centre of gravity is the set text: after the opening survey unit, every entry names a poem, a play or a novel.
The table below is our map of that half. The unit numbers and the area names are the document's; the count in the last column is ours, arrived at by counting the entries printed under each unit.
| Unit | Area named in the syllabus | Entries listed below (our count) |
|---|---|---|
| Unit I | History of English Literature | 2 |
| Unit II | Poetry from Chaucer to Pope | 4 |
| Unit III | Shakespeare and his Contemporaries | 4 |
| Unit IV | Nineteenth Century Fiction | 4 |
| Unit V | Romantic and Victorian Poetry | 6 |
| Unit VI | Modern Fiction | 5 |
Part-II at a glance — six units for 60 marks ↑
Part-II is the harder half, and it is where most preparation runs out of time. It runs from Unit VII to Unit XII, carries the other 60 marks, and adds three things Part-I never asks for: the structure of the English language, literary theory, and Indian writing in English and in translation.
Note the imbalance between the two halves. Part-II carries more than twice as many entries as Part-I for exactly the same 60 marks — which is an argument for starting Part-II first, not last.
| Unit | Area named in the syllabus | Entries listed below (our count) |
|---|---|---|
| Unit VII | Growth and Structure of English Language | 10 |
| Unit VIII | Modern British and American Poetry | 6 |
| Unit IX | Introduction to Drama, Modern British Drama and American Drama | 9 |
| Unit X | World Fiction, Research Methods and the Future of English | 7 |
| Unit XI | Contemporary Literary Theory | 8 |
| Unit XII | Indian Writing in English and Indian Writing in Translation | 12 |
At a glance
| Conducting Body | Himachal Pradesh Public Service Commission (HPPSC) |
| Post Name | Assistant Professor (College Cadre) - English, Department of Higher Education |
| Official Website | hppsc.hp.gov.in |
| State | Himachal Pradesh |
Unit I — History of English Literature, all 2 entries ↑
Part-I opens with the only unit that is not about a set text. Two entries, both period surveys, and between them they cover the whole history of English literature.
Because nothing here is a named book, this is the unit most candidates postpone and then cannot revise. Build a single timeline sheet early and keep adding to it as you read the set texts of Units II to VI — every author you meet there belongs somewhere on it.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| History of English Literature | From Chaucer to 1800 | A period sweep, not a set text. Fix the order of ages, the big names in each, and one line on what changed between them. |
| History of English Literature | Nineteenth and Twentieth Centuries | The second half of the same sweep. Romantic, Victorian, Modern and after — movements first, individual authors second. |
Unit II — Poetry from Chaucer to Pope, all 4 entries ↑
From here on the syllabus names texts, and naming is a promise: if a poem is printed, it can be asked about directly.
Four poets, but the workload is uneven — Donne alone carries six poems while Chaucer and Pope carry two each. Plan by poem count, not by poet count.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| Chaucer | The Prologue; The Nun's Priest's Tale | Two named set texts. Prepare them as texts — character portraits, tone, the frame of the Tales — not as general background on Chaucer. |
| Donne | The Sun-Rising; The Extasie; The Canonization; The Anniversary; The Flea; A Valediction: Forbidding Mourning | Six poems, the heaviest single entry in this unit. Metaphysical conceit, argument-shaped structure and tone are what these six share. |
| Milton | Paradise Lost: Book I; Lycidas; L'Allegro | Only Book I of Paradise Lost is named. Read that book closely rather than the whole epic thinly. |
| Pope | The Rape of the Lock; An Epistle to Dr. Arbuthnot | Mock-epic and verse satire. Compare how each turns a small subject into a large form. |
Unit III — Shakespeare and his Contemporaries, all 4 entries ↑
Four entries, four plays. Shakespeare appears twice — The Tempest and The Twelfth Night are listed as separate entries, so both are required.
Marlowe and Ben Jonson are here as contemporaries in their own right. Answers that treat them only as background to Shakespeare miss what the unit title says.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| Marlowe | The Doctor Faustus | One play, named on its own. Treat it as a full-text question, scene order included. |
| Shakespeare | The Tempest | Named separately from Twelfth Night, so the syllabus expects both, not a choice between them. |
| Shakespeare | The Twelfth Night | The comedy half of the Shakespeare requirement. Disguise, mistaken identity and the play's music are the usual centres. |
| Ben Jonson | The Volpone | A contemporary, not a footnote to Shakespeare. Jonsonian comedy of humours is the point of including him. |
Unit IV — Nineteenth Century Fiction, all 4 entries ↑
Four novels, one per author, and no chapter limits anywhere. That means whole texts.
These are long books. Four novels cannot be started in the last month, which is the single most common planning mistake on this paper.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| Emily Bronte | Wuthering Heights | Narrative frame inside frame. Who is telling the story, and how much of it can be trusted, is the usual question. |
| Charles Dickens | Hard Times | Dickens's industrial novel. Read it against utilitarianism and the factory town, not as plot summary. |
| George Eliot | The Mill on the Floss | Character growth and moral choice. Maggie's arc is the spine of most answers on this text. |
| Thomas Hardy | Tess of the D'Urbervilles | Fate, class and the Wessex setting. Hardy's landscape is doing argumentative work, not scenery. |
Unit V — Romantic and Victorian Poetry, all 6 entries ↑
The largest unit of Part-I: six poets, and the biggest bundle of named texts anywhere in the first sixty marks.
Every count on this page is ours, not the Commission's. The document names its texts and stops there; it never totals anything, so where we give a number we say so.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| Blake | Songs of Innocence and Songs of Experience | Two paired collections named as one entry. The pairing itself is the idea — read matching poems side by side. |
| Wordsworth | Tintern Abbey; Ode: Intimations of Immortality | Both are long meditative poems about memory. Know the stages of the argument in each. |
| Coleridge | The Rime of the Ancient Mariner; Kubla Khan | One long ballad, one fragment. The contrast between them is worth an answer on its own. |
| Keats | Ode on a Grecian Urn; Ode to a Nightingale; Ode on Melancholy; To Autumn | Four odes. Learn them as a set: each one takes a different route out of the same problem of transience. |
| Tennyson | The Lady of Shalott; Ulysses; The Lotos-Eaters | Three dramatic and narrative poems. Victorian doubt and duty run through all three. |
| Browning | Evelyn Hope; The Last Ride Together; My Last Duchess; Rabbi Ben Ezra | Browning's speciality is the dramatic monologue. Ask of each poem: who is speaking, to whom, and what are they hiding? |
Unit VI — Modern Fiction, all 5 entries ↑
Five novelists close Part-I. With Unit IV that makes nine novels in the first sixty marks alone.
One trap worth naming now: Forster's A Passage to India is a novel here, and Whitman's poem of the same name appears in Unit VIII. They are different entries in different parts of the paper.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| Virginia Woolf | Mrs. Dalloway | Stream of consciousness and a single day's time-scheme. Technique matters more than plot here. |
| James Joyce | A Portrait of the Artist as a Young Man | A novel about becoming an artist. Track how the prose style itself grows up with Stephen. |
| D.H. Lawrence | Sons and Lovers | Family, class and the autobiographical element. The mother-son bond is the centre of most questions. |
| Joseph Conrad | Heart of Darkness | Frame narration again, plus empire. The novella's ambiguity is deliberate — do not resolve it in your answer. |
| E.M. Forster | A Passage to India | Colonial India, friendship across the divide, and the caves. Note that Whitman's poem of the same name appears separately in Unit VIII. |
Unit VII — Growth and Structure of English Language, all 10 entries ↑
Part-II opens with the widest unit in the syllabus. Ten entries, and they come from three different worlds — language theory, the structure of English, and classical literary criticism.
Two entries fix a chapter range instead of a whole book, which is a gift: Baugh is limited to Chapters 3 to 9 and Coleridge's Biographia Literaria to Chapters 13-18. Read exactly that.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| Language | Basic concepts, theories and pedagogy | The only pedagogy entry in the whole syllabus. Basic concepts and theories of language, plus how it is taught. |
| English in Use — History of Language | A.C. Baugh, A History of English Language (Chapters 3 to 9) | A named book with a named chapter range. Chapters 3 to 9 only — that is Old English through to the modern period. |
| Structure of Language (a) Phonemes | Consonants; Vowels; Stress and Intonation | The sound system. Be able to describe and classify, not just recognise. |
| Structure of Language (b) Morphemes | Roots and Affixes; Derivational and Inflectional Morphemes; Allomorphs | Word structure. The derivational-versus-inflectional distinction is the one most often examined. |
| Literary Criticism — Aristotle | The Poetics | The foundation text of Western criticism. Tragedy, mimesis and catharsis in Aristotle's own terms. |
| Bharat Muni | Natyashastra (Chapter 6) | Only Chapter 6 is named — the rasa chapter. Pair it with Aristotle; the syllabus places them together. |
| Dryden | Essay of Dramatic Poesy | A dialogue, not a treatise. Know who argues what, and where Dryden himself lands. |
| Coleridge | Biographia Literaria (Chapters 13-18) | A named chapter range again — 13 to 18, which carries fancy versus imagination and the reply to Wordsworth. |
| Arnold | The Function of Criticism in the Present Time | Criticism as disinterested inquiry. Arnold's argument about the critic's role is the examinable part. |
| Eliot | Tradition and Individual Talent; The Frontiers of Criticism | Two essays, not one. The first is the famous one; the second is the later, self-revising Eliot. |
Unit VIII — Modern British and American Poetry, all 6 entries ↑
Six poets, but the entry lengths are wildly unequal: T.S. Eliot carries one poem, William Carlos Williams carries eleven items.
Two entries narrow the reading for you. Whitman's Song of Myself is limited to sections 1, 5 and 33, and Auden's September 1, 1939 is a single dated poem, not a period.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| W.B. Yeats | The Second Coming; Sailing to Byzantium; A Prayer for My Daughter; Among School Children; Leda and the Swan | Five poems. Yeats's system of history and his Byzantium symbolism connect most of them. |
| T.S. Eliot | The Waste Land | One poem, and the longest single task in this unit. Section order, voices and the notes all count. |
| W.H. Auden | The Unknown Citizen; In Memory of W.B. Yeats; The Shield of Achilles; September 1, 1939 | Four poems, all public in subject. Auden on the state, on art and on war. |
| Walt Whitman | Song of Myself (1, 5, 33); Out of the Cradle, Endlessly Rocking; A Passage to India | Song of Myself is limited to sections 1, 5 and 33 — read those closely instead of the whole poem thinly. |
| Robert Frost | Birches; Design; Mending Wall; After Apple Picking; The Road not Taken; Home Burial | Six poems. Frost's plain surface hides the argument — read past the rural scene each time. |
| William Carlos Williams | Poems in Modern Poets One (published by Faber and Faber); January Morning; Tract; By the Road to Contagious Hospital; A Unison; The Last Words of My English Grandmother; The Waken an Old Lady; The Widow's Lament in Springtime; To a Poor Old Woman; The Yachts; These | The longest entry in the syllabus — eleven items, with a named anthology. Work through it early; it will not fit into revision week. |
Unit IX — Introduction to Drama, Modern British Drama and American Drama, all 9 entries ↑
The drama unit, and the only one that mixes theory with texts: one entry on the elements and forms of drama, then eight plays.
The eight split evenly — four Modern British and four American — and the syllabus prints those two as separate sub-headings. Prepare them as two traditions that answer each other.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| Introduction to Drama | Elements, Forms and features of Drama | The theory entry of this unit. Elements, forms and features — the vocabulary you then use on the eight plays below. |
| G.B. Shaw | Arms and the Man | Shaw's anti-romantic comedy. The debate inside the play is the point, not the love plot. |
| Oscar Wilde | An Ideal Husband | Society comedy with a moral core. Wilde's epigram is a device, not decoration. |
| T.S. Eliot | Murder in the Cathedral | Verse drama and the chorus. Eliot appears twice in Part-II — as poet in Unit VIII, as dramatist here. |
| John Arden | Sergeant Musgrave's Dance | Post-war British political drama. The least anthologised text in this unit — start it early. |
| Eugene O'Neill | Desire under the Elms | American tragedy on a New England farm. Greek patterns in a rural American setting. |
| Arthur Miller | Death of a Salesman | The tragedy of the common man. Memory scenes and the American Dream are the two standard entries into this play. |
| Tennessee Williams | The Glass Menagerie | A memory play, and it says so itself. The narrator's unreliability is built into the form. |
| Edward Albee | Who's Afraid of Virginia Woolf? | Absurdist-influenced American drama. Note the title's Woolf is not the novelist of Unit VI. |
Unit X — World Fiction, Research Methods and the Future of English, all 7 entries ↑
Five novels grouped by the syllabus under World Fiction, and then two topics that are not literature at all — research methods, and the future of English.
Those last two are the easiest entries to skip and the easiest to be caught by, because no set text protects you. They are open questions and must be prepared as arguments of your own.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| Dostoevsky | Crime and Punishment | Russian fiction in translation. Guilt, conscience and the idea of the extraordinary man. |
| Ernest Hemingway | The Old Man and the Sea | Short, and deceptively simple. The iceberg method is what makes it examinable. |
| Margaret Atwood | Surfacing | Canadian fiction, and the one clearly feminist novel in the fiction lists. Read it with Unit XI's Showalter. |
| Chinua Achebe | Things Fall Apart | African fiction and the colonial encounter. Its title comes from the Yeats poem in Unit VIII. |
| V.S. Naipaul | A House for Mr. Biswas | Diaspora fiction. Read it beside Unit XII rather than as a separate world. |
| Research Methods and Materials in English | Named as a topic; no set text is given | A methods topic inside a literature unit. Sources, citation and how a literature dissertation is built. |
| Future of English | Named as a topic; no set text is given | An open discussion topic — English as a world language, and where it is going. |
Unit XI — Contemporary Literary Theory, all 8 entries ↑
Eight theory entries, and the hardest reading on the paper. Three of them are printed with a bracket naming the anthology the essay should be read from.
Read them in the order the syllabus prints, not in the order they look easy. Saussure has to come before Derrida for Derrida to mean anything at all.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| Agyeya | Memory and Country | The one Hindi writer in the theory unit, listed among Western theorists. |
| Ferdinand de Saussure | The Object of Study; Nature of the Linguistic Sign | Where structuralism starts. Signifier and signified, and why the sign is arbitrary. |
| Jacques Derrida | Structure, Sign and Play in the Discourse of the Human Sciences | The deconstruction essay. Hard going — read it after Saussure, never before. |
| Terry Eagleton | Capitalism, Modernism and Postmodernism | Marxist criticism. The clearest bridge between literary form and economics in this unit. |
| Roland Barthes | The Death of the Author | Short, famous, and constantly misquoted. Read the actual essay, not the slogan. |
| Elaine Showalter | Feminist Criticism in the Wilderness — printed with the bracket: [Lodge, David, ed. Modern Criticism and Theory: A Reader. London: New York: Longman, 1988. For Essays: 1-5] | The bracket names an anthology and a range of essays. See the note below on how we read it — we do not claim to know which essays it counts. |
| Hillis Miller | Culture Studies and Reading — printed with the bracket: [Wolfreys, Julian. Literary Theories: A Reader and Guide, Edinburgh: Edinburgh University Press, 1997] | A named edition again. Culture studies as a way of reading, not a separate subject. |
| Homi K. Bhabha | Dissemination: Time, Narrative and the Margins of Modern Nation — printed with the bracket: [Ashcroft, Bill, Gareth Griffiths and Helen Tiffin, eds. The Post-Colonial Studies Reader. London and New York: Routledge, 1995] | Postcolonial theory, and the natural partner to Achebe and Naipaul in Unit X and to Unit XII. |
Unit XII — Indian Writing in English and Indian Writing in Translation, all 12 entries ↑
The last unit, and the only one split into two named halves: six entries of Indian Writing in English, then six of Indian Writing in Translation.
The translation half names the translator for three of its six entries and the publisher for two. Where an edition is named, use that edition — a different translation is a different text in an examination answer.
| Author or topic | Texts and topics named in the syllabus | How to prepare it |
|---|---|---|
| Raja Rao | Kanthapura | Indian Writing in English begins here. The village as narrator, and Gandhian politics in the plot. |
| R.K. Narayan | The Vendor of Sweets | Malgudi again. Generational conflict between father and son is the readable centre. |
| Anita Desai | Clear Light of Day | Family memory and Partition in the background. Interior lives over external event. |
| A.K. Ramanujan | The Snakes; Obituary; The Striders | Three poems. See the note below: the PDF runs this entry and the next one together at a line break. |
| Keki N. Daruwala | Ruminations; The Fighting Eagles; The Mistress; Boat-ride Along the Ganga | Four poems. The name is printed as 'Keki, N. Daruwala' in the PDF because of the same line break. |
| Nissim Ezekiel | Poet, Lover, Birdwatcher; Enterprise; The Visitor | Three poems that end the Indian Writing in English list. |
| Kalidas | Abhijnanshakuntalam (English translation by M. R. Kale, published by Motilal Banarasidas) | Indian Writing in Translation begins here, and the translation is named. Use that edition. |
| Premchand | Intent of Literature | Premchand's essay on the purpose of literature, printed with a stray closing quotation mark in the PDF. |
| Bhisham Sahni | Tamas | Partition fiction in translation. No translator is named for this one. |
| U. R. Ananthamurthy | Samskara | Kannada fiction in translation. Caste, ritual and the crisis of authority. |
| Mahasweta Devi | Rudali (English translation by Anujam Katyal, published by Seagull) | Translator and publisher are both named here, so the edition is fixed. |
| Shiv K. Kumar | Luna (English translation by Ish Kumar) | The last entry in the syllabus. The translator is named; the publisher is not. |
Every number on this page, and where it comes from ↑
A syllabus page is only as good as its arithmetic is honest, so here is the whole of ours. The Commission's document states four figures and nothing else: 3 hours, 120 marks, 60 marks for Part-I and 60 marks for Part-II. It never totals anything, never counts its own units, and never counts its own topics.
So every count on this page is ours, worked out by counting what is printed. We label them here rather than letting them pass as official figures: 12 units (Unit I to Unit XII as printed), 6 units in each part, 77 topic entries in all, 25 of them in Part-I and 52 in Part-II, 9 novels across Units IV and VI, 11 items under William Carlos Williams, and 8 plays in Unit IX. The 60 plus 60 that makes 120 is the document's own arithmetic, and it agrees.
Five printing quirks in the PDF are worth naming, because a reader comparing this page with the original will notice them and should know we did too. In Unit V the document prints "MyLast Duchess" with the space missing; in Unit VIII it prints "AfterApple Picking" and in Unit XI "Margins of ModernNation" the same way. In Unit XII a line break runs two names together as "The Striders Keki, N. Daruwala" — The Striders belongs to A.K. Ramanujan's entry and Keki N. Daruwala begins the next one, which is how we have set them out. And Premchand's Intent of Literature is printed with a closing quotation mark that has no opening partner.
One thing in Unit XI we will not resolve for you. The bracket printed after Elaine Showalter reads, in the document's own words, "For Essays: 1-5", followed by the details of the Lodge anthology. It is not stated whether that means the first five essays listed in Unit XI or essays numbered 1 to 5 inside the anthology. Both readings are possible from the page; the document settles neither, and neither will we. The practical course is to read the theory essays of Unit XI from the named Lodge reader wherever they appear in it.
What this document does not state — and we will not invent ↑
A syllabus annexure defines scope. It does not answer every question a candidate has, and the honest thing is to name the gaps instead of filling them with a confident guess. For each of the following, the Commission's own notification and its website are the only sources worth trusting.
This matters more than usual on this page, because the missing items include the two that candidates most often assume. There is no negative marking rule here, and there is no screening-test syllabus here.
- Negative marking. The document does not mention it at all. Anyone quoting a deduction for this paper is quoting something else.
- The number of questions, their type, their length, and whether internal choice is given. None of it is stated.
- How the 60 marks of a part are divided among its units. No unit is given a weight; the marks are stated only at part level.
- Any screening test or preliminary paper for this post. This document is the descriptive SAT syllabus only, and it says nothing about a stage before it.
- The medium of answering — whether an answer may be written in Hindi. Not stated in this document.
- Exam date, application dates, fee, vacancies, age limit, qualification and reservation. A syllabus document carries none of these; the advertisement does.
- Interview or viva marks, and how the SAT score is combined with anything else in the final selection.
- Cut-off or qualifying marks of any kind.
- The syllabus for any subject other than English. Each College Cadre subject has its own PDF on hppsc.hp.gov.in.
- A book list. The Commission prescribes texts inside units and, in a few places, a named edition — but a topic list is not a reading list, and nothing here ranks or recommends guides.
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Is this the official syllabus?
This page is compiled from HPPSC's official release, but the final word is the official PDF on hppsc.hp.gov.in — build your preparation on that document.
How reliable is this information?
We compile this from the official update and link the official source (hppsc.hp.gov.in), but always confirm the final details there before you act — dates and details can change.
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