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HSC English First Paper English For Today Unit 4 Lesson 2

HSC English First Paper English For Today Unit 4 Lesson 2

Leela Nag: First Female Student of the Department of English, Dhaka University 

In 1921, Leela Nag (also known as Leela Roy for her marriage with Anil Chandra Roy, an Indian National Congress leader) was the first woman to be admitted to the M.A in English at the University of Dhaka. Breaking patriarchal barriers, Leela Nag established the identity of the Department of English from the very beginning as a platform for progressive and liberal ideas. Although her decision to join the Department of English was initially met with resistance, she achieved her goal with a special permission from the then Vice Chancellor Philip Hartog and fulfilled her dream of graduating from the University of Dhaka. In 1923, she was the first woman to receive an M.A. from the Department of English. But Leela Nag’s legacy goes beyond the confines of classrooms. While she was a student, she formed the Dhaka Women’s Committee and raised funds for the 1921 Bengal flood victims. She was actively involved in the empowerment of women in society. In 1923, she founded Deepali Sangha which served as a training institute for anti-colonial activists. Between 1927 and 1928, she established the first self-defense institute for girls in Bengal. Then, at the 1928 Calcutta Congress Session, she presented a paper on the history of women’s movement in Bengal as a delegate, and by 1929, Leela Nag had successfully founded 12 free primary schools for girls. Apart from her contribution to women’s emancipation, Leela consistently voiced her opinions in politics as well. She had been imprisoned on several occasions. When the Subcontinent was embroiled in turmoil during the Partition, Leela Nag set up camps for victims of Noakhali riots in 1946, and for abandoned women and refugees from East Bengal in 1947. In 1946, she was the only Bengali woman elected to the Constituent Assembly of Bengal. 

Leela Nag broke the glass ceiling on so many levels that it is very difficult to limit her to being only a feminist. She fulfills all the criteria of citizen, rebel, reformer, social activist and a change agent. Looking at the other women who studied in the Department of English much later, we can trace these features of social activism in them as well.

While Leela Nag made headlines during the 1947 Partition, Nadera Begum, another student of the Department of English, was making headlines in 1949. Coming from an affluent political family, Nadera Begum was a strong Marxist who was among the leading women rebels of her time. In 1949, she was expelled from the University of Dhaka for fighting for the rights of the fourth-class employees of the University. She was the only woman seen standing near Sheikh Mujibur Rahman during those protests. In Cheman Ara’s article entitled ‘The Women who broke the barricades’ (published in The Daily Star, Feb 21, 2020), it is stated: “Names of Nadera Begum, Hamida Khatun, Nurjahan Murshid, Afsari Khanam, Ranu Mukherjee and Lili Haque also shine through in the history of the Language Movement.” Nadera Begum was a shining example of the multigenerational feminism that was evident among the women — both students and teachers of the Department of English. This is why, during the tumultuous 60s, soon after the Language Movement, we can find yet another woman as a valiant fighter against oppression. Razia Khan Amin, who joined as a faculty member of the department in 1962, showcased her activism through her writing and her cultural interests. She had completed her B.A. and M.A. in English from the Department of English, University of Dhaka and proceeded to do her M.A. in English from the University of Birmingham on a scholarship from the British Council. She was simultaneously an educationist, a theatre actor, a journalist, columnist, a poet, and a celebrated writer. Among the prestigious awards she received are the PEN Lay Writing Award (1956), the Pope Gold Medal (1957), Bangla Academy Literary Award (1975), Ekushey Padak (1997), and the Anannya Literature Award (2003). 

Amin exposes the brutality of the 1971 Liberation War through stark images in her poems. In her poem, ‘Argus Under Anaesthesia’, she writes: 

“A mother frenzied by the roar of mortars Throttled her whining infant; Its life for the life of millions”

In yet another poem, ‘God in the Goblet’, a melancholic tone addresses all the martyrs and the intellectuals who were mercilessly killed in 1971. References to “Muneer” the “playwright, pioneer”, “Hyder the Tagore-scholar”, “Fazle the Physician” and “the novelist Kaiser” form a tribute to the sacrifices of scholars of Bangladesh. Being a scholar herself, Amin had a unique approach to depicting the lives of women. In her poem ‘The Old Man and the Girl’ she breaks the silence and speaks out against child marriage and sexual oppression.

Read the passage again answer the questions:  

(1)  Who was the first woman to be admitted to the M.A. in English at the University of  Dhaka?

Answer. Leela Nag (also known as Leela Roy) was the first woman admitted to the M.A. in English at Dhaka University in 1921. 

(2) What special permission did Leela Nag require to pursue her studies at Dhaka University? 

Answer. Leela Nag needed special permission from the then Vice-Chancellor, Philip Hartog, to pursue her M.A. in English.  

(3) What organization did Leela Nag found in 1923, and what was its purpose? 

Answer. In 1923, Leela Nag founded Deepali Sangha, a training institute for anti-colonial activists. 

(4) What was Leela Nag's role in the 1946 Noakhali riots and the 1947 Partition? 

Answer. Leela Nag set up camps for victims of the 1946 Noakhali riots and for abandoned women and refugees from East Bengal in 1947.  

(5) In which year did Leela Nag become the only Bengali woman elected to the Constituent Assembly of Bengal?

Answer. Leela Nag was elected to the Constituent Assembly of Bengal in 1946. 

(6) What barriers did Leela Nag face when joining the Department of English at Dhaka University?  

Answer. Leela Nag faced resistance but overcame it by obtaining special permission from the Vice-Chancellor, Philip Hartog.  

(7) How did Leela Nag contribute to relief efforts during the 1921 Bengal flood?

Answer. Leela Nag formed the Dhaka Women's Committee and raised funds for the victims of the 1921 Bengal flood. 

(8) What significant event occurred in Leela Nag's academic career in 1923?

Answer. In 1923, Leela Nag became the first woman to receive an M.A. from the Department of English at Dhaka University.  

(9) What was Leela Nag's contribution to women's self-defense in Bengal?

Answer. Between 1927 and 1928, she established the first self-defense institute for girls in Bengal.

(10) What paper did Leela Nag present at the 1928 Calcutta Congress Session? 

Answer. Leela Nag presented a paper on the history of the women's movement in Bengal as a delegate.  

(11) By 1929, how many primary schools for girls had Leela Nag established?

Answer. By 1929, Leela Nag had established 12 free primary schools for girls.  

(12) In what ways did Leela Nag break patriarchal barriers beyond her academic career? 

Answer. Leela Nag broke patriarchal barriers by founding organizations, fighting for women's empowerment, and engaging in political activism.  

(13) What role did Leela Nag play in the women's movement in Bengal? 

Answer. Leela Nag played a central role in advocating for women's rights and empowerment, including founding Deepali Sangha and establishing schools. 

(14) How did Leela Nag's activism influence future women studying in the Department of English?  

Answer. Leela Nag's activism set a precedent for future women in the Department of English to engage in social activism.  

(15) How is Leela Nag's legacy described beyond her identity as a feminist?

Answer. Leela Nag is described as a citizen, rebel, reformer, social activist, and change agent, transcending her identity as a feminist.

(16) What led to Nadera Begum's expulsion from the University of Dhaka in 1949?

Answer. Nadera Begum was expelled for fighting for the rights of the fourth-class employees of the University of Dhaka. 

(17) Which significant protest did Nadera Begum participate in alongside Sheikh Mujibur Rahman?  

Answer. Nadera Begum was seen standing near Sheikh Mujibur Rahman during the protests for employees' rights.  

(18) How is Nadera Begum's role in the Language Movement described by Cheman Ara?

Answer. Nadera Begum's role in the Language Movement was highlighted as one of the key women rebels of her time. 

(19) What major awards did Razia Khan Amin receive during her literary career?

Answer. Razia Khan Amin received numerous awards, including the PEN Lay Writing Award, Bangla Academy Literary Award, and Ekushey Padak.  

(20) How did Razia Khan Amin depict the 1971 Liberation War in her poetry?

Answer. Razia Khan Amin depicted the brutality of the 1971 Liberation War through stark and vivid imagery in her poems.  

(21) What was Nadera Begum's political ideology? 

Answer. Nadera Begum was a strong Marxist. 

(22) How did Nadera Begum's actions exemplify multigenerational feminism?

Answer. Her activism for employees' rights and participation in the Language Movement represent multigenerational feminism.  

(23) What connection did Nadera Begum have to the Language Movement?  

Answer. She is mentioned as one of the notable women rebels in the history of the Language Movement. 

(24) In what year did Razia Khan Amin join the Department of English as a faculty member? 

Answer. Razia Khan Amin joined the Department of English as a faculty member in 1962. 

(25) What influence did Razia Khan Amin's education in Birmingham have on her career?

Answer. Her scholarship at the University of Birmingham broadened her literary scope and deepened her activism.  

 (26) How did Razia Khan Amin combine her activism with her writing?  

Answer. Razia Khan Amin used her writing as a platform to highlight social and political issues, including war and oppression. 

(27) What themes did Razia Khan Amin explore in her poem "Argus Under Anaesthesia"? 

Answer. "Argus Under Anaesthesia" explores the trauma of war, depicting a mother's tragic sacrifice during the 1971 Liberation War.  

(28) Who are some of the martyrs and intellectuals Razia Khan Amin paid tribute to in "God in the Goblet"? 

Answer. She pays tribute to martyrs such as Muneer, Hyder, Fazle, and Kaiser in her poem "God in the Goblet."

(29) How does Razia Khan Amin address child marriage and sexual oppression in her poetry? 

Answer. In her poem "The Old Man and the Girl," Razia Khan Amin speaks out against child marriage and sexual oppression.  

(30) What was Razia Khan Amin's role in Bangladesh's literary and cultural scene?

Answer. Razia Khan Amin was a prominent educationist, poet, journalist, and activist in Bangladesh's literary and cultural landscape.

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ā§§ā§¯ā§¨ā§§ āĻ¸াāĻ˛ে āĻ˛ীāĻ˛া āĻ¨াāĻ— (āĻŦিāĻŦাāĻšāĻ¸ূāĻ¤্āĻ°ে āĻ˛ীāĻ˛া āĻ°াāĻ¯় āĻ¨াāĻŽেāĻ“ āĻĒāĻ°িāĻšিāĻ¤, āĻ•াāĻ°āĻŖ āĻ¤িāĻ¨ি āĻ­াāĻ°āĻ¤ীāĻ¯় āĻœাāĻ¤ীāĻ¯় āĻ•ংāĻ—্āĻ°েāĻ¸েāĻ° āĻ¨েāĻ¤া āĻ…āĻ¨িāĻ˛ āĻšāĻ¨্āĻĻ্āĻ° āĻ°াāĻ¯়েāĻ° āĻ¸āĻ™্āĻ—ে āĻŦিāĻŦাāĻšāĻŦāĻ¨্āĻ§āĻ¨ে āĻ†āĻŦāĻĻ্āĻ§ āĻšāĻ¨) āĻĒ্āĻ°āĻĨāĻŽ āĻ¨াāĻ°ী āĻšিāĻ¸েāĻŦে āĻĸাāĻ•া āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯়েāĻ° āĻ‡ংāĻ°েāĻœি āĻŦিāĻ­াāĻ—ে āĻāĻŽ āĻ-āĻ¤ে āĻ­āĻ°্āĻ¤ি āĻšāĻ¨। āĻĒিāĻ¤ৃāĻ¤াāĻ¨্āĻ¤্āĻ°িāĻ•āĻ¤াāĻ° āĻŦাāĻ§া āĻĄিāĻ™িāĻ¯়ে, āĻ˛ীāĻ˛া āĻ¨াāĻ— āĻĒ্āĻ°āĻ—āĻ¤িāĻļীāĻ˛ āĻ“ āĻ‰āĻĻাāĻ° āĻšিāĻ¨্āĻ¤াāĻ° āĻāĻ•āĻŸি āĻŽāĻž্āĻš āĻšিāĻ¸েāĻŦে āĻĒ্āĻ°āĻĨāĻŽ āĻĨেāĻ•েāĻ‡ āĻ‡ংāĻ°েāĻœি āĻŦিāĻ­াāĻ—েāĻ° āĻĒāĻ°িāĻšāĻ¯় āĻĒ্āĻ°āĻ¤িāĻˇ্āĻ া āĻ•āĻ°েāĻ¨ । āĻ¤াāĻ° āĻ‡ংāĻ°েāĻœি āĻŦিāĻ­াāĻ—ে āĻ¯োāĻ—āĻĻাāĻ¨েāĻ° āĻ¸িāĻĻ্āĻ§াāĻ¨্āĻ¤āĻŸি āĻĒ্āĻ°āĻĨāĻŽে āĻĒ্āĻ°āĻ¤িāĻ°োāĻ§েāĻ° āĻŽুāĻ–ে āĻĒāĻĄ়āĻ˛েāĻ“ āĻ¤িāĻ¨ি āĻ¤ā§ŽāĻ•াāĻ˛ীāĻ¨ āĻ­াāĻ‡āĻ¸ āĻš্āĻ¯াāĻ¨্āĻ¸েāĻ˛āĻ° āĻĢিāĻ˛িāĻĒ āĻšাāĻ°্āĻŸāĻ—েāĻ° āĻŦিāĻļেāĻˇ āĻ…āĻ¨ুāĻŽāĻ¤ি āĻ¨িāĻ¯়ে āĻ¤াāĻ° āĻ˛āĻ•্āĻˇ্āĻ¯ āĻĒূāĻ°āĻŖ āĻ•āĻ°েāĻ¨ āĻāĻŦং āĻĸাāĻ•া āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯় āĻĨেāĻ•ে āĻ¸্āĻ¨াāĻ¤āĻ• āĻšāĻ“āĻ¯়াāĻ° āĻ¸্āĻŦāĻĒ্āĻ¨ āĻĒূāĻ°āĻŖ āĻ•āĻ°েāĻ¨। ā§§ā§¯ā§¨ā§Š āĻ¸াāĻ˛ে, āĻ¤িāĻ¨ি āĻ‡ংāĻ°েāĻœি āĻŦিāĻ­াāĻ— āĻĨেāĻ•ে āĻĒ্āĻ°āĻĨāĻŽ āĻāĻŽ.āĻ āĻĄিāĻ—্āĻ°িāĻ§াāĻ°ী āĻ¨াāĻ°ী āĻšāĻ¨। āĻ¤āĻŦে āĻ˛ীāĻ˛া āĻ¨াāĻ—েāĻ° āĻĒ্āĻ°āĻ¤িāĻˇ্āĻ া āĻļুāĻ§ু āĻļ্āĻ°েāĻŖিāĻ•āĻ•েāĻ‡ āĻ¸ীāĻŽাāĻŦāĻĻ্āĻ§ āĻ›িāĻ˛ āĻ¨া। āĻ¤িāĻ¨ি āĻļিāĻ•্āĻˇাāĻ°্āĻĨী āĻĨাāĻ•াāĻ•াāĻ˛ীāĻ¨ āĻĸাāĻ•া āĻ‰āĻ‡āĻŽেāĻ¨্āĻ¸ āĻ•āĻŽিāĻŸি āĻ—āĻ āĻ¨ āĻ•āĻ°েāĻ¨ āĻāĻŦং ā§§ā§¯ā§¨ā§§ āĻ¸াāĻ˛ে āĻŦাংāĻ˛া āĻœুāĻĄ়ে āĻŦāĻ¨্āĻ¯াāĻ°্āĻ¤āĻĻেāĻ° āĻœāĻ¨্āĻ¯ āĻ¤āĻšāĻŦিāĻ˛ āĻ¸ংāĻ—্āĻ°āĻš āĻ•āĻ°েāĻ¨। āĻ¤িāĻ¨ি āĻ¸āĻŽাāĻœে āĻ¨াāĻ°ীāĻ° āĻ•্āĻˇāĻŽāĻ¤াāĻ¯়āĻ¨ে āĻ¸āĻ•্āĻ°িāĻ¯়āĻ­াāĻŦে āĻœāĻĄ়িāĻ¤ āĻ›িāĻ˛েāĻ¨। ā§§ā§¯ā§¨ā§Š āĻ¸াāĻ˛ে, āĻ¤িāĻ¨ি āĻĻীāĻĒাāĻ˛ী āĻ¸ংāĻ˜ āĻĒ্āĻ°āĻ¤িāĻˇ্āĻ া āĻ•āĻ°েāĻ¨, āĻ¯া āĻ›িāĻ˛ āĻ‰āĻĒāĻ¨িāĻŦেāĻļ āĻŦিāĻ°োāĻ§ী āĻ•āĻ°্āĻŽীāĻĻেāĻ° āĻĒ্āĻ°āĻļিāĻ•্āĻˇāĻŖেāĻ° āĻœāĻ¨্āĻ¯ āĻ•াāĻœ āĻ•āĻ°া āĻāĻ•āĻŸি āĻĒ্āĻ°āĻ¤িāĻˇ্āĻ াāĻ¨। ā§§ā§¯ā§¨ā§­ āĻĨেāĻ•ে ā§§ā§¯ā§¨ā§Ž āĻ¸াāĻ˛েāĻ° āĻŽāĻ§্āĻ¯ে, āĻ¤িāĻ¨ি āĻŦাংāĻ˛াāĻ¯় āĻĒ্āĻ°āĻĨāĻŽ āĻŽেāĻ¯়েāĻĻেāĻ° āĻœāĻ¨্āĻ¯ āĻ†āĻ¤্āĻŽāĻ°āĻ•্āĻˇাāĻ° āĻĒ্āĻ°āĻļিāĻ•্āĻˇāĻŖ āĻ•েāĻ¨্āĻĻ্āĻ° āĻ¸্āĻĨাāĻĒāĻ¨ āĻ•āĻ°া āĻ•āĻ°েāĻ¨। āĻĒāĻ°ে, ā§§ā§¯ā§¨ā§Ž āĻ¸াāĻ˛ে āĻ•āĻ˛āĻ•াāĻ¤া āĻ•ংāĻ—্āĻ°েāĻ¸ āĻ…āĻ§িāĻŦেāĻļāĻ¨ে āĻ¤িāĻ¨ি āĻŦāĻ™্āĻ—েāĻ° āĻ¨াāĻ°ী āĻ†āĻ¨্āĻĻোāĻ˛āĻ¨েāĻ° āĻ‡āĻ¤িāĻšাāĻ¸ āĻ¨িāĻ¯়ে āĻāĻ•āĻŸি āĻĒ্āĻ°āĻŦāĻ¨্āĻ§ āĻ‰āĻĒāĻ¸্āĻĨাāĻĒāĻ¨ āĻ•āĻ°েāĻ¨ āĻāĻŦং ā§§ā§¯ā§¨ā§¯ āĻ¸াāĻ˛েāĻ° āĻŽāĻ§্āĻ¯ে, āĻ˛ীāĻ˛া āĻ¨াāĻ— āĻ¸āĻĢāĻ˛āĻ­াāĻŦে āĻŽেāĻ¯়েāĻĻেāĻ° āĻœāĻ¨্āĻ¯ ā§§ā§¨āĻŸি āĻŦিāĻ¨াāĻŽূāĻ˛্āĻ¯েāĻ° āĻĒ্āĻ°াāĻĨāĻŽিāĻ• āĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯় āĻĒ্āĻ°āĻ¤িāĻˇ্āĻ া āĻ•āĻ°েāĻ¨।

āĻ¨াāĻ°ী āĻŽুāĻ•্āĻ¤িāĻ¤ে āĻ…āĻŦāĻĻাāĻ¨ āĻ°াāĻ–াāĻ° āĻĒাāĻļাāĻĒাāĻļি, āĻ˛ীāĻ˛া āĻ¨াāĻ— āĻ°াāĻœāĻ¨ৈāĻ¤িāĻ• āĻ•্āĻˇেāĻ¤্āĻ°েāĻ“ āĻĻৃāĻĸ়āĻ­াāĻŦে āĻ¤াāĻ° āĻŽāĻ¤ āĻĒ্āĻ°āĻ•াāĻļ āĻ•āĻ°ে āĻ—েāĻ›েāĻ¨। āĻ¤িāĻ¨ি āĻāĻ•াāĻ§িāĻ•āĻŦাāĻ° āĻ•াāĻ°াāĻŦāĻ°āĻŖ āĻ•āĻ°েāĻ›েāĻ¨। āĻĻেāĻļāĻ­াāĻ—েāĻ° āĻ¸āĻŽāĻ¯় āĻ¯āĻ–āĻ¨ āĻ‰āĻĒāĻŽāĻšাāĻĻেāĻļেāĻ° āĻ…āĻŦāĻ¸্āĻĨা āĻ…āĻ¸্āĻĨিāĻ° āĻ›িāĻ˛, āĻ¤āĻ–āĻ¨ āĻ˛ীāĻ˛া āĻ¨াāĻ— ā§§ā§¯ā§Ēā§Ŧ āĻ¸াāĻ˛ে āĻ¨োāĻ¯়াāĻ–াāĻ˛ী āĻĻাāĻ™্āĻ—াāĻ° āĻļিāĻ•াāĻ°āĻĻেāĻ° āĻœāĻ¨্āĻ¯ āĻāĻŦং ā§§ā§¯ā§Ēā§­ āĻ¸াāĻ˛ে āĻĒূāĻ°্āĻŦāĻŦāĻ™্āĻ—েāĻ° āĻĒāĻ°িāĻ¤্āĻ¯āĻ•্āĻ¤ āĻ¨াāĻ°ী āĻ“ āĻļāĻ°āĻŖাāĻ°্āĻĨীāĻĻেāĻ° āĻœāĻ¨্āĻ¯ āĻļিāĻŦিāĻ° āĻ¸্āĻĨাāĻĒāĻ¨ āĻ•āĻ°েāĻ¨। ā§§ā§¯ā§Ēā§Ŧ āĻ¸াāĻ˛ে, āĻ¤িāĻ¨ি āĻŦাংāĻ˛াāĻ° āĻ†āĻ‡āĻ¨ āĻĒāĻ°িāĻˇāĻĻেāĻ° āĻāĻ•āĻŽাāĻ¤্āĻ° āĻ¨িāĻ°্āĻŦাāĻšিāĻ¤ āĻŦাāĻ™াāĻ˛ি āĻ¨াāĻ°ী āĻ›িāĻ˛েāĻ¨।

āĻ˛ীāĻ˛া āĻ¨াāĻ— ā§§ā§¯ā§Ēā§­ āĻ¸াāĻ˛েāĻ° āĻĻেāĻļāĻ­াāĻ—েāĻ° āĻ¸āĻŽāĻ¯় āĻ†āĻ˛োāĻšāĻ¨াāĻ¯় āĻāĻ¸েāĻ›িāĻ˛েāĻ¨, āĻ†āĻ° ā§§ā§¯ā§Ēā§¯ āĻ¸াāĻ˛ে āĻ†āĻ˛োāĻšāĻ¨াāĻ¯় āĻ›িāĻ˛েāĻ¨ āĻ†āĻ°েāĻ• āĻ‡ংāĻ°েāĻœি āĻŦিāĻ­াāĻ—েāĻ° āĻļিāĻ•্āĻˇাāĻ°্āĻĨী, āĻ¨াāĻĻেāĻ°া āĻŦেāĻ—āĻŽ। āĻ§āĻ¨ী āĻ°াāĻœāĻ¨ৈāĻ¤িāĻ• āĻĒāĻ°িāĻŦাāĻ° āĻĨেāĻ•ে āĻ†āĻ¸া āĻ¨াāĻĻেāĻ°া āĻŦেāĻ—āĻŽ āĻ›িāĻ˛েāĻ¨ āĻāĻ•āĻœāĻ¨ āĻĻৃāĻĸ়āĻšেāĻ¤া āĻŽাāĻ°্āĻ•āĻ¸āĻŦাāĻĻীāĻāĻŦং āĻ¤াāĻ° āĻ¸āĻŽāĻ¯়েāĻ° āĻĒ্āĻ°āĻ§াāĻ¨ āĻ¨াāĻ°ী āĻŦিāĻĻ্āĻ°োāĻšীāĻĻেāĻ° āĻāĻ•āĻœāĻ¨। ā§§ā§¯ā§Ēā§¯ āĻ¸াāĻ˛ে, āĻĸাāĻ•া āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯়েāĻ° āĻšāĻ¤ুāĻ°্āĻĨ āĻļ্āĻ°েāĻŖিāĻ° āĻ•āĻ°্āĻŽāĻšাāĻ°ীāĻĻেāĻ° āĻ…āĻ§িāĻ•াāĻ°েāĻ° āĻœāĻ¨্āĻ¯ āĻ˛āĻĄ়াāĻ‡ āĻ•āĻ°াāĻ° āĻ•াāĻ°āĻŖে āĻ¤াāĻ•ে āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯় āĻĨেāĻ•ে āĻŦāĻšিāĻˇ্āĻ•াāĻ° āĻ•āĻ°া āĻšāĻ¯়। āĻ¸েāĻ‡ āĻĒ্āĻ°āĻ¤িāĻŦাāĻĻে āĻļেāĻ– āĻŽুāĻœিāĻŦুāĻ° āĻ°āĻšāĻŽাāĻ¨েāĻ° āĻĒাāĻļে āĻĻাঁāĻĄ়াāĻ¨ো āĻāĻ•āĻŽাāĻ¤্āĻ° āĻ¨াāĻ°ী āĻ›িāĻ˛েāĻ¨ āĻ¤িāĻ¨ি। āĻšেāĻŽāĻ¨ āĻ†āĻ°াāĻ° āĻ¨িāĻŦāĻ¨্āĻ§ 'āĻĻ্āĻ¯ āĻ‰āĻ‡āĻŽেāĻ¨ āĻšু āĻŦ্āĻ°োāĻ• āĻĻ্āĻ¯ āĻŦ্āĻ¯াāĻ°িāĻ•েāĻĄāĻ¸' (āĻĻ্āĻ¯ āĻĄেāĻ‡āĻ˛ি āĻ¸্āĻŸাāĻ°, ā§¨ā§§ āĻĢেāĻŦ্āĻ°ুāĻ¯়াāĻ°ি, ā§¨ā§Ļā§¨ā§Ļ) āĻ āĻ‰āĻ˛্āĻ˛েāĻ– āĻ•āĻ°া āĻšāĻ¯়েāĻ›ে: “āĻ¨াāĻĻেāĻ°া āĻŦেāĻ—āĻŽ, āĻšাāĻŽিāĻĻা āĻ–াāĻ¤ুāĻ¨, āĻ¨ূāĻ°āĻœাāĻšাāĻ¨ āĻŽুāĻ°āĻļিāĻĻ, āĻ†āĻĢāĻ¸াāĻ°ী āĻ–াāĻ¨āĻŽ, āĻ°াāĻ¨ু āĻŽুāĻ–াāĻ°্āĻœী āĻāĻŦং āĻ˛িāĻĒি āĻšāĻ•েāĻ° āĻ¨াāĻŽ āĻ­াāĻˇা āĻ†āĻ¨্āĻĻোāĻ˛āĻ¨েāĻ° āĻ‡āĻ¤িāĻšাāĻ¸ে āĻ‰āĻœ্āĻœ্āĻŦāĻ˛ āĻšāĻ¯়ে āĻ°āĻ‡āĻŦে। ”

āĻ¨াāĻĻেāĻ°া āĻŦেāĻ—āĻŽ āĻ›িāĻ˛েāĻ¨ āĻ‡ংāĻ°েāĻœি āĻŦিāĻ­াāĻ—েāĻ° āĻ›াāĻ¤্āĻ°-āĻļিāĻ•্āĻˇāĻ•āĻĻেāĻ° āĻŽāĻ§্āĻ¯ে āĻĒ্āĻ°āĻœāĻ¨্āĻŽ āĻĨেāĻ•ে āĻĒ্āĻ°āĻœāĻ¨্āĻŽাāĻ¨্āĻ¤āĻ°েāĻ° āĻ¨াāĻ°ীāĻŦাāĻĻেāĻ° āĻ‰āĻœ্āĻœ্āĻŦāĻ˛ āĻ‰āĻĻাāĻšāĻ°āĻŖ। āĻ¯া āĻ¨াāĻ°ীāĻĻেāĻ° āĻŽāĻ§্āĻ¯ে āĻ¸্āĻĒāĻˇ্āĻŸ āĻ›িāĻ˛। āĻ¤াāĻ‡ ā§§ā§¯ā§Ŧā§Ļ āĻāĻ° āĻĻāĻļāĻ•েāĻ° āĻ‰āĻĨাāĻ˛-āĻĒাāĻ¤াāĻ˛েāĻ° āĻ¸āĻŽāĻ¯়, āĻ­াāĻˇা āĻ†āĻ¨্āĻĻোāĻ˛āĻ¨েāĻ° āĻĒāĻ°ে āĻ†āĻŽāĻ°া āĻ†āĻ°েāĻ•āĻœāĻ¨ āĻ¨াāĻ°ীāĻ•ে āĻ…āĻ¨্āĻ¯াāĻ¯়েāĻ° āĻŦিāĻ°ুāĻĻ্āĻ§ে āĻ¸ংāĻ—্āĻ°াāĻŽāĻ°āĻ¤ āĻ¸াāĻšāĻ¸ী āĻ¯োāĻĻ্āĻ§া āĻšিāĻ¸েāĻŦে āĻĻেāĻ–āĻ¤ে āĻĒাāĻ‡। ā§§ā§¯ā§Ŧā§¨ āĻ¸াāĻ˛ে āĻ‡ংāĻ°েāĻœি āĻŦিāĻ­াāĻ—ে āĻĒ্āĻ°āĻ­াāĻˇāĻ• āĻšিāĻ¸েāĻŦে āĻ¯োāĻ— āĻĻেāĻ“āĻ¯়া āĻ°াāĻœিāĻ¯়া āĻ–াāĻ¨ āĻ†āĻŽিāĻ¨ āĻ¸াāĻšিāĻ¤্āĻ¯ āĻāĻŦং āĻ¸াংāĻ¸্āĻ•ৃāĻ¤িāĻ• āĻ†āĻ—্āĻ°āĻšেāĻ° āĻŽাāĻ§্āĻ¯āĻŽে āĻ¤াāĻ° āĻ¸āĻ•্āĻ°িāĻ¯়āĻ¤াāĻ•ে āĻ¤ুāĻ˛ে āĻ§āĻ°েāĻ¨। āĻ¤িāĻ¨ি āĻĸাāĻ•া āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯়েāĻ° āĻ‡ংāĻ°েāĻœি āĻŦিāĻ­াāĻ— āĻĨেāĻ•ে āĻŦি.āĻ. āĻāĻŦং āĻāĻŽ.āĻ. āĻĄিāĻ—্āĻ°ি āĻ¸āĻŽ্āĻĒāĻ¨্āĻ¨ āĻ•āĻ°েāĻ¨ āĻāĻŦং āĻŦ্āĻ°িāĻŸিāĻļ āĻ•াāĻ‰āĻ¨্āĻ¸িāĻ˛েāĻ° āĻŦৃāĻ¤্āĻ¤ি āĻ¨িāĻ¯়ে āĻŦাāĻ°্āĻŽিংāĻšাāĻŽ āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯় āĻĨেāĻ•ে āĻ‡ংāĻ°েāĻœিāĻ¤ে āĻāĻŽ.āĻ.āĻ•āĻ°েāĻ¨। āĻ¤িāĻ¨ি āĻāĻ•াāĻ§াāĻ°ে āĻāĻ•āĻœāĻ¨ āĻļিāĻ•্āĻˇাāĻŦিāĻĻ, āĻ¨াāĻŸ্āĻ¯āĻļিāĻ˛্āĻĒী, āĻ¸াংāĻŦাāĻĻিāĻ•, āĻ•āĻ˛াāĻŽিāĻ¸্āĻŸ, āĻ•āĻŦি āĻāĻŦং āĻ¸্āĻŦāĻ¨াāĻŽāĻ§āĻ¨্āĻ¯ āĻ˛েāĻ–িāĻ•া āĻ›িāĻ˛েāĻ¨। āĻ¤াāĻ° āĻĒ্āĻ°াāĻĒ্āĻ¤ āĻŽāĻ°্āĻ¯াāĻĻাāĻĒূāĻ°্āĻŖ āĻĒুāĻ°āĻ¸্āĻ•াāĻ°āĻ—ুāĻ˛োāĻ° āĻŽāĻ§্āĻ¯ে āĻ°āĻ¯়েāĻ›ে āĻĒেāĻ¨ āĻ˛ে āĻ°াāĻ‡āĻŸিং āĻ…্āĻ¯াāĻ“āĻ¯়াāĻ°্āĻĄ (ā§§ā§¯ā§Ģā§Ŧ), āĻĒোāĻĒ āĻ—োāĻ˛্āĻĄ āĻŽেāĻĄেāĻ˛ (ā§§ā§¯ā§Ģā§­), āĻŦাংāĻ˛া āĻāĻ•াāĻĄেāĻŽি āĻ¸াāĻšিāĻ¤্āĻ¯ āĻĒুāĻ°āĻ¸্āĻ•াāĻ° (ā§§ā§¯ā§­ā§Ģ), āĻāĻ•ুāĻļে āĻĒāĻĻāĻ• (ā§§ā§¯ā§¯ā§­), āĻāĻŦং āĻ…āĻ¨āĻ¨্āĻ¯া āĻ¸াāĻšিāĻ¤্āĻ¯ āĻĒুāĻ°āĻ¸্āĻ•াāĻ° (ā§¨ā§Ļā§Ļā§Š)। 

āĻ†āĻŽিāĻ¨ āĻ¤াāĻ° āĻ•āĻŦিāĻ¤াāĻ¯় āĻĒāĻ°িāĻĒূāĻ°্āĻŖ āĻšিāĻ¤্āĻ°েāĻ° āĻŽাāĻ§্āĻ¯āĻŽে ā§§ā§¯ā§­ā§§ āĻ¸াāĻ˛েāĻ° āĻŽুāĻ•্āĻ¤িāĻ¯ুāĻĻ্āĻ§েāĻ° āĻ¨িāĻ°্āĻŽāĻŽāĻ¤াāĻ•ে āĻ¤ুāĻ˛ে āĻ§āĻ°েāĻ›েāĻ¨। 

āĻ¤াāĻ° āĻ•āĻŦিāĻ¤া 'āĻ†āĻ°্āĻ—াāĻ¸ āĻ†āĻ¨্āĻĄাāĻ° āĻ…্āĻ¯াāĻ¨াāĻ¸্āĻĨেāĻ¸িāĻ¯়া' āĻ¤ে āĻ¤িāĻ¨ি āĻ˛েāĻ–েāĻ¨:

"āĻāĻ•āĻœāĻ¨ āĻŽা āĻŽāĻ°্āĻŸাāĻ°েāĻ° āĻ—āĻ°্āĻœāĻ¨ে āĻĒাāĻ—āĻ˛ āĻšāĻ¯়ে
āĻ¤াāĻ° āĻœāĻ¨্āĻŽāĻ¨āĻ°āĻ¤ āĻļিāĻļুāĻ•ে āĻ—āĻ˛া āĻŸিāĻĒে āĻŽেāĻ°েāĻ›ে,
āĻšাāĻœাāĻ°ো āĻ˛োāĻ•েāĻ° āĻœীāĻŦāĻ¨ āĻŦাঁāĻšাāĻ¤ে āĻ¸ে āĻāĻ‡ āĻ•াāĻœ āĻ•āĻ°েāĻ›ে”

āĻ†āĻ°েāĻ•āĻŸি āĻ•āĻŦিāĻ¤া 'āĻ—āĻĄ āĻ‡āĻ¨ āĻĻ্āĻ¯ āĻ—āĻŦāĻ˛েāĻŸ' āĻ āĻ¤িāĻ¨ি āĻļোāĻ•াāĻ¤ুāĻ° āĻ¸ুāĻ°ে ā§§ā§¯ā§­ā§§ āĻ¸াāĻ˛ে āĻļāĻšীāĻĻ āĻ“ āĻ¨িāĻ°্āĻŽāĻŽāĻ­াāĻŦে āĻ¨িāĻšāĻ¤ āĻŦুāĻĻ্āĻ§িāĻœীāĻŦীāĻĻেāĻ° āĻ•āĻĨা āĻ¤ুāĻ˛ে āĻ§āĻ°েāĻ›েāĻ¨। "āĻ¨াāĻŸ্āĻ¯āĻ•াāĻ°, āĻĒāĻĨāĻĒ্āĻ°āĻĻāĻ°্āĻļāĻ•" "āĻŽুāĻ¨ীāĻ°", "āĻ°āĻŦীāĻ¨্āĻĻ্āĻ°-āĻŦিāĻļেāĻˇāĻœ্āĻž āĻšাāĻ¯়āĻĻাāĻ°", "āĻšিāĻ•িā§ŽāĻ¸āĻ• āĻĢāĻœāĻ˛ে" āĻāĻŦং "āĻ‰āĻĒāĻ¨্āĻ¯াāĻ¸িāĻ• āĻ•াāĻ¯়āĻ¸াāĻ°-āĻāĻ° āĻ‰āĻ˛্āĻ˛েāĻ–েāĻ° āĻŽাāĻ§্āĻ¯āĻŽে āĻ¤িāĻ¨ি āĻŦাংāĻ˛াāĻĻেāĻļেāĻ° āĻŦুāĻĻ্āĻ§িāĻœীāĻŦীāĻĻেāĻ° āĻ†āĻ¤্āĻŽāĻ¤্āĻ¯াāĻ—āĻ•ে āĻļ্āĻ°āĻĻ্āĻ§া āĻœাāĻ¨িāĻ¯়েāĻ›েāĻ¨। āĻ¨িāĻœেāĻ“ āĻāĻ•āĻœāĻ¨ āĻĒāĻ¨্āĻĄিāĻ¤ āĻšāĻ“āĻ¯়াāĻ° āĻ†āĻŽিāĻ¨েāĻ° āĻ›িāĻ˛ āĻ¨াāĻ°ীāĻœীāĻŦāĻ¨ āĻšিāĻ¤্āĻ°াāĻ¯়āĻŖেāĻ° āĻāĻ• āĻ…āĻ¨āĻ¨্āĻ¯ āĻĻৃāĻˇ্āĻŸিāĻ­āĻ™্āĻ—ি। āĻ¤াāĻ° āĻ•āĻŦিāĻ¤া "āĻĻ্āĻ¯ āĻ“āĻ˛্āĻĄ āĻŽ্āĻ¯াāĻ¨ āĻ…্āĻ¯াāĻ¨্āĻĄ āĻĻ্āĻ¯া āĻ—াāĻ°্āĻ˛" -āĻ āĻ¤িāĻ¨ি āĻ¨িāĻ°āĻŦāĻ¤া āĻ­েāĻ™ে āĻļিāĻļু āĻŦিāĻŦাāĻš āĻāĻŦং āĻ¯ৌāĻ¨ āĻ¨িāĻĒীāĻĄ়āĻ¨েāĻ° āĻŦিāĻ°ুāĻĻ্āĻ§ে āĻ•āĻĨা āĻŦāĻ˛েāĻ›েāĻ¨।

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Ecotourism -Read the passage and answer the questions Unit 9 Lesson 3c English For Today

Read the passage and answer the questions Ecotourism is a booming business that many tour operators cite as being helpful to nature.(āĻĒāĻ°িāĻŦেāĻļāĻŦাāĻ¨্āĻ§āĻŦ āĻĒāĻ°্āĻ¯āĻŸāĻ¨ āĻļিāĻ˛্āĻĒ āĻāĻ•āĻŸি āĻĻ্āĻ°ুāĻ¤ āĻ¸āĻŽৃāĻĻ্āĻ§িāĻŽāĻ¯় āĻŦ্āĻ¯āĻŦāĻ¸া āĻ¯া āĻĒāĻ°্āĻ¯āĻŸāĻ¨ āĻĒāĻ°িāĻšাāĻ˛āĻ¨াāĻ•াāĻ°ীāĻŦৃāĻ¨্āĻĻ āĻĒ্āĻ°āĻ•ৃāĻ¤িāĻ° āĻœāĻ¨্āĻ¯ āĻ¸āĻšাāĻ¯়āĻ• āĻŦāĻ˛ে āĻ†āĻ–্āĻ¯াāĻ¯়িāĻ¤ āĻ•āĻ°েāĻ¨) Every year, millions of people descend on protected and pristine natural areas to observe rare species. (āĻĒ্āĻ°āĻ¤ি āĻŦāĻ›āĻ°, āĻ˛āĻ•্āĻˇ āĻ˛āĻ•্āĻˇ āĻŽাāĻ¨ুāĻˇ āĻĻুāĻ°্āĻ˛āĻ­ āĻĒ্āĻ°āĻœাāĻ¤িāĻ° āĻĒ্āĻ°াāĻŖীāĻ—ুāĻ˛োāĻ•ে āĻĻেāĻ–āĻ¤ে āĻ¸ংāĻ°āĻ•্āĻˇিāĻ¤ āĻāĻŦং āĻŦিāĻļুāĻĻ্āĻ§āĻ¤া āĻŦিāĻ°াāĻœāĻŽাāĻ¨ āĻ†āĻ›ে āĻāĻŽāĻ¨ āĻĒ্āĻ°াāĻ•ৃāĻ¤িāĻ• āĻ…āĻž্āĻšāĻ˛ āĻ­্āĻ°āĻŽāĻŖ āĻ•āĻ°ে āĻĨাāĻ•ে।) However, a new report casts doubt on the value of this form of tourism.(āĻ¯াāĻšোāĻ•, āĻāĻ•āĻŸি āĻ¨āĻ¤ুāĻ¨ āĻ§āĻ°āĻŖেāĻ° āĻĒāĻ°্āĻ¯āĻŸāĻ¨েāĻ° āĻ‰āĻĒāĻ•াāĻ°িāĻ¤াāĻ•ে āĻ¸āĻ¨্āĻĻেāĻšেāĻ° āĻ¨āĻœāĻ°ে āĻĻেāĻ–āĻ›ে।) In fact, it suggests that ecotourism is more damaging than helpful to nature. (āĻŦাāĻ¸্āĻ¤āĻŦে, āĻāĻŸি āĻĒāĻ°াāĻŽāĻ°্āĻļ āĻĻিāĻš্āĻ›ে āĻ¯ে āĻĒāĻ°িāĻŦেāĻļāĻŦাāĻ¨্āĻ§āĻŦ āĻĒāĻ°্āĻ¯āĻŸāĻ¨ āĻļিāĻ˛্āĻĒ āĻĒ্āĻ°āĻ•ৃāĻ¤িāĻ° āĻœāĻ¨্āĻ¯ āĻ¸āĻšাāĻ¯়āĻ•েāĻ° āĻšেāĻ¯়ে āĻ…āĻ§িāĻ•āĻ¤āĻ° āĻ•্āĻˇāĻ¤িāĻ•āĻ°।) Details are in a report published in the journal Trends in Ecology and Evolution’. (‘āĻŸ্āĻ°েāĻ¨্āĻĄāĻ¸ āĻ‡āĻ¨ āĻ‡āĻ•োāĻ˛āĻœি āĻ…্āĻ¯াāĻ¨্āĻĄ āĻ‡āĻ­োāĻ˛িāĻ‰āĻļāĻ¨’ āĻ¸াāĻŽāĻ¯়িāĻ• āĻĒāĻ¤্āĻ°িāĻ•াāĻ¯় āĻĒ্āĻ°āĻ•াāĻļিāĻ¤ āĻāĻ•āĻŸি āĻĒ্āĻ°āĻ¤িāĻŦেāĻĻāĻ¨ে āĻŦিāĻ¸্āĻ¤াāĻ°িāĻ¤ āĻŦāĻ˛া āĻšāĻ¯়...

Write a paragraph on Pahela Baishakh āĻĒāĻšেāĻ˛া āĻŦৈāĻļাāĻ–

Write a paragraph on Pahela Baishakh (āĻĒāĻšেāĻ˛া āĻŦৈāĻļাāĻ–) Pahela Baishakh Pahela Baishakh is the part of our culture. It is the first day in Bangla calendar. This day is celebrated throughout the country. The main programme of this day is held in Ramna Botamul. Different socio-cultural organizations celebrate this day with due solemnity. People of all sorts of ages and lives attend this function. Colourful processions are brought out. Watery rice and hilsha fish are served during this function. Women and children put on traditional dresses. The whole country wears a festive look. Different cultural programmes are arranged where singers sing traditional bangla songs. Discussion meetings are held. Radio and television put on special programmes. Newspapers and dailies publish supplementary. Fairs are held here and there on this occasion. Shopkeepers and traders arrange ‘halk hata’ and sweet-meats are distributed. In villages, people go to others’ houses and exchange greetings. Thus Pahela Baisha...