Skip to main content

Featured post

How Milk Stays Fresh Without a Fridge: The Science of Aseptic Processing & UHT

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.

āϞীāϞা āύাāĻ— : āĻĸাāĻ•া āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ়েāϰ āχংāϰেāϜি āĻŦিāĻ­াāĻ—েāϰ āĻĒ্āϰāĻĨāĻŽ āĻŽāĻšিāϞা āĻļিāĻ•্āώাāϰ্āĻĨী

⧧⧝⧍⧧ āϏাāϞে āϞীāϞা āύাāĻ— (āĻŦিāĻŦাāĻšāϏূāϤ্āϰে āϞীāϞা āϰাāϝ় āύাāĻŽেāĻ“ āĻĒāϰিāϚিāϤ, āĻ•াāϰāĻŖ āϤিāύি āĻ­াāϰāϤীāϝ় āϜাāϤীāϝ় āĻ•ংāĻ—্āϰেāϏেāϰ āύেāϤা āĻ…āύিāϞ āϚāύ্āĻĻ্āϰ āϰাāϝ়েāϰ āϏāĻ™্āĻ—ে āĻŦিāĻŦাāĻšāĻŦāύ্āϧāύে āφāĻŦāĻĻ্āϧ āĻšāύ) āĻĒ্āϰāĻĨāĻŽ āύাāϰী āĻšিāϏেāĻŦে āĻĸাāĻ•া āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ়েāϰ āχংāϰেāϜি āĻŦিāĻ­াāĻ—ে āĻāĻŽ āĻ-āϤে āĻ­āϰ্āϤি āĻšāύ। āĻĒিāϤৃāϤাāύ্āϤ্āϰিāĻ•āϤাāϰ āĻŦাāϧা āĻĄিāĻ™িāϝ়ে, āϞীāϞা āύাāĻ— āĻĒ্āϰāĻ—āϤিāĻļীāϞ āĻ“ āωāĻĻাāϰ āϚিāύ্āϤাāϰ āĻāĻ•āϟি āĻŽāĻž্āϚ āĻšিāϏেāĻŦে āĻĒ্āϰāĻĨāĻŽ āĻĨেāĻ•েāχ āχংāϰেāϜি āĻŦিāĻ­াāĻ—েāϰ āĻĒāϰিāϚāϝ় āĻĒ্āϰāϤিāώ্āĻ া āĻ•āϰেāύ । āϤাāϰ āχংāϰেāϜি āĻŦিāĻ­াāĻ—ে āϝোāĻ—āĻĻাāύেāϰ āϏিāĻĻ্āϧাāύ্āϤāϟি āĻĒ্āϰāĻĨāĻŽে āĻĒ্āϰāϤিāϰোāϧেāϰ āĻŽুāĻ–ে āĻĒāĻĄ়āϞেāĻ“ āϤিāύি āĻ¤ā§ŽāĻ•াāϞীāύ āĻ­াāχāϏ āϚ্āϝাāύ্āϏেāϞāϰ āĻĢিāϞিāĻĒ āĻšাāϰ্āϟāĻ—েāϰ āĻŦিāĻļেāώ āĻ…āύুāĻŽāϤি āύিāϝ়ে āϤাāϰ āϞāĻ•্āώ্āϝ āĻĒূāϰāĻŖ āĻ•āϰেāύ āĻāĻŦং āĻĸাāĻ•া āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ় āĻĨেāĻ•ে āϏ্āύাāϤāĻ• āĻšāĻ“āϝ়াāϰ āϏ্āĻŦāĻĒ্āύ āĻĒূāϰāĻŖ āĻ•āϰেāύ। ā§§ā§¯ā§¨ā§Š āϏাāϞে, āϤিāύি āχংāϰেāϜি āĻŦিāĻ­াāĻ— āĻĨেāĻ•ে āĻĒ্āϰāĻĨāĻŽ āĻāĻŽ.āĻ āĻĄিāĻ—্āϰিāϧাāϰী āύাāϰী āĻšāύ। āϤāĻŦে āϞীāϞা āύাāĻ—েāϰ āĻĒ্āϰāϤিāώ্āĻ া āĻļুāϧু āĻļ্āϰেāĻŖিāĻ•āĻ•েāχ āϏীāĻŽাāĻŦāĻĻ্āϧ āĻ›িāϞ āύা। āϤিāύি āĻļিāĻ•্āώাāϰ্āĻĨী āĻĨাāĻ•াāĻ•াāϞীāύ āĻĸাāĻ•া āωāχāĻŽেāύ্āϏ āĻ•āĻŽিāϟি āĻ—āĻ āύ āĻ•āϰেāύ āĻāĻŦং ⧧⧝⧍⧧ āϏাāϞে āĻŦাংāϞা āϜুāĻĄ়ে āĻŦāύ্āϝাāϰ্āϤāĻĻেāϰ āϜāύ্āϝ āϤāĻšāĻŦিāϞ āϏংāĻ—্āϰāĻš āĻ•āϰেāύ। āϤিāύি āϏāĻŽাāϜে āύাāϰীāϰ āĻ•্āώāĻŽāϤাāϝ়āύে āϏāĻ•্āϰিāϝ়āĻ­াāĻŦে āϜāĻĄ়িāϤ āĻ›িāϞেāύ। ā§§ā§¯ā§¨ā§Š āϏাāϞে, āϤিāύি āĻĻীāĻĒাāϞী āϏংāϘ āĻĒ্āϰāϤিāώ্āĻ া āĻ•āϰেāύ, āϝা āĻ›িāϞ āωāĻĒāύিāĻŦেāĻļ āĻŦিāϰোāϧী āĻ•āϰ্āĻŽীāĻĻেāϰ āĻĒ্āϰāĻļিāĻ•্āώāĻŖেāϰ āϜāύ্āϝ āĻ•াāϜ āĻ•āϰা āĻāĻ•āϟি āĻĒ্āϰāϤিāώ্āĻ াāύ। ⧧⧝⧍⧭ āĻĨেāĻ•ে ā§§ā§¯ā§¨ā§Ž āϏাāϞেāϰ āĻŽāϧ্āϝে, āϤিāύি āĻŦাংāϞাāϝ় āĻĒ্āϰāĻĨāĻŽ āĻŽেāϝ়েāĻĻেāϰ āϜāύ্āϝ āφāϤ্āĻŽāϰāĻ•্āώাāϰ āĻĒ্āϰāĻļিāĻ•্āώāĻŖ āĻ•েāύ্āĻĻ্āϰ āϏ্āĻĨাāĻĒāύ āĻ•āϰা āĻ•āϰেāύ। āĻĒāϰে, ā§§ā§¯ā§¨ā§Ž āϏাāϞে āĻ•āϞāĻ•াāϤা āĻ•ংāĻ—্āϰেāϏ āĻ…āϧিāĻŦেāĻļāύে āϤিāύি āĻŦāĻ™্āĻ—েāϰ āύাāϰী āφāύ্āĻĻোāϞāύেāϰ āχāϤিāĻšাāϏ āύিāϝ়ে āĻāĻ•āϟি āĻĒ্āϰāĻŦāύ্āϧ āωāĻĒāϏ্āĻĨাāĻĒāύ āĻ•āϰেāύ āĻāĻŦং ⧧⧝⧍⧝ āϏাāϞেāϰ āĻŽāϧ্āϝে, āϞীāϞা āύাāĻ— āϏāĻĢāϞāĻ­াāĻŦে āĻŽেāϝ়েāĻĻেāϰ āϜāύ্āϝ ⧧⧍āϟি āĻŦিāύাāĻŽূāϞ্āϝেāϰ āĻĒ্āϰাāĻĨāĻŽিāĻ• āĻŦিāĻĻ্āϝাāϞāϝ় āĻĒ্āϰāϤিāώ্āĻ া āĻ•āϰেāύ।

āύাāϰী āĻŽুāĻ•্āϤিāϤে āĻ…āĻŦāĻĻাāύ āϰাāĻ–াāϰ āĻĒাāĻļাāĻĒাāĻļি, āϞীāϞা āύাāĻ— āϰাāϜāύৈāϤিāĻ• āĻ•্āώেāϤ্āϰেāĻ“ āĻĻৃāĻĸ়āĻ­াāĻŦে āϤাāϰ āĻŽāϤ āĻĒ্āϰāĻ•াāĻļ āĻ•āϰে āĻ—েāĻ›েāύ। āϤিāύি āĻāĻ•াāϧিāĻ•āĻŦাāϰ āĻ•াāϰাāĻŦāϰāĻŖ āĻ•āϰেāĻ›েāύ। āĻĻেāĻļāĻ­াāĻ—েāϰ āϏāĻŽāϝ় āϝāĻ–āύ āωāĻĒāĻŽāĻšাāĻĻেāĻļেāϰ āĻ…āĻŦāϏ্āĻĨা āĻ…āϏ্āĻĨিāϰ āĻ›িāϞ, āϤāĻ–āύ āϞীāϞা āύাāĻ— ⧧⧝ā§Ēā§Ŧ āϏাāϞে āύোāϝ়াāĻ–াāϞী āĻĻাāĻ™্āĻ—াāϰ āĻļিāĻ•াāϰāĻĻেāϰ āϜāύ্āϝ āĻāĻŦং ⧧⧝ā§Ēā§­ āϏাāϞে āĻĒূāϰ্āĻŦāĻŦāĻ™্āĻ—েāϰ āĻĒāϰিāϤ্āϝāĻ•্āϤ āύাāϰী āĻ“ āĻļāϰāĻŖাāϰ্āĻĨীāĻĻেāϰ āϜāύ্āϝ āĻļিāĻŦিāϰ āϏ্āĻĨাāĻĒāύ āĻ•āϰেāύ। ⧧⧝ā§Ēā§Ŧ āϏাāϞে, āϤিāύি āĻŦাংāϞাāϰ āφāχāύ āĻĒāϰিāώāĻĻেāϰ āĻāĻ•āĻŽাāϤ্āϰ āύিāϰ্āĻŦাāϚিāϤ āĻŦাāĻ™াāϞি āύাāϰী āĻ›িāϞেāύ।

āϞীāϞা āύাāĻ— ⧧⧝ā§Ēā§­ āϏাāϞেāϰ āĻĻেāĻļāĻ­াāĻ—েāϰ āϏāĻŽāϝ় āφāϞোāϚāύাāϝ় āĻāϏেāĻ›িāϞেāύ, āφāϰ ⧧⧝ā§Ē⧝ āϏাāϞে āφāϞোāϚāύাāϝ় āĻ›িāϞেāύ āφāϰেāĻ• āχংāϰেāϜি āĻŦিāĻ­াāĻ—েāϰ āĻļিāĻ•্āώাāϰ্āĻĨী, āύাāĻĻেāϰা āĻŦেāĻ—āĻŽ। āϧāύী āϰাāϜāύৈāϤিāĻ• āĻĒāϰিāĻŦাāϰ āĻĨেāĻ•ে āφāϏা āύাāĻĻেāϰা āĻŦেāĻ—āĻŽ āĻ›িāϞেāύ āĻāĻ•āϜāύ āĻĻৃāĻĸ়āϚেāϤা āĻŽাāϰ্āĻ•āϏāĻŦাāĻĻীāĻāĻŦং āϤাāϰ āϏāĻŽāϝ়েāϰ āĻĒ্āϰāϧাāύ āύাāϰী āĻŦিāĻĻ্āϰোāĻšীāĻĻেāϰ āĻāĻ•āϜāύ। ⧧⧝ā§Ē⧝ āϏাāϞে, āĻĸাāĻ•া āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ়েāϰ āϚāϤুāϰ্āĻĨ āĻļ্āϰেāĻŖিāϰ āĻ•āϰ্āĻŽāϚাāϰীāĻĻেāϰ āĻ…āϧিāĻ•াāϰেāϰ āϜāύ্āϝ āϞāĻĄ়াāχ āĻ•āϰাāϰ āĻ•াāϰāĻŖে āϤাāĻ•ে āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ় āĻĨেāĻ•ে āĻŦāĻšিāώ্āĻ•াāϰ āĻ•āϰা āĻšāϝ়। āϏেāχ āĻĒ্āϰāϤিāĻŦাāĻĻে āĻļেāĻ– āĻŽুāϜিāĻŦুāϰ āϰāĻšāĻŽাāύেāϰ āĻĒাāĻļে āĻĻাঁāĻĄ়াāύো āĻāĻ•āĻŽাāϤ্āϰ āύাāϰী āĻ›িāϞেāύ āϤিāύি। āϚেāĻŽāύ āφāϰাāϰ āύিāĻŦāύ্āϧ 'āĻĻ্āϝ āωāχāĻŽেāύ āĻšু āĻŦ্āϰোāĻ• āĻĻ্āϝ āĻŦ্āϝাāϰিāĻ•েāĻĄāϏ' (āĻĻ্āϝ āĻĄেāχāϞি āϏ্āϟাāϰ, ⧍⧧ āĻĢেāĻŦ্āϰুāϝ়াāϰি, ⧍ā§Ļ⧍ā§Ļ) āĻ āωāϞ্āϞেāĻ– āĻ•āϰা āĻšāϝ়েāĻ›ে: “āύাāĻĻেāϰা āĻŦেāĻ—āĻŽ, āĻšাāĻŽিāĻĻা āĻ–াāϤুāύ, āύূāϰāϜাāĻšাāύ āĻŽুāϰāĻļিāĻĻ, āφāĻĢāϏাāϰী āĻ–াāύāĻŽ, āϰাāύু āĻŽুāĻ–াāϰ্āϜী āĻāĻŦং āϞিāĻĒি āĻšāĻ•েāϰ āύাāĻŽ āĻ­াāώা āφāύ্āĻĻোāϞāύেāϰ āχāϤিāĻšাāϏে āωāϜ্āϜ্āĻŦāϞ āĻšāϝ়ে āϰāχāĻŦে। ”

āύাāĻĻেāϰা āĻŦেāĻ—āĻŽ āĻ›িāϞেāύ āχংāϰেāϜি āĻŦিāĻ­াāĻ—েāϰ āĻ›াāϤ্āϰ-āĻļিāĻ•্āώāĻ•āĻĻেāϰ āĻŽāϧ্āϝে āĻĒ্āϰāϜāύ্āĻŽ āĻĨেāĻ•ে āĻĒ্āϰāϜāύ্āĻŽাāύ্āϤāϰেāϰ āύাāϰীāĻŦাāĻĻেāϰ āωāϜ্āϜ্āĻŦāϞ āωāĻĻাāĻšāϰāĻŖ। āϝা āύাāϰীāĻĻেāϰ āĻŽāϧ্āϝে āϏ্āĻĒāώ্āϟ āĻ›িāϞ। āϤাāχ ⧧⧝ā§Ŧā§Ļ āĻāϰ āĻĻāĻļāĻ•েāϰ āωāĻĨাāϞ-āĻĒাāϤাāϞেāϰ āϏāĻŽāϝ়, āĻ­াāώা āφāύ্āĻĻোāϞāύেāϰ āĻĒāϰে āφāĻŽāϰা āφāϰেāĻ•āϜāύ āύাāϰীāĻ•ে āĻ…āύ্āϝাāϝ়েāϰ āĻŦিāϰুāĻĻ্āϧে āϏংāĻ—্āϰাāĻŽāϰāϤ āϏাāĻšāϏী āϝোāĻĻ্āϧা āĻšিāϏেāĻŦে āĻĻেāĻ–āϤে āĻĒাāχ। ⧧⧝ā§Ŧ⧍ āϏাāϞে āχংāϰেāϜি āĻŦিāĻ­াāĻ—ে āĻĒ্āϰāĻ­াāώāĻ• āĻšিāϏেāĻŦে āϝোāĻ— āĻĻেāĻ“āϝ়া āϰাāϜিāϝ়া āĻ–াāύ āφāĻŽিāύ āϏাāĻšিāϤ্āϝ āĻāĻŦং āϏাংāϏ্āĻ•ৃāϤিāĻ• āφāĻ—্āϰāĻšেāϰ āĻŽাāϧ্āϝāĻŽে āϤাāϰ āϏāĻ•্āϰিāϝ়āϤাāĻ•ে āϤুāϞে āϧāϰেāύ। āϤিāύি āĻĸাāĻ•া āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ়েāϰ āχংāϰেāϜি āĻŦিāĻ­াāĻ— āĻĨেāĻ•ে āĻŦি.āĻ. āĻāĻŦং āĻāĻŽ.āĻ. āĻĄিāĻ—্āϰি āϏāĻŽ্āĻĒāύ্āύ āĻ•āϰেāύ āĻāĻŦং āĻŦ্āϰিāϟিāĻļ āĻ•াāωāύ্āϏিāϞেāϰ āĻŦৃāϤ্āϤি āύিāϝ়ে āĻŦাāϰ্āĻŽিংāĻšাāĻŽ āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ় āĻĨেāĻ•ে āχংāϰেāϜিāϤে āĻāĻŽ.āĻ.āĻ•āϰেāύ। āϤিāύি āĻāĻ•াāϧাāϰে āĻāĻ•āϜāύ āĻļিāĻ•্āώাāĻŦিāĻĻ, āύাāϟ্āϝāĻļিāϞ্āĻĒী, āϏাংāĻŦাāĻĻিāĻ•, āĻ•āϞাāĻŽিāϏ্āϟ, āĻ•āĻŦি āĻāĻŦং āϏ্āĻŦāύাāĻŽāϧāύ্āϝ āϞেāĻ–িāĻ•া āĻ›িāϞেāύ। āϤাāϰ āĻĒ্āϰাāĻĒ্āϤ āĻŽāϰ্āϝাāĻĻাāĻĒূāϰ্āĻŖ āĻĒুāϰāϏ্āĻ•াāϰāĻ—ুāϞোāϰ āĻŽāϧ্āϝে āϰāϝ়েāĻ›ে āĻĒেāύ āϞে āϰাāχāϟিং āĻ…্āϝাāĻ“āϝ়াāϰ্āĻĄ (⧧⧝ā§Ģā§Ŧ), āĻĒোāĻĒ āĻ—োāϞ্āĻĄ āĻŽেāĻĄেāϞ (⧧⧝ā§Ģā§­), āĻŦাংāϞা āĻāĻ•াāĻĄেāĻŽি āϏাāĻšিāϤ্āϝ āĻĒুāϰāϏ্āĻ•াāϰ (⧧⧝⧭ā§Ģ), āĻāĻ•ুāĻļে āĻĒāĻĻāĻ• (⧧⧝⧝⧭), āĻāĻŦং āĻ…āύāύ্āϝা āϏাāĻšিāϤ্āϝ āĻĒুāϰāϏ্āĻ•াāϰ (⧍ā§Ļā§Ļā§Š)। 

āφāĻŽিāύ āϤাāϰ āĻ•āĻŦিāϤাāϝ় āĻĒāϰিāĻĒূāϰ্āĻŖ āϚিāϤ্āϰেāϰ āĻŽাāϧ্āϝāĻŽে ⧧⧝⧭⧧ āϏাāϞেāϰ āĻŽুāĻ•্āϤিāϝুāĻĻ্āϧেāϰ āύিāϰ্āĻŽāĻŽāϤাāĻ•ে āϤুāϞে āϧāϰেāĻ›েāύ। 

āϤাāϰ āĻ•āĻŦিāϤা 'āφāϰ্āĻ—াāϏ āφāύ্āĻĄাāϰ āĻ…্āϝাāύাāϏ্āĻĨেāϏিāϝ়া' āϤে āϤিāύি āϞেāĻ–েāύ:

"āĻāĻ•āϜāύ āĻŽা āĻŽāϰ্āϟাāϰেāϰ āĻ—āϰ্āϜāύে āĻĒাāĻ—āϞ āĻšāϝ়ে
āϤাāϰ āϜāύ্āĻŽāύāϰāϤ āĻļিāĻļুāĻ•ে āĻ—āϞা āϟিāĻĒে āĻŽেāϰেāĻ›ে,
āĻšাāϜাāϰো āϞোāĻ•েāϰ āϜীāĻŦāύ āĻŦাঁāϚাāϤে āϏে āĻāχ āĻ•াāϜ āĻ•āϰেāĻ›ে”

āφāϰেāĻ•āϟি āĻ•āĻŦিāϤা 'āĻ—āĻĄ āχāύ āĻĻ্āϝ āĻ—āĻŦāϞেāϟ' āĻ āϤিāύি āĻļোāĻ•াāϤুāϰ āϏুāϰে ⧧⧝⧭⧧ āϏাāϞে āĻļāĻšীāĻĻ āĻ“ āύিāϰ্āĻŽāĻŽāĻ­াāĻŦে āύিāĻšāϤ āĻŦুāĻĻ্āϧিāϜীāĻŦীāĻĻেāϰ āĻ•āĻĨা āϤুāϞে āϧāϰেāĻ›েāύ। "āύাāϟ্āϝāĻ•াāϰ, āĻĒāĻĨāĻĒ্āϰāĻĻāϰ্āĻļāĻ•" "āĻŽুāύীāϰ", "āϰāĻŦীāύ্āĻĻ্āϰ-āĻŦিāĻļেāώāϜ্āĻž āĻšাāϝ়āĻĻাāϰ", "āϚিāĻ•িā§ŽāϏāĻ• āĻĢāϜāϞে" āĻāĻŦং "āωāĻĒāύ্āϝাāϏিāĻ• āĻ•াāϝ়āϏাāϰ-āĻāϰ āωāϞ্āϞেāĻ–েāϰ āĻŽাāϧ্āϝāĻŽে āϤিāύি āĻŦাংāϞাāĻĻেāĻļেāϰ āĻŦুāĻĻ্āϧিāϜীāĻŦীāĻĻেāϰ āφāϤ্āĻŽāϤ্āϝাāĻ—āĻ•ে āĻļ্āϰāĻĻ্āϧা āϜাāύিāϝ়েāĻ›েāύ। āύিāϜেāĻ“ āĻāĻ•āϜāύ āĻĒāύ্āĻĄিāϤ āĻšāĻ“āϝ়াāϰ āφāĻŽিāύেāϰ āĻ›িāϞ āύাāϰীāϜীāĻŦāύ āϚিāϤ্āϰাāϝ়āĻŖেāϰ āĻāĻ• āĻ…āύāύ্āϝ āĻĻৃāώ্āϟিāĻ­āĻ™্āĻ—ি। āϤাāϰ āĻ•āĻŦিāϤা "āĻĻ্āϝ āĻ“āϞ্āĻĄ āĻŽ্āϝাāύ āĻ…্āϝাāύ্āĻĄ āĻĻ্āϝা āĻ—াāϰ্āϞ" -āĻ āϤিāύি āύিāϰāĻŦāϤা āĻ­েāĻ™ে āĻļিāĻļু āĻŦিāĻŦাāĻš āĻāĻŦং āϝৌāύ āύিāĻĒীāĻĄ়āύেāϰ āĻŦিāϰুāĻĻ্āϧে āĻ•āĻĨা āĻŦāϞেāĻ›েāύ।

Popular Posts

Write a paragraph on environment pollution āĻĒāϰিāĻŦেāĻļ āĻĻূāώāĻŖ

Write a paragraph on environment pollution (āĻĒāϰিāĻŦেāĻļ āĻĻূāώāĻŖ) Environment Pollution Environment pollution means the pollution of air, water, sound, odour, soil and other elements of it. We need safe and clean environment. Pollution of it has tremendous bad effects. Any sort of pollution may bring the doom of life. At present, our environment is being polluted at an alarming rate, Air, the most important element of environment is polluted by smoke from railway engines and power-houses, or the burning of coal and oil or the making of bricks. Water, another vital element is being polluted by the use of chemicals and insecticides or oil seeping from damaged super tankers or by industrial discharge. Sound pollution is caused by the use of microphones and loud speakers. All these pollutions may wipe out our existence from the earth. The destruction of forest also causes environment imbalance that makes the wild animals wipe out. So, it is our moral duty to prevent environment pollution. We must ...

HSC English First Paper English For Today Unit 3 Lesson 4

HSC English First Paper English For Today Unit 3 Lesson 4 Khona The mythical story of Khona is deeply rooted in Bangla folklore. Khona, originally named Lila, an incredible woman with a gift for predicting weather and understanding the ways of farming. Her wisdom was shared through memorable rhyming verses known as “Khona's Words" or "Khonar Bochon." These sayings, though simple and easy to remember, were filled with practical advice for farmers. Khona used her knowledge to help the peasants, but her actions often challenged the ruling class. The rulers, not pleased with her defiance, punished her cruelly by cutting out her tongue. Thus she became known as Khona, which means “someone who cannot speak." Despite this harsh punishment, her wisdom lived on through her sayings, which have been passed down for over 1500 years. There are many versions of Khona's story. One retelling goes like this: in the kingdom of Deyulnagar, there was a royal astrologer n...

HSC English First Paper English For Today Unit 1 Lesson 3

HSC English First Paper English For Today Unit 1 Lesson 3 Children in School  The New School Part-I: Reading Test  When she saw the gate of the new school, Totto-chan stopped. The gate of the school she used to go to had fine concrete pillars with the name of the school in large characters. But the gate of this new school simply consisted of two rather short posts that still had twigs and leaves on them. "This gate's growing." said Totto-chan. "It'll probably go on growing till it's taller than the telephone poles! The two "gateposts" were clearly trees with roots. When she got closer, she had to put her head to one side to read the name of the school because the wind had blown the sign askew. "To-mo-e Ga-ku-en." Totto-chan was about to ask Mother what "Tomoe" meant, when she caught a glimpse of something that made her think she must be dreaming. She squatted down and peered through the shrubbery to get a better look, and ...