Biplob- The Revolution of ELT

Biplob- The Revolution of ELT

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BIPLOB - The Revolution of ELT in Bangladesh.
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Alhamdulillah â¤ī¸

03/06/2025

āĻāχ āĻĒā§‹āĻ¸ā§āϟ āĻĨ⧇āϕ⧇ āϝāĻž āĻ†ā§Ÿ āĻšāĻŦ⧇ āϤāĻž āĻĻāĻŋā§Ÿā§‡ ā§Š āĻļāĻžāĻšāĻŦāĻžāĻ—ā§€āϰ āϜāĻ¨ā§āϝ āϜāĻžāĻŽāĻž āĻ•āĻŋāύāĻŦā§‹ 🙏
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31/05/2025

āϜāĻžāĻ¤ā§€ā§Ÿ āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞ⧟ āĻ­āĻ°ā§āϤāĻŋ āĻĒāϰāĻŋāĻ•ā§āώāĻž (āĻŽāĻžāύāĻŦāĻŋāĻ•) ⧍ā§Ļ⧍ā§Ģ āĻāϰ āχāĻ‚āϰ⧇āϜāĻŋ āĻ…āĻ‚āĻļ⧇āϰ āωāĻ¤ā§āϤāϰ

1. She's not a teenager any more. She looks quite ___ now.
Answer: (B) grown-up

2. "To keep one's cool" is an idiom which means:
Answer: (D) to stay calm

3. The buses are never on time. ___ ?
Answer: (A) Are they

4. They were exempted ___ the penalty.
Answer: (C) from

5. Eureka! means:
Answer: (A) I have found it

6. "Cut your coat according to your cloth" is a proverb that implies:
Answer: (C) You should spend within your means

7. I have just seen your advertisement ___ a Chinese book.
Answer: (C) of

8. Have you ever ___ to Dhaka?
Answer: (A) been

9. Do you know the importance ___ clean water?
Answer: (B) of

10. Find the correct spell word:
Answer: (A) Adulterate

11. Identify the tense used in the following sentence: "She speaks well."
Answer: (B) Simple present

12. In Elizabethan poetry, what is the term for a love poem with a specific rhyme scheme and structure?
Answer: (C) Sonnet

13. Who wrote the story "The Gift of the Magi"?
Answer: (B) O. Henry

14. It’s raining outside. You need ___ an umbrella.
Answer: (C) to bring

15. Who wrote the fantasy novel ‘Harry Potter’?
Answer: (C) J. K. Rowling

16. Which one of the following is the synonym of the word "skill"?
Answer: (D) craftsmanship

17. Supply a suitable word to fill in the blank: He is strong ___ to carry the burden.
Answer: (B) enough

18. We study with an eye to ___ our career.
Answer: (B) establish

19. He turned ___ my proposal.
Answer: (A) down

20. I saw a man ___ on the road.
Answer: (D) standing

31/05/2025

Understand Robert Frost’s "Stopping by Woods on a Snowy Evening" with a clear Bangla line-by-line explanation.
Great for SSC, HSC & literature students!

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29/05/2025

🧐 Attention, Literature Graduates!
Congratulations! āφāĻĒāύāĻžāϰ āϚāĻžāϰ āĻŦāĻ›āϰ⧇āϰ āĻ…āύāĻžāĻ°ā§āϏ āφāϰ ā§§ āĻŦāĻ›āϰ⧇āϰ āĻŽāĻžāĻ¸ā§āϟāĻžāĻ°ā§āϏ āĻāĻ–āύ āĻĒā§āϰāĻŽāĻžāĻŖāĻŋāϤāĻ­āĻžāĻŦ⧇ “āĻ…āĻĒā§āĻ°ā§Ÿā§‹āϜāĻ¨ā§€ā§Ÿâ€! 🎓🙃

āĻ¸ā§āϕ⧁āϞ⧇ English āĻĒ⧜āĻžāϤ⧇ āϚāĻžāχāϞ⧇ āĻāĻ–āύ āĻļ⧁āϧ⧁ Grammar āϜāĻžāύāϞ⧇āχ āĻšāĻŦ⧇āĨ¤ Shakespeare āϕ⧇? Milton āĻ•āĻŋāϏ⧇āϰ āϜāĻ¨ā§āϝ? āφāϰ āϏ⧇āχ “Waste Land” āϤ⧋ āĻāϕ⧇āĻŦāĻžāϰ⧇āχ āĻ“ā§Ÿā§‡āĻ¸ā§āϟ! 😅

āφāĻĒāύāĻŋ āϝāĻĻāĻŋ "Othello" āĻĒā§œā§‡āĻ“ āĻŦ⧁āĻā§‡ āύāĻž āĻĨāĻžāϕ⧇āύ āϕ⧇āύ Desdemona āϚ⧁āĻĒāϚāĻžāĻĒ āĻ›āĻŋāϞ, āϚāĻŋāĻ¨ā§āϤāĻž āύ⧇āχ — āĻ•āĻžāϰāĻŖ āĻ¸ā§āϕ⧁āϞ⧇ āϏ⧇āϟāĻž āĻĒ⧜āĻžāύ⧋āχ āĻšā§Ÿ āύāĻž! 😌
āĻāĻ–āύ āϏāĻŽā§Ÿ āĻāϏ⧇āϛ⧇ āύāϤ⧁āύ āĻĒāĻžāĻ ā§āϝāϏ⧂āϚāĻŋ āĻĒā§āϰāϪ⧟āύ⧇āϰ:
English = Tense + Voice + Two books
Literature? Who needs feelings and thoughts when you have rules and formulas! 🤖📘

đŸ“ĸ Future Suggestion:
Chemistry āĻĒ⧜āĻžāϤ⧇ Organic āϜāĻžāύāĻžāϰ āĻĻāϰāĻ•āĻžāϰ āύ⧇āχ, Math āĻĒ⧜āĻžāϤ⧇ Calculus āĻŦāĻžāĻĻ āĻĻ⧇āĻ“ā§ŸāĻž āĻšā§‹āĻ•! āĻ•āĻžāϰāĻŖ āĻļāĻŋāĻ•ā§āώāĻž āĻŽāĻžāύ⧇āχ āϤ⧋ āĻļāĻ°ā§āϟāĻ•āĻžāϟ! 😉

27/03/2025

āĻāϰāĻž āĻŦāĻžāϟāĻĒāĻžāϰāĨ¤ āϕ⧇āω āĻŦāĻŋāĻļā§āĻŦāĻžāϏ āĻ•āϰāĻŦ⧇āύ āύāĻžāĨ¤

04/01/2025

30/08/2024

āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āĻļāĻŋāĻ•ā§āώāĻ•āϏāĻŽā§āĻĒā§āϰāĻĻāĻžā§Ÿ āĻ…āϤāĻŋāĻļ⧟ āĻŽā§‡āϰ⧁āĻĻāĻ¨ā§āĻĄāĻšā§€āύāĨ¤ āφāϰ⧇āĻ•āĻĻāĻŋāĻ• āĻĨ⧇āϕ⧇ āĻĒ⧁āϞāĻŋāĻļ⧇āϰ āĻŽāϤ⧋ āĻŦāϞāĻŋāϰ āĻĒāĻžāĻ āĻžāĨ¤ āϰāĻžāϜāύ⧀āϤāĻŋ āĻ•āϰāϞ⧇āĻ“ āĻŦāĻŋāĻĒāĻĻ, āύāĻž āĻ•āϰāϞ⧇āĻ“ āĻŦāĻŋāĻĒāĻĻāĨ¤

āĻāχ āϧāϰ⧇āύ, āύāĻŋāϜ āĻĒāĻĻ⧇ āĻŦāĻšāĻžāϞ āĻĨāĻžāĻ•āĻžāϰ āϜāĻ¨ā§āϝ āĻŽā§āϝāĻžāύ⧇āϜāĻŋāĻ‚ āĻ•āĻŽāĻŋāϟāĻŋāϰ āϏāĻĻāĻ¸ā§āϝ, āϏāĻ­āĻžāĻĒāϤāĻŋ āĻĨ⧇āϕ⧇ āĻļ⧁āϰ⧁ āĻ•āϰ⧇ āĻļāĻŋāĻ•ā§āώāĻž āĻ…āĻĢāĻŋāϏāĻžāϰ, āĻāĻŽāĻĒāĻŋ, āĻŽāĻ¨ā§āĻ¤ā§āϰ⧀... āϏāĻŦāĻžāχāϕ⧇āχ āϤ⧇āϞ āĻŽāĻžāϰāϤ⧇ āĻšā§ŸāĨ¤ āĻāϰāĻŽāĻ§ā§āϝ⧇ āϕ⧇āω āĻ•ā§āώāĻŽāϤāĻžāϏ⧀āύ āϏāϰāĻ•āĻžāϰ⧇āϰ āĻāĻœā§‡āĻ¨ā§āϟ āĻšāϞ⧇ āϤāĻžāϰāĻ“ āϚāĻžāĻŽāϚāĻžāĻŽāĻŋ āĻ•āϰāϤ⧇ āĻšā§Ÿ (āĻ•āϤāĻŋāĻĒ⧟ āφāĻĻāĻ°ā§āĻļ āĻļāĻŋāĻ•ā§āώāĻ• āĻŦā§āϝāϤāĻŋāϤ āϝāĻžāϰ āϏāĻ‚āĻ–ā§āϝāĻž āĻŽā§‹āϟāĻžāĻŽā§āϟāĻŋ āĻļā§‚āĻŖā§āϝ⧇āϰ āϕ⧋āĻ āĻžā§Ÿ)āĨ¤

āĻĻ⧇āĻļ⧇āϰ āϕ⧋āύ⧋ āĻ—ā§‹āĻˇā§āĻ ā§€ āϝ⧌āĻ•ā§āϤāĻŋāĻ• āφāĻ¨ā§āĻĻā§‹āϞāύ āĻ•āϰāϞ⧇, āϏāĻŽāĻ°ā§āĻĨāύ āϤ⧋ āĻĻā§‚āϰ⧇ āĻĨāĻžāĻ•, āĻ…āύ⧇āĻ• āĻ•ā§āώ⧇āĻ¤ā§āϰ⧇ āĻšāĻžāϤ⧁āϰāĻŋ-āĻšā§‡āϞāĻŽā§‡āϟ āύāĻŋā§Ÿā§‡ āύāĻžāĻŽāϤ⧇ āĻšā§Ÿ āĻĒā§āϰāϤāĻŋāĻšāϤ āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝāĨ¤ āϤāĻžāĻĻ⧇āϰ āĻŽāĻ§ā§āϝ⧇āχ āϕ⧇āω āφāĻŦāĻžāϰ āĻ…āϤāĻŋ āĻ‰ā§ŽāϏāĻžāĻšā§€ āĻšā§Ÿā§‡ āϞāĻ—āĻŋ-āĻŦāχāĻ āĻž āύāĻŋā§Ÿā§‡ āύāĻžāĻŽāϤ⧇ āϕ⧁āĻŖā§āĻ āĻžāĻŦā§‹āϧ āĻ•āϰ⧇āύ āύāĻžāĨ¤

āϛ⧋āĻŸā§āĻŸā§‹ āĻāĻ•āϟāĻž āĻ•āĻĨāĻž āĻŦāϞāĻŋ; '⧍ā§Ē āĻāϰ āφāĻ¨ā§āĻĻā§‹āϞāύ āϝ⧇ āϝ⧌āĻ•ā§āϤāĻŋāĻ• āĻ›āĻŋāϞ āϤāĻž āϏāĻžāϰāĻž āĻŦāĻŋāĻļā§āĻŦ⧇āϰ āĻŽāĻžāύ⧁āώ āĻ¸ā§āĻŦā§€āĻ•āĻžāϰ āĻ•āϰāĻŦ⧇ (āĻĒāĻŋāϤ⧃ āĻĒāϰāĻŋāϚ⧟āĻšā§€āύāϰāĻž āĻŦā§āϝāϤāĻŋāϤ)āĨ¤ āϝ⧇ āφāĻ¨ā§āĻĻā§‹āϞāύ āϏāĻžāϰāĻžāĻĻ⧇āĻļ⧇ ⧍ā§Ļā§Ļā§Ļ+ āĻŽāĻžāύ⧁āώ āĻŽāĻžāϰāĻž āϗ⧇āϛ⧇, ā§Ž/ā§§ā§Ļ āĻšāĻžāϜāĻžāϰ āφāĻšāϤ, āϗ⧁āĻŽ, āύāĻŋāĻ°ā§āϝāĻžāϤāύ.... āĻāϰ āĻļāĻŋāĻ•āĻžāϰ āĻšā§Ÿāϛ⧇āĨ¤ āĻāĻ–āύ āĻļāĻŋāĻ•ā§āώāĻ• āϏāĻŽāĻžāϜāϕ⧇ (āĻŦāĻŋāĻļ⧇āώ āĻ•āϰ⧇ āĻāĻŽāĻĒāĻŋāĻ“āϭ⧁āĻ•ā§āϤ āĻļāĻŋāĻ•ā§āώāĻ•āϏāĻŽā§āĻĒā§āϰāĻĻāĻžā§Ÿ) āϝāĻĻāĻŋ āĻĒā§āϰāĻļā§āύ āĻ•āϰāĻž āĻšā§Ÿ-āĻāĻ–āĻžāύ⧇ āφāĻĒāύāĻžāĻĻ⧇āϰ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž āĻ•āĻŋ āĻ›āĻŋāϞ? āϕ⧇āύ⧋ āϏāĻĻ⧁āĻ¤ā§āϤāϰ āĻĻāĻŋāϤ⧇ āĻĒāĻžāϰāĻŦ⧇āύ āύāĻž āϕ⧇āωāĨ¤ āĻŽā§āĻ•ā§āϤāĻŋāϝ⧁āĻĻā§āϧ⧇āϰ āĻĒāϰ āϏāĻŦāĻšā§‡ā§Ÿā§‡ āĻŦ⧇āĻļāĻŋ āĻŽāĻžāύ⧁āώāϕ⧇ āĻšāĻ¤ā§āϝāĻž āĻ•āϰāĻž āĻšā§Ÿā§‡āϛ⧇ āĻ āφāĻ¨ā§āĻĻā§‹āϞāύ⧇; āφāĻŽāĻŋ āĻŦāĻŋāĻĒā§āϞāĻŦ āĻĒā§āϰāϧāĻžāύ āĻŦāϞāĻ›āĻŋ āĻāĻ–āĻžāύ⧇, āĻāĻŽāĻĒāĻŋāĻ“āϭ⧁āĻ•ā§āϤ āĻļāĻŋāĻ•ā§āώāĻ•āϏāĻŽā§āĻĒā§āϰāĻĻāĻžā§Ÿā§‡āϰ āχāϤāĻŋāĻŦāĻžāϚāĻ• āϕ⧋āύ⧋ āĻ­ā§‚āĻŽāĻŋāĻ•āĻžāχ āύāĻžāχāĨ¤

āĻāϏāĻŦ āĻ•āĻĨāĻž āϰāĻžāϖ⧇āύ āĻāĻŦāĻžāϰāĨ¤ āφāϏāϞ āĻ•āĻĨāĻžā§Ÿ āφāϏ⧇āύāĨ¤ āĻļāĻŋāĻ•ā§āώāĻ•āϏāĻŽā§āĻĒā§āϰāĻĻāĻžā§Ÿā§‡āϰ āĻāĻŽāύ āĻŽā§‡āϰ⧁āĻĻāĻ¨ā§āĻĄāĻšā§€āύ āĻšāĻ“ā§ŸāĻžāϰ āĻ•āĻžāϰāύ āĻ•āĻŋ āϜāĻžāύ⧇āύ? āϕ⧇āύ āφāϜ āϤāĻžāϰāĻž āĻ…āĻĒāĻŽāĻžāύāĻŋāϤ āĻšāĻšā§āϛ⧇? āĻ•āĻŋāϏ⧇ āϤāĻžāĻĻ⧇āϰāϕ⧇ āϚāĻžāĻŽāϚāĻžāĻŽāĻŋ āĻ•āϰāϤ⧇ āĻŦāĻžāĻ§ā§āϝ āĻ•āϰāϛ⧇? āĻ•āĻŋāϏ⧇āϰ āĻāϤ⧋ āϭ⧟? āϚāĻžāĻ•āϰāĻŋāϰ āϭ⧟, āĻ…āĻ­āĻžāĻŦ⧇ āĻ¸ā§āĻŦāĻ­āĻžāĻŦ āύāĻˇā§āϟ....āĨ¤ āĻŽā§āĻ•ā§āϤāĻŋāϝ⧁āĻĻā§āϧ⧇āϰ āĻĒāϰ āφāϜ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āĻļāĻŋāĻ•ā§āώāĻ•āϏāĻŽā§āĻĒā§āϰāĻĻāĻžā§Ÿā§‡āϰ āĻœā§€āĻŦāύ-āĻŽāĻžāύ āωāĻ¨ā§āύ⧟āύ⧇āϰ āϜāĻ¨ā§āϝ āĻāχ āϰāĻžāĻˇā§āĻŸā§āϰ āϤ⧇āĻŽāύ āϕ⧋āύ⧋ āĻĒāϰāĻŋāĻ•āĻ˛ā§āĻĒāύāĻžāχ āĻ•āϰ⧇ āύāĻžāχāĨ¤ āĻāχ āϰāĻžāĻˇā§āĻŸā§āϰ/āφāĻŽāĻžāĻĻ⧇āϰ āϏāϰāĻ•āĻžāϰ āĻŦā§āϝāĻŦāĻ¸ā§āĻĨāĻž āφāϧāĻž āĻŽāϰāĻž āĻ—āĻžāĻ› āĻĨ⧇āϕ⧇ āĻĢāϞ āĻĒā§āϰāĻ¤ā§āϝāĻžāĻļāĻž āĻ•āϰ⧇ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻĒāĻžāύāĻŋ,āϏāĻžāϰ āϝāϤāϟ⧁āϕ⧁ āĻĻ⧇āĻ“ā§ŸāĻž āωāϚāĻŋā§Ž āϤāĻž āĻĻā§‡ā§Ÿ āύāĻžāĨ¤ āĻĢāϞ⧇ āĻŦāĻžāĻ§ā§āϝ āĻšā§Ÿā§‡āχ āĻļāĻŋāĻ•ā§āώāĻ•āĻĻ⧇āϰ āĻĒāϰāĻ—āĻžāĻ›āĻžāϰ āĻŽāϤ⧋/ āĻĒāϰāĻœā§€āĻŦāĻŋāϰ āĻŽāϤ⧋ āĻŦāĻžāρāϚāϤ⧇ āĻšā§ŸāĨ¤

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āĻāĻ•āϟāĻž āĻ…āϰāĻžāϜāύ⧈āϤāĻŋāĻ• āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āϏāĻ‚āĻ—āĻ āύ āĻĻāϰāĻ•āĻžāϰāĨ¤ āĻāĻ•āϟāĻž āϏāĻ‚āĻ—āĻ āύ....

-āĻŦāĻŋāĻĒā§āϞāĻŦ āĻĒā§āϰāϧāĻžāύ

17/08/2024

Why should I blame her that she filled my days
With misery, or that she would of late
Have taught to ignorant men most violent ways,
Or hurled the little streets upon the great,
Had they but courage equal to desire?
What could have made her peaceful with a mind
That nobleness made simple as a fire,
With beauty like a tightened bow, a kind
That is not natural in an age like this,
Being high and solitary and most stern?
Why, what could she have done, being what she is?
Was there another Troy for her to burn?

Second Troy is another well-known poem by W.B. Yeats, written in 1910. The poem is often seen as a reflection on his unrequited love for Maud Gonne, an Irish revolutionary and actress. Yeats wrestles with his feelings of love, frustration, and admiration for her, ultimately concluding that her fierce spirit and the chaos she brings are inevitable, much like the tragic events of ancient Troy.

this poem, Yeats is wrestling with his feelings about Maud Gonne's political activism and strong will. He doesn't blame her for the turmoil she causes, recognizing that her passionate nature and extraordinary qualities couldn't have led to a peaceful life. He compares her to Helen of Troy, suggesting that just as Helen's beauty and spirit led to the fall of Troy, Maud's fierce nature could only lead to destruction. The rhetorical question at the end implies that there was no other path for her, as her destiny was shaped by her very nature.

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