Chapter 8

My Impressions of Assam 


OPENING VOCABULARY

1. Infer the meanings of the following expressions from the context.

(a) Unconventional traveller

Answer: A traveller who observes and experiences a place in an unusual or non-traditional way.

(b) Dubious privilege

Answer: An ironic expression referring to an experience that is presented as a privilege but is actually uncertain or unpleasant.

(c) Struck by

Answer: Deeply impressed or strongly affected by something.

(d) Buck up

Answer: To improve, strengthen, encourage or support.

(e) Conceit

Answer: An exaggerated opinion of one’s own importance or ability.

(f) Scintillating

Answer: Brilliant, lively, sparkling or highly impressive.

(g) Discerning

Answer: Able to judge things carefully and recognise fine differences.


UNDERSTANDING THE TEXT

1. What does Verrier Elwin say about the tradition of courtesy and hospitality in the modern world? What advice does he give to the people of Assam on this point?

Answer: Verrier Elwin says that courtesy, friendliness and hospitality have become rare qualities in the modern world of competition, rivalry and hurry.

He had travelled to many places, but he was deeply impressed by the warmth and friendliness shown by ordinary people in Assam.

He therefore advises the people of Assam to preserve this valuable tradition and never allow it to disappear.


2. What difference does Verrier Elwin draw between the Game Sanctuaries of Kenya and Kaziranga?

Answer: Verrier Elwin observes a clear difference between the game sanctuaries of East Africa and Kaziranga.

In Kenya and Tanganyika, people generally cooperated in protecting wildlife. Poaching was discouraged, money was spent on maintaining the sanctuaries, and wild animals moved near the roads without much fear of human beings.

In Kaziranga, however, Elwin felt that animals were less confident about their safety and did not appear as freely.

His comparison suggests that wildlife protection becomes more successful when the public actively cooperates with conservation efforts.


3. What appeal does the author make to the scholars of Assam concerning the songs and poems of the state? Why does he make this appeal?

Answer: Verrier Elwin appeals to the scholars of Assam to collect, record and preserve the traditional songs, poems, folk tales and myths of the countryside and hill communities.

He makes this appeal because he believes that these oral traditions are rapidly disappearing.

He fears that modern forms of entertainment and changing tastes may gradually replace local songs and cultural traditions.

Therefore, he urges scholars to preserve them before they are lost forever.


4. Why, according to Verrier Elwin, should wood carving be taught and encouraged in our educational centres?

Answer: Verrier Elwin was greatly impressed by the rich tradition of wood carving among various hill communities.

He admired the artistic work seen in houses, morungs, village gates, images, pipes, drinking mugs and toys.

He feared that such beautiful traditional craftsmanship might disappear with time.

Therefore, he believed that wood carving should be taught and encouraged in educational institutions so that the skill could be preserved and passed on to future generations.


5. “You have a great treasure there.” What treasure is Verrier Elwin referring to and what is his suggestion about the treasure?

Answer: Verrier Elwin is referring to the rich traditional culture and artistic heritage of Assam as a “great treasure”.

This treasure includes a refined sense of colour and form, love of beauty, rhythm in music, traditional songs, crafts, weaving and other cultural practices.

He advises the people of Assam not to feel ashamed of their old culture or abandon it carelessly.

According to him, such traditions grow naturally out of ancient culture, and once they are lost, they may be impossible to recover.


ADDITIONAL QUESTION–ANSWERS

1. What does Verrier Elwin say about India?

Answer: Verrier Elwin says that India had become his home and the object of his deep affection.

Although he had lived in India for about twenty-five years, he humorously admits that he still felt he knew very little about the country.


2. What does the writer say about the rhinos he saw in Assam?

Answer: Verrier Elwin says that within a short time in Assam he saw about a dozen rhinos.

Some appeared dangerous or angry, while one seemed calm enough for him to get down from the elephant and take its photograph.

The experience greatly impressed him, especially because he had failed to see a single rhino during a much longer visit to East Africa.


3. Why did Verrier Elwin say that he was an unconventional visitor?

Answer: Verrier Elwin called himself an unconventional visitor because he had not come to Assam merely as an ordinary tourist.

He came in connection with his responsibilities and observed the people, culture, wildlife and traditions of the region closely during his stay.

His impressions were therefore based on personal contact and observation rather than on a conventional sightseeing tour.


4. Who was Dr Verrier Elwin?

Answer: Dr Verrier Elwin was a British-born writer and anthropologist who spent many years in India and wrote extensively about tribal communities and their cultures.

He developed a deep interest in the people and traditions of North-East India.


5. Why did Elwin say that he felt like a man under an enchantment in Assam?

Answer: Elwin felt enchanted by Assam because of its natural beauty, its wildlife, its artistic traditions and the friendliness of its people.

The charm of the landscape and the warmth shown by ordinary people made a deep impression on him.


6. What example did Elwin give of Assam’s rich musical tradition?

Answer: Elwin referred to a traditional death chant sung by young men in a village as an example of the region’s rich musical heritage.

The setting, the traditional dress and the old melody deeply impressed him.


7. What concern did Elwin express about Assam’s songs and poems?

Answer: Elwin feared that traditional songs and poems were gradually disappearing under the influence of changing tastes and modern popular music.

He therefore urged scholars to collect and preserve them.


TALKING ABOUT THE TEXT

1. “There is something to be proud of; it is a grand thing to see creatures of the wild feeling safe even in civilization.” Discuss.

Answer: The statement emphasises the importance of creating a peaceful relationship between human beings and wildlife.

A successful sanctuary is one where wild animals do not constantly fear people.

This can happen only when hunting and poaching are controlled, habitats are protected and the public cooperates with conservation efforts.

True civilisation should not destroy wildlife but should allow animals to live safely in their natural surroundings.

Therefore, seeing wild animals move freely without fear is indeed something to be proud of.


2. “The schoolboy prefers jazz music from Hollywood.” Discuss.

Answer: This statement reflects Elwin’s concern that younger generations may become more attracted to foreign popular culture and gradually lose interest in their own traditional music.

There is nothing wrong with enjoying music from other cultures, but local songs and melodies should not be forgotten.

Traditional music carries the history, emotions and identity of a community.

Therefore, young people should be encouraged to appreciate both modern music and their own cultural heritage.


3. “The maidens of lovely Assam weave poems on the handlooms.” Discuss.

Answer: The statement is a poetic appreciation of Assam’s handloom tradition.

The designs woven by Assamese women often show a fine sense of colour, pattern, balance and beauty.

Just as a poet creates beauty through words, a skilled weaver creates beauty through thread, colour and design.

Thus, the expression “weave poems” suggests that weaving is not merely a practical activity but also a highly creative art form.


THINKING ABOUT LANGUAGE

1. Explain the paradoxes in the examples used by Verrier Elwin.

Answer: Verrier Elwin often uses paradox and contrast to make his language lively and humorous.

For example:

  • He says that after living in India for twenty-five years he knows very little about it, but after only a few months in Assam he jokingly claims to know everything about it.
  • He spent two months in East Africa without seeing a rhino, yet saw several rhinos within a few hours in Assam.
  • He contrasts the tradition of non-violence in India with the insecurity apparently felt by some wild animals.
  • He points out that tribal art treasures from Assam could sometimes be seen more easily in institutions abroad than locally.

These contrasts make his style witty, memorable and thought-provoking.


2. What other features of Verrier Elwin’s language are distinctive?

Answer: Verrier Elwin’s style has several noticeable features:

  • first-person narration,
  • direct address to the audience,
  • humorous and ironic remarks,
  • rhetorical questions,
  • vivid descriptions,
  • colloquial expressions,
  • frequent contrasts, and
  • warm personal observations.

These features make his writing informal, engaging and conversational.


WORKING WITH WORDS

1. Match the different meanings of the word ‘art’ with its uses in the lesson.

(a) “There is the art of work, the art of music.”

Answer: The making or expression of what is beautiful or meaningful.

(b) “The plastic and graphic art of a country.”

Answer: Creative visual arts such as painting, sculpture and design.

(c) “The art of personal decoration.”

Answer: A skilful way or method of doing something.

(d) “Art, of course, is a big word.”

Answer: Creative activity or a work produced to express beauty.


2. What does ‘intoxicated’ mean in the context of the lesson?

Answer: In the lesson, ‘intoxicated’ does not refer to alcohol.

It means being filled with intense excitement, delight or emotional pleasure.

Elwin uses it to describe how deeply he was affected by the beauty and charm of Assam.


3. Explain the following colloquial expressions.

(a) “The chap you ask the way on the road”

Answer: ‘Chap’ is an informal word meaning a man or person.

(b) “A charming old fellow”

Answer: ‘Old fellow’ is an informal and affectionate way of referring to the rhino.

(c) “Buck up the Game Sanctuaries”

Answer: It means to improve, strengthen or support the game sanctuaries.

(d) “Do not throw it away too readily”

Answer: It means not to abandon or reject traditional culture too quickly.


THINGS TO DO

1. Collect folk songs and folk tales of your region and paraphrase or translate them into English.

Answer: This is an activity-based question and may have different answers.

A suitable response should include:

  • the title of the folk song or tale,
  • the place or community from which it was collected,
  • the name of the person or book from which it was obtained,
  • a brief English paraphrase or translation, and
  • an explanation of important cultural words or ideas.

IMPORTANT QUESTION AND ANSWER

1. What difference did Elwin observe between East African and Indian Game Sanctuaries?

Answer: Elwin observed that East African sanctuaries received greater public cooperation and the animals appeared less afraid of people.

In Kaziranga, he felt that animals were less confident of their safety.

He therefore stressed the importance of public cooperation in wildlife protection.


2. Why was Elwin impressed by the people of Assam?

Answer: Elwin was impressed by their courtesy, friendliness, hospitality and cultural refinement.

He found these qualities especially valuable because he felt that they were becoming rare in the modern world.


3. Why did Elwin want Assam’s traditional culture to be preserved?

Answer: Elwin believed that Assam possessed a rich cultural heritage in the form of songs, crafts, weaving, music, colour, design and traditional customs.

He feared that once these traditions disappeared, they might never be fully restored.

Therefore, he urged the people to preserve them.


4. What did Elwin think about Assam’s wood carving tradition?

Answer: Elwin considered Assam’s wood carving tradition powerful, beautiful and highly artistic.

He believed that the craft deserved to be taught and encouraged so that it could survive for future generations.


5. What role can scholars play in preserving Assam’s culture?

Answer: Scholars can collect, record, study and publish traditional songs, poems, folk tales, myths and artistic practices.

By documenting them carefully, they can help prevent valuable cultural knowledge from disappearing.


FILL IN THE BLANKS

1. Dr Verrier Elwin was a __________ author and anthropologist.

Answer: British


2. Verrier Elwin made __________ India an important area of his work and study.

Answer: North-East


3. The Kaziranga Game Reserve is located in __________.

Answer: Assam


4. Gandhiji said that the maidens of Assam weave __________ on their handlooms.

Answer: poems


5. The __________ of Manipur were known for splendid wood carving and house decoration.

Answer: Tangkhuls


MULTIPLE CHOICE QUESTIONS

1. What was Dr Verrier Elwin’s nationality?

(a) Indian
(b) African
(c) British
(d) American

Answer: (c) British


2. About how many months had Elwin spent in Assam at various times?

(a) Two
(b) Four
(c) Six
(d) Ten

Answer: (b) Four


3. Which place deeply impressed Elwin with its beauty and people?

(a) Kerala
(b) Kashmir
(c) Assam
(d) Gujarat

Answer: (c) Assam


4. In which sanctuary did Elwin see several rhinos?

(a) Kaziranga
(b) Manas
(c) Jim Corbett
(d) Sundarbans

Answer: (a) Kaziranga


5. Where did Elwin fail to see a rhino during a long visit?

(a) America
(b) East Africa
(c) Australia
(d) Japan

Answer: (b) East Africa


6. Which animal chased Elwin in East Africa?

(a) Rhino
(b) Lion
(c) Hippopotamus
(d) Zebra

Answer: (c) Hippopotamus


7. What kind of traditional musical performance impressed Elwin?

(a) Wedding song
(b) Harvest song
(c) Death chant
(d) Dance music

Answer: (c) Death chant


8. What did Elwin appeal to the public to support?

(a) Road construction
(b) Game sanctuaries
(c) Industries
(d) Foreign tourism

Answer: (b) Game sanctuaries


9. Where did Elwin say many tribal art treasures could be seen?

(a) Shillong and Guwahati
(b) Oxford and Cambridge
(c) Delhi and Mumbai
(d) London and Paris only

Answer: (b) Oxford and Cambridge


10. The Angamis were known for making beautifully carved __________.

(a) village gates
(b) boats
(c) musical instruments
(d) jewellery

Answer: (a) village gates


11. The Konyaks decorated their __________.

(a) schools
(b) morungs
(c) markets
(d) offices

Answer: (b) morungs


12. According to Gandhiji, the maidens of Assam weave __________.

(a) stories
(b) songs
(c) poems
(d) flowers

Answer: (c) poems


13. Which community is mentioned in connection with decorated drinking mugs?

(a) Maos
(b) Marams
(c) Phoms
(d) Angamis

Answer: (c) Phoms


14. Which community is mentioned for splendid decoration of houses?

(a) Tangkhuls
(b) Konyaks
(c) Angamis
(d) Phoms

Answer: (a) Tangkhuls


15. How does Elwin describe the people of East Africa in one of his paradoxical contrasts?

(a) Quiet and withdrawn
(b) Carnivorous and violent
(c) Completely non-violent
(d) Mainly traders

Answer: (b) Carnivorous and violent






Teacher Generate Question Answer

  đŸ‘‰Father to Son
    

Understanding the text 

1. What does Verrier Elwin say about the tradition of courtesy and hospitality in the modern world? what advice does he give to the people of Assam on this point? 

āφāϧুāύিāĻ• āĻĒৃāĻĨিā§ąীāϤ āϏৌāϜāύ্āϝ āφ⧰ু āφāϤিāĻĨ্āϝ⧰ āĻĒā§°āĻŽ্āĻĒā§°াā§° āĻŦিāώāϝ়ে āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύে āĻ•ি āĻ•āϝ়? āĻāχ āĻŦিāώāϝ়āϤ āϤেāĻ“ঁ āĻ…āϏāĻŽā§° āϞোāĻ•āϏāĻ•āϞāĻ• āĻ•ি āĻĒā§°াāĻŽā§°্āĻļ āĻĻিāϝ়ে? 

Ans : According to Verrier Elwin, the tradition of courtesy and hospitality is a rare thing in the modern world of competition, rivalry and hurry. 
                Regarding courtesy and hospitality,, the author says that he had been to many countries but never did he find such friendliness and courtesy in ordinary people of Assam. 
        on this point, he has advised the people of Assam not to lose it.

 āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύ⧰ āĻŽāϤে, āϏৌāϜāύ্āϝ āφ⧰ু āφāϤিāĻĨ্āϝ⧰ āĻĒā§°āĻŽ্āĻĒā§°া āφāϧুāύিāĻ• āĻĒ্ā§°āϤিāϝোāĻ—িāϤা, āĻĒ্ā§°āϤিāĻĻ্āĻŦāύ্āĻĻিāϤা āφ⧰ু āĻ–ā§°āϧ⧰ āĻĒৃāĻĨিā§ąীāϤ āĻāĻ• āĻŦিā§°āϞ āĻŦāϏ্āϤু। 
 āϏৌāϜāύ্āϝ āφ⧰ু āφāϤিāĻĨ্āϝ⧰ āϏāύ্āĻĻā§°্āĻ­āϤ āϞেāĻ–āĻ•ে āĻ•āϝ় āϝে āϤেāĻ“ঁ āĻŦāĻšুāϤো āĻĻেāĻļāϞৈ āĻ—ৈāĻ›িāϞ āĻ•িāύ্āϤু āϤেāĻ“ঁ āĻ•েāϤিāϝ়াāĻ“ āĻ…āϏāĻŽā§° āϏাāϧাā§°āĻŖ āϞোāĻ•āϏāĻ•āϞ⧰ āĻŽাāϜāϤ āĻāύে āĻŦāύ্āϧুāϤ্āĻŦ āφ⧰ু āϏৌāϜāύ্āϝ āĻŦিāϚাā§°ি āĻĒোā§ąা āύাāĻ›িāϞ। 
        āĻāχ āĻ•্āώেāϤ্ā§°āϤ āϤেāĻ“ঁ āĻ…āϏāĻŽā§° āϜāύāϏাāϧাā§°āĻŖāĻ• āχāϝ়াāĻ• āĻšেā§°ুā§ąাāĻŦ āύিāĻĻিāĻŦāϞৈ āĻĒā§°াāĻŽā§°্āĻļ āĻĻিāĻ›ে।

2. what difference does Verrier Elwin draw between the Game Sanctuaries of Kenya and Kaziranga?

āĻ•েāύিāϝ়া āφ⧰ু āĻ•াāϜিā§°āĻ™াā§° āĻ–েāϞ āĻ…āĻ­āϝ়াā§°āĻŖ্āϝāϏāĻŽূāĻšā§° āĻŽাāϜāϤ āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύে āĻ•ি āĻĒাā§°্āĻĨāĻ•্āϝ āφāϕ⧰্āώāĻŖ āϕ⧰ে?


Ans: Verrier Elwin had observed a sharp difference between the game sanctuaries of Kenya and Kaziranga.
      In Kenya and Tanganyika there was a sort of tradition that everybody should  co-opera-ate to make the sanctuaries a success. A lot of money was spent on one dreamed of poaching. there one could see hundreds of poaching. there one could see hundreds of giraffe, zebras, ostriches, elephants and lions moving about near the road in perfect confidence. the animals treated man as their friends and vice versa.   
    on the other hand, in Kaziranga Verrier Elwin found entirely an opposite picture. the animals in Kaziranga do not feet safe and they do not feet safe and they do not appear so readily. the people do not co-operate with the animals in the same way as done in Kenya.

āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύে āĻ•েāύিāϝ়া āφ⧰ু āĻ•াāϜিā§°āĻ™াā§° āĻ–েāϞ⧰ āĻ…āĻ­āϝ়াā§°āĻŖ্āϝāϏāĻŽূāĻšā§° āĻŽাāϜāϤ āϤীāĻŦ্ā§° āĻĒাā§°্āĻĨāĻ•্āϝ āϞāĻ•্āώ্āϝ āϕ⧰িāĻ›িāϞ।
       āĻ•েāύিāϝ়া āφ⧰ু āϟাāĻ™্āĻ—াāύিāĻ•াāϤ āĻāĻ• āĻĒ্ā§°āĻ•াā§°ā§° āĻĒā§°āĻŽ্āĻĒā§°া āφāĻ›িāϞ āϝে āϏāĻ•āϞোā§ąে āĻ…āĻ­āϝ়াā§°āĻŖ্āϝāĻŦোā§° āϏāĻĢāϞ āϕ⧰িāĻŦāϞৈ āϏāĻš-āĻ…āĻĒেā§°া āϕ⧰া āωāϚিāϤ। āϚোā§°াং āϚিāĻ•াā§°ā§° āϏāĻĒোāύ āĻĻেāĻ–া āĻāϜāύ⧰ āĻŦাāĻŦে āĻŦāĻšুāϤ āϟāĻ•া āĻ–ā§°āϚ āϕ⧰া āĻšৈāĻ›িāϞ। āϤাāϤ āĻāϜāύে āĻļ āĻļ āϚোā§°াং āϚিāĻ•াā§° āĻĻেāĻ–িāĻŦāϞৈ āĻĒাāχāĻ›ে। āϤাāϤ āĻāϜāύে āĻļ āĻļ āϜিā§°াāĻĢ, āϜেāĻŦ্ā§°া, āωāϟāĻĒাāĻ–ি, āĻšাāϤী āφ⧰ু āϏিংāĻšāĻ• āύিāĻ–ুঁāϤ āφāϤ্āĻŽāĻŦিāĻļ্āĻŦাāϏেā§°ে ā§°াāϏ্āϤাā§° āĻ“āϚ⧰āϞৈ āϘূā§°ি āĻĢুā§°া āĻĻেāĻ–িāĻŦāϞৈ āĻĒোā§ąা āĻ—ৈāĻ›িāϞ। āϜāύ্āϤুāĻŦোā§°ে āĻŽাāύুāĻšāĻ• āϤেāĻ“ঁāϞোāϕ⧰ āĻŦāύ্āϧু āĻšিāϚাāĻĒে āĻ—āĻŖ্āϝ āϕ⧰িāĻ›িāϞ āφ⧰ু āχāϝ়াā§° āĻŦিāĻĒā§°ীāϤে।   
    āφāύāĻšাāϤে, āĻ•াāϜিā§°āĻ™াāĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύে āϏāĻŽ্āĻĒূā§°্āĻŖāĻŦিāĻĒā§°ীāϤ āĻ›āĻŦি āĻŦিāϚাā§°ি āĻĒাāχāĻ›িāϞ। āĻ•াāϜিā§°āĻ™াā§° āϜāύ্āϤুāĻŦোā§°ে āĻ­ā§°ি āϏুā§°āĻ•্āώিāϤ āύāϕ⧰ে āφ⧰ু āϏিāĻšঁāϤে āĻ­ā§°ি āϏুā§°āĻ•্āώিāϤ āύāϕ⧰ে āφ⧰ু āϏিāĻšঁāϤ āχāĻŽাāύ āϏāĻšāϜে āĻĻেāĻ–া āύাāϝাāϝ়। āĻŽাāύুāĻšে āĻ•েāύিāϝ়াā§° āĻĻā§°ে āϜāύ্āϤুāĻŦোā§°ā§° āϏৈāϤে āϏāĻšāϝোāĻ—িāϤা āύāϕ⧰ে।




3.What appeal does the author make to the scholars of Assam concerning the songs and poems of the state? why does he make this appeal? 

    ā§°াāϜ্āϝāĻ–āύ⧰ āĻ—ীāϤ āφ⧰ু āĻ•āĻŦিāϤাāϏāĻŽ্āĻĒā§°্āĻ•ে āϞেāĻ–āĻ•ে āĻ…āϏāĻŽā§° āĻĒāĻŖ্āĻĄিāϤāϏāĻ•āϞāĻ• āĻ•ি āφāĻŦেāĻĻāύ āϕ⧰ে? āϤেāĻ“ঁ āĻ•িāϝ় āĻāχ āφāĻŦেāĻĻāύ āϕ⧰ে? 


Ans: the author of this article 'My Impression of Assam' is fascinated by songs and poems of Assam and hence he raises the questions about how many collections have been made of the songs and poems of Assam's countryside. he appeals to the scholars to those songs and poems. He Knows that it will mean a great deal of trouble, yet some scholars must do it for the preservation of them.
     He marks this appeal because these songs and poems are rapidly disappearing. the school boys prefer jazz music from Hollywood and naturally the local songs of Assam will soon disappear.

āĻāχ āĻĒ্ā§°āĻŦāύ্āϧ 'āĻŽাāχ āχāĻŽ্āĻĒ্ā§°েāϚāύ āĻ…ā§ą āφāĻ›াāĻŽ'ā§° āϞেāĻ–āĻ• āĻ…āϏāĻŽā§° āĻ—ীāϤ āφ⧰ু āĻ•āĻŦিāϤাā§° āĻĻ্āĻŦাā§°া āφāϕ⧰্āώিāϤ āĻšāϝ় āφ⧰ু āϏেāϝ়েāĻšে āϤেāĻ“ঁ āĻ…āϏāĻŽā§° āĻ—্ā§°াāĻŽাāĻž্āϚāϞ⧰ āĻ—ীāϤ āφ⧰ু āĻ•āĻŦিāϤাā§° āĻ•িāĻŽাāύ āϏংāĻ•āϞāύ āύিā§°্āĻŽাāĻŖ āϕ⧰া āĻšৈāĻ›ে āϤাāĻ• āϞৈ āĻĒ্ā§°āĻļ্āύ āωāϤ্āĻĨাāĻĒāύ āϕ⧰ে। āϤেāĻ“ঁ āĻĒāĻŖ্āĻĄিāϤāϏāĻ•āϞāĻ• āϏেāχ āĻ—াāύ āφ⧰ু āĻ•āĻŦিāϤাāĻŦোā§°ā§° āĻŦাāĻŦে āφāĻŦেāĻĻāύ āϕ⧰ে। āϤেāĻ“ঁ āϜাāύে āϝে āχāϝ়াā§° āĻ…ā§°্āĻĨ āĻš'āĻŦ āϝāĻĨেāώ্āϟ āϏāĻŽāϏ্āϝা, āϤāĻĨাāĻĒিāĻ“ āĻ•িāĻ›ুāĻŽাāύ āĻĒāĻŖ্āĻĄিāϤে āϤেāĻ“ঁāϞোāϕ⧰ āϏংā§°āĻ•্āώāĻŖā§° āĻŦাāĻŦে āĻāχāϟো āϕ⧰িāĻŦ āϞাāĻ—িāĻŦ।
       āϤেāĻ“ঁ āĻāχ āφāĻŦেāĻĻāύāϟো āϚিāĻš্āύিāϤ āϕ⧰ে āĻ•াā§°āĻŖ āĻāχ āĻ—াāύ āφ⧰ু āĻ•āĻŦিāϤাāĻŦোā§° āĻĻ্ā§°ুāϤāĻ—āϤিāϤ āύাāχāĻ•িāϝ়া āĻšৈ āĻ—ৈ āφāĻ›ে। āϏ্āĻ•ুāϞ⧰ āϞ'ā§°াāĻŦোā§°ে āĻšāϞীāωāĻĄā§° āĻĒā§°া āϜেāϜ āϏংāĻ—ীāϤ āĻĒāĻ›āύ্āĻĻ āϕ⧰ে āφ⧰ু āϏ্āĻŦাāĻ­াā§ąিāĻ•āϤে āĻ…āϏāĻŽā§° āϏ্āĻĨাāύীāϝ় āĻ—াāύāĻŦোā§° āϏোāύāĻ•াāϞেāχ āύাāχāĻ•িāϝ়া āĻš'āĻŦ।



4.why, according to Verrier Elwin, should wood carving be taught and encouraged in our educational centers?
         
  āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύ⧰ āĻŽāϤে, āφāĻŽাā§° āĻļিāĻ•্āώাāĻ•েāύ্āĻĻ্ā§°āϏāĻŽূāĻšāϤ āĻ•াāĻ āĻ–োāĻĻাāχ āϕ⧰া āĻļিāĻ•োā§ąা āφ⧰ু āĻ‰ā§ŽāϏাāĻšিāϤ āϕ⧰া āωāϚিāϤ āĻ•িāϝ়?


Ans: Observing the wood carving done by the Koryaks, Moas, Maras, Agamas and proms, the author Verrier Elwin was much enamored of. He, in praising tone, said that the wood carvings done by the people of Assam were of extraordinary vigor and beauty and this tradition of wood carving should not be lost. he wanted that this art of wood carvings should be taught and encouraged in the educational institutions so that this beautiful art might remain alive and would not die with the passing of time.


     āĻ•োā§°িāϝ়াāĻ•, āĻŽোā§ąাāϚ, āĻŽাā§°াāĻ›, āφāĻ—āĻŽা āφ⧰ু āĻĒ্ā§°āĻŽā§° āĻĻ্āĻŦাā§°া āϕ⧰া āĻ•াāĻ ā§° āĻ•াā§°ুāĻ•াā§°্āϝ āϞāĻ•্āώ্āϝ āϕ⧰ি āϞেāĻ–āĻ• āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύ āϝāĻĨেāώ্āϟ āφāϕ⧰্āώিāϤ āĻšৈāĻ›িāϞ। āϤেāĻ“ঁ āϏুā§°ā§° āĻĒ্ā§°āĻļংāϏা āϕ⧰ি āĻ•āϝ় āϝে āĻ…āϏāĻŽā§° āĻŽাāύুāĻšে āϕ⧰া āĻ•াāĻ ā§° āĻ•াā§°ুāĻ•াā§°্āϝāĻ…āϏাāϧাā§°āĻŖ āĻļāĻ•্āϤি āφ⧰ু āϏৌāύ্āĻĻā§°্āϝ⧰ āφāĻ›িāϞ āφ⧰ু āĻ•াāĻ  āĻ–োāĻĻাāχ⧰ āĻāχ āĻĒā§°āĻŽ্āĻĒā§°া āĻšেā§°ুā§ąাāĻŦ āύাāϞাāĻ—ে। āϤেāĻ“ঁ āĻŦিāϚাā§°িāĻ›িāϞ āϝে āĻ•াāĻ ā§° āĻ•াā§°ুāĻ•াā§°্āϝ⧰ āĻāχ āĻ•āϞাāϟো āĻļিāĻ•্āώাāύুāώ্āĻ াāύāϏāĻŽূāĻšāϤ āĻļিāĻ•োā§ąা āφ⧰ু āĻ‰ā§ŽāϏাāĻšিāϤ āϕ⧰া āωāϚিāϤ āϝাāϤে āĻāχ āϏুāύ্āĻĻā§° āĻ•āϞাāϟো āϜীāϝ়াāχ āĻĨাāĻ•িāĻŦ āĻĒাā§°ে āφ⧰ু āϏāĻŽāϝ় āĻĒাā§° āĻšৈ āϝোā§ąাā§° āϞāĻ—ে āϞāĻ—ে āĻŽā§°িāĻŦ āύোā§ąাā§°ে।


 5."you have a great treasure there."- what treasure is Verrier Elwin referring to and what is his suggestion about the treasures? 

"āϤাāϤ āφāĻĒোāύাā§° āĻ“āϚ⧰āϤ āĻāϟা āĻĄাāϙ⧰ āϧāύ āφāĻ›ে।" - āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύে āĻ•ি āϧāύ⧰ āĻ•āĻĨা āĻ•ৈāĻ›ে āφ⧰ু āϧāύ⧰ āĻŦিāώāϝ়ে āϤেāĻ“ঁā§° āĻĒā§°াāĻŽā§°্āĻļ āĻ•ি? 

Ans: Verrier Elwin has found a great treasure of old culture among the hill people of Assam. He askes the hill people of Assam not to be ashamed of their old culture, much of which is noble and beautiful. He has praises that this old culture of the people of Assam has good taste, sense of colour, form and mu- sic of their own.
He suggests that this beautiful thing should never be looked down upon and thrown away easily. Such things grow out of ancient soil and once they are gone they cannot be recovered.

āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύে āĻ…āϏāĻŽā§° āĻĒাāĻšাā§°ীāϝ়া āϞোāĻ•āϏāĻ•āϞ⧰ āĻŽাāϜāϤ āĻĒুā§°āĻŖি āϏংāϏ্āĻ•ৃāϤিā§° āĻāĻ• āĻŦৃāĻšā§Ž āĻ­াāĻŖ্āĻĄাā§° āĻŦিāϚাā§°ি āĻĒাāχāĻ›ে। āϤেāĻ“ঁ āĻ…āϏāĻŽā§° āĻĒাāĻšাā§°ীāϝ়া āϞোāĻ•āϏāĻ•āϞāĻ• āϤেāĻ“ঁāϞোāϕ⧰ āĻĒুā§°āĻŖি āϏংāϏ্āĻ•ৃāϤিā§° āĻŦাāĻŦে āϞāϜ্āϜিāϤ āύāĻš'āĻŦāϞৈ āĻ•āϝ়, āϝাā§° āĻŦেāĻ›িāĻ­াāĻ—েāχ āĻŽāĻšā§Ž āφ⧰ু āϏুāύ্āĻĻā§°। āϤেāĻ“ঁ āĻĒ্ā§°āĻļংāϏা āϕ⧰ে āϝে āĻ…āϏāĻŽā§° āϜāύāϏাāϧাā§°āĻŖā§° āĻāχ āĻĒুā§°āĻŖি āϏংāϏ্āĻ•ৃāϤিā§° āĻ­াāϞ āϏোā§ąাāĻĻ, ā§°āϙ⧰ āĻ…āύুāĻ­ূāϤি, ā§°ূāĻĒ āφ⧰ু āϤেāĻ“ঁāϞোāϕ⧰ āύিāϜা āĻŽিāω-āϚিāĻ• āφāĻ›ে।
āϤেāĻ“ঁ āĻĒā§°াāĻŽā§°্āĻļ āĻĻিāϝ়ে āϝে āĻāχ āϧুāύীāϝ়া āĻŦāϏ্āϤুāϟোāĻ•েāϤিāϝ়াāĻ“ āϤāϞāϞৈ āϚাāĻŦ āύাāϞাāĻ—ে āφ⧰ু āϏāĻšāϜে āĻĒেāϞাāχ āĻĻিāĻŦ āϞাāĻ—ে। āĻĒ্ā§°াāϚীāύ āĻŽাāϟিā§° āĻĒā§°া āĻāύে āĻŦāϏ্āϤু āĻŦিāĻ•āĻļিāϤ āĻšāϝ় āφ⧰ু āĻāĻŦাā§° āϏেāχāĻŦোā§° āϝোā§ąাā§° āĻĒিāĻ›āϤ āϏেāχāĻŦোā§° āĻĒুāύ⧰ুāĻĻ্āϧাā§° āϕ⧰িāĻŦ āύোā§ąাā§°ি


ADDITIONAL QUESTION-ANSWERS

1. What does Verrier Elwin say I about India?

āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύে āĻŽāχ āĻ­াā§°āϤ⧰ āĻŦিāώāϝ়ে āĻ•ি āĻ•āϝ় ?

 Ans: The author Verrier Elwin says that India is his home and his love. He lived in India for twenty five years. Yet he feels that he does not know the land.

āϞেāĻ–āĻ• āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύে āĻ•ৈāĻ›ে āϝে āĻ­াā§°āϤ āϤেāĻ“ঁā§° āϘ⧰ āφ⧰ু āϤেāĻ“ঁā§° āĻĒ্ā§°েāĻŽ। āĻāχāϚ āĻĒঁāϚিāĻļ āĻŦāϛ⧰ āĻ­াā§°āϤāϤ āĻŦাāϏ āϕ⧰িāĻ›িāϞ। āϤāĻĨাāĻĒিāĻ“ āϤেāĻ“ঁ āĻ…āύুāĻ­ā§ą āϕ⧰ে āϝে āϤেāĻ“ঁ āĻŽাāϟিāĻ–িāύি āύাāϜাāύে।

2.What does the writer the rhino seen in Assam? say about the rhino seen in Assam?

āĻ—ঁāĻĄ়āϟোā§ąে āĻ…āϏāĻŽāϤ āĻ•ি āĻĻেāĻ–িāĻ›ে āϞেāĻ–āĻ•? āĻ…āϏāĻŽāϤ āĻĻেāĻ–া āĻ—ঁāĻĄ়āϟোā§° āĻŦিāώāϝ়ে āĻ•'āĻŦ āύেāĻ•ি?

Ans: The writer Verrier Elwin says that he saw a dozen of rhinos in Assam within a couple of hours. He noticed that some of them were angry but one of them was not angry. Then he got down from his elephant and took a photograph of the rhino.

    āϞেāĻ–āĻ• āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύে āĻ•ৈāĻ›ে āϝে āϤেāĻ“ঁ āĻ•েāχāϘāĻŖ্āϟাāĻŽাāύ⧰ āĻ­িāϤ⧰āϤে āĻ…āϏāĻŽāϤ āĻāĻ• āĻĄāϜāύ āĻ—ঁāĻĄ় āĻĻেāĻ–িāĻ›িāϞ। āϤেāĻ“ঁ āϞāĻ•্āώ্āϝ āϕ⧰িāĻ›িāϞ āϝে āϤেāĻ“ঁāϞোāϕ⧰ āĻ•িāĻ›ুāĻŽাāύ āĻ–ং āωāĻ িāĻ›িāϞ āĻ•িāύ্āϤু āϤেāĻ“ঁāϞোāϕ⧰ āĻāϜāύāĻ–ং āϕ⧰া āύাāĻ›িāϞ। āϤাā§° āĻĒিāĻ›āϤ āϤেāĻ“ঁ āĻšাāϤীā§° āĻĒā§°া āύাāĻŽি āĻ—ঁāĻĄ়āϟোā§° āĻĢāϟো āϤুāϞিāϞে।

 3. Why did Verrier Elwin say that he was unconventional as a visitor? 

      āϞেāĻ–āĻ• āĻ­েā§°িāϝ়াā§° āĻāϞāωāχāύে āĻ•ৈāĻ›ে āϝে āϤেāĻ“ঁ āĻ•েāχāϘāĻŖ্āϟাāĻŽাāύ⧰ āĻ­িāϤ⧰āϤে āĻ…āϏāĻŽāϤ āĻāĻ• āĻĄāϜāύ āĻ—ঁāĻĄ় āĻĻেāĻ–িāĻ›িāϞ। āϤেāĻ“ঁ āϞāĻ•্āώ্āϝ āϕ⧰িāĻ›িāϞ āϝে āϤেāĻ“ঁāϞোāϕ⧰ āĻ•িāĻ›ুāĻŽাāύ āĻ–ং āωāĻ িāĻ›িāϞ āĻ•িāύ্āϤু āϤেāĻ“ঁāϞোāϕ⧰ āĻāϜāύāĻ–ং āϕ⧰া āύাāĻ›িāϞ। āϤাā§° āĻĒিāĻ›āϤ āϤেāĻ“ঁ āĻšাāϤীā§° āĻĒā§°া āύাāĻŽি āĻ—ঁāĻĄ়āϟোā§° āĻĢāϟো āϤুāϞিāϞে।

Ans: The author of the essay 'My Impression of Assam' said that he was unconventional as a visitor. It was because he was not a visitor to the true sense. He had come to Assam only to take up his responsibility as a government employee. He noticed the things that came on his during his stay in Assam.
  
.'āĻŽাāχ āχāĻŽ্āĻĒ্ā§°েāϚāύ āĻ…ā§ą āφāĻ›াāĻŽ' āĻĒ্ā§°āĻŦāύ্āϧāϟোā§° āϞেāĻ–āĻ•ে āĻ•ৈāĻ›িāϞ āϝে āϤেāĻ“ঁ āĻāϜāύ āĻĻā§°্āĻļāύাā§°্āĻĨী āĻšিāϚাāĻĒে āĻ…āĻ—āϤাāύুāĻ—āϤিāĻ• āφāĻ›িāϞ। āĻāχāϟো āĻāχāĻ•াā§°āĻŖে āφāĻ›িāϞ āĻ•াā§°āĻŖ āϤেāĻ“ঁ āĻĒ্ā§°āĻ•ৃāϤ āĻ…ā§°্āĻĨā§° āĻĻā§°্āĻļāύাā§°্āĻĨী āύাāĻ›িāϞ। āϤেāĻ“ঁ āĻ•েā§ąāϞ āϚ⧰āĻ•াā§°ী āϕ⧰্āĻŽāϚাā§°ী āĻšিāϚাāĻĒে āĻĻাāϝ়িāϤ্āĻŦ āϞ'āĻŦāϞৈ āĻšে āĻ…āϏāĻŽāϞৈ āφāĻšিāĻ›িāϞ। āĻ…āϏāĻŽāϤ āĻĨāĻ•া āϏāĻŽāϝ়āĻ›োā§ąাāϤ āϤেāĻ“ঁ āϝিāĻŦোā§° āĻ•āĻĨা āφāĻšিāĻ›িāϞ āϏেāχāĻŦোā§° āϞāĻ•্āώ্āϝ āϕ⧰িāĻ›িāϞ।



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