Wednesday, 13 January 2021

An analysis of the depiction of overcoming school educational challenges among weak students in Nil Battey Sannata and Dhh

 

Introduction

            This brief article attempts to analyse the depiction of overcoming school educational challenges among weak students in two recent Indian movies, namely Nil Battey Sannata (2016, now available on streaming services such as Amazon Prime Video and Jio Cinema) and Dhh (2017, now available on streaming services such as Netflix). Whereas the first is a Hindi film directed by Ashwiny Iyer Tiwari, the second is a Gujarati film directed by Manish Saini. Both these films were the debut feature films of these directors. Ashwiny Iyer Tiwari worked at an Indian branch of the US advertising agency Leo Burnett, and she claims that the story of the film was inspired by the real-life stories she heard while producing a commercial for the popular TV game show Kaun Banega Crorepati. Manish Saini, on the other hand, was a student at the National Institute of Design in Ahmedabad and according to him, the idea for the film was inspired by his experience at a magic show in Ahmedabad during those days when he noticed some young boys reacting very excitedly to the magician. Whereas the Hindi film was successful enough to warrant a Tamil remake in the same year, the Gujarati film won the National Film Award for Best Feature Film in Gujarati. Ashwiny Iyer Tiwari and her spouse and former colleague, Nitish Tiwari, have gone on to have a subsequent career in Bollywood. Manish Saini, on the other hand, has not made any feature films thereafter.

 

Plot summary

            A brief summary of the plots of the two movies is perhaps necessary for those who have not watched the movies. In Nil Battey Sannata, a young woman, Chanda works as a domestic cleaner cum cook (or as is termed in Hindi, a bai) and also works odd jobs in a factory to supplement her income. She is either widowed or divorced. It is not made evident in the film. Her life revolves around dreams for her daughter. Her daughter Apeksha, however, is more world-weary and refuses to dream for a better life. She is cynical and does not believe in social mobility. She assumes that she too will have to work as a bai when she grows up. The movie begins with her studying in class 10 and struggling with all subjects but especially with mathematics. Her mother is shocked to hear that Apeksha has no big dreams and is satisfied with her lot in life. Chanda desperately wants her daughter to succeed and as one of her employers tells her, it is either kismat (luck) or mehnat (hard work) which allows for social mobility. Since poor people are out of kismat anyway, all that they are left with is hard work. However, her daughter refuses to work hard because she is cynical and demotivated. In order to motivate her, Chanda herself joins Apeksha’s school as a student in class 10. Chanda was a class 10 dropout herself before she began working as a bai. Realising the effort her mother was making to dream of a better future for her, Apeksha manages to study hard, understand mathematics and pass her class 10 examinations. The film ends with her appearing for an IAS interview, the dream job her mother had envisaged.

            Dhh is about three boys of middle-class background who are backbenchers in school and who do not have much interest in studies. The three boys are not homogeneous in character. One of the boys, Kapil, is average in studies, one, Chirag, poor and another, Bajrang, very poor. They hang out together and as a result the boy who is average in studies also starts to perform poorer than usual. Being friends and hanging out together make them a group which is punished together by their teachers. They go to watch a magic show and then realise that the only way they can pass their exams is if something miraculous such as being granted magic powers happen. They write letters to the magician. They request the grandfather of one of the boys, Chirag, to take them to meet the magician but the grandfather refuses using some excuse or the other. One day they receive a letter from the magician along with a small wooden toy. The magician tells them that if they recite their text books to the toy and they take the toy with them to their examination halls, the toy will tell them the answers to the questions. The boys are encouraged by this seeming short-cut and they spend hours reciting their text books to this toy. One of the boys mentions to the other two that this toy will help them in all subjects except mathematics as reciting the text book will not prove a useful method to get the answers to the questions in their mathematics examination. He mentions that it is one subject which the students need to study on their own. Later on, the boys discover that their letters never reached the magician nor did the magician write back to them. Rather, the grandfather in cahoots with the local postman, received their letters and sent them the letter and the toy. The grandfather’s logic was that if the boys believed they could pass, then they would work hard to make their belief come true and all those hours of reciting the text book to the toy helped them memorise the text book and it helped them in their examinations. Whereas Kapil who was never very bad in studies comes second in class, Chirag, who was average in studies, comes third but Bajrang who was very weak in studies manages to pass and is the most overjoyed.

 

Plot analysis

            What both the movies highlight is that with encouragement and motivation even the weakest of students can manage to at least pass examinations. Whereas both movies are well-made and inspirational, they do indirectly highlight certain issues affecting the education system. The most important issue that they indirectly draw attention to is that education is made synonymous with examinations. The goal of the education system is to pass examinations and score well in examinations. The learning outcome is not highlighted. In Nil Battey Sannata, emphasis is laid on memorising mathematical formulae. Chanda, the mother, makes rhymes to memorise mathematical formulae and her daughter also benefits from those rhymes or mnemonics to aid memorisation. Mathematical formulae, in the movie, become something to be memorised and applied. The practical use of such knowledge or the relevance or irrelevance of trigonometry to the lives of citizens in general is not made an issue in the movie. In Dhh, memorisation and quiz-question type assessment systems are highlighted. The viewer does not get to see how memorising their study material helps those students except for passing examinations and education is seen as a case of scoring high marks and outscoring rivals. The competitive nature of the examination system is indirectly highlighted through the movie.

 

Indian education system

            The Indian education system is often criticised for encouraging rote learning. At the same time, this rote learning is said to benefit Indian students in subjects such as mathematics and computer engineering. The most popular computer applications are made in the US and the largest number of foreign workers who work in the computer engineering industry in the US are from India. This perhaps proves that the Indian education system is not totally without merit in advanced modern educational fields such as computer engineering. All said and done, those leaving Indian shores for computer engineering jobs abroad probably reflect the cream of the Indian computer engineering education system or the Indian education system as a whole. Rote learning in fields such as the humanities, where there is perhaps less focus on memorisation and reproduction at the higher education level and where open-book examinations are not much of an issue at that level, leads to a decline in critical thinking where students independently assess matter based on their wide reading. Rote learning encourages learning only what is necessary. Wide reading encourages reading completely irrelevant matter because no field of studies is an island in itself. Ultimately, all forms of human knowledge are inter-connected.

            How to align this idealistic view of education with the ground realities of breaking free past the initial barriers of the examination system? These two movies provide different creative takes on overcoming such challenges. If one thinks of overcoming hand-to-mouth survival situations, an idealistic view of livelihoods and food intake is neither desirable nor practical. However, in a situation where a student is struggling to pass and has lost interest in studying, an idealistic view of education may or may not be practical. What the two movies demonstrate is that what changes the situation is a different sense of motivation. In Nil Battey Sannata, it is empathy for her mother which motivates Apeksha to study. In Dhh, the motivation is provided by the hope that they can overcome the barrier of passing examinations. None of these motivational factors is brought about by a change of pedagogy or a change of the assessment system. Rather, the motivation is external to the education system and is personal in nature. The intrinsic deficits of the education system, if any, which de-motivate the students in the first place, remain. The system does not change. The students have found a way to work their way through the system. The fault is ascribed to the students rather than to the system. If some students can work their way through the system, other students also need to find a way through it. Education is then seen as a set of exercises which needs to be completed, a game which has to be played irrespective of whether one wants to play it or not. In Nil Battey Sannata, there is a reward at the end of all the games—the job of an IAS officer. In Dhh, the immediate game is all that matters as far as the plot of the movie is concerned.

 

Preventing school drop out

            The latest Indian Ministry of Education’s Education Statistics at a Glance is from 2018[1] and the latest data in that report is from the financial year 2015-16 in some cases and 2014-15 in other cases. So, there is an approximate six-year and sometimes seven-year time-lag in the data available in January 2021. The report states that the Gross Enrolment Ratio is 92.81% at the upper primary level in class 6, 80.01% at the secondary level in class 9, and 56.16% at the higher secondary level in class 11.[2] Thus, a large number of students are out of school.

            The reasons for leaving school are not always financial. Students drop out of school for other reasons such as disinterest in studies because of being unable to follow lessons, problems in going to schools physically, repeatedly failing in school examinations, mental health issues brought about by factors other than the ones mentioned above, and social stigma against education and which is especially applicable to girls, among other reasons.[3]

            All these students who drop out of school spend most of their daytime with either family members or with other students who have dropped out of school or are involved in some kind of work.  The dropped-out students who spend most of their daytime with other dropped-out students are in a dangerous area of juvenile existence where there is no proper guidance and there is a large amount of association with those left behind by society. This group is especially vulnerable to the worst forms of occupation, thought-processes and activities that exist in society.[4] Thus, it is important to prevent drop-outs at the school level in order to create a better society.

            The Gross Enrolment Ratio in higher education in India is around 25%. While one may argue that higher education is not necessary for all professions and in the deeply hierarchical society in which we live and given the lack of number of jobs available to most graduates, higher education for 100% of the population is not desirable as it leads to highly-qualified graduates doing jobs which require a much lower level of educational qualification.[5] This is true not only for government jobs in substantive posts in the lowest scales of pay where the pay is much higher for such jobs as compared to other such jobs in the private unorganised sector but also of jobs in general in the private unorganised sector where it is likely that even postgraduates are employed in sectors where basic literacy is all that matters.

            While dropping out of the education system after completing school may be defended given the nature of our society, being in school and completing school education is essential not only because it may improve the nature of jobs which one may get in life but also because the human mind is considered more vulnerable till the age of reaching adulthood than other age groups. Therefore, a school is one of the safest places for children to be in till reaching adulthood. Schools can also be vulnerable to children if they are bullied or abused in school but more often than not schools provide a safer refuge for children as compared to being outside both a school and one’s home. It is therefore important to retain children in school and ensure that they complete at least school education.

            The two movies discussed earlier portray attempts by the children to remain in school. Especially in the case of Nil Battey Sannata where the student is from a much lower economic class than the middle-class students in Dhh, the student’s mother, Chanda, and one of her employers, discuss what will happen if Apeksha fails to clear her class 10 examinations. Both the elderly women realise that the girl might discontinue her studies and not complete her secondary level education if that happens. They foresee a bleak future for the student if she fails at that hurdle. Apeksha is cynical and thinks that the limits of a human’s potential are circumscribed by the guardian’s class, status and profession. It is likely that if Apeksha failed, she too would hang out with other female students who dropped out of school. She would either be married off at an early age or she would have to take up jobs working as a domestic help as her mother. Completing her school education would provide Apeksha with not only better job prospects but would also boost her confidence considerably and make her less cynical about life.

            Nil Battey Sannata also depicts adult education where Chanda, Apeksha’s mother, also gets re-admitted in class 10 and tries to complete her secondary level education and pass her secondary examination. The movie does not provide any hint as to how that may help Chanda except that it works as a motivational factor for Apeksha to complete her education. The movie project’s Chanda’s adult education as a step in Apeksha’s education. Chanda is not educating herself in order to improve her own life but rather to improve the life of her daughter. The movie does not hint as to whether Chanda’s quest for her own education will improve her own job prospects. She was working as a domestic help who cleans and cooks in other people’s households as well as working odd jobs in small factories or working as a dishwasher in roadside eateries. Given the trajectory of her career so far and her age, she may very well continue in such careers. Whether she will be able to put her secondary level education to use to improve her career is not hinted at in the movie.

            In Dhh, the student who is weakest at studies, Bajrang, belongs to a family where his father is illiterate. The movie shows Bajrang fraudulently obtaining his father’s thumb imprint on his report card. If Bajrang fails at his examinations, it may have been that his father would have taken him out of the education system. Given Bajrang’s young age and his precarious academic abilities, had he been taken out of the education system, he may very well have regressed back to a state of illiteracy or extremely poor reading and numerical abilities. As it is, the quality of primary education in India is dire. The non-government organisation Pratham (established in 1996) has been publishing an Annual Status of Education Report since 2005 which carries surveys about the reading and numerical abilities of primary school children. There is an alarmingly significant percentage of students who have progressed to higher classes but who are not able to read or perform numerical tasks which are considered achievable by students in much lower standards. Bajrang’s hypothetical regression to illiteracy may have not only hampered his job prospects but had he hung out with other school drop-outs, it would have made his peer group a group of other children and young adults who have been left behind by society’s progress and have been left to fend for themselves using whatever means possible. Thus, it was imperative for Bajrang to remain in school and complete his school education to improve both his job prospects as well as remain in a more disciplined milieu during his childhood years.

 

The way ahead

            School drop-out rates have to be reduced. Repeatedly failing in school examinations is unlikely to decrease school drop-out rates. Failing once in a class may be acceptable but failing twice in the same class is a dire situation. It points to students having completely lost pace with the teaching methodology. How to prevent that? How to motivate students to keep pace with what is being taught? The two movies discussed here present previously less motivated children re-motivating themselves whereas the teaching methodology and assessment system remains intact. Another solution is perhaps for these two external factors to change to re-motivate students who fail to keep pace with the pedagogical system. The two movies highlight efforts on part of the students rather than efforts on part of the administrators of the educational system or the teachers. Taare Zameen Par (2007) highlighted the effort on the part of teachers for re-motivating students. However, Nil Battey Sannata and Dhh on the one hand, and Taare Zameen Par on the other hand, highlight individual attempts at remedying the situation. There is a lack of systemic changes involved, which perhaps accurately reflects the lack of systemic changes in the overall pedagogical system in India and in most other parts of the world. Syllabi change, technology and infrastructure change but the focus on examinations and rote learning, and the sense of detachment and disaffection that a large section of students feel for the matter being taught to them keeps the system more or less the same in its pedagogical technique. Experimental schools exist in some countries where hands-on learning and a more engaged pedagogical approach is available to students but those schools and students are far removed from the disadvantaged systems of schools and students depicted in Nil Battey Sannata and Dhh.

            The National Education Commission of India in the mid-1960s headed by Daulat Singh Kothari, the then chairperson of the University Grants Commission, had recommended that India spend 6% of its GDP on education. Fifty-five years have gone by but India has not managed to spend more than 4.5% of its GDP on education ever. Education holds less priority for successive governments of India. A proportionate 30% increase in the education budget is likely to improve the education scenario for India. However, money is not the only factor thwarting the Indian education system.

            The Indian education system does not encourage shared problem solving within the classroom. Learning from peers is not actively encouraged. In Nil Battey Sannata, Chanda and later Apeksha learn mathematics less from the school teacher and more from one of the other students in class 10 who works as a car-mechanic after school-hours. However, both Chanda and Apeksha have to learn from this boy outside the classroom. Taking help from him within the classroom while doing assignments would be considered cheating. Peer learning is actively discouraged within the classroom in Indian education. Group learning is unknown. Group discussion is a fancy keyword for rote assessment where one-upmanship is appreciated rather than the idea of learning together. In Dhh, peer learning also takes place not only outside the classroom but also outside the school premises. The school premises functions more as an examination centre. The actual learning takes place in the students’ individual houses and sometimes the students practise learning together on the rooftop of one of the students’ houses. The inhospitality of the Indian education system to peer learning is indicated in both the movies.

            Neither of these two movies gets a scope to highlight how the matter the students learn in school is utilised by the students. Relating the content to their lives is one of the ways in which interest in education is sustained and students motivate themselves. The movies shed no light on this as the students motivate themselves based on their idea of passing examinations rather than learning the matter. Since each student relates to some or other portion of the matter in his or her own way, the education system requires active participation from students so that other students, the teachers and most importantly a student realises how the matter is important to the him or her. In order to facilitate this, there is need for active discussion among the class. Class sizes need to be small and the teacher-student ratio needs to be small to make this work in practice. Money goes a long way in solving this problem.             Instead of frequent formal assessment and other rote work, more time should be left for the actual learning. Frequent formal assessment, rather than measuring whether students are keeping pace with the pedagogical system, ensures that the focus of the system is on these assessments rather than focussing on the matter and on other forms of learning together and mental development.

            These are some of the ways in which one may analyse the depiction of overcoming school educational challenges among weak students in these two movies.



[1] Educational Statistics at a Glance (2018), https://www.education.gov.in/sites/upload_files/mhrd/files/statistics-new/ESAG-2018.pdf. Accessed 9 January 2021.

[2] Ibid., pp. 49-52.

[3] Some surveys have been conducted in this area. See Arun N.R. Kishore and K.S. Shaji, ‘School Dropouts: Examining the Space of Reasons,’ Indian Journal of Psychological Medicine 34(4) (2012), pp. 318-323, https://dx.doi.org/10.4103%2F0253-7176.108201 and https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3662127. Accessed 9 January 2021.

[4] ‘Cops “study” dropouts to curb crime,’ The Times of India, New Delhi edition, 16 November 2016, https://timesofindia.indiatimes.com/city/delhi/Cops-study-dropouts-to-curb-crime/articleshow/55447728.cms. Accessed 9 January 2021.

[5] For example, see ‘Over 93,000 candidates, including 3,700 PhD holders apply for peon job in UP,’ Economic Times, 30 August 2018, https://economictimes.indiatimes.com/news/politics-and-nation/over-93000-candidates-including-3700-phd-holders-apply-for-peon-job-in-up/articleshow/65604396.cms. Accessed 9 January 2021.

Friday, 8 January 2021

Saturday, 28 November 2020

How to plan a refresher course?

1. Upload the concept note before asking people to apply for the course.

2. Prepare a schedule of the entire 12-day course and circulate it among the participants before day 1 of the course.

3. Have resource persons who teach the subject professionally rather than having resource persons from other subjects. There is a reason why separate subjects exist.

4. Have resource persons circulate some material before their lectures so that participants can follow the lectures better.

5. Ask resource persons to speak about mainstream material. Speaking about recondite aspects is not refreshing knowledge. It is learning new things. For a 1-hour module, it is unfair to expect participants to find out about something completely different from what their profession demands.


Wednesday, 14 October 2020

āĻĒāĻļু āĻ•াāĻšিāύী-ā§Ļ⧍: āĻļেং āĻĄু-āϰ āφঁāĻ•া āϜিāϰাāĻĢ

    āĻŦāϰ্āϤāĻŽাāύ āĻŽাāϞāĻĻা āϜেāϞাāϰ āĻĒাāĻŖ্āĻĄু⧟াāϰ āĻ—ৌāϰāĻŦāĻŽā§Ÿ āχāϤিāĻšাāϏ āĻŦুāĻāϤেে āĻšāϞে āĻ“āĻ–াāύāĻ•াāϰ āϧ্āĻŦংāϏāϏ্āϤূāĻĒ āĻĻেāĻ–āϤে āĻšā§Ÿ। āϚāϤুāϰ্āĻĻāĻļ āĻļāϤাāĻŦ্āĻĻীāϰ āĻŽাāĻাāĻŽাāĻি āĻĨেāĻ•ে āĻĒāĻž্āϚāĻĻāĻļ āĻļāϤাāĻŦ্āĻĻীāϰ āĻŽাāĻāĻ–াāύ āĻĒāϰ্āϝāύ্āϤ āĻļাāĻšী āĻŦাংāϞাāϰ āϰাāϜāϧাāύী āĻ›িāϞ āĻĒাāĻŖ্āĻĄু⧟া। āĻĒāϰে āϰাāϜāϧাāύী āĻ—ৌ⧜ে āϏ্āϤাāύাāύ্āϤাāϰিāϤ āĻšā§Ÿ, āĻāĻŦং āĻĒাāĻŖ্āĻĄু⧟া āĻĒāϰিāϤ্āϝāĻ•্āϤ āĻšāĻ“ā§Ÿা⧟ āϧ্āĻŦংāϏāϏ্āϤূāĻĒে āĻĒāϰিāĻŖāϤ āĻšā§Ÿ। āϚীāύ āĻĻেāĻļে āϤāĻ–āύ āĻ•ুāĻŦāϞা āĻ–াঁ-āϰ āχāĻ‰ā§Ÿাāύ āϰাāϜāĻŦংāĻļেāϰ āϏাāĻŽ্āϰাāϜ্āϝ āĻļেāώ āĻšā§Ÿে āĻšাāύ āϰাāϜাāĻĻেāϰ āĻŽিং āĻŦংāĻļেāϰ āϏাāĻŽ্āϰাāϜ্āϝ āĻļুāϰু āĻšā§Ÿ āύাāύāϜিং āĻļāĻšāϰāĻ•ে āĻ•েāύ্āĻĻ্āϰ āĻ•āϰে। āφāĻĢ্āϰিāĻ•াāϰ āĻ•েāύি⧟া āĻĻেāĻļেāϰ āĻĒ্āϰাāϚীāύāϤāĻŽ āĻļāĻšāϰ, āĻŽোāĻŽ্āĻŦাāϏা-āϰ, āĻĨেāĻ•ে ā§§ā§Ļā§Ļ āĻ•ি.āĻŽি. āĻĻূāϰে āϏāĻŽুāĻĻ্āϰāϤāϟেāϰāχ āφāϰেāĻ• āĻļāĻšāϰ āĻŽাāϞিāύ্āĻĻি। āĻŽাāϞিāύ্āĻĻি, āĻĒাāĻŖ্āĻĄু⧟া āĻ“ āύাāύāϜিং—āĻāχ āϤিāύ āĻļāĻšāϰāĻ•ে ā§§ā§Ēā§§ā§Ē āϏাāϞে āϜু⧜ে āĻĢেāϞেāĻ›িāϞ āĻāĻ•āϟি āϜিāϰাāĻĢ।
    āĻļাāĻšী āĻŦাংāϞা āϤāĻ–āύāĻ•াāϰ āĻŦāϏ্āϤ্āϰāĻļিāϞ্āĻĒেāϰ āĻāĻ•āϟা āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āϘাঁāϟি āĻ›িāϞ। āĻ­াāϰāϤেāϰ āĻ…āύ্āϝাāύ্āϝ āĻāϞাāĻ•াāϰ āϏāĻ™্āĻ—ে āĻŦ্āϝāĻŦāϏা āĻ›া⧜াāĻ“, āĻĒāĻļ্āϚিāĻŽ āĻĻিāĻ•ে āφāϰāĻŦ āĻĻেāĻļ āĻ“ āφāĻĢ্āϰিāĻ•াāϰ āϏāĻ™্āĻ—ে, āĻ“ āĻĒূāϰ্āĻŦ āĻĻিāĻ•ে āĻāĻļি⧟াāϰ āĻ…āύ্āϝাāύ্āϝ āĻ•িāĻ›ু āĻĻেāĻļ āϝেāĻŽāύ āϚীāύেāϰ āϏāĻ™্āĻ—েāĻ“ āĻļাāĻšী āĻŦাংāϞা āĻŦ্āϝāĻŦāϏা āĻ•āϰāϤো। āĻŦ্āϝāĻŦāϏা āϰāĻŽāϰāĻŽা āĻšāϞেāĻ“ āϰাāϜāύৈāϤিāĻ• āϏ্āϤিāϤিāĻļীāϞāϤা āĻ›িāϞāύা। āϘāύāϘāύ āχāϞি⧟াāϏ āĻļাāĻšী āĻŦংāĻļেāϰ āϰাāϜা āĻĒāϰিāĻŦāϰ্āϤāύ āĻšāϚ্āĻ›িāϞ। āĻāϰāĻ•āĻŽāχ āĻāĻ• āϏāĻŽā§Ÿ āĻāϏে āĻĒৌঁāĻ›া⧟ āĻŽাāϞিāύ্āĻĻি āĻĨেāĻ•ে āφāϏা āĻāĻ• āĻĻāϞ āϰাāϜāĻĻূāϤ āĻ“ āĻŦ্āϝāĻŦāϏা⧟ীāϰা āχāϞি⧟াāϏ āĻļাāĻšী āϰাāϜাāϰ āϜāύ্āϝ āϤোāĻĢা āύি⧟ে। āĻāĻ•āϟি āϤোāĻĢা āĻāĻ•āĻ–াāύা āϜিāϰাāĻĢ।
    āϜিāϰাāĻĢ āĻŽাāύুāώেāϰ āĻĒāĻ•্āώে āĻāĻ• āϜা⧟āĻ—া āĻĨেāĻ•ে āφāϰেāĻ• āϜা⧟āĻ—া⧟ āύি⧟ে āϝাāĻ“ā§Ÿা āĻāĻ•āĻŦিংāĻļ āĻļāϤাāĻŦ্āĻĻীāϤেāĻ“ āĻ•āĻ িāύ āĻāĻŦং āĻŽাāĻে āĻŽাāĻে āĻĒāĻļুāĻļাāϞাāϰ āφāĻĻাāύ-āĻĒ্āϰāĻĻাāύেāϰ āĻŽāϧ্āϝে āϜিāϰাāĻĢ āĻšāϏ্āϤাāύ্āϤāϰ āĻ•āϰāϤে āĻ—ি⧟ে āϤাāϰা āĻŽাāϰা āϝা⧟। āĻĒāĻž্āϚāĻĻāĻļ āĻļāϤাāĻŦ্āĻĻীāϤে āϝাāϤ্āϰাāϟা āφāϰো āύিāĻļ্āϚāχ āĻ•āĻ িāύ āĻ›িāϞ। āφāĻĢ্āϰিāĻ•াāϰ āĻŦাāχāϰে āϜিāϰাāĻĢ āφāĻ—েāĻ“ āĻĒাāĻ াāύো āĻšā§ŸেāĻ›িāϞ। āĻĒ্āϰাāϚীāύ āϰোāĻŽে āĻ–্āϰিāϏ্āϟāĻĒূāϰ্āĻŦে āϜিāϰাāĻĢ āĻŽাāĻে āĻŽāϧ্āϝেāχ āφāĻĢ্āϰিāĻ•া āĻĨেāĻ•ে āĻĒাāĻ াāύো āĻšāϤো। āϰোāĻŽাāύ āϏাāĻŽ্āϰাāϜ্āϝেāϰ āĻāĻ• āĻĒ্āϰাāύ্āϤ āĻĨেāĻ•ে āφāϰেāĻ• āĻĒ্āϰাāύ্āϤāϤেāĻ“ āϜিāϰাāĻĢ āĻĒাāĻ াāύো āĻšāϤো। āĻĒāĻļ্āϚিāĻŽ āĻāĻļি⧟াāϰ āĻāĻ•াāϧিāĻ• āĻāϞাāĻ•া⧟ āĻĒ্āϰাāϚীāύ āϰোāĻŽাāύ āϏাāĻŽ্āϰাāϜ্āϝেāϰ āϏāĻŽā§ŸāĻ•াāϰ āĻŽোāϏেāχāĻ•ে āĻĒাāĻ“ā§Ÿা āϝা⧟ āϜিāϰাāĻĢেāϰ āϚিāϤ্āϰ। āϤāĻŦে āĻĒāĻļ্āϚিāĻŽ āϰোāĻŽাāύ āϏাāĻŽ্āϰাāϜ্āϝেāϰ āĻ…āĻŦāύāϤিāϰ āĻĒāϰ, āĻĒāĻļ্āϚিāĻŽ āχāωāϰোāĻĒে āϤ্āϰো⧟āĻĻāĻļ āĻļāϤাāĻŦ্āĻĻীāϰ āφāĻ—ে āφāϰ āϜিāϰাāĻĢ āĻĻেāĻ–া āϝা⧟āύি। āĻĒ্āϰাāϚীāύ āĻ—্āϰীāϏ āĻ“ āϰোāĻŽেāϰ āĻ—্āϰāύ্āĻĨে āϜিāϰাāĻĢেāϰ āωāϞ্āϞেāĻ– āĻĒাāĻ“ā§Ÿা āϝা⧟। āϏেāχ āϏāĻŦ āĻ—্āϰāύ্āĻĨে āĻāχ āĻĒāĻļুāϰ āύাāĻŽ āĻ›িāϞ āĻ•্āϝাāĻŽেāϞ-āϞোāĻĒাāϰ্āĻĄ, āωঁāϟ-āϚিāϤা āĻŦাāϘ, āĻ•াāϰāĻŖ āĻĒāĻļুāϟি āĻĒ্āϰāĻĨāĻŽāϟাāϰ āĻŽāϤ āϞāĻŽ্āĻŦা āĻ“ āĻĻ্āĻŦিāϤী⧟āϟাāϰ āĻŽāϤ āϤাāϰ āĻ—া⧟ে āĻ›োāĻĒ।
    āĻ­াāϰāϤāĻŦāϰ্āώে āϜিāϰাāĻĢ āĻĒ্āϰāĻĨāĻŽ āĻ•āĻŦে āφāĻĢ্āϰিāĻ•া āĻĨেāĻ•ে āφāύা āĻšā§Ÿ, āϤাāϰ āĻšāĻĻিāĻļ āĻĒাāĻ“ā§Ÿা āĻŽুāĻļāĻ•িāϞ। āϤ্āϰো⧟āĻĻāĻļ āĻļāϤাāĻŦ্āĻĻীāϤে āύিāϰ্āĻŽিāϤ āĻ•োāύাāϰ্āĻ• āϏূāϰ্āϝ āĻŽāύ্āĻĻিāϰেāϰ āĻ—া⧟ে āϜিāϰাāĻĢেāϰ āĻ–োāĻĻাāχāϚিāϤ্āϰ āĻĻেāĻ–া āϝা⧟। āϤāĻŦে āϚীāύে āĻĒ্āϰāĻĨāĻŽ āϜিāϰাāĻĢ āύি⧟ে āϝাāĻ“ā§Ÿা āĻšā§Ÿে āϏেāχ ā§§ā§Ēā§§ā§Ē āϏাāϞেāχ। āϚীāύেāϰ āĻ…āĻ­্āϝāύ্āϤāϰিāύ āϏāĻŽāϏ্āϝা⧟ āϜāϰ্āϜāϰিāϤ āĻŽিং āϰাāϜাāϰা āϚীāύেāϰ āĻŦাāχāϰেāϰ āϜāĻ—āϤেāϰ āϏāĻ™্āĻ—ে āĻŦ্āϝāĻŦāϏা⧟ āĻ–ুāĻŦ āĻŦেāĻļি āχāϚ্āĻ›ুāĻ• āĻ›িāϞāύা। āϤāĻŦে āĻĒāĻž্āϚāĻĻāĻļ āĻļāϤাāĻŦ্āĻĻীāϰ āĻĒ্āϰāĻĨāĻŽে āϚীāύেāϰ āϰাāϜা āĻšā§Ÿ āĻļু āĻĻি āϝে āĻ‡ā§ŸংāϞে āύাāĻŽ āĻ…āĻŦāϞāĻŽ্āĻŦāύ āĻ•āϰে। āĻ‡ā§ŸংāϞে āϚীāύেāϰ āχāϤিāĻšাāϏে āύাāύাāύ āĻĒāϰিāĻŦāϰ্āϤāύ āϘāϟা⧟। āύাāύāϜিং āĻĨেāĻ•ে āĻŦেāχāϜিং-āĻ āύিāϜেāϰ āϰাāϜāϧাāύী āϏāϰি⧟ে āφāύে। āϏāĻŽুāĻĻ্āϰ āĻĒāĻĨে āĻŦ্āϝāĻŦāϏা āĻ•āϰাāϰ āĻŽāĻšাāύ āĻĒāϰিāĻ•āϞ্āĻĒāύা āĻ•āϰে। āϚীāύে āĻŦāĻšুāĻ•াāϞ āϧāϰেāχ āϰীāϤি āĻ›িāϞো āĻļāϤ্āϰুāĻĻেāϰ āϝৌāύাāĻ™্āĻ— āĻ•েāϟে āĻĻেāĻ“ā§Ÿাāϰ। āĻāχ āĻ…āϤ্āϝাāϚাāϰ āĻ•āϰা āĻŦাāϞāĻ•āĻĻেāϰāχ āφāĻŦাāϰ āĻĒāϰে āĻŽāύ্āϤ্āϰিāϏāĻ­া⧟ āϜা⧟āĻ—া āĻšāϤো। āĻ­াāĻŦা āĻšāϤো, āĻāĻĻেāϰ āϝেāĻšেāϤু āĻĒ্āϰāϜāύāύāĻ•্āώāĻŽāϤা āĻšাāϰি⧟ে āĻ—ি⧟েāĻ›ে, āĻĢāϞে āĻāϰা āϰাāϜাāĻ•ে āϟāĻĒāĻ•ে āύিāϜেāϰ āϰাāϜāϤ্āĻŦ āϏ্āϤাāĻĒāύ āĻ•āϰাāϰ āϚেāώ্āϟা āĻ•āϰāĻŦে āύা āĻ•াāϰāĻŖ āϤাāĻĻেāϰ āĻ•োāύো āωāϤ্āϤāϰাāϧিāĻ•াāϰ āĻĨাāĻ•āĻŦে āύা। āĻāϰāĻ•āĻŽ āĻāĻ•āϜāύ āĻŦাāϞāĻ• āĻ›িāϞ āĻŽা āĻšে āϝাāĻ•ে āĻĒāϰে āϰাāϜা āύাāĻŽ āĻĻি⧟েāĻ›িāϞ āϜেং āĻšে। āϜেং āĻšে āϰাāϜাāϰ āϏāĻŦāϚে⧟ে āĻŦিāĻļিāώ্āϟ āĻ•āϰ্āĻŽāϚাāϰীāϰাāĻĻেāϰ āĻŽāϧ্āϝে āϜা⧟āĻ—া āϤৈāϰি āĻ•āϰে āύে⧟ে। ā§§ā§Ēā§Ļā§Ģ āĻĨেāĻ•ে āĻļুāϰু āĻ•āϰে ā§§ā§Ēā§Šā§Š āĻĒāϰ্āϝāύ্āϤ āϜেং āĻšে āϜাāĻšাāϜে āĻ•āϰে āϏাāϤāĻ–াāύা āĻ…āĻ­িāϝাāύ āϚাāϞা⧟ āĻĒৃāĻĨিāĻŦীāϰ āύাāύা āĻĻেāĻļে। āϏেāχ āĻ…āĻ­িāϝাāύেāϰ āĻŽাāϤ্āϰা āϚীāύেāϰ āĻļāĻ•্āϤি āĻ“ āĻŽাāĻĒেāϰ āϏāĻ™্āĻ—ে āĻŽাāύাāύāϏ⧟ী āĻ›িāϞ। āϏেāχ āĻļāϤাāĻŦ্āĻĻীāϰ āĻļেāώে āϝāĻ–āύ āĻ•্āϰিāϏ্āϟোāĻĢাāϰ āĻ•োāϞাāĻŽ্āĻŦাāϏ āϝাāϤ্āϰা āĻļুāϰু āĻ•āϰে, āϤাāϰ āĻĻāϞে āĻ›িāϞো āύāĻŦ্āĻŦāĻ‡ā§Ÿেāϰ āĻ•াāĻ›াāĻ•াāĻ›ি āĻŽাāύুāώ। āϜেং āĻšে-āϰ āĻ›িāϞ āĻĒ⧟āϤ্āϰিāĻļ āĻšাāϜাāϰ। āϜেং āĻšে-āϰ āϏāĻŦ āϚে⧟ে āĻŦ⧜ āϜাāĻšাāϜ āĻ•োāϞাāĻŽ্āĻŦাāϏেāϰ āϏāĻŦ āϚে⧟ে āĻŦ⧜ āϜাāĻšাāϜেāϰ āϚে⧟ে āĻĒ্āϰা⧟ āĻ•ু⧜ি āĻ—ুāύ āĻŦ⧜ āĻ›িāϞ। āĻāϰāĻ•āĻŽāχ āĻāĻ• āϚৈāύিāĻ• āĻ…āĻ­িāϝাāύ ā§§ā§Ēā§§ā§Ē-āϤে āĻāϏে āĻĒৌঁāĻ›া⧟ āĻŦাংāϞাāϰ āĻĒাāĻŖ্āĻĄু⧟া āϤে। āϜেং āĻšে-āϰ āĻŽূāϞ āĻ…āĻ­িāϝাāύেāϰ āĻĨেāĻ•ে āĻ•িāĻ›ু āύাāĻŦিāĻ• āφāϞাāĻĻা āĻ­াāĻŦে āĻĒাāĻŖ্āĻĄু⧟া āĻāϏে āĻĒৌঁāĻ›ো⧟। āϏেāĻ–াāύে āϤāĻ–āύ āĻŽাāϞিāύ্āĻĻি āĻĨেāĻ•ে āφāϏা āϜিāϰাāĻĢ-āĻ“ āϰ⧟েāĻ›ে। āϏেāχ āϜিāϰাāĻĢ āĻĻেāĻ–ে āϚীāύ āĻĨেāĻ•ে āφāϏা āĻŽাāύুāώেāϰা āĻšāϤāĻ­āĻŽ্āĻŦ āĻšā§Ÿে āϝা⧟। āϚীāύ āĻ“ āφāĻĢ্āϰিāĻ•াāϰ āĻŽāϧ্āϝে āĻ•্āϰিāϏ্āϟāĻĒূāϰ্āĻŦ āϝুāĻ— āĻĨেāĻ•েāχ āĻŦ্āϝāĻŦāϏা⧟িāĻ• āϏāĻŽ্āĻĒāϰ্āĻ• āĻ›িāϞো āĻ­াāϰāϤেāϰ āĻ•েāϰāϞেāϰ āĻĨেāĻ•ে āϤ্āϰো⧟āĻĻāĻļ āĻļāϤাāĻŦ্āĻĻীāϤে āφāĻĢ্āϰিāĻ•াāϰ āϜিāĻŦ্āϰা āĻ“ āϟোāĻĒি āϚীāύেāϰ āϜাāĻšাāϜে āĻ•āϰে āϚীāύāĻĻেāĻļে āύি⧟ে āϝাāĻ“ā§Ÿা āĻšā§ŸেāĻ›িāϞ। āϤāĻŦে āϚীāύেāϰ āĻŽাāύুāώেāϰা āφāĻ—ে āϜিāϰাāĻĢ āĻĻেāĻ–েāύি। āϤাāĻĻেāϰ āĻĒ্āϰাāϚীāύ āϞোāĻ•āĻ•āĻĨা⧟ āĻ•িāχāϞিāύ āύাāĻŽāĻ• āĻāĻ• āĻĒāĻļুāϰ āĻ•āĻĨা āφāĻ›ে (āϝা āĻ…āύেāĻ•েāχ āĻĒাāĻļ্āϚাāϤ্āϝেāϰ āχāωāύিāĻ•āϰ্āĻŖেāϰ āϏāĻ™্āĻ—ে āϜো⧜ে)। āĻāĻĻেāϰ āĻŽāύে āĻšāϞো āĻāχ āϤো āϏেāχ āĻ•িāχāϞিāύ! āĻļিāĻ—্‌āĻ—িāϰ āύাāύāϜিং-āĻ āĻŽāĻšাāϰাāϜেāϰ āĻ•াāĻ›ে āύি⧟ে āϝেāϤে āĻšāĻŦে। āϤāĻŦে āĻŽাāϞিāύ্āĻĻিāϰ āĻŽাāύুāώেāϰা āϤো āĻāχ āϜিāϰাāĻĢ āχāϞি⧟াāϏ āĻļাāĻšী āĻŦাংāϞাāϰ āϏুāϞāϤাāύāĻ•ে āĻĻি⧟েāĻ›িāϞ। āĻĢāϞে, āĻŦাংāϞাāϰ āϏুāϞāϤাāύāĻ•ে āĻŦāϞা āĻšāϞো āϝে āĻāχ āĻĒāĻļু āϤাāĻĻেāϰ āϚীāύেāϰ āϧāϰ্āĻŽে āĻĒāĻŦিāϤ্āϰ, āϝেāĻŽāύ āĻĒāĻŦিāϤ্āϰ āĻĄ্āϰ্āϝাāĻ—াāύ, āĻĢিāύিāĻ•্āϏ āĻ“ āĻ•āϚ্āĻ›āĻĒ। āϏুāϞāϤাāύ āϚীāύ āĻĨেāĻ•ে āφāϏা āϝাāϤ্āϰীāĻĻেāϰ āϤাāĻĻেāϰ āϰাāϜাāϰ āϜāύ্āϝ āĻāχ āϤোāĻĢা āĻĒাāĻ ি⧟ে āĻĻিāϞো। āĻ•িāύ্āϤু, āϚৈāύিāĻ•āϰা āĻ­াāĻŦāϞো āφāϰেāĻ•āϟা āϜিāϰাāĻĢ āĻšāϞেāĻ“ āĻŽāύ্āĻĻ āĻšā§Ÿ āύা। āĻĢāϞে, āĻŽাāϞিāύ্āĻĻি āĻĨেāĻ•ে āφāϏা āĻŽাāύুāώāĻĻেāϰ āĻ•াāĻ›ে āĻ…āύুāϰোāϧ āϜাāύাāύো āĻšāϞো āφāϰেāĻ•āϟা āϜিāϰাāĻĢেāϰ। āϜেং āĻšে āϚীāύে āϏেāχ āĻŦাāϰ āĻĢেāĻ°ā§Ž āϝাāĻ“ā§Ÿাāϰ āĻĒāϰ, āϤাāϰ āĻĒāϰেāϰ āϝাāϤ্āϰা⧟ āφāĻĢ্āϰিāĻ•া āĻĒāϰ্āϝāύ্āϤ āϝা⧟ āĻāĻŦং āĻŽাāϞিāύ্āĻĻিāϤে āϝেāϤে āĻ­োāϞেāύি। ā§§ā§Ēā§§ā§Ē-āĻāϰ āĻāĻŦং ā§§ā§Ē⧍⧧-āĻāϰ āϚৈāύিāĻ• āϝাāϤ্āϰা āĻĨেāĻ•ে āϚীāύেāϰ āύাāĻŦিāĻ•েāϰা āύিāϜেāĻĻেāϰ āϰাāϜাāĻ•ে āĻĻুāχ āĻĻুāϟো āϜিāϰাāĻĢ āωāĻĒāĻšাāϰ āĻĻিāϤে āĻĒেāϰেāĻ›িāϞো। āĻĒ্āϰāĻĨāĻŽ āϜিāϰাāĻĢāϟি āĻĒাāĻ“ā§Ÿাāϰ āĻĒāϰāχ āϰাāϜা āĻ‡ā§ŸংāϞে āĻāχ āĻ…āĻĻ্āĻ­ূāϤ āϜীāĻŦেāϰ āĻāĻ•āϟি āϚিāϤ্āϰ āĻŦাāύি⧟ে āϰেāĻ–েāĻ›িāϞো āύিāϜেāϰ āϚাāϰুāϞিāĻĒিāĻ•āϰ āĻļেāύ āĻĄু-āĻ•ে āĻĻি⧟ে। āϏেāχ āϚিāϤ্āϰ āφāϜ āφāĻŽেāϰিāĻ•াāϰ āĻĢিāϞাāĻĄেāϞāĻĢি⧟া āĻļāĻšāϰেāϰ āĻāĻ• āϝাāĻĻুāϘāϰে। āϤāĻŦে, āϏেāχ āϚিāϤ্āϰ āĻĨেāĻ•ে āφāĻĢ্āϰিāĻ•া, āĻŦাংāϞা āĻ“ āϚীāύ-āĻāϰ āĻŽāϧ্āϝে āĻāĻ• āϜিāϰাāĻĢ-āϝোāĻ—āϏূāϤ্āϰ āĻ–ুঁāϜে āĻĒাāĻ“ā§Ÿা āϝা⧟।
    āϚিāϤ্āϰāϟিāϤে āĻĻেāĻ–া āϝা⧟ āĻāĻ•āϟি āϜিāϰাāĻĢ āĻ“ āϤাāϰ āĻĻেāĻ–াāĻļোāύা āĻ•āϰাāϰ āĻāĻ• āϞোāĻ•āĻ•ে। āϜিāϰাāĻĢেāϰ āĻ—া⧟েāϰ āĻĻাāĻ— āĻ›োāĻĒ āĻ›োāĻĒ āύা āĻšā§Ÿে, āϤ্āϰিāĻ•োāĻŖা āĻĸেāĻ‰ā§Ÿেāϰ āĻŽāϤ āĻšā§Ÿে āĻ—েāĻ›ে। āϚীāύেāϰ āĻĒ্āϰāĻŦাāĻĻে āϝāĻ–āύāχ āĻ•োāύ āĻĻ⧟াāϞু, āĻļāĻ•্āϤিāĻļাāϞী āĻ“ āĻ­াāϞো āϰাāϜা āĻĨাāĻ•āĻŦে⧟, āϏ্āϰেāĻĢ āϤāĻ–āύāχ āĻ•িāχāϞিāύেāϰ āĻĻেāĻ–া āĻĒাāĻ“ā§Ÿা āϝাāĻŦে। āϚিāϤ্āϰāϟি āϰাāϜāĻļāĻ•্āϤিāϰ āĻĒ্āϰāĻŽাāĻŖ—āϤাāĻĻেāϰ āϰাāϜাāϰ āĻ•াāĻ›ে āĻĻুāϰূāĻš āĻĒ্āϰাāĻŖীāĻ“ āφāĻļ্āϰ⧟ āύে⧟। āϏেāχ āĻĻুāϰূāĻš āĻĒ্āϰাāĻŖীāϟিāĻ•ে āϏাāϧাāϰāĻŖ āĻŽাāύুāώāĻ•েāĻ“ āϚিāύāϤে āĻšāĻŦে। āϰাāϜা āφāĻ—েāχ āϘোāώāĻŖা āĻ•āϰে āĻĻি⧟েāĻ›িāϞো āϝে āĻāχ āĻĒ্āϰাāĻŖীāχ āĻ•িāχāϞিāύ, āύিāϜেāϰ āĻ•্āώāĻŽāϤা āĻĒ্āϰāĻĻāϰ্āĻļāύ āĻ•āϰাāϰ āϜāύ্āϝ। āĻ•িāχāϞিāύāĻ•ে āχāωāύিāĻ•āϰ্āĻŖেāϰ āϏāĻ™্āĻ—ে āĻāĻ•āχ āĻ­াāĻŦে āĻ­াāĻŦা āĻšā§Ÿ। āχāωāύিāĻ•āϰ্āĻŖ āĻŽাāύেāχ āϤাāϰ āĻāĻ•āϟা āĻļিং। āϤāĻŦে, āϜিāϰাāĻĢেāϰ āĻĻুāϟো āĻļিং āĻāĻŦং āĻļেāύ āĻĄু-āϰ āϚিāϤ্āϰেāϰ āϜিāϰাāĻĢেāϰ-āĻ“ āĻĻুāϟো āĻļিং। āĻĢāϞে, āϜিāϰাāĻĢ-āχ āĻ•িāχāϞিāύ āĻ•ি āύা āϚীāύেāϰ āĻŽাāύুāώেāϰ āĻŽāϧ্āϝে āĻāχ āϏংāĻļ⧟ āĻĨেāĻ•ে āĻĨাāĻ•āϤেāχ āĻĒাāϰে।
    āĻ—āĻŖ্āĻĄাāϰ āĻ“ āϜিāϰাāĻĢ—āĻāχ āĻĻুāχ āĻĒāĻļুāĻ•েāχ āĻ•োāύ āĻāĻ• āĻ•াāϞে āχāωāύিāĻ•āϰ্āĻŖ āĻ­াāĻŦা āĻšāϤো। āĻāĻ–āύ āĻ…āύেāĻ•ে āĻŦāϞে āϝে āύাāϰāĻ“ā§ŸাāϞ āύাāĻŽāĻ• āϏাāĻŽুāĻĻ্āϰিāĻ• āϜীāĻŦেāϰ āĻļিং-āĻ•েāχ āφāĻ—ে āĻ…āύেāĻ•ে āχāωāύিāĻ•āϰ্āĻŖেāϰ āĻļিং āĻŦāϞে āϚাāϞাāϤো। āĻ—āĻŖ্āĻĄাāϰ āĻ­াāϰāϤেāĻ“ āĻĒাāĻ“ā§Ÿা āϝা⧟, āϤাāχ āφāĻŽāϰা āĻāχ āĻĒāĻļুāϟিāĻ•ে āχংāϰিāϜি āύাāĻŽ, āϰাāχāύোāϏেāϰাāϏ, āĻ›া⧜াāĻ“ āĻ…āύ্āϝ āύাāĻŽে āϜাāύি। āϜিāϰাāĻĢ āĻ­াāϰāϤে āχংāϰেāϜāĻĻেāϰ āφāϏাāϰ āφāĻ—ে āĻĨেāĻ•েāχ āφāϰāĻŦ āĻ“ āφāĻĢ্āϰিāĻ•াāϰ āĻŽাāύুāώেāϰāĻĻেāϰ āĻĨেāĻ•ে āφāĻŽāϰা āϚিāύেāĻ›ি। āϤāĻŦে āϜিāϰাāĻĢ āĻ­াāϰāϤে āĻŦāĻšু āĻ•োāϟি āĻŦāĻ›āϰ āϧāϰেāχ āĻĒাāĻ“ā§Ÿা āϝা⧟ āύা। āĻĢāϞে, āϜিāϰাāĻĢ āϚিāϰāĻ•াāϞāχ āĻ­াāϰāϤে āĻŦিāĻĻেāĻļী āĻĒāĻļু। āχংāϰেāϜāĻĻেāϰ āφāϏাāϰ āĻĒāϰāχ āϜিāϰাāĻĢ āύি⧟ে āĻŦেāĻļি āφāϞোāϚāύা āĻšā§ŸেāĻ›ে āĻ­াāϰāϤে āφāĻ—েāϰ āĻĨেāĻ•ে। āĻĢāϞে, āχংāϰেāϜāĻĻেāϰ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰা āύাāĻŽ āϧāϰেāχ āφāĻŽāϰা āĻāχ āφāĻĢ্āϰিāĻ•াāϰ āĻĒāĻļুāĻ•ে āϚিāύি। āϤāĻŦে, āĻļাāĻšী āĻŦাংāϞাāϰ āφāύ্āϤāϰ্āϜাāϤিāĻ• āĻŦ্āϝāĻŦāϏাāϰ āĻāĻ• āĻĻাāϰুāĻŖ āωāĻĻাāĻšāϰāĻŖ āĻŽাāϞিāύ্āĻĻি āĻĨেāĻ•ে āφāϏা āϏেāχ āϜিāϰাāĻĢ āϝা āϚীāύেāϰ āύাāύāϜিং āĻļāĻšāϰে āĻ—ি⧟ে āĻļেং āĻĄু-āϰ āϚিāϤ্āϰে āφāĻŦāĻĻ্āϧ āĻšā§Ÿে āĻĒ⧜ে।




Monday, 5 October 2020

āĻĒāĻļু āĻ•াāĻšিāύী-ā§Ļā§§: āĻĄ্āϝুāϰাāϰেāϰ āφঁāĻ•া āĻ—āĻŖ্āĻĄাāϰ

    āĻ­াāϰāϤী⧟ āĻ—āϰāĻŽ āĻŽāĻļāϞা—āĻĒāĻž্āϚāĻĻāĻļ āĻļāϤাāĻŦ্āĻĻীāϰ āĻĒāĻļ্āϚিāĻŽ āχāωāϰোāĻĒে āĻāϰ āĻĻাāĻŽ āφāϜāĻ•েāϰ āĻĻাāĻŽেāϰ āϚে⧟ে ā§Ēā§Ļ āĻ—ুāĻŖ āĻ›িāϞ। āχāϤাāϞী⧟āϰা āĻāχ āĻ­াāϰāϤী⧟ āĻ—āϰāĻŽ āĻŽāĻļāϞাāϰ āĻĒাāχāĻ•াāϰি āĻŦ্āϝāĻŦāϏা āĻ•āϰāϤো। ā§§ā§Ēā§Ģā§Š-āĻ āĻ•āύāϏ্āϟ্āϝাāύ্āϟিāύোāĻĒেāϞ, āĻŦা āĻŦāϰ্āϤāĻŽাāύ āχāϏ্āϤাāύāĻŦুāϞ, āĻ•্āϰিāϏ্āϟাāύ āϰাāϜাāĻĻেāϰ āĻšাāϰি⧟ে āĻŽুāϏāϞāĻŽাāύ āϰাāϜাāϰা āĻ…āϧিāĻ—্āϰāĻšāĻŖ āĻ•āϰে āύে⧟। āχāωāϰোāĻĒ āĻ“ āĻāĻļি⧟াāϰ āϏীāĻŽাāύ্āϤেāϰ āĻāχ āĻļāĻšāϰ āĻ›িāϞ āĻāχ āĻĻুāχ āĻŽāĻšাāĻĻেāĻļেāϰ āĻŽāϧ্āϝেāĻ•াāϰ āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āϝোāĻ—āϏূāϤ্āϰ। āĻ•্āϰিāϏ্āϟাāύ āĻ“ āĻŽুāϏāϞāĻŽাāύ āϰাāϜাāĻĻেāϰ āĻŦিāĻŦাāĻĻেāϰ āϜāύ্āϝ āĻāχ āĻĻুāχ āĻŽāĻšাāĻĻেāĻļেāϰ āĻŽāϧ্āϝেāĻ•াāϰ āĻŦ্āϝāĻŦāϏা āϧাāĻ•্āĻ•া āĻ–া⧟। āĻ•্āϰিāϏ্āϟাāύ āϰাāϜাāϰা āĻāĻļি⧟াি āĻŽāĻšাāĻĻেāĻļে āĻĒৌāĻ›োāύোāϰ āύāϤুāύ āĻĒāĻĨ āĻ–ুঁāϜāϤে āĻĨাāĻ•ে। āϏ্āĻĨāϞ āĻ›ে⧜ে āϜāϞে āύাāĻŽে āĻ•্āϰিāϏ্āϟাāύ āĻŦ্āϝāĻŦāϏা⧟ীāϰা। ā§§ā§Ēā§¯ā§Ž-āĻ āĻ•েāϰāϞেāϰ āĻ•োāϰিāĻ•্āĻ•োāĻĄ় āĻļāĻšāϰেāϰ āĻ•াāĻ›ে āĻāϏে āĻĒৌঁāĻ›া⧟ āĻ­াāϏ্āĻ•ো āĻĻা āĻ—াāĻŽাāϰ āϜাāĻšাāϜ। āϏেāχ āĻĨেāĻ•ে āĻļুāϰু āĻšā§Ÿ āϜāϞ-āĻĒāĻĨে āχāωāϰোāĻĒ āĻ“ āĻ­াāϰāϤেāϰ āĻŽāϧ্āϝে āφāĻĻাāύ-āĻĒ্āϰāĻĻাāύ। āĻ•োāϰিāĻ•্āĻ•োāĻĄ়-āĻ āφāϏ্āϤাāύা āĻ—ā§œāϤে āύা āĻĒেāϰে, āĻ•োāϰিāĻ•্āĻ•োāĻĄ়-āĻāϰ āĻĒ্āϰāϤিāĻĒāĻ•্āώ āĻ•োāϚি-āϤে āĻĒāϰ্āϤুāĻ—ীāϜāϰা āύিāϜেāĻĻেāϰ āϏাāĻŽ্āϰাāϜ্āϝ āϏ্āϤাāĻĒāύ āĻ•āϰে। āĻĻিāω āĻĻ্āĻŦীāĻĒেāϰ āϜāύ্āϝ āϝুāĻĻ্āϧে āĻ—ুāϜāϰাāϟেāϰ āĻŽুāϏāϞāĻŽাāύ āϰাāϜাāĻĻেāϰ āĻšাāϰাāύোāϰ āĻĒāϰ āĻ—ো⧟া⧟ āĻĒāϰ্āϤুāĻ—ীāϜāϰা āύিāϜেāĻĻেāϰ āϰাāϜāϧাāύী āĻ—ā§œে। ā§§ā§Ģā§§ā§Ē-āϤে āĻĒāϰ্āϤুāĻ—ীāϜāϰা āĻ–াāĻŽ্āĻŦাāϟেāϰ āϏুāϞāϤাāύ āĻĻ্āĻŦিāϤী⧟ āĻŽুāϜাāĻĢ্‌āĻĢাāϰ āĻļাāĻš-āĻāϰ āĻĨেāĻ•ে āĻ…āύুāĻŽāϤি āϚা⧟ āĻĻিāω āĻĻ্āĻŦীāĻĒে āĻāĻ•āϟা āĻ•েāϞ্āϞা āϏ্āϤাāĻĒāύ āĻ•āϰাāϰ āϜāύ্āϝ। āĻ…āύুāĻŽāϤি āϤাāϰা āĻĒা⧟ āύা। āĻ•িāύ্āϤু āωāĻĒāĻšাāϰেāϰ āĻŽāϧ্āϝে āĻĒা⧟ āĻāĻ•āϟা āĻšাāϤিāϰ āĻĻাঁāϤেāϰ āĻ•েāĻĻাāϰা āĻ“ āĻāĻ•āϟা āĻ­াāϰāϤী⧟ āĻ—āĻŖ্āĻĄাāϰ āĻ“ āϏেāχ āĻ—āĻŖ্āĻĄাāϰেāϰ āĻĻেāĻ–াāĻļোāύাāϰ āϜāύ্āϝ āĻ“āϏেāĻŽ āύাāĻŽāĻ• āĻāĻ• āĻĒ্āϰāĻļিāĻ•্āώāĻ•েāϰ।
    āĻĒāϰ্āϤুāĻ—ীāϜ āĻ—āĻ­āϰ্āύাāϰ āφāĻĢোāύ্āϏো āĻĻে āφāϞāĻŦুāĻ•ু⧟েāϰāĻ•ে āĻ­াāĻŦে āϝে āĻĒāϰ্āϤুāĻ—াāϞেāϰ āϰাāϜা āĻĒ্āϰāĻĨāĻŽ āĻŽ্āϝাāύু⧟েāϞ-āĻāϰ āĻ•াāĻ›ে āϏে āĻāχ āĻ…āĻĻ্āĻ­ুāϤ āϜীāĻŦ āϝাāϰ āĻŦ্āϝāĻĒাāϰে āĻŦāĻšু āĻ•াāϞ āϧāϰে āχāωāϰোāĻĒেāϰ āĻŽাāύুāώেāϰা āĻĒ্āϰাāϚীāύ āϰোāĻŽাāύ āĻĒুঁāĻĨিāϤে āĻĒāϰে āĻāϏেāĻ›ে āĻ•িāύ্āϤু āĻĻেāĻ–ে āύি, āϏেāϟি āĻĒাāĻ াāĻŦে āĻāĻ• āĻĻাāϰুāĻŖ āωāĻĒāĻšাāϰ āĻšিāϏেāĻŦে। āϜাāύু⧟াāϰী ā§§ā§Ģā§§ā§Ģ-āϤে ‘āύāϏāϏা āϏেāύি⧟োāϰা āĻĻা āφāϜুāĻĻা’ āύাāĻŽāĻ• āĻāĻ•āϟা āĻ—āϰāĻŽ āĻŽāĻļāϞা āĻŦাāĻšāĻ• āϜাāĻšাāϜে āĻ•āϰে āĻ—ো⧟া āĻĨেāĻ•ে āĻĒāϰ্āϤুāĻ—াāϞে āĻāχ āĻ—āĻŖ্āĻĄাāϰ, āĻ“āϏেāĻŽ āύাāĻŽāĻ• āĻĻেāĻ–াāĻļোāύাāϰ āϞোāĻ• āĻ“ āĻ—āĻŖ্āĻĄাāϰāϟিāϰ āĻ–াāĻ“ā§Ÿাāϰ āϜāύ্āϝ āĻŦāĻšু āĻĒāϰিāĻŽাāĻŖে āϚাāϞ āĻ“ āĻ…āϞ্āĻĒ āĻ–ā§œ āĻĒাāĻ াāύো āĻšā§Ÿ। āϤাāϜা āϘাāϏ āĻ“ āĻĢāϞ āĻ–াāĻ“ā§Ÿা āĻĒāĻļুāϰ āϜāύ্āϝ āϚাāϞ āϏেāĻĻ্āϧ āĻ•āϰে āĻ­াāϤ āĻ“ āĻ–ā§œ-āχ āĻšā§ŸāϤো āϞāĻŽ্āĻŦা āϜাāĻšাāϜ āϝাāϤ্āϰাāϰ āϜāύ্āϝ āωāĻĒāϝুāĻ•্āϤ āĻŽāύে āĻ•āϰা āĻšā§ŸেāĻ›িāϞ। āĻĒ্āϰা⧟ āϚাāϰ āĻŽাāϏ āϞাāĻ—ি⧟ে āĻĻে⧟ āĻāχ āϜাāĻšাāϜ āĻāχ āϝাāϤ্āϰা āĻ•āϰāϤে। āϜাāĻšাāϜāϟা āϟাāύা āϝাāϤ্āϰা āύা āĻ•āϰে āĻŽাāĻে āĻāχ āϜāϞāĻĒāĻĨেāϰ āϤিāύāϟি āĻĒāϰ্āϤুāĻ—ীāϜ āϘাঁāϟিāϤে āĻĨাāĻŽে—āĻŽোāϜাāĻŽ্āĻŦিāĻ•, āϏেāύ্āϟ āĻšেāϞেāύা āĻ“ āφāϜোāϰেāϏ। āϏেāύ্āϟ āĻšেāϞেāύা āĻĻ্āĻŦীāĻĒāϟি āϏেāχ āϝাāϤ্āϰাāϰ āϤিāύāĻļো āĻŦāĻ›āϰ āĻĒāϰ āĻŦেāĻļি āĻŦিāĻ–্āϝাāϤ āφāϰেāĻ• āĻ…āĻĨিāϤিāĻ•ে āĻĒা⧟—āύেāĻĒোāϞি⧟াāύ āĻŦোāύাāĻĒাāϰ্āϟ।
    āĻĒāϰ্āϤুāĻ—াāϞেāϰ āϰাāϜāϧাāύী āϞিāϏāĻŦাāύে ⧍ā§ĻāĻļে āĻŽে āύেāĻŽে āĻ—āĻŖ্āĻĄাāϰāϟিāĻ•ে āĻĒ্āϰāĻĨāĻŽে āϰাāĻ–া āĻšā§Ÿ āύিāϰ্āĻŽী⧟āĻŽাāĻŖ āĻŦেāϞেāĻŽ āĻĻাāϞাāύেāϰ āĻ•াāĻ›ে āĻāĻŦং āĻĒāϰে āϰিāĻŦেāχāϰা āϰাāϜāĻĒ্āϰাāϏাāĻĻেāϰ āĻĒāĻļুāĻļাāϞাāϤে। āĻĒ্āϰাāϚীāύ āĻ—্āϰীāĻ• āĻ“ āϰোāĻŽাāύ āĻĒāϰ্āϝāϟāĻ• āĻ“ āχāϤিāĻšাāϏāĻŦীāĻĻāϰা āĻĒাāĻŖ্āĻĄুāϞিāĻĒিāϤে āϞিāĻ–ে āĻ—েāĻ›িāϞ āĻ­াāϰāϤী⧟ āĻāχ āĻ…āĻĻ্āĻ­ুāϤ āĻĒāĻļুāϰ āĻŦ্āϝāĻĒাāϰে। āĻāĻ• āϏāĻšāϏ্āϰাāĻŦ্āĻĻেāϰāĻ“ āĻŦেāĻļি āĻĒāĻļ্āϚিāĻŽ āχāωāϰোāĻĒী⧟ āĻ•োāύ āĻŦ্āϝāĻ•্āϤি āĻāχ āĻĒāĻļু āĻĻেāĻ–েāĻ›িāϞো āύা। āĻ—āĻŖ্āĻĄাāϰ āĻŦা āϰাāχāύোāϏেāϰāϏ āĻāĻŦং āχāωāύিāĻ•āϰ্āĻŖ—āĻāχ āĻĻুāχ āĻĒāĻļুāχ āĻ›িāϞ āĻŦāĻ‡ā§Ÿেāϰ āĻ—āϞ্āĻĒ। āĻ•োāύāϟা āϏāϤ্āϝি āφāϰ āĻ•োāύāϟা āύ⧟, āĻ•েāωāχ āĻ িāĻ• āĻŽāϤ āϜাāύāϤো āύা। āĻ—āĻŖ্āĻĄাāϰāϟিāĻ•ে āĻĻেāĻ–ে āϜাāύāϤে āĻĒাāϰāϞো āϝে āĻ…āύ্āϤāϤ āĻāχ āϜীāĻŦāϟিāϰ āĻ…āϏ্āϤিāϤ্āĻŦ āϏāϤ্āϝিāχ āφāĻ›ে। āĻĒ্āϰাāϚীāύ āϞেāĻ–āĻ•েāϰা āϤাāĻšāϞে āĻ িāĻ•āχ āĻŦāϞেāĻ›িāϞো। āĻāĻŦাāϰ āϏ্āϰেāĻĢ āχāωāύিāĻ•āϰ্āĻŖ-āĻāϰ āĻ…āĻĒেāĻ•্āώা!
    āĻĒ্āϰাāϚীāύ āϰোāĻŽ āĻĨেāĻ•েāχ āĻŦিāĻ­িāύ্āύ āĻĒāĻļুāĻĻেāϰ āĻāĻ•āϤ্āϰিāϤ āĻ•āϰে āϤাāĻĻেāϰ āĻāĻ•ে āĻ…āĻĒāϰেāϰ āĻŦিāϰুāĻĻ্āϧে āϞেāϞি⧟ে āĻĻি⧟ে āϝুāĻĻ্āϧ āĻĻেāĻ–াāϰ āĻļāĻ– āĻŽাāύুāώেāϰা āĻĒোāώāύ āĻ•āϰে āĻāϏেāĻ›ে। āĻĒāĻļুāϰ āĻŦিāϰুāĻĻ্āϧে āĻŽাāύুāώেāϰ āϞ⧜াāχ āĻŦা āĻĻুāχ āĻŽাāύুāώেāϰ āϞ⧜াāχ—āĻāχ āϏāĻŦ āĻļāĻ–েāϰ āϜāύ্āϝ āφāϞাāĻĻা āύিāϰ্āĻŽাāĻŖ āĻ“ āĻ•āϰা āĻšāϤ, āϝেāϰāĻ•āĻŽ āϰোāĻŽ āĻāϰ āĻ•āϞোāϏি⧟াāĻŽ। āχāϤিāĻšাāϏ āĻĨেāĻ•ে āϜাāύা āϝা⧟ āϝে āĻŦেāĻļিāϰ āĻ­াāĻ— āĻ•্āώেāϤ্āϰেāχ āĻĒāĻļুāϰা āĻāχ āϏāĻŦ āĻĒ্āϰāϤিāϝোāĻ—িāϤা āĻŦুāĻāϤে āύা āĻĒেāϰে āĻĒাāϞি⧟ে āϝাāĻ“ā§Ÿাāϰ āϚেāώ্āϟা āĻ•āϰāϤো। āĻ–াāĻ“ā§Ÿা āĻŦা āύিāϜেāϰ āϜাāϤীāϰ āϏ্āϤ্āϰীāϞিāĻ™্āĻ—েāϰ āĻĒāĻļুāϰ āϏাāĻĨে āϝৌāύāĻŽিāϞāύেāϰ āĻ…āϧিāĻ•াāϰ āĻĒাāĻ“ā§Ÿাāϰ āĻŦাāχāϰে āĻĒāĻļু āϜাāϤিāϰ āĻ­িāϤāϰ āĻŽাāϰāĻĒিāϟ āĻ•āϰাāϰ āĻĒ্āϰāĻŦāĻŖāϤা āĻ•āĻŽ। āĻĢāϞে, āĻŽাāύুāώেāϰা āĻ…āύিāϚ্āĻ›ুāĻ• āĻĒāĻļুāĻĻেāϰ āĻ–ুঁāϚি⧟ে āĻŦিāϰāĻ•্āϤ āĻ•āϰে āĻŦা āϤাāĻĻেāϰ āϭ⧟াāύāĻ• āϘা⧟েāϞ āĻ•āϰে āφāϰেāĻ• āĻĒāĻļুāϰ āĻŦা āĻŽাāύুāώেāϰ āϏাāĻĨে āĻ›ে⧜ে āĻĻিāϤো āϝাāϤে āĻĒāĻļুāϰা āĻ­াāĻŦāϤো āĻ…āύ্āϝ āĻĒāĻļুāϰা āĻŦা āĻŽাāύুāώেāϰ āĻ•্āϰীāϤāĻĻাāϏāϰাāχ āϤাāĻĻেāϰ āĻļāϤ্āϰু, āĻ…āύ্āϝাāύ্āϝ āĻŽাāύুāώেāϰা āύ⧟। āĻĒ্āϰাāĻŖেāϰ āϭ⧟ āύিāϜেāĻ•ে āĻŦাঁāϚাāϤে āĻāĻ• āĻĒāĻļু āĻ…āύ্āϝ āφāϰেāĻ• āĻĒāĻļুāϰ āϏāĻ™্āĻ—ে āϝুāĻĻ্āϧ āĻ•āϰāϤে āϞাāĻ—āϤো। āϞাāĻ—ুāĻ• āϝুāĻĻ্āϧ, āĻĻে āϤাāϞি।
    āĻ—āĻŖ্āĻĄাāϰāϟি āϞিāϏāĻŦাāύে āφāϏাāϰ āĻŽাāϏāĻ–াāύেāĻ•েāϰ āĻŽāϧ্āϝেāχ ā§Šāϰা āϜুāύ, āĻĒাāϰāĻĻেāϰ āĻāĻ• āϰāĻŦিāĻŦাāϰ, āĻĒāϰ্āϤুāĻ—ীāϜ āϰাāϜা āĻāĻ•āϟা āϝুāĻĻ্āϧেāϰ āĻ†ā§ŸোāϜāύ āĻ•āϰāϞো। āĻĻুāχ āĻŦিāϰাāϟ āφāĻ•াāϰেāϰ āϜীāĻŦেāϰ āĻŽāϧ্āϝে। āĻāĻ• āĻĻিāĻ•ে āĻāχ āĻ—āĻŖ্āĻĄাāϰ, āφāϰেāĻ• āĻĻিāĻ•ে āύিāϜেāϰ āĻĒāĻļুāĻļাāϞাāϰ āĻāĻ•āϟা āĻšাāϤি। āĻĒ্āϰাāϚীāύ āϰোāĻŽাāύ āϞেāĻ–āĻ• āϜ্āϝেāώ্āϟ āĻĒ্āϞিāύি-āϰ āĻĒ্āϰাāĻ•ৃāϤিāĻ• āχāϤিāĻšাāϏ āύাāĻŽāĻ• āĻ—্āϰāύ্āĻĨে āϞেāĻ–া āĻ›িāϞো āϝে āĻ—āĻŖ্āĻĄাāϰ āĻ“ āĻšাāϤি āĻāĻ•ে āĻ…āĻĒāϰেāϰ āĻļāϤ্āϰু। āĻŦāĻ‡ā§Ÿেāϰ āĻ•āĻĨা āĻŽিāϞি⧟ে āύেāĻ“ā§Ÿাāϰ āĻ“ āĻĒāĻļু āϞ⧜াāĻ‡ā§Ÿেāϰ āύৃāĻļংāϏ āφāύāύ্āĻĻ āĻĒাāĻ“ā§Ÿাāϰ āĻāχ āϏুāϝোāĻ— āϰাāϜা āĻšাāϤāĻ›া⧜া āĻ•āϰāϤে āϚা⧟āύি। āĻĻুāχ āĻŦিāϰাāϟ āφāĻ•াāϰেāϰ āϜীāĻŦ। āύিāϜেāĻĻেāϰ āĻĒ্āϰাāĻ•ৃāϤিāĻ• āĻĒāϰিāĻŦেāĻļেāϰ āĻŦাāχāϰে āϏāĻŽā§Ÿেāϰ āϏাāĻĨে āĻ•িāĻ›ুāϟা āĻŽাāύি⧟ে āύিāϤে āĻĒাāϰāϞেāĻ“ āĻāχ āĻ•ৃāϤ্āϰিāĻŽ āĻŦāύ্āĻĻোāĻŦāϏ্āϤ āĻŦুāĻāϤে āĻĒাāϰāĻ›িāϞো āύা। āĻŽাāύুāώেāϰ āĻšৈāĻšৈ, āĻ…āύ্āϝāĻĻিāĻ•ে āĻšā§ŸāϤো āĻ…āϚেāύা āĻŦা āĻŦāĻšু āφāĻ—ে āĻĻেāĻ–া āφāϰেāĻ• āϜীāĻŦ। āĻ•ী āĻ•āϰāĻŦে āĻŦুāĻāϤে āύা āĻĒেāϰে, āĻšাāϤিāϟি āĻāĻ•āϟি āĻ…āĻŦāϰুāĻĻ্āϧ āĻĻ্āĻŦাāϰেāϰ āĻŦে⧜া āĻ­েāĻ™্āĻ—ে āĻ­িāϤāϰেāϰ āϧুāĻ•ে āĻ—ি⧟েāĻ›িāϞো āϰাāϜাāϰ āϝুāĻĻ্āϧ āĻĻেāĻ–াāϰ āĻŦāύ্āĻĻোāĻŦāϏ্āϤ āĻ­েāϏ্āϤে āĻĻি⧟ে।
    āϝুāĻĻ্āϧ āĻĨেāĻ•ে āϰেāĻšাāχ āĻĒেāϞেāĻ“ āĻ—āĻŖ্āĻĄাāϰāϟি āĻļেāώ āϝাāϤ্āϰা⧟ āϰেāĻšাāχ āĻĒা⧟āύি। āϤাāϰ āĻ•াāϰāĻŖ āĻŽাāύুāώেāϰ āĻ•ৌāϤূāĻšāϞ āĻ“ āĻ—āĻŖ্āĻĄাāϰāϟিāϰ āĻ–্āϝাāϤি। āύাāύাāύ āχāωāϰোāĻĒী⧟ āĻĻেāĻļ āĻĨেāĻ•ে āĻŽাāύুāώেāϰা āĻ—āĻŖ্āĻĄাāϰāϟিāĻ•ে āĻĻেāĻ–āϤে āφāϏে। āĻāĻ•āϜāύ āχāϤাāϞী⧟ āĻĄাāĻ•্āϤাāϰ, āϜি⧟োāĻ­াāύি āϜি⧟াāĻ•োāĻŽো āĻĒেāύ্āύি āĻāχ āĻ—āĻŖ্āĻĄাāϰāϟিāĻ•ে āύি⧟ে āĻāĻ•āϟা āĻ›োāϟ্āϟ āĻĒুāϏ্āϤāĻ• āĻĒ্āϰāĻ•াāĻļ āĻ•āϰে āϝাāϤে āĻāĻ•āϟা āϚিāϤ্āϰ-āĻ“ āφঁāĻ•ে āĻāχ āĻ—āĻŖ্āĻĄাāϰāϟিāϰ। āĻ­াāϞেāύ্āϤিāĻŽ āĻĢেāϰ্āύাāύ্āĻĄেāϏ āύাāĻŽāĻ• āϜাāϰ্āĻŽাāύ āĻ­াāώাāϰ āĻāĻ• āĻŽুāĻĻ্āϰাāĻ•āϰ āϝে āĻĒāϰ্āϤুāĻ—াāϞেāχ āĻĨাāĻ•āϤো āϏে āĻāχ āĻ—āĻŖ্āĻĄাāϰāϟি āĻĻেāĻ–ে āĻāĻ•āϟি āϚিāĻ ি āϞেāĻ–ে āϜাāϰ্āĻŽাāύিāϰ āύুāϰেāĻŽāĻŦাāϰ্āĻ— āĻļāĻšāϰে। āφāϰেāĻ•āϜāύ āφāϰেāĻ•āϟা āϚিāĻ ি āϞেāĻ–ে āύুāϰেāĻŽāĻŦাāϰ্āĻ—ে āϝেāĻ–াāύে āĻāχ āĻ—āĻŖ্āĻĄাāϰāϟাāϰ āĻŦāϰ্āĻŖāύাāϰ āϏāĻ™্āĻ—ে āĻāĻ•āϟা āϚিāϤ্āϰ-āĻ“ āφঁāĻ•ে āĻāχ āĻ—āĻŖ্āĻĄাāϰāϟিāϰ। āĻāχ āϚিāĻ িāϟা āύুāϰেāĻŽāĻŦাāϰ্āĻ— āĻļāĻšāϰেāϰ āĻŦাāϏিāύ্āĻĻা āĻ…্āϝাāϞāĻŦ্āϰেāĻ•্āϟ āĻĄ্āϝুāϰাāϰ āύাāĻŽāĻ• āϚিāϤ্āϰāĻ•াāϰ āĻĻেāĻ–ে। āϚিāĻ িāϟা āĻāĻ–āύ āϞāύ্āĻĄāύেāϰ āĻŦ্āϰিāϟিāĻļ āĻŽ্āϝুāϏি⧟াāĻŽ āĻ āĻĻেāĻ–া āϝা⧟। āĻĄ্āϝুāϰাāϰ āĻĒ্āϰা⧟ āĻāĻ•āχ āϰāĻ•āĻŽ āĻāĻ•āϟা āϚিāϤ্āϰ āφঁāĻ•ে।
    āĻ—āĻŖ্āĻĄাāϰ āĻĒাঁāϚ āĻĒ্āϰāĻ•াāϰেāϰ। āφāĻĢ্āϰিāĻ•াāϰ āύাāĻŽে āϏাāĻĻা āĻ•িāύ্āϤু āφāϏāϞে āϧূāϏāϰ āϝাāĻĻেāϰ āĻāĻ•āϟাāχ āĻļিং āĻĨাāĻ•ে; āφāĻĢ্āϰিāĻ•াāϰ āύাāĻŽে āĻ•াāϞো āĻ•িāύ্āϤু āφāϏāϞে āϧূāϏāϰ āϝাāĻĻেāϰ āĻĻুāϟো āĻļিং āĻĨাāĻ•ে; āĻ­াāϰāϤী⧟ āĻ—āĻŖ্āĻĄাāϰ āϝাāĻĻেāϰ āĻ—া⧟ে āĻ–া⧜া āĻĻুāϟো āĻĻাāĻ— āĻĨাāĻ•ে, āϘা⧜েāϰ āĻ•াāĻ›ে āĻ“ āĻ•োāĻŽāϰেāϰ āĻ•াāĻ›ে; āϜাāĻ­া āĻĻ্āĻŦীāĻĒেāϰ āĻāĻ• āĻĒ্āϰāĻ•াāϰেāϰ āĻ›োāϟ āφāĻ•াāϰেāϰ āĻ“ āϏুāĻŽাāϤ্āϰা āĻĻ্āĻŦীāĻĒেāϰ āφāϰো āĻ›োāϟ āφāĻ•াāϰেāϰ āφāϰেāĻ•āϟি āĻĒ্āϰāĻ•াāϰেāϰ।
    āϏেāχ āϚিāĻ িāϰ āϚিāϤ্āϰ āĻ“ āĻĄ্āϝুāϰাāϰেāϰ āϚিāϤ্āϰ āĻ­াāϰāϤী⧟ āĻ—āĻŖ্āĻĄাāϰেāϰ āĻŦেāĻļ āĻ­াāϞো āĻ…āύুāĻ•āϰāĻŖ। āĻ—া⧟ে āĻ–া⧜া āĻĻুāϟো āĻĻাāĻ— āĻĨেāĻ•ে āϤিāύāϟি āĻ•āϰে āĻĒা⧟েāϰ āφāĻ™্āĻ—ুāϞ। āĻĄ্āϝুāϰাāϰেāϰ āϚিāϤ্āϰে āĻĒ্āϞিāύি-āϰ āĻĒ্āϰাāĻ•ৃāϤিāĻ• āχāϤিāĻšাāϏেāϰ āĻšাāϤি āĻ“ āĻ—āĻŖ্āĻĄাāϰেāϰ āĻļāϤ্āϰুāϤাāϰ āĻ—āϞ্āĻĒ āĻ“ āϞেāĻ–া āφāĻ›ে āϜাāϰ্āĻŽাāύ āĻ­াāώা⧟। āϚিāĻ ি āĻ“ āĻĄ্āϝুāϰাāϰেāϰ āϚিāϤ্āϰে āĻ—āĻŖ্āĻĄাāϰāϟিāϰ āĻ—া āĻ—োāϞাāĻ•াāϰ āĻĻাāĻ—ে āĻ­āϰা। āĻšā§ŸāϤো āϝে āĻ—āĻŖ্āĻĄাāϰāϟি āϞিāϏāĻŦাāύে āĻĒৌঁāĻ›েāĻ›িāϞ, āϤাāϰ āĻ—া⧟ে āĻ•োāύ āϚāϰ্āĻŽāϰোāĻ— āĻšā§ŸেāĻ›িāϞ। āĻĄ্āϝুāϰাāϰেāϰ āĻāχ āϚিāϤ্āϰ āĻ•াāĻ ে āĻ–োāĻĻাāχ āĻ•āϰে āĻ•াāϞিāϤে āϞাāĻ—ি⧟ে āĻ›াāĻĒা āĻšā§ŸেāĻ›িāϞ। āϝেāĻšেāϤু āĻ•াāĻ েāϰ āĻ›াঁāϚāϟা āĻāĻ•āĻŦাāϰ āĻŦাāύাāϞেāχ āĻŦāĻšু āĻŦাāϰ āĻ•াāϞি āϞাāĻ—ি⧟ে āύাāύা āϚিāϤ্āϰ āĻ›াāĻĒাāύো āϝা⧟, āĻĢāϞে āĻāχ āϚিāϤ্āϰ āĻŦāĻšু āĻŦাāϰ āĻ›াāĻĒাāύো āĻšā§ŸেāĻ›িāϞ āĻāĻŦং āĻāχ āϚিāϤ্āϰāϟি āχāωāϰোāĻĒে āĻ…āϞ্āĻĒ āϜāύāĻĒ্āϰি⧟āϤা āϞাāĻ­ āĻ•āϰেāĻ›িāϞ। āĻāχ āϜāύāĻĒ্āϰি⧟āϤাāχ āϏেāχ āĻ—āĻŖ্āĻĄাāϰāϟিāϰ āφāϰো āĻŦ⧜ āϏāϰ্āĻŦāύাāĻļ āĻĄেāĻ•ে āφāύে।
    āĻĒāϰ্āϤুāĻ—াāϞেāϰ āϰাāϜা āĻĒ্āϰāĻĨāĻŽ āĻŽ্āϝাāύু⧟েāϞ āϰোāĻŽ āĻ āĻĒোāĻĒ āĻŦা āϧāϰ্āĻŽী⧟ āĻĒিāϤাāϰ āĻĨেāĻ•ে āĻ…āύ্āϝাāύ্āϝ āĻĻেāĻļে āĻŦ্āϝāĻŦāϏা āĻ•āϰাāϰ āĻ…āύুāĻŽāϤি āϚাāχāĻ›িāϞ। āϤāĻ–āύāĻ•াāϰ āĻĒোāĻĒ-āϰা āϰাāϜāύীāϤিāϰ āĻ•্āώেāϤ্āϰে āĻāĻ• āĻŦিāĻļিāώ্āϟ āĻŦ্āϝāĻ•্āϤি āĻ›িāϞ। āϤাāϰ āĻ…āύুāĻŽāϤি āĻĒাāĻ“ā§Ÿাāϰ āϜāύ্āϝ āĻĒোāĻĒāĻ•ে āĻ–ুāĻļি āϰাāĻ–āϤে āĻšāϤে। āϤাāϰ āύাāύা āĻ•āĻĨা āĻļুāύāϤে āĻšāϤো, āϤাāĻ•ে āύাāύা āĻ…āϰ্āĻĨ āĻ“ āωāĻĒāĻšাāϰ āĻĻি⧟ে āύিāϜেāϰ āĻĻāϞে āϰাāĻ–āϤে āĻšāϤো। ā§§ā§Ģā§§ā§Ē-āϤেāχ āĻĒāϰ্āϤুāĻ—াāϞেāϰ āϰাāϜা āĻĒোāĻĒ āϜি⧟োāĻ­াāύি āĻŽেāĻĻিāϚি āĻŦা āĻĻāĻļāĻŽ āϞিāĻ“āĻ•ে āĻšাāύ্āύো āύাāĻŽāĻ• āĻāĻ•āϟা āĻšাāϤি āĻĒাāĻ ি⧟েāĻ›িāϞ āϝেāϟাāĻ“ āĻ­াāϰāϤেāϰ āĻ•োāϚি āĻĨেāĻ•ে āĻāĻ•āχ āĻ­াāĻŦে āϞিāϏāĻŦাāύে āĻāϏāĻ›িāϞো āϝেāĻŽāύ āĻ­াāĻŦে ā§§ā§Ģā§§ā§Ģ-āϤে āĻ—āĻŖ্āĻĄাāϰāϟা āĻāϏেāĻ›িāϞো। āϏেāχ āĻšাāϤি āύি⧟ে āĻŦিāĻ–্āϝাāϤ āχāϤাāϞী⧟ āϚিāϤ্āϰāĻ•াāϰ āϰাāĻĢা⧟েāϞ āĻāĻ•āϟা āĻ›āĻŦি āĻঁāĻ•েāĻ›িāϞো। āĻāχ āĻŦāĻ›āϰ āĻāχ āĻ—āĻŖ্āĻĄাāϰāϟি āĻĒাāĻ াāύোāϰ āĻŦ্āϝāĻŦāϏ্āĻĨা āĻ•āϰāϞো āϰাāϜা, āϏāĻ™্āĻ—ে āĻ­াāϰāϤেāϰ āĻ…āύেāĻ• āĻ—āϰāĻŽ āĻŽāĻļāϞা। ā§§ā§Ģā§§ā§Ģ-āϰ āĻĄিāϏেāĻŽ্āĻŦাāϰে āĻšো⧟াāĻ“ āĻĄে āĻĒিāύা-āϰ āϜাāĻšাāϜে āĻ•āϰে āϰোāĻŽ āϝাāĻ“ā§Ÿাāϰ āĻĒāĻĨে āĻĻাঁ⧜াāύো āĻšāϞো āĻĢāϰাāϏী āĻŽাāϰāϏেঁāχ āĻļāĻšāϰে। āĻĢāϰাāϏী āϰাāϜা āĻ“āχ āĻĒāĻĨ āĻĻি⧟ে āϝাāϤ্āϰা āĻ•āϰāĻ›িāϞো āϜাāύু⧟াāϰী āĻŽাāϏে। āĻŦāϞāϞো āĻāĻ•āĻŦাāϰ āĻ—āĻŖ্āĻĄাāϰāϟাāĻ•ে āĻĻেāĻ–āĻŦে। āύাāĻŽাāύো āĻšāϞো āĻ—āĻŖ্āĻĄাāϰāϟাāĻ•ে āĻĢāϰাāϏী āϰাāϜাāϰ āĻĻāϰ্āĻļāύেāϰ āϜāύ্āϝ। āφāĻŦাāϰ āϜাāĻšাāϜে āĻ“āĻ া āĻšāϞো। āχāϤাāϞীāϰ āĻ•াāĻ›ে āϜাāĻšাāϜ āφāϏাāϰ āĻĒāϰ āĻā§œে āϜাāĻšাāϜ āĻĄুāĻŦে āĻ—েāϞ। āĻļেāĻ•āϞ āĻĻি⧟ে āĻĒা āĻŦাঁāϧা āĻ—āĻŖ্āĻĄাāϰāϟি āϜāϞে āĻĄুāĻŦে āĻŽāϰে āĻ—েāϞ। āĻĒāϰে āĻ—āĻŖ্āĻĄাāϰāϟিāϰ āĻļāĻŦāĻĻেāĻš āωāĻĻ্āϧাāϰ āĻ•āϰা āĻšā§ŸেāĻ›িāϞ। āϞিāϏāĻŦাāύে āĻĢেāĻ°ā§Ž āĻĒাāĻ ি⧟ে āĻĻেāĻ“ā§Ÿা āĻšā§ŸেāĻ›িāϞ āĻŽāϰা āĻ—āĻŖ্āĻĄাāϰ। āĻŦāϞা āĻšā§Ÿ āϝে āĻļāĻŦāϟা āĻĒāϰিāώ্āĻ•াāϰ āĻ•āϰে āĻ–ā§œ āĻ­āϰে āĻĒāϰে āχāϤাāϞীāϰ āĻĢ্āϞāϰেāύ্āϏ āĻļāĻšāϰেāϰ āϝাāĻĻুāϘāϰে āϰাāĻ–া āĻšā§ŸেāĻ›িāϞ। āϤāĻŦে āϤাāϰ āĻ…āϏ্āϤিāϤ্āĻŦ āĻāĻ–āύ āφāϰ āύেāχ।
    āĻāĻ–āύ āĻāχ āĻ—āϞ্āĻĒ āϜাāύা āϝা⧟ āĻ•েāĻŦāϞāĻŽাāϤ্āϰ āĻĄ্āϝুāϰাāϰেāϰ āϚিāϤ্āϰেāϰ āϜāύāĻĒ্āϰি⧟āϤাāϰ āϜāύ্āϝ। āĻ—āϰāĻŽ āĻŽāĻļāϞা āĻĨেāĻ•ে āĻ—āĻŖ্āĻĄাāϰ, āφāύ্āϤāϰ্āϜাāϤিāĻ• āĻŦ্āϝāĻŦāϏা āĻĨেāĻ•ে āϏাāĻŽ্āϰাāϜ্āϝāĻŦাāĻĻ, āχāϤিāĻšাāϏ āĻ“ āϤাāϰ āϏāϤāϤা—āĻāχ āĻ—āϞ্āĻĒেāχ āĻŽিāĻļে āφāĻ›ে āχāωāύিāĻ•āϰ্āĻŖেāϰ āĻ—āϞ্āĻĒ āĻ“ āϜāĻ™্āĻ—āϞেāϰ āĻ—āĻŖ্āĻĄাāϰেāϰ āĻŦিāĻĒāύ্āύ āĻĒāϰিāϏ্āĻĨিāϤি।



Saturday, 15 August 2020

EEBO location register

According to the ProQuest 'List of titles' Excel file for Early English Books Online, (EEBO), there are 1,46,322 volumes in EEBO. Out of these, 10,415 have no source mentioned. The remaining 1,35,907 volumes are from 70 cities mainly in the UK, Ireland and the USA and some from other major cities in continental Europe with a few from Canada.

Those 70 cities are


City Number of volumes
London, UK & Ireland59345
San Marino, CA, USA20056
Oxford, UK & Ireland15108
Boston, USA8586
Cambridge, UK & Ireland7361
New York City, USA5250
Washington, D.C., USA4887
Ilinois, USA3429
Edinburgh, UK & Ireland3362
New Haven, USA1381
Dublin, UK & Ireland884
Chicago, USA853
Boston, USA764
Los Angeles, USA743
Glasgow, UK & Ireland712
Durham, NC, USA389
Manchester, UK & Ireland349
Aberystwyth, UK & Ireland341
San Francisco, CA, USA249
Durham, UK & Ireland174
Aberdeen, UK & Ireland154
Peterborough, UK & Ireland138
Providence, USA136
Ann Arbor, USA129
Windsor, UK & Ireland124
York, UK & Ireland119
Birmingham, UK & Ireland112
Philadelphia, USA107
Austin, USA105
Gottingen, Germany103
Toronto, Canada96
Princeton, USA65
Haverford, USA57
Sacramento, USA45
Minneapolis, USA29
Swarthmore, USA24
Liverpool, UK & Ireland23
Lampeter, UK & Ireland21
Limerick, UK & Ireland13
Charlottesville, USA11
Cardiff, UK & Ireland8
Leeds, UK & Ireland8
Clitheroe, UK & Ireland6
Ware, UK & Ireland5
Williamstown, USA5
Madison, USA4
Montreal, Canada3
New Brunswick, USA3
Northamptonshire, UK & Ireland3
Paris, France3
Dundee, UK & Ireland2
Ely, UK & Ireland2
Lincoln, USA2
Richmond, IN, USA2
St. Andrews, UK & Ireland2
Abbotsford, Canada1
Alabama, USA1
Detroit, USA1
Devon, UK & Ireland1
Hanover, NH, USA1
Hereford, UK & Ireland1
Longleat, UK & Ireland1
Newcastle, UK & Ireland1
Norwich, UK & Ireland1
Sheffield, UK & Ireland1
Silver Spring, Maryland, USA1
Stafford, UK & Ireland1
Winchester, UK & Ireland1
Worcester, MA, USA1
Zurich, Switzerland1



In each city, the list of libraries which have the volumes are as follows:

City Library Number of volumes
Abbotsford, CanadaAbbotsford Library1
Aberdeen, UK & IrelandAberdeen University Library107
Aberdeen, UK & IrelandAberdeen City Charter Room27
Aberdeen, UK & IrelandBlairs College Library20
Aberystwyth, UK & IrelandNational Library of Wales341
Alabama, USAUniversity of Alabama Library1
Ann Arbor, USAUniversity of Michigan Library112
Ann Arbor, USAWilliam L. Clements Library10
Ann Arbor, USAUniversity of Michigan Law Library7
Austin, USAUniversity of Texas at Austin Library105
Birmingham, UK & IrelandBirmingham Central Libraries71
Birmingham, UK & IrelandBevan-Naish Collection22
Birmingham, UK & IrelandUniversity of Birmingham Library9
Birmingham, UK & IrelandWoodbrooke Quaker Study Centre5
Birmingham, UK & IrelandJohn R. Hetherington Collection, University of Birmingham3
Birmingham, UK & IrelandOscott College Library2
Boston, USACongregational Library202
Boston, USAMassachusetts Historical Society Library147
Boston, USABoston Public Library142
Bristol, UK & IrelandBristol Public Libraries273
Cambridge, UK & IrelandCambridge University Library5869
Cambridge, UK & IrelandTrinity College Library, University of Cambridge430
Cambridge, UK & IrelandEmmanuel College Library, University of Cambridge257
Cambridge, UK & IrelandPepys Library, Magdalene College, University of Cambridge194
Cambridge, UK & IrelandSt. John's College Library, University of Cambridge171
Cambridge, UK & IrelandMagdalene College Library, University of Cambridge166
Cambridge, UK & IrelandBible Society's Library81
Cambridge, UK & IrelandJesus College Library, University of Cambridge74
Cambridge, UK & IrelandKing's College Library, University of Cambridge30
Cambridge, UK & IrelandPeterhouse College Library, University of Cambridge27
Cambridge, UK & IrelandGonville & Caius College Library, University of Cambridge21
Cambridge, UK & IrelandPembroke College Library, University of Cambridge16
Cambridge, UK & IrelandChrist's College Library, University of Cambridge10
Cambridge, UK & IrelandQueen's College Library, University of Cambridge3
Cambridge, UK & IrelandSelwyn College Library, University of Cambridge3
Cambridge, UK & IrelandKeynes Collection, Cambridge University Library2
Cambridge, UK & IrelandParker Library, Corpus Christi College, University of Cambridge2
Cambridge, UK & IrelandSt. Catharine's College Library, University of Cambridge2
Cambridge, UK & IrelandFitzwilliam Museum Reference Library1
Cambridge, UK & IrelandSidney Sussex College Library, University of Cambridge1
Cambridge, UK & IrelandWestminster College Library, University of Cambridge1
Boston, USAHarvard University Library7919
Boston, USAHoughton Library, Harvard University353
Boston, USAHarvard Law School Library310
Cambridge, MA, USAArnold Arboretum Society Library, Harvard University4
Cardiff, UK & IrelandCardiff Central Library8
Charlottesville, USAUniversity of Virginia Library11
Chicago, USANewberry Library677
Chicago, USAUniversity of Chicago Library174
Chicago, USAThe John Crerar Library, University of Chicago2
Clitheroe, UK & IrelandStonyhurst College Library6
Detroit, USADetroit Public Library1
Devon, UK & IrelandSt. Scholastica's Abbey, Teignmouth1
Dublin, UK & IrelandTrinity College Dublin Library506
Dublin, UK & IrelandNational Library of Ireland184
Dublin, UK & IrelandMarsh's Library134
Dublin, UK & IrelandRoyal Irish Academy Library34
Dublin, UK & IrelandThe Honourable Society of King's Inns Library13
Dublin, UK & IrelandDublin City Public Libraries, Pearse Street Branch10
Dublin, UK & IrelandDublin City Public Libraries and Archive3
Dundee, UK & IrelandDundee University Library2
Durham, UK & IrelandDurham University Library110
Durham, UK & IrelandDurham Cathedral Library36
Durham, UK & IrelandBamburgh Library, University of Durham12
Durham, UK & IrelandUshaw College Library, University of Durham9
Durham, UK & IrelandKing's College Library, Durham University7
Durham, NC, USADuke University Libraries389
Edinburgh, UK & IrelandNational Library of Scotland3016
Edinburgh, UK & IrelandEdinburgh University Library278
Edinburgh, UK & IrelandNew College Library, University of Edinburgh28
Edinburgh, UK & IrelandSignet Library28
Edinburgh, UK & IrelandCrawford Collections, National Library of Scotland9
Edinburgh, UK & IrelandRoyal Observatory Edinburgh3
Ely, UK & IrelandEly Cathedral Library2
Glasgow, UK & IrelandUniversity of Glasgow Library689
Glasgow, UK & IrelandHunterian Collection, University of Glasgow15
Glasgow, UK & IrelandThe Mitchell Library7
Glasgow, UK & IrelandGlasgow Public Libraries1
Gottingen, GermanyUniversitet Gottingen Bibliothek103
Hanover, NH, USADartmouth College Library1
Haverford, USAHaverford College Libraries57
Hereford, UK & IrelandHereford Cathedral Library1
Ilinois, USAUniversity of Illinois Library3429
Lampeter, UK & IrelandLampeter Library - University of Wales Trinity Saint David21
Leeds, UK & IrelandLeeds University Library8
Limerick, UK & IrelandBolton Library, University of Limerick13
Lincoln, USAUniversity of Nebraska-Lincoln Library2
Liverpool, UK & IrelandUniversity of Liverpool Library23
London, UK & IrelandBritish Library50969
London, UK & IrelandThomason Collection, British Library4351
London, UK & IrelandSociety of Antiquaries Library1021
London, UK & IrelandLambeth Palace Library630
London, UK & IrelandLibrary of the Society of Friends598
London, UK & IrelandGuildhall Library500
London, UK & IrelandDr. Williams's Library328
London, UK & IrelandLincoln's Inn Library239
London, UK & IrelandSion College Library129
London, UK & IrelandWellcome Institute for the History of Medicine Library95
London, UK & IrelandDulwich College Library86
London, UK & IrelandUniversity of London Library79
London, UK & IrelandGoldsmiths Library, University of London68
London, UK & IrelandPublic Record Office58
London, UK & IrelandRoyal College of Surgeons of England Library37
London, UK & IrelandNational Art Library Dyce Collection, Victoria and Albert Museum25
London, UK & IrelandBritish Museum19
London, UK & IrelandNational Art Library, Victoria and Albert Museum19
London, UK & IrelandRoyal College of Physicians of London Library15
London, UK & IrelandMiddle Temple Library14
London, UK & IrelandNational Art Library Forster Collection, Victoria and Albert Museum12
London, UK & IrelandRoyal College of Music Library12
London, UK & IrelandGoldsmiths' Library of Economic Literature10
London, UK & IrelandThe Goldsmiths' Company Library7
London, UK & IrelandThe Royal Society, London7
London, UK & IrelandSt. Paul's Cathedral Library5
London, UK & IrelandMedical Society of London Library3
London, UK & IrelandJesuits in Britain Archive2
London, UK & IrelandPatent Office Library2
London, UK & IrelandF.S. Ferguson, London1
London, UK & IrelandHeythrop College Library, University of London1
London, UK & IrelandQueen's College, London, Library1
London, UK & IrelandRoyal Institute of British Architects Library1
London, UK & IrelandWestminster Abbey Library1
Longleat, UK & IrelandLongleat Library and Archives1
Los Angeles, USAWilliam Andrews Clark Memorial Library743
Madison, USAUniversity of Wisconsin-Madison Library4
Manchester, UK & IrelandThe John Rylands Library, University of Manchester203
Manchester, UK & IrelandChetham's Library130
Manchester, UK & IrelandManchester Central Library14
Manchester, UK & IrelandHaigh Hall Library2
Minneapolis, USAUniversity of Minnesota Library24
Minneapolis, USAUniversity of Minnesota Law Library5
Montreal, CanadaOsler Library of the History of Medicine, McGill University3
New Brunswick, USARutgers University Library3
New Haven, USAYale University Library890
New Haven, USABeinecke Rare Book and Manuscript Library472
New Haven, USAHarvey Cushing/John Hay Whitney Medical Library17
New Haven, USAYale Center for British Art1
New Haven, USAYale Divinity School Library1
New York City, USABurke Library, Union Theological Seminary4729
New York City, USANew York Public Library250
New York City, USAColumbia University Libraries244
New York City, USACarl H. Pforzheimer Library19
New York City, USAPierpont Morgan Library6
New York City, USACornell University Libraries1
New York City, USALibrary of the Jewish Theological Seminary1
Newcastle, UK & IrelandNewcastle upon Tyne Libraries1
Northamptonshire, UK & IrelandFinedon3
Norwich, UK & IrelandNorwich Public Library1
Oxford, UK & IrelandBodleian Library13355
Oxford, UK & IrelandChrist Church Library, University of Oxford522
Oxford, UK & IrelandWorcester College Library, University of Oxford504
Oxford, UK & IrelandThe Queen's College Library, University of Oxford197
Oxford, UK & IrelandCorpus Christi College Library, University of Oxford167
Oxford, UK & IrelandBalliol College Library, University of Oxford87
Oxford, UK & IrelandCodrington Library, All Souls College, University of Oxford61
Oxford, UK & IrelandJohn Johnson Collection of Printed Ephemera, Bodleian Library47
Oxford, UK & IrelandExeter College Library, University of Oxford38
Oxford, UK & IrelandMagdalen College Library, University of Oxford30
Oxford, UK & IrelandLincoln College Library, University of Oxford19
Oxford, UK & IrelandSt. John's College Library, University of Oxford12
Oxford, UK & IrelandMerton College Library, University of Oxford8
Oxford, UK & IrelandOriel College Library, University of Oxford8
Oxford, UK & IrelandJesus College Library, University of Oxford7
Oxford, UK & IrelandUniversity College Library, University of Oxford7
Oxford, UK & IrelandRegent's Park College Library, University of Oxford5
Oxford, UK & IrelandWadham College Library, University of Oxford5
Oxford, UK & IrelandHertford College Library, University of Oxford4
Oxford, UK & IrelandKeble College Library, University of Oxford4
Oxford, UK & IrelandSt. Hugh's College Library, University of Oxford4
Oxford, UK & IrelandNew College Library, University of Oxford3
Oxford, UK & IrelandRadcliffe Camera3
Oxford, UK & IrelandSt. Edmund Hall Library, University of Oxford3
Oxford, UK & IrelandUniversity of Oxford Archives3
Oxford, UK & IrelandHarris Manchester College Library, University of Oxford2
Oxford, UK & IrelandThe McGowin Library, Pembroke College, University of Oxford2
Oxford, UK & IrelandEnglish Faculty Library, University of Oxford1
Paris, FranceBibliotheque nationale de France3
Peterborough, UK & IrelandPeterborough Cathedral Library and Archives138
Philadelphia, USAUniversity of Pennsylvania Library81
Philadelphia, USAThe Library Company of Philadelphia25
Philadelphia, USAPresbyterian Historical Society1
Princeton, USAPrinceton University Library41
Princeton, USAPrinceton Theological Seminary Library24
Providence, USAThe John Carter Brown Library, Brown University136
Richmond, IN, USAEarlham College Library2
Sacramento, USACalifornia State Library45
San Francisco, CA, USASutro Library249
San Marino, CA, USAThe Huntington Library20056
Sheffield, UK & IrelandUniversity of Sheffield Library1
Silver Spring, Maryland, USAU.S. National Weather Service1
St. Andrews, UK & IrelandUniversity of St. Andrews Library2
Stafford, UK & IrelandWilliam Salt Library1
Swarthmore, USASwarthmore College Library24
Toronto, CanadaUniversity of Toronto Library96
Ware, UK & IrelandSt. Edmund's College Library, Ware5
Washington, D.C., USAFolger Shakespeare Library4454
Washington, D.C., USALibrary of Congress433
Williamstown, USAWilliams College Library5
Winchester, UK & IrelandThe Morley Library, Winchester Cathedral1
Windsor, UK & IrelandEton College Library124
Worcester, MA, USAAmerican Antiquarian Society Library1
York, UK & IrelandYork Minster Library119
Zurich, SwitzerlandZentralbibliothek, Zurich1
No source10415
This topological list may be useful for some kind of analysis.

Monday, 13 July 2020

āĻĒāĻļুāĻĒ্āϰāϜাāϤিāĻ­িāϤ্āϤিāĻ• āϰাāϜāύীāϤি


āĻĒāĻļুāĻĒ্āϰāϜাāϤিāĻ­িāϤ্āϤিāĻ• āϰাāϜāύীāϤি

        āϰূāĻĒাāϞী āĻ—āĻ™্āĻ—োāĻĒাāϧ্āϝা⧟েāϰ āφāύāύ্āĻĻāĻŦাāϜাāϰ āĻĒāϤ্āϰিāĻ•া-āϰ āϏāĻŽ্āĻĒাāĻĻāĻ•ী⧟ āĻĒাāϤা⧟ ⧧⧍āχ āϜুāϞাāχ ⧍ā§Ļ⧍ā§Ļ-āϤে āĻĒ্āϰāĻ•াāĻļিāϤ āĻĒ্āϰāĻŦāύ্āϧেāϰ (‘āĻ…āĻĒāϰাāϧী āĻĨাāĻ•ে āĻ†ā§Ÿāύা⧟’) āĻĒāϰিāĻĒ্āϰেāĻ•্āώিāϤে āφāĻŽিāώ āφāĻšাāϰ, āύৃāĻļংāϏāϤা āĻ“ āϰাāϜāύীāϤি—āĻāχ āϤিāύ āĻŦিāώ⧟েāϰ āϏāĻŽ্āĻĒāϰ্āĻ• āύি⧟ে āφāĻŽাāϰ āĻāχ āϞেāĻ–া। āĻĒ্āϰāĻĨāĻŽেāχ āĻĻেāĻ–া āϝাāĻ• āĻ•ী āϧāϰāύেāϰ āĻĒāĻļুāϰ āĻŽাংāϏ āĻ–াāĻ“ā§Ÿা āύি⧟ে āύাāύা āϧাāϰ্āĻŽিāĻ• āĻ“ āϏাংāϏ্āĻ•ৃāϤিāĻ• āύিāώেāϧাāϜ্āĻžা āϰ⧟েāĻ›ে। āϜৈāύ āϧāϰ্āĻŽে āϏāĻŦ āϰāĻ•āĻŽ āφāĻŽিāώ āĻ–াāĻ“ā§Ÿাāχ āĻŦাāĻĻ, āϝāĻĻিāĻ“ āĻĻুāϧ āĻ–াāĻ“ā§Ÿা āĻŦাāϰāĻŖ āύ⧟। āχāĻšুāĻĻি āϧāϰ্āĻŽে āĻ–ৃāώ্āϟ, āĻšিāύ্āĻĻু āĻŦা āχāϏāϞাāĻŽ āϧāϰ্āĻŽেāϰ āϚে⧟ে āύিāώিāĻĻ্āϧāϤাāϰ āϤাāϞিāĻ•াāϟি āĻŦ⧜। āĻ•িāĻ›ু āĻĒāĻļুāĻ•ে āύোংāϰা āĻŽāύে āĻ•āϰা āĻšā§Ÿ āĻāĻŦং āĻĢāϞে āϤাāĻĻেāϰ āĻŽাংāϏ āĻ–াāĻ“ā§ŸাāĻ“ āĻŦাāϰāĻŖ। āωāĻ­āϚāϰ āĻĒ্āϰাāĻŖী āϝেāϰāĻ•āĻŽ āĻŦ্āϝাāĻ™ āĻ–াāĻ“ā§Ÿাāϰ āĻŦিāϰুāĻĻ্āϧে āχāĻšুāĻĻিāϰা āĻŦāϞে। āĻĒ্āϰāϧাāύāϤ, āĻŽাংāϏাāĻšাāϰী āϚাāϰ-āĻĒে⧟ āĻĒ্āϰাāĻŖী āĻ–াāĻ“ā§Ÿাāϰ āĻŦিāϰুāĻĻ্āϧেāĻ“ āĻŦেāĻļিāϰ āĻ­াāĻ— āϧāϰ্āĻŽেāχ āϚāϞ āφāĻ›ে। āĻĢāϞে, āϝেāϰāĻ•āĻŽ āĻ•াāĻ•, āĻļāĻ•ুāύ, āϚিāϞ, āĻŦাāϜ, āψāĻ—āϞ āĻĒাāĻ–ি āĻ–াāĻ“ā§ŸাāĻ“ āĻŦেāĻļিāϰ āĻ­াāĻ— āϧāϰ্āĻŽেāχ āĻŦাāϰāĻŖ, āϏেāϰāĻ•āĻŽ āĻ•ুāĻ•ুāϰ, āĻŦে⧜াāϞ āĻ–াāĻ“ā§ŸাāĻ“ āĻŦাāϰāĻŖ। āϤāĻŦে, āϚীāύ, āĻ•োāϰি⧟া, āĻ­ি⧟েāϤāύাāĻŽ, āĻāĻŦং āφāĻŽাāĻĻেāϰ āĻĻেāĻļে āύাāĻ—াāϞ্āϝাāύ্āĻĄ āĻ āĻ•ুāĻ•ুāϰ āĻ“ āĻŦে⧜াāϞ āĻ–াāĻ“ā§Ÿাāϰ āϰীāϤি āφāĻ›ে। āĻŽāĻŖিāĻĒুāϰ āĻ“ āĻŽিāϜোāϰাāĻŽ āĻ āĻ•ুāĻ•ুāϰ āĻ–াāĻ“ā§Ÿাāϰ āϰীāϤি āĻĨাāĻ•āϞেāĻ“ āĻŦে⧜াāϞ āĻ•েāω āĻŦিāĻļেāώ āĻ–া⧟ āύা। āφāĻŽিāώ āĻŽাāύুāώāĻĻেāϰ āĻŽāϧ্āϝে āĻĒূāϰ্āĻŦ āφāĻĢ্āϰিāĻ•াāϰ āĻ•িāĻ›ু āĻāϞাāĻ•া⧟ āĻŽাāĻ› āĻ–াāĻ“ā§Ÿা āĻŦাāϰāĻŖ āĻāĻŦং āχāĻšুāĻĻি āϧāϰ্āĻŽে āϝে āϏāĻŦ āϏাāĻŽুāĻĻ্āϰিāĻ• āĻĒ্āϰাāĻŖীāϰ āφঁāĻļ āĻĨাāĻ•ে āύা, āϤা āĻ–াāĻ“ā§Ÿাāϰ āĻŦিāϰুāĻĻ্āϧে āĻĢāϰ্āĻŽাāύ āϜাāϰি āφāĻ›ে। āĻŦিāύা āφঁāĻļ āϏাāĻŽুāĻĻ্āϰিāĻ• āĻ–োāϞাāϝুāĻ•্āϤ āĻĒ্āϰাāĻŖী āϝেāϰāĻ•āĻŽ āϚিং⧜ি, āĻ•াঁāĻ•ā§œা, āĻ“ā§ŸেāϏ্āϟাāϰ āĻāχ āχāĻšুāĻĻি āύিāώিāĻĻ্āϧāϤাāϞিāĻ•াāϰ āĻŦাāχāϰেāĻ“ āĻāĻ• āϧāϰāύেāϰ āĻŽাāύুāώেāϰ āĻĒāĻ•্āώে āĻ–াāĻ“ā§Ÿা āĻŦাāϰāĻŖ—āĻ•োāύ āĻĒ্āϰāĻĨাāϰ āωāĻĒāϰ āĻ­িāϤ্āϤি āĻ•āϰে āύ⧟ āϝāĻĻিāĻ“, āĻŦāϰং āĻļাāϰীāϰিāĻ• āĻ•াāϰāĻŖে—āϝাāĻĻেāϰ āĻ“āχ āĻ–োāϞা⧟ āĻāϞাāϰ্āϜি āĻšā§Ÿ।
        āχāĻšুāĻĻিāĻĻেāϰ āύিāώিāĻĻ্āϧেāϰ āϤাāϞিāĻ•া⧟ āϝে āϏāĻ•āϞ āĻĒāĻļুāĻĻেāϰ āĻĒা āĻ•াāϟা āύ⧟, āϝেāĻŽāύ āωāϟ, āϘো⧜া āĻ“ āĻ–āϰāĻ—োāĻļ, āϤাāĻ“ āφāĻ›ে। āωāϟেāϰ āĻŽাংāϏেāϰ āχāϏāϞাāĻŽে āϚāϞ āφāĻ›ে āĻ“ āϘো⧜াāϰ āĻŽাংāϏ āχāϏāϞাāĻŽে āĻ“ āχāωāϰোāĻĒী⧟ āĻ–্āϰীāώ্āϟাāύāĻĻেāϰ āĻŽāϧ্āϝে āĻ…āύেāĻ•েāχ āĻ–া⧟। āϏāϰীāϏৃāĻĒ āφāĻšাāϰ āχāĻšুāĻĻি āĻ“ āχāϏāϞাāĻŽ āϧāϰ্āĻŽে āĻŦাāϰāĻŖ āϝāĻĻিāĻ“ āĻ­াāϰāϤে āύাāĻ—াāϞ্āϝাāύ্āĻĄে āĻ•িāĻ›ু āĻŽাāύুāώেāϰা āϏাāĻĒ āĻ–া⧟। āχঁāĻĻুāϰ āφāĻšাāϰ āφāĻŽাāĻĻেāϰ āĻĒāĻļ্āϚিāĻŽāĻŦāĻ™্āĻ—েāχ āĻšā§Ÿ। āĻ•ুāĻŽিāϰ āĻĒূāϰ্āĻŦ āĻāĻļি⧟া⧟ āĻ…āύেāĻ• āĻĻেāĻļেāχ āĻ–া⧟। āĻŦাāĻĻু⧜ āĻĒাāĻ–ি āύ⧟ āĻ•িāύ্āϤু āĻ‰ā§œে āĻŦে⧜া⧟। āϝে āĻĒ্āϰাāĻŖী āĻ•ে āĻŦোāĻাāχ āĻļāĻ•্āϤ, āϤাāĻ•ে āĻ–েāϤেāĻ“ āĻ•িāĻ›ু āĻ…āϏুāĻŦিāϧা āĻšā§Ÿ। āĻĢāϞে āχāĻšুāĻĻি āĻ“ āχāϏāϞাāĻŽ āϧāϰ্āĻŽে āĻāϰ āĻŦিāϰুāĻĻ্āϧেāĻ“ āύিāϰ্āĻĻেāĻļ āφāĻ›ে। āĻŽাāύুāώāĻ•ে āφāĻ•্āϰāĻŽāĻŖ āĻ•āϰে āϝে āϏāĻŦ āĻŦ⧜ āĻĒ্āϰাāĻŖী, āϝেāϰāĻ•āĻŽ āĻŦাāϘ, āϏিং, āĻ­াāϞ্āϞুāĻ•—āϤাāĻĻেāϰ āϏংāĻ–্āϝাāĻ“ āĻ•āĻŽ āĻ“ āϧāϰাāĻ“ āĻŽুāĻļāĻ•িāϞ। āχāĻšুāĻĻি āĻ“ āχāϏāϞাāĻŽ āϧāϰ্āĻŽেāϰ āύিāώিāĻĻ্āϧাāĻŦāϞীāϤে āĻāχ āϏāĻ•āϞ āĻĒ্āϰাāĻŖীāϰ āĻŽাংāϏ āĻĨাāĻ•াāϟা āĻ–ুāĻŦ āĻāĻ•āϟা āϤāĻĢাā§Ž āϏৃāώ্āϟি āĻšā§ŸāϤো āĻ•āϰে āύা। āĻ­াāϰāϤেāϰ āωāϤ্āϤāϰ-āĻĒূāϰ্āĻŦ āĻĒাāĻšা⧜েāϰ āĻ•িāĻ›ু āĻŽাāύুāώেāϰা āϝāĻĻিāĻ“ āĻāϰāĻ•āĻŽ āĻĒ্āϰাāĻŖীāϰ āĻŽাংāϏ āĻĒেāϞে, āĻ–ে⧟ে āύে⧟। āĻ…āύেāĻ• āĻŦাāĻ™াāϞিāϰা āĻŽুāϰāĻ—ি āĻ–া⧟ āύা āϝāĻĻিāĻ“ āϤাāϰা āĻĒাāĻ াāϰ āĻŽাংāϏ āĻ–া⧟। āĻĒ⧜ে āϰāχāϞ āĻ—āϰু āĻ“ āĻļু⧟োāϰ—āϝাāϰ āĻŦিāώ⧟ āĻĒাāĻ āĻ•েāϰা āĻšā§ŸāϤো āĻ“ā§ŸাāĻ•িāĻŦāĻšাāϞ। āĻāχ āĻĻীāϰ্āϘ āϤাāϞিāĻ•া āĻĒ্āϰāϏ্āϤুāϤ āĻ•āϰাāϰ āωāĻĻ্āĻĻেāĻļ্āϝ āĻāĻ•āϟাāχ—āĻŽাāύুāώে āĻ…āύ্āϝ āĻŽাāύুāώ āĻ›া⧜া āĻŦাāĻ•ি āϏāĻ•āϞ āĻĒ্āϰাāĻŖীāĻ•ে āĻšāϤ্āϝা āĻ“ āφāĻšাāϰ āĻ•āϰা āϏাāĻŽāĻ—্āϰিāĻ• āĻ­াāĻŦে āύিāώিāĻĻ্āϧ āĻŽāύে āĻ•āϰে āύা।
        āĻĒāĻļু āĻĒ্āϰেāĻŽ āĻ“ āĻĒাāϞিāϤ āĻĒāĻļু āĻĒ্āϰেāĻŽেāϰ āĻŽāϧ্āϝে āĻāĻ•āϟা āϤāĻĢাā§Ž āφāĻ›ে। āĻŽাāύুāώে āĻĒাāĻ–ি, āĻ•ুāĻ•ুāϰ, āĻŦে⧜াāϞ, āĻ—āϰু āĻ“ āϘো⧜া āϏাāϧাāϰāĻŖ āĻ­াāĻŦে āĻĒোāώে। āϤাāϰ āĻŽāϧ্āϝে āĻ—āϰু āĻ“ āϘো⧜াāĻ•ে āĻ•াāϜে āϞাāĻ—াāύো āĻšā§Ÿ। āĻŦিāύা āĻ•াāϜে āϞাāĻ—ি⧟ে āϏ্āϰেāĻĢ āϏāĻ– āĻ•āϰে āĻ—āϰু āϘো⧜া āĻ–ুāĻŦ āĻŦেāĻļি āĻŽাāύুāώে āĻĒোāώে āύা। āĻ•ুāĻ•ুāϰāĻ•ে āĻĒ্āϰāĻšāϰী āĻšিāϏেāĻŦে āĻ•িāĻ›ু āĻŽাāύুāώ āϰাāĻ–ে āĻ“ āĻ•িāĻ›ু āĻŽাāύুāώ āĻļিāĻ•াāϰি āĻšিāϏেāĻŦে āϰাāĻ–ে। āĻ•িāύ্āϤু āĻšā§ŸāϤো āϤাāϰ āϚে⧟ে āĻŦেāĻļি āĻŽাāύুāώে, āĻŦে⧜াāϞেāϰ āĻŽāϤ āĻ•āϰে āĻ•ুāĻ•ুāϰ āĻĒোāώে, āϏ্āϰেāĻĢ āύিāϜেāϰ āϏāĻ–েāϰ āϜāύ্āϝ। āĻāχ āϏāĻ– āĻ•āϰে āĻĒোāώ্āϝ āϰাāĻ–া āĻ•িāĻ›ুāϟা āϜোāĻ—াāύ āĻ“ āĻ•িāĻ›ুāϟা āĻĒ্āϰāĻĨাāϰ āωāĻĒāϰ āύিāϰ্āĻ­āϰāĻļীāϞ। āĻ•েāω āĻĒোāώা āχঁāĻĻুāϰ āϰাāĻ–āϤেāχ āĻĒাāϰে, āϏ্āϟু⧟াāϰ্āϟ āϞিāϟ্āϟিāϞেāϰ āĻŽāϤ āϤāĻŦে āϤাāϰ āϚāϞ āĻ•āĻŽ। āĻ…āύেāĻ•ে āĻĒোāώা āĻŦাāϘ, āĻ­াāϞ্āϞুāĻ•, āϏাāĻĒ āϰাāĻ–ে। āϤা āĻ•িāĻ›ু āĻāϞাāĻ•া⧟ āφāχāύāϤ āĻ…āĻĒāϰাāϧ, āĻ•িāĻ›ু āĻāϞাāĻ•া⧟ āύ⧟, āĻ•িāύ্āϤু āĻāχ āĻĒ্āϰাāĻŖীāĻ—ুāϞি āĻŽাāύুāώ āĻŽাāϰāϤে āĻĒাāϰে, āĻĢāϞে āĻāϰ āϚāϞ-āĻ“ āĻ•āĻŽ। āĻĒāĻļু āĻĒ্āϰেāĻŽ—āĻ—āϰু, āĻ›াāĻ—āϞ, āĻ•ুāĻ•ুāϰ, āĻ­াāϞ্āϞুāĻ•, āĻļু⧟োāϰ—āϏāĻŦাāϰ āĻĒ্āϰāϤি-āχ āĻšāϤে āĻĒাāϰে। āφāχāύ āĻ“ āĻĒ্āϰāĻĨা āĻ…āύুāϝা⧟ী āĻāϰ āĻŽāϧ্āϝে āĻ•িāĻ›ু āĻĒāĻļুāĻĻেāϰ āϏāĻ™্āĻ—ে āĻŽাāύুāώে āϏāĻšāĻŦাāϏ āĻ•āϰে।
        āĻĒāĻļু āĻ–াāĻ“ā§Ÿা āĻ•ি āύৃāĻļংāϏāϤাāϰ āĻĒ্āϰāĻŽাāĻŖ? āĻŽৌāϰāϞা āĻŽাāĻ› āĻ–াāĻ“ā§Ÿা āĻ“ āĻ–āϰāĻ—োāĻļ āĻ–াāĻ“ā§Ÿাāϰ āĻŽāϧ্āϝে āĻ•ি āĻĒাāϰ্āĻĨāĻ•্āϝ āφāĻ›ে? āĻŽাāύুāώে āĻ…āύ্āϝ āĻĒāĻļু āύা āĻ–ে⧟েāĻ“ āĻĻিāĻŦ্āϝি āĻĨাāĻ•āϤে āĻĒাāϰে। āĻ­িāĻ—াāύāϰা āϝেāϰāĻ•āĻŽ āĻĨাāĻ•ে। āĻāχ āĻ–াāĻ“ā§Ÿাāϰ āĻ–ে⧟ে āĻ•েāω āĻ•āĻŽāϜোāϰী-āĻ“ āĻšā§Ÿে āĻ“āĻ ে āύা। āĻŦিāϰাāϟ āĻ•োāĻšāϞি āĻ“ āϏেāϰিāύা āωāχāϞি⧟াāĻŽāϏ āĻĻুāϜāύেāχ āĻ•িāĻ›ু āĻŦāĻ›āϰ āϧāϰে āĻ­িāĻ—াāύ। āĻāĻĻেāϰ āĻļাāϰীāϰিāĻ• āĻ•্āώāĻŽāϤা āύি⧟ে āϏংāĻļ⧟ āĻšāĻ“ā§Ÿাāϰ āĻ•āĻĨা āύ⧟। āĻ…āύ্āϝ āĻĒāĻļু āĻšāϤ্āϝা āĻ•ি āĻĒ্āϰাāĻ•ৃāϤিāĻ• āϧাāϰাāϰ āĻŦিāĻĒāϰীāϤে? āύা, āĻĒāĻļুāϰা āĻšā§Ÿে āφāĻŽিāώ āĻŦা āύিāϰাāĻŽিāώ āĻŦা āωāϭ⧟āφāĻšাāϰী। āĻĒāĻļু āĻšāϤ্āϝা āĻ•āϰা āĻ•ি āĻ…āύৈāϤিāĻ•? āĻŦ্āϝাāĻĒাāϰāϟা āĻĒ্āϰাāĻ•ৃāϤিāĻ• āĻšāϞে āĻ…āύৈāϤিāĻ• āĻšāĻ“ā§Ÿাāϰ āĻ•াāϰāĻŖ āύেāχ। āϤাāĻšāϞে āĻŦ্āϝাāĻĒাāϰāϟা āĻ•ী? āĻĒ্āϰāĻļ্āύāϟা āύিāϜেāϰ āĻĒāĻ›āύ্āĻĻ āĻ•āϰাāϰ āĻšāĻ•েāϰ। āφāĻŽাāϰ āĻĒāĻ›āύ্āĻĻ āϝāĻĻি āĻ…āύ্āϝ āĻ•াāϰুāϰ āĻ…āĻĒāĻ›āύ্āĻĻ āĻšā§Ÿে āϤāĻŦে? āϝāϤāĻ•্āώāĻŖ āφāĻŽি āĻ…āύ্āϝ āφāϰেāĻ• āĻĒ্āϰাāĻŖী āϝে āύিāϜেāϰ āĻĒāĻ›āύ্āĻĻ āĻŦ্āϝāĻĒ্āϤ āĻ•āϰāϤে āϚাāχāĻ›ে āĻāĻŦং āϝাāĻ•ে āφāĻŽি āϏāĻŽাāύ āĻ…āϧিāĻ•াāϰেāϰ āĻšāĻ•āĻĻাāϰ āĻŽāύে āĻ•āϰāĻ›ি, āϤাāϰ āĻ•্āώāϤি āύা āĻ•āϰāĻ›ি, āϤāϤāĻ•্āώāĻŖ āφāĻŽাāϰ āĻĒāĻ›āύ্āĻĻেāϰ āωāĻĒāϰ āĻ…āύ্āϝ āĻ•াāϰুāϰ āĻŦাঁāϧা āϏৃāώ্āϟি āĻ•āϰা āĻ…āύৈāϤিāĻ•। āĻŽুāϰāĻ—ি āϤো āĻŦāϞে āύা āĻŦাāĻŦা, āĻāϏো āφāĻŽা⧟ āĻ–াāĻ“—āϤাāϰ āĻĒāĻ›āύ্āĻĻেāϰ āĻ•ী āĻšāϞ? āĻŽাāύুāώ āĻŦাāĻĻে āĻ…āύ্āϝ āĻĒ্āϰাāĻŖীāĻĻেāϰ āĻŽাāύুāώেāϰা āϏāĻŽাāύ āĻ…āϧিāĻ•াāϰেāϰ āĻšāĻ•āĻĻাāϰ āĻŽāύে āĻ•āϰে āύা। āϝāĻĻি āĻ…āύ্āϝ āĻĒāĻļুāĻĻেāϰ āĻ•োāύ āĻ…āϧিāĻ•াāϰ āύেāχ, āϤāĻŦে āĻŽুāϰāĻ—ি āĻ–াāχ āĻ•ী āĻ•āϚ্āĻ›āĻĒ āĻ–াāχ, āϤাāϰ āĻŽāϧ্āϝে āϤāĻĢাā§Ž āĻ•ী? āϤāĻĢাā§Ž āĻāχ āϝে āĻŽাāύুāώে āύিāϜেāϰ āϏ্āĻŦাāϰ্āĻĨে āϜাāύে āϝে āϤাāĻĻেāϰ āĻĒৃāĻĨিāĻŦীāϟাāĻ•ে āĻŦাঁāϚি⧟ে āϰাāĻ–āϤে āĻšāĻŦে, āύা āĻšāϞে āĻŽাāύুāώেāϰা āύিāϜেāϰাāχ āĻŦিāĻĒāĻĻে āĻĒ⧜āĻŦে। āĻĢāϞে āĻĒ্āϰাāĻ•ৃāϤিāĻ• āĻŦৈāϚিāϤ্āϰ্āϝ āĻŦāϜা⧟ āϰাāĻ–া āĻŽাāύুāώেāϰ āϏ্āĻŦাāϰ্āĻĨেāχ āϜāϰুāϰি। āĻ•āϚ্āĻ›āĻĒেāϰ āϏংāĻ–্āϝা āϝেāĻšেāϤু āĻ•āĻŽ āϤাāχ āĻ•āϚ্āĻ›āĻĒ āĻŦাঁāϚি⧟ে āϰাāĻ–āϤে āĻšāĻŦে āĻāĻŦং āĻŽুāϰāĻ—িāϰ āϏংāĻ–্āϝা āϝেāĻšেāϤু āĻŦেāĻļি āϤাāχ āĻŽুāϰāĻ—ি āĻšāϤ্āϝা āĻŽাāύুāώেāϰ āϏ্āĻŦাāϰ্āĻĨāĻ•ে āĻ•্āώāϤি āĻ•āϰে āύা। āĻ­াāϰāϤে āϏাāϧাāϰāĻŖāϤ āĻ•্āϝাāĻ™াāϰু āĻĒাāĻ“ā§Ÿা āϝা⧟ āύা। āĻ…āϏ্āϟ্āϰেāϞি⧟া⧟ āϝেāĻ–াāύে āĻ…āύেāĻ• āĻ•্āϝাāĻ™াāϰু āĻĒাāĻ“ā§Ÿা āϝা⧟, āϏেāĻ–াāύে āĻŽাāύুāώে āĻ•্āϝাāĻ™াāϰু āĻ–া⧟, āĻ­াāϰāϤে āύা।
        āϧাāϰ্āĻŽিāĻ• āύিāώিāĻĻ্āϧাāĻŦāϞীāϤে āϝে āϏāĻŦ āĻĒāĻļুāϰ āĻŽাংāϏ āĻ–াāĻ“ā§Ÿা āĻŦাāϰāĻŖ, āϤাāϰ āĻ•াāϰāĻŖ āĻšিāϏেāĻŦে āϏেāχ āϏāĻŦ āĻĒ্āϰাāĻŖীāĻ•ে āύোংāϰা āĻ­াāĻŦা āĻšā§Ÿে āĻ…āĻĨāĻŦা āĻ­াāϰāϤে āĻ—āϰুāϰ āĻŽāϤ āĻĒāĻŦিāϤ্āϰ āĻ­াāĻŦা āĻšā§Ÿ। āĻāχ āĻĒāĻŦিāϤ্āϰ-āύোংāϰাāϰ āĻĢাāϰাāĻ•āϟা āĻŽাāύুāώে āϏাāĻŽāĻ—্āϰিāĻ• āĻ­াāĻŦে āĻĻেāĻ–ে āύা, āϝেāϰāĻ•āĻŽ āφāĻ—েāϰ āωāĻĻাāĻšāϰāĻŖāĻ—ুāϞি āĻĨেāĻ•ে āϏ্āĻĒāώ্āϟ। āĻĢāϞে, āĻāĻ• āĻĻāϞেāϰ āĻŽāϤāĻ•ে āĻ…āύ্āϝ āĻĻāϞেāϰ āωāĻĒ āϚাāĻĒি⧟ে āĻĻেāĻ“ā§Ÿাāϟা āĻ—া⧟েāϰ āϜোāϰ āĻĻেāĻ–াāύো। āϏāĻŽ্āĻĒ্āϰāϤি, āϚীāύে āĻ•োāϰোāύাāĻ­াāχāϰাāϏ āĻŦāϞা āĻšāϚ্āĻ›ে āĻŦাāĻĻু⧜ āĻ“ āĻĒ্āϝাāĻ™্āĻ—োāϞিāύেāϰ āĻĨেāĻ•ে āĻŽাāύুāώেāϰ āĻŽāϧ্āϝে āĻ›ā§œি⧟েāĻ›ে। āĻāχ āĻŦাāĻĻু⧜ āĻ“ āĻĒ্āϝাāĻ™্āĻ—োāϞিāύেāϰ āĻŽাংāϏ āĻ“āĻ–াāύāĻ•াāϰ āĻŽাāύুāώেāϰা āĻ–া⧟। āĻ•েāύ āĻ–া⧟ āĻĒ্āϰāĻļ্āύ āĻ•āϰা āĻŦৃāĻĨা। āϏāĻŦাāχ āĻ•েāύ āĻŦিāϰাāϟ āĻ•োāĻšāϞি āĻ“ āϏেāϰিāύা āωāχāϞি⧟াāĻŽāϏেāϰ āĻŽāϤ āĻ­িāĻ—াāύ āύ⧟? āĻļু⧟োāϰ āĻĨেāĻ•ে āϏো⧟াāχāύ āĻĢ্āϞু āĻšā§Ÿ, āĻ—āϰু āĻĨেāĻ•ে āĻĢুāϟ āĻāύ্āĻĄ āĻŽাāωāĻĨ āϰোāĻ—, āĻŽুāϰāĻ—ি āĻĨেāĻ•ে āĻŦাāϰ্āĻĄ āĻĢ্āϞু। āĻ•োāύ āĻĒ্āϰাāĻŖীāϰ āϏংāĻ–্āϝা āĻ–ুāĻŦ āĻ•āĻŽ āύা āĻšāϞে, āϤা āĻ–াāĻ“ā§Ÿা āĻ…āύৈāϤিāĻ• āĻ•েāύ? āĻāϟা āφāĻŦাāϰ āϏেāχ āĻāĻ• āĻĻāϞেāϰ āĻŽāϤ āĻ…āύ্āϝ āĻĻāϞেāϰ āωāĻĒāϰ āϚাāĻĒি⧟ে āĻĻেāĻ“ā§Ÿা। āĻ­াāϰāϤে, āĻ—āϰুāϰ āϰāϚāύাāϰ āχāϤিāĻšাāϏ āĻ–ুāĻŦ āϞāĻŽ্āĻŦা āĻāĻŦং āφāϞোāϚāύা āĻ•āϰāϤে āĻ—েāϞে āĻāĻ• āĻĻāϞ āĻŽাāύুāώ āĻŽাāϰāϤে āĻ›ুāϟে āφāϏে। āϤাāχ, āϏেāϟা āφāĻĒাāϤāϤ āĻŦাāĻĻ-āχ āĻĻিāϞাāĻŽ। āϏāĻŽ্āĻĒ্āϰāϤি āĻŽিāϜোāϰাāĻŽ āĻ“ āύাāĻ—াāϞ্āϝাāύ্āĻĄ āĻ•ুāĻ•ুāϰ āĻŦে⧜াāϞেāϰ āĻŽাংāϏেāϰ āωāĻĒāϰ āύিāώেāϧাāϜ্āĻžা āϜাāϰি āĻ•āϰেāĻ›ে। āφāĻŦাāϰ āϏেāχ āĻāĻ• āĻĻāϞেāϰ āϰুāϚি āφāϰেāĻ• āĻĻāϞেāϰ āωāĻĒāϰ āϚাāĻĒি⧟ে āĻĻেāĻ“ā§Ÿা। āĻāϰ āϏāĻ™্āĻ—ে āύৃāĻļংāϏāϤা āĻŦা āĻĒāĻļু āĻĒ্āϰেāĻŽেāϰ āĻ•āĻŽ āϏāĻŽ্āĻĒāϰ্āĻ• āφāĻ›ে। āĻŦ্āϝাāĻĒাāϰāϟা āϰাāϜāύৈāϤিāĻ•।
        āϰূāĻĒাāϞী āĻ—āĻ™্āĻ—োāĻĒাāϧ্āϝা⧟ āĻĒ্āϰāĻļ্āύ āĻ•āϰেāĻ›েāύ āϝে āφāĻŽāϰা āĻŦāϰ্āĻŦāϰ āĻĒāĻĻ্āϧāϤিāϤে āĻŽুāϰāĻ—ি āύা āĻŽেāϰে āϝāύ্āϤ্āϰāĻŖাāĻŦিāĻšীāύ āĻĒāĻĻ্āϧāϤিāϤে āĻ•েāύ āĻŽাāϰি āύা। āĻŽুāϰāĻ—িāϰ āĻŽāϰা āύি⧟ে āĻĒ্āϰāĻļ্āύ āύা āĻ•āϰে āĻŽুāϰāĻ—িāϰ āĻŦাঁāϚা āύি⧟ে āĻĒ্āϰāĻļ্āύ āĻšā§ŸāϤো āĻŦেāĻļি āĻ—ুāϰāϤ্āĻŦāĻĒূāϰ্āĻŖ। āĻĢ্āϰি-āϰেāĻž্āϜ āĻŽুāϰāĻ—ি, āĻĄিāĻŽ āχāϤ্āϝাāĻĻি āĻŦাāϜাāϰে āĻĒাāĻ“ā§Ÿা āϝা⧟, āĻ…āύেāĻ• āĻ•্āώেāϤ্āϰে āĻŦাāĻ•্āϏে āĻŦা āĻ োāĻ™া⧟ āĻšাāϏি āĻšাāϏি āĻŽুāϰāĻ—িāϰ āĻ›āĻŦি āϏāĻŽেāϤ। āĻŽাāύুāώেāϰ āϏ্āĻŦাāϰ্āĻĨে āĻĢ্āϰি-āϰেāĻž্āϜ āĻŽুāϰāĻ—ি, āĻĄিāĻŽ āĻŦেāĻļি āĻ­াāϞো āĻ•াāϰāĻŖ āϤাāϤে āĻ•ৃāϤ্āϰিāĻŽ āĻ“āώুāϧ āĻĨাāĻ•ে āύা। āϤāĻŦে āĻŽুāϰāĻ—িāϰ āĻ•্āώেāϤ্āϰে āĻ•ি āϏেāϟা āĻ­াāϞো? ‘āϜāύ্āĻŽিāϞে āĻŽāϰিāϤে āĻšāĻŦে, āĻ…āĻŽāϰ āĻ•ে āĻ•োāĻĨা āĻ•āĻŦে,’ āĻŽাāχāĻ•েāϞ āϞিāĻ–েāĻ›িāϞেāύ। āϤāĻŦে āϝāϤāĻĻিāύ āĻŦেঁāϚে āφāĻ›ি, āϤāϤāĻĻিāύ āϝেāύ āϏুāĻ–ে āĻĨাāĻ•ি।
        āĻ•োāύ āĻĒ্āϰাāĻŖীāϰ āϝাāϰ āĻļāϰীāϰে āϰāĻ•্āϤ āĻŦ⧟ে, āϏে āĻāĻ• āĻāϟāĻ•া⧟ āύা āĻŽāϰে, āϝāĻĻি āφāϏ্āϤে āφāϏ্āϤে āϤাāϰ āĻŽৃāϤ্āϝু āĻšā§Ÿ, āϤাāĻšāϞে āĻŽৃāϤ্āϝুāϰ āĻĒāϰ āϤাāϰ āĻŽাংāϏ āύāϰāĻŽ āĻšā§Ÿ। āĻāχ āĻŦেāĻļি āĻŦেāĻĻāύাāĻĻা⧟āĻ• āĻĒāĻĻ্āϧāϤি āĻĒ্āϰāĻĨা⧟ āĻĒāϰিāĻŖāϤ āĻšāĻ“ā§Ÿা⧟, āĻŽাāύুāώে āϧাāϰ্āĻŽিāĻ• āϏাāύ্āϤ্āĻŦāύাāϰ āϰীāϤি āĻ–ুঁāϜে āĻŦাāϰ āĻ•āϰেāĻ›ে āϝাāϤে āĻŽাāύুāώেāϰ āĻ…āύ্āϝ āĻāĻ• āĻĒ্āϰাāĻŖীāĻ•ে āĻŦেāĻĻāύা āĻĻেāĻ“ā§Ÿাāϰ āϝে āĻĒী⧜া, āϏেāϟা āĻ•āĻŽ āĻšā§Ÿ। āĻ•āϏাāχāĻĻেāϰ āĻĒী⧜াāϰ āĻ•āĻĨা āĻ•āĻŽ āĻ—āϞ্āĻĒেāχ āϞেāĻ–া āĻĨাāĻ•ে। āϏাāĻŽ্āĻĒ্āϰāϤিāĻ•āĻ•াāϞে, āĻĒেāϰুāĻŽাāϞ āĻŽুāϰুāĻ—াāύেāϰ āĻĒূāύাāϚি āωāĻĒāύ্āϝাāϏে āĻāĻ• āĻ•āϏাāχ āĻ•িāĻ›ু āĻ›াāĻ—āϞেāϰ āύিāϰ্āĻŦীāϜāĻ•āϰāĻŖ āĻ•āϰাāϰ āĻĒāϰ āĻšাāω āĻšাāω āĻ•āϰে āĻ•াঁāĻĻāϤে āĻĨাāĻ•ে āϝে āϏে āĻĒাāĻĒী āĻāĻŦং āĻŽāĻĻ āĻ–েāϤে āĻĨাāĻ•ে āύিāϜেāϰ āĻ­িāϤāϰেāϰ āĻŦিāώাāĻĻ āĻ•āĻŽ āĻ•āϰাāϰ āϜāύ্āϝ। āϏাāĻšিāϤ্āϝিāĻ• āĻŽুāϰুāĻ—াāύ āĻāχ āϘāϟāύা āύি⧟ে āφāϰ āĻŦিāĻļেāώ āĻ•িāĻ›ু āĻŦāϞে āύা, āĻāĻ•āϟা āύিāϏ্āϤāĻŦāĻĻ্āϧāϤা āϰ⧟ে āϝা⧟ āĻāχ āϘāϟāύা āύি⧟ে। āĻ•āϏাāχāĻĻেāϰ āĻŦেāĻĻāύা āύি⧟েāĻ“ āϏাāĻšিāϤ্āϝে āĻāĻŦং āϏāĻŽাāϜে āϏাāϧাāϰāĻŖāϤ āĻāĻ•āϟা āύিāϏ্āϤāĻŦāĻĻ্āϧāϤা āĻŦāϜা⧟ āĻĨাāĻ•ে। āĻĢিāϰে āϝাāĻ“ā§Ÿা āϝাāĻ•, āĻŽাāύুāώেāϰ āφāĻšাāϰেāϰ āϜāύ্āϝ āĻĒ্āϰাāĻŖী āĻšāϤ্āϝাāϰ āĻĒāĻĻ্āϧāϤিāϤে। āĻŽাāϰাāϰ āφāĻ—ে āĻĒ্āϰাāĻŖীāϟিāĻ•ে āĻĻৌ⧜ āĻ•āϰাāϞে, āĻŦāϞা āĻšā§Ÿ, āĻĒ্āϰাāĻŖীāϟিāϰ āĻŽৃāϤ্āϝুāϰ āĻĒāϰ āϤাāϰ āĻŽাংāϏ āφāϰো āύāϰāĻŽ āĻšā§Ÿ। āĻāχ āĻĒāĻĻ্āϧāϤি āĻ•াāϰ্āϝāĻ•āϰ āĻ•āϰা āϝেāĻšেāϤু āĻŽুāĻļāĻ•িāϞ, āϤাāχ āĻŽাāύুāώে āĻāϟাāϰ āϏāϚāϰāϚāϰ āĻ…āĻŦāϞāĻŽ্āĻŦāύ āĻ•āϰে āύা।
        āĻ…āύ্āϝ āĻĒāĻļু āĻšāϤ্āϝাāϰ āĻŽāϧ্āϝে āϝে āύৃāĻļংāϏāϤা āφāĻ›ে, āϤাāϰ āϚে⧟েāĻ“ āĻŦেāĻļি āύৃāĻļংāϏāϤা āφāĻ›ে āĻŽাāύুāώেāϰ āφāĻšাāϰেāϰ āϜāύ্āϝ āĻ…āύ্āϝ āĻĒāĻļুāĻĻেāϰ āĻŦাঁāϚি⧟ে āϰাāĻ–াāϰ āĻ•িāĻ›ু āĻĒāĻĻ্āϧāϤিāϤে, āϝাāĻ•ে āχংāϰেāϜিāϤে āĻŦāϞা āĻšā§Ÿ āĻĢ্āϝাāĻ•্āϟ্āϰি āĻĢাāϰ্āĻŽিং। āϤāĻŦে, āĻ•িāĻ›ু āĻĒāĻļু āĻšāϤ্āϝা āĻŦেāφāχāύি āĻ•āϰে āĻĻেāĻ“ā§Ÿা āϏ্āϰেāĻĢ āĻ•িāĻ›ু āĻŽাāύুāώেāϰ āύোংāϰা āĻŦা āĻĒāĻŦিāϤ্āϰāϤাāϰ āĻ­িāϤ্āϤিāϤে āϰাāϜāύৈāϤিāĻ• āĻŽāϤ āĻ“ āĻļāĻ•্āϤি āϚাāĻĒি⧟ে āĻĻেāĻ“ā§Ÿা āĻ›া⧜া āĻ…āύ্āϝ āĻ•িāĻ›ু āύ⧟। āĻĒāĻļু āϜীāĻŦāύ āĻļেāώ āĻ•āϰে āĻĻেāĻ“ā§Ÿা āύিāώ্āϟুāϰ āĻ•িāύ্āϤু āĻĒ্āϰাāĻ•ৃāϤিāĻ• āϧাāϰাāϰ āĻŦিāĻĒāϰীāϤ āύ⧟। āĻĒāĻļুāĻ•ে āϜীāĻŦিāϤ āϰেāĻ–ে āϤাāϰ āωāĻĒāϰ āύিāώ্āϟুāϰāϤা āϚাāϞাāύো āĻŦāϰং āĻŦেāĻļি āύিāώ্āϟুāϰ। āφāϧুāύিāĻ• āĻĄে⧟াāϰি āĻĢাāϰ্āĻŽ-āĻ“ āĻŽাāύুāώেāϰ āύৃāĻļংāϏāϤাāϰ āĻĒ্āϰāĻŽাāĻŖ। āĻ—āϰুāϰ āφāϞোāϚāύা⧟ āĻāχ āĻŦিāώ⧟āϟা āϚাāĻĒা āĻĒ⧜ে āϝা⧟ āĻ•াāϰāĻŖ āϤাāϤে āϧāϰ্āĻŽāĻ•ে āĻ…āϤিāĻ•্āϰāĻŽ āĻ•āϰে āĻŽাāύুāώেāϰ āĻ•্āώāϤি।
        āĻ…āύ্āϝ āĻĒāĻļুāĻĻেāϰ āĻĒ্āϰāϤি āĻŽাāύুāώেāϰ āφāĻšাāϰ āĻ­িāϤ্āϤিāĻ• āύৃāĻļংāϏāϤা āĻ›া⧜াāĻ“ āφāĻ›ে, āĻĻৈāύāύ্āĻĻিāύ āĻ…āϞ্āĻĒ āĻŦিāϚ্āĻ›িāύ্āύ āύিāώ্āϟুāϰāϤাāϰ āϘāϟāύা āϝাāϤে āĻŽাāύুāώেāϰ āĻ•োāύ āϞাāĻ­ āĻšā§Ÿ āύা, āϏ্āϰেāĻĢ āĻŦিāĻ•ৃāϤ āĻ•োāύ āφāύāύ্āĻĻ āĻ›া⧜া। āϏāĻŽাāϜে āύাāύা āĻŦিāĻ•ৃāϤ āφāϚāϰāĻŖেāϰ āĻŽāϤ āĻ•āϰেāχ āĻāĻ•ে āĻĻেāĻ–āϤে āĻšāĻŦে āφāϞাāĻĻা āĻ­াāĻŦে āĻĒāĻļুāĻĻেāϰ āĻĒ্āϰāϤি āύিāώ্āϟুāϰāϤা āĻšিāϏেāĻŦে āύা āĻĻেāĻ–ে। āĻĒāĻļুāĻĻেāϰ āύি⧟ে āϞেāĻ–া āύীāϤিāĻŦাāĻ•্āϝেāϰ āχāϤিāĻšাāϏে āĻĻেāĻ–া āϝা⧟ āĻĒāĻļুāĻĻেāϰ āĻĒ্āϰāϤি āϞেāĻ–āĻ•েāϰা āĻŽাāύুāώāĻĻেāϰ āϏāĻŽāĻŦেāĻĻāύāĻļীāϞ āĻšāϤে āĻŦāϞে āĻ•াāϰāĻŖ āϤাāϤে āύাāĻ•ি āĻŽাāύুāώেāϰ āĻŽāύ āĻ…āύ্āϝ āĻŽাāύুāώেāϰ āĻĒ্āϰāϤিāĻ“ āϏāĻšাāύুāĻ­ূāϤিāĻļীāϞ āĻšā§Ÿ। āĻ•েāω āĻāχ āϝুāĻ•্āϤি āĻĻি⧟ে āĻŦāϞāϤেāχ āĻĒাāϰে āύিāϰাāĻŽিāώ āĻŽাāύুāώেāϰা āĻŦেāĻļি āϏāĻŽāĻŦেāĻĻāύāĻļীāϞ। āĻ­াāϰāϤেāϰ āĻĒ্āϰা⧟ āĻāĻ•-āϤৃāϤী⧟াংāĻļ āĻŽাāύুāώ āύিāϰাāĻŽিāώ āφāĻšাāϰ āĻ•āϰে, āĻ•িāύ্āϤু āϤাāϰ āϏāĻ™্āĻ—ে āĻ­াāϰāϤেāϰ āĻŽাāύুāώেāϰ āϏāĻšাāύুāĻ­ূāϤিāϰ āĻŽাāĻĒāĻ•াāĻ িāϰ āĻ•োāύ āϝোāĻ—āϏূāϤ্āϰ āφāĻ›ে āĻĻাāĻŦি āĻ•āϰাāϟা āύিāώ্āĻĢāϞ। āϰূāĻĒাāϞী āĻ—āĻ™্āĻ—োāĻĒাāϧ্āϝা⧟ āϝে āĻŽāύ্āϤāĻŦ্āϝ āĻ•āϰেāĻ›েāύ āϝে āĻ­াāϰāϤী⧟āĻĻেāϰ āĻŽাāύুāώেāϰ āĻĒ্āϰāϤি āύিāώ্āϟুāϰāϤা āĻ“ āĻĒāĻļুāĻĻেāϰ āĻĒ্āϰāϤি āύিāώ্āϟুāϰāϤাāϰ āĻŽāϧ্āϝে āĻāĻ•āϟা āϏāĻŽ্āĻĒāϰ্āĻ• āφāĻ›ে, āϏেāχ āϝুāĻ•্āϤি āĻ…āύুāϝা⧟ী āĻšā§ŸāϤো āĻŦāϞা āϝেāϤে āĻĒাāϰে āϝে āϝে āύিāϰাāĻŽিāώ āĻŦ্āϝāĻ•্āϤিāϰা āĻĒāĻļুāĻĻেāϰ āĻĒ্āϰāϤি āĻ•োāύ āĻŦিāĻ•ৃāϤ āφāϚāϰāĻŖ āĻ•āϰে āύা, āϤাāϰা āĻŽাāύুāώেāϰ āĻĒ্āϰāϤিāĻ“ āĻ…āϤি āϏāĻŽāĻŦেāĻĻāύāĻļীāϞ। āφāĻŽাāĻĻেāϰ āύিāϰাāĻŽিāώ āϰাāϜāύৈāϤিāĻ• āύেāϤা āύেāϤ্āϰীāϰা āϝাāϰা āĻšিংāϏ্āϰাāϤ্āĻŽāĻ• āφāϚāϰāĻŖেāϰ āĻĒ্āϰāϰোāϚāύা āĻĻে⧟ে āϤাāϰা āĻšā§ŸāϤো āĻāχ āϝুāĻ•্āϤিāϟা āύাāĻ“ āĻŽাāύāϤে āĻĒাāϰে।
        āĻŽাāύুāώেāϰ āϏ্āĻŦāϘোāώিāϤ āĻĒāĻļু āĻĒ্āϰেāĻŽ āĻŦুāĻāϤে āĻšāϞে āĻŦুāĻāϤে āĻšāĻŦে āϝে āĻ•োāύ āĻŽাāύুāώāχ āϝেāϰāĻ•āĻŽ āϏāĻ•āϞ āĻŽাāύুāώāĻ•ে āĻ­াāϞোāĻŦাāϏে āύা, āĻ•িāĻ›ু āĻ•িāĻ›ু āĻŽাāύুāώāĻ•ে āĻ­াāϞোāĻŦাāϏাāϰ āϏৌāĻ­াāĻ—্āϝ āϤাāϰ āĻšāϤে āĻĒাāϰে, āϏেāϰāĻ•āĻŽāχ āĻ•োāύ āĻŽাāύুāώāχ āϏāĻŦ āĻĒāĻļুāĻ•ে āĻ­াāϞোāĻŦাāϏে āύা, āĻ•িāĻ›ু āĻ•িāĻ›ু āĻĒāĻļু āĻŦা āĻāĻ•āϟি āĻĒ্āϰাāĻŖীāϰ āĻĒ্āϰāϤি āϤাāϰ āĻŦিāĻļেāώ āϟাāύ। āĻ…āύ্āϝ āĻĒ্āϰাāĻŖীāĻĻেāϰ āĻĒ্āϰāϤি āϤাāϰ āĻšā§ŸāϤো āĻāĻ•āϟা āύিāώ্āϟুāϰāϤা āϰ⧟েāχ āϝা⧟, āϝেāϰāĻ•āĻŽ āϝাāϰা āφāϧুāύিāĻ• āĻĄে⧟াāϰি āĻĢাāϰ্āĻŽেāϰ āĻĻ্āϰāĻŦ্āϝ āĻ–া⧟। āĻŦিāĻļেāώ āĻ•āϰে āĻ•োāύ āĻĒ্āϰāϜাāϤিāϰ āĻĒāĻļুāϰ āĻĒ্āϰāϤি āϏāĻŽāĻŦেāĻĻāύāĻļীāϞāϤা āĻĻেāĻ–āϤে āĻ—েāϞে āĻ…āύেāĻ• āĻ•্āώেāϤ্āϰেāχ āĻĻেāĻ–া āϝাāĻŦে, āϏেāϟা āĻ•োāύ āĻĒ্āϰāϜাāϤিāϰ āĻĒāĻļুāϰ āĻĒ্āϰāϤি āϏāĻŽāĻŦেāĻĻāύāĻļীāϞāϤাāϰ āϚে⧟ে āĻ•োāύ āĻĒ্āϰāϜাāϤিāϰ āĻŽাāύুāώেāϰ āĻŦিāϰুāĻĻ্āϧে āϝাāĻ“ā§Ÿা। āϝেāϰāĻ•āĻŽ āϚীāύেāϰ āĻŦাāĻĻু⧜ āĻ–াāĻ“ā§Ÿাāϰ āϰীāϤি āĻŦāύ্āϧ āĻ•āϰাāϰ āĻĄাāĻ•, āĻŦা āύাāĻ—াāϞ্āϝাāύ্āĻĄ, āĻŽāĻŖিāĻĒুāϰ, āĻŽিāϜোāϰাāĻŽে āĻ•ুāĻ•ুāϰ āĻ–াāĻ“ā§Ÿা āĻŦāύ্āϧ āĻ•āϰাāϰ āĻĄাāĻ• āĻŦা āĻ—ো-āϰাāϜāύীāϤি।
        āĻŽাāύুāώে āĻāχ āĻĒৃāĻĨিāĻŦীāϤে āĻāĻ• āĻĒ্āϰāϜাāϤিāĻ­িāϤ্āϤিāĻ• āφāϧিāĻĒāϤ্āϝ āĻŦāϜা⧟ āϰাāĻ–ে। āĻ…āύ্āϝ āĻĒāĻļুāĻĻেāϰ āĻ–াāĻ“ā§Ÿাāϰ āϚে⧟ে āĻŦ⧜ āĻ…āύ্āϝ āĻĒāĻļুāĻĻেāϰ āϜীāĻŦāĻĻ্āĻĻāĻļা⧟ āϜāĻŦ্āĻĻ āĻ•āϰে āϰাāĻ–া āĻāĻŦং āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰা। āϏāĻšāĻŦাāϏ āĻ•āϰা āĻāĻŦং āĻŦāϞāĻĒূāϰ্āĻŦāĻ• āϜāĻŦ্āĻĻ āĻ•āϰা āĻāĻ• āύ⧟। āĻĒāĻļু āĻ–াāĻ“ā§Ÿা āϰাāϜāύীāϤি āĻŽাāύুāώেāϰ āĻĒ্āϰāϜাāϤিāĻ­িāϤ্āϤিāĻ• āφāϧিāĻĒāϤ্āϝেāϰ āĻĒ্āϰāϤিāĻĢāϞāύেāϰ āĻāĻ•āϟা āĻ›োāϟ āĻ…āĻ™্āĻ—।

Sunday, 24 November 2019

English, the humanities and the Indian scenario

What is the relevance of the humanities in the twenty-first century? In a world increasingly influenced by computer algorithms, what relevance do the teaching and study of literature, history and philosophy have? The study of languages is essential to making our way in the world, finding means to communicate. Yet not all languages find equal means of support. Languages are closely aligned with identitand thus also with identity politics. Hence, the teaching and study of languages is influenced by political discourse.
The teaching of literature, on the other hand, is affected by its link with language pedagogy. The teaching of ‘canonical’ literature has often been used as a tool for learning grammar, logic and rhetoric—the ancient trivium. Rather than learning for its own sake, the humanities started out as utilitarian in nature, be it for the Mesopotamian scribes, the medieval European university guilds, or the civic humanists during the Italian Renaissance. Jens Høyrup, in his book Human Sciences: Reappraising the Humanities Through History and Philosophy (Albany: SUNY Press, 2000) points out that it was only during the Italian Renaissance that rather than teaching extracts from literary texts for purposes of the trivium, entire texts were taught to students of the humanities.
The humanities have been seen as being in a crisis in America and the UK in two recent phases, first in the 1970s and 80s when several subsidies came to be withdrawn from public education, and again after the 2008 financial crisis, when the economy in general in these two countries went through a drastic fall and a subsequent gradual rise. A decline has been seen in India as well. The Ministry of Human Resource Development’s All India Survey on Higher Education for the year 2010-11 reported an undergraduate enrolment of 47% in the arts/ humanities/ social sciences whereas the 2018-19 report mentions 32.69% enrolment in such disciplines. The number of private institutes of higher learning in India is growing at a faster pace than government-aided institutes. Whereas 59% colleges were private, unaided in 2010-11, 64.3% are so in 2018-19. Private, unaided colleges offer more vocational courses than general courses. The humanities prepare students for a broader vocation. Whereas historically students of the humanities became scribes and civil servants, students of the humanities now find themselves without any definite career path. Hence, the unwillingness of private, unaided colleges to offer courses which do not have a unique selling point. Even then, among the three major humanities subjects of history, philosophy and literature—English seems to hold some fascination for private, unaided colleges since the knowledge of the language English itself is seen to make graduates more employable.
In the US and the UK, rather than majoring in the humanities, students are having to take general courses in the humanities. It is assumed that some exposure to the humanities provides a broader education and such exposure is necessary to understand the human condition and go on to do work in other fields, such as Artificial Intelligence computer programming for instance, in a better manner. The humanities are being sold in other garbs of utilitarianism. Management students can become better managers if they study the humanities, computer programmers can write more humane and just algorithms, economists can understand society much better, etc. Learning for its own sake is not the concern while offering the humanities. It has historically also not been so.
Literature students are not told that they are signing up for a ‘great books’ reading course when they think of majoring in literature. The English course in India has more often than not in the last two hundred years of English literature pedagogy in India, been seen as a course where students can improve their knowledge of the language and get better jobs rather than as a ‘great books’ course with knowledge about the society which produced such literature. The introduction of race, class and gender in literature courses in the last fifty years was initially met with dismay among many scholars of the pre-1970s age. John M. Ellis’s Literature Lost: Social Agendas and the Corruption of the Humanities (New Haven: Yale University Press, 1997) decried the literature-as-a-mirror-of-society approach and tried to invoke the literature-as-being-restricted-to-the-text-only approach. The very reason why literature is now sold to young managers or computer programmers was met with contempt when in the 1990s literature departments found themselves addressing issues of race, class, gender and social equality to a greater extent.
Indian students of English in the last few decades suffer from a double deception. Not only do they frequently not expect a ‘great books’ course when signing up for the literature course (the course is often titled just ‘English’ and not ‘English language and literature’ or ‘English literature’) but also scribal skills, such as grammar, logic and rhetoric which were part of the pre-modern humanities courses are replaced by a greater focus on using literature to understand society. Language skills and job training—two things which most students expect from the English course are generally missing.
 The subject ‘Communicative English’ which some institutes of higher learning offer is often closer to what the students expect. However, the ‘Communicative English’ course bears little resemblance to the ‘great books’ course that the ‘English’ course has become.
The word ‘human’ in the word ‘humanities’ was meant to distinguish the humanities from religious studies. Whereas the humanities studied human beings and their methods of writing and talking, religious studies entailed studying religious canonical literature to understand God. It was only through insistence on academic rigour that scholarship in the humanities became pedantic and the intricacies of grammar, logic and rhetoric became more important than the end goal of such scholarship—to understand fellow humans better and to communicate with them in a more effective manner. Now that after the New Criticism of the 1940s of looking at a literary work in isolation as just a text, we have returned to looking at a text as a mirror of society, we are again at a crossroads in English pedagogy in India. Should it cater to a) improving language skills, b) going through a ‘great books’ course by studying the texts in isolation, or c) use literature in order to improve social equality? Whereas employers often cite the importance of the humanities in making employees more attuned to social needs and hence providing better service to customers and creating better products, it is not unwise to claim that employers would be alarmed if their employees strove for greater social equality. A docile and pliable working population is a must for any employer. The humanities have a dangerous potential. However, in order to reach that potential, students need to possess good language skills and have read through the ‘great books’. Whereas reading through the ‘great books’ is designed into the curriculum, improving language skills are not. Thus, Indian students often suffer at the first crucial step which prevents them from successfully moving on to the next two steps of reading through several great books and imbibing that knowledge to understand and improve society. On the contrary, Indian students, at the end of a humanities course or an English undergraduate course, often find themselves unemployable for their lack of sufficient communication skills.
The solution to this problem for the English course is to have two clear sets of courses, a ‘Communicative English’ course for picking up language skills, and a ‘great books of English literature’ course for students already possessing the necessary language skills. Offering the latter, when students expect the former, leads to struggling students, disgruntled teachers and disappointed employers.
What is worse for Indian academia in general is that the lack of communication skills poses a barrier to the employability of other majors as well. Indian industry has routinely lamented about the unemployability of Indian graduates and higher education officials have routinely tried to address this issue by integrating a few language courses in other majors. Language skills, however, are not easily remedied in a few classes. The school level is the appropriate stage for sustained years-long language preparation skills. Shifting it to the other end of the education spectrum is like, as the saying goes, a band-aid on a gangrenous wound.
Other than language skills, the lack of adequate critical reasoning skills of humanities graduates is also routinely highlighted. However, language remains a barrier to overcoming this. Not only are students not well skilled in any language (be it English or other Indian languages) but also rote learning, from the elementary to the PhD level, is a short-cut to making one’s way through formal education. Thus, though language prevents critical reading and critical writing, being accustomed to rote learning disincentivises critical thinking. Education policy makers routinely speak against rote learning. However, their actions move in the other direction. In India, recently the higher education regulator has come up with a one nation, one syllabus concept. As India moves away from its unity amidst diversity concept to a one size fits all monolith, education also is becoming more enmeshed in a uniform template for all students. The common syllabus across India presents the syllabus as a shared platform where navigation across it also encourages sharing of thought. Thus, students routinely leave their portion of the sharing to ready-made notes. Rather than encouraging individuality, such a system of education encourages herd mentality.
If the larger aim of the humanities is to develop critical thought in order to produce critical communication, individual thinking and individualism is to be encouraged. It is not surprising that the Italian Renaissance and its focus on individualism also marked one of the great paradigmatic shifts in humanities pedagogy. As India continues to move further away from freedom of individual expression, the raison d’ÃĒtre of the humanities continues to shrink. When the thinking is left to the social and political masters and the writing to the social and political templates, the humanities move away from epistemological concerns to indoctrination.


        ⧍ā§Ļ⧧⧝-āĻāϰ āĻ…āϰ্āĻĨāύীāϤিāϰ āύোāĻŦেāϞ āĻŦāĻ•্āϤৃāϤা⧟ āĻāϏ্āĻĨাāϰ āĻĄুāĻĢ্āϞো āϜাāύি⧟েāĻ›েāύ āϝে āĻ­াāϰāϤেāϰ āϏ্āĻ•ুāϞāĻļিāĻ•্āώাāϰ āĻĻুāϰ্āĻŦāϞ āĻŽাāύেāϰ āĻ•াāϰāĻŖেāϰ āĻŽāϧ্āϝে āĻāĻ• āĻšāϞ āϝে āφāĻŽাāĻĻেāϰ āĻļিāĻ•্āώাāĻŦ্āϝāĻŦāϏ্āĻĨা āωāϚ্āϚাāĻ­িāϞাāώীāωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώা āύিঃāϏāύ্āĻĻেāĻšে āϜীāĻŦāύে āĻĻāϰāĻ•াāϰী āϤāĻŦে āϤাāϰ āĻŦাāϏ্āϤāĻŦেāϰ āϏāĻ™্āĻ—ে āϝোāĻ— āĻ•āĻ–āύāχ āĻŦিāϚ্āĻ›িāύ্āύ āĻšāĻ“ā§Ÿা āωāϚিāϤ āύা। āϏ্āύাāϤāĻ•-āϏ্āϤāϰেāϰ āĻ•āϞেāϜে āχংāϰিāϜিāϰ āĻ…āϧ্āϝাāĻĒāύা āĻ•āϰাāϰ āĻĢāϞে āφāĻŽাāϰ āϏāĻŦ āϏāĻŽā§Ÿেāχ āĻŽāύে āĻšā§Ÿ āϝে āχংāϰিāϜিāϰ āĻĒাāĻ ্āϝāĻ•্āϰāĻŽ āφāϰ āĻŦাāϏ্āϤāĻŦেāϰ āĻŽāϧ্āϝে āĻāĻ• āĻŦ⧜ āĻĢাঁāĻ• āφāĻ›ে। āĻŦাāϜাāϰেāϰ āϚাāĻšিāĻĻা, āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāĻĻেāϰ āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώা āĻāĻŦং āϤাāĻĻেāϰ āĻŦাāϏ্āϤāĻŦেāϰ āϝোāĻ—্āϝāϤাāϰ āĻŽāϧ্āϝে āϏāĻŽāύ্āĻŦ⧟েāϰ āĻ…āĻ­াāĻŦ āϰ⧟েāĻ›ে। āĻāχ āϤিāύ āĻ…ংāĻļেāϰ āϏাāĻŽāĻž্āϜāϏ্āϝেāϰ āĻ…āĻ­াāĻŦে āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāĻĻেāϰ āϏাāĻĨে āĻāĻ• āĻŦ⧜ āϰāĻ•āĻŽেāϰ āϧাāĻĒ্āĻĒাāĻŦাāϜি āϚāϞāĻ›ে। āĻāχ āϤিāύ āĻ…ংāĻļāĻ•ে āĻāĻ•āϟু āĻŦিāϏ্āϤৃāϤ āĻ­াāĻŦে āĻĻেāĻ–া āϝাāĻ•।
        āϏাāĻšিāϤ্āϝ, āχāϤিāĻšাāϏ, āĻĻāϰ্āĻļāύ, āĻ­াāώা – āĻāχ āϏāĻŦāχ āĻŽাāύāĻŦিāĻ•āĻŦিāĻĻ্āϝা āĻŦা āĻšিāωāĻŽ্āϝাāύিāϟিāϏ āĻŦিāĻĻ্āϝাāϰ āĻŦিāώ⧟। āĻ­াāώা āĻŦেঁāϚে āĻĨাāĻ•াāϰ āĻ…āĻ™্āĻ—, āĻ•িāύ্āϤু āϏāĻŦ āĻ­াāώা āϏāĻŽাāύ āύ⧟। āĻ­াāώা āĻĒāϰিāϚ⧟ āϰাāϜāύীāϤিāϰ āϏাāĻĨে āϝুāĻ•্āϤ āĻāĻŦং āĻĢāϞে āϰাāϜāύৈāϤিāĻ• āĻ“ āϏাāĻŽাāϜিāĻ• āĻ•াāϰāĻŖে āĻĒৃāώ্āϟāĻĒোāώāĻ•āϤা āĻĒা⧟। āϏাāĻšিāϤ্āϝেāϰ āĻĒāĻ āύāĻĒাāĻ āύ āĻ­াāώা āĻļিāĻ•্āώাāϰ āϏাāĻĨে āĻ…āϟুāϟ āĻ­াāĻŦে āϝুāĻ•্āϤ। āĻŽাāύāĻŦিāĻ•āĻŦিāĻĻ্āϝা āĻ•োāύ āĻ•াāϞেāχ āϏাāĻŽাāϜিāĻ• āĻĒ্āϰ⧟োāϜāύী⧟āϤাāϰ āĻĨেāĻ•ে āϏāĻŽ্āĻĒূāϰ্āĻŖ āϰূāĻĒে āĻŦিāϚ্āĻ›িāύ āύ⧟। āĻĒ্āϰাāϚীāύ āĻŽেāϏোāĻĒāϟেāĻŽিāϝ় āϏāĻ­্āϝāϤাāϰ āĻĒেāĻļাāĻĻাāϰ āĻĒāϤ্āϰāϞেāĻ–āĻ• āĻĨেāĻ•ে āĻļুāϰু āĻ•āϰে, āχāωāϰোāĻĒী⧟ āĻŽāϧ্āϝāϝুāĻ—েāϰ āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞ⧟ āϏāĻŽāĻŦাāϝ়-āϏāĻ™্āϘāĻ—ুāϞি āĻŦা āχāϤাāϞী⧟ āϰেāύেāϏাঁāϏেāϰ āύāĻ—āϰী⧟-āĻŽাāύāĻŦিāĻ•āĻŦিāĻĻ্āϝাāϚāϰ্āϚা⧟ āύিāϝুāĻ•্āϤ āĻĒেāĻļাāĻĻাāϰāϰা āϏাāĻšিāϤ্āϝāϚāϰ্āϚা āĻŦা āĻŽাāύāĻŦিāĻ•āĻŦিāĻĻ্āϝাāĻ•ে āĻāĻ• āĻĒেāĻļাāϰ āĻĒ্āϰāĻļিāĻ•্āώāĻŖ āĻšিāϏেāĻŦেāχ āĻ—āύ্āϝ āĻ•āϰāϤেāύ। āĻ•িāĻ›ু āĻ—āĻŦেāώāĻ•āϰা āĻŽāύে āĻ•āϰেāύ āχāϤাāϞী⧟ āϰেāύেāϏাঁāϏেāϰ āϏāĻŽā§Ÿāχ āĻĒ্āϰāĻĨāĻŽ āĻāĻ•āϟি āϏāĻŽ্āĻĒূāϰ্āĻŖ āĻĒাāĻ  āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāĻĻেāϰ āĻĒ⧜াāύো āĻšāϤ। āϤাāϰ āφāĻ—ে āϏ্āϰেāĻĢ āφংāĻļিāĻ• āĻ­াāĻŦে āĻ­াāώা āĻŦা āϝুāĻ•্āϤিāϰ āĻŦিāĻļ্āϞেāώāĻŖে āĻ•িāĻ›ু āϏাāĻšিāϤ্āϝিāĻ• āĻĒাāĻ েāϰ āϟুāĻ•āϰো āĻŦ্āϝāĻŦāĻšাāϰ āĻšāϤ।
        āĻ—āϤ āĻĻāĻļāĻ•ে āĻĒৃāĻĨিāĻŦীāϰ āϏāϰ্āĻŦāϤ্āϰāχ āĻŽাāύāĻŦিāĻ•āĻŦিāĻĻ্āϝাāϰ āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāϰ āϏংāĻ–্āϝাāϰ āϘাāĻ āϤি āĻšā§ŸেāĻ›ে। āĻāϰ āĻ•াāϰāĻŖ āĻ•ী? āĻāĻ•, āĻŽাāύāĻŦিāĻ•āĻŦিāĻĻ্āϝা āĻ•োāύ āύিāϰ্āĻĻিāώ্āϟ āĻĒেāĻļাāϰ āĻĒ্āϰāĻļিāĻ•্āώāĻŖ āύা āĻĻি⧟ে āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāĻĻেāϰ āĻ•েāĻŦāϞ āĻĒৃāĻĨিāĻŦী āϏāĻŽ্āĻŦāύ্āϧে āĻŦেāĻļি āĻ“ā§ŸাāĻ•িāĻŦāĻšāϞ āĻ•āϰাāϰ āĻĒ্āϰ⧟াāϏ āĻ•āϰে। āĻ“ā§ŸাāĻ•িāĻŦāĻšāϞ āĻšāĻ“ā§Ÿা āĻ–ুāĻŦāχ āĻ­াāϞ āĻ•āĻĨা। āĻ•িāύ্āϤু āϜাāύা āφāϰ āĻŦোāĻাāύো—āĻĻুāϟো āφāϞাāĻĻা। āĻļুāϧু āϜেāύেāχ āĻĨাāĻ•āϞে āϤাāϰ āĻŽূāϞ্āϝ āĻ•āĻŽ। āϏেāχ āĻŦিāĻĻ্āϝা āĻĒ্āϰ⧟োāĻ— āĻ•āϰāϤে āĻŦāϞāϤে āĻāĻŦং āϞিāĻ–āϤে āϜাāύāϤে āĻšā§Ÿ। āϚāĻ•্āϰাāĻ•াāϰ āĻĻুāϰ্āĻ­িāĻ•্āώেāϰ āĻŽāϤ āĻ­াāϞো āĻŦāϞāϤে āĻ“ āϞিāĻ–āϤে āύা āϜাāύāϞে āϏ্āĻ•ুāϞ āĻ•āϞেāϜেāϰ āĻĒাāĻ ্āϝāĻ•্āϰāĻŽāχ āĻŦিāĻļাāϞ āĻŦোāĻা āĻšā§Ÿে āĻ“āĻ ে। āύিāϰ্āĻĻিāώ্āϟ āĻĒাāĻ ্āϝāϏূāϚীāϰ āĻŦাāχāϰেāϰ āĻŦāχ āĻĒ⧜াāϰ āϏāĻŽā§Ÿ āĻŦা āχāϚ্āĻ›া āĻ•োāύāϟাāχ āĻšā§Ÿ āύা। āĻŦāχ āĻĻেāĻ–āϞেāχ āĻ…āύিāϚ্āĻ›া āϜাāĻ—ে। āĻĢāϞে, āĻĒৃāĻĨিāĻŦী āϏāĻŽ্āĻŦāύ্āϧে āĻŦেāĻļি āĻ“ā§ŸাāĻ•িāĻŦāĻšāϞ āĻšāĻ“ā§Ÿা āĻšā§ŸāϤো āĻšā§Ÿ, āĻ•িāύ্āϤু āϤা āĻĒাāĻ ্āϝāϏূāϚীāϰ āĻŦāχ āĻĨেāĻ•ে āύ⧟, āĻŦৈāĻĻ্āϝুāϤিāύ āϏাāĻŽাāϜিāĻ• āĻŽাāϧ্āϝāĻŽ āĻ“ āĻŦāύ্āϧুāĻŦাāύ্āϧāĻŦāĻĻেāϰ āϏāĻ™্āĻ—ে āĻ—āϞ্āĻĒ āĻ•āϰা⧟ āĻšā§Ÿ। āĻāχ āϰāĻ•āĻŽ āĻ“ā§ŸাāĻ•িāĻŦāĻšāϞ āĻŦেāĻļিāϰ āĻ­াāĻ— āĻŽাāύুāώāχ āĻšā§Ÿ āϝাāĻĻেāϰ āĻāχ āϏāĻŦ āĻ•াāϜেāϰ āϏāĻŽā§Ÿ āĻĨাāĻ•ে। āĻ•িāύ্āϤু āύিāϰ্āĻĻিāώ্āϟ āĻĒেāĻļাāϰ āĻĒ্āϰāĻļিāĻ•্āώāĻŖāϟা āφāϰ āĻĒাāĻ“ā§Ÿা āϝা⧟ āύা। āĻāϰ āĻĢāϞেāχ āĻ“āχ āĻ“ā§ŸাāĻ•িāĻŦāĻšāϞ āĻšāĻ“ā§Ÿাāϰ āĻŦাāϜাāϰ āĻĻāϰ āĻ•āĻŽ। āĻŦাāϜাāϰে āĻŽাāύুāώে āϚা⧟ āϤাāĻĻেāϰ āĻ•āϞেāϜ-āωāϤ্āϤীāϰ্āĻŖ āĻ•āϰ্āĻŽāϚাāϰীāϰা āϚিāύ্āϤাāĻ­াāĻŦāύা⧟ āĻŦিāϚāĻ•্āώāĻŖāϤা āĻĒ্āϰāĻĻāϰ্āĻļāύ āĻ•āϰāĻŦে āĻ“ āωāϤ্āϤāĻŽ āĻŽাāύেāϰ āĻŦিāĻŦāϰāĻŖ āĻŦা āĻĒ্āϰāϤিāĻŦেāĻĻāύ āϞিāĻ–āϤে āĻĒাāϰāĻŦে। āĻŽাāύāĻŦিāĻ•āĻŦিāĻĻ্āϝাāϰ āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāĻĻেāϰ āĻĨেāĻ•ে āĻāχ āĻĻুāϟিāχ āϏāĻŦ āϚে⧟ে āĻŦ⧜ āϚাāĻšিāĻĻা। āĻ•িāύ্āϤু āϏেāχ āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāϰা āĻŦāϞāϤে, āϞিāĻ–āϤে, āĻāĻŽāύāĻ•ি āϤাāĻĻেāϰ āĻ­াāĻŦāύা⧟ āĻŦিāĻļাāϞ āϜ্āĻžাāύেāϰ āĻĒāϰিāϚ⧟ āĻ“ āĻĒাāĻ“ā§Ÿা āϝা⧟ āύা।
        ‘āĻ•ৃāϤ্āϰিāĻŽ āĻŽেāϧা’ āφāϜāĻ•াāϞāĻ•াāϰ āϚাāϞু āĻļāĻŦ্āĻĻ। āϏেāχ āĻļāĻŦ্āĻĻেāϰ āĻ—ুāύāĻ—āϤ āĻĒāϰিāĻŽাāĻĒ āύা āĻ•āϰে āϏ্āϰেāĻĢ āϏেāχ āĻ•ৃāϤ্āϰিāĻŽ āĻŽেāϧা āĻŦেঁāϚāύেāĻ“ā§ŸাāϞাāĻĻেāϰ āĻŽাāύāĻŦিāĻ•āĻŦিāĻĻ্āϝাāϰ āωāĻĒāϰ āĻ­āϰāϏা āφāĻ“ā§œে āϝাāĻ“ā§Ÿাāϰ āĻ•াāϰāĻŖ āĻšিāϏেāĻŦে āĻŦāϞāϤে āĻšā§Ÿ āϝে āϚিāύ্āϤাāĻ­াāĻŦāύা⧟ āĻŦিāϚāĻ•্āώāĻŖāϤা āĻĒ্āϰāĻĻāϰ্āĻļāύāχ āĻāϰ āĻāĻ•āĻŽাāϤ্āϰ āĻ•াāϰāĻŖ। āĻ•িāύ্āϤু, āϤা āφāĻ—েāχ āϞিāĻ–েāĻ›ি āϝে āϝāĻĻিāĻ“ āĻŦাāϜাāϰ āϚাāχāĻ›ে, āφāĻŽāϰা āϏাāĻŽাāϜিāĻ• āĻ­াāĻŦে āϤা āĻĻিāϤে āĻĒাāϰāĻ›ি āύা। āĻāϰ āĻ•াāϰāĻŖ āĻ•ী?
        āφāĻŽাāĻĻেāϰ āĻĻেāĻļে āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāϰ āϝāĻ–āύ āχংāϰিāϜি āĻļেāĻ–াāϰ āϜāύ্āϝ āĻ•āϞেāϜে āĻ­āϰ্āϤি āĻšā§Ÿ, āϤāĻ–āύ āϤাāĻĻেāϰ āĻ…āύেāĻ•েāχ āĻāĻ• āĻŦ⧜ āϧাāĻĒ্āĻĒাāĻŦাāϜিāϰ āĻļিāĻ•াāϰ āĻšā§Ÿ। āϤাāϰা āĻ­াāĻŦে āϝে āϤাāϰা āϏ্āĻ•ুāϞে āĻāχ āĻ­াāώাāϰ āϝāϤāϟা āĻļিāĻ–েāĻ›িāϞ, āϤাāϰ āϚে⧟ে āφāϰো āωāύ্āύāϤ āĻ­াāĻŦে āĻļিāĻ–āĻŦে। āϤাāĻĻেāϰ āĻāχ āĻ­াāώা āĻļেāĻ–াāϰ āĻāĻ•āϟাāχ āĻ•াāϰāĻŖ—āĻāĻ•āϟা āĻ­াāϞো āϚাāĻ•āϰি āĻšāϤে āĻĒাāϰে āĻ­াāϞো āχংāϰিāϜি āĻŦāϞāϤে āĻŦা āϞিāĻ–āϤে āĻĒাāϰāϞে। āϏ্āĻ•ুāϞে āϝাāϰা āĻĻুāϟোāϰ āĻŽāϧ্āϝে āĻāĻ•āϟাāĻ“ āĻ­াāϞো āĻ­াāĻŦে āĻ•āϰāϤে āĻĒাāϰāϤো āύা, āϤাāϰা āφāϰো āĻŦেāĻļি āφāĻ—্āϰāĻšী āĻšā§Ÿে āĻ•āϞেāϜে āχংāϰিāϜি āĻĒ⧜াāϰ āϜāύ্āϝ। āϤাāϰা āĻ­াāĻŦে āϏ্āĻ•ুāϞে āϤো āĻļিāĻ–āϤে āĻĒাāϰāϞাāĻŽ āύা, āĻ•āϞেāϜে āĻ—ি⧟ে āύিāĻļ্āϚāχ āχংāϰিāϜি āĻŦāϞāϤে āϞিāĻ–āϤে āĻļিāĻ–ে āϝাāĻŦো āϟি.āĻ­ি.āϤে āĻĻেāĻ–া āĻ•্āϰিāĻ•েāϟাāϰ, āĻšিāύ্āĻĻি, āĻŦাংāϞা, āϤাāĻŽিāϞ āĻ…āĻ­িāύেāϤা-āĻ…āĻ­িāύেāϤ্āϰীāĻĻেāϰ āĻŽāϤ। āĻ•িāύ্āϤু āφāĻļ্āϚāϰ্āϝ্āϝেāϰ āĻŦিāώ⧟ āϝে āĻ•āϞেāϜে āĻ—ি⧟ে āĻĻেāĻ–ে āϝে āĻāĻ–াāύে āϤো āχংāϰিāϜি āĻļেāĻ–াāϚ্āĻ›েāχ āύা āĻŦāϰং āφāϰো āĻ•িāϏāĻŦ āφāĻŦāϞ-āϤাāĻŦোāϞ āĻĻুāϰ্āĻŦোāϧ্āϝ āχংāϰিāϜি āĻĒাāĻ  āϘা⧜েāϰ āωāĻĒāϰ āϚাāĻĒি⧟ে āĻĻিāϚ্āĻ›ে। āϜীāĻŦāύ āφāĻ—েāχ āĻāĻ•āĻŦাāϰ āĻŦাāϏ্āϤāĻŦেāϰ āϏāĻ™্āĻ—ে āϤাāϞ āύা āĻŽিāϞি⧟ে āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώাāϰ āύাāĻŽে āϏ্āĻ•ুāϞে āϧোāĻ•া āĻĻি⧟ে āĻĻি⧟েāĻ›িāϞ। āĻ•āϞেāϜেāĻ“ āĻāĻ•āχ āĻ—āϞ্āĻĒ! āĻ•োāύ āϏুāϰাāĻšা āύেāχ! āĻĢāϞে āϏ্āĻ•ুāϞেāϰ āĻŦিāĻĻ্āϝাāχ āφāϰেāĻ•āĻŦাāϰ। āĻĢেāϰ āĻŦেāϰি⧟ে āφāϏে āĻāĻ• āĻ—াāĻĻা āύোāϟāĻŦāχ, āύা āĻŦুāĻে āĻ—াঁāϤাāύো āĻ“ āϝাāχ āĻĒ্āϰāĻļ্āύ āĻšোāĻ• āĻ—āϰুāϰ āϰāϚāύাāϟাāχ āϞিāĻ–ে āφāϏা। āύāĻŽ্āĻŦāϰেāϰ āĻ–েāϞা⧟ āύāĻŽ্āĻŦāϰāϟা āϞাāϞ āύা āĻšā§Ÿে āύীāϞ āĻšāϞেāχ āĻšāϞ।
        āĻāχ āĻĻুঃāĻ–āϜāύāĻ• āĻ…āĻŦāϏ্āĻĨাāϰ āĻ•াāϰāĻŖ āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώা। āĻŽাāύāĻŦিāĻ•āĻŦিāĻĻ্āϝা āĻŽাāύে āϧāϰ্āĻŽী⧟āĻŦিāĻĻ্āϝাāϰ āĻŦিāĻĒāϰীāϤ। āĻ­āĻ—āĻŦাāύāĻ•ে āϜাāύাāϰ āĻĒ্āϰ⧟াāϏ āύা āĻ•āϰে, āĻŽাāύুāώāĻ•ে āϜেāύে āĻ…āύ্āϝাāύ্āϝ āĻŽাāύুāώāĻĻেāϰ āϏāĻ™্āĻ—ে āĻŦেāĻļি āĻ­াāϞোāĻ­াāĻŦে āĻ•āĻĨোāĻĒāĻ•āĻĨāύ āĻ•āϰা। āĻ­াāώাāϰ āĻ–ুঁāϟিāύাāϟি āĻāχ āϜাāύাāϰ āĻāĻ•āϟা āϚāϰāĻŽ āϰূāĻĒ। āĻ•িāύ্āϤু āϚিāύ্āϤাāĻ­াāĻŦāύা⧟ āĻŦিāϚāĻ•্āώāĻŖāϤা āĻāĻŦং āĻ­াāϞোāĻ­াāĻŦে āĻ•āĻĨোāĻĒāĻ•āĻĨāύ āĻāϰ āĻ•োāύ āĻŦিāĻ•āϞ্āĻĒ āύেāχ। āϏাāĻšিāϤ্āϝāϚāϰ্āϚাāϰ āĻŽূāϞ āωāĻĻ্āĻĻেāĻļ্āϝ āϤিāύ āĻĒ্āϰāĻ•াāϰেāϰ āĻšāϤে āĻĒাāϰে, (āĻ•) āĻ­াāώাāϰ āϜ্āĻžাāύ āĻŦা⧜াāύো, (āĻ–) āĻĒ্āϰāĻ–্āϝাāϤ āĻŦāχ āĻĒ⧜া āĻ“ (āĻ—) āϏāĻŽাāϜ āϏāĻŽ্āĻŦāύ্āϧে āĻ…āύেāĻ• āϜেāύে āϏāĻŽাāϜেāϰ āωāύ্āύāϤি āĻ•āϰা। āĻŦāϰ্āϤāĻŽাāύ āϏ্āύাāϤāĻ• āĻ“ āϏ্āύাāϤāĻ•োāϤ্āϤāϰ āϏাāĻšিāϤ্āϝāĻŦিāĻĻ্āϝা āĻļেāώেāϰ āĻĻুāϟি āĻ•āϰাāϰ āϚেāώ্āϟা āĻ•āϰে āĻĒ্āϰāĻĨāĻŽāϟা āϏāĻŽ্āĻĒূāϰ্āĻŖ āĻŦাāĻĻ āĻĻি⧟ে। āĻ•াāϰāĻŖ āϧāϰে āύেāĻ“ā§Ÿা āĻšā§Ÿ āĻĒ্āϰāĻĨāĻŽāϟা āϏ্āĻ•ুāϞেāχ āĻšā§Ÿে āĻ—েāĻ›ে, āĻāĻ•āχ āϜিāύিāϏ āφāϰেāĻ•āĻŦাāϰ āĻ•āϰাāϰ āĻ•োāύ āĻŽাāύে āĻšā§Ÿ āύা। āĻ•িāύ্āϤু āϏāĻŽāϏ্āϝা āĻ…āύ্āϝ āϜা⧟āĻ—া⧟। āϏāĻŽāϏ্āϝা āĻšāϞ āφāĻŽাāĻĻেāϰ āĻļিāĻ•্āώাāύীāϤি āĻŦাāύা⧟ āϏāĻŽাāϜেāϰ āωāϚ্āϚāĻļিāĻ•্āώিāϤ āĻŦ্āϝāĻ•্āϤিāϰা āϝাāϰা āύিāϜেāĻĻেāϰ āϜীāĻŦāύেāϰ āĻ…āύেāĻ• āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώাāχ āĻĒূāϰ্āĻŖ āĻ•āϰāϤে āĻĒেāϰেāĻ›ে। āĻ•িāύ্āϤু āĻŦেāĻļিāϰ āĻ­াāĻ— āĻŽাāύুāώেāϰ āĻ•্āώেāϤ্āϰেāχ āϏেāϟা āĻĒ্āϰāϝোāϜ্āϝ āύ⧟। āĻ­াāϰāϤেāχ āĻŦেāĻļিāϰ āĻ­াāĻ— āĻŽাāύুāώেāϰ āĻ•্āώেāϤ্āϰেāχ āĻĒ⧜াāĻļোāύা āĻ–ুāĻŦ āĻ•āĻ িāĻŖ āĻ“ āϏāĻšāϜ āĻ­াāĻŦে āĻŦোāϧāĻ—āĻŽ্āϝ āύ⧟। āĻĒ্āϰāĻ–্āϝাāϤ āĻŦāχ āĻĒ⧜াāϰ āϜāύ্āϝ āĻĻāϰāĻ•াāϰী āĻ­াāώাāϰ āϜ্āĻžাāύ āĻ“ āĻĻুāύি⧟াāϰ āϏāĻŽ্āĻŦāύ্āϧে āϜ্āĻžাāύ āϏ্āĻ•ুāϞ āĻ•āϞেāϜে āĻĒ⧜াāϰ āϏāĻŽā§Ÿ āĻšā§Ÿে āĻ“āĻ ে āύা। āĻ•িāĻ›ু āϜিāύ্āϝেāϰ āύিāĻļ্āϚ⧟ āĻšā§Ÿ। āĻ•িāύ্āϤু āϤাāϰা āĻ–ুāĻŦ āφāϞ্āĻĒ āϏংāĻ–্āϝা⧟। āĻĻুāχ āϏ্āϤāϰেāϰ āϜāύ্āϝ āĻĻুāϟো āφāϞাāĻĻা āĻŦ্āϝāĻŦāϏ্āĻĨা āύা āϰেāĻ–ে, āĻĻুāϟোāĻ•েāχ āĻāĻ• āĻ•āϰে āĻĻেāĻ“ā§Ÿা āĻšā§ŸেāĻ›ে। āĻĢāϞে, āϝাāĻĻেāϰ āϏাāĻŽাāϜিāĻ• āĻ“ āϏাংāϏ্āĻ•ৃāϤিāĻ• āĻŽূāϞāϧāύ āφāĻ›ে, āϤাāϰা āĻāχ āĻŦ্āϝāĻŦāϏ্āĻĨাāϰ āĻĢা⧟āĻĻা āύিāϤে āĻĒাāϰে, āφāϰ āϝাāĻĻেāϰ āύেāχ āϤাāϰা āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώা āφāϰ āĻŦাāϏ্āϤāĻŦেāϰ āĻŽāϧ্āϝেāĻ•াāϰ āĻ—āϰ্āϤে āĻĒ⧜ে āĻ—ি⧟ে āωāĻĒāϰেāϰ āĻĻিāĻ•ে āϤাāĻ•ি⧟ে āĻĻেāĻ–ে āϤাāĻ•ে āĻ•েāω āϤুāϞāϤে āφāϏāĻ›ে āĻ•ি āύা। āĻ•িāύ্āϤু āϝাāϰা āϏেāχ āĻ—āϰ্āϤে āĻĒ⧜েāύি, āϤাāϰা āϤো āĻŽাāϟিāϰ āωāĻĒāϰ āĻĻি⧟ে āĻšাঁāϟāϤে āĻŦ্āϝāϏ্āϤ। āύীāϚে āĻ—āϰ্āϤে āĻĒ⧜ে āϝাāĻ“ā§Ÿা āĻŽাāύুāώāĻĻেāϰ āĻ…āϏ্āϤিāϤ্āĻŦ āϜাāύে, āĻ•িāύ্āϤু āĻāϤ āϜāύ āĻĒ⧜ে āφāĻ›ে, āϤাāϰ āĻāĻ•াāϰ āϤো āĻ•িāĻ›ু āĻ•āϰাāϰ āύেāχ, āĻāχ āĻ­েāĻŦে āĻšাঁāϟāϤে āĻĨাāĻ•ে। āĻ—āϰ্āϤে āϝাāϰা āĻĒ⧜ে āϤাāϰা āĻĒ⧜ে āĻ•াāϰāĻŖ āϤাāϰা āωāĻĒāϰেāϰ āĻĻিāĻ•ে āϤাāĻ•ি⧟ে āĻĨাāĻ•ে, āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώা āύি⧟ে।
        āϏাāĻšিāϤ্āϝāĻŦিāĻĻ্āϝাāϰ āĻāχ āĻ—āϰ্āϤ āĻĨেāĻ•ে āĻāχ āϏংāĻ–্āϝাāĻ—āϰিāώ্āϟāĻ•ে āωāĻĻ্āϧাāϰ āĻ•āϰাāϰ āωāĻĒা⧟, āϤাāĻĻেāϰāĻ•ে āĻŽুāĻ–āϟা āĻŽাāϟিāϰ āĻĻিāĻ•ে āĻ•āϰাāϰ āĻŦ্āϝāĻŦāϏ্āĻĨা āĻ•āϰে āĻĻেāĻ“ā§Ÿা। āϤাāϤে āĻšā§ŸāϤো āϤাāϰা āĻ—āϰ্āϤে āύা āĻĒ⧜ে, āĻ িāĻ• āωāĻĒāϰ āĻĻি⧟ে āĻšেঁāϟে āϝেāϤে āĻĒাāϰāĻŦে āĻāĻŦং āĻšā§ŸāϤো āĻ•োāύ āĻĻিāύāĻ“ āϝাāĻĻেāϰ āϏাāĻŽাāϜিāĻ• āĻ“ āϏাংāϏ্āĻ•ৃāϤিāĻ• āĻŽূāϞāϧāύ āφāĻ›ে, āϤাāĻĻেāϰ āĻĨেāĻ•ে āϤা⧜াāϤা⧜ি āĻšাঁāϟāϤে āĻĒাāϰāĻŦে। āĻ•ী āĻ•āϰāĻŖী⧟ āϏাāĻšিāϤ্āϝāĻŦিāĻĻ্āϝাāϰ āĻāχ āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώাāϰ āĻ—āϰ্āϤ āĻĨেāĻ•ে āĻŽুāĻ•্āϤি āĻĻেāĻ“ā§Ÿাāϰ āϜāύ্āϝ। āĻĒ্āϰāĻĨāĻŽāϤ, āĻĻুāχ āϧāϰāύেāϰ āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāĻĻেāϰ āϜāύ্āϝ āĻĻুāχ āϧāϰāύেāϰ āĻļিāĻ•্āώাāĻŦ্āϝāĻŦāϏ্āĻĨা āϰাāĻ–া। āϝেāĻšেāϤু āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώাāϰ āĻ—āϰ্āϤে āĻĒ⧜ে āϝাāĻ“ā§Ÿা āĻŽাāύুāώāχ āĻŦেāĻļি, āϤাāχ āϏে āϰāĻ•āĻŽ āĻļিāĻ•্āώাāĻŦ্āϝāĻŦāϏ্āĻĨাāϰ āϏāϰāĻž্āϜাāĻŽāχ āĻŦেāĻļি āϰাāĻ–া āωāϚিāϤ। āϏāĻ™্āĻ–্āϝাāϞāϘু āϏাংāϏ্āĻ•ৃāϤিāĻ• āĻŽূāϞāϧāύেāϰ āωāĻĒাāϰ্āϜāύ āĻ…āϞ্āĻĒ āϜāύāχ āĻ•āϰāϤে āĻĒাāϰে। āĻĢāϞে āϏে āϰāĻ•āĻŽ āĻļিāĻ•্āώাāĻŦ্āϝাāĻŦāϏ্āĻĨা āĻ…āϞ্āĻĒ āϏংāĻ–্āϝা⧟ āϰাāĻ–া āωāϚিāϤ।
        āĻāϤ āĻ•্āώāĻŖ āĻ…āύেāĻ• āύিāύ্āĻĻা āĻ•āϰে āĻ—েāĻ›ি। āĻāĻŦাāϰ āĻ•িāĻ›ু āĻĒ্āϰāĻļংāϏাāĻ“ āĻ•āϰি। āĻāĻ–āύো āĻĒāϰ্āϝāύ্āϤ āφāĻŽাāĻĻেāϰ āĻĻেāĻļে āĻāύ.āĻ.āĻ.āϏি. āύাāĻŽāĻ• āĻāĻ• āϏংāϏ্āĻĨাāϰ āĻĻāϰুāύ āϏāĻ™্āĻ–্āϝাāϞāϘু āϏাংāϏ্āĻ•ৃāϤিāĻ• āĻŽূāϞāϧāύে āĻĒāϰিāĻŽাāϰ্āϜিāϤ āĻ•িāĻ›ু āĻļিāĻ•্āώা āĻĒ্āϰāϤিāώ্āĻ াāύāĻ•ে āϚিāĻš্āύিāϤ āĻ•āϰা āĻšā§ŸেāĻ›ে। āϤāĻŦে, āϏেāĻ–াāύেāĻ“ āĻ­āĻŦিāώ্āϝāϤে āĻĢাঁāĻ•ি āĻĻেāĻ“ā§Ÿাāϰ āύাāύা āĻŦ্āϝāĻŦāϏ্āĻĨা āĻ•āϰা āφāĻ›ে। āϏেāχ āφāϞোāϚāύা⧟ āφāĻĒাāϤāϤ āύাāχ āĻĒ্āϰāĻŦেāĻļ āĻ•āϰāϞাāĻŽ। āĻ•িāύ্āϤু, āĻāχ āϏāĻ•āϞ āĻļিāĻ•্āώা āĻĒ্āϰāϤিāώ্āĻ াāύেāχ āϏ্āϰেāĻĢ āĻĒ্āϰāĻ–্āϝাāϤ āĻŦāχ āĻĒ⧜া āĻ“ āϏāĻŽাāϜ āϏāĻŽ্āĻŦāύ্āϧে āĻ…āύেāĻ• āϜেāύে āϏāĻŽাāϜেāϰ āωāύ্āύāϤি āĻ•āϰা āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώাāĻ•ে āϏীāĻŽিāϤ āϰেāĻ–ে āĻŦাāĻ•ি āĻ•āϞেāϜāĻ—ুāϞিāϤে āĻ­াāώাāϰ āϜ্āĻžাāύ āĻŦা⧜াāύোāϰ āωāĻĒāϰ āϜোāϰ āĻĻিāϞে āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāĻĻেāϰ āϞাāĻ­, āϏāĻŽাāϜেāϰ āĻŦ্āϝāĻŦāϏাāϰ āϞাāĻ­ āĻ•াāϰāĻŖ āϝোāĻ—্āϝ āĻ•āϰ্āĻŽāϚাāϰী āĻŦেāĻļি āĻŽাāϤ্āϰা āĻĒাāĻ“ā§Ÿা āϝাāĻŦে āĻāĻŦং āϏāĻŦ āϚে⧟ে āĻŦেāĻļি āϞাāĻ­ āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāĻĻেāϰ āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώাāϰ āύাāĻŽে āĻĒ্āϰāϤাāϰāĻŖাāϰ āĻĨেāĻ•ে āϰāĻ•্āώা āĻ•āϰে। āĻ•āĻŽিāωāύিāĻ•েāϟিāĻ­ āχংāϞিāĻļ āύাāĻŽāĻ• āĻāĻ•āϟি āĻŦিāώ⧟ āĻ•েāĻŦāϞāχ āĻ­াāώাāϰ āϜ্āĻžাāύ āĻŦা⧜াāύোāϰ āωāĻĒāϰ āϜোāϰ āĻĻে⧟ে। āϏেāχ āĻŦিāώ⧟āϟাāχ āĻāĻ–āύāĻ•াāϰ āĻŦেāĻļিāϰāĻ­াāĻ— āĻ•āϞেāϜেāϰ āχংāϰিāϜিāϰ āĻ…āϧ্āϝাāĻĒāĻ•েāϰা āĻĒ⧜াāϞে, āĻĒ্āϰāĻ–্āϝাāϤ āĻŦāχ āύা āĻĒ⧜ি⧟ে, āϏāĻŽাāϜেāϰ āĻ•āϞ্āϝাāĻŖ āĻšāĻŦে।
        ‘āĻ—্āϝাংāĻ—্āϰিāύেāϰ āωāĻĒāϰ āĻŦ্āϝাāύ্āĻĄ-āĻāĻĄ’ – āĻāχ āĻļāĻŦ্āĻĻāϏāĻŽূāĻšেāϰ āφāϜāĻ•াāϞ āĻŦেāĻļ āϚāϞ। āφāĻŽাāĻĻেāϰ āĻļিāĻ•্āώাāĻŦ্āϝāĻŦāϏ্āĻĨাāϤেāĻ“ āϰেāĻŽেāĻĄি⧟াāϞ āχংāϞিāĻļ āĻŦāϞে āύাāĻŽ-āĻ•ে-āĻ“ā§ŸাāϏ্āϤে āĻ•িāĻ›ু āĻ…ংāĻļ āφāϜāĻ•াāϞ āϏāĻŦ āĻŦিāώ⧟েāϰ āĻĒাāĻ ্āϝāĻ•্āϰāĻŽে āϚাāϞু āĻ•āϰা āĻšāϚ্āĻ›ে, āϏে āĻ—āĻŖিāϤ āĻĒ⧜āϤে āφāϏুāĻ•, āωāϰ্āĻĻু āĻĒ⧜āϤে āφāϏুāĻ• āφāϰ āχংāϰিāϜিāϰ āĻĒ্āϰāĻ–্āϝাāϤ āĻŦāχ āĻĒ⧜āϤে āφāϏুāĻ•। āĻ•িāύ্āϤু āĻŦ্āϝাāĻĒাāϰāϟা āĻšāϞ āϏেāχ āύিāϰ্āĻĻিāώ্āϟ āĻĒাāĻ ্āϝāϏূāϚীāϰ āϚাāĻĒ। āϤাāϤেāχ āĻ›াāϤ্āϰāĻ›াāϤ্āϰী āĻšাāĻŦুāĻĄুāĻŦু āĻ–াāϚ্āĻ›ে। āϤাāϰ āĻŽāϧ্āϝে āĻāχ ‘āĻ—্āϝাংāĻ—্āϰিāύেāϰ āωāĻĒāϰ āĻŦ্āϝাāύ্āĻĄ-āĻāĻĄ’ āĻļিāĻ•্āώāĻ• āĻ“ āĻ›াāϤ্āϰāĻ›াāϤ্āϰী āωāϭ⧟ āĻĒāĻ•্āώāχ āĻ–ুāĻŦ āĻĻ্āϰুāϤ āĻļেāώ āĻ•āϰে āĻĢেāϞাāϰ āϚেāώ্āϟা āĻ•āϰে āĻāĻŦং āĻāĻ•āϟা āϝা āĻšāĻ• āĻ•āϰে āĻĒāϰীāĻ•্āώা āύি⧟ে āĻĻা⧟ āĻļেāώ āĻ•āϰে āĻĢেāϞে। āĻāϤে āϞাāĻ­েāϰ āϚে⧟ে āĻ•্āώāϤি āĻšā§Ÿে āĻŦেāĻļি। āĻŽূāϞ āĻŦিāώ⧟েāϰ āĻĨেāĻ•ে āϏāĻŽā§Ÿ āύি⧟ে āĻ…āĻĢāϞāĻĒ্āϰāϏূ āϚেāώ্āϟা āĻ•āϰা āĻšā§Ÿ। āϝāĻ–āύ āĻŦাāϰো-āϤেāϰো āĻŦāĻ›āϰ āϏ্āĻ•ুāϞে āĻĒ⧜ে āχংāϰিāϜি āĻ­াāώা āĻļেāĻ–া āĻ িāĻ• āĻŽāϤ āĻšā§Ÿ āύা, āϤāĻ–āύ āĻ…āϞ্āĻĒ āĻ•ā§ŸেāĻ•āϟি āĻ•্āϞাāϏে āϏেāχ āĻ•্āώāϤ āĻĒূāϰ্āĻŖ āĻšāĻŦে, āĻāχ āφāĻļা āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώাāϰ āωāĻĻাāĻšāϰāĻŖ।
        āφāϰেāĻ•āϟি āĻļিāĻ•্āώা⧟ āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώাāϰ āύাāĻŽে āĻĒ্āϰāϤাāϰāĻŖাāϰ āωāĻĻাāĻšāϰāĻŖ āĻŦিāϚāĻ•্āώāĻŖ āĻ­াāĻŦāύাāϚিāύ্āϤা āĻ•āϰাāϰ āĻĒ্āϰāĻļিāĻ•্āώāĻŖ āĻĻেāĻ“ā§Ÿা। āϏāĻ•āϞ āϏāϰāĻ•াāϰি āύীāϤিāĻŦিāĻĻāϰা āĻĒাāĻ–িāϰ āĻŦুāϞিāϰ āĻŽāϤ āφāĻ“ā§œে āϝাāύ āϝে āωāϚ্āϚāĻļিāĻ•্āώা āĻāχ āĻĒ্āϰāĻļিāĻ•্āώāĻŖ āĻĻেāĻŦে। āĻ•িāύ্āϤু, āϏেāχ āĻĒ্āϰāĻļিāĻ•্āώāĻŖ āĻĒাāĻ“ā§Ÿাāϰ āϝাāĻŦāϤী⧟ āĻĒāĻĨ āϤাāϰা āĻ•াঁāϟা⧟ āĻ­āϰি⧟ে āĻĻেāύ। ‘āĻŽিāϞে āϏুāϰ āĻŽেāϰা āϤুāĻŽāĻšাāϰা’ āĻĨেāĻ•ে āφāĻŽāϰা āϝāĻ–āύ ‘āĻāĻ• āĻĻেāĻļ, āĻāĻ• āύীāϤি’ āĻĻিāĻ•ে āĻāĻ—ি⧟ে āϝাāϚ্āĻ›ি, āϤāĻ–āύ āĻāϟা āĻ–ুāĻŦ āφāĻļ্āϚāϰ্āϝেāϰ āύ⧟ āϝে āϏāϰāĻ•াāϰি āύীāϤি āĻ—োāϟা āĻĻেāĻļ āĻ•ে āĻāĻ• āĻĒাāĻ ্āϝāϏূāϚীāϤে āĻŦাঁāϧāϤে āϚাāχāĻ›ে। āĻāϟাāϰ āĻĒোāĻļাāĻ•ি āύাāĻŽ ‘āϚ⧟েāϏ āĻŦেāϏ্‌āĻĄ āĻ•্āϰেāĻĄিāϟ āϏিāϏ্āϟেāĻŽ’ āĻŦা ‘āχāϚ্āĻ›া āĻŽāϤ āĻ…āĻ™্āĻ•āĻĒ্āϰāĻĻাāύ āĻĒ্āϰāĻĨা’। āϏāĻŽāϏ্āϝা āĻāĻ•āϟাāχ। āĻŦাāϏ্āϤāĻŦে āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāĻĻেāϰ āχāϚ্āĻ›া-āĻŽāϤ āĻĒ⧜াāϰ āĻ…āϞ্āĻĒ āĻ…āĻŦāĻ•াāĻļ āĻĨাāĻ•ে āĻ•াāϰāĻŖ āĻ…āϤ āϏংāĻ–্āϝāĻ• āĻļিāĻ•্āώāĻ• āĻ“ āĻļিāĻ•্āώাāĻ•āĻ•্āώ āύেāχ। āĻļিāĻ•্āώāĻ•āĻĻেāϰ āĻĨেāĻ•ে āϏāĻŦ āχāϚ্āĻ›া āĻ“ āĻŽāϤ āĻ•ে⧜ে āύেāĻ“ā§Ÿা āĻšā§Ÿে āϝে āϤাāϰা āĻ•ী āĻĒ⧜াāϤে āϚা⧟। āύāϤুāύ āĻ•েāύ্āĻĻ্āϰী⧟ āĻļিāĻ•্āώাāύীāϤিāϤে āĻāϰ āĻŦিāĻĒāϰীāϤ āĻŦāϞে āφāϚ্āĻ›ে āϏāϤ্āϝিāχ। āĻ•িāύ্āϤু, āχāϚ্āĻ›া āĻ“ ‘āĻŽিāϞে āϏুāϰ āĻŽেāϰা āϤুāĻŽāĻšাāϰা’āϰ āĻŦাāϜাāϰ āĻĻāϰ āĻāĻ–āύ āĻ•ুāĻŦ āĻ•āĻŽ। ‘āĻāĻ• āĻĻেāĻļ, āĻāĻ• āĻĒাāĻ ্āϝāϏূāϚী’ āĻŽাāύে āĻ›াāϤ্āϰāĻ›াāϤ্āϰীāĻĻেāϰ āĻŦāϞা āϝে āϏাāϰা āĻĻেāĻļেāϰ āϏāĻŦ āĻ›াāϤ্āϰāĻ›াāϤ্āϰী āĻāĻ•āχ āωāϤ্āϤāϰ āϞেāĻ–ো āĻĒāϰীāĻ•্āώাāϰ āĻ–াāϤা⧟, āĻ•াāϰāĻŖ āϝেāĻšেāϤু āĻāĻ•āχ āĻĒাāĻ ্āϝāϏূāϚী, āĻĢāϞে āϘুāϰি⧟ে āĻĢিāϰি⧟ে āĻ•ā§ŸেāĻ•āϟাāχ āĻĒ্āϰāĻļ্āύ āĻāĻŦং āϝāĻĻি āĻĒ্āϰāĻļ্āύ āĻ—োāϟা āĻĻেāĻļ āĻ“ āĻŦাāϜাāϰāχ āĻāĻ• āϏāĻ™্āĻ—ে āϜাāύে, āϤাāĻšāϞে āĻāĻ•āχ āωāϤ্āϤāϰ āϏāĻŦাāϰ āĻŽুāĻ–েāϰ āϏাāĻŽāύে āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώাāϰ āϚাāĻŦিāĻ•াāĻ ি āĻšিāϏেāĻŦে āϞেāϞি⧟ে āĻĻেāĻ“ā§Ÿা āϏāĻšāϜ।
        āĻŦাāϏ্āϤāĻŦেāϰ āϏāĻ™্āĻ—ে āĻŽāύেāϰ āχāϚ্āĻ›াāϰ āĻāχ āϝে āĻŦ্āϝāĻŦāϧাāύ, āĻāχāϟিāĻ•ে āύা āĻ•āĻŽাāϤে āĻĒাāϰāϞে āφāĻŽাāĻĻেāϰ āĻļিāĻ•্āώাāĻŦ্āϝāĻŦāϏ্āĻĨা āϚিāϰāĻ•াāϞāχ āĻšāϤাāĻļাāϜāύāĻ• āϰ⧟ে āϝাāĻŦে।