Tuesday, December 18, 2012

A Victorian Christmas Advent Calendar - 1889






“There, at last, you see it’s done,
Could you make a better one?
Nose and chin, and mouth and eyes,
At a show he’d take a prize.
I should like it understood,
Too, that he is very good;
Though he has such saucy eyes,
Still he never, never cries.
Mouth he has, yet never talks;
Two strong legs, but takes no walks;
He is always good as gold,
For he never feels the cold.
Such a baby few have met,
For he doesn’t hungry get:
Never drinks, and cannot eat -
But he sadly feels the heat!
When the sun shines, strange to say,
Very soon he goes away,
For if you the truth must know,
He is only made of snow!”


From ‘A Snow Baby’ by Graham Clifton Bingham (classmark 1889)

Latest to read: In the Name of Love by Sam Mukherjee




In Toronto’s most opulent brothel, Paradise, a pimp named Sultan falls in love with a prostitute, Salma. They are captured trying to escape the brothel and are brought to Nadira, the ruthless owner of Paradise. She orders Salma to be sold at a flesh fair and Sultan brutally mutilated.

Several years later, Rimana Sen, a young Indian woman, is thrilled to be recruited by a company in Canada and pleased to escape her mother’s expectations of marriage. On the flight to Canada, she meets Jug Ducati, a young Canadian. By the time their flight arrives in Toronto, they are well on their way to falling in love. At the airport, Rimana is whisked away by a couple of shady men, so when Jug does not hear from her, he begins to worry. He enlists the support of his two best friends, the daredevil Omar Khazana, and the over-cautious movie buff, Mark Willis, and begins to search for her. They are stunned to discover that Rimana has been sold to a Middle Eastern buyer and are introduced to the sinister underworld of international human trafficking and sexual slavery.

With Nadira’s goons and corrupt police hot on their heels, Jug and his friends realize that their only chance to escape Nadira’s clutches is to seek help from Sultan, her archenemy. Sultan offers them protection and uses them to trap his nemesis. But can they survive Nadira’s wrath and cunning, as well as Sultan’s lust for revenge, or will they simply become pawns in another gangster’s world?

Visit: http://www.sammukherjee.com/ for more details

Friday, December 14, 2012

Philosophy of the month



The 'Godfather of World Music' influenced the Beatles, the Grateful Dead and more...



Article courtesy: www.rollingstone.com


Ravi Shankar, the sitar master who helped popularize Indian music in the 1960s, influencing hippie culture and musicians from the Beatles and the Grateful Dead to John Coltrane, has died, the prime minister's office of India confirmed to The Associated Press. According to the Times of India, Shankar passed away in a San Diego hospital, where he had been in treatment since last week after complaining of difficulty breathing. He was 92.

2012 In Memoriam: Musicians We Lost
Dubbed the Godfather of World Music by his most famous student, George Harrison, Shankar learned to play several Indian classical instruments in his teens and began touring abroad in the 1950s, introducing Indian ragas to audiences in Europe and the U.S. Shankar met Harrison in 1966 at a friend's house, where the Beatle approached him about learning to play the sitar after he'd used one on "Norwegian Wood (This Bird Has Flown)." Under Shankar's tutelage, Harrison became proficient in the instrument and played it on the Sgt. Pepper's Lonely Hearts Club Band song "Within You Without You," further igniting interest in ragas and Shankar's work among Beatles fans.

"When George became my student, I got a new audience: the younger generation," Shankar told Rolling Stone in 1997. "And, of course, they came like a flood because the whole thing happened with the hippie movement and this interest in Indian culture. Unfortunately it got all mixed up with drugs and Kamasutra and all that. I was like a rock star . . . I never said one shouldn't take drugs or drink alcohol, but associating drugs with our music and culture, that's something I always fought. I was telling them to come without being high on drugs. I said, 'Give me the chance to make you high through out music,' which it does, really. I think it's good I made that stand, and that's why I'm still here today."

Shankar was also a teacher to jazz icon John Coltrane, who was so influenced by the musician that he named his own son Ravi.

As his popularity rose, Shankar performed at the Monterey Pop Festival in 1967 and Woodstock two years later. In 1971, Shankar and Harrison organized the Concert for Bangladesh, which helped raise money for refugees fleeing that country for India and set the example for future all-star benefits like Live Aid.

A three-time Grammy winner, Shankar continued to tour into the 2000s with his daughter Anoushka, also a sitar player. He is also the father of singer-songwriter Norah Jones.


Watch Shankar and Harrison playing sitar together in 1968 at link below:

http://www.youtube.com/watch?feature=player_embedded&v=RxI6IkH9Mvo#!

Professor Shonku and the Golden Chance by Satyajit Ray (Final Part), Translated By Victor Ghoshe



Part 3:


Ist July.

We have shifted to Savedra castle from the hotel. But a strange thing happened before we shifted, which made all of us a little tensed. The hotel management was mostly responsible for it, and we had to be very rude to him for that — let me write in details.
Even in the small sized hotels, it never happens, that the room 'A' key would also open room 'B'; here on the very first day I discovered that the lock of Krole's room could easily be opened by Saunder's Room keys. We all were annoyed, but the area around the hotel was so beautiful and so quite, we decided to stay there.
Today in the morning Krole came to my room shouting and using German slangs for the hotel manager — he was very angry, I gave him a glass of water first and after he calmed down a bit, I learned that last night someone entered his room and left everything at sixes and sevens.
'Could he take anything?' I asked anxiously — 'No, he couldn’t, but it was quite easy for him, just think, had the diary been there with me, what would have happened?
One thing I forgot to mention, that in London, Krole copied a part of the diary where the 'gold making process' was explained, in coded script and kept the diary in his bank locker. We had distributed those papers amongst ourselves; each of us had three A4 sheets to carry. Now I think — had this safety measure not been taken what could have happened!
Saunders went straight to the manager's room and started scolding him vehemently. The gentleman was almost in tears, he said that since the hotel's inauguration - twenty-six years ago, no such thing happened there. When we interrogated the night watchman - Pedro, he said one tourist came looking for a room last night, it was one a.m. and when he told him that there was no room available in the hotel, the tourist then took a seat and offered him a cigarette. Pedro couldn't refuse the expensive French cigarette. And with just one drag of that cigarette he fall asleep and wake up only in the morning. 'How did he look?' Krole asked, ‘The face was covered with beard and moustache and a dark glass', replied Pedro. He also said that the thief must have climbed up on the second floor balcony by the water pipe and once he reached the balcony, the stairs were just a few meters through the passage.
Now – at this point of conversation I asked Krole that so much happened in his room and how come he didn't wake up?
He said last night he had taken two sleeping pills, as he wanted to have some good sleep before we start the work.
As Krole didn't loose any money or any of his belongings and we were also leaving the hotel, we decided to not to think about it any more. The manager said he would inform the police, and would ask them to enquire about all the new tourists who visited the place within the last couple of days.
After reaching the castle, we have inspected around and seen the entire castle thoroughly in the daylight. The plan of the castle was quite complex and one really cannot get a clear idea at one go. Quite frankly — had Pablo not been there with us, we would have lost our way innumerable times. We already heard that one of the eastern rooms on the 1st floor was locked. Today we saw it. There was quite huge a lock hanging on the door. Though we tried a lot but could not have any luck opening it.
'It would be funny to try any of our keys to open this lock'. Said Krole 'anyway we are going to stay here, so one day we would try with a hammer or something heavy to break this open. Saunders seemed a little morose since yesterday. He has this thought that there is some connection between the gypsy lady's forecast and the comments made by the spirit. He said Madame Reneta said, 'I see death' and yesterday the spirit communicated 'the price of gold is the price of life.' Now friends, if I see my life is at stake, then I would leave this project immediately and not only that — even Mustafa's life is equally priceless to me.
But Krole was very optimistic — he said, ‘don’t think much about the gypsy lady’s forecast. Gold cannot have any connection with death. And what Zabir Hayan’s spirit meant was —Alchemic gold is a priceless thing’.
Exactly at 12 noon we started our experiment by setting fire in the oven.
The proceedings were very simple — it only required time and patience. Today we had to burn different plants and collect their ashes. The other thing we did was to weight the ingredients (especially lead, sulphur and table salt) and put them into different containers. Oh! Yes! Another thing the rainwater had been stored in the oval shaped water tank by Pablo.
Its 10 pm. We all have slept in shifts because at least two of us should always be there in the laboratory. Pablo ‘s duty was to guard the place through the night so he also slept for a couple of hours in the after noon.

4 th July

Nothing worth mentioning had happened over the last three days, that's why I didn't write. Today's scheduled work is also going fine. But in the afternoon something exciting happened which I think is mentionable — I heard the sound of Saunders' alarm clock from the next room at 12.30 p.m. and understood he would come to work and I would have to sleep now, though I knew I could not sleep, as my nerves were very much awakened, but I had to maintain the routine, so I left the laboratory immediately after Saunders entered and decided to survey the castle within these three hours.
Unknowingly I walked directly towards the closed door on the 1st floor.
One thing was really disturbing me - why would only one room among the twenty-six rooms of this castle be locked?
After climbing the stairs of the 1st floor, I walked through the dark passage towards the closed door. The door was huge — ten feet in height and four & half feet in width. Decorative copper plates were fitted on the door. Intricate designs on the lock were also quite visible. I was carrying a torch and after searching the door from top to bottom with its light I found a thin crack. I was in a dilemma - if I put the torchlight through the crack then I do not have a place to put my eyes through.
Finally I took off my spectacles and put my right eye on the crack.
I never thought that I would be able to see anything inside a locked, dark room. But even through that 1/4th inch narrow crack I could see that the room was not at all dark, possibly light was coming through some skylight or through a window. I could also understand that the light had a yellow tint in it — most probably the walls were painted in yellow or the window had yellow glass fitted.
No further investigation was possible for me; I knew only one person could help me; I came out of the castle in search of that other person.
It didn't take much time to find out Pablo. He was sitting under an oak tree in the compound of the castle and trying to set up a catch for hedgehogs. He said he had seen one in the bushes around the oak tree. I said, 'let the hedgehog wait for some more time to get captured, and you come and do a small work for me.'
I showed him the room and asked him to go up on the third floor and find out whether there was any sky-light or something like that on that room or not.
Pablo came back in ten minutes; totally out of breath; his eyes were twinkling in excitement “professor - come with me!” he breathed.
He did not leave my hand until we reached the second floor terrace; he was literally pulling me by my hand. The moment we reached on the terrace he pointed his finger towards a specific direction and shouted “there’s the sky-light, see what all magnificent things are there in that room.'
I looked through the skylight and got so excited that I immediately broke the glass of the skylight; collected some rope; helped Pablo to climb down. And got the shock of my life when finally Pablo climbed up to me with three golden statues in his hand.
He was holding one life size squirrel, one owl and one rose — when I rubbed them with my handkerchief the blinding glitter suggested that they were undoubtedly made of 100% pure gold.
And of course there was no doubt about the fact that the gold was made by the thirteenth century Spanish alchemist Manuel Savedra. Surely enough, now I know why did he call himself an artist, because he was not only a great alchemist but also a goldsmith of a class. Even the famous Italian goldsmith Benvenutu Chellini's works would seem very dull in front of these works of art, I thought.

5th July

Initially I thought I would not show these objects to Saunders and Krole. But keeping Saunders' depression in mind I showed them the statues.
Actually Saunders lost his excitements with in two days since we started our work — one primary reason for that was …as a scientist it is quite tough to accept the methodology of alchemy on a serious note. I can understand this and respect the feeling. But being an Indian, I can't ignore things like spirits, ghosts, mantras and chants etc. In my own life I had come across so many things for which science does not have any explanation. But Saunders is a pure Englishman; he does not believe in any 'Mumbo Jumbos'.
But, now Saunders' attitude has changed and the only reason for that is the gold, made by Savedra.
We have displayed the statues on a shelf in our laboratory. I don't know how much the beauty of the room is enhanced, but surely I can say that the chances of a visit by robbers are now much higher. Anyway all three of us are carrying weapons.
Saunders is a crack shot hunter, Krole is also good with his pistol and I always carry my annihilin gun in my pocket. So there is no reason to be afraid of.
Pablo is guarding the compound in the nights; he could finally catch the hedgehog, so he is very happy with both his mongoose and hedgehog.
It seems that it will take two more days for us to finish the work. Today that 'semi-liquid thing' (as mentioned in the diary) has been made. It looks quite peculiar. Its colour appears to be different from different angles. And possibly for the existence of mercury all the colours have a silver tint.

6th July

Today something serious has happened which made us to believe that someone is still following us. In the morning when Pablo came to us with the news — we followed him to the garden and found some unknown footprints. And they were almost everywhere. Some of them were very close to our laboratory's window. Strangely enough Pablo could hear nothing. But then again it's not very surprising at all, as there are many ways to enter the castle compound, other than the main gate. The seven hundred year old wall is broken in many places. Anyone can enter through any of those broken parts; can hide behind the bushes and keep an eye on our activities. Now onwards Pablo should be more cautious.
It is 9 a.m and I have just started writing my diary after finishing the coffee. Its time for Krole to go to sleep, but I am not sure whether any of us can sleep tonight. Today it is scheduled to mix the semi-liquid substance with rainwater and to purify it for seven hours continuously. After that we need to pray to our gods and goddesses and try all the metal stuff we are carrying, into that semi liquid substance to check whether we are successful or not. If the result doesn't satisfy us, we do not know what would be our next step. Probably we would have to act as good boys and go back home. I do not know why? But I have a feeling that our experiment is going towards success.

7th July

Extreme sadness.
All the slogging, all the efforts and endless patience has gone in vein, the liquid we made through the alchemic process could not turn any metal into gold. We tried everything we had with us in that liquid but nothing happened. Though one thing we could understand that this thing had some specialty; it should be cold by this time but whenever I take my hand close to it, it feels like innumerable invisible needles are pinning my hand from nowhere.
Savedra had clearly stated in his diary that this liquid couldn't be touched. Saunders had carried Mustafa out of the laboratory; he had gone to the garden and was sitting helplessly on a half broken bench. Krole was sitting on a stool and staring at the oval water tank as if he was in a trance. That bat was still hanging from the ceiling. It was there in the same place since it came inside on the very first day.
I could never realize Krole’s state of mind, that he was so shocked until he suddenly became furious about the bat.
Suddenly I saw him taking out his revolver. He abused the bat in German and before I could do anything he shot it. But surprisingly the dead bat didn't fall; it kept on hanging the same way, only droplets of blood started dripping from it's body on the floor.
Saunders heard the firing and ran straight up to the laboratory. He took a few seconds to understand the situation and then started scolding Krole violently.
I immediately went out of the laboratory. I was really feeling very tired after so many long working hours, night shifts and failure at the end. Generally, none of my expeditions were unsuccessful, but I think this time it was one.
7th July, 11 pm
The most shocking and memorable day in my life. All those spine-chilling events happened within ten minutes of Krole- Saunders's fight. Let me now describe how everything happened.
I went to the garden instead of going to my own room after coming out of the laboratory. Two-three minutes before there was a quick rainfall, but now the sun was shining bright on the sky. When I came out and looked at the eastern sky, 'Mull Hassen' the highest peak of Spain welcomed me. A beautiful pair of rainbows above the peak were adding amazing colours to the sky. Suddenly, a sound of a half-uttered cry brought me down on earth from the two beautiful rainbows. Following the sound I ran as fast as I could and found Pablo — lying on the grass; senseless. He had a black spot on his jaw and blood was dripping from this mouth.
The next moment some noises came from the direction of the laboratory. I ran again towards the noise; but I had to stop at the door.
Rufus Blackmore standing facing Krole and Saunders with a .38 colt revolver and with a devilish smile.
“ The moment you cross the door, you are a dead man”, he warned.
After saying this, he first collected the coded formula papers from the table and then he moved towards the shelf where the golden statues were kept.
I still shiver in horror to visualize what happened the next.
A hairy ball-like thing jumped out of Saunders's lap; traveled all the distance through air at the speed of thunder and attacked Blackmore. Blackmore’s revolver went out of control and got fired, Krole had a close shave as the bullet missed him by a few inches and broke a glass retort.
And with that, Blackmore lost his balance and fell into the tank at the center of the room. Mustafa went back to his master after taking his revenge by giving deep scratch marks on Blackmore's face with his claws. The moment Blackmore's body touched the liquid; he started trembling as if he got an electric shock and then remained motionless. All three of us kept watching with our three pairs of eyes wide open — the uncovered areas of Blackmore's body — like his neck, his face, his hands- they all were turning into dazzling gold — very fast.
Saunders whispered “the price of gold …the price of life”.

So in Savedra's alchemy living things are required to make gold instead of metals — like human beings, flowers, animals, birds anything living.
The ‘Blackmore’ we can see now, that owl, that squirrel, that rose — they all were mortal living things at some point of time.
Now, they will never talk, never move, and never age as they have all become immortal.




Translated by Victor Kalyan Ghoshe
From The Original Shonku story in bengali by Satyajit Ray

Wednesday, December 12, 2012

Smile of the month



A short story - Translated in Bengali from Russian

āĻ—ৃāĻšে āĻĒ্āϰāϤ্āϝাāĻŦāϰ্āϤāύ – āĻ­াāϏিāϞি āĻ—্āϰিāĻ—োāϰি⧟েāĻ­

‘āĻāϏেāĻ›ে! āĻ…āĻŦāĻļেāώে āωāĻĻ⧟ āĻšā§ŸেāĻ›ে āϤাāϰ!… āϏাāϰা āĻ—া⧟ে āϧুāϞোāĻŽাāĻ–া?… āĻĻেāϰি āĻšāϞো āĻ•েāύ? āĻ•োāĻĨা⧟ āĻ›িāϞে? āĻ…āĻĢিāϏে? āĻ•াāϞ āĻĢোāύ āĻ•āϰে āϜেāύে āύেāĻŦ।… āĻāĻ–াāύে āĻĒা āĻĻি⧟ো āύা, āĻāĻ•āϟু āφāĻ—েāχ āĻĒāϰিāώ্āĻ•াāϰ āĻ•āϰেāĻ›ি। āĻ“āĻ–াāύে āϝে⧟ো āύা, āĻ“āĻ–াāύে āύোংāϰা। āϜুāϤা āĻ–ুāϞে āϏ্āϝাāύ্āĻĄেāϞ āĻĒāϰে āύাāĻ“। …āĻŦāϞāĻ›, āĻ…āĻĢিāϏে āĻ›িāϞে āĻāϤāĻ•্āώāĻŖ? …āĻŦেāϤāύ āĻāύেāĻ›? āϤাāĻšāϞে āĻŦাāϏা⧟ āĻāϏেāĻ› āĻ•েāύ? āĻ িāĻ• āĻŦāϞেāĻ›, āϟাāĻ•া āĻ›া⧜া āϤোāĻŽাāĻ•ে āĻĒ্āϰ⧟োāϜāύ āύেāχ āĻ•াāϰāĻ“। āĻŦ্āϝāϤিāĻ•্āϰāĻŽ āĻļুāϧু āĻŦāω। āϏে āϤোāĻŽাāĻ•ে āĻāĻ–āύো āϏāĻš্āϝ āĻ•āϰে āϝাāϚ্āĻ›ে। āĻ•াāϰāĻŖ āϏে āĻŦোāĻ•া। …āĻŦāϏো। āĻ“āĻ–াāύে āύা। āĻ•িāϏেāϰ āĻ“āĻĒāϰে āĻŦāϏেāĻ›, āϏেāϟা āϞāĻ•্āώ āĻ•āϰেāĻ›? āĻĻাঁ⧜ি⧟ে āϰāχāϞে āĻ•েāύ? āĻŽāύে āĻšāϚ্āĻ›ে, āϝেāύ āĻ•াāϰāĻ“ āĻŦাāϏা⧟ āĻŦে⧜াāϤে āĻ—েāĻ›! …āϚুāĻĒ āĻ•āϰে āφāĻ›ো āĻ•েāύ? āϤোāĻŽাāϰ āϏāĻ™্āĻ—ে āϤোāĻŽাāϰ āĻŦāω āĻ•āĻĨা āĻŦāϞāĻ›ে āĻŦāϞে āĻŽāύে āϤো āĻšā§Ÿ। āϤুāĻŽি āĻ•োāύো āĻ•াāϜেāϰ āĻ•āĻĨা āĻ•ি āĻŦāϞāϤে āĻĒাāϰো āύা? āĻĒāϤ্āϰিāĻ•া āϰাāĻ–ো! āĻŽেāĻেāϤে āĻĢেāϞāϞে āĻ•েāύ! āϤোāϞো! āφāĻŽি āϤোāĻŽাāϰ āϚাāĻ•āϰাāύি āύāχ। āĻŦāĻ‡ā§Ÿে āĻšাāϤ āĻĻি⧟ো āύা। āφāĻŽি āĻāĻ•েāĻŦাāϰে āϏিāϰি⧟াāϞ āĻ•āϰে āϏাāϜি⧟ে āϰেāĻ–েāĻ›ি। …āϟেāϞিāĻ­িāĻļāύেāϰ āϏাāĻŽāύে āĻĨেāĻ•ে āϏāϰে āĻāϏো! āĻ“āϤে āĻ•িāĻ›ুāχ āĻĻেāĻ–াāϰ āύেāχ। āĻ•ুāĻ•ুāϰেāϰ āĻ—া⧟ে āĻšাāϤ āĻĻি⧟ো āύা। āĻ“ āϤো āϤোāĻŽাāĻ•ে āϜ্āĻŦাāϞাāϤāύ āĻ•āϰāĻ›ে āύা! āφāĻŦাāϰ āĻĻাঁ⧜াāϞে āĻ•েāύ! āĻšা⧟! āψāĻļ্āĻŦāϰেāϰ āĻ…āĻļুāĻ­ āϏৃāώ্āϟি! …āĻ•াāϰ্āĻĒেāϟেāϰ āĻ“āĻĒāϰে āĻ“āĻ ো āύা। …āφāĻŽাāϰ āϚোāĻ–েāϰ āϏাāĻŽāύে āĻāĻĻিāĻ•-āĻ“āĻĻিāĻ• āĻšেঁāϟো āύা। āĻ…āϏāĻš্āϝ āĻāĻ•েāĻŦাāϰে! …āĻ•োāύো āĻāĻ•āϟা āĻ•াāϜ āĻ–ুঁāϜে āύাāĻ“। āĻŦ্āϝাāϞāĻ•āύিāϤে āϝে⧟ো āύা! āĻ•ে āϜাāύে, āĻšā§ŸāϤো āĻĒ⧜ে āϝাāĻŦে āĻ“āĻ–াāύ āĻĨেāĻ•ে। āϤিāύāϤāϞা⧟ āϤো! …āĻāχ āĻĻ্āϝাāĻ–ো, āĻŦāϞেāĻ›িāϞাāĻŽ āύা! āĻ িāĻ•āχ āĻĒ⧜ে āĻ—েāĻ›ে! āĻŽāύে āĻšāϚ্āĻ›ে, āĻŦেঁāϚে āφāĻ›ে। āĻ­াāĻ—্āϝিāϏ! āφāϰ āĻļু⧟ে āĻĨেāĻ•ে āĻ­াāύ āĻ•āϰāϤে āĻšāĻŦে āύা। āĻ“āĻ ো। āφāϰ āϤুāĻŽি āϝেāĻšেāϤু āύিāϚেāχ āĻāĻ–āύ, āϰুāϟি āĻ•িāύে āύি⧟ে āĻāϏো āĻĻোāĻ•াāύ āĻĨেāĻ•ে। …āĻšা⧟, āĻ āĻ•ী āĻ•āĻĒাāϞ āφāĻŽাāϰ! …āĻŦাāϏা⧟ āĻĢিāϰে āĻĻāϰāϜাāϰ āϏাāĻŽāύেāϰ āĻĒাāĻĒোāĻļে āĻĒা āĻ­াāϞো āĻ•āϰে āϘāώে āύেāĻŦে!’

Archive - The 1st Bollywood vellain to endorse a consumer product


Friday, September 21, 2012

Professor Shonku and the Golden Chance by Satyajit Ray, Translated By Victor Ghoshe


Part 2

26th June
As far as our equipments were concerned we didn’t want to take any chances, so we bought everything from London.The famous - rather infamous 'Chorebazar of London is on the 'Porto Bello Street' — we spent some two and half hours there and collected lots of earthen potteries, glass flasks and retorts — exactly like those which we see in old Hollywood movies. One of Saunders' friend is a renowned film producer; a few years back he produced a thriller, and the story revolved around Alchemy - for which he made lots of earthen potteries and cooking accessories; luckily Saunders could hire some of those equipments, from the production manager.
Saunders took Mustafa along. And I am sure even if Krole wouldn't have mentioned mustafa, Saunders would still bring Mustafa, because he can't stay away from Mustafa for long.

Personally speaking, I was not very enthusiastic about making artificial gold and not even interested in the gold itself. My excitement was all about visiting this part of Spain, as I had never been here. Saunders was not engaged in any important project so he was also quite excited about the outing. And what do I write about Krole - he was so excited, he couldn't even sit quietly for a while. This moment he is reading the manuscript, the next moment he is walking briskly in the drawing room and the next moment he is drawing some gibberish diagrams in his notebook. I tried to peep once; the diagrams seemed somewhat like 'The Tantric Mandalas.'

It was five pm in the evening; I was packing and the calling bell rang — after a while I heard someone opening the door and then a familiar voice. It must be that American gentleman who was competing with Krole in the auctions. I was quite intrigued and immediately went down. Saunders was already there and made our guest comfortable in the drawing room. Krole also came down within a minute. It seemed that he could also identified the guest’s voice.

Our guest took out three visiting cards from his vest pocket and handed them over to three of us. The name written on the card was — Rufus H. Blackmore.
'Rufus Blackmore ?' Krole exclaimed 'are you the person who wrote the book named “Black art and white magic”?'
'Yes Sir, I am the one.'

I was observing him thoroughly - long face, very pale skin, shoulder-touching black hair, and very calm eyes — but of course we knew which can also have fire at times as we have seen in the 'Calling wood Auction House'.
The gentleman put his hand into the right pocket of his blazer and took three silver balls out, which were as big as table tennis balls. And showed us at least twenty five different tricks with them within a couple of seconds. The shining balls were disappearing and reappearing so amazingly that none of us could make out what was happening. We should agree that the tricks were really great. Finally when he took out the three balls out of our pockets, then we couldn't help clapping.

'Your magic deserves a huge round of applause!' said Willhelm Krole.

'You haven't seen even one tenth of my genius.' Said Rufus with a very dry smile. These are all mediocre magic, do you want to know what my real magic is?' Blackmore gave a little pause and then held one of the three balls with the first finger and the thumb of his right hand and announced — 'This ball is made of silver and the silver is made by me. You can't get silver — more pure than this in the whole world.'
All three of us kept quiet…Blackmore's eyes twinkled in excitement.

'Half of the Alchemy magic is in my hands now' said Blackmore, 'but even after three years of experiment I have not yet been successful in making artificial gold. I believe Savedra explained everything in his diary. I came to know about Savedra's diary from my Alchemist guru. And when I came to know that it was on auction at Calling Woods, I immediately flew from Sanfransisco. I thought I would get it for just a few dollars, but I could never think that professor Krole would be so excited to acquire it. I could overbid him that day, but I thought when we would get introduced and he would learn about my work, possibly he would give me the diary for the same price. I think professor Krole has bought the diary for his collection, like any other collector of scriptures and manuscripts. But I am an Alchemist myself - the best in America, why America? Possibly the only original Alchemist of this world. My guru has died. So now I am the only one in this world who can use that diary properly. I got the money with me and I want the diary.'
Rufus Blackmore then took out a beautiful leather wallet from his blazer pocket; took out a bundle of ten-pound notes from that and put them on the center table.

Krole talked first.
'You take the money back Mr. Blackmore. I do not wish to give away the diary.'
'You are taking a wrong decision professor Krole'.
'Possibly not. You may be a magician, but there is no proof that you are an Alchemist. And of course we are not ready to believe that you have made the silver, which these balls are made of.'

Rufus Blackmore was silent for a few seconds. Then he gave a killer's look at all of us; took the money from the table; got up and said, 'You must have read, ninety nine per cent pure silver has been successfully made in a laboratory - but no one could make hundred per cent pure silver in the world — except this one, which I made.
He looked at Krole and threw one of those three balls towards him, which landed on Krole's lap.
'I know All three of you are scientists,’ Blackmore carried on. ‘At least check out whether I am right or wrong — analyze this silver, you have two days time; I am staying at 'Woldorf Hotel'; room No.four twenty nine. If you change your mind and decide to sell the diary to me, give me a call. And if you do not sell it to me then let me tell you one thing, making artificial gold is not your cup of tea.'

After this dramatic lecture he didn't wait for a moment and walked firmly towards the door. But what he did while going out of the door was quite an offence. Mustafa was sitting on the threshold. Blackmore kicked him with his sharp toed patent leather shoe, so hard that he flew three feet away from the place where he was. Saunders jumped up crying, 'what the hell!!' and ran after him, but Rufus was already out on the road. Krole tried to make Saunders calm. And said, 'I think
this guy is insane, let's not get into any complication.'

Mustafa was crying loud in pain and anger. Saunders finally had to take him in his lap to cool him down. I was thinking if Alchemists are like this, then the subject should be kept aside, but there is no way out now as the day after tomorrow we are starting for Granada in another two days. God only knows what is going to happen.

Montefrio, 29th June
It's raining. The way clouds have covered the sky, it seems that they are not going to clear up in coming two-three days. Krole thinks it's a good sign and it could not be better, because one of the most important ingredients of the experiment is automatically being collected.
A huge plastic container has been kept on the second floor terrace of the Savedra castle. And we are sure that it will be full before evening.
We are not staying in the castle. We found a hotel close by and have checked in. No one stays in the Savedra Castle now. And no one knows since when it's been abandoned. But Savedra family is quite well known in Montefrio. We asked the first person we met in Montefrio, where the castle was, and he promptly gave us a detailed direction. As we took a stopover in Granada and rested well, we all were quite fresh, so we did not waste any time and followed his direction. We had to take a left turn from the Montefrio Post Office and started driving through a narrow hilly road. We reached the second landmark in ten minutes; it was ruins of a medieval Moorish inn. From eight to fifteenth century the Moors had reigned over this part of Spain. And those Arabic Muslims had left their marks everywhere, the well-known Al-Hambra palace of Granada is just one of them to mention.

Beside the ruins of the inn a boy was standing under a tree with a Mongoose on his shoulder. He came up to us as our taxi stopped. When asked about the castle, he told us that no one stays there. We had to explain that we did not want to meet anyone there; we only wanted to see the castle. He said if we could take him with us in the car he would show us the way easily, he also added that he could be a good guide to us. We did not have any problem with the proposal, so we took him along.
The boy was quite chirpy; he flooded us with a load of information about himself. His name is Pablo, he had five brothers and seven sisters; he is the youngest and is unemployed. His father has a liquor shop; three of his brothers are working in that shop. One of the other two brothers run a fruit shop. The fifth one plays guitar in a restaurant. All his sisters got married. Pablo knows the history of Montefrio very well; how old the palaces and castles were; which king used to live in which palace; which king died in which year, he knows everything. He also shared that he used to earn some pocket money by working as a tourist guide, but as he studied only up to the fourth standard he could not get good work.
His actual hobby is to catch animals and to train them. He caught the mongoose only three days back and it had already started obeying his orders.
He was on the front seat and kept on narrating his biography. On the backseat of the taxi, we three discussed in a low voice that we would offer him to be with us and help us in our basic requirements for the few days we are going to stay here. And of course we would pay him for that. But till that time we didn't see the castle and we didn't know whether it would be possible for us to start our experiment there or not.

After another fifteen minute's drive through a forest we reached at a little open space, where Pablo asked to stop the car. 'We have to walk from here,' He said. 'How far?' asked Krole 'just about two minutes' replied Pablo.

If not exactly in two minutes, but we reached in front of a huge iron gate within five minutes of a fairly troublesome walk through the bushes and shrubs. It was surely not a very huge castle but quite enough for hundred people to live in it.
There was no canal around the castle. A path twisted, turned through the compound gate and took us to the main entrance of the house. Pablo could guess that we wanted to enter inside the castle — he said at least one thousand bats reside there in that house along with innumerable rats and snakes.
Saunders asked him how did he know so much about the castle.
Pablo replied 'Once I entered the castle following a 'Salamander', Oh! God! What pain it caused!! It made me run up and down and finally took me to the terrace.
Salamander is a reptile from the chameleon class and is often seen in this part of Spain.

'What else have you seen there in the castle?' asked Krole. Pablo said he had seen nothing much — a few broken chairs and tables, some old weapons on the walls. Ceilings were mostly broken and hanging dangerously. Amongst all the rooms were like this, but only one was locked so he couldn't see what was inside. But surprisingly there was a kitchen in the castle, which had a lot of earthen utensils - he had taken one bowl from those and gifted it to his mother.
Now, this made all of us very excited 'can you take us to the kitchen? ´ Krole asked in a low yet very sharp voice.
'Why not?' said Pablo, 'come with me'!

We went with Pablo and found that our guess was not wrong at all.
There was no doubt about the fact that seven hundred years back one of the South Eastern rooms of the Savedra castle had been used as a laboratory of an Alchemist.
Oven, water tank on the floor, earthen pottery, glass retorts and tubes-everything was there though all of them were covered by the layers of dusts of the last seven centuries. There was a medieval air pump also — which Krole checked and certified that it was fine and would work for us as well. We all had seen pictures of laboratories, exactly like this in so many alchemy books, the only difference was — the people who were going to work there were from the twentieth century. At the same time the other true fact was — now it was not only Krole, Saunders and I were also getting into the 'medieval time-frame' mentally. And I was sure that those alchemists also used to feel the same excitement, which I was feeling in my veins.

We hired Pablo for thousand Pesetas a day , which is close to our Indian 100 Rupees.
He would clean up the Laboratory within a day so that we can start our work from the day after. He also would have to clean-up two more rooms because we all three have to stay in the castle only. As once the process of gold making starts we would not be able to leave Savendra Caste. Pablo would bring our food; sleeping would not be a problem as all three of us have sleeping bags.
We went back to the hotel at 1:30 p.m. And it started raining within half an hour, immediately we sent Pablo to the castle with the container. Now it's 8:30 pm and the rain has stopped. This place is quite dry but it's sheer luck that we had this encounter with a sudden rainfall.
Krole and Saunders had just called me to say that they are ready for dinner. O-ho! I forgot to mention one thing in my diary — the ball which Rufas Blackmore had given us — we tested it before coming here and came to know that the silver was hundred percent pure. So now we cannot call him a magician anymore; he has been successful as an alchemist as well. Now we need to overtake him by making hundred percent pure gold. And we all three are confident about that.

30th June (0:30 hrs)
We have just returned from Savedra castle after spending two hours in our Alchemic laboratory. We had to perform an important ritual before we started our experiment, as per Savedra's instructions. Now I am going to write about it, but before that, let me write something else — the spirit of tenth century Arabian Alchemist gave his blessings to us. Tomorrow exactly at twelve noon our manual air pump would start working. All ingredients have been collected in sufficient quantities and a new big lock has also been arranged for the laboratory door, tomorrow we are going to shift in the castle. Pablo will also be there with us.

We have explained our business (to some extent) to him because he seemed so innocent, we thought we could have faith in him.

The new thing in the method of planchet to call upon the spirit of Zabir-Ibn-Hayan; which Krole used this time, was some Latin & Tibetan chants in the beginning, where Saunders did the Tibetan part and Krole did the Latin portion, after that Krole played some European religious tunes with his bone-flute. I must mention one thing that during this planchet there was another living thing in the room — he was none other than Mustafa. He has already killed three rats since we shifted to this castle. I am sure he is expecting more of them and that is why he is so happy.

After the chant and the flute, we all sat around a table and started thinking about Zabir-Ibn-Hayan. Krole and I, we both know the Arabian language pretty well, so we knew it would not be any problem to communicate with the spirit. The spirit would come through Krole as he was the medium. He was sitting with his eyes closed; Saunders and I were looking at Krole without even blinking our eyes. The light sources were only two candles; the flames where swaying very slowly with the wind and with that our three large shadows were also swaying on the wall.
After some fifteen odd minutes, there was a new shadow movement on the wall and as we looked up, we found a bat; hanging from the log of the ceiling. It was not a very uncommon thing to have a bat hanging from an old castle ceiling like this, but the uncommon thing with this bat was — it was also swaying like a pendulum and was staring at all of us. With the corner of my eye I could see that Mustafa was also staring at it.
There was a little change in Krole's body — to be precise a change in his posture. The upper part of his body had bent forward, towards the table and his lower body was moving upwards.
In two minutes time his posture took a shape as if Krole was in his 'Namaz'. Saunders and I could clearly see that his feet were not touching the floor any more and he was not sitting on the chair — his body was entirely suspended in the air.
From somewhere the smell of 'Itr' (an Arabic essence) was coming and the moment I recognized it, there was a little 'Thud' and I found a pearl 'prayer beads' on the table in front of Krole's head I could identify, that was a 'Tasbeeh', which is very popular among Muslim devotees.
Surprise was waiting for us — all the pearls came out individually; arranged themselves in a specific manner, which seemed to be a line written in Arabic, which read— 'be successful'.
After ten seconds the line got dismantled and again got arranged as a new line in Arabic — 'The price of gold'.
I started thinking what did the spirit mean by this and then for the third time the pearls got re-arranged to write —'The price of life'. And then all of a sudden they all vanished.
Krole's body then fell down on the chair with a heavy 'thud'. When I explained the writing to Saunders he said "Success, I understand, but 'the price of gold is the price of life?' What does that mean?"
Krole did not have any satisfactory answer for that, he said he was in a trance and he couldn’t remember what all he had done during the time.
In my opinion we do not need to get worried about the second and the third sentence — 'Be successful' is enough.
Even when we were coming out of the room after the planchet, the bat was still hanging from the ceiling.

Would it go tomorrow or it would stay in our laboratory permanently?

pls find the prev. part of this story in the July Issue of Megher Khata, and read the last part in the next issue.

Thursday, September 20, 2012

Smile of the month



An amazing result of a great study

Sri Yantra created in an electronic sound field (tonoscope) during an experiment by Dr. Jenny. Same experience is sensed when the Sri Chakra patern 'dematerializes', apearing to disolve into a blissful all encompassing web of spoken mantras



Idea of the month - 'Let's play handball'




Article of the month - Salil Choudhuri, The Immortal Musician


āϏāϞিāϞ āϚৌāϧুāϰী




‘āĻ­াāϞ āĻļিāϞ্āĻĒী āĻšāϤে āĻšāϞে āĻ­াāϞ āϰাঁāϧিāϝ়ে āĻ“ āĻ­াāϞ āĻŽāύেāϰ āĻŽাāύুāώ āĻšāϤে āĻšāĻŦে। āϰাāύ্āύা āĻšāĻ“āϝ়া āϚাāχ āφāϰ্āϟিāϏ্āϟিāĻ•। āĻĻেāĻ– āύা āφāĻŽি āϝে āĻĻিāύ āĻ•āώা āĻŽাংāϏ āϰাঁāϧি āĻŦাāϚ্āϚাāϰা āϏে āĻĻিāύ āĻ•āϤ āĻ­াāϤ āĻ–াāϝ়!’ āĻ•āĻĨাāĻ—ুāϞি āϏāϞিāϞ āϚৌāϧুāϰীāϰ। āϏāĻŦ্āϜিāϰ āϏāĻ™্āĻ—ে āϏāĻ িāĻ• āωāĻĒāĻ•āϰāĻŖ āύা āĻĻিāϞে āϝেāĻŽāύ āϰাāύ্āύা āϏুāϏ্āĻŦাāĻĻু āĻšāϝ় āύা, āϤেāĻŽāύāχ āϏুāϰেāϰ āϜাāĻĻুāĻ•āϰ āϏāϞিāϞ āϚৌāϧুāϰী āϜাāύāϤেāύ āĻ•āĻĨা āĻ“ āϏুāϰেāϰ āĻ—āĻ­ীāϰ āϰāϏাāϝ়āύ। āϤাঁāϰ āϏেāχ āϏāĻŦ āĻ•াāϞāϜāϝ়ী āĻ—াāύ āφāϜāĻ“ āĻŽাāύুāώেāϰ āĻŽāύে āϚিāϰ āϏāĻŦুāϜ।

āϜāύ্āĻŽ āĻĻāĻ•্āώিāĻŖ ⧍ā§Ē āĻĒāϰāĻ—āύাāϰ āĻ—াāϜীāĻĒুāϰে āĻŽাāĻŽাāϰ āĻŦাāĻĄ়িāϤে ⧧⧝⧍ā§Ģ āϏাāϞেāϰ ⧧⧝ āύāĻ­েāĻŽ্āĻŦāϰ। āĻŦাāĻŦা āϚিāĻ•িā§ŽāϏāĻ• āϜ্āĻžাāύেāύ্āĻĻ্āϰāύাāĻĨ āϚৌāϧুāϰী, āĻŽা āĻŦিāĻ­াāĻŦāϤী āĻĻেāĻŦী।

āϏাāϰা āϜীāĻŦāύে āĻĒেāϝ়েāĻ›েāύ āĻŦāĻšু āĻĒুāϰāϏ্āĻ•াāϰ। āĻĢিāϞ্āĻŽāĻĢেāϝ়াāϰ āĻ…্āϝাāĻ“āϝ়াāϰ্āĻĄ (⧧⧝ā§Ģā§­), āĻŦিāĻāĻĢāϜেāĻ āĻ…্āϝাāĻ“āϝ়াāϰ্āĻĄ (⧧⧝⧭⧍), āύিāϜেāϰ āĻĒāϰিāϚাāϞāύাāϝ় ‘āĻĒিāĻž্āϜāϰে āĻ•ে āĻĒāĻž্āĻ›ী’āϰ āϜāύ্āϝ āωāϤ্āϤāϰāĻĒ্āϰāĻĻেāĻļ āϜাāϰ্āύাāϞিāϏ্āϟ āĻ…্āϝাāĻ“āϝ়াāϰ্āĻĄ (ā§§ā§¯ā§Žā§Ģ), āφāϞাāωāĻĻ্āĻĻিāύ āϏ্āĻŽৃāϤি āĻĒুāϰāϏ্āĻ•াāϰ (ā§§ā§¯ā§Žā§Ģ), āϏāĻ™্āĻ—ীāϤ āύাāϟāĻ• āĻ…্āϝাāĻ•াāĻĄেāĻŽি āĻ…্āϝাāĻ“āϝ়াāϰ্āĻĄ (ā§§ā§¯ā§Žā§Ž), āĻ•্āϰিāϝ়েāϟিāĻ­ āĻŽিāωāϜিāĻ•েāϰ āϜāύ্āϝ āĻŽāĻšাāϰাāώ্āϟ্āϰ āĻ—ৌāϰāĻŦ āĻĒুāϰāϏ্āĻ•াāϰ (⧧⧝⧝ā§Ļ) āωāϞ্āϞেāĻ–āϝোāĻ—্āϝ।

āϤাঁāϰ āĻ—াāύ āĻŦাংāϞা āĻ›াāĻĄ়াāĻ“ āĻŽাāϞāϝ়াāϞāĻŽ, āϤাāĻŽিāϞ, āϤেāϞেāĻ—ু, āĻ•āύ্āύāĻĄ়, āĻ—ুāϜāϰাāϤি, āĻŽāϰাāĻ ি, āĻ“āĻĄ়িāϝ়া, āĻ…āϏāĻŽিāϝ়া āĻ“ āĻĒāĻž্āϜাāĻŦি āĻ­াāώাāϝ় āĻĒāϰিāĻŦেāĻļিāϤ āĻšāϝ়েāĻ›িāϞ।

āϏ্āϤ্āϰী āϏāĻŦিāϤা āϚৌāϧুāϰীāϰ āĻ•āĻĨাāϝ়: āĻ“ঁāϰ āϜāύ্āĻŽāĻĻিāύে āĻŦাāĻĄ়িāϤে āĻŦāĻšু āĻŽাāύুāώ āφāϏāϤেāύ। āϏāĻŦাāχāĻ•ে āĻšāϝ়āϤো āϚিāύāϤাāĻŽāĻ“ āύা। āφāĻŽি āϚāϟি āĻ—ুāύে āĻšাঁāĻĄ়িāϤে āϚাāϝ়েāϰ āϜāϞ āĻŦāϏাāϤাāĻŽ। āϏāĻ•াāϞ āĻĨেāĻ•ে āĻĒাāϝ়েāϏেāϰ āĻ–োঁāϜ āĻ•āϰāϤেāύ। āĻĒাāϝ়েāϏ āĻ–েāϤে āĻ–ুāĻŦ āĻ­াāϞāĻŦাāϏāϤেāύ। āĻ…āϤ্āϝāύ্āϤ āĻĒ্āϰিāϝ় āĻ›িāϞ āĻ›াāϤু-āĻŽুāĻĄ়ি। āϏাāϰা āĻŽুāĻ–ে āĻ›াāϤু āĻŽেāĻ–ে āϝāĻ–āύ āĻ–েāϤেāύ āϏেāϟি āĻ›িāϞ āĻĻেāĻ–াāϰ āĻŽāϤো।

āϏāϞিāϞেāϰ ā§Ŧā§ĻāϤāĻŽ āϜāύ্āĻŽāĻĻিāύāϟি āĻ–ুāĻŦ āωāϞ্āϞেāĻ–āϝোāĻ—্āϝ। āφāĻŽাāĻĻেāϰ ‘āφāĻ•াāĻļāĻĻীāĻĒ’ āĻĢ্āϞ্āϝাāϟে āĻĻ্āĻŦিāϜেāύāĻĻা, āĻŦāύāĻļ্āϰী, āĻ•্āϝাāϞāĻ•াāϟা āĻ•āϝ়্āϝাāϰেāϰ āĻ›েāϞেāĻŽেāϝ়েāϰা, āφāĻŽাāĻĻেāϰ āĻĻāϞেāϰ āĻ›েāϞেāĻŽেāϝ়েāϰা, āφāĻŽাāϰ āĻĻুāχ āĻ›েāϞে āϏুāĻ•াāύ্āϤ āĻ“ āϏāĻž্āϜāϝ় āĻāĻŦং āĻĻুāχ āĻŽেāϝ়ে āĻ…āύ্āϤāϰা āĻ“ āϏāĻž্āϚাāϰীāĻ•ে āύিāϝ়ে āϏে āĻĻিāύেāϰ āĻĒāϰিāĻŦেāĻļ āĻ›িāϞ āĻ—āĻŽāĻ—āĻŽে। āφāϰ āĻ›িāϞ āĻ…āĻ­িāϜিāϤেāϰ āĻ›েāϞে āĻ…āĻŽিāϤ। āĻšāĻ াā§Ž āĻ…āĻŽিāϤāĻ•ে āĻĄেāĻ•ে āϏāϞিāϞ āϚুāĻĒি āϚুāĻĒি āĻŦāϞāϞেāύ, ‘āĻāĻ•āϟা āĻŦাāϞ্āĻŦ āĻ•িāύে āύিāϝ়ে āφāϝ়, āĻ–ুāĻŦ āĻĻāϰāĻ•াāϰ।’ āϏেāϟিāĻ•ে āĻāĻ•āϟি āϞ্āϝাāĻŽ্āĻĒāϏ্āϟ্āϝাāύ্āĻĄে āφāϟāĻ•ে āĻĻিāϞেāύ। āϜāύ্āĻŽāĻĻিāύেāϰ āĻ…āύুāώ্āĻ াāύ āĻļুāϰু। āϏāϞিāϞ āĻŦāϞāϞেāύ, ‘āϏāĻŦ āφāϞো āύিāĻ­িāϝ়ে āĻĻাāĻ“। āĻļুāϧু āĻ“āχ āĻŦাāϞ্āĻŦ āϜ্āĻŦāϞāĻŦে।’ āĻ•েāĻ• āĻ•াāϟা āĻšāϞ। āĻŦ্āϝাāĻĒাāϰāϟা āϏāĻ•āϞেāϰ āĻŦুāĻে āĻ“āĻ াāϰ āφāĻ—ে āĻŦāϞāϞেāύ, ‘āĻĻেāĻ– āφāĻŽাāϰ āϜāύ্āĻŽāĻĻিāύ āĻĒাāϞāύ āĻšāϚ্āĻ›ে। āĻŦāϞāϤো āĻ•āϤ āĻ“āϝ়াāϟেāϰ āĻŦাāϞ্āĻŦ āϜ্āĻŦāϞāĻ›ে?’ āĻŦāύāĻļ্āϰী āϏে āĻĻিāύ āĻ“ঁāĻ•ে āĻ•েāĻ• āĻ–াāχāϝ়েāĻ›িāϞ।

āĻ“ঁāϰ āϜāύ্āĻŽāĻĻিāύে āωāĻĒāϏ্āĻĨিāϤ āĻĨাāĻ•āϤ āĻĻেāĻŦāϜ্āϝোāϤি, āϞাāϞ্āϟু (āĻ—িāϟাāϰ), āĻŦাāĻĒি (āĻ—িāϟাāϰ), āϤাāĻĒāϏ (āĻ…্āϝাāĻ•োāϰ্āĻĄিāϝ়াāύ)। āφāϏāϞে āϏāϞিāϞ āϚৌāϧুāϰীāϰ āĻŽিāωāϜিāĻ•েāϰ āĻĻāϞ āĻĨাāĻ•āϞেāχ āϏেāĻ–াāύে āϏৃāώ্āϟি āĻšāϤ āϏ্āĻŦāϰ্āĻ—। āφāϏāϤেāύ āĻ…āϰুāĻŖ āĻ­াāĻĻুāĻĄ়ি। āϚāϞāϤ āĻļাāϏ্āϤ্āϰীāϝ় āϏāĻ™্āĻ—ীāϤেāϰ āĻ…āύুāώ্āĻ াāύ।

āφāĻŽি āĻĒ্āϰāĻŦাāϏী āĻŦাāĻ™াāϞি। āĻ›োāϟāĻŦেāϞা āĻĨেāĻ•েāχ āĻ•āϞāĻ•াāϤা āφāĻŽাāϰ āĻ•াāĻ›ে āĻāĻ•āĻŦাāϰে āύāϤুāύ āĻāĻ• āĻļāĻšāϰ। āĻŽাāĻে āĻŽাāĻে āĻŽা-āĻŦাāĻŦা āĻ“ āĻ­াāχāĻĻেāϰ āϏāĻ™্āĻ—ে āĻŽাāĻŽাāĻŦাāĻĄ়ি āĻ•োāύ্āύāĻ—āϰে āϝেāϤাāĻŽ। āĻ•āĻ–āύāĻ“ āĻ•āĻ–āύāĻ“ āĻ•āϞāĻ•াāϤাāϰ āϚাংāĻ“āϝ়াāϤে āϞাāĻž্āϚ āĻ…āĻĨāĻŦা āĻĄিāύাāϰ āĻ•āϰāϤাāĻŽ। āĻ•িāύ্āϤু āφāĻŽাāϰ āϏ্āĻŦাāĻŽী āϏāϞিāϞ āϚৌāϧুāϰীāϰ āϚোāĻ– āĻĻিāϝ়ে āφāĻŽি āĻĻেāĻ–āϞাāĻŽ āĻāĻ• āϏāĻ™্āĻ—ীāϤেāϰ āĻļāĻšāϰāĻ•ে। āφāϰ āϏে āĻļāĻšāϰেāϰ āύাāĻŽ āĻ•āϞāĻ•াāϤা।

⧧⧝ā§Ģ⧍āϤে āύিāϜেāϰ āĻ—āϞ্āĻĒ ‘āĻĻো āĻŦিāϘা āϜāĻŽিāύ’ āύিāϝ়ে āĻŦিāĻŽāϞ āϰাāϝ়েāϰ āĻĄাāĻ•ে āĻ—েāϞেāύ āĻŽুāĻŽ্āĻŦāχ। āĻāϰāχ āĻŦাংāϞা āĻ›āĻŦি ‘āϰিāĻ•্āϏাāĻ“āϝ়াāϞা’ āĻŽুāĻ•্āϤি āĻĒেāϝ়েāĻ›িāϞ ⧧⧝ā§Ģā§ĢāϤে। āĻĒāϰেāϰ āĻŦāĻ›āϰ ‘āϜাāĻ—āϤে āϰāĻšো’āϰ āĻĒাāĻļাāĻĒাāĻļি āĻŦিāĻŽāϞ āϰাāϝ়েāϰ āĻ›āĻŦি ‘āĻŽāϧুāĻŽāϤি’ āĻ“ঁāϰ āϜীāĻŦāύে āĻāĻ•āϟা ‘āϟাāϰ্āύিং āĻĒāϝ়েāύ্āϟ’।

āĻĨাāĻ•āϤাāĻŽ āĻŽুāĻŽ্āĻŦāχāϤে। āĻāĻ• āĻĻিāύ āĻ…āϞ āχāύ্āĻĄিāϝ়া āϰেāĻĄিāĻ“ āĻĨেāĻ•ে āϏāϞিāϞ āϚৌāϧুāϰীāϰ āĻ•āĻĨাāϤেāχ (⧧⧝ā§Ģā§Ž) āĻĢোāύ āĻāϞ āφāĻŽাāϰ āĻ•াāĻ›ে। āϰāĻŽ্āϝāĻ—ীāϤি āĻ—াāχāϤে āĻšāĻŦে। āĻ—াāχāϞাāĻŽ ‘āĻšāϞুāĻĻ āĻ—াঁāĻĻাāϰ āĻĢুāϞ’ āĻ—াāύāϟি। āϏে āĻĻিāύ āĻĨেāĻ•ে āφāĻŽাāϰ āύাāĻŽেāϰ āφāĻ—ে ‘āĻļিāϞ্āĻĒী’ āĻļāĻŦ্āĻĻāϟি āϝুāĻ•্āϤ āĻšāϞ। ‘āĻšāϞুāĻĻ āĻ—াঁāĻĻাāϰ āĻĢুāϞ’ āĻ—াāύāϟিāϰ āĻ•āĻĨা āĻ“ āϏুāϰ āϏāϞিāϞ āϚৌāϧুāϰীāϰ। āϏেāχ āĻĒ্āϰāĻĨāĻŽ āĻ“ঁāϰ āĻ—াāύ āĻŦাংāϞাāϝ় āϰেāĻ•āϰ্āĻĄিং āĻ•āϰāϞাāĻŽ। āĻ•āĻĨা, āϏুāϰ, āĻ›āύ্āĻĻ āύিāϝ়ে āύিāϰāύ্āϤāϰ āĻ—āĻŦেāώāĻŖা āĻ›িāϞ āĻ“ঁāϰ āϰāĻ•্āϤে। āϏুāϰেāϰ āĻŦ্āϝাāĻĒাāϰে āĻŦāϞি, ‘āĻŽāϧুāĻŽāϤি’ āϏিāύেāĻŽাāϰ ‘āϘāĻĄ়ি āϘāĻĄ়ি āĻŽোāϰা āĻĻিāϞ āϧāĻĄ়āĻ•ে’ āĻ—াāύāϟিāϰ āĻŦ্āϝাāĻ•āĻ—্āϰাāωāύ্āĻĄ āĻŽিāωāϜিāĻ• āĻĻিāϝ়ে āĻŦাঁāϧāϞেāύ ‘āĻšāϞুāĻĻ āĻ—াঁāĻĻাāϰ āĻĢুāϞ’ āĻ—াāύāϟিāĻ•ে। āĻāχ āϏিāύেāĻŽাāϝ় ā§§ā§§āϟি āĻ—াāύেāϰ āϏুāϰ āĻĻিāϝ়েāĻ›িāϞেāύ। ⧧⧝ā§Ģā§­-āϤে āĻ—াāύেāϰ āϜāύ্āϝ āϞāϤাāϜি āĻ“ āϏুāϰেāϰ āϜāύ্āϝ āϏāϞিāϞ āĻĒ্āϰāĻĨāĻŽ āĻĢিāϞ্āĻŽāĻĢেāϝ়াāϰ āĻ…্āϝাāĻ“āϝ়াāϰ্āĻĄ āĻĒাāύ।

ā§§ā§­ āĻŦāĻ›āϰ āĻŦāϝ়āϏ, āĻ›াāϤ্āϰāϜীāĻŦāύেāϰ āĻāĻ• āĻĒāϰāĻŽ āĻ…āϧ্āϝাāϝ়। āĻŦāĻ™্āĻ—āĻŦাāϏী āĻ•āϞেāϜ āĻĨেāĻ•ে āϏāϞিāϞ āϚৌāϧুāϰীāϰ āĻ•ৃāώāĻ• āφāύ্āĻĻোāϞāύ āĻļুāϰু। āϤেāĻ­াāĻ—া āφāύ্āĻĻোāϞāύেāϰ āϜāύ্āϝ āϏুāϰে āĻ•āĻĨাāϝ় āĻĒ্āϰāĻĨāĻŽ āĻ—াāύ ‘āĻšেāχ āϏাāĻŽাāϞো āϧাāύ āĻšো’ āωāĻĻ্āĻŦেāϞিāϤ āĻ•āϰে āϤুāϞāϞ āφāύ্āĻĻোāϞāύāĻ•াāϰী-āϏāĻš āφāĻĒাāĻŽāϰ āϜāύāϏাāϧাāϰāĻŖāĻ•ে। āĻŽাāύুāώেāϰ āĻŽāύে āĻļিāĻšāϰāĻŖ āϜাāĻ—াāύো ‘āφāϰ āϝুāĻĻ্āϧ āύāϝ়, āφāϰ āϰāĻ•্āϤ āύāϝ়’, ‘āĻ“ āφāϞোāϰ āĻĒāĻĨ āϝাāϤ্āϰী’, ‘āĻĒ্āϰাāύ্āϤāϰেāϰ āĻ—াāύ āφāĻŽাāϰ’, ‘āĻ…āĻŦাāĻ• āĻĒৃāĻĨিāĻŦী’, ‘āϰাāύাāϰ’, ‘āĻāĻĄ়েāϰ āĻ•াāĻ›ে āϰেāĻ–ে āĻ—েāϞাāĻŽ āφāĻŽাāϰ āĻ িāĻ•াāύা’, ‘āĻ•োāύāĻ“ āĻāĻ• āĻ—াঁāϝ়েāϰ āĻŦāϧূ’, ‘āĻāĻ•āϟি āĻŽোāϰāĻ—েāϰ āĻ•াāĻšিāύি’ āĻāĻŽāύ āĻ•āϤ āĻļāϤ āĻ—াāύ āĻŽাāύুāώāĻ•ে āϘুāĻŽ āĻĨেāĻ•ে āϜাāĻ—িāϝ়ে āϤুāϞāϞ। āϝা āφāϜāĻ“ āĻļুāύāϞে āĻŦা āĻ—াāχāϞে āĻŽāύ āωāϜ্āϜীāĻŦিāϤ āĻšāϝ়। āφāϰāĻ“ āĻāĻ•āϟি āωāϞ্āϞেāĻ–āϝোāĻ—্āϝ āĻ—াāύ ‘āĻāχ āϰোāĻ•ো, āĻĒৃāĻĨিāĻŦীāϰ āĻ—াāĻĄ়িāϟা āĻĨাāĻŽাāĻ“’। āφāϧুāύিāĻ• āĻŦাংāϞা āĻ“ āĻšিāύ্āĻĻি āĻ—াāύ āĻ›াāĻĄ়াāĻ“ āĻŦāĻšু āϏিāύেāĻŽা āĻāĻŦং āϞোāĻ•āϏুāϰেāϰ āĻ—াāύ āĻŽাāύুāώেāϰ āϜীāĻŦāύāĻ•ে āφāϰāĻ“ āĻ—āϤিāĻŽāϝ় āĻ•āϰে āϤুāϞেāĻ›ে।

āϤিāύিāχ āϤো āϏেāχ āĻŽাāύুāώ āϝিāύি āĻāĻ•āϧাāϰে āϏুāϰāĻ•াāϰ, āĻ—ীāϤিāĻ•াāϰ, āĻ—াāϝ়āĻ• āĻ“ āĻ•āĻŦি āϝিāύি āφāĻŽাāĻĻেāϰ āϜীāĻŦāύে āĻ—াāύেāϰ āĻĒāĻĨ āĻĻেāĻ–িāϝ়ে āĻ—িāϝ়েāĻ›েāύ। āϏোāύাāϰāĻĒুāϰেāϰ āĻ•োāĻĻাāϞিāϝ়া āĻ—্āϰাāĻŽে āĻĻিāĻĻিāĻŽাāϰ āϏāĻ™্āĻ—ে āĻĨাāĻ•āϤেāχ āĻ•ৃāώāĻ• āφāύ্āĻĻোāϞāύেāϰ āϏāĻ™্āĻ—ে āϜāĻĄ়িāϝ়ে āĻĒāĻĄ়েāĻ›িāϞেāύ āφāϰāĻ“ āύিāĻŦিāĻĄ় āĻ­াāĻŦে। āϏāĻ­া āϚāϞাāĻ•াāϞীāύ āϝে āϏāĻŦ āϜাāĻ—āϰāĻŖেāϰ āĻ—াāύ āĻŦেঁāϧেāĻ›েāύ, āϏুāϰ āĻ•āϰেāĻ›েāύ āϤাāϰ āωāĻĻাāĻšāϰāĻŖ āωāϜ্āϜ্āĻŦāϞ। ⧧⧝ā§Ēā§Ŧ-āĻāϰ ⧍⧝ āϜুāϞাāχ āĻļāĻšিāĻĻ āĻŽিāύাāϰেāϰ āύীāϚে āĻ•āϝ়েāĻ• āϞāĻ•্āώ āĻŽাāύুāώেāϰ āϏাāĻŽāύে āĻŦাāĻŦাāϰ āĻĻেāĻ“āϝ়া āĻšাāϰāĻŽোāύিāϝ়াāĻŽে āϏে āĻĻিāύ āϝে āϏāĻŦ āĻ—াāύ āĻ—েāϝ়েāĻ›িāϞেāύ āϤাāϤে āĻŽাāύুāώ āĻ•াঁāϧে āĻ•āϰে āĻ•āϏāĻŦাāϰ āĻŦাāĻĄ়িāϤে āĻĒৌঁāĻ›ে āĻĻিāϝ়েāĻ›িāϞেāύ āϏāϞিāϞ āϚৌāϧুāϰীāĻ•ে।

āĻ•āύ্āϝা āĻ…āύ্āϤāϰা āϚৌāϧুāϰীāϰ āĻ•āĻĨাāϝ়: āφāĻŽাāϰ āĻĒ্āϰাāϰ্āĻĨāύা āĻāχ āϰāĻ•āĻŽ āĻŦাāĻŦা-āĻŽা āϝেāύ āϜāύ্āĻŽ-āϜāύ্āĻŽাāύ্āϤāϰ āϧāϰে āĻĒাāχ। āĻ›োāϟāĻŦেāϞাāϰ āĻ•āĻĨা āĻ–ুāĻŦ āĻŽāύে āĻĒāĻĄ়ে। āφāĻŽি āĻ•োāύāĻ“ āĻ—াāύ āĻ•āϰāϞেāχ āφāĻŽাāĻ•ে āĻ•োāϞে āϤুāϞে āύিāϤেāύ āĻŦাāĻŦা। āϏেāϟাāχ āĻ›িāϞ āφāĻŽাāϰ āĻļ্āϰেāώ্āĻ  āĻĒুāϰāϏ্āĻ•াāϰ। āϝāĻ–āύ āφāĻŽাāĻ•ে āĻŦāϞāϤেāύ, āĻ›োāϟ āφāĻŽ্āĻŽা āĻ•ে? āφāĻŽি āĻ›ুāϟ্āϟে āϚāϞে āφāϏāϤাāĻŽ āĻŦাāĻŦাāϰ āĻ•াāĻ›ে। āĻĒāϰে āϝāĻ–āύ āφāĻŽাāϰ āĻŦোāύ āϏāĻž্āϚাāϰীāϰ āϜāύ্āĻŽ āĻšāϞ āϤāĻ–āύāĻ“ āĻŦাāĻŦা āĻŦāϞāϤেāύ āĻ“āχ āĻ•āĻĨাāĻ—ুāϞো। āĻŦোāύ āφāϰ āφāĻŽি āĻĻু’āϜāύেāχ āĻĻৌāĻĄ়ে āφāϏāϤাāĻŽ। āφāϰ āĻŦোāύেāϰ āϏāĻ™্āĻ—ে āφāĻŽাāϰ āĻāĻ—āĻĄ়া āϞেāĻ—ে āϝেāϤ।

āĻŦাāĻŦা āĻŦāϞāϤেāύ, āϏাāϧāύা āĻ•āϰে āϝাāĻ“। āĻŽাāύুāώ āĻāĻ• āĻĻিāύ āĻ িāĻ• āĻŦুāĻāϤে āĻĒাāϰāĻŦে। āĻ•িāύ্āϤু āĻāĻ–āύ āϝা āϏāĻŦ āĻĻেāĻ–ি āϤা āϝেāύ āĻŽেāϞাāϤে āĻĒাāϰি āύা। āϤāĻŦুāĻ“ āĻŽāύেāϰ āĻļাāύ্āϤি, āĻŦাāĻŦা-āĻŽাāϝ়েāϰ āφāĻĻāϰ্āĻļ āĻŽেāύে āϚāϞেāĻ›ি।

āĻŦাāĻŦাāĻ•ে āϤো āĻ­োāϞা āϝাāϝ় āύা। āϤāĻŦুāĻ“ āĻāχ āύāĻ­েāĻŽ্āĻŦāϰ āĻŽাāϏ āĻŦাāĻŦাāϰ āϜāύ্āĻŽ āĻŽাāϏ। āĻ…āύেāĻ• āϏ্āĻŽৃāϤি, āĻ…āύেāĻ• āĻĢোāύ, āĻ…āύেāĻ• āĻŽাāύুāώেāϰ āĻļুāĻ­েāϚ্āĻ›া...। āϏāϞিāϞ āϚৌāϧুāϰী āĻĢাāωāύ্āĻĄেāĻļāύ āĻ…āĻĢ āĻŽিāωāϜিāĻ•-āĻāϰ āĻĒāĻ•্āώ āĻĨেāĻ•ে ‘āϏāϞিāϞ āϰāϚāύা āϏংāĻ•āϞāύ’-āĻāϰ āĻ•াāϜ āϚāϞāĻ›ে। āĻĨাāĻ•āĻ›ে āϏাāϰা āϜীāĻŦāύে āĻŦাংāϞাāϝ় āϏুāϰ āĻ•āϰা āϝাāĻŦāϤীāϝ় āĻ—াāύ। āϏিāύেāĻŽা, āφāϧুāύিāĻ•, āĻ…āĻĒ্āϰāĻ•াāĻļিāϤ āĻŦাংāϞা āĻ—াāύ-āϏāĻš āύাāύা āϜাāϝ়āĻ—া āĻĨেāĻ•ে āφāĻŽāϰা āϝা āϏংāĻ—্āϰāĻš āĻ•āϰāϤে āĻĒেāϰেāĻ›ি āϏāĻŦāχ āϰাāĻ–াāϰ āϚেāώ্āϟা āĻ•āϰāĻ›ি āϤাāϤে। āϏāĻ™্āĻ—ে āĻĨাāĻ•āĻ›ে āϏুāĻ•াāύ্āϤ āĻ­āϟ্āϟাāϚাāϰ্āϝেāϰ āĻ•āĻŦিāϤাāϝ় āϏুāϰ āĻĻেāĻ“āϝ়া āϏেāχ āϏāĻŦ āĻ—াāύ, āϏুāĻ­াāώ āĻŽুāĻ–োāĻĒাāϧ্āϝাāϝ়েāϰ ‘āĻ…āĻ—্āύি āĻ•োāĻŖেāϰ āϤāϞ্āϞাāϟ’, āĻ…āύ্āύāĻĻাāĻļāĻ™্āĻ•āϰ āϰাāϝ়েāϰ āϞেāĻ–া āφāĻŽাāϰ āĻ›োāϟāĻŦেāϞাāϰ āĻ—াāύ ‘āϤেāϞেāϰ āĻļিāĻļি āĻ­াāĻ™āϞো āĻŦāϞে’ āĻ›াāĻĄ়া āĻŦāĻšু āĻ•āĻŦিāϤাāĻ“ āĻĨাāĻ•āĻ›ে āϝেāĻ–াāύে āĻŦাāĻŦাāϰ āĻ•াāϜ āĻ•োāύāĻ“ āύা āĻ•োāύāĻ“ āĻ­াāĻŦে āϜāĻĄ়িāϝ়ে āφāĻ›ে।

āĻ•āϞ্āϝাāĻŖ āϏেāύāĻŦāϰাāϟ-āĻāϰ āĻ•āĻĨাāϝ়: āϏāϞিāϞ āϚৌāϧুāϰীāϰ āϏāĻ™্āĻ—ে āφāĻŽাāϰ āϏāĻŽ্āĻĒāϰ্āĻ• āĻ—ুāϰু-āĻļিāώ্āϝেāϰ। āϝāĻ–āύ āĻ•āϝ়্āϝাāϰ āĻļুāϰু āĻ•āϰি āϤāĻ–āύ āϤিāύি āĻ…āĻ­িāĻ­াāĻŦāĻ• āĻšিāϏেāĻŦে āĻĒāĻĨ āĻĻেāĻ–িāϝ়েāĻ›েāύ। āφāĻŽাāĻĻেāϰ āĻĒ্āϰāĻĨāĻŽ āĻ•্āϝাāϏেāϟ ‘āĻāĻ™্āĻ•াāϰ’ āĻ“ঁāϰ āύিāϜেāϰ āĻ•োāĻŽ্āĻĒাāύি āϏিāĻāĻŽāφāϰ (āϏেāύ্āϟাāϰ āĻĢāϰ āĻŽিāωāϜিāĻ• āϰিāϚাāϰ্āϏ) āĻĨেāĻ•ে āĻĒ্āϰāĻ•াāĻļিāϤ āĻšāϝ়। āύিāϜেāχ āωāĻĻ্āϝোāĻ•্āϤা āĻ›িāϞেāύ। ā§Ēāϟি āĻ—াāύ āĻ›িāϞ āĻ“ঁāϰ āϏুāϰে āĻ“ āĻ•āĻĨাāϝ়। āĻ•āϝ়্āϝাāϰেāϰ āĻ…āύুāώ্āĻ াāύে āϏāĻŽāĻŦেāϤ āĻ—াāύেāϰ āϜāύ্āϝ āϏāĻŦ āϏāĻŽāϝ় āĻĄাāĻ•āϤেāύ। āĻŽāĻšāĻĄ়া āϚāϞāϤ āĻāĻ•āϟাāύা। āĻšাāϤে āĻ•āϞāĻŽে āĻļিāĻ–িāϝ়েāĻ›েāύ āϏāĻ™্āĻ—ীāϤ āĻĒāϰিāĻŦেāĻļāύ āĻ•āϰা āĻĨেāĻ•ে āϏāĻ™্āĻ—ীāϤ āĻĒāϰিāϚাāϞāύাāϰ āϝাāĻŦāϤীāϝ় āĻ–ুঁāϟিāύাāϟি। āĻāĻ•āϟি āϏ্āĻŽৃāϤি āφāϜ āĻŦāĻĄ় āĻŽāύে āĻĒāĻĄ়āĻ›ে āϤাঁāϰ āĻāχ āϜāύ্āĻŽ āĻŽাāϏে।

āĻāĻ• āϰāĻŦিāĻŦাāϰে āĻŽāύ্āϟুāĻĻাāϰ (āϘোāώ) āϏāĻ™্āĻ—ে āĻ—িāϝ়েāĻ›িāϞাāĻŽ āϏāϞিāϞ āϚৌāϧুāϰীāϰ āφāĻ•াāĻļāĻĻীāĻĒ āĻĢ্āϞ্āϝাāϟে। āϏেāĻ–াāύে āĻ—াāύāĻŦাāϜāύা āύিāϝ়েāχ āĻ•āĻĨাāĻŦাāϰ্āϤা āϚāϞāϞ। āϤাāϰāχ āĻŽāϧ্āϝে āĻŽāύে āĻšāϝ় āϤিāύি āĻŦুāĻে āĻ—িāϝ়েāĻ›িāϞেāύ āφāĻŽাāĻĻেāϰ āĻĻāϞেāϰ āϝা āĻ•িāĻ›ু, āϏāĻŦ āĻ—াāύ āĻĻিāϝ়ে āϘেāϰা। āĻšāĻ াā§Žāχ āĻĒāϰেāϰ āĻĻিāύ āĻŦিāĻ•েāϞে āύিāϜে āĻ—াāĻĄ়ি āϚাāϞিāϝ়ে āϚāϞে āĻāϞেāύ āφāĻŽাāĻĻেāϰ āĻļিāϝ়াāϞāĻĻāĻšেāϰ āĻŦৈāĻ āĻ•āĻ–াāύাāϰ āĻŦাāĻĄ়িāϤে। āĻĻāϞেāϰ āĻ›েāϞেāĻŽেāϝ়েāϰা āĻšেāĻŽাāĻ™্āĻ— āĻŦিāĻļ্āĻŦাāϏেāϰ ‘āϜāύ āĻŦ্āϰাāωāύ’, ‘āϜāύ āĻšেāύāϰি’, ‘āĻļāĻ™্āĻ– āϚিāϞ’ āĻļোāύাāϞ। āĻ—াāύ āĻļুāύে āϤিāύি āωāϚ্āĻ›্āĻŦāϏিāϤ। āĻ•āϝ়েāĻ•āϟি āϏāϞিāϞāĻĻাāϰāĻ“ āĻ—াāύ āĻļোāύাāύো āĻšāϞ। āĻŦ্āϝāϏ āφāϰ āĻ•āĻĨা āύāϝ়। āĻ—াāύ āϚāϞāϞ āĻŦিāĻ•েāϞ āĻĒাঁāϚāϟা āĻĨেāĻ•ে āϰাāϤ āϏাāĻĄ়ে āĻāĻ—াāϰোāϟা āĻĒāϰ্āϝāύ্āϤ। āϏāϞিāϞāĻĻা āϤāĻ–āύ āĻŽāϧ্āϝ āĻ—āĻ—āύে, āφāϰ āφāĻŽি āύিāϤাāύ্āϤāχ āϏাāϧাāϰāĻŖ āĻāĻ• āĻŽাāύুāώ। āϝāϤ āĻĻিāύ āĻŦেঁāϚেāĻ›িāϞেāύ āϤāϤ āĻĻিāύāχ āĻ…āĻ­িāĻ­াāĻŦāĻ•েāϰ āĻŽāϤো āφāĻŽাāĻĻেāϰ āĻĒāϰাāĻŽāϰ্āĻļ āĻĻিāϝ়ে āĻ—িāϝ়েāĻ›েāύ।

āĻŽৃāϤ্āϝুāϰ āĻĒāϰ āĻ•েāϟে āĻ—েāĻ›ে āĻĻে⧜ āĻĻāĻļāĻ•, āϤাāĻ“ āĻŦাāĻ™্āĻ—াāϞীāϰ āϏāĻ™্āĻ—ীāϤ āĻŽāύāύেāϰ āĻ…āύāύ্āϤ āĻĒ্āϰāĻŦাāĻšে; āφāϜ-āĻ“ āϏāϞিāϞ āϚৌāϧুāϰী। āĻāχ āύাāĻŽāϟা āĻļুāύāϞেāχ āφāύāύ্āĻĻে āĻ•েঁāĻĒে āĻ“āĻ ে āϰোāĻŽāĻ•ূāĻĒ! āĻ­েāϏে āϝা⧟ āĻ…āϤীāϤে। “āϏুāϰেāϰ” āϏেāχ “āĻāϰāĻāϰ āĻāϰ্āĻŖাāϰ” “āϤāϰāϞিāϤ āϚāύ্āĻĻ্āϰিāĻ•াāϰ” –āϤে āĻŽāύ āĻāϟ āĻ•āϰে āϏ্āύাāύ āĻ•āϰে āĻĢেāϞে। āύāĻ­েāĻŽ্āĻŦāϰ ⧧⧝, ⧧⧝⧍⧍, āĻŽāϤাāύ্āϤāϰে ā§§ā§¯ā§¨ā§Š। āĻĻিāύāϟা āĻŦাংāϞা āϏংāĻ—ীāϤেāϰ āϜāĻ—āϤে āĻāĻ•āϟা āĻ—ুāϰুāϤ্āϤ্āĻŦāĻĒূāϰ্āĻŖ āĻĻিāύ। āĻļুāϧু āĻŦাংāϞাāχ āĻŦা āĻŦāϞি āĻ•েāύ! āϏাāϰা āĻ­াāϰāϤেāϰ āϏংāĻ—ীāϤেāϰ āϜāĻ—āϤেāχ āĻāĻ•āϟা āĻŽāĻšāϤ্āϤ্āĻŦāĻĒূāϰ্āĻŖ āĻĻিāύ। āĻšুāĻ—āϞী āϜেāϞাāϰ āĻšāϰিāύাāĻ­ীāϰ āĻŽাāĻšীāύāĻ—āϰ āĻ—্āϰাāĻŽে āϜāύ্āĻŽ āĻāχ āĻ•িংāĻŦāĻĻāύ্āϤী āϏুāϰāĻ•াāϰ, āĻ—ীāϤিāĻ•াāϰ, āϏাāĻšিāϤ্āϝিāĻ• āĻāĻŦং āĻ•āĻŦিāϰ । āφāϏাāĻŽেāϰ āϚা āĻŦাāĻ—াāύে āĻŦাāĻŦা āĻĄাāĻ•্āϤাāϰ āĻ›িāϞেāύ। āĻŦাāĻŦাāϰ āϏংāĻ—্āϰāĻšে āĻĨাāĻ•া āĻĒাāĻļ্āϚাāϤ্āϝ āϏংāĻ—ীāϤ āĻļুāύে āĻļুāύে, āϏুāϰেāϰ āĻŦীāϜ āϤৈāϰী āĻšā§Ÿ āϤাঁāϰ āĻŽāύāύে। āĻ•ি āĻ›িāϞ āϤাঁāϰ āĻŦাāĻŦাāϰ āϏংāĻ—্āϰāĻšে? āĻŦāϞāϤে āĻšā§Ÿ, āĻ•ি āĻ›িāϞ āύা! āĻŽোāĻাāϰ্āϟ, āĻŦিāĻ োāĻ­েāύ,āϚ্āϝাāϞিāĻ•োāĻ­োāϏ্āĻ•ি, āϚāĻĒিāύ। āĻāϰ āϏāĻ™্āĻ—ে āϝোāĻ— āĻšā§ŸেāĻ›িāϞ āĻ“āχ āĻŦাāĻ—াāύে āĻļোāύা- āĻ“āϞা āĻŦিāĻŦিāϰ āĻ—াāύ, āĻļিāĻŦেāϰ āĻ—াāϜāύ, āϝাāϤ্āϰা, āĻĸāĻĒ āĻāϰ āĻ—াāύ, āϏুāϰ āφāϰ āĻ—া⧟āĻ•ী। āĻĢāϞে, āύিāϜেāϰ āĻ…āϜাāύ্āϤেāχ āϤৈāϰী āĻšā§ŸেāĻ›িāϞ āĻāĻ• āĻ…āύāĻŦāĻĻ্āϝ āύিāϜāϏ্āĻŦ āϏুāϰāϞোāĻ•েāϰ। āĻ•োāϞāĻ•াāϤাāϰ āĻŦāĻ™্āĻ—āĻŦাāϏী āĻ•āϞেāϜ āĻĨেāĻ•ে āĻŦি āĻ āĻĒ⧜াāϰ āϏāĻŽā§Ÿ āĻĨেāĻ•েāχ āφāχ. āĻĒি. āϟি. āĻ āϰ āϏংāϏ্āĻĒāϰ্āĻļে āφāϏা। ⧧⧝ā§Ēā§Ē āϏাāϞে āĻ…āĻŦিāĻ­āĻ•্āϤ āĻ•āĻŽিāωāύিāώ্āϟ āĻĒাāϰ্āϟিāϰ āϏāĻ™্āĻ—ে āϝুāĻ•্āϤ āĻšāύ। āĻŦাāĻŦাāĻ•ে āĻĻেāĻ–েāĻ›িāϞেāύ- āĻŦাāĻ—াāύেāϰ āĻ•ুāϞিāĻĻেāϰ āύি⧟ে āύাāϟāĻ• āĻ•āϰāϤে। āĻ•ুāϞিāĻĻেāϰ āϝāύ্āϤ্āϰāĻŖা, āĻļোāώāĻŖ āϤাঁāĻ•ে āύা⧜া āĻĻি⧟েāĻ›িāϞ। ⧧⧝ā§Ēā§Ģ āϏাāϞে āĻŦিāĻĻ্āϝাāϧāϰী āύāĻĻীāϰ āĻŦাāύāĻ­াāϏী āĻ…āĻž্āϚāϞ āĻĻেāĻ–āϤে āĻ—ি⧟ে āϞিāĻ–েāĻ›িāϞেāύ, āĻĒ্āϰāĻĨāĻŽ āĻ—āĻŖāϏāĻ™্āĻ—ীāϤ-“āĻĻেāĻļ āĻ­েāϏেāĻ›ে āĻŦাāύেāϰ āϜāϞে”। āφāϰ āϏেāχ āĻ—াāύ, āĻ—াāύেāϰ āϜāύ্āϝ āĻ—াāύ āύ⧟।āĻŽাāύুāώেāϰ āĻĒ্āϰ⧟োāϜāύেāϰ āϜāύ্āϝ āĻāχ āĻ—াāύ! āĻāϰāĻ•āĻŽ āφāϰāĻ“ āĻ…āύেāĻ• āĻ—াāύ, āϤিāύি āĻĒāϰāĻŦāϰ্āϤী āĻ•াāϞে āϤিāύি āϞিāĻ–েāĻ›েāύ āφāϰ āϏুāϰ āĻĻি⧟েāĻ›েāύ। āύিāϰ্āĻŦাāĻ• āϝুāĻ—ে āϚিāϤ্āϰা āϏিāύেāĻŽা⧟ āĻĒি⧟াāύো āĻŦাāϜি⧟ে āĻĒেāĻļাāĻ—āϤ āϜীāĻŦāύেāϰ āĻļুāϰু। ⧧⧝ā§Ē⧝ āϏাāϞে āϤাঁāϰ āϏুāϰাāϰোāĻĒিāϤ āĻŦাংāϞা āϚāϞāϚিāϤ্āϰ “āĻĒāϰিāĻŦāϰ্āϤāύ” āĻŽুāĻ•্āϤি āĻĒা⧟। āϜুāϞাāχ ā§§ā§Ē, ⧧⧝ā§Ģ⧍ āϏাāϞে āĻŦি⧟ে āĻ•āϰেāύ āϜ্āϝোāϤি āϚৌāϧুāϰীāĻ•ে। āϤিāύāϟি āĻ•āύ্āϝা āϏāύ্āϤাāύāĻ“ āĻšā§Ÿ āϤাঁāϰ- āĻ…āϞāĻ•া, āϤুāϞিāĻ•া āφāϰ āϞিāĻĒিāĻ•া! āϏāύ – ⧧⧝ā§Ģā§Š! āϏāĻĻ্āϝ āĻŦিāĻŦাāĻšিāϤ āϏংāϏাāϰে, āĻ…āĻ­াāĻŦেāϰ āϤা⧜āύাāϤে āĻĒাāϰ্āϟিāϰ āĻ­্āϰুāĻ•ুāϟি āωāĻĒেāĻ•্āώা āĻ•āϰে āĻŦিāĻŽāϞ āϰা⧟েāϰ āĻĄাāĻ•ে āϚāϞে āϝাāύ āĻŦোāĻŽ্āĻŦেāϤে( āĻŽুāĻŽ্āĻŦাāχ)। āϤাঁāϰ āύিāϜেāϰ āϞেāĻ–া āĻ—āϞ্āĻĒ “āϰিāĻ•্āϏাāĻ“ā§ŸাāϞা” āĻĨেāĻ•ে āĻŦিāĻŽāϞ āϰা⧟ āϤৈāϰী āĻ•āϰেāύ āϏেāχ āĻŦিāĻ–্āϝাāϤ āĻšিāύ্āĻĻী āϚāϞāϚিāϤ্āϰ- “āĻĻো āĻŦিāϘা āϜāĻŽিāύ”। āϤাāϰāĻĒāϰ? āφāϰ āĻĢিāϰে āϤাāĻ•াāύ āύি। āϏংāĻ—ীāϤ āĻĒāϰিāϚাāϞāĻ• āύৌāĻļাāĻĻ āĻāĻ•āĻŦাāϰ āϏāϞিāϞāĻĻাāϰ āĻŽাāĻ•ে āϜুāĻšু āĻŦীāϚে āĻĻেāĻ–āϤে āĻĒে⧟ে, āϏাāώ্āϟাāĻ™্āĻ—ে āĻĒ্āϰāĻŖাāĻŽ āĻ•āϰেāύ। āĻŦāϞেāĻ›িāϞেāύ- āĻāĻŽāύ āϰāϤ্āύāĻ—āϰ্āĻ­াāĻ•ে āĻĒ্āϰāĻŖাāĻŽ āĻ•āϰāϤে āĻĒেāϰে āϤিāύি āϧāύ্āϝ। āφāϰāĻ“ āϝোāĻ— āĻ•āϰেāĻ›িāϞেāύ- āϏāϞিāϞāĻĻা āĻšāϚ্āĻ›েāύ āϏুāϰāĻ•াāϰāĻĻেāϰ āϏুāϰāĻ•াāϰ! āϏাāϤāϟি āϏ্āĻŦāϰ āĻ›িāϞ āϤাঁāϰ āĻšাāϤেāϰ āĻ–েāϞাāϰ āĻĒুāϤুāϞ। āĻŽৃāĻŖাāϞ āϏেāύ āĻŦāϞেāĻ›িāϞেāύ- āϏāϞিāϞāĻĻা āĻšāϚ্āĻ›েāύ āφāϧুāύিāĻ• āϏāĻ™্āĻ—ীāϤেāϰ āĻŦ্āϝাāĻ•āϰāĻŖ।āϏ্āĻŦāύাāĻŽāϧāύ্āϝ āĻ—া⧟িāĻ•া āϏুāϚিāϤ্āϰা āĻŽিāϤ্āϰ āĻŦāϞেāĻ›িāϞেāύ- āϰāĻŦীāύ্āĻĻ্āϰ- āύāϜāϰুāϞেāϰ āĻĒāϰāχ āϏāϞিāϞ āϚৌāϧুāϰীāϰ āϏ্āĻĨাāύ। āϏāύ-⧧⧝ā§Ģā§Ž। āϏেāχ āĻŦিāĻ–্āϝাāϤ “āĻŽāϧুāĻŽāϤী”! āϜāύ্āĻŽাāύ্āϤāϰেāϰ āĻ“āĻĒāϰ āĻŦোāϧāĻšā§Ÿ āĻĒ্āϰāĻĨāĻŽ āĻšিāύ্āĻĻী āϚāϞāϚিāϤ্āϰ। āĻ—āϞ্āĻĒ-āĻ‹āϤ্āϤ্āĻŦিāĻ• āϘāϟāĻ•। āĻĒāϰিāϚাāϞāύা- āĻŦিāĻŽāϞ āϰা⧟। āĻ—ীāϤিāĻ•াāϰ- āĻļৈāϞেāύ্āĻĻ্āϰ। ⧍ā§Ļā§Ļā§­ āϏাāϞে āĻĢাāϰāĻšা āĻ–াāύ āϤৈāϰী āĻ•āϰেāύ- āĻ“āĻŽ āĻļাāύ্āϤি āĻ“āĻŽ। “āĻŽāϧুāĻŽāϤী”āϰ āĻ…āύেāĻ• āĻĒ্āϰāĻ­াāĻŦ āĻāχ āϚāϞāϚিāϤ্āϰে āĻĨাāĻ•āϞেāĻ“, āϤাঁāϰা āϏ্āĻŦীāĻ•াāϰ āĻ•āϰেāύ āύি, āϏে āĻ•āĻĨা! āϝাāĻ•, āϏে āĻ•āĻĨা! āϏāĻŦিāϤা āϚৌāϧুāϰীāĻ•ে āĻŦি⧟ে āĻ•āϰে āĻŦোāĻŽ্āĻŦে āĻ›া⧜āϤে āĻŦাāϧ্āϝ āĻšāύ āĻāχ āϏুāϰāĻ•াāϰ। āĻĒ্āϰāϚুāϰ āĻ—āϞ্āĻĒ āϚাāϞু āφāĻ›ে āĻāχ āύি⧟ে। āĻ•িāύ্āϤু āĻĨাāĻ• āϏে āĻ•āĻĨা! āĻŽāϧুāĻŽāϤীāϰ āĻ•āĻĨা āĻšāϚ্āĻ›িāϞ। āĻŽুāĻ•েāĻļেāϰ āĻ•āĻŖ্āĻ ে āϏেāχ āĻŦিāĻ–্āϝাāϤ āĻ—াāύ! “āĻĻিāϞ āϤ⧜āĻĒ āϤ⧜āĻĒ” ! āĻŦāϞা āĻšā§Ÿ, āĻšāϞাāĻŖ্āĻĄেāϰ āϧাāύ āĻ•াāϟাāϰ āĻ—াāύেāϰ āϞ⧟ āĻŦা⧜ি⧟ে āĻāχ āĻ—াāύ āϤিāύি āϤৈāϰী āĻ•āϰেāĻ›িāϞেāύ। āĻ•িāύ্āϤু, āϤাāϤে āĻ•ি āϝা⧟ āφāϏে? āφāĻŽāϰা āϤো āĻĒে⧟েāĻ›ি, āϏেāχ āĻ•াāϞāϜ⧟ী āĻ—াāύ!!!! āĻĢিāϞ্āĻŽāĻĢে⧟াāϰ āĻĒুāϰāϏ্āĻ•াāϰ āĻĒে⧟েāĻ›িāϞ āĻāχ āĻ›āĻŦিāϟি- āĻļুāϧুāĻŽাāϤ্āϰ āϏুāϰেāϰ āϜāύ্āϝ। āĻāχ āĻĒাāĻļ্āϚাāϤ্āϝ āĻĒ্āϰāĻ­াāĻŦ āĻĻেāĻ–া āĻ—েāĻ›ে āϤাঁāϰ āĻĒ্āϰāϚুāϰ āĻ—াāύে। āĻŽোāĻাāϰ্āϟেāϰ āϏিāĻŽ্āĻĢোāύী- ā§Ēā§Ļ āĻ•ে āĻ…āύুāĻ•āϰāĻŖ āĻ•āϰে, āĻšিāύ্āĻĻী āϚāϞāϚিāϤ্āϰ “āĻ›া⧟া”āϰ āϤাঁāϰ āϏেāχ āĻŦিāĻ–্āϝাāϤ āĻ—াāύ- āχāϤāύাāύা āĻŽুāĻāϏে āϤু āĻĒ্āϝাāϰ āĻŦ⧜া! āφāϜāĻ•ে āĻŦিāϚাāϰেāϰ āύাāĻŽে āĻĒ্āϰāĻšāϏāύ āĻĻেāĻ–ে-āϤাঁāϰ āϏেāχ āĻŦিāĻ–্āϝাāϤ āĻ—াāύāϟাāχ āĻŽāύে āĻĒ⧜ে- “āĻŦিāϚাāϰāĻĒāϤি āϤোāĻŽাāϰ āĻŦিāϚাāϰ āĻ•āϰāĻŦে āϝাāϰা, āφāϜ āϜেāĻ—েāĻ›ে āϏেāχ āϜāύāϤা!” āĻšা⧟! āϜāύāϤা āφāϜāĻ“ āϘুāĻŽি⧟ে! āϤাāϰāĻĒāϰ āϏেāχ āĻ—াāύ! āĻšেāχ āϏাāĻŽাāϞো āϧাāύ āĻšো! āĻ•āϤ āφāϰ āĻŦāϞāĻŦ? āϏেāĻĒ্āϟেāĻŽ্āĻŦāϰ ā§Ģ, ⧧⧝⧝ā§Ģ! āϏāϞিāϞāĻĻা, āύিāϜেāχ āĻ­েāϏে āĻ—েāϞেāύ āĻ…āĻĨৈ āĻŽāĻšাāĻ•াāϞে! āĻŦ⧜ āĻĻুঃāĻ– āύি⧟ে āϚāϞে āĻ—েāĻ›িāϞেāύ। āϤাঁāϰ āϏাāϧেāϰ āϰেāĻ•āϰ্āĻĄিং āώ্āϟুāĻĄিāĻ“āϰ āĻĒāĻļ্āϚিāĻŽāĻŦāĻ™্āĻ— āϏāϰāĻ•াāϰেāϰ āϧাāϰ āĻļোāϧ āĻ•āϰāϤে āύা āĻĒেāϰে! āώ্āϟুāĻĄিāĻ“āϰ āύীāϚে āĻĨাāĻ•া āĻāĻ• āĻ•াāϰāĻ–াāύাāϰ āĻ•āĻŽ্āĻĒāύেāϰ āĻŽাāϤ্āϰা āϤিāύি āφāϰ āĻ িāĻ• āĻ•āϰāϤে āĻĒাāϰেāύ āύি! āϏāϞিāϞ āϏাāĻ—āϰেāϰ āϝে āĻāĻ• āĻŦাঁāĻ“ āĻŽেāϞে āύা, āĻĻো āĻŦাঁāĻ“ āĻŽেāϞে āύা..... āĻŽেāϞে āύা āύাāϰে āĻŽেāϞে āύা! .........
āϏāĻŽাāĻĒ্āϤ

Source:- . āφāϜāĻ•াāϞ . āφāύāύ্āĻĻāϞোāĻ• . āφāύāύ্āĻĻāĻŦাāϜাāϰ āĻĒāϤ্āϰিāĻ•া . āωāχāĻ•িāĻĒেāĻĄি⧟া

Archive - Poster of the Bengali film - Joy Baba Felunath by Satyajit Ray, from Victor ghoshe's collection



Sharatkaal By Rabindranath Tagore

āĻļāĻ°ā§ŽāĻ•াāϞ
āϰāĻŦীāύ্āĻĻ্āϰāύাāĻĨ āĻ াāĻ•ুāϰ





āφāĻŦাāϰ āĻļāĻ°ā§ŽāĻ•াāϞ āφāϏিāϝ়াāĻ›ে । āĻāχ āĻļāĻ°ā§ŽāĻ•াāϞেāϰ āĻŽāϧ্āϝে āφāĻŽি āĻāĻ•āϟি āύিāĻŦিāĻĄ় āĻ—āĻ­ীāϰāϤা, āĻāĻ•āϟি āύিāϰ্āĻŽāύ āύিāϰāϤিāĻļāϝ় āφāύāύ্āĻĻ āĻ…āύুāĻ­āĻŦ āĻ•āϰি। āĻāχ āĻĒ্āϰāĻĨāĻŽ āĻŦāϰ্āώা āĻ…āĻĒāĻ—āĻŽে āĻĒ্āϰāĻ­াāϤেāϰ āĻĒ্āϰāĻ•ৃāϤি āĻ•ী āĻ…āύুāĻĒāĻŽ āĻĒ্āϰāϏāύ্āύ āĻŽূāϰ্āϤি āϧাāϰāĻŖ āĻ•āϰে। āϰৌāĻĻ্āϰ āĻĻেāĻ–িāϞে āĻŽāύে āĻšāϝ় āϝেāύ āĻĒ্āϰāĻ•ৃāϤি āĻ•ী āĻāĻ• āύূāϤāύ āωāϤ্āϤাāĻĒেāϰ āĻĻ্āĻŦাāϰা āϏোāύাāĻ•ে āĻ—āϞাāχāϝ়া āĻŦাāώ্āĻĒ āĻ•āϰিāϝ়া āĻāϤ āϏূāĻ•্āώ্āύ āĻ•āϰিāϝ়া āĻĻিāϝ়াāĻ›েāύ āϝে, āϏোāύা āφāϰ āύাāχ āĻ•েāĻŦāϞ āϤাāĻšাāϰ āϞাāĻŦāĻŖ্āϝেāϰ āĻĻ্āĻŦাāϰা āϚাāϰি āĻĻিāĻ• āφāϚ্āĻ›āύ্āύ āĻšāχāϝ়া āĻ—িāϝ়াāĻ›ে। āĻŦাāϝ়ু-āĻšিāϞ্āϞোāϞেāϰ āĻŽāϧ্āϝে āĻāĻ•āϟি āϚিāϰāĻĒāϰিāϚিāϤ āϏ্āĻĒāϰ্āĻļ āĻĒ্āϰāĻŦাāĻšিāϤ āĻšāχāϤে āĻĨাāĻ•ে, āĻ•াāϜāĻ•āϰ্āĻŽ āĻ­ুāϞিāϝ়া āϝাāχāϤে āĻšāϝ়; āĻŦেāϞা āϚāϞিāϝ়া āϝাāχāϤেāĻ›ে, āύা āĻŽāύ্āϤ্āϰāĻŽুāĻ—্āϧ āφāϞāϏ্āϝে āĻ…āĻ­িāĻ­ূāϤ āĻšāχāϝ়া āĻĒāĻĄ়িāϝ়া āφāĻ›ে, āĻŦুāĻা āϝাāϝ় āύা। āĻļāϰāϤেāϰ āĻĒ্āϰāĻ­াāϤে āϝেāύ āφāĻŽাāϰ āĻŦāĻšুāĻ•াāϞেāϰ āϏ্āĻŽৃāϤি āĻāĻ•āϤ্āϰে āĻŽিāĻļিāϝ়া āϰূāĻĒাāύ্āϤāϰিāϤ āĻšāχāϝ়া āϰāĻ•্āϤ āφāĻ•াāϰে āφāĻŽাāϰ āĻšৃāĻĻāϝ়েāϰ āĻļিāϰাāϰ āĻŽāϧ্āϝে āϏāĻž্āϚাāϰāĻŽ āĻ•āϰিāϤে āĻĨাāĻ•ে। āĻ•āĻŦিāϤাāϰ āĻŽāϧ্āϝে āĻ…āύেāĻ• āϏāĻŽāϝ়ে āĻāχāϰূāĻĒ āϏ্āĻŽৃāϤিāϜাāĻ—āϰেāĻŖāϰ āĻ•āĻĨা āϞেāĻ–া āĻšāϝ়, āϏে āĻ•āĻĨা āϏāĻ•āϞ āϏāĻŽāϝ়ে āĻ িāĻ• āĻŦোāĻা āϝাāϝ় āύা - āĻŽāύে āĻšāϝ় āĻ“ āĻ•েāϟা āĻ•āĻŦিāϤাāϰ āĻ…āϞংāĻ•াāϰ āĻŽাāϤ্āϰ। āĻšৃāĻĻāϝ়েāϰ āĻ িāĻ• āĻ­াāĻŦāϟি āĻ­াāώাāϝ় āĻĒ্āϰāĻ•াāĻļ āĻ•āϰা āĻāĻŽ্āύি āĻ•āĻ িāύ āĻ•াāϜ! āĻŦাঁāĻļিāϰ āĻļāĻŦ্āĻĻে, āĻĒূāϰ্āĻŖিāĻŽাāϰ āϜ্āϝোā§ŽāϏ্āύাāϝ়, āĻ•āĻŦিāϰা āĻŦāϞেāύ, āĻšৃāĻĻāϝ়েāϰ āĻŽāϧ্āϝে āϏ্āĻŽৃāϤি āϜাāĻ—িāϝ়া āωāĻ ে। āϤাāĻšাāĻ•ে āϏ্āĻŽৃāϤিāϰ āĻ…āĻĒেāĻ•্āώা āĻŦিāϏ্āĻŽৃāϤি āĻŦāϞিāϞেāχ āĻ িāĻ• āĻšāϝ়। āĻ•িāύ্āϤু āϝে āĻŦিāϏ্āĻŽৃāϤি āĻŦāϞিāϞে āĻāĻ•āϟি āĻ…āĻ­াāĻŦাāϤ্āĻŽāĻ• āĻ…āĻŦāϏ্āĻĨা āĻŦোāϜাāϝ় āĻ āϤাāĻšা āύāϝ়, āĻ āĻ•েāĻĒ্āϰāĻ•াāϰ āĻ­াāĻŦাāϤ্āĻŽāĻ• āĻŦিāϏ্āĻŽৃāϤি। āύāĻšিāϞে "āĻŦিāϏ্āĻŽৃāϤি āϜাāĻ—িāϝ়া āωāĻ া' āĻ•āĻĨাāϟা āĻŦ্āϝāĻŦāĻšাāϰ āĻšāχāϤেāχ āĻĒাāϰে āύা। āĻāϰূāĻĒ āĻ…āĻŦāϏ্āĻĨাāϝ় āϏ্āĻĒāώ্āϟ āϝে āĻ•িāĻ›ু āĻŽāύে āĻĒāĻĄ়ে āϤাāĻšা āύāϝ়, āĻ•িāύ্āϤু āϧীāϰে āϧীāϰে āĻĒুāϰাāϤāύ āĻ•āĻĨা āĻŽāύে āĻĒāĻĄ়িāϞে āϝেāĻŽāύāϤāϰ āĻŽāύেāϰ āĻ­াāĻŦāϟি āĻšāϝ়, āĻ…āύেāĻ•āϟা āϏেāχāϰূāĻĒ āĻ­াāĻŦāĻŽাāϤ্āϰ āĻ…āύুāĻ­āĻŦ āĻ•āϰা āϝাāϝ়। āϝে-āϏāĻ•āϞ āϏ্āĻŽৃāϤি āϏ্āĻŦাāϤāύ্āϤ্āϰ্āϝ āĻĒāϰিāĻšাāϰ āĻ•āϰিāϝ়া āĻāĻ•াāϰাāϰ āĻšāχāϝ়াāĻ›ে, āϝাāĻšাāĻĻিāĻ—āĻ•ে āĻĒৃāĻĨāĻ• āĻ•āϰিāϝ়া āϚিāύিāĻŦাāϰ āϜো āύাāχ, āφāĻŽাāĻĻেāϰ āĻšৃāĻĻāϝ়েāϰ āϚেāϤāύāϰাāϜ্āϝেāϰ āĻŦāĻšিāϰ্āĻ­াāĻ—ে āϝাāĻšাāϰা āĻŦিāϏ্āĻŽৃāϤি-āĻŽāĻšাāϏাāĻ—āϰāϰূāĻĒে āϏ্āϤāĻŦ্āϧ āĻšāχāϝ়া āĻļāϝ়āύ āφāĻ›ে, āϤাāĻšাāϰা āϝেāύ āĻāĻ•-āĻāĻ• āϏāĻŽāϝ়ে āϚāĻž্āϚāϞ āĻ“ āϤāϰāĻ™্āĻ—িāϤ āĻšāχāϝ়া āωāĻ ে; āϤāĻ–āύ āφāĻŽাāĻĻেāϰ āϚেāϤāύāĻšৃāĻĻāϝ় āϏেāχ āĻŦিāϏ্āĻŽৃāϤি-āϤāϰāĻ™্āĻ—েāϰ āφāϘাāϤ āĻ…āύুāĻ­āϰ āĻ•āϰিāϤে āĻĨাāĻ•ে, āϤাāĻšাāĻĻেāϰ āϰāĻšāϏ্āϝāĻŽāϝ় āĻ…āĻ—াāϧ āĻĒ্āϰāĻŦāϞ āĻ…āϏ্āϤিāϤ্āĻŦ āωāĻĒāϞāĻŦ্āϧ āĻšāϝ়, āϏেāχ āĻŽāĻšা āĻŦিāϏ্āĻŽৃāϤি, āĻ…āϤি āĻŦিāĻĒুāϞāϤাāϰ āĻ•্āϰāύ্āĻĻāύāϧ্āĻŦāύি āĻļুāύিāϤে āĻĒাāĻ“āϝ়া āϝাāϝ়।

āĻļāĻ°ā§ŽāĻ•াāϞেāϰ āϏূāϰ্āϝাāϞোāĻ•ে āφāĻŽাāϰ āĻāχāϰূāĻĒ āĻ…āĻŦāϏ্āĻĨা āĻšāϝ়। āĻĻুāχ-āĻāĻ•āϟা āϜীāĻŦāύেāϰ āϘāϟāύা, āĻĻুāχ-āĻāĻ•āϟা āĻ…āϤীāϤāĻ•াāϞেāϰ āĻŽāϧুāϰ āĻļāĻ°ā§Ž āĻŽāύে āĻĒāĻĄ়ে, āĻ•িāύ্āϤু āϏেāχāϏāĻ™্āĻ—ে āϝে-āϏāĻ•āϞ āĻļāĻ°ā§ŽāĻ•াāϞ āĻŽāύে āĻĒāĻĄ়ে āύা, āϝে-āϏāĻ•āϞ āϘāϟāύা āĻ­ুāϞিāϝ়া āĻ—িāϝ়াāĻ›ি, āϏেāχāĻ—ুāϞিāχ āϝেāύ āĻ…āϧিāĻ• āĻŽāύে āĻĒāĻĄ়ে। āĻŦāĻ›āϰ āϤিāύ-āϚাāϰেāϰ āĻĒূāϰ্āĻŦে āĻāĻ•āϟি āĻļāĻ°ā§ŽāĻ•াāϞ āφāĻŽি āĻ…āύ্āϤāϰেāϰ āϏāĻšিāϤ āωāĻĒāĻ­োāĻ— āĻ•āϰিāϝ়াāĻ›িāϞাāĻŽ। āĻŦāĻĄ়িāϰ āĻĒ্āϰাāύ্āϤে āĻāĻ•āϟি āĻ›োāϟ্āϟ āϘāϰে āĻāĻ•āϟি āĻ›োāϟ্āϟ āĻĄেāϏ্āĻ•েāϰ āϏāĻŽ্āĻŽুāĻ–ে āĻŦাāϏ āĻ•āϰিāϤাāĻŽ। āφāϰāĻ“ āĻĻুāϟি-āĻāĻ•āϟি āĻ›োāϟ্āϟ āφāύāύ্āĻĻ āφāĻŽাāϰ āφāĻļেāĻĒাāĻļে āφāύাāĻ—োāύা āĻ•āϰিāϤ। āϏে āĻŦā§ŽāϏāϰ āϝেāύ āφāĻŽাāϰ āϏāĻŽāϏ্āϤ āϜীāĻŦāύ āĻ›ুāϟি āϞāχāϝ়াāĻ›িāϞ। āφāĻŽি āϏেāχ āϘāϰāϟুāĻ•ুāϰ āĻŽāϧ্āϝে āĻĨাāĻ•িāϝ়াāχ āϜāĻ—āϤে āĻ­্āϰāĻŽāĻŖ āĻ•āϰিāϤাāĻŽ, āĻāĻŦং āĻŦāĻšিāϰ্āϜāĻ—āϤেāϰ āĻŽāϧ্āϝে āĻĨাāĻ•িāϝ়াāĻ“ āϘāϰেāϰ āĻ­িāϤāϰāϟুāĻ•ুāϰ āĻŽāϧ্āϝে āϝে āϏ্āύেāĻšāĻĒ্āϰেāĻŽেāϰ āĻŦিāύ্āĻĻুāϟুāĻ•ু āĻ›িāϞ āϤাāĻšা āĻāĻ•াāύ্āϤ āφāĻ—্āϰāĻšেāϰ āϏāĻšিāϤ āωāĻĒāĻ­োāĻ— āĻ•āϰিāϤাāĻŽ। āφāĻŽি āϝেāύ āĻāĻ•āĻĒ্āϰāĻ•াāϰ āφāϤ্āĻŽāĻŦিāϏ্āĻŽৃāϤি āĻšāχāϝ়া āĻĢুāϟিāϝ়া āωāĻ িāϝ়াāĻ›ে; āϤাāĻšাāϰ āĻĒ্āϰāϤ্āϝেāĻ• āϏুāĻ•ুāĻŽাāϰ āĻŦāĻ™্āĻ•িāĻŽাāϰ āϞেāĻļāϟুāĻ•ুāϰ āĻŽāϧ্āϝে āĻ…āĻĒāϰিāϏীāĻŽ āĻĒ্āϰেāĻŽেāϰ āχāϤিāĻšাāϏ āϝেāύ āϞিāĻĒিāĻŦāĻĻ্āϧ āĻšāχāϝ়াāĻ›ে। āϤাāĻšাāϰ āϏāϰ্āĻŦাāĻ™্āĻ—েāϰ āϏুāĻ•োāĻŽāϞ āϏুāĻ—োāϞāϤাāϰ āĻŽāϧ্āϝে, āĻŦিāĻļেāώāϤ āϤাāĻšাāϰ āĻŦুāĻ•েāϰ āĻŽাāĻāĻ–াāύāϟিāϤে āϝেāĻ–াāύে āϚাāϰি āĻĻিāĻ•েāϰ āϰāĻ™েāϰ āϘোāϰ āĻ…āϤি āϧীāϰে āϧীāϰে āύāϰāĻŽ āĻšāχāϝ়া āĻāĻ•েāĻŦাāϰে āĻŽোāϞাāϝ়েāĻŽ āϏাāĻĻা āĻšāχāϝ়া āφāϏিāϝ়াāĻ›ে- āϝেāύ āĻ…āύāύ্āϤāĻ•াāϞেāϰ āϏāϝāϤ্āύ āϏোāĻšাāĻ—েāϰ āϚুāĻŽ্āĻŦāύ āϞাāĻ—িāϝ়া āφāĻ›ে। āĻ…āϤিāĻļāϝ় āφāĻļ্āϚāϰ্āϝ! āĻāĻ•āϟি āĻ—োāĻĒāύ āϜāĻšāϰী āϚাঁāĻĒা āĻāĻ•āϟি āĻ—োāĻĒāύ āϏāĻŽ্āĻĒāĻĻ āϤাāĻšাāϰ āφāϰ āϏāύ্āĻĻেāĻš āύাāχ। āχāĻšা āĻ›েāϞেāĻŽাāύুāώেāϰ āĻ…āĻĒāϰিāĻŽāύ āĻšৃāĻĻāϝ়েāϰ āĻŽোāĻšāĻŽাāϤ্āϰ āύāĻšে। āĻāĻ–āύ āϏে āĻŦিāϏ্āĻŽāϝ়েāϰ āφāύāύ্āĻĻ āϚāϞিāϝ়া āĻ—েāĻ›ে। āĻāĻ–āύ āĻāĻ•āϟা āĻ…āύাāĻĻৃāϤ āĻŦুāύোāϞāϤাāϰ āĻŦেāĻ—ুāύি āĻĢুāϞāĻ•ে āύিāϤাāύ্āϤ āĻ¯ā§ŽāĻ•িāĻž্āϚিā§Ž āĻŽāύে āĻšāϝ়। āĻĢুāϞ āϤো āĻĢুāϟিāĻŦাāϰāχ āĻ•āĻĨা। āĻĢুāϟ āϏুāύ্āĻĻāϰ āĻŦāϟে āĻāĻŦং āĻ…āύেāĻ• āĻĢুāϞ āĻĻুāϰ্āϞāĻ­āĻ“ āĻŦāϟে, āĻ•িāύ্āϤু āϤাāĻšাāϰ āĻŽāϧ্āϝে āϏেāχ āύিāĻŦিāĻĄ় āĻŦিāϏ্āĻŽāϝ়েāϰ āϏ্āĻĨাāύ āύাāχ। āĻ­িāĻ•্āώুāĻ•েāϰ āϝāĻ–āύ āĻ­িāĻ•্āώা āĻŦāϰাāĻĻ্āĻĻ āĻšāχāϝ়া āϝাāϝ়, āϤāĻ–āύ āϤাāĻšাāϰ āφāϰ āĻ•ৃāϤāϜ্āĻžāϤা āϜāύ্āĻŽে āύা। āĻļিāĻļুāĻ•াāϞে āφāĻŽāϰা āĻ­াāϞো āĻ•āϰিāϝ়া āϜাāύিāϤাāĻŽ āύা āϚাāϰি āĻĻিāĻ•েāϰ āĻ āĻ…āϏীāĻŽ āϏৌāύ্āĻĻāϰ্āϝ āφāĻŽাāϤেāϰ āύিāϤ্āϝāϝ়িāĻŽিāϤ āĻŦāϰাāĻĻ্āĻĻ। āϜāύāύী āϝেāĻŽāύ āĻĒ্āϰāϤি āĻ•্āώুāĻĻ্āϰ āĻ•াāϜে āĻ…āϜāϏ্āϰ āϏ্āύেāĻšেāϰ āĻĻ্āĻŦাāϰা āφāĻŽাāĻĻিāĻ—āĻ•ে āĻ…āύুāĻ•্āώāĻŖ āφāĻ›āύ্āύ āĻ•āϰিāϝ়া āϰাāĻ–েāύ, āϤাāĻšাāϰ āĻŽāϧ্āϝে āĻ…āύেāĻ•āϟাāχ āφāĻŽাāĻĻেāϰ āφāĻŦāĻļ্āϝāĻ•েāϰ āĻ…āϤিāϰিāĻ•্āϤ, āϤাāĻšাāϰ āĻ…āύেāĻ•āϟা āφāĻŽাāĻĻেāϰ āύāϜāϰে āĻĒāĻĄ়ে āύা, āϤাāĻšাāϰ āĻ…āύেāĻ•āϟা āφāĻŽাāϰ āĻ…āĻŦāĻšেāϞে āĻ—্āϰāĻšāĻŖ āĻ•āϰি, āĻ•িāύ্āϤু āωāĻĻাāϰ āĻŽাāϤৃāϏ্āύেāĻšেāϰ āϤাāĻšাāϤে āĻ•িāĻ›ুāχ āφāϏে āϝাāϝ় āύা-- āχāĻšাāĻ“ āϏেāχāϰূāĻĒ।

āφāĻļ্āĻŦিāύ āϏāĻĒ্āϤāĻŽীāĻĒূāϜা ā§§ā§Žā§Žā§¯।
Source - Internet

Bengali Story edited by Victor ghoshe




āĻšাāϰি⧟ে āϝাāĻ“ā§Ÿা āĻ—āϞ্āĻĒāĻ—াāĻ›া / āĻŦাāĻ™্āĻ—াāϞীāϰ āĻšাāϏিāϰ āĻ—āϞ্āĻĒ।

āĻšাāϟে āĻāĻ•āϟি āĻĒ্āϰāĻ•াāĻŖ্āĻĄ āĻŦো⧟াāϞ āĻŽাāĻ› āωāĻ ি⧟াāĻ›ে। āĻāĻ• āĻĢāĻ•ীāϰ āĻ­াāĻŦিāϞ, āĻāχ āĻŦো⧟াāϞ āĻŽাāĻ›āϟাāϰ āĻĒেāϟি āĻĻি⧟া āϝāĻĻি āϚাāϰāϟি āĻ­াāϤ āĻ–াāχāϤে āĻĒাāϰিāϤাāĻŽ! āϏে āĻŽাāĻ›েāϰ āĻĻোāĻ•াāύেāϰ āĻ•াāĻ›ে āĻĻাঁ⧜াāĻ‡ā§Ÿা āϰāĻšিāϞ। āĻāĻ•āϜāύ āϚাāώী āφāϏি⧟া āĻŽাāĻ›āϟি āĻ•িāύি⧟া āϞāχāϞ। āĻŽুāϏাāĻĢিāϰ āϤাāĻšাāϰ āĻĒিāĻ›ে āĻĒিāĻ›ে āϝাāχāϤে āϞাāĻ—িāϞ। āϞোāĻ•āϟি āϝāĻ–āύ āĻŦা⧜িāϰ āϧাāϰে āφāϏি⧟াāĻ›ে āϤāĻ–āύ āĻŽুāϏাāĻĢিāϰ āϤাāĻšাāϰ āύিāĻ•āϟে āϝাāĻ‡ā§Ÿা āĻŦāϞিāϞ, ‘āϏাāĻšেāĻŦ! āφāĻŽি āĻŽুāϏাāĻĢিāϰ āϞোāĻ•। āĻ­িāĻ•্āώা āĻ•āϰি⧟া āĻ–াāχ। āĻ•োāύোāĻĻিāύ āĻ­াāϞো āĻ–াāĻ“ā§Ÿা āĻšā§Ÿ āύা। āφāϜ āĻšাāϟে āϝাāĻ‡ā§Ÿা āϝāĻ–āύ āϐ āĻŦ⧜ āĻŽাāĻ›āϟি āĻĻেāĻ–িāϞাāĻŽ, āĻŽāύে āĻŦ⧜ āχāϚ্āĻ›া āĻšāχāϞ āĻāχ āĻŽাāĻ›āϟিāϰ āĻĒেāϟি āĻĻি⧟া āϝāĻĻি āϚাāϰāϟি āĻ­াāϤ āĻ–াāχāϤে āĻĒাāϰিāϤাāĻŽ! āϤাāχ āφāĻĒāύাāϰ āĻĒিāĻ›ে āĻĒিāĻ›ে āφāϏি⧟াāĻ›ি। āĻĻ⧟া āĻ•āϰি⧟া āϝāĻĻি āφāĻŽাāϰ āĻŽāύেāϰ āχāϚ্āĻ›া āĻĒূāϰāĻŖ āĻ•āϰেāύ āĻŦ⧜āχ āϏুāĻ–ী āĻšāχāĻŦ।’
āϞোāĻ•āϟি āĻŦ⧜āχ āĻĻ⧟াāϞু। āϏে āĻ–ুāĻŦ āφāĻĻāϰ āĻ•āϰি⧟া āĻŽুāϏাāĻĢিāϰāĻ•ে āφāύি⧟া āĻŦৈāĻ āĻ•āĻ–াāύা⧟ āĻŦāϏাāχāϞ। āϤাāϰāĻĒāϰ āĻŽাāĻ›āϟি āĻ­িāϤāϰে āϞāĻ‡ā§Ÿা āĻ—ি⧟া āϤাāĻšাāϰ āĻŦāωāĻ•ে āĻŽুāϏাāĻĢিāϰেāϰ āϏāĻŽāϏ্āϤ āϘāϟāύা āĻŦāϞি⧟া āĻšুāĻ•ুāĻŽ āĻ•āϰিāϞ, ‘āĻāχ āĻŽাāĻ›āϟিāϰ āĻĒেāϟি āĻŦেāĻļ āĻĒুāϰু āĻ•āϰি⧟া āĻ•াāϟিāĻŦে। āĻĒেāϟিāĻ–াāύা āĻŽুāϏাāĻĢিāϰāĻ•ে āĻĻিāϤে āĻšāχāĻŦে।’
āĻāĻŽāύ āϏāĻŽā§Ÿ āϞোāĻ•āϟিāϰ āĻāĻ•āϟি āĻ—āϰু āĻ›ুāϟি⧟া āĻ—েāϞ। āϏে āϤা⧜াāϤা⧜ি āĻ—āϰুāϟিāϰ āĻĒিāĻ›ে āĻĒিāĻ›ে āĻĻৌ⧜াāχāϞ।
āĻŽাāĻ› āĻ•ুāϟিāϤে āĻ•ুāϟিāϤে āϚাāώীāϰ āĻŦāω āĻ­াāĻŦিāϞ, ‘āĻŦা⧜িāϤে āĻ­াāϞো āĻ•িāĻ›ু āĻ–াāĻŦাāϰ āĻĒাāĻ• āĻ•āϰিāϞে āφāĻŽাāϰ āϏ্āĻŦাāĻŽী āĻāĻŽāύি āĻ•āϰি⧟া āĻŽুāϏাāĻĢিāϰ āϞāĻ‡ā§Ÿা āφāϏে। āĻŽুāϰāĻ—ীāϰ āϰাāύāϟা, āĻŽাāĻ›েāϰ āĻĒেāϟিāϟা āϏāĻŦ āϏāĻŽā§Ÿāχ āĻŽুāϏাāĻĢিāϰāĻĻেāϰ āĻĻি⧟া āĻ–াāĻ“ā§Ÿা⧟। āĻāχ āĻŦ⧜ āĻŽাāĻ›েāϰ āĻĒেāϟিāĻ–াāύাāĻ“ āĻŽুāϏাāĻĢিāϰāĻ•ে āĻ–াāĻ“ā§ŸাāχāĻŦে। āϝেāĻŽāύ āĻ•āϰি⧟াāχ āĻšোāĻ• āĻŽুāϏাāĻĢিāϰāĻ•ে āφāϜ āϤা⧜াāχāĻŦ।’
āĻāχ āĻ•āĻĨা āĻ­াāĻŦি⧟া āĻŦāωāϟি āĻ–াāϞি āĻĒাāϟাāϰ āωāĻĒāϰ āĻĒুāϤাāĻ–াāύা āϘāώিāϤে āφāϰāĻŽ্āĻ­ āĻ•āϰিāϞ āφāϰ āϏুāϰ āĻ•āϰি⧟া āĻ•াঁāĻĻিāϤে āϞাāĻ—িāϞ।
āĻ…āύেāĻ•āĻ•্āώāĻŖ āĻ•াāύ্āύা āĻļুāύি⧟া āĻŽুāϏাāĻĢিāϰ āĻ­াāĻŦিāϞ, āύা āϜাāύি āĻŦāωāϟিāϰ āĻ•ি āĻšāĻ‡ā§ŸাāĻ›ে। āϏে āĻŦা⧜িāϰ āĻ­িāϤāϰ āφāϏি⧟া āϜিāϜ্āĻžাāϏা āĻ•āϰিāϞ, ‘āĻŽা āϜāύāύী! āϤুāĻŽি āĻ•াঁāĻĻিāϤেāĻ› āĻ•েāύ? āϤোāĻŽাāϰ āĻ•ি āĻšāĻ‡ā§ŸাāĻ›ে?’
āĻŦāωāϟি āĻŦāϞিāϞ, ‘āĻŦাāĻŦাāϰে! āϏে āĻ•āĻĨা āϤোāĻŽাāĻ•ে āĻŦāϞিāĻŦাāϰ āύ⧟। āφāĻŽাāϰ āϏ্āĻŦাāĻŽী āĻŽাāύা āĻ•āϰি⧟াāĻ›েāύ।’
āĻŽুāϏাāĻĢিāϰ āĻŦāϞিāϞ, ‘āĻŽা! āφāĻŽি āϤোāĻŽাāϰ āĻ›েāϞে। āφāĻŽাāϰ āĻ•াāĻ›ে āĻ•োāύো āĻ•āĻĨা āĻ—োāĻĒāύ āĻ•āϰিāĻ“ āύা।’
āĻŦāωāϟি āϤāĻ–āύ āφāϧেāĻ• āĻ•াঁāĻĻি⧟া āφāϧেāĻ• āĻ•াঁāĻĻিāĻŦাāϰ āĻ­াāύ āĻ•āϰি⧟া āĻŦāϞিāϞ, ‘āφāĻŽাāϰ āϏ্āĻŦাāĻŽী āĻŦা⧜িāϰ āĻ­িāϤāϰে āφāϏি⧟া āφāĻŽাāĻ•ে āĻŦāϞিāϞ, āĻāχ āĻŽুāϏাāĻĢিāϰ āĻŦ⧜āχ āϞোāĻ­ী। āφāĻŽাāĻĻেāϰ āĻĒুāϤাāĻ–াāύা āĻĒাāϟা⧟ āϧাāϰ āĻĻি⧟া āϚোāĻ–া āĻ•āϰি⧟া āϰাāĻ–। āĻŽুāϏাāĻĢিāϰেāϰ āĻ—āϞাāϰ āĻ­িāϤāϰ āĻĻি⧟া āĻĸুāĻ•াāĻ‡ā§Ÿা āĻĻিāĻŦ। āϝাāĻšাāϤে āϏে āφāϰ āĻ•াāĻšাāϰāĻ“ āĻŽাāĻ› āĻĻেāĻ–ি⧟া āϞোāĻ­ āĻ•āϰিāϤে āύা āĻĒাāϰে। āϤাāχ āφāĻŽি āĻ•াঁāĻĻিāϤেāĻ›ি। āĻšা⧟! āĻšা⧟! āφāĻŽাāϰ āϏ্āĻŦাāĻŽী āĻāχ āĻŽোāϟা āĻĒুāϤা āϤোāĻŽাāϰ āĻ—āϞাāϰ āĻ­িāϤāϰে āĻĸুāĻ•াāχāϞে āύিāĻļ্āϚ⧟ āϤুāĻŽি āĻŽāϰি⧟া āϝাāχāĻŦে, āϤাāχ āφāĻŽি āĻ•াঁāĻĻিāϤেāĻ›ি। āĻ•িāύ্āϤু āϏ্āĻŦাāĻŽীāϰ āĻšুāĻ•ুāĻŽ āϤো āφāĻŽাāĻ•ে āĻŽাāύিāϤেāχ āĻšāχāĻŦে।’
āĻļুāύি⧟া āĻŽুāϏাāĻĢিāϰেāϰ āϤো āϚāĻ•্āώুāϏ্āĻĨিāϰ। āϏে āĻŦāϞিāϞ, ‘āĻŽা āϜāύāύী! āϤুāĻŽি āĻāĻ•āϟু āφāϏ্āϤে āφāϏ্āϤে āĻĒুāϤা āϘāώ। āφāĻŽি āĻāĻ–āύāχ āϚāϞি⧟া āϝাāχāϤেāĻ›ি।’ āĻāχ āĻŦāϞি⧟া āĻŽুāϏাāĻĢিāϰ āϤা⧜াāϤা⧜ি āϞাāĻ ি-āĻŦোঁāϚāĻ•া āϞāĻ‡ā§Ÿা āĻĻে āϚāĻŽ্āĻĒāϟ। āĻāĻŽāύ āϏāĻŽā§Ÿ āĻŦা⧜িāϰ āĻ•āϰ্āϤা āĻĢিāϰি⧟া āφāϏি⧟া āĻĻেāĻ–ে āĻ•াāĻ›াāϰি āϘāϰে āĻŽুāϏাāĻĢিāϰ āύাāχ। āĻŦāωāĻ•ে āϜিāϜ্āĻžাāϏা āĻ•āϰিāϞ, ‘āĻŽুāϏাāĻĢিāϰ āϚāϞি⧟া āĻ—েāϞ āĻ•েāύ?’
āĻŦāω āύāĻĨ āύা⧜িāϤে āύা⧜িāϤে āĻŦāϞিāϞ, ‘āϤুāĻŽি āĻŦা⧜ি āĻšāχāϤে āϚāϞি⧟া āĻ—েāϞে āĻŽুāϏাāĻĢিāϰ āĻŦāϞে āĻ•ি, ‘āϤোāĻŽাāĻĻেāϰ āĻĒুāϤাāϟা āφāĻŽাāĻ•ে āĻĻাāĻ“।’ āĻĻেāĻ– āϤো, āφāĻŽাāĻĻেāϰ āĻāĻ•āϟা āĻŽাāϤ্āϰ āĻĒুāϤা। āϤা āĻŽুāϏাāĻĢিāϰāĻ•ে āĻĻেāχ āĻ•েāĻŽāύ āĻ•āϰি⧟া? āĻĒুāϤা āĻĻেāχ āύাāχ āĻŦāϞি⧟া āĻŽুāϏাāĻĢিāϰ āϰাāĻ—ি⧟া āϚāϞি⧟া āĻ—েāϞ।’ āϏ্āĻŦাāĻŽী āĻŦāϞিāϞ, ‘āϏাāĻŽাāύ্āϝ āĻĒুāϤাāϟা āĻĻিāϞেāχ āĻĒাāϰিāϤে। āφāĻŽি āύা āĻšā§Ÿ āĻŦাāϜাāϰ āĻšāχāϤে āφāϰ āĻāĻ•āϟি āĻĒুāϤা āĻ•িāύি⧟া āφāύিāϤাāĻŽ। āĻļিāĻ—্āĻ—ীāϰ āĻĒুāϤাāϟা āφāĻŽাāĻ•ে āĻĻাāĻ“, āφāϰ āĻŽুāϏাāĻĢিāϰ āĻ•োāύ্ āĻĻিāĻ•ে āĻ—ি⧟াāĻ›ে āĻŦāϞ!’
āĻŦāω āĻĒুāϤাāϟি āϏ্āĻŦাāĻŽীāϰ āĻšাāϤে āĻĻি⧟া āĻŦāϞিāϞ, ‘āĻŽুāϏাāĻĢিāϰ āĻāχ āĻĻিāĻ• āĻĻি⧟া āĻ—ি⧟াāĻ›ে।’ āĻĒুāϤাāϟি āĻšাāϤে āϞāĻ‡ā§Ÿা āϏে āϏেāχ āĻĻিāĻ•ে āĻĻৌ⧜াāĻ‡ā§Ÿা āϚāϞিāϞ। āĻ–াāύিāĻ• āϝাāĻ‡ā§Ÿা āĻĻেāĻ–িāϞ, āĻŽুāϏাāĻĢিāϰ āĻ…āύেāĻ• āĻĻূāϰ āĻšāύ্ āĻšāύ্ āĻ•āϰি⧟া āϚāϞি⧟াāĻ›ে। āϏে āĻĄাāĻ•ি⧟া āĻŦāϞিāϤে āϞাāĻ—িāϞ, ‘āĻ“ āĻŽুāϏাāĻĢিāϰ, āĻĻাঁ⧜াāĻ“—āĻĻাঁ⧜াāĻ“—āĻĒুāϤা āϞāĻ‡ā§Ÿা āϝাāĻ“।’ āĻļুāύি⧟া āĻŽুāϏাāĻĢিāϰ āωāĻ ি⧟া āĻĒ⧜ি⧟া āĻĻৌ⧜। āϚাāώী āϝāϤāχ āϜোāϰে āϜোāϰে āĻŦāϞে, ‘āĻ“ āĻŽুāϏাāĻĢিāϰ! āĻĒুāϤা āϞāĻ‡ā§Ÿা āϝাāĻ“!—āĻĒুāϤা āϞāĻ‡ā§Ÿা āϝাāĻ“! āĻŽুāϏাāĻĢিāϰ āφāϰāĻ“ āϜোāϰে āϜোāϰে āĻĻৌ⧜া⧟। āϏে āĻ­াāĻŦে āϏāϤ্āϝāχ āϚাāώী āϤাāĻšাāϰ āĻ—āϞা⧟ āĻĒুāϤা āĻĸুāĻ•াāχāϤে āφāϏিāϤেāĻ›ে। āĻŦোঁāϚāĻ•া-āĻŦুঁāϚāĻ•ি āĻŦāĻ—āϞে āĻĢেāϞি⧟া āϏে āĻŽāϰি⧟া āĻšāĻ‡ā§Ÿা āĻĻৌ⧜া⧟।
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āĻĒāϞ্āϞীāĻ•āĻŦি āϜāϏীāĻŽুāĻĻ্āĻĻিāύেāϰ āϞেāĻ–া āĻŦাāĻ™্āĻ—াāϞীāϰ āĻšাāϏিāϰ āĻ—āϞ্āĻĒ āφāĻŽাāĻĻেāϰ āϏাāĻšিāϤ্āϝেāϰ āĻ…āĻŽূāϞ্āϝ āϏāĻŽ্āĻŽāĻĻ। āĻ•িāύ্āϤু āϏেāχ āĻ…āĻŽূāϞ্āϝ āĻ–াāϜাāύা āĻāĻ–āύ āφāϰ āĻ–ুঁāϜে āĻĒাāĻ“ā§Ÿা āϝা⧟āύা। āĻŦাংāϞা āĻāĻ•াāĻĄেāĻŽি āĻ•েāύো āϝে āĻāĻ—ুāϞো āĻĒুāύঃāĻŽুāĻĻ্āϰāύ āĻ•āϰāĻ›েāύ āύা āϤা āĻŦোāϧāĻ—āĻŽ্āϝ āύ⧟। āϏেāχ āĻšাāϏিāϰ āϏিāύ্āĻĻুāĻ• āĻĨেāĻ•ে āĻāĻ•āϟি āĻ—āϞ্āĻĒ āφāĻĒāύাāĻĻেāϰ āϏাāĻŽāύে āϤুāϞে āϧāϰāϞাāĻŽ।

Source: Internet

Monday, July 30, 2012

Rare Paintings of India


The Shore Temple, Mahabalipuram - 1825



Watercolour of the Shore Temple in Mahabalipuram, Tamil Nadu, by John Gantz, c. 1825. Inscribed: 'N W View of two ancient Temples by the Seaside. Mahabilipoorum. J. Gantz'.

John Gantz and his son Justinian ran a lithographic press, but are remembered best for their watercolours of flat-top houses and public buildings in and around Chennai (Madras), dating to the first half of the 19th century. Though not British-born, they both lived and died in India, in the service of the East India Company. Mamallapuram, a tiny village south of Chennai, was a flourishing port of the Pallava dynasty from the 5th - 8th centuries. The site is famous for a group of temples, a series of rock-cut caves and some monolithic sculptures created in the 7th century. This view shows the Shore Temple, built in the late 7th century by Rajasimha and is orientated east, towards the ocean. The temple consists of two spires; one contains a shrine for Vishnu and one for Shiva.

Copyright © The British Library Board

'Idea' of the Month

"We all are given stones everyday......its upto us what we make - Walls or Bridges!"


SHONKU AND THE GOLDEN CHANCE by Satyajit Ray, Translated by Victor Ghoshe



Part 1

24 the June

Today is the 'Midsummer Day'; I am sitting beside the 'Stonehenge' on the English Salisbury plain and writing my diary.
Stonehenge was build four thousand years back, exactly when the 'Bronze Age' was about to start in this part of the earth. Man had just learnt - how to use metal and was advancing very fast towards the new age civilizations.

Historically Egyptians, Indians, Mesopotamians, Persians walked on the path of civilization far before Europeans. But then again, I really don’t understand - how could one call those people uncivilized, who had built the Stonehenge four thousand years ago.
Huge stone pillars; brought from far away places; made to stand side by side; one pillar kept horizontally on every two consecutive pillars. Going side by side these ‘door like’ structures created a huge circle.

Even a couple of years back people used to think, that Stonehenge was a religious ceremony centre of a tribe called 'The Kelts'. But very recently archeologists have discovered that this was actually an observatory and if that is true, this is surely one of the oldest observatories of the world. Scientists have discovered a relation between these stone pillars and the movement of the sun, which becomes very clear especially on this day -the 'Midsummer Day'.
It's so amazing that without the help of the modern technology, how was it possible for those people to position these pillars so accurately.

Anyway my friend Krole has a different view- he believes ancient people knew some chemical formulae, which could temporarily reduce the weight of stones. And for that reason — building a ‘Pyramid’ or a Stonehenge was much easier in those days than now.
Willhelm Krole had always believed in the supernatural powers of ancient people. He had researched majorly on ancient magic, rituals, spiritualism, and witchcraft. He accompanied me in Tibet for our ‘Unicorn expedition’. a little far on my right, sitting on the grass, Krole is playing a flute. This unique flute is made of a human leg-bone, which he collected from a Tibetan monastery. And we could never imagine that such great German folk tune could be played with this weird instrument.

The other person who accompanied me in my Tibet expedition is now sitting on my left and enjoying a cup of not-so-hot coffee. He is none other than my dear friend - Geologist Jeremy Saunders. Few days' back Saunders invited me to come to London. And Krole and me are now staying with him at his house in Hampstead. We have a plan to stay here for another seven days.
This year summer is truly great here — no rainfall; no drizzle - clear blue sky. Only bright sunrays are dripping through white clouds and spreading energy. Let me stop writing as Krole has stopped playing his flute. Its time - we need to go to a famous auction house in London with him now. He has got this information that a Thirteen-century Spanish manuscript of Alchemy is on auction there. Krole believes that he would get it for a throw away price, as no one takes interest in Alchemy now-a-days. Making gold in the laboratories is though an expensive affair but not impossible in this atomic age.


24 the June 10.30 pm

Peculiar experience in the auctions.

Our 'happy-go-lucky' Bavarian friend Krole is generally a quit guy, we never saw him getting excited, but today he went mad in the auctions. The manuscript - which he thought he would get for fifty pounds, finally cost him one thousand five hundred pounds; which is about twenty five thousand Indian Rupees. And it happened only because of one person; who was bidding hysterically to compete Krole; in the process he pushed the price of this bundle of old parchment paper to this height. It was easy to make out that he was an American from his dress and from the way he was talking. When finally Krole won, we could realize that he was disgusted, as he displayed a major frown on his forehead all the time.

Krole has got submerged in the manuscript since we came back from the auction house. Though the papers were very old but the handwriting was very clear and very easy to read. And of course, Krole knew Spanish very well.

As far as my knowledge is concerned, I know that, in the thirteenth century there was quite a stir in Spain about Alchemy. This was very much influenced by the Arabs; who made it popular in most of the European territories.

Gold is the king of all metals. It looks beautiful and it is also everlasting. Even in our 'Puranas' gold often stood for the sun and silver for moon. Through the centuries there were certain groups who kept on experimenting relentlessly to make gold from the cheaper metals like lead, copper etcetera. These were the people who were called the Alchemists.
In their methods they used to mix 'Mantra-s' and ‘Chanting’ with the scientific processes and for that reason, mainstream scientists never acknowledged them as scientists. Even in our country, people had practiced Alchemy. I know this well because I have an ancient Sanskrit manuscript called 'Dhanadaprakarantantrasara'. Surprisingly this manuscript furnishes many ways of making gold from cheaper metals, most of them mention a long list of ingredients and write about mixing them and heat them on fire. When this is done there are five to ten procedures to follow — upto this level it could have been fine, but after this when the manuscript mentioned that one has to chant a specific mantra for ten thousand times — it became too much for me. And probably that's the reason for which I had never tried Alchemy in my entire career.

But that really doesn't matter whether I have tried it or not — history had mentioned ‘Alchemists’ in almost every century. In Europe there were kings who had hired Alchemists and paid for their laboratories and all other expenses. With the hope that when they would need money those alchemists would make gold and help them with finances. But of course there is no such report available that someone actually did so.

Anyway, the point is — Krole strongly believes in Alchemy, otherwise he would not have spent so much money for the manuscript. When he was bidding, Saunders told me, “Krole believes - the gold he would make, would take care of all these expenses. And if we do not make much fun of him there are chances that we also get our shares."

25th June

Even in London I regularly go for my morning walks at 5 am sharp, as I do in Giridih, my hometown.
In London, during the summers, at 5 am there is a good amount of morning light. But the Englishmen do not get up early, so all the places are mostly empty around this time, especially my favorite walking place — Hampstead Heath. This ocean- like wavy Greenfield highly energizes me, if I walk there for an hour. When I come back Saunders is generally ready with the coffee. Krole gets up a little late — at 9 am, because he reads till late night.

Today I was surprised to see Krole walking in the drawing room anxiously; he had already made his coffee and sipping it in-between his brisk steps.

The moment he saw me, he stopped; stared at me for some time and asked “you are a Scorpio, right?” I said, “Yes”
Before your hair turned gray, were they black?
Yes again.
Do you have garlic in your food?
Yes…. sometimes!
Great!!! That says you got to be there, as Saunders is a Leo and I am a Taurian, his hair colour is pale, mine is golden and none of us eat garlic.
“What do you mean! is this a riddle?” I asked

“No riddle my dear friend, Manuel Savedra had mentioned in his manuscript that “to make gold in a laboratory, at least one human being who has all these three virtues has to be present during the experiment- so my dear Shonku you are in.”
“IN? Where? Is it going to happen here? In Hampstead? In this drawing room? WHERE?"

I was truly perplexed and was thinking whether Krole should be taken seriously or not.
Krole pointed his finger firmly towards the world atlas on the wall and said, 'four degree west by thirty seven point two degree north.'

I did not have to look at the map to say 'It's Spain I believe — Granada.'
'Right you are', said Krole, but to name the actual place you have to look at the map.
I stepped towards the wall; the place where my finger reached after calculating the latitude and longitude had 'Montefrio' written on it. Krole said Manuel Savedra — the writer of this manuscript used to live in Montefrio.

'Have you gone mad Krole?' I couldn't help saying— 'Do you believe that the seven hundred years old house still stands there? And above all if the manuscript has the procedure described, then we can do it in any laboratory, why do we need to go to Spain for that?

Krole was quite annoyed when he heard that. He put down his coffee mug on the table with a 'bang' and said - Shonku, you must know, that this is not an average scientific experiment, had it been somewhat like that, then it wouldn't have been important whether you eat garlic or not, whether the colour of your hair was black or not. Here in this kind of experiment - ‘time’, ‘geographical location’, even ‘physical and behavioral pattern’ of the researchers play important roles.

Believe me, these are all serious matters and for god's sake please do not underestimate these things. And what makes you think that seven hundred years old house would not exist! haven't you seen those pre-renaissance European castles? They are still standing tall in many places. Krole went on with his long lecture '… according to the manuscript, Savedra was from a very high-class family and the description of his residence suggests that it was a huge castle. Some part of it could be broken, but I am sure we will find at least one room in the whole castle, which can be used as our laboratory. And of course if people are staying there in the castle then we will have to negotiate with them. But I believe that, anything and everything is possible in this world — you only need to pay the price and Alchemy is……..

“What is it; which makes you people start an arguement so early in the morning"?
Saunders entered. Krole was so excited; he repeated our entire conversation to Saunders and ended with - “if we could go to Tibet in search of an imaginary animal, then why can't we go to Spain which is just a two hours plane journey from here and where there is a chance for us to create artificial gold?

Saunders did not argue — possibly because Krole was so excited. He said 'I do not mind going to Spain and I believe Shonku also doesn't mind, but may we know what are the equipments and ingredients your experiment require other than shonku in person.
'Time is more important than the ingredients. Savedra has suggested that one can start the experiment at 12pm, on any day within seven days before or after the Midsummer Day — because only in those few days the sun is strongest on the earth.
The ingredients are also easily available. Mercury and lead has always been mentioned in Alchemy all over the world they are mentioned by Savedra as well, apart from those — water, sulphur, table salt and quite a number of roots, leafs & barks of some specific plants.

The tools should all be earthen or made of glass. This is also a very common thing in Alchemy, other than these, we need a burner, an old 'air pump of a blacksmith’ and a water tank on the floor.
Water tank? Why? Asked Saunders.

To save rain water in that, but this is something new, I have never read this in any other Alchemy book, replied Krole.
Has he mentioned 'touchstone' I asked.

The concept of a touchstone is very popular in every part of the world. Some of the books of Alchemy, which I read, primarily focusses on making a touchstone and after that by the touch of that stone one can turn other metals into gold.
Krole said 'No! Savedra has not mentioned touchstone. The ingredients will react chemically and form a semi-solid stuff. That has to be purified in the rainwater and the liquid which comes out finally works as the catalyst. That means when other materials are brought in contact to that liquid they turn into gold.
Did Savedra succeed?' Saunders asked with sarcasm.

There was silence for some time and then Krole said in a grave voice “the manuscript is actually a diary and not written in a textbook format. The way his experiments proceeded his language became more and more poetic. Though he didn't write anything like 'today I made gold’ but towards the end he wrote — Krole picked up the manuscript from the top of the grand piano and read out loud “today I not only feel like the best magician or the like the best scientist of this world but I feel like - I am the best artist on this earth — who has a divine talent — and who can immortalize any creation of this universe….' Now you are free to interpret this.
Saunders and I looked at each other. Silence prevailed for some time again; I could understand that some of Krole's excitements had automatically been injected into Saunders' veins exactly the way it was happening to me. Saunders asked 'does any ritual or any chanting required in this process? And the way he asked the question, I could pretty well understood that he was trying to hide his excitement from us.
Krole took a long drag from his pipe; puffed out and said— 'a planchet has to be performed, prior to the commencement of our experiment.

'Planchet?' But whose spirit to call?

'The world famous alchemist Zabir-Ibn-Hayan's, you must have heard of this 10th century genius. It's just a normal blessing seeking process and as I am there, it wouldn't be problem at all.
We knew that Krole heads a planchet institution in Munich.
'And we need him.' Said Krole staring at the door. Following his line of vision we found Mustafa — the huge Persian cat of Saunders.

-'He means?' Saunders shouted loudly. I know Saunders is quite sensitive about cats, somewhat like me. Three years back when he came to my house in Giridih he tied a nice ribbon around my cat Newton's neck, as a gesture of his affection.

Krole said Savedra has strongly mentioned that a cat's presence in the laboratory is very important and always been very helpful for experiments. If not a cat, the second choice is an owl. But when we have a cat then why should we go for the second option?
Saunders or me, none of us promised Krole about the Spain trip, though Krole mentioned repeatedly that if this Midsummer Day passes by, then we have to wait for another year.
After the breakfast we three went to a fair in Hampstead Heath. This is an annual affair- it happens during the summers every year. Rows of stalls, gambling joints, merry-go-rounds, a large number of kids and a mixed crowd of all ages. We walked through all these and reached at a relatively open space where there was a very well-decorated caravan-like car which had -'Come and have your future told by Madame Reneta' written on it.

Madame herself was sitting inside the car and looking through the curtained window, she smiled and wished us good morning.

Gypsy fortunetellers like this are very common in this country — especially in the fairs. Krole immediately decided to visit her to see what was there in our fate. All three of us entered the caravan, as krole was quite hell-bent to know our future. Madame Reneta - a well built lady, was sitting in her well-decorated room and waiting for clients with her minimum equipments - one round shaped table, a vase holding a single red rose and a crystal ball. Generally what happens — these fortunetellers stare at their crystal balls and see their client's future events in the ball.
Krole did not waste time and said, 'Madame, could you please tell us whether anything remarkable is going to happen in our lives. We three are friends and are going to start a very important project soon.

Reneta put both her elbows on the table and concentrated on the crystal ball. We three were sitting around the table, on three chairs. The sound of 'Merry-go-round, giggles of kids, loud voices of the vendors were coming through the window. Krole was so excited he moved closer towards the ball.

'I see the sun rising ' Madame Reneta whispered in a very thick, husky voice. Krole suddenly stopped breathing - I am sure he was translating 'sun' into 'gold'.
'I see the sun rising for you,' Madame Reneta uttered again. 'And'....She stopped. My heart started beating faster. Situations like this transform elderly people to kids.
'And what?' Krole asked anxiously. He could not be patient any more. But Madame Reneta was indifferent; she covered the ball with her two hands from two sides possibly to have a clearer view of the future by guarding the daylight.
'And- ' the thick husky voice reverberated the caravan again 'And I see death. Yes death'
'Whose death?' Krole's voice trembled as he uttered the two words. He again started breathing very fast.

'A death of a radiant man.'
Madame Renata didn't say anything more.
When asked how does the 'radiant man' look — she replied 'his face is blurred'.
Saunders got up from his chair; Madame Reneta came out of her trance and raised her right hand with a smile. Saunders paid her a decent fee and we three came out of the caravan.

End of Part one

Read the Full Story in 3 parts, nest issue Sept'12

Poster of the Month by Victor ghoshe

'Have a smile'

'Shobuj Nidhon' by Kingshuk Roy

Kinshuk roy is a Senior Marketing Professional in the corporate sector, he stays in Lucknow, Uttar Pradesh, India, with his wife and son.

Sunday, July 29, 2012

Neck Strain Rehabilitation Excercises, Juthika Bezboruah

1. Isometric Neck Extension : sit tall, eyes straight ahead. chin up. Clasp hands together and place them behind head. press back head into palms. Hold 5 seconds and release. do 3 of 5. 2. Isometric Neck side bend: sit tall, eyes straight ahead. chin up. place the palm at the side of the temple, and press temple into the palm. Hold 5 seconds and release. do 3 of 5 on each side. 3. Head Lift: neck curl: lie on your right side with you right arm lying strieght out, rest head on arm, then lift head slowly toward left shoulder. Hold for 5 sec. repeat 10 times. Switch to left side and repeat the excercise. 4. Neck extension on hands and knees: get on your hands and knees and look down on the floor. keep back streight and let your head slowly drop toward the chest. tuck your chin slightly and lift head up keeping neck leveled with the back. Hold for 5 sec. repeat 10 times. 5. Scapular Squeeze: while sitting or standing with your arms by your sides, sqeeze your shoulder blades together and hold for 5 sec. Do 3 sets of 10.

āĻĒ্āϰেāĻŽেāϰ āĻ—āϞ্āĻĒ (A love story) - 'āĻŦেঁāϚে āĻĨাāĻ•ো āϏāϰ্āĻĻিāĻ•াāĻļি' by Saiyad Mujtaba Ali

āĻŦেঁāϚে āĻĨাāĻ•ো āϏāϰ্āĻĻিāĻ•াāĻļি,
āϏৈ⧟āĻĻ āĻŽুāϜāϤāĻŦা āφāϞী

āϭ⧟āĻ™্āĻ•āϰ āϏāϰ্āĻĻি āĻšā§ŸেāĻ›ে। āύাāĻ• āĻĻি⧟ে āϝা āϜāϞ āĻŦেāϰāĻŽ্āύāϚ্āĻ›ে āϤা āϏাāĻŽāϞাāύো āϰāĻŽ্āύāĻŽাāϞেāϰ āĻ•āϰ্āĻŽ āύ⧟। āĻĄāĻŦāϞ āϏাāχāϜ āĻŦিāĻ›াāύাāϰ āϚাāĻĻāϰ āύি⧟ে āφāĻ—ুāύেāϰ āĻ•াāĻ›ে āĻŦāϏেāĻ›ি। āĻšাঁāϚāĻ›ি āφāϰ āύাāĻ• āĻা⧜āĻ›ি, āύাāĻ• āĻা⧜āĻ›ি āφāϰ āĻšাঁāϚāĻ›ি। āĻŦিāĻ›াāύাāϰ āϚাāĻĻāϰেāϰ āĻ…āϰ্āϧেāĻ•āĻ–াāύা āĻšā§Ÿে āĻāϏেāĻ›ে, āĻāĻ–āύ āĻŦেāĻ›ে āĻŦেāĻ›ে āĻļুāĻ•āύো āϜা⧟āĻ—া āĻŦেāϰ āĻ•āϰāϤে āĻšāϚ্āĻ›ে। āĻļীāϤেāϰ āĻĻেāĻļ, āĻĻোāϰ āϜাāύাāϞা āĻŦāύ্āϧ, āĻ•িāϚ্āĻ›ু āĻ–োāϞাāϰ āωāĻĒা⧟ āύেāχ। āϜাāύāϞা āĻ–ুāϞāϞে āĻŽāύে āĻšā§Ÿ āĻ—ৌāϰীāĻļāĻ™্āĻ•āϰেāϰ āϚূ⧜োāϟি āϝেāύ āĻšিāĻŽাāϞ⧟ āϤ্āϝাāĻ— āĻ•āϰে āφāĻŽাāϰ āϘāϰে āύাāĻ• āĻ—āϞাāĻŦাāϰ āϤাāϞে āφāĻ›েāύ। āϜাāύি, āĻāĻ•āχ āϰāĻŽ্āύāĻŽাāϞে āĻŦাāϰāĻŦাāϰ āύাāĻ• āĻা⧜āϞে āϏāϰ্āĻĻি āĻŦে⧜েāχ āϚāϞে, āĻ•িāύ’ āωāĻĒা⧟ āĻ•ি? āĻĻেāĻļে āĻšāϞে āϰāĻ•ে āĻŦāϏে āĻŦাāχāϰে āĻ—āϞা āĻŦা⧜ি⧟ে āĻĻি⧟ে āϏāĻļāĻŦ্āĻĻে āύাāĻ• āĻা⧜āϤুāĻŽ, āĻ āύোংāϰাāĻŽিāϰ āĻšাāϤ āĻĨেāĻ•ে āϰāĻ•্āώা āϤো āĻĒেāϤুāĻŽāχ, āύাāĻ•āϟাāĻ“ āĻ•াāĻĒ⧜েāϰ āϘāώা⧟ āĻ›ā§œে āϝেāϤো āύা। āĻšāĻ াā§Ž āĻŽāύে āĻĒ⧜āϞ āĻĒāϰāĻļু āĻĻিāύ āĻāĻ• āĻĄাāĻ•্āϤাāϰেāϰ āϏāĻ™্āĻ—ে āĻ…āĻĒেāϰাāϤে āφāϞাāĻĒ āĻšā§ŸেāĻ›ে। āĻĄাāĻ•āϏাঁāχāϟে āĻĄাāĻ•্āϤাāϰ- āĻŽ্āϝুāύিāĻ• āĻļāĻšāϰে āύাāĻŽ āĻ•āϰāϤে āĻĒাāϰাāϟা āϚাāϟ্āϟিāĻ–াāύি āĻ•āĻĨা āύ⧟। āϝāĻĻিāĻ“ āϜাāύি āĻĄাāĻ•্āϤাāϰ āĻ•āϰāĻŦে āĻ•āϚু, āĻ•াāϰāĻŖ āϜāϰ্āĻŽāύ āĻ­াāώাāϤেāχ āĻĒ্āϰāĻŦাāĻĻ āφāĻ›ে āĻ“āώুāϧ āĻ–েāϞে āϏāϰ্āĻĻি āϏাāϰে āϏাāϤ āĻĻিāύে, āύা āĻ–েāϞে āĻāĻ• āϏāĻĒ্āϤা⧟। āϤāĻŦু āĻ—েāϞুāĻŽ āϤাঁāϰ āĻŦা⧜ী। āφāĻŽাāϰ āϚেāĻšাāϰা āĻĻেāĻ–েāχ āϤিāύি āĻŦুāĻāϤে āĻĒাāϰāϞেāύ āĻŦ্āϝাāĻĒাāϰāϟা āĻ•ি। āφāĻŽি āĻļুāϧাāϞাāĻŽ, āϏāϰ্āĻĻিāϰ āĻ“āώুāϧ āφāĻ›ে? āφāĻĒāύাāϰ āĻĒ্āϰāĻĨāĻŽ āĻāĻŦং āĻ–ুāĻŦ āϏāĻŽ্āĻ­āĻŦ āĻļেāώ āĻ­াāϰāϤী⧟ āϰোāĻ—ীāϰ āĻāĻ•āϟা āĻŦ্āϝāĻŦāϏ্āĻĨা āĻ•āϰে āĻĻিāύ। āφāĻŽাāϰ āĻāĻ• āύাāĻ• āĻĻি⧟ে āĻŦেāϰāĻŽ্āύāϚ্āĻ›ে āϰাāχāύ, āĻ…āύ্āϝ āύাāĻ• āĻĻি⧟ে āĻ“āĻĄাāϰ। āĻĄাāĻ•্āϤাāϰ āϝāĻĻিāĻ“ āϜāϰ্āĻŽāύ āϤāĻŦু āĻšাāϤ āĻĻু’āĻ–াāύি āφāĻ•াāĻļেāϰ āĻĻিāĻ•ে āϤুāϞে āϧāϰāϞেāύ āĻĢāϰাāϏিāϏ্ āĻ•া⧟āĻĻা⧟।

āĻŦāϞāϞেāύ, ‘āĻ…āĻŦাāĻ• āĻ•āϰāϞেāύ, āϏ্āϝাāϰ! āϏāϰ্āĻĻিāϰ āĻ“āώুāϧ āύেāχ? āĻ•āϤ āϚাāύ? āϏāϰ্āĻĻিāϰ āĻ“āώুāϧ āĻšā§Ÿ āĻšাāϜাāϰো āϰāĻ•āĻŽেāϰ।’ āĻŦāϞে āφāĻŽাāĻ•ে āĻĒাāĻļেāϰ āϘāϰে āύি⧟ে āĻ—ি⧟ে āĻ–ুāϞāϞেāύ āϞাāϞ āĻ•েāϞ্āϞাāϰ āϏāĻĻāϰ āĻĻāϰāϜা āĻĒāϰিāĻŽাāĻŖ āĻāĻ• āφāϞāĻŽাāϰি। āϚৌāĻ•ো, āĻ—োāϞ, āĻ•োāĻŽāϰ-āĻŽোāϟা, āĻĒেāϟ-āĻ­াāϰী āĻŦাāĻšাāύ্āύ āϰāĻ•āĻŽেāϰ āĻŦোāϤāϞ-āĻļিāĻļিāϤে āĻ­āϰ্āϤি। āύাāύা āϰāĻ™েāϰ āϞেāĻŦেāϞ āφāϰ āϏেāĻ—ুāϞোāϰ āωāĻĒāϰ āϞেāĻ–া āϰ⧟েāĻ›ে āĻŦিāĻ•āϟ āĻŦিāĻ•āϟ āϏāĻŦ āϞাāϤিāύ āύাāĻŽ। āĻāĻŦাāϰে āĻ–াāύāĻĻাāύী āĻ­ি⧟েāύীāϜ āĻ•া⧟āĻĻা⧟ āĻ•োāĻŽāϰে āĻĻু’āĻ­াঁāϜ āĻšā§Ÿে āĻŦাāĻ“ āĻ•āϰে āĻŦাঁ āĻšাāϤāϟা āĻĒেāϟেāϰ āĻ“āĻĒāϰ āϰেāĻ–ে āĻĄাāύ āĻšাāϤ āĻĻি⧟ে āϤāϞো⧟াāϰ āϚাāϞাāύোāϰ āĻ•া⧟āĻĻা⧟ āĻĻেāϰাāϜেāϰ āĻāĻ• āĻĒ্āϰাāύ্āϤ āĻĨেāĻ•ে āφāϰেāĻ• āĻĒ্āϰাāύ্āϤ āĻ…āĻŦāϧি āĻĻেāĻ–ি⧟ে āĻŦāϞāϞেāύ, ‘āĻŦেāĻ›ে āύিāύ, āĻŽāĻšাāϰাāϜ (āĻ•āĻĨাāϟা āϜāϰ্āĻŽāύ āĻ­াāώা⧟ āϚাāϞু āφāĻ›ে) āϏāĻŦ āϏāϰ্āĻĻিāϰ āĻĻাāĻ“ā§Ÿাāχ।’ āφāĻŽি āϏāύ্āĻĻিāĻ—্āϧ āύ⧟āύে āϤাঁāϰ āĻĻিāĻ•ে āϤাāĻ•াāϞুāĻŽ। āĻĄাāĻ•্āϤাāϰ āĻŽুāĻ–āĻŦ্āϝাāĻĻāύ āĻ•āϰে āĻĒāϰিāϤোāώেāϰ āψāĻˇā§Ž āĻšাāϏ্āϝ āĻĻি⧟ে āĻ—াāϞেāϰ āĻĻুāϟি āϟোāϞ āĻ–োāϞāϤাāχ āĻ•āϰে āĻĻি⧟েāĻ›েāύ- āĻšা’ āϟা āϞেāĻ—ে āĻĻি⧟েāĻ›ে āĻĻু’āĻ•াāύেāϰ āĻĄāĻ—া⧟। āĻāĻ•āϟা āĻ“āώুāϧেāϰ āĻ•āϟāĻŽāϟে āϞাāϤিāύ āύাāĻŽ āĻ…āϤি āĻ•āώ্āϟে āωāϚ্āϚাāϰāĻŖ āĻ•āϰে āĻŦāϞāϞুāĻŽ, ‘āĻāϰ āĻŽাāύে āϤো āϜাāύিāύে।’ āϏāĻĻ⧟ āĻšাāϏি āĻšেāϏে āĻŦāϞāϞেāύ, ‘āφāĻŽিāĻ“ āϜাāύিāύে, āϤāĻŦে āĻāϟুāĻ•ু āϜাāύি, āĻ াāĻ•ুāϰāĻŽা āĻŽাāϰ্āĻ•া āĻ•āϚু-āϘেঁāϚু āĻŽেāĻļাāύো āĻĻিāĻļী āĻĻাāĻ“ā§Ÿাāχ āĻŽাāϤ্āϰেāϰāχ āϞāĻŽ্āĻŦা āϞāĻŽ্āĻŦা āϞাāϤিāύ āύাāĻŽ āĻšā§Ÿ।’ āφāĻŽি āĻļুāϧাāϞাāĻŽ, ‘āĻ–েāϞে āϏāϰ্āĻĻি āϏাāϰে?’ āĻŦāϞāϞেāύ, ‘āĻ—āϞা⧟ āĻāĻ•āϟু āφāϰাāĻŽ āĻŦোāϧ āĻšā§Ÿ, āύাāĻ•েāϰ āϏু⧜āϏু⧜িāϟা āĻšā§ŸāϤ āĻāĻ•āϟু āφāϧāϟু āĻ•āĻŽে। āφāĻŽি āĻ•āĻ–āύো āĻĒāϰāĻ– āĻ•āϰে āĻĻেāĻ–িāύি। āϏāĻŦ āĻĒেāϟেāύ্āϟ āĻ“āώুāϧ-āύāĻŽুāύা āĻšিāϏাāĻŦে āĻŦিāύা āĻĒ⧟āϏা⧟ āĻĒাāĻ“ā§Ÿা। āϤāĻŦে āϏāϰ্āĻĻি āϏাāϰে āύা, āĻ āĻ•āĻĨা āϜাāύি।’ āφāĻŽি āĻļুāϧাāϞুāĻŽ, ‘āϤāĻŦে āϝে āĻŦāϞāϞেāύ āϏāϰ্āĻĻিāϰ āĻ“āώুāϧ āφāĻ›ে?’ āĻŦāϞāϞেāύ, ‘āĻāĻ–āύো āĻŦāϞāĻ›ি āφāĻ›ে āĻ•িāύ্āϤু āϏāϰ্āĻĻি āϏাāϰে āϏে āĻ•āĻĨা āĻŦāϞিāύি।’ āĻŦুāĻāϞুāĻŽ, āϜāϰ্āĻŽāύি āĻ•াāύ্āϟ āĻšেāĻ—েāϞেāϰ āĻĻেāĻļ। āĻŦāϞāϞুāĻŽ, ‘āĻ…’। āĻĢিāϏāĻĢিāϏ āĻ•āϰে āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āφāϰেāĻ•āϟা āϤāϤ্āϤ্āĻŦāĻ•āĻĨা āĻāχ āĻŦেāϞা āĻļিāĻ–ে āύিāύ। āϝে āĻŦ্āϝাāĻŽোāϰ āĻĻেāĻ–āĻŦেāύ āϏাāϤাāύ্āύ āϰāĻ•āĻŽেāϰ āĻ“āώুāϧ, āĻŦুāĻে āύেāĻŦেāύ, āϏে āĻŦ্āϝাāĻŽো āĻ“āώুāϧে āϏাāϰে āύা।’ āϤāϤāĻ•্āώāĻŖে āφāĻŦাāϰ āφāĻŽি āĻšাঁāϚ্āĻ›ো āĻšাঁāϚ্āĻ›ো āφāϰāĻŽ্āĻ­ āĻ•āϰে āĻĻি⧟েāĻ›ি। āύাāĻ•-āϚোāĻ– āĻĻি⧟ে āĻāĻŦাāϰ āϰাāχāύ-āĻ“ā§œাāϰ āύা āĻāĻŦাāϰে āĻĒāĻĻ্āĻŽা-āĻŽেāϘāύা। āĻĄাāĻ•্āϤাāϰ āĻĄāϜāύ āĻĻুāχ āĻ•াāĻ—āϜেāϰ āϰāĻŽ্āύāĻŽাāϞ āφāϰ āĻāĻ•āϟা āĻ“ā§ŸেāϏ্āϟ-āĻĒেāĻĒাāϰ āĻŦাāĻ•্āϏেāϟ āφāĻŽাāϰ āĻĻিāĻ•ে āĻāĻ—ি⧟ে āĻĻিāϞেāύ। āϧাāĻ•্āĻ•াāϟা āϏাāĻŽāϞে āĻ“āĻ ে āĻĒ্āϰাāĻŖāĻ­āϰে āϜāϰ্āĻŽāύ āϏāϰ্āĻĻিāĻ•ে āĻ…āĻ­িāϏāĻŽ্āĻĒাāϤ āĻĻিāϞুāĻŽ। āĻĻেāĻ–ি, āĻĄাāĻ•্āϤাāϰ āφāĻŽাāϰ āĻĻিāĻ•ে āϤাāĻ•ি⧟ে āĻŽিāϟāĻŽিāϟি⧟ে āĻšাāϏāĻ›েāύ। āφāĻŽাāϰ āĻŽুāĻ–ে āĻšā§ŸāϤ āĻāĻ•āϟু āĻŦিāϰāĻ•্āϤি āĻĢুāϟে āωāĻ েāĻ›িāϞ। āĻŦāϞāϞেāύ, ‘āϏāϰ্āĻĻি-āĻ•াāĻļিāϰ āĻ—ুāĻŖāĻ“ āφāĻ›ে।’ āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āĻ•āϚু, āĻšাāϤী, āϘāĻŖ্āϟা!’ āĻŦāϞāϞেāύ, ‘āϤāϰ্āϜāĻŽা āĻ•āϰে āĻŦāϞুāύ।’ āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āĻ•āϚুāϰ’ āϞাāϤিāύ āύাāĻŽ āϜাāύিāύে; ‘āĻšাāϤী’ āĻšāϞ ‘āĻāϞেāĻĢাāύ্āϟ’ āφāϰ ‘āϘāĻŖ্āϟা’ āĻŽাāύে ‘āĻ—āϏ্āύāĻ•ে’। ‘āĻŽাāύে! āφāϰ āĻŦুāĻে āĻĻāϰāĻ•াāϰ āύেāχ; āĻāĻ—ুāϞো āĻ•āϟুāĻŦাāĻ•্āϝ।’

āφāĻ•াāĻļ āĻĒাāύে āĻšাāύি āϝুāĻ—āϞāĻ­ুāϰāĻŽ্āύ āĻŦāϞāϞেāύ, ‘āĻ…āĻĻ্āĻ­ুāϤ āĻ­াāώা! āĻšাāϤি āφāϰ āϘāĻŖ্āϟা āĻ—াāϞাāĻ—াāϞি āĻšā§Ÿ āĻ•ি āĻ•āϰে! āĻāĻ•āϟা āĻ—āϞ্āĻĒ āĻļুāύāĻŦেāύ? āϏāĻ™্āĻ—ে āĻ—āϰāĻŽ āĻŦ্āϰাāύ্āĻĄি?’ āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āĻĒ্āϰāĻĨāĻŽāϟাāχ āϚāϞুāĻ•। āĻŽিāĻ•্āϏ্ āĻ•āϰা āĻ­াāϞো āύ⧟।’ āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, āφāĻŽি āĻĄাāĻ•্āϤাāϰি āĻļিāĻ–েāĻ›ি āĻŦাāϰ্āϞিāύে। āĻŦāĻ›āϰ āϤিāύেāĻ• āĻĒ্āϰ্āϝাāĻ•āϟিāϏ āĻ•āϰাāϰ āĻĒāϰ āĻāĻ•āĻĻিāύ āĻ—ি⧟েāĻ›ি āϏ্āϟেāĻļāύে, āĻŦāύ্āϧুāĻ•ে āĻŦিāĻĻে⧟ āĻĻিāϤে। āĻĢেāϰাāϰ āϏāĻŽā§Ÿ āϏ্āϟেāĻļāύ-āϰেāϏ্āϤোāϰাঁ⧟ āĻĸুāĻ•েāĻ›ি āĻāĻ•āϟা āĻŦ্āϰাāύ্āĻĄি āĻ–াāĻŦ āĻŦāϞে! āĻĸুāĻ•েāχ āĻĨāĻŽāĻ•ে āĻĻাঁ⧜াāϞুāĻŽ। āĻĻেāĻ–ি, āĻāĻ• āĻ•োāĻŖে āĻāĻ• āĻ…āĻĒāϰূāĻĒ āϏুāύ্āĻĻāϰী। āĻ…āϤ্āϝāύ্āϤ āϏাāĻĻা āϏিāĻĻে āĻŦেāĻļāĻ­ূāώা-āĻ—āϰীāĻŦ āĻŦāϞāϞেāĻ“ āϚāϞে- āφāϰ āϤাāχ āĻŦোāϧ āĻšā§Ÿ āϏৌāύ্āĻĻāϰ্āϝāϟা āĻĒে⧟েāĻ›ে āϤাāϰ āϚāϰāĻŽ āĻ–োāϞāϤাāχ। āύāϰ্āĻĨāϏী āĻĻেāĻ–েāĻ›েāύ? āϤāĻŦে āĻŦুāĻāϤেāύ āĻšāĻŦ-āĻšāĻŦ āϏāύ্āϧ্āϝা⧟ āϤাāϰ āϜāϞ āĻ•ি āϰāĻ•āĻŽ āύীāϞ āĻšā§Ÿ-āϤাāϰāχ āĻŽāϤ āϏুāύ্āĻĻāϰীāϰ āϚোāĻ–। āĻĻāĻ•্āώিāĻŖ āχāϟাāϞীāϤে āĻ•āĻ–āύো āĻ—ি⧟েāĻ›েāύ? āύা? āϤāĻŦে āĻŦুāĻāϤেāύ āϏেāĻ–াāύে āϏোāύাāϞি āϰোāĻĻে āϰূāĻĒাāϞী āĻĒ্āϰāϜাāĻĒāϤিāϰ āĻ•ি āϰাāĻ—িāĻŖী। āϤাāχ āĻŽāϤ āϤাঁāϰ āĻŦ্āϞāύ্āĻĄ āϚুāϞ। āĻĄাāύ⧟ুāĻŦ āύāĻĻী āĻĻেāĻ–āĻ›েāύ? āύা? āϤা āĻšāϞে āφāĻŽাāϰ āϏāĻŦ āĻŦāϰ্āĻŖāύাāχ āĻŦৃāĻĨা। āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āĻŦāϞে āϝাāύ, āϰāϏāĻ—্āϰāĻšāĻŖে āφāĻŽাāϰ āĻ•āĻŖাāĻŽাāϤ্āϰ āĻ…āϏুāĻŦিāϧে āĻšāϚ্āĻ›ে āύা।’ ‘āύা, āĻĨাāĻ•। āĻ“āϰāĻ•āĻŽ āĻŦে⧟াāϰিং āĻĒোāϏ্āϟেāϰ āĻŦāϰ্āĻŖāύা āĻĻিāϤে āφāĻŽাāϰ āĻŽāύ āĻŽাāύে āύা। āφāĻŽāϰা āĻĄাāĻ•্āϤাāϰ-āĻŦāĻĻ্āϝি āĻŽাāύুāώ, āĻ­াāώা āĻŦাāĻŦāĻĻে āĻŽুāĻ–্āϝ-āϏুāĻ–্āϝু। āĻ…āύেāĻ• āĻŽেāĻšāύāϤ āĻ•āϰে āϝে āĻāĻ•āϟি āĻŽাāϤ্āϰ āĻŦāϰ্āĻŖāύা āĻ•āĻŦ্āϜা⧟ āĻāύেāĻ›ি āϏেāχāϟেāĻ“ āϝāĻĻি āύা āĻŦোāĻেāύ āϤāĻŦে āφāĻŽাāϰ āĻļোāĻ•āϟা āĻ•োāĻĨা⧟ āϰাāĻ–ি āĻŦāϞুāύ āϤো।’
āĻ•াāϤāϰ āĻšā§Ÿে āĻŦāϞāϞুāĻŽ, ‘āύিāϰাāĻļ āĻ•āϰāĻŦেāύ āύা।’ ‘āϤāĻŦে āϚāϞুāĻ• āϤ্āϰিāϞেāĻ—েāĻĄ্ āϰেāϏ। āĻĄাāύ⧟ুāĻŦ āύāĻĻীāϰ āĻļাāύ্āϤ-āĻĒ্āϰāĻļাāύ্āϤ āĻ­াāĻŦāĻ–াāύা āϤাঁāϰ āĻŽুāĻ–েāϰ āωāĻĒāϰ। āĻ…āĻĨāϚ āϜাāύেāύ, āĻĄাāύ⧟ুāĻŦ āĻ…āĻ—āĻ­ীāϰ āύāĻĻী āύ⧟। āφāϰ āĻĄাāύ⧟ুāĻŦেāϰ āĻ‰ā§ŽāĻĒāϤ্āϤিāϏ’āϞ āĻĻেāĻ–েāĻ›েāύ। āύা। āϤাāĻšāϞে āĻŦুāĻāϤেāύ āϏেāĻ–াāύে āϤāύ্āĻŦāψ āĻĄাāύ⧟ুāĻŦ āϝে āϰāĻ•āĻŽ āϞাāϜুāĻ• āĻŽে⧟েāϰ āĻŽāϤ āĻঁāĻ•ে āĻŦেঁāĻ•ে āφāĻĒāύ āĻļāϰীāϰ āĻĸাāĻ•āϤে āĻŦ্āϝāϏ্āϤ, āĻ-āĻŽে⧟েāϰ āĻŽুāĻ–ে āϤেāĻŽāύি āĻ›ā§œাāύো āϰ⧟েāĻ›ে āϞāϜ্āϜাāϰ āĻ•েāĻŽāύ āϝেāύ āĻāĻ•āϟা āφঁāĻ•ুāĻŦাঁāĻ•ু āĻ­াāĻŦ। ‘āĻāχ āϞāϜ্āϜা āĻ­াāĻŦāϟাāϰ āωāĻĒāϰāχ āφāĻŽি āĻŦিāĻļেāώ āĻ•āϰে āϜোāϰ āĻĻিāϤে āϚাāχ। āφāĻĒāύি āύিāĻļ্āϚ⧟āχ āϞāĻ•্āώ্āϝ āĻ•āϰেāĻ›েāύ, āϞāϜ্āϜা-āĻļāϰāĻŽ āĻŦāϞāϤে āφāĻŽāϰা āϝা āĻ•িāĻ›ু āĻŦুāĻি āϏে āϏāĻŦ āĻŽāϧ্āϝāϝুāĻ—েāϰ āĻĒুāϰāĻŽ্āύāύো āĻ—āϞ্āĻĒ āĻĨেāĻ•ে। āĻŦে⧟াāϤ্āϰিāϚে āĻĻাāύেāϤ্āĻŽāĻ•ে āĻĻেāĻ–ে āϞাāϜুāĻ• āĻšাāϏি āĻšেāϏেāĻ›িāϞেāύ- āφāĻŽāϰা āϤাāχ āύি⧟ে āĻ•āϞ্āĻĒāύাāϰ āϜাāϞ āĻŦুāύি। āφāϜāĻ•েāϰ āĻĻিāύে āĻāϏāĻŦ āϤো āφāϰ āĻŦাāϰ্āϞিāύ āĻļāĻšāϰে āĻĒাāĻ“ā§Ÿা āϝা⧟ āύা। āĻŽāϧ্āϝāϝুāĻ—েāϰ āύাāχāϟāĻĻেāϰ āĻļিāĻ­াāϞāϰি āĻ—েāĻ›ে āφāϰ āϝাāĻŦাāϰ āϏāĻŽā§Ÿ āϏāĻ™্āĻ—ে āύি⧟ে āĻ—ি⧟েāĻ›ে āĻŽে⧟েāĻĻেāϰ āĻŽুāĻ– āĻĨেāĻ•ে āϏāĻŦ āϞāϜ্āϜা āϏāĻŦ āĻŦ্āϰী⧜া। ‘āĻ•িāύ’ āφāĻĒāύাāĻĻেāϰ āĻĻেāĻļে āύিāĻļ্āϚ⧟āχ āĻāĻ–āύো āĻāχ āĻŽāϧুāϰ āϜিāύিāϏāϟি āĻĻেāĻ–āϤে āĻĒাāĻ“ā§Ÿা āϝা⧟ āφāϰ āϤাāϰ āϚে⧟েāĻ“ āύিāĻļ্āϚ⧟, āφāĻĒāύাāĻĻেāϰ āĻĻেāĻļেāϰ āϞোāĻ• āĻāĻ–াāύো āĻ…āĻ—্āϰāĻĒāĻļ্āϚাā§Ž āĻŦিāĻŦেāϚāύা āύা āĻ•āϰে āĻĒ্āϰāĻĨāĻŽ āĻĻāϰ্āĻļāύেāχ āĻĒ্āϰেāĻŽে āĻĒ⧜ে। ‘āϤাāχ āφāĻĒāύি āĻŦিāĻļ্āĻŦাāϏ āĻ•āϰāĻŦেāύ, āĻ•িāύ’ āφāĻŽি āύিāϜে āĻāĻ–āύো āĻ িāĻ• āĻ•āϰāϤে āĻĒাāϰিāύি, āĻ•ি āĻ•āϰে āϝে āφāĻŽাāϰ āϤāĻ–āύ āĻŽāύে āĻš’āϞ āĻ-āĻŽে⧟েāĻ•ে āύা āĻĒেāϞে āφāĻŽাāϰ āϚāϞāĻŦে āύা। ‘āĻšাāϏāϞেāύ āύা āϝে? āϤাāϰ āĻĨেāĻ•েāχ āĻŦুāĻāϞুāĻŽ, āφāĻĒāύি āĻ“ā§ŸাāĻ•িāĻŦāĻšাāϞ, āφāĻĒāύি āφāĻŽাāĻ•ে āĻŦিāĻļ্āĻŦাāϏ āĻ•āϰāϤে āĻĒেāϰেāĻ›েāύ; āĻ•িāύ’ āϜāϰ্āĻŽāύāϰা āφāĻŽাāϰ āĻ-āĻ…āĻŦāϏ্āĻĨাāϰ āĻ•āĻĨা āĻļুāύে āĻšাāϏে। āφāϰ āĻšাāϏāĻŦেāχ āĻŦা āύা āĻ•েāύ? āϚেāύা āύেāχ, āĻļোāύা āύেāχ, āĻŦিāĻĻ্āϝাāĻŦুāĻĻ্āϧিāϤে āĻŽে⧟েāϟা āĻšā§ŸāϤ āĻ…āĻĢিāϏāĻŦ⧟েāϰ āϚে⧟েāĻ“ āφāĻ•াāϟ, āĻšā§ŸāϤ āĻŽাāϤাāϞāĻĻেāϰ āφāĻĄ্āĻĄা⧟ āĻŦি⧟াāϰ āĻŦিāĻ•্āϰি āĻ•āϰে āĻĒ⧟āϏা āĻ•াāĻŽা⧟, āĻ•িāĻŽ্āĻŦা āĻāĻ“ āϤো āĻšāϤে āĻĒাāϰে āϝে āϤাāϰ āĻŦি⧟ে āĻšā§Ÿে āĻ—ি⧟েāĻ›ে। āĻ āϏāĻŦ āĻ•োāύো āĻ•িāĻ›ুāϰ āϤāϤ্āϤ্āĻŦ-āϤাāĻŦাāĻļ āύা āĻ•āϰে āĻāĻ• āĻāϟāĻ•া⧟ āĻŽāύāϏ্āĻĨিāϰ āĻ•āϰে āĻĢেāϞা, āĻ-āĻŽে⧟ে āύা āĻšāϞে āφāĻŽাāϰ āϚāϞāĻŦে āύা! āφāĻŽি āĻ•ি āĻ–াāĻŽāĻ–ে⧟াāϞিāϰ āϚেāĻ™্āĻ—িāϏāĻ–াāύ, āύা āĻšাāϜাāϰো āĻĒ্āϰেāĻŽেāϰ āĻĄāύ্ āϜু⧟াāύ্?

‘āĻ­াāĻŦāĻ›ি āφāϰ āĻŽাāĻĨাāϰ āϚুāϞ āĻ›িঁ⧜āĻ›ি-āĻ•োāύ্ āĻ…āϜুāĻšাāϤে āĻ•োāύ্ āĻ…āĻ›িāϞা⧟ āĻঁāϰ āϏāĻ™্āĻ—ে āφāϞাāĻĒ āĻ•āϰা āϝা⧟। ‘āĻ•িāĻ›ুāϤেāχ āĻ•োāύো āĻšāĻĻিāĻļ āĻĒাāϚ্āĻ›িāύে, āφāĻŽাāĻĻেāϰ āĻŽাāĻāĻ–াāύে āϤিāύāĻ–াāύা āĻŽাāϤ্āϰ āĻ›োāϟ্āϟ āϟেāĻŦিāϞেāϰ āϝে āωāϤ্āϤাāϞ āϏāĻŽুāĻĻ্āϰ āϏেāϟা āĻĒেāϰি⧟ে āĻ“ঁāϰ āĻ•াāĻ›ে āĻĒৌঁāĻ›āχ āĻ•ি āĻĒ্āϰāĻ•াāϰে। āĻĒ্āϰāĻŦাāĻĻ āφāĻ›ে, āĻĒ্āϰেāĻŽে āĻĒ⧜āϞে āĻŦোāĻ•া āύাāĻ•ি āĻŦুāĻĻ্āϧিāĻŽাāύ āĻšā§Ÿে āϝা⧟- āĻĒ্āϰি⧟াāĻ•ে āĻĒাāĻ“ā§Ÿাāϰ āϜāύ্āϝ āϤāĻ–āύ āϤাāϰ āĻĢāύ্āĻĻি-āĻĢিāĻ•িāϰ āφāϰ āφāĻŦিāώ্āĻ•াāϰ āĻ•ৌāĻļāϞ āĻĻেāĻ–ে āĻĒাঁāϚāϜāύেāϰ āϤাāĻ• āϞেāĻ—ে āϝা⧟, āφāϰ āĻŦুāĻĻ্āϧিāĻŽাāύ āύাāĻ•ি āĻĒ্āϰেāĻŽে āĻĒ⧜āϞে āĻšā§Ÿে āϝা⧟ āĻāĻ•āĻĻāĻŽ āĻ—āĻŦেāϟ-āĻāĻŽāύ āϏāĻŦ āĻ•া- āϤāĻ–āύ āĻ•āϰে āĻŦāϏে āϝে āĻĻāĻļāϜāύ āϤাāϜ্āϜāĻŦ āύা āĻŽেāύে āϝা⧟āύা, āĻ āϞোāĻ•āϟা āĻ-āϏāĻŦ āĻĒাāĻ—āϞাāĻŽি āĻ•āϰāĻ›ে āĻ•ি āĻ•āϰে!
‘āĻ āϜীāĻŦāύে āϏেāχ āϏেāĻĻিāύ āφāĻŽি āĻĒ্āϰāĻĨāĻŽ āφāĻŦিāώ্āĻ•াāϰ āĻ•āϰāϞুāĻŽ āϝে āφāĻŽি āĻŦুāĻĻ্āϧিāĻŽাāύ, āĻ•াāϰāĻŖ āĻĒূāϰ্āĻŖ āĻāĻ•āϘāĻŖ্āϟা āϧāϰে āĻ­েāĻŦেāĻ“ āφāĻŽি āϏাāĻŽাāύ্āϝāϤāĻŽ āĻ•ৌāĻļāϞ āφāĻŦিāώ্āĻ•াāϰ āĻ•āϰāϤে āĻĒাāϰāϞুāĻŽ āύা, āφāϞাāĻĒ āĻ•āϰি āĻ•োāύ্ āĻ•া⧟āĻĻা⧟। āĻ•িāύ’ āĻāĻšেāύ āĻšৃāĻĻ⧟াāĻ­িāϰাāĻŽ āϤāϤ্āϤ্āĻŦ āφāĻŦিāώ্āĻ•াāϰ āĻ•āϰেāĻ“ āĻŽāύ āĻ•িāĻ›ুāĻŽাāϤ্āϰ āωāϞ্āϞাāϏিāϤ āĻšāϞ āύা। āϤāĻ–āύ āĻŦāϰāĻž্āϚ āĻŦোāĻ•া āĻŦāύāϤে āĻĒাāϰāϞেāχ āĻšā§ŸāϤ āĻ•োāύো āĻāĻ•āϟা āĻ•ৌāĻļāϞ āĻŦেāϰি⧟ে āϝেāϤ। ‘āĻĢ্āϰāϞাāχāύ āωāĻ ে āĻĻাঁ⧜াāϞেāύ। āĻ•ি āφāϰ āĻ•āϰি। āĻĒিāĻ›ু āύিāϞুāĻŽ। āϤিāύি āĻ—ি⧟ে āωāĻ āϞেāύ āĻŽ্āϝুāύিāĻ•েāϰ āĻ—া⧜িāϤে। āφāĻŽিāĻ“ āĻ›ুāϟে āĻ—ি⧟ে āϟিāĻ•িāϟ āĻ•াāϟāϞুāĻŽ āĻŽ্āϝুāύিāĻ•েāϰ। āĻ•িāύ’ āĻāϏে āĻĻেāĻ–ি āϏে āĻ•াāĻŽāϰাāϰ āφāϟāϟা āϏিāϟāχ āĻ­āϰ্āϤি āĻšā§Ÿে āĻ—ি⧟েāĻ›ে। āφāϰো āĻĒ্āϰāĻŽাāĻŖ āĻšā§Ÿে āĻ—েāϞ, āφāĻŽি āĻŦুāĻĻ্āϧিāĻŽাāύ, āĻ•াāϰāĻŖ āĻ āĻ•āĻĨা āϏāĻŦাāχ āϜাāύে, āĻŦুāĻĻ্āϧিāĻŽাāύāĻ•ে āĻ­āĻ—āĻŦাāύ āϏাāĻšাāϝ্āϝ āĻ•āϰāϞে āĻ-āĻĒৃāĻĨিāĻŦীāϤে āĻŦোāĻ•াāĻĻেāϰ āφāϰ āĻŦাঁāϚāϤে āĻšāϤ āύা। āφāĻŽি āĻ­āĻ—āĻŦাāύেāϰ āĻ•াāĻ› āĻĨেāĻ•ে āĻ•োāύো āϏাāĻšাāϝ্āϝ āĻĒেāϞুāĻŽ āύা।’ āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āĻ­āĻ—āĻŦাāύāĻ•ে āĻĻোāώ āĻĻিāϚ্āĻ›েāύ āĻ•েāύ? āĻāϤো āĻ•āύ্āĻĻāϰ্āĻĒ āĻ াāĻ•ুāϰেāϰ āĻĄিāĻĒাāϰ্āϟāĻŽেāύ্āϟ।’ āĻŦāϞāϞেāύ, ‘āϤাāϤেāχ āĻŦা āĻ•ি āϞাāĻ­? āϤিāύি āϤো āĻ…āύ্āϧ। āĻŽে⧟েāϟাāĻ•ে āĻŦাāύি⧟ে āĻĻি⧟েāĻ›েāύ āϤাঁāϰāχ āĻŽāϤ āĻ…āύ্āϧ। āĻāχ āϝে āφāĻŽি āĻāĻ•āϟা āĻāϤ āĻŦ⧜ āĻ…্āϝাāĻĒāϞো, āφāĻŽাāϰ āĻĻিāĻ•ে āĻāĻ•āĻŦাāϰেāϰ āϤāϰে āĻĢিāϰেāĻ“ āϤাāĻ•াāϞো āύা। āĻ“ঁāĻ•ে āĻĄেāĻ•ে āĻšāĻŦে-’ āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āĻ•āϚু’, ‘āĻšাāϤী’, ‘āϘāĻŖ্āϟা’। āĻāĻŦাāϰ āĻĄাāĻ•্āϤাāϰ āĻŦাāĻ™āϞা āĻ•āϟুāĻ•াāϟāĻŦ্āϝেāϰ āĻ•āĻĻāϰ āĻŦুāĻāϞেāύ।

āĻŦāϞāϞেāύ, ‘āφāĻšা-āĻšা-āĻšা।’ āϤাāϰāĻĒāϰ āϜāϰ্āĻŽāύ āωāϚ্āϚাāϰāĻŖে āĻŦāϞāϞেāύ, ‘āĻ•āĻļু, āĻšাāϟি, āĻ—āĻŖ্āϟা! āĻ–াāϏা āĻ—াāϞাāĻ—াāϞ।’ āφāĻŽি āĻŦāϞāϞুāĻŽ, āĻ•োāĻŽāϰাāϤে āφāϟāϜāύেāϰ āϏিāϟ āĻ›িāϞ āϤো āϰ⧟েāχ āĻ—েāϞ। āĻĒ্āϰāĻŦাāϏে āύি⧟āĻŽ āύাāϏিāϤ্āĻŽ। āφāĻĒāύি āĻ•োāύো āĻ—āϤিāĻ•ে āϧাāĻ•্āĻ•া āϧাāĻ•্āĻ•ি āĻ•āϰে-’ āĻŦāϞāϞেāύ, ‘āϤাāϜ্āϜāĻŦ āĻ•āϰāϞেāύ। āĻāĻ•ি āφāĻĒāύাāϰ āχāύ্āĻĄি⧟াāύ āϟ্āϰেāύ, āύা āϏাāχāĻŦেāϰি⧟াāĻ—াāĻŽী āĻĒ্āϰিāϜāύাāϰ-āĻ­্āϝাāύ! āϚেāĻ•াāϰ āĻĒāϤ্āϰāĻĒাāĻ  āĻ•াāĻŽāϰা āĻĨেāĻ•ে āĻŦেāϰ āĻ•āϰে āĻĻেāĻŦে āύা?’ ‘āĻĻাঁ⧜ি⧟ে āϰāχāϞুāĻŽ āĻŦাāχāϰেāϰ āĻ•āϰিāĻĄāϰে āĻ া⧟। āĻĻেāĻ–ি āĻŽে⧟েāϟি āϝāĻĻি āĻ–াāύাāĻ•াāĻŽāϰা⧟ āϝা⧟। āϏ্āϟেāĻļāύে āϤো āĻ–ে⧟েāĻ›ে āĻļুāϧু āĻ•āĻĢি। āϘāĻŖ্āϟাāϰ āĻĒāϰ āϘāĻŖ্āϟা āĻ•াāϟāϞ, āĻ•āϤ āϞোāĻ• āĻ•āϤ āĻ•াāĻŽāϰা āĻĨেāĻ•ে āωāĻ āϞো āύাāĻŽāϞো āĻ•িāύ’ āφāĻŽাāϰ āϏ্āĻŦāϰ্āĻ—āĻĒুāϰী āĻĨেāĻ•ে āĻ•োāύো- (āĻ•āϟুāĻŦাāĻ•্āϝ)- āύাāĻŽāϞো āύা। āϏāĻŦ āĻŦ্āϝাāϟা āύিāĻļ্āϚ⧟āχ āϝাāϚ্āĻ›ে āĻŽ্āϝুāύিāĻ•। āφāϰ āĻ•োāĻĨাāĻ“ āϝেāϤে āĻĒাāϰে āύা? āĻŽ্āϝুāύিāĻ• āĻ•ি āĻĒāϰীāϏ্āĻĨাāύ āύা āĻŽ্āϝুāύিāĻ•েāϰ āĻĢুāϟāĻĒāĻĨ āϏোāύা āĻĻি⧟ে āĻ—ā§œা? āĻ…āĻŦাāĻ• āĻ•āϰāϞে āĻāχ āχāĻĄি⧟āϟāĻ—ুāϞো। ‘āĻĒ্āϰেāĻŽে āĻĒ⧜āϞে āύাāĻ•ি āĻ•্āώুāϧাāϤৃāώ্āĻŖা āϞোāĻĒāĻĒা⧟। āĻāĻ•āĻŦেāϞাāϰ āϜāύ্āϝ āĻšā§ŸāϤ āĻĒা⧟। āφāĻŽি āϞাāĻž্āϚ āĻ–াāχāύি, āĻ“āĻĻিāĻ•ে āĻĄিāύাāϰেāϰ āϏāĻŽā§Ÿ āĻšā§Ÿে āĻ—ি⧟েāĻ›ে- āφāĻŽাāϰ āĻĒেāϟেāϰ āĻ­িāϤāϰ āĻšুāϞুāϧ্āĻŦāύি āϜেāĻ—ে āωāĻ েāĻ›ে। āĻāĻŽāύ āϏāĻŽā§Ÿ āĻŽা āĻŽেāϰিāϰ āĻ•āϰāĻŽ্āύāĻŖা āĻšāϞ। āĻŽে⧟েāϟি āϚāϞāϞ āĻ–াāύা-āĻ•াāĻŽāϰাāϰ āĻĻিāĻ•ে। āφāĻŽি āϚāϞāϞুāĻŽ āĻ িāĻ• āĻĒিāĻ›āύে āĻĒিāĻ›āύে। āφāĻšা, āϝāĻĻি āĻāĻ•āϟা āĻšোঁāϚāϟ āĻ–ে⧟ে āφāĻŽাāϰ āĻ“āĻĒāϰ āĻĒ⧜ে āϝা⧟। āĻĻুāϤ্āϤোāϰ, āϤাāϰāĻ“ āωāĻĒা⧟ āύেāχ- āωঁāϚু āĻšিāϞেāϰ āϜুāϤো āĻšāϞে āĻ—া⧜িāϰ āĻ•াঁāĻĒুāύিāϤে āĻĒ⧜ে āϝাāĻ“ā§Ÿাāϰ āϏāĻŽ্āĻ­াāĻŦāύা āĻĨাāĻ•ে- āĻ āĻĒāϰেāĻ›ে āĻ•্āϰেāĻĒāϏোāϞ্। ‘āĻ িāĻ• āĻĒিāĻ›āύে āĻĒিāĻ›āύে āĻ—ি⧟ে āĻ–াāύা-āĻ•াāĻŽāϰা⧟ āĻĸুāĻ•āϞুāĻŽ। āĻ“ā§Ÿেāϟাāϰāϟা āĻ­াāĻŦāϞে āϏ্āĻŦাāĻŽী-āϏ্āϤ্āϰী। āύা āĻšāϞে āϤāϰāĻŽ্āύāĻŖ āϤāϰāĻŽ্āύāĻŖী āĻ āϰāĻ•āĻŽ āĻŽুāĻ– āĻ—ুāĻŽāϏো āĻ•āϰে āĻ–াāύা-āĻ•াāĻŽāϰা⧟ āĻĸুāĻ•āĻŦে āĻ•েāύ? āĻŦāϏāϞো āĻ—ি⧟ে āĻāĻ•āχ āϟেāĻŦিāϞে- āĻŽুāĻ–োāĻŽুāĻ–ি। āĻšে āĻŽা āĻŽেāϰী, āύāϤ্āϰāĻĻাāĻŽ āĻ—িāϰ্āϜে⧟ āϤোāĻŽাāϰ āϜāύ্āϝ āφāĻŽি āĻāĻ•āĻļ’āϟা āĻŽোāĻŽāĻŦাāϤি āĻŽাāύāϤ āĻ•āϰāϞুāĻŽ। āĻĻ⧟া āĻ•āϰো, āĻŽা āĻāĻ•āϟা āĻ•িāĻ›ু āĻĢিāĻ•িāϰ āĻŦাā§ŽāϞাāĻ“ āφāϞাāĻĒ āĻ•āϰāĻŦাāϰ। ‘āĻŦুāĻĻ্āϧিāĻŽাāύ, āĻŦুāĻĻ্āϧিāĻŽাāύ, āĻ•োāύো āϏāύ্āĻĻেāĻš āύেāχ āφāĻŽি āĻŦুāĻĻ্āϧিāĻŽাāύ! āĻ•োāύো āĻĢিāĻ•িāϰāχ āϜুāϟāϞো āύা, āĻ…āĻĨāϚ āĻŽে⧟েāϟি āĻŦāϏে āφāĻ›ে āφāĻŽাāϰ āĻĨেāĻ•ে āĻĻু’āĻšাāϤ āĻĻূāϰে āĻāĻŦং āĻŽুāĻ–োāĻŽুāĻ–ি! āĻĻু’āĻšাāϤ āύা āĻšā§Ÿে āĻĻু’āϞāĻ•্āώ āϝোāϜāύāĻ“ āĻšāϤে āĻĒাāϰāϤ- āĻ•োāύো āĻĢাāϰাāĻ• āĻš’āϤ āύা। ‘āϜাāύাāϞা āĻĻি⧟ে āĻāĻ• āĻāϟāĻ•া āĻ•ā§ŸāϞাāϰ āĻ—ুঁ⧜ো āĻāϏে āϟেāĻŦিāϞেāϰ āωāĻĒāϰ āĻĒ⧜āϞ। āĻŽে⧟েāϟি āĻ­ুāϰāĻŽ্āύ āĻ•ুāϚāĻ•ে āϏেāĻĻিāĻ•ে āϤাāĻ•াāϤেāχ āφāĻŽি āĻāϟিāϤি āϜাāύাāϞা āĻŦāύ্āϧ āĻ•āϰāϤে āĻ—ি⧟ে āĻ•āϰে āĻĢেāϞāϞুāĻŽ āφāϰেāĻ• āĻ•াāύ্āĻĄ। āĻ াāϏ āĻ•āϰে āϜাāύাāϞাāϟা āĻŦু⧜ো āφāĻ™ুāϞেāϰ āωāĻĒāϰ āĻĒ⧜ে āϏেāϟাāĻ•ে āĻĻিāϞ āĻĨেā§ŽāϞে। āĻĢিāύāĻ•ি āĻĻি⧟ে āϰāĻ•্āϤ। ‘āĻŽা-āĻŽেāϰীāϰ āĻ…āϏীāĻŽ āĻĻ⧟া āĻ•াāύ্āĻĄāϟা āϝে āϘāϟāϞো। āĻŽে⧟েāϟি āϤ⧜াāĻ• āĻ•āϰে āϞাāĻĢ āĻĻি⧟ে āĻŦāϏāϞ, “āĻĻাঁ⧜াāύ āφāĻŽি āĻŦ্āϝাāύ্āĻĄেāϜ āύি⧟ে āφāϏāĻ›ি।” ‘āφāĻŽি āύিāϜে āĻĄাāĻ•্āϤাāϰ, āĻŦিāĻŦেāϚāύা āĻ•āϰāĻŽ্āύāύ āĻ…āĻŦāϏ্āĻĨাāϟা। āϰāĻŽ্āύāĻŽাāϞ āĻĻি⧟ে āϚেāĻĒে āϧāϰāϞুāĻŽ āφāĻ™ুāϞāϟাāĻ•ে। āĻŽে⧟েāϟি āĻ›ুāϟে āύি⧟ে āĻāϞ āĻ•াāĻŽāϰা āĻĨেāĻ•ে āĻĢাāϰ্āϏ্āϟ āĻāĻĄেāϰ āĻŦ্āϝাāύ্āĻĄেāϜ। āϤাāϰāĻĒāϰ āφāĻ™ুāϞāϟাāϰ āϤāĻĻাāϰāĻ•ি āĻ•āϰāϞ āĻļাāϏ্āϤ্āϰāϏāĻŽ্āĻŽāϤ āĻĄাāĻ•্āϤাāϰি āĻĒāĻĻ্āϧāϤিāϤে। āĻŦুāĻāϞুāĻŽ āĻŽেāĻĄিāĻ•েāϞ āĻ•āϞেāϜে āĻĒ⧜ে! āĻাāύু āĻĄাāĻ•্āϤাāϰ āĻĢাāϰ্āϏ্āϟ āĻāĻĄেāϰ āĻŦ্āϝাāύ্āĻĄেāϜ āĻŦ⧟ে āĻŦে⧜া⧟ āύা āφāϰ āφāύা⧜ি āϞোāĻ• āĻāϰāĻ•āĻŽ āĻŦ্āϝাāύ্āĻĄেāϜ āĻŦাঁāϧāϤে āĻĒাāϰে āύা। ‘āφāĻŽি āϤো, ‘āύা, āύা’ ‘āφāĻĒāύি āĻ•েāύ āĻŽিāĻ›ে āĻŽিāĻ›ে’, ‘āϧāύ্āϝāĻŦাāĻĻ, āϧāύ্āϝāĻŦাāĻĻ’, ‘āωঃ, āĻŦāĻĄ্āĻĄ āϞাāĻ—āĻ›ে’, ‘āĻāϤেāχ āĻšāĻŦে’, ‘āĻŦ্āϝāϏ āĻŦাāϏ’ āĻ•āϰেāχ āϝাāϚ্āĻ›ি āφāϰ āϏেāχ āϞিāϞিāϰ āĻŽāϤো āϏাāĻĻা āĻšাāϤেāϰ āĻĒāϰāĻļ āĻĒাāϚ্āĻ›ি। āϏে āĻ•ি āϰāĻ•āĻŽ āĻŽāĻ–āĻŽāϞেāϰ āĻšাāϤ āϜাāύেāύ? āĻŦāϞāĻ›ি, āφāĻĒāύি āĻ•āĻ–āύো āϰাāχāϞ্āϝাāύ্āĻĄে āĻ—ি⧟েāĻ›েāύ? āύা? āĻĨাāĻ•, āĻ­ুāϞেāχ āĻ—ি⧟েāĻ›িāϞুāĻŽ, āĻĒ্āϰāϤিāϜ্āĻžা āĻ•āϰāĻ›ি, āφāĻĒāύাāĻ•ে āĻ•োāύো āĻŦāϰ্āĻŖāύা āĻĻেāĻŦ āύা। ‘āĻĒ্āϰāĻĨāĻŽ āĻĒāϰāĻļে āϏāϰ্āĻŦাāĻ™্āĻ—ে āĻŦিāĻĻ্āϝুā§Ž āĻ–েāϞে āϝা⧟, āĻŦāϞে āύা? āĻŦ⧜ āĻ–াঁāϟি āĻ•āĻĨা। āφāĻŽি āĻĄাāĻ•্āϤাāϰ āĻŽাāύুāώ, āφāĻŽাāϰ āĻšাāϤে āĻ•োāύো āĻĒ্āϰāĻ•াāϰেāϰ āϏ্āĻĒāϰ্āĻļ āĻ•াāϤāϰāϤা āĻĨাāĻ•াāϰ āĻ•āĻĨা āύ⧟ āϤāĻŦু āφāĻŽাāϰ āĻ•ী āĻ…āĻŦāϏ্āĻĨাāϟা āĻšā§ŸেāĻ›িāϞ āφāĻĒāύাāĻ•ে āϏেāϟা āĻŦোāĻাāχ āĻ•ী āĻ•āϰে? āĻŽে⧟েāϟি āĻŦোāϧāĻšā§Ÿ āϟেāϰ āĻĒে⧟েāĻ›িāϞ, āĻ•াāϰāĻŖ āĻāĻ•āĻŦাāϰ āϚāĻ•িāϤেāϰ āϤāϰে āĻŦ্āϝাāύ্āĻĄেāϜ āĻŦাঁāϧা āĻŦāύ্āϧ āĻ•āϰে āφāĻŽাāϰ āĻĻিāĻ•ে āĻŽাāĻĨা āϤুāϞে āϤাāĻ•ি⧟েāĻ›িāϞ। āϤাāϤে āĻ›িāϞ āĻŦিāϏ্āĻŽā§Ÿ, āĻĒ্āϰāĻļ্āύ āĻāĻŦং āĻšā§ŸāϤ āĻŦা āĻāĻ•āϟুāĻ–াāύি, āĻ…āϤি āϏাāĻŽাāύ্āϝ āĻ–ুāĻļীāϰ āĻিāϞিāĻŽিāϞি। āϤāĻŦে āĻ•ি āφāĻŽাāϰ āĻšাāϤেāϰ āϏ্āĻĒāϰ্āĻļ-? āĻ•োāύ্ āϏাāĻšāϏে āĻ āĻŦিāĻļ্āĻŦাāϏ āĻŽāύেāϰ āĻ•োāĻŖে āĻ াঁāχ āĻĻিāχ, āĻŦāϞুāύ।’ āφāĻŽি āĻ—ুāύ্ āĻ—ুāύ্ āĻ•āϰে āĻŦāϞāϞুāĻŽ, “āϜ⧟ āĻ•āϰে āϤāĻŦু āϭ⧟ āĻ•েāύ āϤোāϰ āϝা⧟ āύা, āĻšা⧟ āĻ­ীāϰāĻŽ্āύāĻĒ্āϰেāĻŽ āĻšা⧟ āϰে।” āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āĻ–োāĻļা āĻŽেāϞāĻĄি āϤো। āĻŽাāύেāϟাāĻ“ āĻŦāϞুāύ।’ āĻŦāϞāϞুāĻŽ, ‘āφāĻĢ্āϟাāϰ āχāω। āφāĻĒāύি āĻ—āϞ্āĻĒāϟা āĻļেāώ āĻ•āϰāĻŽ্āύāύ।’

āĻŦāϞāϞেāύ, ‘āĻ—āϞ্āĻĒ āύ⧟, āϏ্āϝাāϰ, āϜীāĻŦāύāĻŽāϰāĻŖেāϰ āĻ•āĻĨা āĻšāϚ্āĻ›ে।’ āφāĻŽি āĻļুāϧাāϞুāĻŽ, ‘āĻ•েāύ, āϏেāĻĒ্āϟিāĻ•েāϰ āϭ⧟ āĻ›িāϞ āύাāĻ•ি?’ āϰাāĻ—েāϰ āĻ­াāĻŦ āĻ•āϰে āĻŦāϞāϞেāύ, ‘āĻ‡ā§ŸোāϰোāĻĒে āĻāϏে āφāĻĒāύাāϰ āĻ•ি āϏāĻŦ āϰāϏāĻ•āϏ āĻļুāĻ•ি⧟ে āĻ—ি⧟েāĻ›ে? āφāĻŽাāĻ•ে āĻšেāύেāĻ›ে āĻĒ্āϰেāĻŽেāϰ āĻŦাāĻŖ āφāϰ āφāĻĒāύি āĻŦāϞāĻ›েāύ āφāύ্āϟিāϏেāĻĒ্āϟিāĻ•্ āφāύ।’ āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āĻ…āĻĒāϰাāϧ āύেāĻŦেāύ āύা।’ āĻŦāϞāϞেāύ, āϤাāϰāĻĒāϰ āφāĻŽি āϏুāϝোāĻ— āĻĒে⧟ে āφāϰāĻŽ্āĻ­ āĻ•āϰāϞুāĻŽ āύাāύা āϰāĻ•āĻŽেāϰ āĻ•āĻĨা āĻ•āχāϤে। āĻ—োāϞ āĻ—োāϞ। āφāĻŽি āϝে āĻĒāϰিāϚ⧟ āĻ•āϰাāϰ āϜāύ্āϝ āϜাāύ āĻ•āĻŦুāϞ āϏেāϟা āĻĸেāĻ•ে āϚেāĻĒে। āϏāĻ™্āĻ—ে āϏāĻ™্āĻ—ে āĻ•āĻ–āύো āύূāύāϟা āĻāĻ—ি⧟ে āĻĻি, āĻ•āĻ–āύো āĻ•্āϰু⧟েāϟāϟা āϏāϰি⧟ে āύি, āĻ•āĻ–āύো āĻŦা āĻŦāϞি, ‘āĻŽাāĻ›āϟা āĻ–াāϏা āĻ­েāϜেāĻ›ে, āφāĻĒāύি āĻāĻ•āϟা āĻ–াāύ āύা’; āĻ“āĻšে āĻ–াāύāϏাāĻŽা, āĻāĻĻিāĻ•ে-, āχāϤ্āϝাāĻĻি। ‘āĻ•āϰে āĻ•āϰে āϏুāύ্āĻĻāϰীāϰ āĻŽāύāϟা āĻāĻ•āϟু āĻŽোāϞা⧟েāĻŽ āĻ•āϰāϤে āĻĒেāϰেāĻ›ি āĻŦāϞে āĻŽāύে āĻāĻ•āϟু āĻ•্āώীāĻŖ āφāĻļাāϰ āϏāĻž্āϚাāϰ āĻšāϞ। āĻŽে⧟েāϟি āϞাāϜুāĻ• āĻŦāϟে āĻ•িāύ্āϤু āĻ­াāϰী āĻ­āĻĻ্āϰ! āφāĻŽাāϰ āĻ­্āϝাāϜāϰ āĻ­্āϝাāϜāϰ āĻ•াāύ āĻĒেāϤে āĻļুāύāϞো, āĻĻু’āĻāĻ•āĻŦাāϰ āĻŦāϏ্āύাāĻļ্ āĻ•āϰāϞো, āϏে āϝা āĻ—োāϞাāĻĒি- āφāĻĒāύি āĻ•āĻ–āύো, āύা āĻĨাāĻ•। ‘āĻ•িāύ’ āĻ–েāϞ āĻŽাāϤ্āϰ āĻāĻ•āϟি āĻ…āĻŽāϞেāϟ āφāϰ āĻĻু’āϏ্āϞাāχāϟ āϰāĻŽ্āύāϟি। āύিāĻļ্āϚ⧟āχ āĻ—āϰীāĻŦ। āĻ•্āώীāĻŖ āφāĻļাāϟাāϰ āĻ—া⧟ে āĻāĻ•āϟু āĻ—āϤ্āϤি āϞাāĻ—āϞ।’ āĻāĻŽāύ āϏāĻŽā§Ÿ āĻĄাāĻ•্āϤাāϰেāϰ āĻ…্āϝাāϏিāϏ্āϟাāύ্āϟ āĻāϏে āϜাāύāϞো āϰāĻŽ্āύāĻ—ী āĻāϏেāĻ›ে। āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āĻāĻ–āĻ–ুāύি āφāϏāĻ›ি।’ āĻĢিāϰে āĻāϏে āĻ•োāύো āĻ­ূāĻŽিāĻ•া āύা āĻĻি⧟েāχ āĻŦāϞāϞেāύ, ‘āĻŽ্āϝুāύিāĻ•ে āύাāĻŦāϞুāĻŽ āĻāĻ• āĻŦāϏ্āϤ্āϰে। āĻāĻŽāύ āĻ­াāύ āĻ•āϰে āĻ•েāϟে āĻĒ⧜āϞুāĻŽ āϝাāϤে āĻŽে⧟েāϟি āĻŽāύে āĻ•āϰে āφāĻŽি āĻ­্āϝাāύ āĻĨেāĻ•ে āĻŽাāϞ āύাāĻŽাāϤে āĻ—েāϞুāĻŽ। āϝāĻ–āύ ‘āĻ—ুāĻĄ্ āĻŦাāχ’ āĻŦāϞে āĻšাāϤ āĻŦা⧜াāϞুāĻŽ āϤāĻ–āύ āϏে āĻāĻ•āĻŦাāϰ āφāĻŽাāϰ āĻĻিāĻ•ে āϤাāĻ•ি⧟েāĻ›িāϞ। āĻĒ্āϰেāĻŽে āĻĒ⧜āϞে āύাāĻ•ি āĻŽাāύুāώেāϰ āĻĒাāĻ–া āĻ—āϜা⧟- āĻšāĻŦেāĻ“ āĻŦা, āĻ•িāύ্āϤু āĻ āĻ•āĻĨা āύিāĻļ্āϚ⧟ āϜাāύি āĻŽাāύুāώ āϤāĻ–āύ āϚোāĻ–ে āĻŽুāĻ–ে āĻāĻŽāύ āϏāĻŦ āύāϤুāύ āĻ­াāώা āĻĒ⧜āϤে āĻĒাāϰে āϝাāϰ āϜāύ্āϝ āĻ•োāύো āĻļāĻŦ্āĻĻāϰূāĻĒ āĻŽুāĻ–āϏ্āĻĨ āĻ•āϰāϤে āĻšā§Ÿ āύা। āϤāĻŦে āϏে āĻĒ⧜াāϤে āĻ­ুāϞ āĻĨাāĻ•ে āĻŦিāϏ্āϤāϰ, āĻ•াāĻ•āϤāϞী⧟ āĻāύāϤ্āĻŽাāϰ। “āφāĻŽি āĻĻেāĻ–āϞুāĻŽ āϞেāĻ–া āϰ⧟েāĻ›ে ‘āĻŦিāώাāĻĻ’ āĻ•িāύ্āϤু āĻĒ⧜āϞুāĻŽ, ‘āĻāχ āĻ•ি āĻļেāώ?” āφāĻŽিāĻ“ āĻ…āĻŦাāĻ• āĻšā§Ÿে āĻļুāϧাāϞুāĻŽ, ‘āĻŦাāϰ্āϞিāύ āĻĨেāĻ•ে āĻŽ্āϝুāύিāĻ• āĻ…āĻŦāϧি āĻšাāĻŽāϞা āĻ•āϰে āϏ্āϟেāĻļāύে āĻ–েāχ āĻ›ে⧜ে āĻĻিāϞেāύ?’ āĻĄাāĻ•্āϤাāϰāĻĻেāϰ āĻŦাঁāĻ•া āĻšাāϏি āĻšেāϏে āĻŦāϞāϞেāύ, āφāĻĻāĻĒেāχ āύা। āĻ•িāύ্āϤু āĻ•ি āφāϰ āĻĻāϰāĻ•াāϰ āĻĒিāĻ›ু āύি⧟ে? āĻŽেāĻĄিāĻ•েāϞ āĻ•āϞেāϜে āĻĒ⧜ে, āĻ“āϤেāχ āĻŦ্āϝāϏ্। āϏেāĻĻিāύāχ āĻ—েāϞুāĻŽ āĻŽেāĻĄিāĻ•েāϞ āĻ•āϞেāϜেāϰ āϰেāϏ্āϤোāϰাঁ⧟। āϞাāĻž্āϚ āĻ–েāϤে āύিāĻļ্āϚ⧟āχ āφāϏāĻŦে। āĻāĻŦাāϰে āĻŽে⧟েāϟি āφāϰ āϞāϜ্āϜা āĻĻি⧟ে āĻŽāύেāϰ āĻ­াāĻŦāĻĸাāĻ•āϤে āĻĒাāϰāϞ āύা। āφāĻŽাāĻ•ে āĻĻেāĻ–া āĻŽাāϤ্āϰ āφāĻĒāύ āĻ…āϜাāύাāϤে āϚে⧟াāϰ āĻ›ে⧜ে āωāĻ ে āĻĻাঁ⧜ি⧟ে āĻšাāϤ āĻŦা⧜াāϞো, āϏāĻ™্āĻ—ে āϏāĻ™্āĻ—ে āϏāĻŽāϏ্āϤ āĻŽুāĻ–ে āϝে āĻ–ুāĻļি āĻ›ā§œি⧟ে āĻĒ⧜āϞ āϤা āĻĻেāĻ–ে āφāĻŽাāϰ āĻŽāύে āφāϰ āĻ•োāύো āϏāύ্āĻĻেāĻš āϰāχāϞ āύা, āĻ­āĻ—āĻŦাāύ āĻŽাāĻে āĻŽাāĻে āĻŦুāĻĻ্āϧিāĻŽাāύāĻ•েāĻ“ āϏাāĻšাāϝ্āϝ āĻ•āϰেāύ। ‘āϤāϤāĻ•্āώāĻŖে āĻŽে⧟েāϟি āϤাāϰ āφāĻĒāύ-āĻšাāϰা āφāϚāϰāĻŖāϟাāĻ•ে āϏাāĻŽāϞে āύি⧟েāĻ›ে- āϞāϜ্āϜা āĻāϏে āφāĻŦাāϰ āϏāĻŽāϏ্āϤ āĻŽুāĻ– āĻĸেāĻ•ে āĻĢেāϞেāĻ›ে।’ āĻĄাāĻ•্āϤাāϰ āĻ–াāύিāĻ•āĻ•্āώāĻŖ āĻ­েāĻŦে āύি⧟ে āĻŦāϞāϞেāύ, āĻāĻ–াāύেāχ āϝāĻĻি āĻļেāώ āĻ•āϰা āϝেāϤ āϤāĻŦে āĻŽāύ্āĻĻ āĻšāϤ āύা āĻ•িāύ্āϤু āϏāϰ্āĻĻি-āĻ•াāĻļিāϰ āϤো āϤা āĻšāϞে āĻ•োāύো āĻšিāϞ্āϞে āĻšā§Ÿ āύা। āϤাāχ āĻ•āĻŽি⧟েāϏāĻŽি⧟ে āϤা⧜াāϤা⧜ি āĻļেāώ āĻ•āϰে āĻĻি।’ āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āĻ•āĻŽাāĻŦেāύ āύা! āϤাāϞāϟা āĻāĻ•āϟু āĻĻ্āϰāĻŽ্āύāϤ āĻ•āϰে āĻĻিāύ। āφāĻŽাāĻĻেāϰ āĻĻেāĻļেāϰ āĻ“āϏ্āϤাāĻĻāϰা āĻĒ্āϰāĻĨāĻŽ āĻ–াāύিāĻ•āϟে āĻ—াāύ āĻ•āϰেāύ āĻŦিāϞāĻŽ্āĻŦিāϤ āĻāĻ•āϤাāϞে, āĻļেāώ āĻ•āϰেāύ āĻĻ্āϰāĻŽ্āύāϤ āϤাāϞে।’ āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āĻĻুঃāĻ–িāύী āĻŽে⧟ে, āĻŦাāĻĒ-āĻŽা āύেāχ! āĻāĻ• āĻ–াāύ্āĻĄাāϰ āĻĒিāϏিāϰ āĻŦা⧜ীāϤে āĻŽাāύুāώ āĻšā§ŸেāĻ›ে। āĻĻু’āĻŽুāĻ ো āĻ–েāϤে āĻĻে⧟ āĻĒāϰāϤে āĻĻে⧟, āĻŦ্āϝāϏ্। āĻ•āϞেāϜেāϰ āĻĢিāϜāϟি āĻĒāϰ্āϝāύ্āϤ āĻŦেāϚাāϰী āϝোāĻ—া⧜ āĻ•āϰে āĻŽাāϏ্āϟাāϰি āĻ•āϰে। ‘āϤাāϤে āφāĻŽাāϰ āĻ•িāĻ›ু āĻŦāϞাāϰ āύেāχ। āĻ•িāύ’ āφāĻŽাāϰ āϘোāϰāϤāϰ āφāĻĒāϤ্āϤি āĻāĻ­াāĻŦে āĻŦু⧜ী āĻāĻŽāύি āύāϜāϰāĻŦāύ্āĻĻী āĻ•āϰে āϰেāĻ–েāĻ›ে āϝে, āϚāĻ•িāϤা āĻšāϰিāĻŖীāϰ āĻŽāϤ āϏāĻŽāϏ্āϤāĻ•্āώāĻŖ āϏে āĻĄাāχāύে āĻŦাঁ⧟ে āϤাāĻ•া⧟, āϐ āĻŦুāĻি āĻĒিāϏি āĻĻেāĻ–ে āĻĢেāϞāϞে, āϏে āĻĒāϰāĻĒুāϰāĻŽ্āύāώেāϰ āϏāĻ™্āĻ—ে āĻ•āĻĨা āĻ•āχāĻ›ে। āφāĻŽি āϤো āĻŦিāĻĻ্āϰোāĻš āĻ•āϰে āĻŦāϞāϞুāĻŽ, ‘āĻāĻ•ি āĻŦুāĻ–াāϰাāϰ āĻšাāϰেāĻŽ, āύা āϤুāϰ্āĻ•ী āĻĒাāĻļাāϰ āϜেāύাāύা? āĻ āĻ…āϤ্āϝাāϚাāϰ āφāĻŽি āĻ•িāĻ›ুāϤেāχ āϏāχāĻŦ āύা।’ āĻāĻ­া āĻļুāϧু āφāĻŽাāϰ āĻšাāϤ āϧāϰে āĻŦāϞে, ‘āĻĒāϏ্āύীāϜ, āĻĒ্āϞীāϜ, āϤুāĻŽি āĻāĻ•āϟু āĻŦāϰāĻĻাāϏ্āϤ āĻ•āϰে āύাāĻ“, āφāĻŽি āϤোāĻŽাāĻ•ে āĻšাāϰাāϤে āϚাāχāύে।’ āĻāϰ āĻŦেāĻļী āϏে āĻ•āĻ•্āĻ–āύো āĻ•িāĻ›ু āĻŦāϞেāύি। āĻāχ āĻŽোāĻ•াāĻŽে āĻĒৌঁāĻ›āϤে āφāĻŽাāϰ āϞেāĻ—েāĻ›িāϞ āĻা⧜া āĻāĻ•āϟি āĻŽাāϏ। āĻŦিāĻŦেāϚāύা āĻ•āϰāĻŽ্āύāύ। āϏাāϤ āĻĻিāύ āϞেāĻ—েāĻ›িāϞ āĻĒ্āϰেāĻŽ āύিāĻŦেāĻĻāύ āĻ•āϰāϤে। āĻĒāύেāϰো āĻĻিāύ āϞেāĻ—েāĻ›িāϞ āĻšাāϤāĻ–াāύি āĻ›ুঁāϤে। āϤাāϰো āĻāĻ• āϏāĻĒ্āϤাāĻš āĻĒāϰে āϏে āφāĻŽা⧟ āĻŦāϞāϞে āĻ•েāύ āϏে āĻāĻŽāύ āϭ⧟ে āϭ⧟ে āĻĄাāχāύে āĻŦাঁ⧟ে āϤাāĻ•া⧟। ‘āĻĨি⧟েāϟাāϰ āϏিāύেāĻŽা āĻŽাāĻĨা⧟ āĻĨাāĻ•ুāĻ•, āφāĻŽাāϰ āϏāĻ™্āĻ—ে āϰাāϏ্āϤা⧟ āĻĒāϰ্āϝāύ্āϤ āĻŦেāϰāϤে āϰাāϜী āĻšā§Ÿ āύা- āĻĒাāĻ›ে āĻĒিāϏি āĻĻেāĻ–ে āĻĢেāϞে। āφāĻŽি āĻāĻ•āĻĻিāύ āĻĨাāĻ•āϤে āύা āĻĒেāϰে āĻŦāϞāϞুāĻŽ āϤোāĻŽাāϰ āĻĒিāϏিāϰ āĻ•ুāχāύāϟুāĻĒ্āϞেāϟ āφāĻ›ে āύাāĻ•ি āϝে āϤাāϰা āĻŽ্āϝুāύিāĻ•েāϰ āϏāĻŦ āϏ্āϟ্āϰ্āϝাāϟেāϜিāĻ• āĻĒ⧟েāύ্āϟে āĻĻাঁ⧜ি⧟ে āϤোāĻŽাāϰ āωāĻĒāϰ āύāϜāϰ āϰাāĻ–āĻ›ে? āωāϤ্āϤāϰে āĻļুāϧু āĻ•াāϤāϰ āϏ্āĻŦāϰে āĻŦāϞে, āĻĒ্āϞীāϜ, āĻĒ্āϞীāϜ।’ āϝা-āĻ•িāĻ›ু āφāϞাāĻĒ āĻĒāϰিāϚ⧟, āϘāύিāώ্āĻ āϤা āφāϤ্āĻŽী⧟āϤা āϏāĻŦ āϐ āĻ•āϞেāϜ āϰেāϏ্āϤোāϰাঁ⧟ āĻŦāϏে। āϏেāĻ–াāύে āϏাāϰ্āĻĄিāύ-āϟিāύেāϰ āĻ­িāϤāϰ āĻŽাāĻ›েāϰ āĻŽāϤ। āϚে⧟াāϰে āϚে⧟াāϰে āĻ াāϏাāĻ াāϏি āĻ•িāύ’ āϤাāϰ āĻšাāϤে āϝে āĻšাāϤāĻ–াāύা āϰাāĻ–āĻŦ āϤাāϰāĻ“ āωāĻĒা⧟ āύেāχ। āĻ•েāω āϝāĻĻি āĻĻেāĻ–ে āĻĢেāϞে।’ āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āϏāĻŽুāĻ–ে āϰ⧟েāĻ›ে āϏুāϧা āĻĒাāϰাāĻŦাāϰ āύাāĻ—াāϞ āύা āĻĒা⧟ āϤāĻŦু āφঁāĻ–ি āϤাāϰ āĻ•েāĻŽāύে āϏāϰাāĻŦ āĻ•ুāĻšেāϞিāĻ•াāϰ āĻāχ āĻŦাāϧা āϰে।’ āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āĻŽাāύে āĻŦāϞুāύ।’ āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āφāĻĒ āϝাāĻ‡ā§Ÿে, āĻĒāϰে āĻŦāϞāĻŦো।’ āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āϏেāχ āĻ­ি⧜েāϰ āĻŽাāĻāĻ–াāύে, āĻ•িāĻŽ্āĻŦা āĻ•āϰিāĻĄāϰে āĻĻাঁ⧜ি⧟ে āĻĻাঁ⧜ি⧟ে āφāϞাāĻĒāϚাāϰি। āĻ•āϰিāĻĄāϰে āĻ•āĻĨা āĻ•āĻ“ā§Ÿা āϝা⧟ āĻĒ্āϰাāĻŖ āĻ–ুāϞে, āĻ•িāύ’ āϤāĻŦু āφāĻŽি āϰেāϏ্āϤোāϰাঁāϰ āĻ­ি⧜āχ āĻĒāĻ›āύ্āĻĻ āĻ•āϰāϤুāĻŽ āĻŦেāĻļী, āĻ•াāϰāĻŖ āϏেāĻ–াāύে āĻĻৈāĻŦাā§Ž, āĻ•্āĻŦāϚিā§Ž āĻ•āĻ–āύো āĻāĻ­া āϤাāϰ āĻ›োāϟ্āϟ āϜুāϤোāϟি āĻĻি⧟ে āφāĻŽাāϰ āĻĒা⧟েāϰ āωāĻĒāϰ āĻĻিāϤ āϚাāĻĒ।’ ‘āϤাāϰ āĻŽাāϧুāϰ্āϝ āφāĻĒāύাāĻ•ে āĻ•ি āĻ•āϰে āĻŦোāĻাāχ? āĻāĻ­াāĻ•ে āĻĒāϰে āύিāĻŦি⧜āϤāϰ āĻ•āϰে āϚিāύেāĻ›ি āĻ•িāύ’ āϏেāχ āĻĒা⧟েāϰ āϚাāĻĒ āϝে āφāĻŽাāĻ•ে āĻ•āϤ āĻ•āĻĨা āĻŦāϞেāĻ›ে, āĻ•āϤ āφāĻļ্āĻŦাāϏ āĻĻি⧟েāĻ›ে āϏেāϟা āĻ•ি āĻ•āϰে āĻŦোāĻাāχ?’ ‘āĻšā§ŸāϤ āϤাāϰ āϚেāύা āĻ•োāύো āĻāĻ• āĻ›োāĻ•āϰা āϏ্āϟুāĻĄেāύ্āϟ āĻāϏে āĻšাāϏিāĻŽুāĻ–ে āϤাāĻ•ে āĻĻুāϟি āĻ•āĻĨা āĻŦāϞāϞে। āĻ…āϤ্āϝāύ্āϤ āĻšাāϰ্āĻŽāϞেāϏ āφāĻŽি āĻ•িāύ’ āĻšিংāϏে⧟ āϜāϰāϜāϰ। āϟেāĻŦিāϞেāϰ āωāĻĒāϰ āϰাāĻ–া āφāĻŽাāϰ āĻšাāϤ āĻĻুāϟো āĻ•াঁāĻĒāϤে āφāϰāĻŽ্āĻ­ āĻ•āϰāĻ›ে, āφāĻŽি āφāϰ āύিāϜেāĻ•ে āϏাāĻŽāϞাāϤে āĻĒাāϰāĻ›িāύে- ‘āĻāĻŽāύ āϏāĻŽā§Ÿ āϏেāχ āĻĒা⧟েāϰ āĻŽৃāĻĻু āϚাāĻĒ। āϏāĻŦ āϏংāĻļ⧟েāϰ āĻ…āĻŦāϏাāύ, āϏāĻŦ āĻĻুঃāĻ– āĻ…āύ্āϤāϰ্āϧাāύ।’ āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āϤাāχ āφāĻŽাāϰ āĻĻুঃāĻ– āφāϰ āĻŦেāĻĻāύাāϰ āĻ…āĻŦāϧি āϰāχāϞ āύা। āĻāχ āĻŦিāϰাāϟ āĻŽ্āϝুāύিāĻ• āĻļāĻšāϰেāϰ āϞāĻ•্āώ āϞāĻ•্āώ āύāϰāύাāϰী āύিāĻ­ৃāϤে āĻŽāύেāϰ āĻ­াāϰ āύাāĻŽাāϚ্āĻ›ে, āύিāώ্āĻ ুāϰ āϏংāϏাāϰে āϞ⧜āĻŦাāϰ āĻļāĻ•্āϤি āĻāĻ•ে āĻ…āύ্āϝেāϰ āϏāĻ™্āĻ—āϏুāĻ– āϏ্āĻĒāϰ্āĻļāϏুāĻ– āĻĨেāĻ•ে āφāĻšāϰāĻŖ āĻ•āϰে āύিāϚ্āĻ›ে, āφāϰ āφāĻŽি āϤাāϰāχ āĻŽাāĻāĻ–াāύে āĻāĻŽāύ āĻ•িāĻ›ুāχ āĻ•āϰে āωāĻ āϤে āĻĒাāϰāĻ›িāύে āϝাāϤে āĻ•āϰে āĻāĻ­াāĻ•ে āĻ…āύ্āϤāϤ āĻāĻ•āĻŦাāϰেāϰ āĻŽāϤ āĻ•াāĻ›ে āϟেāύে āφāύāϤে āĻĒাāϰি! ‘āĻļেāώāϟা⧟ āφāϰ āϏāχāϤে āύা āĻĒেāϰে āĻāĻ•āĻĻিāύ āĻāĻ­াāĻ•ে āĻ•িāĻ›ু āύা āĻŦāϞে āĻĢিāϰে āĻ—েāϞুāĻŽ āĻŦাāϰ্āϞিāύ। āϏেāĻ–াāύ āĻĨেāĻ•ে āϞিāĻ–ে āϜাāύāϞুāĻŽ, ‘āĻ“āϰāĻ•āĻŽ āĻ•াāĻ›ে āĻĨেāĻ•ে āύা āĻĒাāĻ“ā§Ÿাāϰ āĻĻুঃāĻ– āφāĻŽাāϰ āĻĒāĻ•্āώে āϏāĻš্āϝ āĻ•āϰা āĻ…āϏāĻŽ্āĻ­āĻŦ āĻšā§Ÿে āωāĻ েāĻ›ে- āφāĻŽাāϰ āύাāϰ্āĻ­āϏ āĻāĻ•āĻĻāĻŽ āĻ—েāĻ›ে। āϤোāĻŽাāϰ āĻ•াāĻ› āĻĨেāĻ•ে āĻŦিāĻĻা⧟ āύি⧟ে āφāϏা āφāĻŽাāϰ āĻ•িāĻ›ুāϤেāχ āĻšā§Ÿে āωāĻ āϤ āύা- āϤোāĻŽাāϰ āĻŽুāĻ–েāϰ āĻ•াāϤāϰ āĻ›āĻŦি āφāĻŽাāϰ āϚāϞে āφāϏাāϰ āϏāĻŦ āĻļāĻ•্āϤি āύāώ্āϟ āĻ•āϰে āĻĢেāϞāϤ।’ āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āφāĻĒāύি āϤো āĻĻাāϰāĻŽ্āύāĻŖ āϞোāĻ• āĻŽāĻļাāχ। āϤāĻŦে, āĻš্āϝাঁ, āφāĻĒāύাāĻĻেāϰ āύীāϚāĻļেāχ āĻŦāϞেāĻ›েāύ, āĻ•ā§œা āύা āĻšāϞে āĻĒ্āϰেāĻŽ āĻŽেāϞে āύা।’ āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āĻ িāĻ• āωāϞ্āϟো! āĻ•ā§œা āĻšāϤে āĻĒাāϰāϞে āφāĻŽি āĻŽ্āϝুāύিāĻ• āĻĨেāĻ•ে āĻĒাāϞাāϤুāĻŽ āύা। āĻĒāϞা⧟āύ āϜিāύিāϏāϟা āĻ•ি āĻŦীāϰেāϰ āϞāĻ•্āώāĻŖ? āϤা āϏে āĻ•āĻĨা āĻĨাāĻ•। ‘āωāϤ্āϤāϰ āĻĒেāϞুāĻŽ āϏāĻ™্āĻ—ে āϏāĻ™্āĻ—েāχ। āϏে āϚিāĻ িāϟি āφāĻŽি āĻāϤāĻŦাāϰ āĻĒ⧜েāĻ›ি āϝে āϤাāϰ āĻĢুāϞāϏ্āϟāĻĒ āĻ•āĻŽা āĻĒāϰ্āϝāύ্āϤ āφāĻŽাāϰ āĻŽুāĻ–āϏāϤ্āĻŽ āĻšā§Ÿে āĻ—ি⧟েāĻ›ে। āĻāĻŦং āϤাāϰ āϚে⧟েāĻ“ āĻŦ⧜ āĻ•āĻĨা, āϏে āϚিāĻ িāϟিāϰ āĻŦāĻ•্āϤāĻŦ্āϝ āφāĻŽাāϰ āĻ•াāĻ›ে āϏāĻŽ্āĻĒূāϰ্āĻŖ āĻ…āĻŦিāĻļ্āĻŦাāϏ্āϝ āĻ েāĻ•āϞো।’ āφāĻĒāύাāĻĻেāϰ āĻĻেāĻļে āĻ…āĻŦিāĻļ্āĻŦাāϏ্āϝ āĻŦāϞে āĻ•োāύো āϜিāύিāϏ āύেāχ- āĻ­িāĻ–িāϰিāĻ•ে āĻŽাāĻĨা⧟ āϤুāϞে āύি⧟ে āφāĻĒāύাāĻĻেāϰ āĻĻেāĻļে āĻšাāϤী āĻšাāĻŽেāĻļাāχ āϰাāϜা āĻŦাāύা⧟। āĻ•িāύ’ āϜāϰ্āĻŽāύিāϤে āϤো āϏে āϰāĻ•āĻŽ āϐāϤিāĻš্āϝ āύেāχ। āϚিāĻ িāϤে āϞেāĻ–া āĻ›িāϞ- āĻŦেāĻļী āϞিāĻ–āĻŦ āύা- āφāĻŽাāϰāĻ“ āĻ…āϏāĻš্āϝ āĻšā§Ÿে āωāĻ েāĻ›ে। āϤাāχ āϏ্āĻĨিāϰ āĻ•āϰেāĻ›ি, āϤোāĻŽাāϰ āχāϚ্āĻ›াāĻŽāϤ āϤোāĻŽা⧟ āφāĻŽা⧟ āĻāĻ•āĻŦাāϰ āύিāĻ­ৃāϤে āĻĻেāĻ–া āĻšāĻŦে। āϤাāϰāĻĒāϰ āĻŦিāĻĻা⧟। āϝāϤ āĻĻিāύ āĻĒিāϏি āφāĻ›েāύ āϤāϤāĻĻিāύ āφāĻŽি āφāϰ āĻ•োāύো āĻĒāύ্āĻĨা āĻ–ুঁāϜে āĻĒাāϚ্āĻ›িāύে। āϤুāĻŽি āφāϏāĻ›ে āĻŦুāϧāĻŦাāϰ āĻĻিāύ āφāĻŽাāĻĻেāϰ āĻŦা⧜ীāϰ āϏাāĻŽāύে āĻĢুāϟāĻĒাāϤে āĻ…āĻĒেāĻ•্āώা āĻ•āϰো। āφāĻŽি āϤোāĻŽাāĻ•ে āφāĻŽাāϰ āϘāϰে āύি⧟ে āφāϏāĻŦ।” āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āĻŦিāĻļ্āĻŦাāϏ āĻšā§Ÿ āφāĻĒāύাāϰ! āϝে āĻŽে⧟ে āĻĒিāϏিāϰ āϭ⧟ে āφāĻŽাāϰ āϏāĻ™্āĻ—ে āĻ•āϞেāϜ āϰেāϏেāϤ্āĻŽাāϰাঁ⧟ āĻŦাāχāϰে āĻĒāϰ্āϝāύ্āϤ āϝেāϤে āϰাāϜী āĻšāϤ āύা, āϏে āφāĻŽাāĻ•ে āĻĄেāĻ•ে āύি⧟ে āϝাāϚ্āĻ›ে āφāĻĒāύ āϘāϰে?’ āφāĻŽি āĻŦāϞāϞুāĻŽ, āĻĒীāϰিāϤী-āϏা⧟āϰে āĻĄোāĻŦাāϰ āĻĒূāϰ্āĻŦে āϝে āϰাāϧা āϏাāĻĒেāϰ āĻ›āĻŦিāĻŽাāϤ্āϰ āĻĻেāĻ–েāχ āĻ…āϜ্āĻžাāύ āĻšāϤেāύ āϏেāχ āϰাāϧাāχ āĻ…āĻ­িāϏাāϰে āϝাāĻ“ā§Ÿাāϰ āϏāĻŽā§Ÿ āφāĻĒāύ āĻšাāϤ āĻĻি⧟ে āĻĒāĻĨেāϰ āĻĒাāĻļেāϰ āϏাāĻĒেāϰ āĻĢāĻŖা āϚেāĻĒে āϧāϰেāĻ›েāύ āĻĒাāĻ›ে āϏাāĻĒেāϰ āĻŽাāĻĨাāϰ āĻŽāĻŖিāϰ āφāϞোāĻ•ে āĻ•েāω āĻ•েāω āϤাঁāĻ•ে āĻĻেāĻ–ে āĻĢেāϞে।’ āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āϤাāχ āĻŦāϟে। āϤāĻŦে āĻ•ি āύা āφāĻŽি āϰাāϧাāϰ āĻĒ্āϰেāĻŽāĻ•াāĻšিāύী āĻ•āĻ–āύো āĻĒ⧜িāύি। āϏে āĻ•āĻĨা āĻĨাāĻ•। ‘āφāĻŽি āĻŽ্āϝুāύিāĻ•ে āĻĒৌঁāĻ›āϞুāĻŽ āĻŦুāϧāĻŦাāϰ āϏāύ্āϧ্āϝেāϰ āĻĻিāĻ•ে। āĻ•ā§ŸāϞাāϰ āĻ—ুঁ⧜ো⧟ āϏāϰ্āĻŦাāĻ™্āĻ— āĻĸেāĻ•ে āĻ—ি⧟েāĻ›িāϞ āĻŦāϞে āĻĸুāĻ•āϞুāĻŽ āĻāĻ•āϟা āĻĒাāĻŦāϞিāĻ• āĻŦাāĻĨে āϏ্āύাāύ āĻ•āϰāϤে। āϟাāĻŦে āĻŦāϏে āϏāϰ্āĻŦāĻļāϰীāϰ āĻĄāϞাāχ-āĻŽāϞাāχ āĻ•āϰে āφāϰ āĻ—āϰāĻŽ āϜāϞে āϏেāĻĻ্āϧ āĻšā§Ÿে āϚিংāϰিāϟাāϰ āĻŽāϤ āϞাāϞ āĻšā§Ÿে āϝāĻ–āύ āĻŦেāϰāϞুāĻŽ āϤāĻ–āύ āφāϰ āĻšাāϤে āĻŦেāĻļী āϏāĻŽā§Ÿ āύেāχ। āĻ…āĻĨāϚ āϟাāĻŦ āĻĨেāĻ•ে āĻ“āϰāĻ•āĻŽ āĻšুāϟ āĻ•āϰে āĻ াāύ্āĻĄা⧟ āĻŦেāϰāϞে āϝে āϏāĻ™্āĻ—ে āϏāĻ™্āĻ—ে āĻāĻĒ্ āĻ•āϰে āϏāϰ্āĻĻি āĻšā§Ÿ āϏে āĻ•āĻĨাāĻ“ āϜাāύি। āϚাāύāϟা āύা āĻ•āϰāϞেāĻ“ āϝে āĻšāϤ āϏে āϤāϤ্āϤ্āĻŦāϟা āĻŦুāĻāϤে āĻĒাāϰāϞুāĻŽ āϰাāϏāϤ্āĻŽা⧟ āĻŦেāϰি⧟ে āĻ•িāύ’ āϤāĻ–āύ āφāϰ āφāĻĢāϏোāϏ āĻ•āϰে āĻ•োāύো āĻĢা⧟āĻĻা āύেāχ। āϏেāχ āĻĄিāϏেāĻŽ্āĻŦāϰেāϰ āĻļীāϤে āϚāϞāϞুāĻŽ āĻāĻ­াāϰ āĻŦা⧜িāϰ āĻĻিāĻ•ে- āĻŽা-āĻŽেāϰীāϰ āωāĻĒāϰ āĻ­āϰāϏা āĻ•āϰে, āϝে āĻ āϝাāϤ্āϰা⧟ āϏāϰ্āĻĻিāϟা āύাāĻ“ āĻšāϤে āĻĒাāϰে।
āφāĻŽি āĻŦāϞāϞুāĻŽ, ‘āφāĻŽāϰা āĻŦাāĻ™āϞা⧟ āĻŦāϞি, ‘āĻĻুāϰ্āĻ—āĻ—া āĻŦāϞে āĻুāϞে āĻĒ⧜āϞুāĻŽ’।’ āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āϏা⧜ে āĻāĻ—াāϰোāϟাāϰ āϏāĻŽā§Ÿ āĻ—ি⧟ে āĻĻাঁ⧜াāϞুāĻŽ āĻāĻŦাāϰ āĻŦা⧜িāϰ āϏাāĻŽāύেāϰ āϰাāϏāϤ্āĻŽা⧟। āϟেāĻŽ্āĻĒাāϰেāϚাāϰ āϤāĻ–āύ āĻļূāύ্āϝেāϰāĻ“ āύীāϚে- āφāĻĒāύাāĻĻেāϰ āĻĒাāĻ—āϞা āĻĢাāϰāύ্āĻšাāχāϟেāϰ āĻšিāϏেāĻŦে āĻŦāϤ্āϰিāĻļেāϰ āĻĸেāϰ āύীāϚে! āϰাāϏ্āϤা⧟ āĻāĻ• āĻĢুāϟ āĻŦāϰāĻĢ। āφāĻ•াāĻļ āĻŽেāϘাāϚ্āĻ›āύ্āύ, āφāϰ āφāĻŽাāϰ āϚāϤুāϰ্āĻĻিāĻ•ে āϝে āĻšিāĻŽ āϘāύাāϤে āϞাāĻ—āϞো āϤাāϰ āϏāĻ™্āĻ—ে āϤুāϞāύা āĻĻি⧟ে āĻŦāϞāϤে āĻĒাāϰি āφāĻŽাāĻ•ে āϝেāύ āĻ•েāω āĻāĻ•āϟা āĻŦিāϰাāϟ āĻĢ্āϰিāϜিāĻĄেāϰেāϰ āĻ­িāϤāϰ āϤাāϞাāĻŦāύ্āϧ āĻ•āϰে āϰেāĻ–ে āĻĻিāϞ। āϤিāύ āĻŽিāύিāϟ āϝেāϤে āύা āϝেāϤে āύাāĻŽāϞ āĻŽুāώāϞāϧাāϰে…āĻŦৃāώ্āϟি āύ⧟-āϏāϰ্āĻĻ্āĻĻি। āϏāĻ™্āĻ—ে āϏāĻ™্āĻ—ে āĻĄাāχāύাāĻŽাāχāϟ āĻĢাāϟাāϰ āĻšাঁāϚি-āĻšাঁāϚ্āϚো, āĻšাঁāϚ্āϚো, āĻšাঁāϚ্āϚো। āφāĻĒāύাāϰ āφāϜāĻ•েāϰ āϏāϰ্āĻĻি āϤাāϰ āϤুāϞāύা⧟ āύāϏ্āϝি, āĻ…āϰ্āĻĨাā§Ž āύāϏ্āϝিāϰ āĻ–োঁāϚা⧟ āύাāĻŽাāύো āĻ†ā§œাāχ āĻĢোঁāϟা āϜāϞ। āĻšাঁāϚি āφāϰ āϜāϞ, āϜāϞ āφāϰ āĻšাঁāϚি। ‘āĻ•ি āĻ•āϰি, āĻ•ি āĻ•āϰি āĻ­াāĻŦāĻ›ি, āĻāĻŽāύ āϏāĻŽā§Ÿ āĻāĻ­া āĻāϏে āύিঃāĻļāĻŦ্āĻĻে āφāĻŽাāϰ āĻšাāϤ āϧāϰāϞো- āĻŦāϰāĻĢেāϰ āĻ—ুঁ⧜োāϰ āωāĻĒāϰ āĻĒা⧟েāϰ āĻļāĻŦ্āĻĻ āĻļোāύা āϝা⧟ āύা। āϤাāϰ āωāĻĒāϰ āϏে āĻĒāϰেāĻ›ে āϏেāχ āĻ•্āϰেāĻĒāϏোāϞেāϰ āϜুāϤো- āĻŦেāϚাāϰীāϰ āĻŽাāϤ্āϰ āϐ āĻāĻ• āϜো⧜াāχ āϏāĻŽ্āĻŦāϞ! ‘āĻ•োāύো āĻ•āĻĨা āύা āĻŦāϞে āφāĻŽাāĻ•ে āύি⧟ে āϚāϞāϞ āϤাāϰ āϏāĻ™্āĻ—ে। āĻĢ্āϞ্āϝাāϟেāϰ āĻĻāϰāϜা āĻ–ুāϞে, āĻ•āϰিāĻĄāϰেāϰ āĻ–াāύিāĻ•āϟে āĻĒেāϰি⧟েāχ āϤাāϰ āĻ•াāĻŽāϰা। āύিঃāĻļāĻŦ্āĻĻে āφāĻŽাāĻ•ে āϏে āĻĸুāĻ•ি⧟ে āĻĻāϰāϜা⧟ āĻ–িāϞ āĻĻি⧟ে āĻŽাāĻĨা āύিāϚু āĻ•āϰে āφāĻŽাāϰ āϏাāĻŽāύে āĻĻাঁ⧜ি⧟ে āϰāχāϞ। ‘āĻ“āĻ­াāϰ āĻ—োāϞাāĻĒি āĻŽুāĻ– āĻĄাāϚ্ āĻĒāύিāϰেāϰ āĻŽāϤ āĻšāϞāĻĻে, āϟুāĻ•āϟুāĻ•ে āϞাāϞ āĻ োঁāϟ āĻĻুāϟি āĻŦāϞু āĻĄাāύ⧟ুāĻŦেāϰ āĻŽāϤ āϘāύ āĻŦেāĻ—ুāύি- āύীāϞ- āϭ⧟ে, āωāϤ্āϤেāϜāύা⧟। ‘āφāϰ āϏāĻ™্āĻ—ে āϏāĻ™্āĻ—ে āĻļুāϰāĻŽ্āύ āĻšāϞ āφāĻŦাāϰ āφāĻŽাāϰ āϏেāχ āĻĄাāχāύাāĻŽাāχāϟ āĻĢাāϟাāύো āĻš্āϝাঁāϚ্āϚো, āĻšাঁāϚ্āϚো। ‘āĻāĻ­া āφāĻŽাāĻ•ে āϧāϰে āύি⧟ে āφāĻŽাāϰ āĻŽাāĻĨা āĻ—ুঁāϜে āĻĻিāϞ āĻŦিāĻ›াāύা⧟। āĻŽাāĻĨাāϰ āωāĻĒāϰ āϚাāĻĒাāϞো āĻŦাāϞিāĻļ āφāϰ āϏāĻŦ āĻ•’āĻ–াāύা āϞেāĻĒ-āĻ•āĻŽ্āĻŦāϞ। āĻŦুāĻāϤে āĻĒাāϰāϞুāĻŽ āĻ•েāύ, āĻĒাāĻļেāϰ āϘāϰে āĻĒিāϏি āϝāĻĻি āĻļুāύāϤে āĻĒাāύ āϤāĻŦেāχ āĻšā§ŸেāĻ›ে। āφāĻŽি āĻĒ্āϰাāĻŖāĻĒāĻŖ āĻšাঁāϚি āϚাāĻĒাāĻŦাāϰ āϚেāώ্āϟা āĻ•āϰāĻ›ি āφāϰ āϞেāĻĒ-āĻ•āĻŽ্āĻŦāϞেāϰ āĻ­িāϤāϰ āĻŦāĻŽ্-āĻļেāϞ্ āĻĢাāϟাāϚ্āĻ›ি। ‘āĻ•āϤāĻ•্āώāĻŖ āĻ āϰāĻ•āĻŽ āĻ•েāϟেāĻ›িāϞ āĻŦāϞāϤে āĻĒাāϰāĻŦ āύা। āĻšাঁāϚিāϰ āĻļāĻŦ্āĻĻ āĻ•িāĻ›ুāϤেāχ āĻĨাāĻŽāĻ›ে āύা। āĻāĻ­া āĻļুāϧু āĻ•āĻŽ্āĻŦāϞ āϚাāĻĒাāϚ্āĻ›ে, āφāĻŽাāϰ āĻĻāĻŽ āĻŦāύ্āϧ āĻšāĻŦাāϰ āωāĻĒāĻ•্āϰāĻŽ āĻ•িāύ’ āύিāĻŦি⧜ āĻĒুāϞāĻ•ে āĻŦাāϰ āĻŦাāϰ āφāĻŽাāϰ āϏāϰ্āĻŦāĻļāϰীāϰ āĻļিāĻšāϰিāϤ āĻšāϚ্āĻ›ে- āĻāĻ­াāϰ āĻšাāϤেāϰ āϚাāĻĒ āĻĒে⧟ে। ‘āĻāĻŽāύ āϏāĻŽā§Ÿ āĻĻāϰāϜা⧟ āϧাāĻ•্āĻ•া āφāϰ āύাāϰীāĻ•āĻŖ্āĻ েāϰ āϤীāĻŦ্āϰ āϚীā§ŽāĻ•াāϰ, ‘āĻĻāϰāϜা āĻ–োāϞ।’ ‘āĻĒিāϏি!’ ‘āφāϰ āϞুāĻ•ি⧟ে āĻĨেāĻ•ে āϞাāĻ­ āύেāχ। āφāĻŽি āϞেāĻĒেāϰ āĻ­িāϤāϰ āĻĨেāĻ•ে āĻŦেāϰāϞুāĻŽ। āĻāĻ­া āϭ⧟ে āĻ­িāϰāĻŽি āĻ—ি⧟েāĻ›ে, āĻ–াāϟেāϰ āωāĻĒāϰ āύেāϤি⧟ে āĻĒ⧜েāĻ›ে।
‘āφāĻŽি āĻĻāϰāϜা āĻ–ুāϞে āĻĻিāϞুāĻŽ। āϏাāĻ•্āώাā§Ž āĻļāĻ•ুāύিāϰ āĻŽāϤ āĻŦীāĻ­ā§ŽāϏ āĻāĻ• āĻŦু⧜ী āϘāϰে āĻĸুāĻ•ে āφāĻŽাāϰ āĻĻিāĻ•ে āύা āϤাāĻ•ি⧟েāχ āĻāĻ­াāĻ•ে āĻŦāϞāϞো, ‘āĻ•াāϞ āϏāĻ•াāϞেāχ āϤুāχ āĻ-āĻŦা⧜ি āĻ›া⧜āĻŦি’। ‘āϏāĻ™্āĻ—ে āϏāĻ™্āĻ—ে āφāϰ āĻ•ি āϏāĻŦ āĻŦāĻ•ুāύি āĻĻি⧟েāĻ›িāϞ, āϘেāύ্āύা, āĻ•েāϞেāĻ™্āĻ•াāϰি, āĻļোāĻŦাāϰ āϘāϰে āĻĒāϰāĻĒুāϰāĻŽ্āύāώ’, ‘āϰাāϏāϤ্āĻŽাāϰ āĻŽে⧟েāϰ āĻŦ্āϝাāĻ­াāϰ’, āĻāχ āϏāĻŦ, āϏে āφāĻŽাāϰ āφāϰ āĻŽāύে āύেāχ। āĻŦু⧜ী āφāĻŽাāϰ āĻĻিāĻ•ে āϤাāĻ•া⧟ āύা, āĻ—াāϞেāϰ āωāĻĒāϰ āĻ—াāϞ āϚ⧜āĻ›ে āϝেāύ āĻ›’ āĻ—āϜি āĻĒি⧟াāύোāϰ āĻāĻ• āĻĒ্āϰাāύ্āϤ āĻĨেāĻ•ে āφāϰেāĻ• āĻĒ্āϰাāύ্āϤ āĻ…āĻŦāϧি āĻ•েāω āφāĻ™্āĻ—ুāϞ āϚাāϞাāϚ্āĻ›ে। ‘āφāĻŽি āĻĨাāĻ•āϤে āĻĒাāϰāϞুāĻŽ āύা। āĻŦু⧜ীāϰ āĻĻুāχ āĻŦাāĻšু āĻĻু’āĻšাāϤ āĻĻি⧟ে āϚেāĻĒে āϧāϰে āĻŦāϞāϞুāĻŽ, ‘āφāĻŽাāϰ āύাāĻŽ āĻĒেāϟাāϰ āϏেāϞ্āĻŦাāĻ–। āĻŦাāϰ্āϞিāύে āĻĄাāĻ•্āϤাāϰি āĻ•āϰি। āĻ­āĻĻ্āϰāϘāϰেāϰ āĻ›েāϞে। āφāĻĒāύাāϰ āĻ­াāχāĻিāĻ•ে āĻŦি⧟ে āĻ•āϰāϤে āϚাāχ’।’ āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, āĻŽাāĻŽেāϰী āϏাāĻ•্āώী āφāĻŽি āĻāĻ­াāĻ•ে āĻŦি⧟ে āĻ•āϰাāϰ āĻĒ্āϰāϏāϤ্āĻŽাāĻŦ āĻāϤāĻĻিāύ āĻ•āϰিāύি āĻĒাāĻ›ে āϏে ‘āύা’ āĻŦāϞে āĻŦāϏে। āφāĻŽি āĻ…āĻĒেāĻ•্āώা āĻ•āϰেāĻ›িāϞুāĻŽ āĻĒāϰিāϚ⧟āϟা āϘāύাāĻŦাāϰ āϜāύ্āϝ। āĻŦি⧟েāϰ āĻĒ্āϰāϏāϤ্āĻŽাāĻŦāϟা āφāĻŽাāϰ āĻŽুāĻ– āĻĻি⧟ে āϝে āϤāĻ–āύ āĻ•ি āĻ•āϰে āĻŦেāϰি⧟ে āĻ—েāϞ āφāĻŽি āφāϜāĻ“ āĻŦুāĻে āωāĻ āϤে āĻĒাāϰিāύি। ‘āĻĒিāϏি āφāĻŽাāϰ āĻĻিāĻ•ে āĻšাāĻŦাāϰ āĻŽāϤো āϤাāĻ•াāϞো- āĻāĻ• āĻŦিāĻ˜ā§Ž āϚāĻ“ā§œা āĻšা āĻ•āϰে। āĻĒাāĻ•া āĻĻু’āĻŽিāύিāϟ āϤাāϰ āϞেāĻ—েāĻ›িāϞ āĻŦ্āϝাāĻĒাāϰāϟা āĻŦুāĻāϤে। āϤাāϰāĻĒāϰ āĻĢুāϟে āωāĻ āϞ āĻŽুāĻ–েāϰ āωāĻĒāϰ āĻ–ুāĻļীāϰ āĻĒ⧟āϞা āĻāϞāĻ•। āϏেāϟা āĻĻেāĻ–āϤে āφāϰো āĻŦীāĻ­ā§ŽāϏ! āĻŽুāĻ–েāϰ āĻ•ুঁāϚāĻ•াāύো āĻāĻŦ⧜ো āĻĨেāĻŦ⧜ো āĻ—াāϞ, āĻ­াāĻ™া-āϚোāϰা-āύাāĻ•-āĻŽুāĻ–-āĻ োঁāϟ āϝেāύ āφāϰāĻ“ āĻŦিāĻ•ৃāϤ āĻšā§Ÿে āĻ—েāϞ। ‘āφāĻŽাāĻ•ে āϜ⧜ি⧟ে āϧāϰে āĻ•ি āϝেāύ āĻŦāϞāϞে āĻ িāĻ• āĻŦুāĻāϤে āĻĒাāϰāϞুāĻŽ āύা। āϤাāϰāĻĒāϰ āĻšāĻ াā§Ž āφāĻŽাāĻ•ে āĻ›ে⧜ে āĻĻি⧟ে āĻ›ুāϟāϞ āĻ•āϰিāĻĄāϰেāϰ āĻĻিāĻ•ে। āϚীā§ŽāĻ•াāϰ āĻ•āϰে āĻ•াāĻ•ে āϝেāύ āĻĄাāĻ•āĻ›ে। ‘āĻāĻ­া āϤāĻ–āύো āĻ…āϚৈāϤāύ্āϝ।’
‘āĻŦু⧜ী āĻĢিāϰে āĻāϞ āĻŦু⧜োāĻ•ে āύি⧟ে। āĻŦু⧜ো āĻŦ্āϝাāĻĒাāϰāϟা āĻŦুāĻে āύি⧟েāĻ›ে āϚāϟ āĻ•āϰে। āϤাāϰ āϚেāĻšাāϰাāϟা āĻ–ুāĻļীāϰ āĻĒিāĻ›āύে āĻĻেāĻ–āϞুāĻŽ āϏেāχ āĻ­ীāϤ āĻ­াāĻŦ-āĻāĻ­াāϰ āĻŽুāĻ–ে āϝেāϟা āĻ…āώ্āϟāĻĒ্āϰāĻšāϰ āϞেāĻĒা āĻĨাāĻ•ে। āĻŦুāĻāϞুāĻŽ, āĻĒিāϏিāϰ āĻĻাāĻĒāϟে āĻ āĻŦা⧜িāϰ āϏāĻ•āϞেāϰāχ āĻ•āĻŖ্āĻ āĻļ্āĻŦাāϏ। ‘āĻŽāύে āĻšāϞ āĻŦু⧜ো āĻ–ুāĻļী āĻšā§ŸেāĻ›ে, āĻāĻ­া āϝে āĻ āĻŦা⧜িāϰ āĻ…āϤ্āϝাāϚাāϰ āĻĨেāĻ•ে āύিāώ্āĻ•ৃāϤি āĻĒে⧟েāĻ›ে āϤাāϰ āϜāύ্āϝ। āĻšা⧟, āϤাāϰ āϤো āύিāώ্āĻ•ৃāϤি āύেāχ।’

āĻĄাāĻ•্āϤাāϰ āĻŦāϞāϞেāύ, ‘āϏেāχ āĻĻুāĻĒুāϰ āϰাāϤে āĻ“ā§Ÿাāχāύ āĻāϞ, āĻļ্āϝাāĻŽ্āĻĒেāύ āĻāϞ। āĻšোāϟেāϞ āĻĨেāĻ•ে āϏāϏেāϜ্ āĻ•āϟ্āϞেāϟ্ āĻāϞ। āĻšৈ āĻšৈ āϰৈ āϰৈ। āĻāĻ­া āϏāĻŽ্āĻŦিāϤে āĻĢিāϰেāĻ›ে। āĻŦু⧜ো āĻļ্āϝাāĻŽ্āĻĒেāύ āϟাāύāĻ›ে āϜāϞেāϰ āĻŽāϤো। āĻŦু⧜ী āĻāĻ• āĻ—েāϞাāϏেāχ āϟং। āφāĻŽাāĻ•ে āϜ⧜ি⧟ে āĻļুāϧু āĻ•াঁāĻĻে āφāϰ āĻāĻ­াāϰ āĻŦাāĻĒেāϰ āĻ•āĻĨা āϏ্āĻŽāϰāĻŖ āĻ•āϰে āĻŦāϞে, āĻ­াāχ āĻŦেঁāϚে āĻĨাāĻ•āϞে āφāϜ āϏে āĻ•ী āĻ–ুāĻļীāϟাāχ āύা āĻšāϤ। ‘āφāϰ āĻāĻ­া? āφāĻŽাāĻ•ে āĻāĻ•āĻŦাāϰ āĻļুāϧু āĻ•াāύে āĻ•াāύে āĻŦāϞāϞ, ‘āϜীāĻŦāύে āĻāχ āĻĒ্āϰāĻĨāĻŽ āĻļ্āϝাāĻŽ্āĻĒেāύ āĻ–াāϚ্āĻ›ি। āϤুāĻŽি āφāĻŽাāϰ āωāĻĒāϰ āĻāĻ•āϟু āύāϜāϰ āϰেāĻ–ো।’ āĻĄাāĻ•্āϤাāϰ āĻ‰ā§ŽāϏাāĻšিāϤ āĻšā§Ÿে āφāϰো āĻ•ি āϝেāύ āĻŦāϞāϤে āϝাāϚ্āĻ›িāϞেāύ āĻāĻŽāύ āϏāĻŽā§Ÿ āφāϏ্āϤে āφāϏ্āϤে āĻĻāϰāϜা āĻ–ুāϞে āϘāϰে āĻĸুāĻ•āϞেāύ āĻāĻ• āϏুāύ্āĻĻāϰী- āĻšাঁ, āϏুāύ্āĻĻāϰী āĻŦāϟে। āĻāĻ• āϞāĻšāĻŽা⧟ āφāĻŽি āύāϰ্āĻĨ āϏীāϰ āϘāύ āύীāϞ āϜāϞ, āĻĻāĻ•্āώিāĻŖ āχāϟাāϞিāϰ āϏোāύাāϞি āϰোāĻĻে āϰূāĻĒাāϞি āĻĒ্āϰāϜাāĻĒāϤি, āĻĄাāύ⧟ুāĻŦেāϰ āĻļাāύ্āϤ-āĻĒ্āϰāĻļাāύ্āϤ āĻ›āĻŦি, āϏেāχ āĻĄাāύ⧟ুāĻŦেāϰāχ āϞāϜ্āϜাāĻļীāϞ āĻĻেāĻšāϚ্āĻ›āύ্āĻĻ āϰাāχāϞ্āϝাāύ্āĻĄেāϰ āĻļ্āϝাāĻŽāϞি⧟া āĻŽোāĻšāύী⧟া āχāύ্āĻĻ্āϰāϜাāϞ āϏāĻŦ āĻ•িāĻ›ুāχ āĻĻেāĻ–āϤে āĻĒেāϞুāĻŽ। āφāϰ āϏে āĻ•ী āϞাāϜুāĻ• āĻšাāϏি āĻšেāϏে āφāĻŽাāϰ āĻĻিāĻ•ে āϤিāύি āĻšাāϤ āĻŦা⧜াāϞেāύ। āφāĻŽি āĻŽাāĻĨা āύীāϚু āĻ•āϰে āĻĢāϰাāϏিāϏ āĻ•া⧟āĻĻা⧟ āϤাঁāϰ āϚāĻŽ্āĻĒāĻ• āĻ•āϰাāĻ™্āĻ—ুāϞি-āĻĒ্āϰাāύ্āϤে āĻ“āώ্āĻ  āϏ্āĻĒāϰ্āĻļ āĻ•āϰে āĻŽāύে āĻŽāύে āĻŦāϞāϞুāĻŽ, ‘āĻŦেঁāϚে āĻĨাāĻ•ো āϏāϰ্āĻĻি-āĻ•াāĻļি āϚিāϰāϜীāĻŦী āĻšā§Ÿে āϤুāĻŽি।’