Saturday, August 30, 2025

I was a student of Ramakrishna Mission High School, Cherrapunji (presently known as Sohra)

There were two classrooms dedicated to Bengali and Sanskrit classes. We were in Class IX then. The latch fell in our adjacent class and the door couldn't be opened the next day. The Class IX boys were held guilty! We were summoned by the Headmaster, Swami Bikashananda Maharaj. He started spanking us straight away (without telling us why and without allowing us to defend ourselves) that too sadly in front of junior girls! I went close to him thinking that he would not be able swing properly! I got hit between my fore-finger and middle finger. The area had become swollen and in a month's time there was the Annual Exam. When we could somehow come, I went home and reported the matter to my mom. My mom along with a cousin of ours, who was staying with us then, went to straight away to Swami Bikashanandaji Maharaj to ask for explanations. My dad had to keep quiet for obvious reasons.

 Kong Iolin, a teacher of ours, 🙏 was wild. She got hold of all the Bengali students and asked them come out of their classes in protest against the incident.

Later, of course Swamiji realised his mistake and sent me toffees and iodex (an ointment). Later we became good friends and he used to coach (History) me privately. Much later, when I was doing my M.A., he had offered me a job in Purulia, where he was posted then.

 

I used to wear shorts till Class VII, which would bare my thighs. Our Mizo classmates used to slap on my thighs. This was real torture. Later, I got a pair of trousers, stitched by a tailor from Khlieshnong (name of a village in Sohra/Cherrapunji). In fact, as far as I remember he was the only tailor available around. We used to get our suits stitched by him only. Now, that trouser was more like a parallel pant. Of course, such pants were not known those days. Now, the problem was that most of my classmates would ask me if it was my grandfather's! 😂😂😂

 

So, ours was not the only batch to do similar things. During rainy days, hostellers would come and rub their clothes with ours, and we used to go to the headmaster for leave, saying that all the day scholars are wet. It was somehow the prerogative of Class IX students to ask for leave. When we were in Class IX, we secured leave on different occasions. But when we were in Class X, we observed that students of Class IX were not performing their sacred duty, Despite us repeatedly telling them to ask for leave. So, to teach them a lesson, we, the students of Class X, went to Swami Gokuananda Maharaj, who was the Headmaster and Secretary then. He was taking a class in Class IX. We were permitted to enter the class. After seeing an Application Letter in our hands, students of Class IX started whispering – holiday, holdiay, holdiay! After Swami Gokulananda Maharaj said, 'Sorry, it is an application for study leave for Class X students, before the Pre-test!' So, we got the leave for us and the students of Class IX were left deflated! Felt sorry for other students though! But it was not our duty ask for leave for the whole school, though!

I was in Class VII then. Sleepy me used to take down notes with my eyes open, with a hand on my forehead to hide my sleepiness! And guess what, what would happen to me when the exams came!!! 😂😂😂

On one memorable occasion, a friendly football match was organized between the teachers and the students. The headmaster took up the position of goalkeeper for the teachers’ team. It was obvious from the outset, that the students were the stronger side. However, none of them dared to score—held back by a mix of respect and fear for the headmaster. The teachers, too, failed to find the net. Then came the unexpected twist: the headmaster Maharaj, in a burst of mischief, tucked the ball under his lungi, walked straight into the goal, and calmly “scored.” Not a single student dared to challenge him! And just like that, the teachers’ team claimed victory.

 

 

                                                     My School Days – Titbits

 


My elder sister and I joined Ramakrishna Mission High School, Cherrapunji (known as Sohra now), Meghalaya, India, in 1965. She was admitted to Class V, and I to Class III. The school building had cemented floors, but its walls and roof were made of corrugated galvanized iron (CGI) sheets—though there was a proper ceiling. The school had two sections: the Khasi Section and the Bengali Section. I belonged to the Bengali Section.

Each morning began with a prayer in the Khasi Section. After that, the Bengali students would proceed to their designated classrooms. One interesting thing I remember is that our class had just two benches—one for Class III and the other for Class IV. The second period was English, taught in a different classroom. I clearly remember refusing to move for the English class because I liked the teacher who took the first period!

That day, when I returned home, my first comment was: “Mom, all the students in the school (I meant the Bengali Section) are Sylhetis — only my sister and I are Bengalis!”

From Class VII onwards, we began to have combined classes. However, Bengali students wrote their answers in Bengali and used Bengali textbooks. Since the classes were now taught in English, we were clearly at a disadvantage. I particularly remember struggling during lessons on the Indus Valley Civilisation and the Aryan Civilisation. I couldn’t locate the chapters in my textbook, only to realise they were listed as Sindhu Sobhyota and Aarjyo Sobhyota! Thankfully, my sister came to my rescue.

One day in Class VII, our history teacher was absent. Swami Gokulanandaji, the Secretary Maharaj, entered our classroom. When he learned it was supposed to be a history period, he asked for a textbook. Since I was seated in the front bench, he asked me. Gathering some courage, I told him I had a Bengali textbook. He looked surprised. “You’re good at English. Why are you studying in Bengali medium?”
That marked a turning point. From then on, I started writing my answers in English.

Until my board exams, I often heard: “A Bengali student is not allowed to write answers in English.”
But in the following batch, all Bengali students wrote in Bengali. Then, in the batch after that, just one Bengali student wrote in English — and after that, it became the norm. I owe that turning point to Swami Gokulanandaji Maharaj.

I recall another incident from Class VII. We were having a class in the Science Laboratory, located in the Technical Building, when the Inspector of Schools arrived, accompanied by Swami Gokulanandaji Maharaj. The inspector asked, “Why does Cherrapunji receive so much rainfall?”

I knew the answer, but I didn’t know the English term monsoon air. In Bengali, we called it moushumi baiu — baiu, meaning air, and moushumi meaning monsoon. Swami Gokulanandaji turned to me and asked me to respond. I began hesitantly: “Sir, the moushum air…” Bengalis normally pronounce ‘s’ as ‘sh’, so it must have sounded like ‘mousum’, very close to monsoon.

He nodded and said, “Yes, the monsoon air…”
That gave me the confidence to complete the answer. The School Inspector and Swamiji left the classroom smiling, and I was overjoyed.

Years later, I did marry a Mousumi!!!

These may seem like small incidents, but they shaped my journey—moments of hesitation turned into steps of confidence.

I also recall an incident from Class VI that, even today, brings a mix of disbelief and laughter. One particularly mischievous student managed to climb through an opening in the ceiling above our classroom. From there, he made his way up to the section above Class III. What followed was both shocking and absurd—he relieved himself right above the teacher’s table!

Needless to say, the chaos that ensued was unforgettable. The poor teacher was stunned, the students erupted in confusion and whispers, and the incident quickly became part of the school’s unofficial folklore. Though utterly inappropriate, it was one of those bizarre moments that stays etched in memory—not because of its humour alone, but because of how unusual school life could be in those days.

In 1952, when the Foundation Stone of the Technical Section building was to be laid, a momentous occasion was at hand — the Prime Minister of India, Pandit Jawaharlal Nehru himself, was scheduled to perform the ceremony. On the 20th of October, students were lined up in anticipation of welcoming the distinguished guest. Known for his punctuality, Pt Nehru typically arrived at least fifteen minutes ahead of time. But on this particular day, he was delayed. Swami Shddhobodhanandaji Maharaj, the then Secretary of the institution, was not the type to tolerate unpunctuality. With firm authority, he declared, “Students, get back to your classes!” The students dispersed, returning obediently to their classrooms.

When Pt Nehru finally arrived, he found no students lined up to receive him. Visibly apologetic, he met Swami Shddhobodhanandaji Maharaj, quietly laid the Foundation Stone, and departed without addressing the students. Swami Shddhobodhanandaji Maharaj’s remark echoed with resolve: “Students cannot be kept waiting.”

On one memorable occasion, a friendly football match was organized between the teachers and the students. The headmaster took up the position of goalkeeper for the teachers’ team. It was obvious from the outset that the students were the stronger side. However, none of them dared to score—held back by a mix of respect and fear for the headmaster. The teachers, too, failed to find the net. Then came the unexpected twist: the headmaster Maharaj, in a burst of mischief, tucked the ball under his lungi, walked straight into the goal, and calmly “scored.” Not a single student dared to challenge him! And just like that, the teachers’ team claimed victory.

Thursday, May 1, 2025

 āχāώ্āϟাāύāύ্āĻĻ āĻŽāĻšাāϰাāϜ

-   āĻĄঃāĻ…āύিāϰুāĻĻ্āϧāĻŦāϰ্āĻŽāĻŖ

āĻ›োāϟ āĻŦ⧟েāϏ āĻĨেāĻ•ে āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύে āĻŽাāύুāώ āĻšā§ŸেāĻ›ি। āĻŦাāĻŦা āϚেāϰাāĻĒুāĻž্āϜি āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύ āωāϚ্āϚāĻŦিāĻĻ্āϝাāϞ⧟ে āĻļিāĻ•্āώāĻ• āĻ›িāϞেāύ। āφāĻŽāϰা āϏ্āĻ•ুāϞ āĻ•ো⧟াāϟাāϰে āĻĨাāĻ•āϤাāĻŽ। āĻŽāĻšাāϰাāϜāĻĻেāϰ āĻĻূāϰ āĻĨেāĻ•ে āύāĻŽāϏ্āĻ•াāϰ āĻ•āϰেāĻ›ি, āĻ…āύেāĻ•āĻ•ে āĻĒ্āϰāύাāĻŽāĻ“ āĻ•āϰেāĻ›ি āĻ•িāύ্āϤু āĻŽāύে  āĻ•েāω āĻ িāĻ• āϏেāĻ­াāĻŦে āϝা⧟āĻ—া āĻ•āϰে āύিāϤে āĻĒাāϰেāύāύি। āĻļ্āϰāĻĻ্āϧা āĻ…āύেāĻ•āĻ•েāχ āĻ•āϰেāĻ›ি। āϤāĻŦে āφāϜāĻ•ে āϝাঁāϰ āĻ•āĻĨা āĻŦāϞāĻŦ āϤিāύি āĻāĻ•āϟু āφāϞাāĻĻা।

āϤāĻ–āύ āĻļৈāϞ āĻļāĻšāϰ āϤুāϰাāϤে, āϤুāϰা āϏāϰāĻ•াāϰী āĻŽāĻšাāĻŦিāĻĻ্āϝাāϞ⧟ (āϤুāϰা āĻ—āĻ­āϰāĻŽেāύ্āϟ āĻ•āϞেāϜে) āĻ•াāϜ āĻ•āϰāϤাāĻŽ। āϚেāϰাāĻĒুāĻž্āϜি āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύেāϰ āĻŽāĻšাāϰাāϜāϰা āφāϏāϤেāύ āĻĻীāĻ•্āώা āĻĻিāϤে। āϏাāĻ­াāĻŦিāĻ•āĻ­াāĻŦেāχ āĻ“āύাāĻĻেāϰ āĻĻীāĻ•্āώিāϤ āĻļিāώ্āϝāĻĻেāϰ āĻŦা⧜িāϤেāχ āĻĨাāĻ•āϤেāύ। āĻāϏে āφāĻŽাāĻĻেāϰ āĻ•াāϰুāϰ āĻ•োāύ āĻĻিāύ āϝোāĻ—াāϝোāĻ— āĻ•āϰাāϰ āϚেāώ্āϟাāĻ“ āĻ•āϰāύāύি। āĻŦাāĻŦা āĻŦāĻšু āĻŦāĻ›āϰ āĻ•াāϜ āĻ•āϰেāĻ›েāύ āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύে। āϚেāϰাāĻĒুāĻž্āϜিāϤে āĻĨাāĻ•াāϰ āϏāĻŽā§Ÿ āĻŽা āĻŦিāĻ­িāύ্āύ āĻ…āύুāώ্āĻ াāύেāϰ āĻŽāϧ্āϝāĻŽāĻŖি āĻ›িāϞেāύ। āĻ•িāύ্āϤু āĻ•েāω āĻ•িāĻ›ু āĻŽāύে āϰাāĻ–াāϰ āϚেāώ্āϟা āĻ•āϰেāύি āĻŦা āĻ•োāύ āĻ–োঁāϜ āĻ–āĻŦāϰ āϰাāĻ–াāϰ āϚেāώ্āϟাāĻ“ āĻ•āϰেāύি। āϚেāϰাāĻĒুāĻž্āϜিāϰ āĻ•োāύ āĻ…āύুāώ্āĻ াāύেāϰ āĻ–āĻŦāϰāĻ“ āĻĒেāϤাāĻŽ āύা। āĻāĻŽāύিāϤেāχ āĻĻীāĻ•্āώিāϤ āύāχ āϤাāϰ āĻ“āĻĒāϰ āĻŦিāϧāϰ্āĻŽী। āϤāĻŦু āĻ–ুāĻŦ āĻ•āώ্āϟ āĻĒেāϤাāĻŽ, āĻ•িāύ্āϤু āĻ•োāύ āĻĻিāύ āĻĒ্āϰāĻ•াāĻļ āĻ•āϰিāύি।

āϤāĻ–āύ āĻŽোāĻŦাāχāϞ āĻĢোāύেāϰ āϝুāĻ— āĻļুāϰু āĻšā§Ÿāύি। āϞ্āϝাāύ্āĻĄ āĻĢোāύেāϰ āϝুāĻ—। āĻāĻ•āĻĻিāύ āĻāĻ•āϟা āĻĢোāύ āĻāϞ। āϤāĻ–āύ āĻĢোāύেāϰ āφāĻ“ā§ŸাāϜ āĻļুāύে āĻŦুāĻāϤে āĻĒাāϰāϤাāĻŽ āϏ্āĻĨাāύী⧟ āĻĢোāύ āύা āĻŦাāχāϰেāϰ। āĻĢোāύেāϰ āφāĻ“ā§ŸাāϜ āĻļুāύেāχ āĻŦুāĻāϞাāĻŽ āϏেāϟা āϏ্āĻĨাāύী⧟। āĻĢোāύ āĻ“āĻ াāϞাāĻŽ। āĻ“āĻĒাāϰ āĻĨেāĻ•ে āĻ­েāϏে āĻāϞ āĻāĻ• āĻ—āĻŽ্āĻ­ীāϰ āϏ্āĻŦāϰ, ‘āφāĻŽি āĻ•ি āĻ…āύিāϰুāĻĻ্āϧ āĻŦāϰ্āĻŽāĻŖেāϰ āϏংāĻ—ে āĻ•āĻĨা āĻŦāϞāϤে āĻĒাāϰি?’ āϤুāϰাāϤে āĻ•েāω āφāĻŽাāĻ•ে āĻāχāĻ­াāĻŦে āϏāĻŽ্āĻŦোāϧāύ āĻ•āϰāϤ āύা। āĻŦāϰ্āĻŽāĻŖ, āĻŦা āĻĒ্āϰোāĻĢেāϏāϰ āĻŦāϰ্āĻŽāĻŖ āĻŦা āĻ…āύিāϰুāĻĻ্āϧ, āĻŦা āĻŦāϰ্āĻŽāĻŖ āϏ্āϝাāϰ, āĻ•েāωāĻŦা āĻĄাāĻ• āύাāĻŽে। āϏāĻ™্āĻ—ে āϏāĻ™্āĻ—ে āĻāĻ•āϟা āĻ•োāĻĨা⧟ āĻ…āύ্āϝ āĻāĻ• āϏুāϰেāϰ āφāĻ“ā§ŸাāϜ  āĻĒেāϞাāĻŽ। ‘āφāĻŽি āϚেāϰাāĻĒুāĻž্āϜি āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύেāϰ āĻšেāĻĄāĻŽাāϏ্āϟাāϰ āĻ“ āϏেāĻ•্āϰেāϟাāϰি āĻŽāĻšাāϰাāϜ (āύাāĻŽāϟা āĻ…āύিāĻŦাāϰ্āϝ āĻ•াāϰāύে āωāĻš্āϝ āϰাāĻ–āϞাāĻŽ) āĻŦāϞāĻ›ি’। āĻļুāύেāχ āϤাāύāĻĒুāϰাāϰ āĻāĻ• āϤাāϰে āϟাāύ āĻĒ⧜āϞ। āĻāĻ•āϜāύ āĻ•েāω āĻāϤāĻŦāĻ›āϰ āĻĒāϰ āφāĻŽাāĻ•ে āϏ্āĻŦীāĻ•ৃāϤি āĻĻিāϤে āĻāϏেāĻ›ে। āϏāĻŽā§Ÿ āύāώ্āϟ āύা āĻ•āϰে āϜিāϜ্āĻžেāϏ āĻ•āϰāϞাāĻŽ, ‘āĻŽāĻšাāϰাāϜ, āφāĻĒāύি āĻ•োāĻĨা⧟ āφāĻ›েāύ?’ ‘āφāĻŽি āĻŽেāϘাāĻŦাāĻŦুāϰ āĻŦা⧜িāϤে āφāĻ›ি।’ āϏ্āĻŦাāĻ­াāĻŦিāĻ•āĻ­াāĻŦেāχ āĻŽāĻšাāϰাāϜāϰা āĻāϏে āĻšā§Ÿ āĻŽেāϘাāĻŦাāĻŦুāϰ āĻŦা⧜ি āύাāĻšāϞে āϰাāĻšাāĻŦাāĻŦুāϰ āĻŦা⧜িāϤে āĻāϏে āĻĨাāĻ•āϤেāύ।

āφāĻŽি āĻŦāϞāϞাāĻŽ, ‘āĻŽāĻšাāϰাāϜ, āφāĻĒāύি āĻ“āĻ–াāύেāχ āĻĨাāĻ•ুāύ, āφāĻŽি āφāϏāĻ›ি।’ āĻ•āĻĨাāϟা āϝেāύ āύিāϜেāϰ āĻĨেāĻ•েāχ āĻŦেāϰি⧟ে āĻāϞ āĻŽুāĻ–েāϰ āĻĨেāĻ•ে। āĻŽাāĻ•ে āĻŦāϞāϞাāĻŽ āϚেāϰাāĻĒুāĻž্āϜিāϰ āĻŽāĻšাāϰাāϜ āĻāϏেāĻ›েāύ, āύি⧟ে āφāϏāϤে āϝাāϚ্āĻ›ি। āύিāϜেāϰ āĻ“āĻĒāϰ āĻĒ্āϰāĻŦāϞ āĻŦিāĻļ্āĻŦাāϏ। āĻŽেāϘাāĻŦাāĻŦুāϰ āĻŦা⧜ি āĻ—ি⧟ে āĻĒ্āϰāĻĨāĻŽেāχ āĻ“āύাāĻ•ে āĻĒ্āϰāύাāĻŽ āĻ•āϰāϞাāĻŽ। āĻāχ āĻ•াāϜāϟা āφāĻŽি āϏāϧাāϰāύāϤ āĻ•āϰāϤাāĻŽāύা । āωāύি āĻŦ⧟āϏে āφāĻŽাāϰ āϏāĻŽাāύ āĻŦা āĻāĻ•āϟু āĻ›োāϟ āĻŦা āĻŦ⧜ āĻšāĻŦেāύ। āĻ•িāύ্āϤু āĻĒ্āϰāύাāĻŽ āĻ•āϰাāϰ āϏāĻŽā§Ÿ āĻ•িāĻ›ু āϚিāύ্āϤা āĻ•āϰāϤে āĻšā§Ÿāύি। āĻāĻŽāύিāϤেāχ āĻ•āϰে āĻĢেāϞāϞাāĻŽ। āĻŦāϞāϞাāĻŽ, ‘āĻŽāĻšাāϰাāϜ, āϚāϞুāύ।’ āĻŽেāϘাāĻŦাāĻŦু āĻŦāϞে āωāĻ āϞেāύ, ‘āĻ–াāĻ“ā§ŸাāĻĻাāĻ“ā§Ÿা āĻ•āϰে āϝাāύ!’  āĻŽāĻšাāϰাāϜ āĻŦāϞে āωāĻ āϞেāύ, ‘āφāĻĒāύাāϰাāϤো āĻ—া⧜ো, āφāĻĒāύাāĻĻেāϰ āĻŦা⧜িāϤে āφāĻŽি āĻ–াāĻŦāύা, āφāĻŽি āĻ–াāĻļি⧟াāĻĻেāϰ āĻŦা⧜িāϤে āĻ–াāĻŦ।’ āĻāχāĻŦāϞে āφāĻŽাāĻĻেāϰ āĻŦা⧜ি āϚāϞে āĻāϞেāύ।

āĻŽা, āĻŦিāĻĒāĻĻে āĻĒ⧜āϞেāύ। āφāĻ—ে āĻŽāĻšাāϰাāϜāϰা āφāĻŽাāĻĻেāϰ āĻŦা⧜িāϤে āĻĒ্āϰা⧟āχ āĻ–াāĻ“ā§Ÿা-āĻĻাāĻ“ā§Ÿা āĻ•āϰāϤেāύ। āϤāĻ–āύ āϏāĻŦāĻ•িāĻ›ুāχ āĻ–েāϤেāύ। āĻāϤāĻĻিāύ āĻĒ āϰāĻāĻ–āύ āĻ•ী āĻ–াāĻŦেāύ? āĻŽāĻšাāϰাāϜ āĻŦ্āϝাāĻĒাāϰāϟা āĻŦুāĻে āύিāϜেāχ āĻŦāϞে āωāĻ āϞেāύ, ‘āφāĻŽি āĻŽুāϰāĻ—ীāϰ āĻŽাংāϏ āĻ›া⧜া āϏāĻŦāχ āĻ–াāχ।’ āϚিāύ্āϤাāϰ āĻ•োāύ  āϝা⧟āĻ—া āφāϰ āϰāχāϞāύা। āĻŽা āĻŽāĻšা āφāύāύ্āĻĻে āϰাāύ্āύা āĻ•āϰāϤে āĻ—েāϞেāύ। āĻŽাāϰ āϰাāύ্āύাāϰ āĻĒ্āϰāĻļংāĻļা āϏāĻŦাāχ āĻ•āϰāϤেāύ। āĻ–াāĻŦাāϰ āφāĻ—ে āĻŽāĻšাāϰাāϜ āφāĻŽাāϰ āϏāĻ™্āĻ—ে āĻŽāϧ্āϝāĻļিāĻ•্āώা āĻĒāϰ্āώāĻĻেāϰ (MBOSE) āĻ…āĻĢিāϏে āĻ—েāϞেāύ āĻāĻŦং āφāĻŽাāϰ āϝেāĻšেāϤু āĻ“āĻ–াāύে āĻĒāϰিāϚিāϤি āĻ›িāϞ āĻ“āύাāϰ āĻ•াāϜ āĻ•āϰāϤে āϏুāĻŦিāϧা āĻšোāϞ।  āĻ—া⧜িāϤে āφāĻŽাāĻ•ে āĻŦāϞāϞেāύ, āφāĻŽাāĻĻেāϰ āĻĒāϰেāϰ āĻŦ্āϝাāϚেāϰ āĻāĻ•āϟা āĻ›েāϞে āĻ›িāϞ āύিāϤাāχ āĻšাāϜং āύাāĻŽে, āϤাāϰ āĻŦা⧜িāϤে āχāϤিāĻŽāϧ্āϝে āϘুāϰে āĻāϏেāĻ›েāύ। āφāϰāĻāĻ•āϟিāĻ›েāϞেāĻ›িāϞ, āϏিāĻĻ্āϧাāϰ্āĻĨ āĻ­āϟ্āϟাāϚাāϰ্āϝ  āĻĒোāϏ্āϟāĻ…āĻĢিāϏে āĻ•াāϜ āĻ•āϰāϤ āφāϰ āĻāĻ•āϟা āĻŽেāϏে āĻĨাāĻ•āϤে। āĻĒাāĻšা⧜েāϰ āĻ“āĻĒāϰ āϏেāχ āĻŽেāϏেāĻ“ āĻ—ি⧟েāĻ›িāϞেāύ āĻ“āϰ āϏāĻ™্āĻ—ে āĻĻেāĻ–া āĻ•āϰāϤে। āϏিāĻĻ্āϧাāϰ্āĻĨ āϏ্āĻ•ুāϞে āĻšāϏ্āϟেāϞে āĻĨাāĻ•āϤ। āĻ“āϰ āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύেāϰ āĻ“āĻĒāϰ āφāĻŽাāĻĻেāϰ āĻĨেāĻ•ে āφāϰāĻ“ āĻŦেāĻļি āϰাāĻ—āĻ›িāϞ।

āϏেāĻŦাāϰ āϚেāϰাāĻĒুāĻž্āϜি āĻĢিāϰে āϝাāĻŦাāϰ āĻĒāϰāĻĒ্āϰা⧟āχ āφāĻŽা⧟ āĻĢোāύ āĻ•āϰāϤেāύ। āĻ…āύেāĻ•āϟা āĻŦāύ্āϧুāϰ āĻŽāϤ āĻšā§Ÿে āĻ—ি⧟েāĻ›িāϞাāĻŽ। āĻāĻ•āĻĻিāύ āĻĄāύāĻŦāϏ্āĻ•োāϰ āĻāĻ• āĻĢাāĻĻাāϰেāϰ āϏāĻ™্āĻ—ে āĻļিāϞং āĻ—েāϞাāĻŽ। āϰাāϤে āĻĄāύāĻŦāϏ্āĻ•োāϰ āĻāĻ• āĻ—েāϏ্āϟ āĻšাāωāϏে āĻ›িāϞাāĻŽ। āϰাāϤ āĻĻāĻļāϟাāϰ āĻĻিāĻ•ে āĻāĻ•āϟা āĻĢোāύ। āĻĒাāĻšা⧜ে āĻĻāĻļāϟা āĻ…āύেāĻ• āϰাāϤ। āϤাāĻ›া⧜াāĻ“ āĻļিāϞং āφāϰāĻ“ āĻĒূāϰ্āĻŦāĻĻিāĻ•ে, āϰাāϤāϟা āĻāĻ•āϟু āϤা⧜াāϤা⧜ি āĻšā§Ÿ। āĻāĻ–াāύে āφāĻŽাāĻ•ে āĻ•ে āĻĢোāύ āĻ•āϰāĻŦে? āĻŽাāĻ“āϤো āĻĢোāύ āύāĻŽ্āĻŦāϰ āϜাāύেāύāύা। āφāĻŽি āύিāϜেāĻ“ āϜাāύিāύা। āĻ…āĻĢিāϏāϘāϰে āĻĢোāύ। āĻŽāĻšাāϰাāϜ āĻĢোāύ āĻ•āϰেāĻ›েāύ। ‘āφāĻŽি āĻāĻ–াāύে āφāĻ›ি āĻ•ীāĻ•āϰে āϜাāύāϞেāύ?’ ‘āϤোāĻŽাāϰ āĻŽাāĻ•ে āĻĢোāύ āĻ•āϰেāĻ›িāϞাāĻŽ āĻŦāϞāϞেāύ āϤুāĻŽি āĻāĻ• āĻĢাāĻĻাāϰেāϰ āϏāĻ™্āĻ—ে āĻļিāϞং āĻāϏেāĻ›। āϤাāχ āĻ–োঁāϜ āĻ•āϰে āĻĢোāύ āύāĻŽ্āĻŦাāϰ āϜোāĻ—া⧜ āĻ•āϰāϞাāĻŽ। āĻāϤ āĻ•াāĻ›ে āĻāϏেāĻ›, āϚেāϰাāĻĒুāĻž্āϜি āφāϏāĻŦে āύা?’ ‘āĻŽāĻšাāϰাāϜ, āĻāĻŦাāϰ āϤো āĻšāĻŦে āύা। āĻĒāϰে āφāϰেāĻ• āĻŦাāϰ āϝাāĻŦ’ āĻ–ুāĻŦ āĻ•āώ্āϟ āĻĒেāϞেāύ āĻŦুāĻāϞাāĻŽ। āĻ•িāύ্āϤু āϤāĻ–āύ āφāĻŽাāϰ āωāĻĒা⧟āĻ“ āĻ•িāĻ›ু āύেāχ।

āĻāĻ•āĻĻিāύ āĻāĻ•āϟা āĻĢোāύ, āĻāĻŦাāϰ āĻļিāϞং āĻĨেāĻ•ে। ‘āφāĻŽাāĻĻেāϰ āĻ­াāχāϏ āĻĒ্āϰিāύ্āϏিāĻĒাāϞ āĻ…āĻŦāϏāϰ āύিāϚ্āĻ›েāύ āĻ•ā§ŸেāĻ• āĻŽাāϏেāϰ āĻŽāϧ্āϝেāχ, āĻ­াāĻŦāĻ›িāϞাāĻŽ āĻ“āύাāϰ āĻŽāϤ āϝোāĻ—্āϝāϤা āϏāĻŽ্āĻĒāύ্āύ āφāĻŽাāĻĻেāϰ āύিāϜেāϰ āϞোāĻ• āĻ•েāω āϝāĻĻি āĻ“āύাāϰ āϝা⧟āĻ—া⧟ āϜ⧟েāύ āĻ•āϰāϤে āĻĒাāϰāϤেāύ ...’ āφāĻŽি āϚিāύ্āϤা⧟ āĻĒāϰে āĻ—েāϞাāĻŽ, āĻ•াāϰ āĻ•āĻĨা āĻŦāϞা āϝা⧟, āĻāχ āĻ­েāĻŦে। āĻ•াāϰোāϰ āĻ•āĻĨা āϤāĻ•্āώুāύি āĻŽāύে āĻĒāϰāĻ›েāύা। āĻŽāĻšাāϰাāϜ āĻ িāĻ• āϏেāχ āϏāĻŽā§Ÿ āĻŦোāĻŽāϟা āĻĢেāϞāϞেāύ, ‘āĻ­াāĻŦāĻ›িāϞাāĻŽ āϤুāĻŽি āϝāĻĻি āφāϏāϤে āĻĒাāϰ।’ āφāĻŽি āĻŦাāĻ•āϰুāĻĻ্āϧ āĻšā§Ÿে āĻ—েāϞাāĻŽ। āĻ•ী āĻŦāϞāĻŦ āĻ­েāĻŦে āĻĒাāϚ্āĻ›িāϞাāĻŽ āύা। āϝেāĻ–াāύে āĻāĻ•āĻĻিāύ āĻŦাāĻŦাāϰ āϝা⧟āĻ—া⧟ āφāĻŽাāϰ āϜ⧟েāύ āĻ•āϰাāϰ āχāϚ্āĻ›া āĻ›িāϞ, āĻ•িāύ্āϤু āφāĻŽাāĻ•ে āϤāĻ–āύ āĻ•েāύ āϜাāύি āĻŽāύে āĻšোāϞ āϏেāχ āĻĒোāϏ্āϟে āύেāĻ“ā§Ÿা āĻšāĻŦে āύা! āϝেāĻ–াāύে āĻļৈāĻļāĻŦ āφāϰ āĻ•ৈāĻļোāϰেāϰ āϏেāϰা āĻĻিāύāĻ—ুāϞো āĻ•াāϟি⧟েāĻ›ি āϝেāĻ–াāύে āĻ•াāϜ āĻ•āϰাāϰ āĻĒ্āϰāĻŦāϞ āχāϚ্āĻ›া āĻ›িāϞ। āϏেāχ āϝা⧟āĻ—া⧟ āφāĻŦাāϰ āĻĢিāϰে āϝাāĻŦ – āϚোāĻ– āĻĻি⧟ে āϜāϞ āĻ—ā§œি⧟ে āĻĒ⧜āϞ। āĻŽāĻšাāϰাāϜ āĻŦāϞāϞেāύ, ‘āĻāĻ•্āώুāύি āϚিāύ্āϤা āύেāχ। āĻĒāϰে āϚিāύ্āϤা āĻ•āϰে āϜাāύাāϞেāχ āĻšāĻŦে।’ āĻŦা⧜িāϤে āϤিāύāϟে āĻŽাāύুāώ, āϤিāύ āϜāύেāϰāχ āϚোāĻ–ে āϜāϞ। āϏেāϟা āφāύāύ্āĻĻেāϰāχ āĻ…āĻļ্āϰু। āϤুāϰা āϤāĻ–āύāĻ“ āϤāϤāϟা āĻŽাāύি⧟ে āύিāϤে āĻĒাāϰিāύি। āϚেāϰাāĻĒুāĻž্āϜিāĻ“ āĻ­ুāϞāϤে āĻĒাāϰāĻ›িāύা।

āĻāĻ•āĻĻিāύ āϏāϤ্āϝি āϏāϤ্āϝিāχ āϏ্āĻ•ুāϞ āĻĨেāĻ•ে āϚিāĻ āχ āĻāϞ। āωāϤ্āϤāϰāϤো āĻĻিāϤেāχāĻšāĻŦে। āĻĒāϰাāĻŽāϰ্āĻļāĻļুāϰুāĻ•āϰāϞাāĻŽ। āĻ•িāύ্āϤু āϝাāĻ•েāχ āĻŦāϞি āϏেāχāχ āĻŦāϞে āĻĢিāϰে āύা āϝেāϤে। āĻ­াāϤৃāĻĒ্āϰāϤিāĻŽ āĻāĻ• āĻŦāύ্āϧু āĻŦāϞāϞ, ‘āĻĻেāĻ– āφāĻŽি āϝেāχ āĻ•āϞেāϜে āĻĒ⧜াāĻļুāύো āĻ•āϰেāĻ›ি āϏেāχ āĻ•āϞেāϜেāχ āĻĒ⧜াāϚ্āĻ›ি। āĻĢিāϰে āϝাāϏāύা।’ āϚেāϰাāĻĒুāĻž্āϜি āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύেāϰ āĻāĻ• āĻļিāĻ•্āώāĻ• āĻ…āϚিāύ্āϤāĻĻাāĻ•ে āϜিāϜ্āĻžেāϏ āĻ•āϰāϞাāĻŽ। āĻ…āϚিāύ্āϤāĻĻাāϰ āĻ•্āώুāϰāϧাāϰ āĻŦুāĻĻ্āϧি। āφāĻŽাāĻ•ে āĻŦুāĻি⧟ে āĻŦāϞāϞেāύ, ‘āĻĻ্āϝাāĻ–, āϤুāĻŽিāϤো āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύেāϰ āĻŽāĻšাāϰাāϜāĻĻেāϰ āϚেāύ। āφāϜāĻ•ে āĻāĻ• āĻŽāĻšাāϰাāϜ āϤোāĻŽাāĻ•ে āĻ­াāϞāĻŦাāϏেāύ, āφāĻ—াāĻŽীāĻ•াāϞ āφāϰ āĻāĻ•āϜāύ āĻŽāĻšাāϰাāϜ āφāϏāĻŦেāύ āφāϰ āϏāĻŦ āĻ•িāĻ›ু āĻĒাāϞāϟে āϝাāĻŦে। āϤাāĻ›া⧜া āϤুāĻŽি āĻāĻ•āϟা āĻ•āϞেāϜে āφāĻ› āφāϰ āĻāχ āĻĒোāϏ্āϟāϟা āĻ­াāχāϏ āĻĒ্āϰিāύ্āϏিāĻĒাāϞেāϰ āύ⧟ āĻ…্āϝাāϏিāϏ্āϟ্āϝাāύ্āϟ āĻšেāĻĄāĻŽাāϏ্āϟাāϰেāϰ। āϤুāĻŽি āϤিāύ āϜেāϞা āϜু⧜ে āĻ•াāϜ āĻ•āϰāĻ› āφāϰ āĻāĻ–াāύে āĻ•াāϜেāϰ āĻĒāϰিāϧি āĻļুāϧু āĻāχ āϏ্āĻ•ুāϞেāϰ āĻŽāϧ্āϝেāχ āϏীāĻŽাāĻŦāĻĻ্āϧ। āφāϰ āϤোāĻŽাāϰ āĻ•āϞেāϜāϟাāĻ“ āϏāϰāĻ•াāϰী āĻ•āϞেāϜ। āφāϰ āĻāϟা āφāϧা āϏāϰāĻ•াāϰী āĻĒ্āϰāϤিāώ্āĻ াāύ।’ āϤাāĻ›া⧜া āĻāĻ–াāύে āĻĒেāύāϏāύāĻ“ āύেāχ।

āĻ•েāω āĻāĻ•āϜāύ āĻŦāϞুāĻ•, ‘āϤুāχ āϝা’। āύাঃ āĻ•েāωāχ āĻŦāϞāĻ›েāύা। āĻ•েāωāχ āϝāĻ–āύ āĻŦāϞāĻ›েāύা āφāϰ  āύা āϝাāĻ“ā§Ÿাāχ āĻ­াāϞ। āĻ…āύেāĻ• āĻ•āώ্āϟে, āĻ…āύেāĻ• āϏাāĻšāϏ āĻ•āϰে āĻŽāĻšাāϰাāϜāĻ•ে āĻāĻ•āϟা āϚিāĻ ি āϞিāĻ–āϞাāĻŽ। āĻ­াāϰাāĻ•্āϰাāύ্āϤ āĻŽāύে āϞিāĻ–āϞাāĻŽ āĻ—েāϞে āĻŦেāϤāύেāϰ āĻ•ী āϏāĻŽāϏ্āϝা āĻšāĻŦে, āϚাāĻ•āϰিāϰ āĻ•ী āĻ…āϏুāĻŦিāϧা āĻšāĻŦে। āύা, āĻ•োāύāϟাāχ āĻŽāύ āĻĨেāĻ•ে āϞিāĻ–āĻ›ি āύা। āĻ…āύেāĻ•āĻĻিāύ āĻĒāϰ āĻŽāĻšাāϰাāϜ āωāϤ্āϤāϰ āĻĻিāϞেāύ। āĻ–ুāĻŦ āĻĻুঃāĻ– āĻĒে⧟েāĻ›িāϞেāύ। āĻāĻ•āϟাāχ āĻŦাāĻ•্āϝ āϞিāĻ–āϞেāύ, ‘āϧāϰেāχ āύি āφāĻŽি āϤোāĻŽাāϰ āĻ•াāĻ›ে āĻ•োāύ āĻĒ্āϰāϏ্āϤাāĻŦ āϰাāĻ–িāύি।’ āĻāϰāĻĒāϰ āĻŽāĻšাāϰাāϜেāϰ āϏāĻ™্āĻ—ে āϏāĻ–্āϝ āĻŦāύ্āϧ āĻšā§Ÿে āϏāĻŦ āϝোāĻ—াāϝোāĻ— āĻŦিāϚ্āĻ›িāύ্āύ āĻšā§Ÿে āĻ—েāϞ।

āĻ•ā§ŸেāĻ• āĻŦāĻ›āϰ āĻĒāϰ āĻļিāϞং āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύেāϰ āϏুāĻŦāϰ্āĻŖāϜ⧟āύ্āϤী āĻ‰ā§ŽāϏāĻŦ। āĻļুāύāϞাāĻŽ āĻ—āĻ•ুāϞাāύাāύ্āĻĻ āĻŽāĻšাāϰাāϜ āĻāϏেāĻ›েāύ। āĻ—āĻ•ুāϞাāύাāύ্āĻĻ āĻŽāĻšাāϰাāϜ āφāĻŽাāĻĻেāϰ āĻļিāĻ•্āώāĻ• āĻ›িāϞেāύ। āϏ্āĻ•ুāϞেāϰ āϤāĻ–āύ āĻšেāĻĄāĻŽাāϏ্āϟাāϰ āĻ“ āϏেāĻ•্āϰেāϟাāϰী। āĻĻেāĻ–া āĻ•āϰāϤে āĻ—েāϞাāĻŽ। āĻĒ্āϰāύাāĻŽ āĻ•āϰে āĻŦāϞāϞাāĻŽ ‘āĻŽāĻšাāϰাāϜ, āφāĻŽি āĻ…āύিāϰুāĻĻ্āϧ।’ ‘āĻ•ে āĻ…āύিāϰুāĻĻ্āϧ?’ āϏ্āĻŦাāĻ­াāĻŦিāĻ•āĻ­াāĻŦেāχ āĻāϤ āĻŦāĻ›āϰ āĻĒāϰ āĻŽāύে āĻĨাāĻ•াāϰ āĻ•āĻĨা āύ⧟। āĻŦāϞāϞাāĻŽ, ‘āϚেāϰাāĻĒুāĻž্āϜিāϰ āĻ…āϜিāϤ āĻŦāϰ্āĻŽāĻŖেāϰ āĻ›েāϞে।’ ‘āĻ“ āĻš্āϝাঁ, āĻ†ā§Ÿ’। āĻ•িāĻ›ুāĻ•্āώāĻŖ āĻĒāϰ āφāĻŦাāϰ āĻ­ুāϞে āĻ—েāϞেāύ, ‘āĻ•াāϰ āĻ›েāϞে āĻŦāϞāϞি?’ ‘āĻ…āϜিāϤ āĻŦāϰ্āĻŽāĻŖেāϰ, āĻŽāĻšাāϰাāϜ।’ ‘āĻ†ā§Ÿ āĻāĻŦাāϰ āφāĻŽাāĻĻেāϰ āϤিāύāϜāύāĻ•ে āĻāĻ•āϏāĻ™্āĻ—ে āĻĻ্āϝাāĻ–, āφāĻŽি, āĻŦāϰ্āϤāĻŽাāύ āϏেāĻ•্āϰেāϟাāϰী āĻ“ āĻĒ্āϰাāĻ•্āϤāύ āϏেāĻ•্āϰেāϟাāϰী āφāĻŽাāϰ āĻ­াāϞāĻŦাāϏাāϰ āĻŽāĻšাāϰাāϜ (āϏ্āĻŦাāĻŽী āχāώ্āϟাāύāύ্āĻĻ āĻŽāĻšাāϰাāϜ)।’ āφāĻŽি āϞāϜ্āϜা⧟ āĻŽুāĻ– āĻĻেāĻ–াāϤে āĻĒাāϰāĻ›িāύা। āĻŽāĻšাāϰাāϜ āĻŦāϞāϞেāύ, ‘āφāĻŽিāϤো āĻ“āĻ•ে āϚেāϰাāĻĒুāĻž্āϜি āϏ্āĻ•ুāϞেāϰ āϟিāϚাāϰ āĻ•āϰে āύিāϤে āϚে⧟েāĻ›িāϞাāĻŽ।’ ‘āĻ•েāύ āĻ—েāϞিāύা āĻ•েāύ? āĻ•োāĻ“ā§Ÿাāϟাāϰ āĻĒেāϤিāϏ!’ āĻ—āĻ•ুāϞাāύāύ্āĻĻ āĻŽāĻšাāϰাāϜ āĻŦāϞāϞেāύ। āφāĻŽি āĻ•ী āĻŦāϞāĻŦ āĻŦুāĻে āĻ“āĻ াāϰ āφāĻ—েāχ āχāώ্āϟাāύāύ্āĻĻ āĻŽāĻšাāϰাāϜ āĻĒāϰিāϤ্āϰাāϤা āĻšā§Ÿে āĻāĻ—ি⧟ে āĻāϞেāύ, ‘āĻ“āϰ āĻ…āϰ্āĻĨāύৈāϤিāĻ• āϏāĻŽāϏ্āϝা āĻ›িāϞ āϤাāχ āϜ⧟েāύ āĻ•āϰāϤে āĻĒাāϰেāύি।’ āĻāϰ āĻĒāϰ āĻ—āĻ•ুāϞাāύāύ্āĻĻ āĻŽāĻšাāϰাāϜ āφāĻŽাāĻ•ে āĻŦ্āϰেāĻ•āĻĢাāϏ্āϟ āϟেāĻŦিāϞে āύি⧟ে āĻ—েāϞেāύ। āĻŽāĻšাāϰাāϜāϰা āĻāĻ•āĻĻিāĻ•ে āĻŦāϏে āĻŦ্āϰেāĻ•āĻĢাāϏ্āϟ āĻ•āϰāĻ›েāύ āφāϰ āĻŦাāĻ•িāϰা āĻ…āύ্āϝāĻĻিāĻ•ে। āϚেāϰাāĻĒুāĻž্āϜিāϤে āĻāχ āĻŦ্āϝāĻĒাāϰāϟা āĻ িāĻ• āĻĻেāĻ–েāĻ›ি āĻŦāϞে āĻŽāύে āĻšā§Ÿāύা। āϤাāϰāĻĒāϰ āĻŽāĻšাāϰাāϜāĻĻেāϰ āĻŦ্āϰেāĻ•āĻĢাāϏ্āϟ āĻāĻ•āϧāϰāύেāϰ āφāϰ āĻ…āύ্āϝāĻĻেāϰ āφāϰেāĻ• āϧāϰāύেāϰ। āφāĻŽাāĻ•ে āĻ…āύ্āϝāĻĻিāĻ•েāχ āĻŦāϏāϤে āĻšোāϞ āĻ•িāύ্āϤু āĻŽāĻšাāϰাāϜāϰা āϝেāχ āĻŦ্āϰেāĻ• āĻĢাāϏ্āϟ āĻ–াāϚ্āĻ›িāϞেāύ āϤাāχ āφāĻŽাāĻ•ে āĻĻেāĻ“ā§Ÿা āĻšোāϞ। āφāϏেāĻĒাāϏে āϏāĻŦাāχ āĻāĻ• āϧāϰāύেāϰ āĻ–াāĻŦাāϰ āĻ–াāϚ্āĻ›েāύ āφāϰ āφāĻŽি āĻŦেāĻļ āωāύ্āύāϤ āĻŽাāύেāϰ āĻ–াāĻŦাāϰ āĻ–াāϚ্āĻ›ি। āĻ–ুāĻŦ āϞāϜ্āϜা āϞাāĻ—āĻ›িāϞ।

āϝাāĻ• āĻŽāĻšাāϰাāϜেāϰ āϏāĻ™্āĻ—ে āĻāχ āĻļেāώ āĻĻেāĻ–া। āĻ—āĻ•ুāϞাāύāύ্āĻĻ āĻŽāĻšাāϰাāϜেāϰ āϏāĻ™্āĻ—েāĻ“। āϤāĻŦে āĻŦāĻšু āĻŦāĻ›āϰ āĻĒāϰ āĻ—āĻ•ুāϞাāύāύ্āĻĻ āĻŽāĻšাāϰাāϜেāϰ āϏāĻ™্āĻ—ে āχāĻŽেāχāϞে āϝোāĻ—াāϝোāĻ— āĻ›িāϞ āĻŦāĻšুāĻĻিāύ। āωāύি āϤāĻ–āύ āĻĻিāϞ্āϞিāϤে। āφāĻŽাāĻ•ে āĻ…āύেāĻ•āĻŦাāϰ āĻĻিāϞ্āϞি āϝেāϤে āĻŦāϞেāĻ›িāϞেāύ āĻāĻŦং āĻ“āύাāϰ āϏāĻ™্āĻ—ে āĻĨাāĻ•াāϰ āĻ•āĻĨাāĻ“ āĻŦāϞেāĻ›িāϞেāύ। āĻ•িāύ্āϤু āĻšāϟাā§Ž āĻ•āϰেāχ āĻāĻ•āĻĻিāύ āĻŽেāχāϞ āφāϏা āĻŦāύ্āϧ āĻšā§Ÿে āĻ—েāϞ। āĻŦāĻšুāĻĻিāύ āĻĒāϰ āĻ–āĻŦāϰ āĻĒেāϞাāĻŽ āωāύি āφāϰ āĻāχ āĻĒৃāĻĨিāĻŦীāϤে āύেāχ। āφāĻŽাāϰ āĻāĻ• āĻ­াāϞোāĻŦাāϏাāϰ āϞোāĻ• āĻ•āĻŽে āĻ—েāϞ। āφāĻŽাāϰ āĻŦি⧟েāϤে āφāĻļীāϰ্āĻŦাāĻĻ āĻ•āϰে āĻāĻ•āϟা āϚিāĻ ি āϞিāĻ–েāĻ›িāϞেāύ āφāĻŽাāϰ āĻŦাāĻŦাāĻ•ে। āϏেāϟা āĻāĻ–āύো āφāĻ›ে।

āĻš্āϝাঁ, āϏেāχ āχāώ্āϟাāύāύ্āĻĻ āĻŽāĻšাāϰাāϜেāϰ āĻ•āĻĨা āĻšāϚ্āĻ›িāϞ। āωāύি āϝāĻ–āύ āϚেāϰাāĻĒুāĻž্āϜি āĻŽিāĻļāύেāϰ āϏেāĻ•্āϰেāϟাāϰী āĻšāύ āϤāĻ–āύ āύাāĻ•ি āĻŦāϞেāĻ›িāϞেāύ, ‘āϰাāĻŽāĻ•ৃāώ্āĻŖāĻŽিāĻļāύে Snow Balling Effect āύেāχ। āĻāĻ• āĻŽāĻšাāϰাāϜ āϝা āĻ•āϰেāĻ›েāύ āϏেāĻ–াāύ āĻĨেāĻ•ে āĻļুāϰু āύা āĻ•āϰে āφāĻŦাāϰ āύāϤুāύ āĻ•āϰে āϏāĻŦāĻ•িāĻ›ু āĻļুāϰু āĻ•āϰা। āωāύিāχ āĻĒ্āϰāĻĨāĻŽ āĻŽāĻšাāϰাāϜ āϝিāύি āĻŦāϞāϞেāύ, ‘āϏ্āĻ•ুāϞেāϰ āφāϏেāĻĒাāĻļেāϰ āĻŦাāϚ্āϚাāϰা āφāĻŽাāĻĻেāϰ āϏ্āĻ•ুāϞে āĻ­āϰ্āϤি āύাāĻšā§Ÿে āĻĄāύāĻŦāϏ্āĻ•ো āϏ্āĻ•ুāϞে āĻ•েāύ āϝা⧟? āφāĻ—ে āĻāĻĻেāϰ āφāĻŽāĻĻেāϰ āϏ্āĻ•ুāϞে āφāύāϤে āĻšāĻŦে।’ āϚেāϰাāĻĒুāĻž্āϜিāϰ āωāύিāχ āĻĒ্āϰāĻĨāĻŽ āĻ“ āφāĻĒাāϤāϤ āĻļেāώ āĻŽāĻšাāϰাāϜ, āϝিāύি āĻĄāύāĻŦāϏ্āĻ•ো āϏ্āĻ•ুāϞেāϰ āϰেāĻ•āϟাāϰেāϰ āĻŦা⧜ি āϝেāϤেāύ āφāϰ āĻĄāύāĻŦāϏ্āĻ•ো āϏ্āĻ•ুāϞেāϰ āϰেāĻ•āϟাāϰ āĻ“āύাāϰ āĻŦা⧜ি āφāϏāϤেāύ। āĻĻুāχ āĻĒ্āϰāϤিāώ্āĻ াāύেāϰ āĻŽāϧ্āϝে āϏāĻŦ āϏāĻŽāϏ্āϝা āĻĻূāϰ āĻšā§Ÿে āĻ—েāϞ। āĻ•ী āϜাāύি āĻ•োāύ āĻ…āϜ্āĻžাāϤ āĻ•াāϰāύে āϰাāĻŽāĻ•ৃāώ্āĻŖ āĻŽিāĻļāύ āϚেāϰাāĻĒুāĻž্āϜিāϤে āωāύি āφāϰ āĻŦেāĻļীāĻĻিāύ āĻĨাāĻ•āϤে āĻĒাāϰāϞেāύ āύা। āĻšā§ŸāϤ āϤাāχ āύি⧟āĻŽ। āφāĻ—ে āϤো āϏেāχ āύি⧟āĻŽ āĻ›িāϞ āύা। āĻāĻ•েāĻ•āϜāύ āĻŽāĻšাāϰাāϜ āĻŦāĻšু āĻŦāĻ›āϰ āϧāϰে āĻĨাāĻ•āϤেāύ। āĻ“āύাāĻ•ে āĻ…āϰুāĻŖাāϚāϞে āĻŦāĻĻāϞি āĻ•āϰে āĻĻেāĻ“ā§Ÿা āĻšোāϞ। āĻļিāϞāĻ™েāϰ āĻĒāϰ āĻ“āύাāϰ āϏāĻ™্āĻ—ে āφāϰ āĻĻেāĻ–া āĻšā§Ÿāύি āĻŦা āφāϰ āĻ•োāύ āĻ–āĻŦāϰāĻ“ āĻĒাāχāύি!

-ā§Ļ-

Tuesday, April 22, 2025

āϤ্āϰিāĻŽূāϰ্āϤি

-        āĻ…āύিāϰুāĻĻ্āϧ āĻŦāϰ্āĻŽāĻŖ

āĻļৈāϞ āĻļāĻšāϰ āϤুāϰা। āĻāĻ• āϏāϰāĻ•াāϰী āĻ•āϞেāϜ। āϤাāϰ āύাāĻŽ āϤুāϰা āĻ—āĻ­āϰ্āĻŽেāύ্āϟ āĻ•āϞেāϜে āĻ…āϧ্āϝাāĻĒāύা āĻ•āϰāĻ›িāϞাāĻŽ। āĻļāĻšāϰেāϰ āĻāĻ•āϟা āĻ•্āϞাāĻŦ – āϤাāϰ āύাāĻŽ āύাāϟ্āϝ  āϏāĻŽিāϤি।  āϏেāĻ–াāύে āφāύাāĻ—োāύা  āĻ›িāϞ। āĻāĻ• āĻ›াāϤ্āϰ āϏ্āύাāϤāĻ•āϏ্āϤāϰে āĻĒ⧜াāĻļুāύো āĻļেāώ  āĻ•āϰে āĻŦāϏে  āφāĻ›ে।  āĻ•োāĻĨাāĻ“ āĻ•োāύ āϚাāĻ•āϰিāϰ āϏুāϝোāĻ— āύেāχ। āϏāϰāĻ•াāϰি āϚাāĻ•āϰিāϤে ā§Žā§Ļ% āϤāĻĒāĻļিāϞি āϜāύāϜাāϤিāĻĻেāϰ āϜāύ্āϝ āϏংāϰāĻ•্āώিāϤ āφāϰ āĻŦাāĻ•ি ⧍ā§Ļ% āĻ…āϏংāϰāĻ•্āώিāϤ। āϤাāĻ“ āĻŦাāĻ•িāĻĻেāϰ āĻĒাāĻ“ā§Ÿাāϰ āωāĻĒা⧟ āĻ›িāϞ āύা। āĻŦেāϏāϰāĻ•াāϰি āϚাāĻ•āϰিāϰ āϤো āĻ•োāύ āϏুāϝোāĻ—āχ āύেāχ। āϤাāĻ“ āϏ্āύাāϤāĻ• āϏ্āϤāϰে āĻ­াāϞো āĻĢāϞ āĻ•āϰে āĻĨাāĻ•āϞে āĻāĻ•āϟা āĻ•āĻĨা। āϏāĻŦāĻĻিāĻ•ে āĻāĻ•āϟা āύৈāϰাāĻļ্āϝ। āωāĻĻ্āĻĻāĻŽেāϰāĻ“ āĻ…āĻ­াāĻŦ āĻ›িāϞ।  āϤāĻ–āύ āφāĻŽাāϰ āĻāĻ• āĻ­āĻ—্āύিāĻĒāϤিāϰ āϏৌāϜāύ্āϝে āĻāĻ• āχংāϰেāϜি āĻĻৈāύিāĻ• āĻĒāϤ্āϰিāĻ•া⧟ āϏ্āĻĨাāύী⧟ āĻ•্āϰিāĻ•েāϟেāϰ āĻ“āĻĒāϰ āĻŽাāĻে āĻŽāϧ্āϝে āϞেāĻ–াāϞিāĻ–ি āĻ•āϰāϤাāĻŽ। āϏেāϟা āĻ…āĻŦāĻļ্āϝ āĻ•োāύ āϏাāĻŽ্āĻŽাāύিāĻ• āĻ›া⧜াāχ। āĻŦুāĻĻ্āϧāϰ āĻ“āĻĒāϰ āĻāĻ•āϟু āĻŽা⧟া āĻĒāϰে āĻ—ি⧟েāĻ›িāϞ। āĻĻাāϰুāĻŖ āĻšাāϤেāϰ āϞেāĻ–া। āϏāĻŦ āϏংāϏ্āĻĨাāϰ āϏাāϰ্āϟিāĻĢিāĻ•েāϟāĻ—ুāϞো āϞিāĻ–্‌āϤ। āĻ­াāϞো āϟাāχāĻĒ āĻ•āϰāϤ। āĻāĻ•āϟা āϚোāĻ– āĻĒাāĻĨāϰেāϰ – āĻ…āύ্āϝ āϚোāĻ–āϟাāϰ āĻ…āĻŦāϏ্āĻĨাāĻ“ āĻ–ুāĻŦ āĻ­াāϞো āύ⧟। āĻŽেāϏোāĻŽāĻļাāχ āĻŦāĻšু āĻŦāĻ›āϰ āφāĻ—ে āϚাāĻ•āϰি āĻĨেāĻ•ে āĻ…āĻŦāϏāϰ āύি⧟ে āĻŦāϏে āφāĻ›েāύ। āĻŽাāϏিāĻŽা āĻ—ৃāĻšāĻŦāϧূ। āĻāĻ•āĻĻিāύ āĻŦুāĻĻ্āϧāĻ•ে āύি⧟ে āĻŦāϏāϞাāĻŽ āĻ•্āϞাāĻŦ āϘāϰে। āĻŦāϞāϞাāĻŽ āĻāĻ• āχংāϰেāϜি āĻĻৈāύিāĻ• āĻĒāϤ্āϰিāĻ•া ‘āĻĻ্āϝি āĻļিāϞং āϟাāχāĻŽāϏে’āϰ āϏাংāĻŦাāĻĻিāĻ• āĻāϰ āĻĒāĻĻেāϰ āϜāύ্āϝ āφāĻŦেāĻĻāύ āĻ•āϰāϤে। ‘āϏ্āϝাāϰ, āφāĻŽিāϤো āĻ­াāϞো āĻ•āϰে āχংāϰেāϜি āĻŦāϞāϤেāĻ“ āĻĒা⧜িāύা āφāϰ āϞেāĻ–া āϤো āĻĻূāϰেāϰ āĻ•āĻĨা’। ‘āϞেāĻ–াāϰ āĻ•াāϜāϟা āφāĻŽিāχ āĻ•āϰে āĻĻেāĻŦ। āϤোāĻŽাāϰ āϞিāĻ–āϤে āĻšāĻŦে āύা। āϤুāĻŽি āĻļুāϧু āĻĒুāϞিāϏেāϰ āϏāĻ™্āĻ—ে āϝোāĻ—াāϝোāĻ— āϰেāĻ–ে  āĻĒ্āϰāϤিāĻĻিāύেāϰ āĻ•্āϰাāχāĻŽেāϰ āĻ–āĻŦāϰāĻ—ুāϞো āϝোāĻ—া⧜ āĻ•āϰ। āφāĻŦেāĻĻāύāϟাāĻ“ āφāĻŽি āϞিāĻ–ে āĻĻিāϞাāĻŽ। āϚাāĻ•āϰি āĻĒাāĻ“ā§Ÿা āĻ—েāϞো। āĻĒ্āϰāϤি āĻ–āĻŦāϰেāϰ āĻ“āĻĒāϰ āĻ­িāϤ্āϤি āĻ•āϰে āĻāĻ•āϟা āϏাāĻŽ্āĻŽাāύিāĻ• āĻĒাāĻ“ā§Ÿা āϝাāĻŦে। āĻļুāϰু āĻšোāϞ āĻ•াāϜ। āĻĒ্āϰāϤāĻĻিāύ āĻĒুāϞিāϏেāϰ āĻ•াāĻ› āĻĨেāĻ•ে āĻĒাāĻ“ā§Ÿা āĻ–āĻŦāϰ āĻ“ āĻ…āύ্āϝাāύ্āϝ āĻ–āĻŦāϰ। āĻāĻ•āϟা āĻŦ্āϝāϏ্āϤāϤাāϰ āϜীāĻŦāύ āĻļুāϰু āĻšোāϞ। āĻŦুāĻĻ্āϧ āĻ–ুāĻļি, āφāĻŽিāĻ“। āϏ্āĻ•ুāϟাāϰ āύি⧟ে āĻ—েāϞাāĻŽ āϤেāϞ āĻ­āϰāϤে। āĻĒেāĻ›āύে āĻŦুāĻĻ্āϧ। āĻĒেāϟ্āϰোāϞ āĻĒাāĻŽ্āĻĒে āĻĻেāĻ–া āφāĻŽাāϰ āĻংāϞো-āχāύ্āĻĄি⧟াāύ āĻŦāύ্āϧুāϰ āϏāĻ™্āĻ—ে। āĻ“āϰ āĻŽোāϟāϰ āϏাāχāĻ•েāϞ āύি⧟ে āĻāϏেāĻ›ে āϤেāϞ āĻ­āϰāϤে। āϟাāχāϰāύ āĻāĻ•āϟা āϏ্āĻ•ুāϞ āϚাāϞাāϤো। āĻ–ুāĻŦ āĻ­াāϞো āϏ্āĻ•ুāϞ। ‘āĻĻেāĻ–āύা, āĻŦুāĻĻ্āϧāĻ•ে āĻ•োāύ āĻ•াāϜ āĻĻেāĻ“ā§Ÿা āϝা⧟ āĻ•িāύা āϤোāĻŽাāϰ āϏ্āĻ•ুāϞে। āĻ“ āϤো āĻļিāϞং āϟাāχāĻŽāϏে āϏাংāĻŦাāĻĻিāĻ•āϤা āĻ•āϰāĻ›ে’। ‘āϤাāχ āύাāĻ•ি। āĻŦুāĻĻ্āϧ, āϤুāĻŽি āĻ•াāϞ āϚāϞে āĻāϏāϤো āφāĻŽাāϰ āϏ্āĻ•ুāϞে’। āφāĻŦাāϰ āφāĻŦেāĻĻāύ āϞিāĻ–āϞাāĻŽ। āĻĒāϰāĻĻিāύ āϰাāϏ্āϤা⧟ āĻĻেāĻ–া। āϟাāχāϰāύেāϰ āĻŽোāϟāϰ āϏাāχāĻ•েāϞেāϰ āĻĒেāĻ›āύে āĻāĻ•āϟা āĻŦ⧜ āϟাāχāĻĒāϰাāχāϟাāϰ āύি⧟ে āĻŦুāĻĻ্āϧ āϚāϞāĻ›ে āϏ্āĻ•ুāϞে। āϚাāĻ•āϰিāĻĻাāϤা āĻ–ুāĻļি – āϚাāĻ•ুāϰে āĻ–ুāĻļি – āφāϰ āĻļিāĻ•্āώāĻ• āĻŽāĻšাāĻļ⧟েāϰ āϤো āĻ–ুāĻļিāχ āĻ–ুāĻļি। āĻāχāĻ­াāĻŦে āϚāϞāϞ āĻŦেāĻļ āĻ•িāĻ›ু āĻĻিāύ āύাāĻ•ি āĻŦāĻ›āϰ! āϤāϤāĻĻিāύে āĻŦুāĻĻ্āϧāϰ āĻ­েāϤāϰ āĻĨেāĻ•ে āϚাāĻ•āϰি āĻĒাāĻŦাāϰ āĻ“ āϚেāώ্āϟা āĻ•āϰাāϰ āĻĒ্āϰāĻŦāĻŖāϤা āϜেāĻ—েāĻ›ে। āϜুāύি⧟াāϰ āĻĄিāĻ­িāĻļāύাāϞ āĻāĻ•াāωāύ্āϟেāύ্āϟ āĻĒāĻĻে āφāĻŦেāĻĻāύ āĻ•āϰāϞ, āĻĒāϰীāĻ•্āώা āĻĻিāϞ, āĻĒাāϏ āĻ•āϰāϞ, āϚাāĻ•āϰিāĻ“ āĻĒেāϞ। āĻāĻ•েāĻŦাāϰে āϏāϰāĻ•াāϰি। āϟাāχāϰāύ āĻ–ুāĻŦ āĻĻুঃāĻ– āĻĒেāϞ āĻāϤ āĻ­াāϞো āĻāĻ•āϜāύ āĻ•āϰ্āĻŽীāĻ•ে āĻšাāϰাāϤে āĻšā§Ÿে। āĻ•িāύ্āϤু āϜীāĻŦāύ āϤো āφāϰ āĻĨেāĻŽে āĻĨাāĻ•ে āύা।

āϤāϤāĻĻিāύে āĻļিāϞং āϟাāχāĻŽāϏেāϰ āĻāĻ•āϟা āĻ…āĻĢিāϏ āĻšā§ŸেāĻ›ে āϤুāϰা āĻļāĻšāϰে। āφāĻŽি āϝেāχ āĻŦা⧜িāϤে āĻ­া⧜া āĻĨাāĻ•āϤাāĻŽ āϤাāϰ āĻĒাāĻļেāϰāϰ āĻŦা⧜িāϤে āĻ­া⧜া āύি⧟েāĻ›িāϞ āĻāĻ• āĻĒāϰিāĻŦাāϰ। āϏেāχ āĻĒāϰিāĻŦাāϰেāϰ āĻāĻ•āϜāύ āĻŦাāĻĻে āĻŦাāĻ•ি āϏāĻŦ āĻ›েāϞেāĻŽে⧟েāϰা āφāĻŽāϰা āĻ›াāϤ্āϰāĻ›াāϤ্āϰী। āĻ›োāϟ āĻ›েāϞে āĻļিāĻŦু। āϏ্āύাāϤāĻ• āϏ্āϤāϰেāϰ āĻĒ⧜াāĻļুāύো āĻļেāώ āĻ•āϰে āĻŦāϏে āφāĻ›ে। āĻŦুāĻĻ্āϧāϰ āĻāĻ•āϟা āĻšিāϞ্āϞে āĻšোāϞ। āĻāĻŦাāϰ āĻļিāĻŦুāĻ•ে āύি⧟ে āĻĒāϰা āϝাāĻ•। āĻ›েāϞেāϟা āĻ­াāϞো āϟাāχāĻĒ āĻ•āϰে। āϏেāχ āφāĻŦাāϰ āĻļিāϞং āϟাāχāĻŽāϏ! āύা āĻāĻŦাāϰ āφāϰ āϏাংāĻŦাāĻĻিāĻ• āύ⧟। āϟাāχāĻĒিāϏ্āϟেāϰ āϚাāĻ•āϰি āĻĒাāĻ“ā§Ÿা āĻ—েāϞ। āϏেāχ āϏুāϤ্āϰ āϧāϰে āφāĻŦাāϰ āϟাāχāϰāύ āĻĄি āĻŦ্āϰাāϏেāϰ ‘āĻļেāϰāωāĻĄ āϏ্āĻ•ুāϞ’। āĻŽাāϞিāĻ•-āĻ•āϰ্āĻŽāϚাāϰী āϏāĻ–্āϝ āĻāĻŦাāϰāĻ“ āϜāĻŽে āωāĻ āϞ। āϏেāχ āϏ্āĻ•ুāϞ āĻĨেāĻ•েāχ  āĻ­াāĻ—্āϝ āĻĢিāϰāϞ āĻļিāĻŦুāϰāĻ“। āĻĄাāĻ• āĻ“ āϤাāϰ āĻŦিāĻ­াāĻ—েāϰ āφāĻĒ্āϤ āϏāĻšা⧟āĻ•েāϰ āϚাāĻ•āϰি āϝোāĻ—া⧜ āĻ•āϰে āύিāϞ āĻļিāĻŦু।

āĻāĻ•āĻĻিāύ āφāĻŽাāϰ āĻŦা⧜িāϤে āĻāϞ āϰাāĻŽāϧāύ। āĻ—āϤ āĻŦāĻ›āϰ āωāϚ্āϚāĻŽাāϧ্āϝāĻŽিāĻ•ে āχংāϰেāϜি āĻŦিāώ⧟ে āĻĒাāϏ āĻ•āϰāϤে āĻĒাāϰেāύি। āĻĒāϰেāϰ āĻĒāϰীāĻ•্āώাāϰ āĻ িāĻ• āĻāĻ• āĻŽাāϏ āφāĻ—ে āφāĻŽাāϰ āĻ•াāĻ›ে āĻāϞ āχংāϰেāϜিāϤে āϟিāωāĻļāύ āĻĒ⧜াāϰ āϜāύ্āϝ। āϘা⧜ āϧāϰে āĻŦেāϰ āĻ•āϰে āĻĻিāϞাāĻŽ। ‘āĻāχ āĻĒāϰীāĻ•্āώা⧟ āĻĢেāϞ āĻ•āϰে āĻĒāϰেāϰ āĻŦāĻ›āϰ āĻāϏ’। āϤাāϤে āĻ•ি āφāϰ āĻŽāύ āĻŽাāύে? āĻ…āύুāϰোāϧ āĻ•āϰāϤে āϞাāĻ—āϞ āĻŦাāϰে āĻŦাāϰে। āϚি⧜ে āϤো āφāϰ āĻ—āϞে āύা। ‘āĻŦāϞāϞাāĻŽ āϤো āφāĻ—াāĻŽি āĻŦāĻ›āϰ āĻāϏ। āĻāχ āĻļেāώ āϏāĻŽā§Ÿে āφāĻŽাāϰ āĻ•িāĻ›ু āĻ•āϰাāϰ āύেāχ’। āĻāĻ•āϟু āĻĒāϰে āϜিāϜ্āĻžেāϏ āĻ•āϰāϞাāĻŽ, ‘āĻ•োāĻĨা⧟ āĻĨাāĻ•?’ āϜাāύা āĻ—েāϞ āφāĻŽাāϰ āĻāĻ•āϟা āĻŦা⧜ি āĻĒāϰে āĻĨাāĻ•ে। ‘āϤুāĻŽি āĻ•ি āφāĻ—ে āφāϏāϤে āĻĒাāϰāϞে āύা?’ ‘āϏ্āϝাāϰ, āφāĻŽাāϰ āϤো āϟিāωāĻļাāύিāϰ āϟাāĻ•া āĻĻেāĻŦাāϰ āĻ•্āώāĻŽāϤা āύেāχ’। ‘āφāĻŽি āĻ•ি āϟাāĻ•াāϰ āĻ•āĻĨা āĻŦāϞেāĻ›ি? āĻ•āϤ āĻ›েāϞে-āĻŽে⧟ে āϤো āĻŦিāύা āĻĒ⧟āϏা⧟ āĻĒ⧜ে āϝা⧟ āφāĻŽাāϰ āĻ•াāĻ›ে। āϤুāĻŽি āĻ•ি āφāϏāϤে āĻĒাāϰāϤে āύা’। ‘āϏ্āϝাāϰ, āĻ–ুāĻŦ āϭ⧟ āĻ•āϰে āφāĻĒāύাāĻ•ে’। ‘āϤাāĻšāϞে āϤো āφāĻŽাāϰ āĻ•āϰাāϰ āĻ•িāĻ›ু āύেāχ। āφāĻŽাāĻ•ে āϝে āĻ•েāω āϭ⧟ āĻĒা⧟ āϏেāϟা āϤো āφāĻŽাāϰ āϜাāύা āĻ›িāϞ āύা। āφāĻ—াāĻŽি āĻŦāĻ›āϰ āĻāϏ।’ āĻŽুāĻ– āĻ•াāϚুāĻŽাāϚু āĻ•āϰে āϚāϞে āĻ—েāϞ। āφāĻŦাāϰ āĻĒāϰেāϰ āĻĻিāύ – āĻĻিāύেāϰ āĻĒāϰ āĻĻিāύ āĻāĻ•āχ āφāĻŦāĻĻাāϰ āύি⧟ে āφāϏāϤে āĻĨাāĻ•āϞ। āĻāĻ•āĻĻিāύ āĻŦাāϧ্āϝ āĻšā§Ÿে āĻ“āĻ•ে āĻŦāϏি⧟ে āĻāĻ•āϟা āϰāϚāύা āϞিāĻ–āϤে āĻĻিāϞাāĻŽ। āϞেāĻ–াāϰ āĻĒāϰ āĻ­ুāϞāĻ—ুāϞোāϰ āϚাāϰāĻĻিāĻ•ে āϞাāϞ āĻ•াāϞি āĻĻি⧟ে āĻ—োāϞ āĻ—োāϞ āĻĻাāĻ— āĻĻিāϞাāĻŽ। āĻĻি⧟ে āĻŦāϞāϞাāĻŽ। ‘āĻāχ āĻĻেāĻ– āϤোāĻŽাāϰ āĻ…āĻŦāϏ্āĻĨা। āĻāχ āĻ…āĻŦāϏ্āĻĨা āĻĨেāĻ•ে āϤোāĻŽাāĻ•ে āĻĒাāϏ āĻ•āϰাāύো āφāĻŽাāϰ āĻĒāĻ•্āώে āϏāĻŽ্āĻ­āĻŦ āύ⧟। āφāĻ—াāĻŽি āĻŦāĻ›āϰ āϏāĻŽā§Ÿ āĻŽāϤ āĻāϏ āϤāĻ–āύ āĻĻেāĻ–া āϝাāĻŦে’। āϤাāĻ“ āϤাāϰ āφāϏা āĻ•āĻŽেāύা। āĻĒāϰে āĻāĻ•āĻĻিāύ āφāĻŽাāϰ āϞেāĻ–া āĻ•িāĻ›ু āύোāϟ āĻĻি⧟ে āĻĻিāϞাāĻŽ। āϝāĻĨাāϰীāϤি āφāĻŦাāϰ āĻ…āϏāĻĢāϞ āĻšোāϞ। āĻĒāϰেāϰāĻŦাāϰ āĻ…āĻŦāĻļ্āϝ āĻ িāĻ• āϏāĻŽā§ŸāĻŽāϤ āĻāϞ āĻĒ⧜āϤে। āϏāĻĒ্āϤাāĻšে āϤিāύ āĻĻিāύ। āĻāĻ•āĻĻিāύ āĻ•āĻĨা⧟ āĻ•āĻĨা⧟ āĻŦāϞāϞাāĻŽ, ‘āĻĒ্āϰāϤি āĻŽাāϏে āĻ•িāĻ›ু āĻ•িāĻ›ু āĻ•āϰে āϟাāĻ•া āϜāĻŽাāĻ“’। ‘āĻ•ি āĻ­াāĻŦে āϜāĻŽাāĻŦো, āϏ্āϝাāϰ? āĻĒাāϏেāϰ āĻŦা⧜িāϤে āϟিāωāĻļāύ āĻĒ⧜ি⧟ে āĻŽাāϏে āĻāĻ•āĻļ āϟাāĻ•া āĻĒাāχ āφāϰ āĻĻাāĻĻাāϰ āĻŦা⧜িāϤে āĻĨাāĻ•ি āφāϰ āĻ–াāχ। āĻŦাāĻŦা āύেāχ āφāϰ āĻŽা āĻĨাāĻ•েāύ āĻļিāϞāϚāϰে’। ‘āĻāĻ•āĻļ āϟাāĻ•াāϰ āĻŽāϧ্āϝে āĻĻāĻļ āϟাāĻ•া āĻšāϞেāĻ“ āϜāĻŽাāĻ“’। āϝা āĻšোāĻ• āĻĒ⧜াāĻļুāύো āϚāϞāϤে āϞাāĻ—āϞ āφāϰ āĻŽাāĻে āĻŽāϧ্āϝে āĻ—াāϞ āĻ—āϞ্āĻĒ। āĻĒāϰীāĻ•্āώা⧟ āĻĒাāϏ āĻ•āϰāϞ। āĻāĻŦাāϰ āĻŦি.āĻ. āĻ•্āϞাāϏে āĻ­āϰ্āϤি āĻšোāϞ। āĻāĻ• āϏāĻŽā§Ÿ āĻĒাāϏāĻ“ āĻ•āϰāϞ। āĻāĻ•āĻĻিāύ āĻŦāϞāϞ। ‘āϏ্āϝাāϰ, āĻāĻ•āϟু āĻŦা⧜ি āϝাāĻŦ। āĻŽাāĻ•ে āĻ•িāĻ›ু āϟাāĻ•া āĻĻি⧟ে āφāϏāĻŦ’। āφāĻŽি āĻ…āĻŦাāĻ• āĻšā§Ÿে āĻŦāϞāϞাāĻŽ, ‘āϤোāĻŽাāϰ āφāĻŦাāϰ āϟাāĻ•া āĻ•োāĻĨা āĻĨেāĻ•ে āĻāϞ। āϚুāϰি āĻ•āϰāϞে āύাāĻ•ি?’ ‘āύা, āϏ্āϝাāϰ, āφāĻĒāύি āϝে āϟাāĻ•া āϜāĻŽাāϤে āĻŦāϞেāĻ›িāϞেāύ, āϜāĻŽি⧟েāĻ›িāϞাāĻŽ। āĻ•িāĻ›ু āϟাāĻ•া āĻšā§ŸেāĻ›ে। āĻāĻŦাāϰ āĻŽাāĻ•ে āĻĻি⧟ে āφāϏāĻŦ’। āĻĻাāϰুāĻŖ āφāύāύ্āĻĻ āĻšোāϞ।

āĻāĻĻিāĻ•ে āĻŦুāĻĻ্āϧāϰāĻ“ āϚাāĻ•āϰি āĻšā§Ÿে āĻ—েāĻ›ে, āĻļিāĻŦুāϰāĻ“ āĻšā§Ÿে āĻ—েāĻ›ে। āϰাāĻŽāϧāύেāϰ āϚাāĻ•āϰি āĻšোāϞ āĻļিāϞং āϟাāχāĻŽāϏ āĻ…āĻĢিāϏে। āϤুāϰা āĻ…āĻĢিāϏেāϰ āĻŦ্āϝুāϰো āϚীāĻĢ āĻāĻ•āĻĻিāύ āφāĻŽা⧟ āĻŦāϞāϞ, ‘āϤুāĻŽি āϤো āϰাāĻŽুāĻ•ে āχংāϰেāϜি āĻļেāĻ–াāĻ“ āύি āĻļুāϧু āĻ•িāĻ­াāĻŦে āχংāϰেāϜিāϤে āĻĒাāϏ āĻ•āϰāϤে āĻšā§Ÿ āϤা āĻļিāĻ–ি⧟েāĻ›’। ‘āĻ িāĻ• āϤাāχ’। āφāĻŽি āϏ্āĻŦীāĻ•াāϰ āĻ•āϰāϞাāĻŽ। āĻļিāϞং āϟাāχāĻŽāϏ āĻ…āĻĢিāϏে āĻ–ুāĻŦ āϜাঁāĻ•ি⧟ে āĻŦāϏেāĻ›ে āϰাāĻŽāϧāύ। āĻāĻ•āĻĻিāύ āĻ•āĻĨা⧟ āĻ•āĻĨা⧟ āĻ“āĻ•ে āĻŦāϞāϞাāĻŽ āĻāĻ•āϟু āϟাāĻ•া āĻĒ⧟āĻļাāϰ āϟাāύাāϟাāύি āϚāϞāĻ›ে। āϰাāĻŽāϧāύ āĻŦāϞāϞ, ‘āϏ্āϝাāϰ, āĻ•িāĻ›ু āϟাāĻ•া āĻĻেāĻŦ āύাāĻ•ি। āφāĻŽাāϰ āĻ•াāĻ›ে āφāĻ›ে’!!! āϟাāĻ•া āϰোāϜāĻ—াāϰ āĻ•āϰা āĻ“ āϟাāĻ•া āϜāĻŽাāύো āĻ­াāϞো āĻ†ā§ŸāϤ্āϤ āĻ•āϰে āύি⧟েāĻ›ে āϤāϤāĻĻিāύে।

āϝাāĻ•, āϤিāύāϜāύāχ āĻ­াāϞো āφāĻ›ে। āĻļিāĻŦু āϚāϞে āĻ—েāĻ›ে āĻļিāϞāĻ™ে। āĻŦি⧟ে āĻ•āϰেāĻ›ে। āĻ­াāϞāχ āφāĻ›ে। āϰāĻŽāϧāύ āĻŦি⧟ে āĻ•āϰে āĻ­াāϞāχ āφāĻ›ে। āĻ“āϰ āĻŦি⧟েāϤে āĻŦāϰ āϝাāϤ্āϰী āĻšā§Ÿে āĻ—ি⧟েāĻ›িāϞাāĻŽ āĻŽāĻšেāύ্āĻĻ্āϰāĻ—āĻž্āϜে। āύা āĻŦুāĻĻ্āϧāϰ āĻ•āĻĨা āĻ­ুāϞে āĻ—েāϞে āϚāϞāĻŦে āύা। āĻāĻĻেāϰ āφāĻ—েāχ āĻ…āĻŦāĻļ্āϝ āĻŦি⧟ে āĻ•āϰেāĻ›ে। āĻš্āϝাঁ, āφāĻŽাāϰāĻ“ āφāĻ—ে। āϤāĻŦে āϏে āφāϰেāĻ• āχāϤিāĻšাāϏ।

āĻŦ⧟েāϏ āϚāϞে āϝাāϚ্āĻ›ে āĻ•িāύ্āϤু āĻŦুāĻĻ্āϧāϰ āĻŦি⧟েāϰ āĻ•োāύ āωāĻĻ্āϝোāĻ— āύেāχ āĻ“āϰ āĻŦাāĻŦাāϰ। āĻ…āϰুāĻĒেāϰ āϏāĻ™্āĻ—ে āφāϞোāϚāύা āĻ•āϰি। āĻ•িāύ্āϤু āφāĻ—ে āϤো āĻŦুāĻĻ্āϧāĻ•ে āĻŦোāĻাāϤে āĻšāĻŦে। āĻĻুāϜāύে āĻāĻ•āĻĻিāύ āĻ“āĻ•ে āĻĒাāĻ•ā§œাāĻ“ āĻ•āϰāϞাāĻŽ। āĻŦোāĻাāϞাāĻŽ āĻ…āύেāĻ• āĻ•িāĻ›ু। āĻ‰ā§ŽāϏাāĻš āĻĻেāĻ–াāϞো। āĻ•িāύ্āϤু āĻŽেāĻļāĻŽāĻļাāχāĻ•ে āĻŦāϞাāϰ āϏাāĻšāϏ āύেāχ। āφāϰ āĻĻেāĻ–ে āĻŽāύে āĻšāϚ্āĻ›ে āĻ›েāϞেāϰ āĻŦি⧟েāϰ āĻŦ্āϝাāĻĒাāϰে āĻŽেāϏোāĻŽāĻļাāχāĻāϰ āĻ•োāύ āφāĻ—্āϰāĻš āύেāχ। āĻ•িāύ্āϤু āĻ“āύাāĻ•ে āĻŦোāĻা⧟ āĻ•ে? āĻŽাāϏিāĻŽাāϰ āĻĻ্āĻŦাāϰাāĻ“ āϏāĻŽ্āĻ­āĻŦ āύ⧟। āĻāĻ•āĻĻিāύ āĻ…āϰুāĻĒ āĻļিāϞং āϝাāϚ্āĻ›ে āϰাāϤেāϰ āĻŦাāϏে। āϤাāϰ āφāĻ—ে āĻĢোāύ āĻ•āϰāϞ। ‘āϏ্āϝাāϰ, āĻŦুāĻĻ্āϧāϰ āύাāĻŽ āĻ•āϰে āĻ–āĻŦāϰেāϰ āĻ•াāĻ—āϜে āĻāĻ•āϟা āĻŦিāϜ্āĻžাāĻĒāύ āĻĻিāϚ্āĻ›ি। āĻĻেāĻ–ুāύāϤো āĻŦ⧟াāύāϟা āĻ িāĻ• āφāĻ›ে āĻ•িāύা?’ āĻŦ⧟াāύেāϰ āĻāĻ•āϟা āĻ–āϏ⧜া āϤৈāϰি āĻ•āϰা āĻ—েāϞ। āĻ•িāύ্āϤু āĻāĻ•āϟা āĻ িāĻ•াāύা āϤো āĻĻāϰāĻ•াāϰ āϚিāĻ ি āφāϏাāϰ āϜāύ্āϝ। āĻ িāĻ• āĻ•āϰা  āĻšোāϞ āφāĻŽাāϰ āĻĒোāϏ্āϟ āĻŦāĻ•্āϏ। āĻŦিāϜ্āĻžাāĻĒāύ āĻŦেāϰুāϞ। āϚিāĻ ি āφāϏাāĻ“ āĻļুāϰু āĻšোāϞ। āĻŽাāĻে āĻāĻ•āϜāύ āϘ্āϟāĻ•āĻ“ āĻĸুāĻ•ে āĻĒ⧜āϞ। āϝা āĻšোāĻ•, āϚিāĻ ি āĻ—ুāϞো āύি⧟ে āĻ…āϰুāĻĒ āφāϰ āφāĻŽি āĻŦāϏāϞাāĻŽ। āĻĒāϰে āĻāĻ•āĻĻিāύ āĻŦুāĻĻ্āϧāĻ•ে āĻĄেāĻ•ে āĻĒুāϰো āϘāϟāύাāϟা āĻŦুāĻি⧟ে āĻŦāϞা āĻšোāϞ āĻ“ āĻĒ⧜াāύো āĻšোāϞ। āĻ•িāύ্āϤু āĻŦে⧜াāϞেāϰ āĻ—āϞা⧟ āϘāĻŖ্āϟা āĻ•ে āĻŦাঁāϧāĻŦে? āĻŽেāϏোāĻŽāĻļাāχāĻāϰ āϏāĻ™্āĻ—ে āĻ•ে āĻ•āĻĨা āĻŦāϞāĻŦে? āϤāĻ–āύ āύা āφāĻ›ে āĻŦুāĻĻ্āϧāϰ āĻĻেāĻ–া, āύা āφāĻ›ে āĻ…āϰুāĻĒেāϰ āĻĻেāĻ–া। āĻŽেāϏোāĻŽāĻļাāχāĻāϰ āĻāĻ•āϟা āϞাāĻ ি āĻ›িāϞ। āĻ­ুāϞ āĻŦāϞāϞাāĻŽ āĻ…āύেāĻ• āĻ—ুāϞāχ āĻ›িāϞ। āϝেāϟা āĻĒ্āϰāϤিāĻĻিāύ āĻŦ্āϝাāĻŦāĻšাāϰ āĻ•āϰāϤেāύ āϏেāϟাāϰ āĻ•āĻĨাāχ āĻŦāϞāĻ›ি। āϭ⧟ āĻ›িāϞ, āĻ“āϟা āĻ•াāϰ āĻĒিāĻ ে āĻ­াāĻ™ে? āĻ…āĻ—āϤ্āϝা āĻāĻ•āĻĻিāύ āϏাāĻšāϏ āĻ•āϰে āϚিāĻ ি āĻ—ুāϞো āύি⧟ে āĻĻুāϰুāĻĻুāϰু āĻŦāĻ•্āώে āϰāĻ“ā§Ÿাāύা āĻĻিāϞাāĻŽ āĻŦুāĻĻ্āϧāϰ āĻŦা⧜িāϰ āωāĻĻ্āĻĻেāĻļ্āϝে। āĻŽেāϏোāĻŽāĻļাāχ āĻŦা⧜িāϤে āύেāχ। ‘āĻŦাঁāϚা āĻ—েāϞ āĻāχ āϝাāϤ্āϰা’। āĻāϏে āĻĒāϰাāϰ āφāĻ—ে āϤা⧜াāϤা⧜ি āĻ•āϰে āĻŽাāϏিāĻŽাāϰ āĻšাāϤে āϚিāĻ ি āĻ—ুāϞো āĻĻি⧟ে āĻŦāϞāϞাāĻŽ āĻŽেāϏোāĻŽāĻļাāχāĻ•ে āĻĻি⧟ে āĻĻিāϤে।  āϰাāϏ্āϤা⧟ āĻŽেāϏোāĻŽāĻļাāχāĻāϰ āϏāĻ™্āĻ—ে āĻĻেāĻ–া। āĻŦāϞāϞাāĻŽ, ‘āĻŽাāϏিāĻŽাāϰ āĻ•াāĻ›ে āĻāĻ•āϟা āϜিāύিāώ āĻĻি⧟ে āĻāϏেāĻ›ি। āĻāĻ•āϟু āĻĻেāĻ–āĻŦেāύ’। āĻŦāϞে āφāϰ āĻĻাঁ⧜াāύো āύ⧟। āĻāĻ• āĻ•āĻĨা⧟ āĻĒাāϞাāϞাāĻŽ। āĻĒāϰāĻĻিāύ āĻĻুāĻĒুāϰে āĻŽেāϏোāĻŽāĻļাāχ āφāĻŽাāϰ āĻŦা⧜ি āĻāϏে āĻšাāϜিāϰ। āĻ­াāĻ—্āϝ āĻ­াāϞো āĻŦা⧜ি āĻ›িāϞাāĻŽ āύা। āĻĢিāϰāϤেāχ āĻŽা āĻŦāϞāϞেāύ āĻŽেāϏোāĻŽāĻļাāχ  āĻāϏেāĻ›িāϞেāύ। āφāϰ āĻāĻ•āĻŦাāϰ āĻŦাঁāϚāϞাāĻŽ। āϏāύ্āϧ্āϝেāϰ āϏāĻŽā§Ÿ āφāĻŦাāϰ āĻšাāϜিāϰ। āĻŽāύেāϰ āĻ­েāϤāϰ āφāϤāĻ™্āĻ• āĻ•িāύ্āϤু āĻŦাāχāϰে āϤাāϰ āĻ•োāύ āĻ›াāĻĒ āύেāχ। āϏাāĻŽāύে āĻ—ি⧟ে āĻŦāϏāϞাāĻŽ। āϞাāĻ িāϟাāĻ•ে āĻĻূāϰ āĻĨেāĻ•ে āĻ†ā§œ āϚোāĻ–ে āĻĻেāĻ–āϤে āϞাāĻ—āϞাāĻŽ। āĻļাāύ্āϤ āϚোāĻ–ে āĻĻেāĻ–āϤে āϞাāĻ—āϞাāĻŽ – āĻāĻ•āϟা āĻĒ্āϝাāĻ•েāϟ āĻŦেāϰ āĻ•āϰāϞেāύ। āĻšৃāĻĻāĻĒিāĻŖ্āĻĄāϟা āϝেāύ āĻšাāϤে āϚāϞে āĻāϞ – āĻĒ্āϝাāĻ•েāϟ āĻĨেāĻ•ে āĻŦেāϰুāϞ āϏেāχ āϚিāĻ িāĻ—ুāϞো! āĻļ্āĻŦাāϏ āĻŦāύ্āϧ āĻšāĻŦাāϰ āϝোāĻ—া⧜ – āĻļাāϏ্āϤি āĻļোāύাāϰ āϜāύ্āϝ āĻ…āĻĒেāĻ•্āώা āĻāĻ• āĻ›োāϟ āĻļিāĻļুāϰ āĻŽāϤ āĻ…āĻŦāϏ্āĻĨা āϤāĻ–āύ āφāĻŽাāϰ। āĻšāĻ াā§Ž āĻĒāϰিāĻŦেāĻļāϟা āĻĒাāϞāϟে āĻ—েāϞ। āĻāĻ•āϟা āĻāĻ•āϟা āĻ•āϰে āϚিāĻ ি āĻ–ুāϞāϤে āϞাāĻ—āϞেāύ। āĻĒ্āϰāϤ্āϝেāĻ•āϟা āϚিāĻ িāϤে āĻĒ্āϰ⧟োāϜāύ āĻŽāϤ āĻ•িāĻ›ু āĻ•িāĻ›ু āĻļāĻŦ্āĻĻেāϰ āύিāϚে āĻĻাāĻ— āĻĻেāĻ“ā§Ÿা। āϚিāĻ িāĻ—ুāϞো āĻŽেāϏোāĻŽāĻļাāχ āĻ–ুঁāϟি⧟ে āĻ–ুঁāϟি⧟ে āĻĒ⧜েāĻ›েāύ, āϝāĻĨেāώ্āϟ āĻŽāύোāϝোāĻ— āĻĻি⧟ে। ‘āϏিāϞেāϟি āĻšāϞে āϚāϞāĻŦে āύা। āĻ—ো⧟াāϞা āϘোāώ āĻšāϞে āϚāϞāĻŦে āύা’। āĻāχ āĻ•āϰে āĻ•āϰে āĻĒ্āϰা⧟ āϏāĻŦāϟাāχ āĻŦাāϤিāϞ āĻšোāϞ। āφāĻĒাāϤāϤ āϞাāĻ িāϟা āĻāĻŦাāϰāĻ•াāϰ āĻŽāϤ āφāĻŽাāϰ āĻĒিāĻ ে āĻ­াāĻ™āϞ āύা। āĻāĻ•āϟা āύāϤুāύ āĻ…āϧ্āϝা⧟ āĻļুāϰু āĻšāϞে। āĻ•িāύ্āϤু āĻ•িāĻ›ুāĻĻিāύ āĻĒāϰ āφāĻŦাāϰ āϏāĻŦ āϚুāĻĒāϚাāĻĒ। āĻšāĻ াā§Ž āĻļুāύāϞাāĻŽ āĻŦāĻĻ্āϧāϰ āĻŦি⧟ে āϧুāĻŦ⧜িāϤে! āĻ–ুāĻŦ āĻ–ুāĻļি āĻšāϞাāĻŽ āĻ•িāύ্āĻĨু āĻāĻ•āϟু āĻĻুঃāĻ–āĻ“ āĻĒেāϞাāĻŽ। āĻ•িāĻ­াāĻŦে āĻ–āĻŦāϰ āĻĒাāĻ“ā§Ÿা āĻ—েāϞ, āĻ•āĻŦে āĻŽে⧟ে āĻĻেāĻ–া āĻšোāϞ āĻ•িāĻ›ুāχ āϜাāύāϞাāĻŽ āύা। āϝাāĻ•  āϤাāĻ“ āϤো  āĻŦুāĻĻ্āϧāϰ āĻŦি⧟ে āĻŦāϞে āĻ•āĻĨা - āĻ–ুāĻŦ āφāύāύ্āĻĻ āĻ•āϰāϞাāĻŽ।

āύিāϜে āύিāϜেāĻ•ে āĻŦাāĻšāĻŦা āĻĻিāϞাāĻŽ – āφāĻŽাāϰ āϤ্āϰিāĻŽূāϰ্āϤিāϰ āφāϰ āĻāĻ• āĻŽূāϰ্āϤিāϰ āĻšিāϞ্āϞে āĻšোāϞ āĻ…āύেāĻ•āĻĻিāύ āĻĒāϰ। 

 A Study of the Voice Modulations of Speakers of Bengali  of Cooch Behar

ii. Introduction

·        Origin of the research problem.

This paper was conceived way back in the year 1988 during a course on Phonetics & Phonology at Central Institute of English & Foreign Languages (CIEFL), [presently EFL University], Shillong Campus, when a fellow participant of mine, Mr Rajat Bahttacharjee of Badarpur, while talking on aesthetics of language posed a question, ‘Why does a particular dialect sound sweeter to our ears than others?’. He was actually referring to the dialect spoken around Kolkata (West Bengal) being sweet (possibly he had the Bengali Standard Dialect in mind), and the variety spoken in Sylhet (presently Bangla Desh) sounds harsh. (A lot of speakers of Bengali speak the dialect spoken in Sylhet). Not having given much thought to it most of us laughed at the idea, and some of us even tried to explain it by saying the variety one is accustomed to listening to sounds sweeter than other varieties. This, of course, did not pacify my friend.

Years later, the idea came back to my mind. Then the actual quest began. This paper will discuss the concept I have in mind, and as it needs actual field work, I will leave it at the stage of forming a hypothesis only.

Contention no. 1

               Sounds are produced when anything vibrates. This is also true of human speech. Some vibrations have to be produced for the production of speech. That means all our utterances are essentially sounds. Again, if we go by the jargon of music, there are seven sounds in the Indian system of music (Saptak) and eight sounds in the western system (Octave). If all utterances are basically sounds and all sounds have to be within the gambit of Saptak or Octave, each sound produced by us (whether through speech or otherwise) can be referred to as a tone in the Saptak or Octave, that is, Sa, Re, Ga, Ma, Pa, Dha, Ni in the Indian system and Do, Re Mi, Fa, So, La, Ti, Do in the western system.

 

Contention no. 2

               Then, of course, there are the three basic Octaves – Higher Octave, Middle Octave and Lower Octave. There are also Higher Higher Octave and Lower Lower Octave. A Do in the middle Octave will have a different frequency than the Do in the Higher or Lower Octave and so on. Frequency also has a range.

               In C+ a Do in the Middle Octave has a frequency of 240 Hz, RE 270 Hz, Mid 288 Hz, Fa 320 Hz, So 360 Hz, La 405 Hz, and Ti 432 Hz. A Do in the Higher Octave has a frequency of 480 Hz  whichis double that of Do in the Middle Octave. The frequency for So is double that of Do in the Middle Octave i.e., it is 360 Hz.

 

Contention no. 3

               Now, then there is another aspect to it. A Do say in the middle Octave produced by a guitar will not be the same as the Do in the Middle Octave produced by a synthesiser or any other instrument. It will also vary from person to person. There is a difference in quality, which is known as timbre.

 

Contention no. 4

               In Error Analysis, which is a field in Applied Linguistics, Larry Selinker says that when a learner learns a second language his language his language at a point of time may be called ‘Interlanguage, which is between his first language and the target language. This language has a grammar of its own. Rules keep on changing with added information. For example, we may say that students of St. Stephen’s College, Delhi speak/use English in a way which is quite different from the English spoken/used by students of say, Sohra College, Cherrapunji. He ‘interlanguage’ of students of St. Stephen’s college with reference to English differs from the ’interlanguage’ of students of Sohra College with reference to English.

 

Contention no. 5

               Stress, intonation, length of vowels may also vary from person to person, community to community and place to place.

 

Contention no. 6

               Extrapolating from the ‘interlanguage’ theory of Selinker we may say that people use Sargam or tune (combination of notes) while speaking. This sagam varies from people to people (idiolect), community to community (dialect/language). For variation of the use of sargamsideolects or dialects or even languages sound sweet or harsh or let’s say musical.

 

               In their paper Emotional Patterns in Intonation and Musicpublished in ‘Intonation’ edited by Dwight Bolinger in 1972 Ivan FáŊšnagy and Lara Magdics describe the melodic pattern of ten different emotions or emotional attitudes chosen more or less arbitrarily from Hungarian. The ten feelings and attitudes are: joy, tenderness, longing, coquetry, surprise fear, complaint, scorn, anger and sarcasm.

They hypothesis can be translated into theory with collection of samples of speech patterns of different groups and analyzing them with the help of Instrumental Phonetics.

Saturday, August 26, 2023

 My son, Onok, who is normally called by his pat name Guddu, is in the fifth semester (third year) of English Hons at University BT & Evening College, Cooch Behar. 

 I retired from service on the 30th of April 2023 and I joined Salesian College (Autonomous), Siliguri campus as Professor & Head in the PG Dept of English on the 1st of July 2023 but resigned on the 16th of August 2023.