- Get link
- X
- Other Apps
HSC English First Paper English For Today Unit 4 Lesson 2
Leela Nag: First Female Student of the Department of English, Dhaka University
In 1921, Leela Nag (also known as Leela Roy for her marriage with Anil Chandra Roy, an Indian National Congress leader) was the first woman to be admitted to the M.A in English at the University of Dhaka. Breaking patriarchal barriers, Leela Nag established the identity of the Department of English from the very beginning as a platform for progressive and liberal ideas. Although her decision to join the Department of English was initially met with resistance, she achieved her goal with a special permission from the then Vice Chancellor Philip Hartog and fulfilled her dream of graduating from the University of Dhaka. In 1923, she was the first woman to receive an M.A. from the Department of English. But Leela Nag’s legacy goes beyond the confines of classrooms. While she was a student, she formed the Dhaka Women’s Committee and raised funds for the 1921 Bengal flood victims. She was actively involved in the empowerment of women in society. In 1923, she founded Deepali Sangha which served as a training institute for anti-colonial activists. Between 1927 and 1928, she established the first self-defense institute for girls in Bengal. Then, at the 1928 Calcutta Congress Session, she presented a paper on the history of women’s movement in Bengal as a delegate, and by 1929, Leela Nag had successfully founded 12 free primary schools for girls. Apart from her contribution to women’s emancipation, Leela consistently voiced her opinions in politics as well. She had been imprisoned on several occasions. When the Subcontinent was embroiled in turmoil during the Partition, Leela Nag set up camps for victims of Noakhali riots in 1946, and for abandoned women and refugees from East Bengal in 1947. In 1946, she was the only Bengali woman elected to the Constituent Assembly of Bengal.
Leela Nag broke the glass ceiling on so many levels that it is very difficult to limit her to being only a feminist. She fulfills all the criteria of citizen, rebel, reformer, social activist and a change agent. Looking at the other women who studied in the Department of English much later, we can trace these features of social activism in them as well.
While Leela Nag made headlines during the 1947 Partition, Nadera Begum, another student of the Department of English, was making headlines in 1949. Coming from an affluent political family, Nadera Begum was a strong Marxist who was among the leading women rebels of her time. In 1949, she was expelled from the University of Dhaka for fighting for the rights of the fourth-class employees of the University. She was the only woman seen standing near Sheikh Mujibur Rahman during those protests. In Cheman Ara’s article entitled ‘The Women who broke the barricades’ (published in The Daily Star, Feb 21, 2020), it is stated: “Names of Nadera Begum, Hamida Khatun, Nurjahan Murshid, Afsari Khanam, Ranu Mukherjee and Lili Haque also shine through in the history of the Language Movement.” Nadera Begum was a shining example of the multigenerational feminism that was evident among the women — both students and teachers of the Department of English. This is why, during the tumultuous 60s, soon after the Language Movement, we can find yet another woman as a valiant fighter against oppression. Razia Khan Amin, who joined as a faculty member of the department in 1962, showcased her activism through her writing and her cultural interests. She had completed her B.A. and M.A. in English from the Department of English, University of Dhaka and proceeded to do her M.A. in English from the University of Birmingham on a scholarship from the British Council. She was simultaneously an educationist, a theatre actor, a journalist, columnist, a poet, and a celebrated writer. Among the prestigious awards she received are the PEN Lay Writing Award (1956), the Pope Gold Medal (1957), Bangla Academy Literary Award (1975), Ekushey Padak (1997), and the Anannya Literature Award (2003).
Amin exposes the brutality of the 1971 Liberation War through stark images in her poems. In her poem, ‘Argus Under Anaesthesia’, she writes:
“A mother frenzied by the roar of mortars Throttled her whining infant; Its life for the life of millions”
In yet another poem, ‘God in the Goblet’, a melancholic tone addresses all the martyrs and the intellectuals who were mercilessly killed in 1971. References to “Muneer” the “playwright, pioneer”, “Hyder the Tagore-scholar”, “Fazle the Physician” and “the novelist Kaiser” form a tribute to the sacrifices of scholars of Bangladesh. Being a scholar herself, Amin had a unique approach to depicting the lives of women. In her poem ‘The Old Man and the Girl’ she breaks the silence and speaks out against child marriage and sexual oppression.
Read the passage again answer the questions:
(1) Who was the first woman to be admitted to the M.A. in English at the University of Dhaka?
Answer. Leela Nag (also known as Leela Roy) was the first woman admitted to the M.A. in English at Dhaka University in 1921.
(2) What special permission did Leela Nag require to pursue her studies at Dhaka University?
Answer. Leela Nag needed special permission from the then Vice-Chancellor, Philip Hartog, to pursue her M.A. in English.
(3) What organization did Leela Nag found in 1923, and what was its purpose?
Answer. In 1923, Leela Nag founded Deepali Sangha, a training institute for anti-colonial activists.
(4) What was Leela Nag's role in the 1946 Noakhali riots and the 1947 Partition?
Answer. Leela Nag set up camps for victims of the 1946 Noakhali riots and for abandoned women and refugees from East Bengal in 1947.
(5) In which year did Leela Nag become the only Bengali woman elected to the Constituent Assembly of Bengal?
Answer. Leela Nag was elected to the Constituent Assembly of Bengal in 1946.
(6) What barriers did Leela Nag face when joining the Department of English at Dhaka University?
Answer. Leela Nag faced resistance but overcame it by obtaining special permission from the Vice-Chancellor, Philip Hartog.
(7) How did Leela Nag contribute to relief efforts during the 1921 Bengal flood?
Answer. Leela Nag formed the Dhaka Women's Committee and raised funds for the victims of the 1921 Bengal flood.
(8) What significant event occurred in Leela Nag's academic career in 1923?
Answer. In 1923, Leela Nag became the first woman to receive an M.A. from the Department of English at Dhaka University.
(9) What was Leela Nag's contribution to women's self-defense in Bengal?
Answer. Between 1927 and 1928, she established the first self-defense institute for girls in Bengal.
(10) What paper did Leela Nag present at the 1928 Calcutta Congress Session?
Answer. Leela Nag presented a paper on the history of the women's movement in Bengal as a delegate.
(11) By 1929, how many primary schools for girls had Leela Nag established?
Answer. By 1929, Leela Nag had established 12 free primary schools for girls.
(12) In what ways did Leela Nag break patriarchal barriers beyond her academic career?
Answer. Leela Nag broke patriarchal barriers by founding organizations, fighting for women's empowerment, and engaging in political activism.
(13) What role did Leela Nag play in the women's movement in Bengal?
Answer. Leela Nag played a central role in advocating for women's rights and empowerment, including founding Deepali Sangha and establishing schools.
(14) How did Leela Nag's activism influence future women studying in the Department of English?
Answer. Leela Nag's activism set a precedent for future women in the Department of English to engage in social activism.
(15) How is Leela Nag's legacy described beyond her identity as a feminist?
Answer. Leela Nag is described as a citizen, rebel, reformer, social activist, and change agent, transcending her identity as a feminist.
(16) What led to Nadera Begum's expulsion from the University of Dhaka in 1949?
Answer. Nadera Begum was expelled for fighting for the rights of the fourth-class employees of the University of Dhaka.
(17) Which significant protest did Nadera Begum participate in alongside Sheikh Mujibur Rahman?
Answer. Nadera Begum was seen standing near Sheikh Mujibur Rahman during the protests for employees' rights.
(18) How is Nadera Begum's role in the Language Movement described by Cheman Ara?
Answer. Nadera Begum's role in the Language Movement was highlighted as one of the key women rebels of her time.
(19) What major awards did Razia Khan Amin receive during her literary career?
Answer. Razia Khan Amin received numerous awards, including the PEN Lay Writing Award, Bangla Academy Literary Award, and Ekushey Padak.
(20) How did Razia Khan Amin depict the 1971 Liberation War in her poetry?
Answer. Razia Khan Amin depicted the brutality of the 1971 Liberation War through stark and vivid imagery in her poems.
(21) What was Nadera Begum's political ideology?
Answer. Nadera Begum was a strong Marxist.
(22) How did Nadera Begum's actions exemplify multigenerational feminism?
Answer. Her activism for employees' rights and participation in the Language Movement represent multigenerational feminism.
(23) What connection did Nadera Begum have to the Language Movement?
Answer. She is mentioned as one of the notable women rebels in the history of the Language Movement.
(24) In what year did Razia Khan Amin join the Department of English as a faculty member?
Answer. Razia Khan Amin joined the Department of English as a faculty member in 1962.
(25) What influence did Razia Khan Amin's education in Birmingham have on her career?
Answer. Her scholarship at the University of Birmingham broadened her literary scope and deepened her activism.
(26) How did Razia Khan Amin combine her activism with her writing?
Answer. Razia Khan Amin used her writing as a platform to highlight social and political issues, including war and oppression.
(27) What themes did Razia Khan Amin explore in her poem "Argus Under Anaesthesia"?
Answer. "Argus Under Anaesthesia" explores the trauma of war, depicting a mother's tragic sacrifice during the 1971 Liberation War.
(28) Who are some of the martyrs and intellectuals Razia Khan Amin paid tribute to in "God in the Goblet"?
Answer. She pays tribute to martyrs such as Muneer, Hyder, Fazle, and Kaiser in her poem "God in the Goblet."
(29) How does Razia Khan Amin address child marriage and sexual oppression in her poetry?
Answer. In her poem "The Old Man and the Girl," Razia Khan Amin speaks out against child marriage and sexual oppression.
(30) What was Razia Khan Amin's role in Bangladesh's literary and cultural scene?
Answer. Razia Khan Amin was a prominent educationist, poet, journalist, and activist in Bangladesh's literary and cultural landscape.
āĻ˛ীāĻ˛া āĻ¨াāĻ : āĻĸাāĻা āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯়েāĻ° āĻংāĻ°েāĻি āĻŦিāĻাāĻেāĻ° āĻĒ্āĻ°āĻĨāĻŽ āĻŽāĻšিāĻ˛া āĻļিāĻ্āĻˇাāĻ°্āĻĨী
ā§§ā§¯ā§¨ā§§ āĻ¸াāĻ˛ে āĻ˛ীāĻ˛া āĻ¨াāĻ (āĻŦিāĻŦাāĻšāĻ¸ূāĻ¤্āĻ°ে āĻ˛ীāĻ˛া āĻ°াāĻ¯় āĻ¨াāĻŽেāĻ āĻĒāĻ°িāĻিāĻ¤, āĻাāĻ°āĻŖ āĻ¤িāĻ¨ি āĻাāĻ°āĻ¤ীāĻ¯় āĻাāĻ¤ীāĻ¯় āĻংāĻ্āĻ°েāĻ¸েāĻ° āĻ¨েāĻ¤া āĻ āĻ¨িāĻ˛ āĻāĻ¨্āĻĻ্āĻ° āĻ°াāĻ¯়েāĻ° āĻ¸āĻ্āĻে āĻŦিāĻŦাāĻšāĻŦāĻ¨্āĻ§āĻ¨ে āĻāĻŦāĻĻ্āĻ§ āĻšāĻ¨) āĻĒ্āĻ°āĻĨāĻŽ āĻ¨াāĻ°ী āĻšিāĻ¸েāĻŦে āĻĸাāĻা āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯়েāĻ° āĻংāĻ°েāĻি āĻŦিāĻাāĻে āĻāĻŽ āĻ-āĻ¤ে āĻāĻ°্āĻ¤ি āĻšāĻ¨। āĻĒিāĻ¤ৃāĻ¤াāĻ¨্āĻ¤্āĻ°িāĻāĻ¤াāĻ° āĻŦাāĻ§া āĻĄিāĻিāĻ¯়ে, āĻ˛ীāĻ˛া āĻ¨াāĻ āĻĒ্āĻ°āĻāĻ¤িāĻļীāĻ˛ āĻ āĻāĻĻাāĻ° āĻিāĻ¨্āĻ¤াāĻ° āĻāĻāĻি āĻŽāĻ্āĻ āĻšিāĻ¸েāĻŦে āĻĒ্āĻ°āĻĨāĻŽ āĻĨেāĻেāĻ āĻংāĻ°েāĻি āĻŦিāĻাāĻেāĻ° āĻĒāĻ°িāĻāĻ¯় āĻĒ্āĻ°āĻ¤িāĻˇ্āĻ া āĻāĻ°েāĻ¨ । āĻ¤াāĻ° āĻংāĻ°েāĻি āĻŦিāĻাāĻে āĻ¯োāĻāĻĻাāĻ¨েāĻ° āĻ¸িāĻĻ্āĻ§াāĻ¨্āĻ¤āĻি āĻĒ্āĻ°āĻĨāĻŽে āĻĒ্āĻ°āĻ¤িāĻ°োāĻ§েāĻ° āĻŽুāĻে āĻĒāĻĄ়āĻ˛েāĻ āĻ¤িāĻ¨ি āĻ¤ā§āĻাāĻ˛ীāĻ¨ āĻাāĻāĻ¸ āĻ্āĻ¯াāĻ¨্āĻ¸েāĻ˛āĻ° āĻĢিāĻ˛িāĻĒ āĻšাāĻ°্āĻāĻেāĻ° āĻŦিāĻļেāĻˇ āĻ āĻ¨ুāĻŽāĻ¤ি āĻ¨িāĻ¯়ে āĻ¤াāĻ° āĻ˛āĻ্āĻˇ্āĻ¯ āĻĒূāĻ°āĻŖ āĻāĻ°েāĻ¨ āĻāĻŦং āĻĸাāĻা āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯় āĻĨেāĻে āĻ¸্āĻ¨াāĻ¤āĻ āĻšāĻāĻ¯়াāĻ° āĻ¸্āĻŦāĻĒ্āĻ¨ āĻĒূāĻ°āĻŖ āĻāĻ°েāĻ¨। ā§§ā§¯ā§¨ā§Š āĻ¸াāĻ˛ে, āĻ¤িāĻ¨ি āĻংāĻ°েāĻি āĻŦিāĻাāĻ āĻĨেāĻে āĻĒ্āĻ°āĻĨāĻŽ āĻāĻŽ.āĻ āĻĄিāĻ্āĻ°িāĻ§াāĻ°ী āĻ¨াāĻ°ী āĻšāĻ¨। āĻ¤āĻŦে āĻ˛ীāĻ˛া āĻ¨াāĻেāĻ° āĻĒ্āĻ°āĻ¤িāĻˇ্āĻ া āĻļুāĻ§ু āĻļ্āĻ°েāĻŖিāĻāĻেāĻ āĻ¸ীāĻŽাāĻŦāĻĻ্āĻ§ āĻিāĻ˛ āĻ¨া। āĻ¤িāĻ¨ি āĻļিāĻ্āĻˇাāĻ°্āĻĨী āĻĨাāĻাāĻাāĻ˛ীāĻ¨ āĻĸাāĻা āĻāĻāĻŽেāĻ¨্āĻ¸ āĻāĻŽিāĻি āĻāĻ āĻ¨ āĻāĻ°েāĻ¨ āĻāĻŦং ā§§ā§¯ā§¨ā§§ āĻ¸াāĻ˛ে āĻŦাংāĻ˛া āĻুāĻĄ়ে āĻŦāĻ¨্āĻ¯াāĻ°্āĻ¤āĻĻেāĻ° āĻāĻ¨্āĻ¯ āĻ¤āĻšāĻŦিāĻ˛ āĻ¸ংāĻ্āĻ°āĻš āĻāĻ°েāĻ¨। āĻ¤িāĻ¨ি āĻ¸āĻŽাāĻে āĻ¨াāĻ°ীāĻ° āĻ্āĻˇāĻŽāĻ¤াāĻ¯়āĻ¨ে āĻ¸āĻ্āĻ°িāĻ¯়āĻাāĻŦে āĻāĻĄ়িāĻ¤ āĻিāĻ˛েāĻ¨। ā§§ā§¯ā§¨ā§Š āĻ¸াāĻ˛ে, āĻ¤িāĻ¨ি āĻĻীāĻĒাāĻ˛ী āĻ¸ংāĻ āĻĒ্āĻ°āĻ¤িāĻˇ্āĻ া āĻāĻ°েāĻ¨, āĻ¯া āĻিāĻ˛ āĻāĻĒāĻ¨িāĻŦেāĻļ āĻŦিāĻ°োāĻ§ী āĻāĻ°্āĻŽীāĻĻেāĻ° āĻĒ্āĻ°āĻļিāĻ্āĻˇāĻŖেāĻ° āĻāĻ¨্āĻ¯ āĻাāĻ āĻāĻ°া āĻāĻāĻি āĻĒ্āĻ°āĻ¤িāĻˇ্āĻ াāĻ¨। ā§§ā§¯ā§¨ā§ āĻĨেāĻে ā§§ā§¯ā§¨ā§Ž āĻ¸াāĻ˛েāĻ° āĻŽāĻ§্āĻ¯ে, āĻ¤িāĻ¨ি āĻŦাংāĻ˛াāĻ¯় āĻĒ্āĻ°āĻĨāĻŽ āĻŽেāĻ¯়েāĻĻেāĻ° āĻāĻ¨্āĻ¯ āĻāĻ¤্āĻŽāĻ°āĻ্āĻˇাāĻ° āĻĒ্āĻ°āĻļিāĻ্āĻˇāĻŖ āĻেāĻ¨্āĻĻ্āĻ° āĻ¸্āĻĨাāĻĒāĻ¨ āĻāĻ°া āĻāĻ°েāĻ¨। āĻĒāĻ°ে, ā§§ā§¯ā§¨ā§Ž āĻ¸াāĻ˛ে āĻāĻ˛āĻাāĻ¤া āĻংāĻ্āĻ°েāĻ¸ āĻ āĻ§িāĻŦেāĻļāĻ¨ে āĻ¤িāĻ¨ি āĻŦāĻ্āĻেāĻ° āĻ¨াāĻ°ী āĻāĻ¨্āĻĻোāĻ˛āĻ¨েāĻ° āĻāĻ¤িāĻšাāĻ¸ āĻ¨িāĻ¯়ে āĻāĻāĻি āĻĒ্āĻ°āĻŦāĻ¨্āĻ§ āĻāĻĒāĻ¸্āĻĨাāĻĒāĻ¨ āĻāĻ°েāĻ¨ āĻāĻŦং ā§§ā§¯ā§¨ā§¯ āĻ¸াāĻ˛েāĻ° āĻŽāĻ§্āĻ¯ে, āĻ˛ীāĻ˛া āĻ¨াāĻ āĻ¸āĻĢāĻ˛āĻাāĻŦে āĻŽেāĻ¯়েāĻĻেāĻ° āĻāĻ¨্āĻ¯ ā§§ā§¨āĻি āĻŦিāĻ¨াāĻŽূāĻ˛্āĻ¯েāĻ° āĻĒ্āĻ°াāĻĨāĻŽিāĻ āĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯় āĻĒ্āĻ°āĻ¤িāĻˇ্āĻ া āĻāĻ°েāĻ¨।
āĻ¨াāĻ°ী āĻŽুāĻ্āĻ¤িāĻ¤ে āĻ āĻŦāĻĻাāĻ¨ āĻ°াāĻাāĻ° āĻĒাāĻļাāĻĒাāĻļি, āĻ˛ীāĻ˛া āĻ¨াāĻ āĻ°াāĻāĻ¨ৈāĻ¤িāĻ āĻ্āĻˇেāĻ¤্āĻ°েāĻ āĻĻৃāĻĸ়āĻাāĻŦে āĻ¤াāĻ° āĻŽāĻ¤ āĻĒ্āĻ°āĻাāĻļ āĻāĻ°ে āĻেāĻেāĻ¨। āĻ¤িāĻ¨ি āĻāĻাāĻ§িāĻāĻŦাāĻ° āĻাāĻ°াāĻŦāĻ°āĻŖ āĻāĻ°েāĻেāĻ¨। āĻĻেāĻļāĻাāĻেāĻ° āĻ¸āĻŽāĻ¯় āĻ¯āĻāĻ¨ āĻāĻĒāĻŽāĻšাāĻĻেāĻļেāĻ° āĻ āĻŦāĻ¸্āĻĨা āĻ āĻ¸্āĻĨিāĻ° āĻিāĻ˛, āĻ¤āĻāĻ¨ āĻ˛ীāĻ˛া āĻ¨াāĻ ā§§ā§¯ā§Ēā§Ŧ āĻ¸াāĻ˛ে āĻ¨োāĻ¯়াāĻাāĻ˛ী āĻĻাāĻ্āĻাāĻ° āĻļিāĻাāĻ°āĻĻেāĻ° āĻāĻ¨্āĻ¯ āĻāĻŦং ā§§ā§¯ā§Ēā§ āĻ¸াāĻ˛ে āĻĒূāĻ°্āĻŦāĻŦāĻ্āĻেāĻ° āĻĒāĻ°িāĻ¤্āĻ¯āĻ্āĻ¤ āĻ¨াāĻ°ী āĻ āĻļāĻ°āĻŖাāĻ°্āĻĨীāĻĻেāĻ° āĻāĻ¨্āĻ¯ āĻļিāĻŦিāĻ° āĻ¸্āĻĨাāĻĒāĻ¨ āĻāĻ°েāĻ¨। ā§§ā§¯ā§Ēā§Ŧ āĻ¸াāĻ˛ে, āĻ¤িāĻ¨ি āĻŦাংāĻ˛াāĻ° āĻāĻāĻ¨ āĻĒāĻ°িāĻˇāĻĻেāĻ° āĻāĻāĻŽাāĻ¤্āĻ° āĻ¨িāĻ°্āĻŦাāĻিāĻ¤ āĻŦাāĻাāĻ˛ি āĻ¨াāĻ°ী āĻিāĻ˛েāĻ¨।
āĻ˛ীāĻ˛া āĻ¨াāĻ ā§§ā§¯ā§Ēā§ āĻ¸াāĻ˛েāĻ° āĻĻেāĻļāĻাāĻেāĻ° āĻ¸āĻŽāĻ¯় āĻāĻ˛োāĻāĻ¨াāĻ¯় āĻāĻ¸েāĻিāĻ˛েāĻ¨, āĻāĻ° ā§§ā§¯ā§Ēā§¯ āĻ¸াāĻ˛ে āĻāĻ˛োāĻāĻ¨াāĻ¯় āĻিāĻ˛েāĻ¨ āĻāĻ°েāĻ āĻংāĻ°েāĻি āĻŦিāĻাāĻেāĻ° āĻļিāĻ্āĻˇাāĻ°্āĻĨী, āĻ¨াāĻĻেāĻ°া āĻŦেāĻāĻŽ। āĻ§āĻ¨ী āĻ°াāĻāĻ¨ৈāĻ¤িāĻ āĻĒāĻ°িāĻŦাāĻ° āĻĨেāĻে āĻāĻ¸া āĻ¨াāĻĻেāĻ°া āĻŦেāĻāĻŽ āĻিāĻ˛েāĻ¨ āĻāĻāĻāĻ¨ āĻĻৃāĻĸ়āĻেāĻ¤া āĻŽাāĻ°্āĻāĻ¸āĻŦাāĻĻীāĻāĻŦং āĻ¤াāĻ° āĻ¸āĻŽāĻ¯়েāĻ° āĻĒ্āĻ°āĻ§াāĻ¨ āĻ¨াāĻ°ী āĻŦিāĻĻ্āĻ°োāĻšীāĻĻেāĻ° āĻāĻāĻāĻ¨। ā§§ā§¯ā§Ēā§¯ āĻ¸াāĻ˛ে, āĻĸাāĻা āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯়েāĻ° āĻāĻ¤ুāĻ°্āĻĨ āĻļ্āĻ°েāĻŖিāĻ° āĻāĻ°্āĻŽāĻাāĻ°ীāĻĻেāĻ° āĻ āĻ§িāĻাāĻ°েāĻ° āĻāĻ¨্āĻ¯ āĻ˛āĻĄ়াāĻ āĻāĻ°াāĻ° āĻাāĻ°āĻŖে āĻ¤াāĻে āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯় āĻĨেāĻে āĻŦāĻšিāĻˇ্āĻাāĻ° āĻāĻ°া āĻšāĻ¯়। āĻ¸েāĻ āĻĒ্āĻ°āĻ¤িāĻŦাāĻĻে āĻļেāĻ āĻŽুāĻিāĻŦুāĻ° āĻ°āĻšāĻŽাāĻ¨েāĻ° āĻĒাāĻļে āĻĻাঁāĻĄ়াāĻ¨ো āĻāĻāĻŽাāĻ¤্āĻ° āĻ¨াāĻ°ী āĻিāĻ˛েāĻ¨ āĻ¤িāĻ¨ি। āĻেāĻŽāĻ¨ āĻāĻ°াāĻ° āĻ¨িāĻŦāĻ¨্āĻ§ 'āĻĻ্āĻ¯ āĻāĻāĻŽেāĻ¨ āĻšু āĻŦ্āĻ°োāĻ āĻĻ্āĻ¯ āĻŦ্āĻ¯াāĻ°িāĻেāĻĄāĻ¸' (āĻĻ্āĻ¯ āĻĄেāĻāĻ˛ি āĻ¸্āĻাāĻ°, ā§¨ā§§ āĻĢেāĻŦ্āĻ°ুāĻ¯়াāĻ°ি, ā§¨ā§Ļā§¨ā§Ļ) āĻ āĻāĻ˛্āĻ˛েāĻ āĻāĻ°া āĻšāĻ¯়েāĻে: “āĻ¨াāĻĻেāĻ°া āĻŦেāĻāĻŽ, āĻšাāĻŽিāĻĻা āĻাāĻ¤ুāĻ¨, āĻ¨ূāĻ°āĻাāĻšাāĻ¨ āĻŽুāĻ°āĻļিāĻĻ, āĻāĻĢāĻ¸াāĻ°ী āĻাāĻ¨āĻŽ, āĻ°াāĻ¨ু āĻŽুāĻাāĻ°্āĻী āĻāĻŦং āĻ˛িāĻĒি āĻšāĻেāĻ° āĻ¨াāĻŽ āĻাāĻˇা āĻāĻ¨্āĻĻোāĻ˛āĻ¨েāĻ° āĻāĻ¤িāĻšাāĻ¸ে āĻāĻ্āĻ্āĻŦāĻ˛ āĻšāĻ¯়ে āĻ°āĻāĻŦে। ”
āĻ¨াāĻĻেāĻ°া āĻŦেāĻāĻŽ āĻিāĻ˛েāĻ¨ āĻংāĻ°েāĻি āĻŦিāĻাāĻেāĻ° āĻাāĻ¤্āĻ°-āĻļিāĻ্āĻˇāĻāĻĻেāĻ° āĻŽāĻ§্āĻ¯ে āĻĒ্āĻ°āĻāĻ¨্āĻŽ āĻĨেāĻে āĻĒ্āĻ°āĻāĻ¨্āĻŽাāĻ¨্āĻ¤āĻ°েāĻ° āĻ¨াāĻ°ীāĻŦাāĻĻেāĻ° āĻāĻ্āĻ্āĻŦāĻ˛ āĻāĻĻাāĻšāĻ°āĻŖ। āĻ¯া āĻ¨াāĻ°ীāĻĻেāĻ° āĻŽāĻ§্āĻ¯ে āĻ¸্āĻĒāĻˇ্āĻ āĻিāĻ˛। āĻ¤াāĻ ā§§ā§¯ā§Ŧā§Ļ āĻāĻ° āĻĻāĻļāĻেāĻ° āĻāĻĨাāĻ˛-āĻĒাāĻ¤াāĻ˛েāĻ° āĻ¸āĻŽāĻ¯়, āĻাāĻˇা āĻāĻ¨্āĻĻোāĻ˛āĻ¨েāĻ° āĻĒāĻ°ে āĻāĻŽāĻ°া āĻāĻ°েāĻāĻāĻ¨ āĻ¨াāĻ°ীāĻে āĻ āĻ¨্āĻ¯াāĻ¯়েāĻ° āĻŦিāĻ°ুāĻĻ্āĻ§ে āĻ¸ংāĻ্āĻ°াāĻŽāĻ°āĻ¤ āĻ¸াāĻšāĻ¸ী āĻ¯োāĻĻ্āĻ§া āĻšিāĻ¸েāĻŦে āĻĻেāĻāĻ¤ে āĻĒাāĻ। ā§§ā§¯ā§Ŧā§¨ āĻ¸াāĻ˛ে āĻংāĻ°েāĻি āĻŦিāĻাāĻে āĻĒ্āĻ°āĻাāĻˇāĻ āĻšিāĻ¸েāĻŦে āĻ¯োāĻ āĻĻেāĻāĻ¯়া āĻ°াāĻিāĻ¯়া āĻাāĻ¨ āĻāĻŽিāĻ¨ āĻ¸াāĻšিāĻ¤্āĻ¯ āĻāĻŦং āĻ¸াংāĻ¸্āĻৃāĻ¤িāĻ āĻāĻ্āĻ°āĻšেāĻ° āĻŽাāĻ§্āĻ¯āĻŽে āĻ¤াāĻ° āĻ¸āĻ্āĻ°িāĻ¯়āĻ¤াāĻে āĻ¤ুāĻ˛ে āĻ§āĻ°েāĻ¨। āĻ¤িāĻ¨ি āĻĸাāĻা āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯়েāĻ° āĻংāĻ°েāĻি āĻŦিāĻাāĻ āĻĨেāĻে āĻŦি.āĻ. āĻāĻŦং āĻāĻŽ.āĻ. āĻĄিāĻ্āĻ°ি āĻ¸āĻŽ্āĻĒāĻ¨্āĻ¨ āĻāĻ°েāĻ¨ āĻāĻŦং āĻŦ্āĻ°িāĻিāĻļ āĻাāĻāĻ¨্āĻ¸িāĻ˛েāĻ° āĻŦৃāĻ¤্āĻ¤ি āĻ¨িāĻ¯়ে āĻŦাāĻ°্āĻŽিংāĻšাāĻŽ āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āĻ¯াāĻ˛āĻ¯় āĻĨেāĻে āĻংāĻ°েāĻিāĻ¤ে āĻāĻŽ.āĻ.āĻāĻ°েāĻ¨। āĻ¤িāĻ¨ি āĻāĻাāĻ§াāĻ°ে āĻāĻāĻāĻ¨ āĻļিāĻ্āĻˇাāĻŦিāĻĻ, āĻ¨াāĻ্āĻ¯āĻļিāĻ˛্āĻĒী, āĻ¸াংāĻŦাāĻĻিāĻ, āĻāĻ˛াāĻŽিāĻ¸্āĻ, āĻāĻŦি āĻāĻŦং āĻ¸্āĻŦāĻ¨াāĻŽāĻ§āĻ¨্āĻ¯ āĻ˛েāĻিāĻা āĻিāĻ˛েāĻ¨। āĻ¤াāĻ° āĻĒ্āĻ°াāĻĒ্āĻ¤ āĻŽāĻ°্āĻ¯াāĻĻাāĻĒূāĻ°্āĻŖ āĻĒুāĻ°āĻ¸্āĻাāĻ°āĻুāĻ˛োāĻ° āĻŽāĻ§্āĻ¯ে āĻ°āĻ¯়েāĻে āĻĒেāĻ¨ āĻ˛ে āĻ°াāĻāĻিং āĻ ্āĻ¯াāĻāĻ¯়াāĻ°্āĻĄ (ā§§ā§¯ā§Ģā§Ŧ), āĻĒোāĻĒ āĻোāĻ˛্āĻĄ āĻŽেāĻĄেāĻ˛ (ā§§ā§¯ā§Ģā§), āĻŦাংāĻ˛া āĻāĻাāĻĄেāĻŽি āĻ¸াāĻšিāĻ¤্āĻ¯ āĻĒুāĻ°āĻ¸্āĻাāĻ° (ā§§ā§¯ā§ā§Ģ), āĻāĻুāĻļে āĻĒāĻĻāĻ (ā§§ā§¯ā§¯ā§), āĻāĻŦং āĻ āĻ¨āĻ¨্āĻ¯া āĻ¸াāĻšিāĻ¤্āĻ¯ āĻĒুāĻ°āĻ¸্āĻাāĻ° (ā§¨ā§Ļā§Ļā§Š)।
āĻāĻŽিāĻ¨ āĻ¤াāĻ° āĻāĻŦিāĻ¤াāĻ¯় āĻĒāĻ°িāĻĒূāĻ°্āĻŖ āĻিāĻ¤্āĻ°েāĻ° āĻŽাāĻ§্āĻ¯āĻŽে ā§§ā§¯ā§ā§§ āĻ¸াāĻ˛েāĻ° āĻŽুāĻ্āĻ¤িāĻ¯ুāĻĻ্āĻ§েāĻ° āĻ¨িāĻ°্āĻŽāĻŽāĻ¤াāĻে āĻ¤ুāĻ˛ে āĻ§āĻ°েāĻেāĻ¨।
āĻ¤াāĻ° āĻāĻŦিāĻ¤া 'āĻāĻ°্āĻাāĻ¸ āĻāĻ¨্āĻĄাāĻ° āĻ
্āĻ¯াāĻ¨াāĻ¸্āĻĨেāĻ¸িāĻ¯়া' āĻ¤ে āĻ¤িāĻ¨ি āĻ˛েāĻেāĻ¨:
"āĻāĻāĻāĻ¨ āĻŽা āĻŽāĻ°্āĻাāĻ°েāĻ° āĻāĻ°্āĻāĻ¨ে āĻĒাāĻāĻ˛ āĻšāĻ¯়ে
āĻ¤াāĻ° āĻāĻ¨্āĻŽāĻ¨āĻ°āĻ¤ āĻļিāĻļুāĻে āĻāĻ˛া āĻিāĻĒে āĻŽেāĻ°েāĻে,
āĻšাāĻাāĻ°ো āĻ˛োāĻেāĻ° āĻীāĻŦāĻ¨ āĻŦাঁāĻাāĻ¤ে āĻ¸ে āĻāĻ āĻাāĻ āĻāĻ°েāĻে”
āĻāĻ°েāĻāĻি āĻāĻŦিāĻ¤া 'āĻāĻĄ āĻāĻ¨ āĻĻ্āĻ¯ āĻāĻŦāĻ˛েāĻ' āĻ āĻ¤িāĻ¨ি āĻļোāĻাāĻ¤ুāĻ° āĻ¸ুāĻ°ে ā§§ā§¯ā§ā§§ āĻ¸াāĻ˛ে āĻļāĻšীāĻĻ āĻ āĻ¨িāĻ°্āĻŽāĻŽāĻাāĻŦে āĻ¨িāĻšāĻ¤ āĻŦুāĻĻ্āĻ§িāĻীāĻŦীāĻĻেāĻ° āĻāĻĨা āĻ¤ুāĻ˛ে āĻ§āĻ°েāĻেāĻ¨। "āĻ¨াāĻ্āĻ¯āĻাāĻ°, āĻĒāĻĨāĻĒ্āĻ°āĻĻāĻ°্āĻļāĻ" "āĻŽুāĻ¨ীāĻ°", "āĻ°āĻŦীāĻ¨্āĻĻ্āĻ°-āĻŦিāĻļেāĻˇāĻ্āĻ āĻšাāĻ¯়āĻĻাāĻ°", "āĻিāĻিā§āĻ¸āĻ āĻĢāĻāĻ˛ে" āĻāĻŦং "āĻāĻĒāĻ¨্āĻ¯াāĻ¸িāĻ āĻাāĻ¯়āĻ¸াāĻ°-āĻāĻ° āĻāĻ˛্āĻ˛েāĻেāĻ° āĻŽাāĻ§্āĻ¯āĻŽে āĻ¤িāĻ¨ি āĻŦাংāĻ˛াāĻĻেāĻļেāĻ° āĻŦুāĻĻ্āĻ§িāĻীāĻŦীāĻĻেāĻ° āĻāĻ¤্āĻŽāĻ¤্āĻ¯াāĻāĻে āĻļ্āĻ°āĻĻ্āĻ§া āĻাāĻ¨িāĻ¯়েāĻেāĻ¨। āĻ¨িāĻেāĻ āĻāĻāĻāĻ¨ āĻĒāĻ¨্āĻĄিāĻ¤ āĻšāĻāĻ¯়াāĻ° āĻāĻŽিāĻ¨েāĻ° āĻিāĻ˛ āĻ¨াāĻ°ীāĻীāĻŦāĻ¨ āĻিāĻ¤্āĻ°াāĻ¯়āĻŖেāĻ° āĻāĻ āĻ āĻ¨āĻ¨্āĻ¯ āĻĻৃāĻˇ্āĻিāĻāĻ্āĻি। āĻ¤াāĻ° āĻāĻŦিāĻ¤া "āĻĻ্āĻ¯ āĻāĻ˛্āĻĄ āĻŽ্āĻ¯াāĻ¨ āĻ ্āĻ¯াāĻ¨্āĻĄ āĻĻ্āĻ¯া āĻাāĻ°্āĻ˛" -āĻ āĻ¤িāĻ¨ি āĻ¨িāĻ°āĻŦāĻ¤া āĻেāĻে āĻļিāĻļু āĻŦিāĻŦাāĻš āĻāĻŦং āĻ¯ৌāĻ¨ āĻ¨িāĻĒীāĻĄ়āĻ¨েāĻ° āĻŦিāĻ°ুāĻĻ্āĻ§ে āĻāĻĨা āĻŦāĻ˛েāĻেāĻ¨।