Monday, January 18, 2016

All in the Game

Maya turned back, as she heard her name, being called out. Bhargav, the history teacher was calling out to her. ‘Leaving early today? What’s the occasion?’ he asked after rolling his eyes and winking. She was in a more than gorgeous sari than that was suitable for a teacher in school. Maya smiled back, she replied to Bhargav, ‘in a bit of a hurry today, talk to you later, okay?’ She ran down the stairs and walked briskly across the basketball field. Just outside the school gate, there always sat an old woman, selling flowers and garlands. She bought a jasmine garland from her. Sandip loved the smell of jasmine, she smiled to herself as she thought about it. Sandip was in for a surprise, as she had taken off after half a day at school and wanted to be home early.

The metro was comparatively empty as the ‘office rush’ was still a few hours away. She sat down at a seat near the gate and the cool breeze made her feel drowsy. She went back ten years in her thoughts. At about this time, ten years back, her house was swarming with relatives and friends and the smell of fish fries and pulao, wafted in the air. Her groom was supposed to arrive by dusk, at ‘godhuli’ and the entire household was in a rush. Her friends were getting her ready, the red banarasi lay on one side of the bed, jewellery boxes were strewn about and a cane basket full of jasmine garlands were lying near the foot of the bed. Those were happy memories for her.

Her days at the one roomed apartment were happy. Sandip was working as an accountant at a small Investment Firm. It was very difficult to make ends meet, and she had to wake up at 4:30 in the morning to prepare Sandip’s breakfast and his tiffin, which he carried to office. This way they could save on some money. Sandip walked for about 2 kms to the bus stop and Maya did all the household chores. Having mutton, once a month, bought from a nearby meat-shop, was a day of celebration for them and every month each small thing that they bought for their home made them feel a little more rich and proud of themselves.

The scenario soon changed, however, as one evening, Sandip, rushed in, his eyes flushed with excitement, Maya knew that her days were about to change. Sandip had received a fabulous offer and a company accommodation. The raise in his salary was also considerable. That night as they lay together, and moonbeams filtered in through the net curtains, they felt that they were perhaps the happiest couple on earth. Success and happiness begets more happiness and success and soon enough, Maya, who was looking for a job, secured a teaching position as a geography teacher in the junior section of a secondary school. It was time, Maya thought that they should think about starting a family and Sandip didn’t seem too averse to that.

Soon, they started seeing lesser and lesser of each other as work pressure increased for Sandip. He had more friends now and frequently was late in returning home. He was also a frequent traveler now and had to leave town more often. Sanjay was Sandip’s closest friend at office and he dropped in often during weekends. Sanjay was a bachelor and he accompanied both Maya and Sandip to their trips to movies and dinners out. Slowly, Maya started confiding in Sanjay too and his knowledge about all and sundry, his story weaving capacity kept Maya mesmerized. What she longed for, from Sandip, his companionship, his intimacy, he started looking for, in Sanjay. However, whatever she did, she made sure that she never transgressed the boundaries of her marital vows. Despite everything, her emotional needs, cried out in want and so whatever little emotional support she got from Sanjay, she sapped it up like dry soil waiting for rain. Sanjay’s closeness with Maya did not go past Sandip, and to Maya’s utmost amazement, Sandip was totally indifferent to it. Maya was baffled, and hurt at the same time. Somewhere, still deep down inside, she yearned only for Sandip and hoped to see him angry or jealous. That would still mean that he still had dormant feelings for her. The other side of love was not anger, jealousy or hatred, it was indifference. She was bruised to no end that nothing about her mattered to Sandip, anymore, and in order to ease that pain, she looked up to Sanjay for company, in order to fill up her void.

One night as Sandip was in the washroom and Maya had finished cleaning up the kitchen, she picked up, Sandip’s phone and  his wallet from the living room couch so that she could keep it secure in the bedroom drawer. Suddenly a text message entered Sandip’s phone. ‘My body is aching for you Jaan’. Maya stood transfixed to the ground. There was nothing left to imagination. Nothing could cover up the truth that was glowing in sharp white letters in front of her eyes. So this was it, this was the reason for Sandip’s indifference, this was the reason, he was always tired and never thought of holding her, hugging her or kissing her. This was the reason that her husband turned the other way and snored as soon as he touched bed. She slumped on the floor, still clutching on to the phone and the wallet. Her eyes were dry and glowing in pain and humiliation. 

Sandip, came across Maya, sitting cross-legged on the floor, near their bed. He called out to her a number of times, and when she did not answer, he muttered and grumbled under his breath and then he went to bed alone and started his rhythmic snoring spells. Maya could not still believe that this was happening to her. She kept rocking to and fro, and tried to calm herself down. She knew that screaming, shouting or crying would not help and that things could go worse, that way. She stayed awake the entire night and just to avoid facing Sandip, she went to lie down in the couch in the living room. She heard Sandip, wake up, go to the washroom, she heard the clank of pans, as Sandip made a cup of tea for himself, She even felt, Sandip coming into her room and stand quietly by the couch as she kept pretending to sleep. She was broken, bruised and sleep was coming naturally to her, but before, dozing off, she left a message for Sanjay, asking him to see her before going to office.

Sanjay stood glum faced, his head hanging, before Maya, who was screaming like a banshee. ‘you too, Sanjay?! You betrayed me too? You must have known all along that Sandip had a soft spot for Kanika at office, You must have seen what was brewing between them and now you find the opportunity to come and tell me that they go out together on office trips only after I crossed you??!!’ Sanjay, frantically tried to calm Maya down. ‘Maya, I only did this, because I could not bear to see you hurt and humiliated.’ ‘But could you stop me from getting hurt, or stop the truth from seeing daylight?’, she screamed again. Sanjay, nervously fumbled in his pocket for his cigarette, but found his phone. He waited and thought for a minute or two and then called Sandip at his office and asked him to come back home on an emergency basis.

When Sandip hurried home, already, guessing the situation there, Maya and Sanjay were slumped on the living room couch. Sandip was ready with his speech. Without a word, he sat on his knees in front of his wife and asked for forgiveness. He also promised never to repeat his dastardly act, ever again. Sanjay was a witness to the scene, where the couple clung to each other for their dear lives. Maya was holding on to Sandip as if she would never let him go.

That was about a year back and today on their 10th anniversary, Maya was all set to surprise Sandip, with his favourite dishes, and an Emporio Armani watch. The only other invitee was Sanjay. The clock was ticking towards 7 as Sanjay, rang the bell. Maya, expected to see Sandip with him, but, Sanjay informed her that he was stuck up with some last minute work and would arrive in an hour’s time. Maya looked up to Sanjay and asked him directly. ‘Tell me, Sanjay, is that woman still running after, Sandip?, is Sandip still talking to her? Please don’t hide anything from me. Is Sandip late today, again, because of her?’ ‘What the hell is going on between my husband and that bitch?' Maya's patience was at its lowest ebb and she was ready to burst. Sanjay knew that she was serious. 'Look, Maya. There is nothing going on between the two of them. Just a little bit of healthy flirting, I'd say.'

'Flirting? Healthy flirting? Really Sanjay . . .' she rolled her eyes in disgust. 'That's what you men call it? There is nothing healthy about flirting, Sanjay, not for a married man. Healthy flirting is a term introduced by perverted men who want to lend legitimacy to their extramarital dalliances. Flirting invariably has a sexual connotation to it.' She got up from her seat and walked around the room gesticulating and muttering something to herself. Suddenly she stopped, turned back, looked at Sanjay and asked, 'Did my husband sleep with her? You are his friend. Did he ever tell you anything about it?' Sanjay muttered something that was not very clear and excused himself to go to the washroom. Suddenly a text message entered Sanjay’s phone which was lying on the dining table. ‘can’t wait to see you, Jaan, even an hour of your absence seems too long.’ Maya clutched Sanjay’s phone, the same way, she had held on to Sandip’s phone. A deathly and eerie silence ensued, as Maya passed out.

Thursday, December 24, 2015

The Road Less Travelled - Part II - Where Time Stood Still


Circa 1819. John Smith, a British officer of the Cavalry Division of the Madras Regiment had strayed from the patrol party that was travelling from Paithan to Daulatabad. Their stock of meat was depleted and on suddenly seeing a wild boar, he had, on an impulse, galloped after it. The eerie silence of the jungle, broken only by the sound of crickets rubbing their feet in glee to make a shrill cacophony, suddenly made him pull his reins in sharply. It was high noon, although the dense canopy of greenery hiding the blue could make anybody doubt that, and it was quite evident that he was lost. He thought fast, and decided that his priority was first to get promptly out of this jungle  before sundown and to search for any Gond settlements that sprouted here and there, where he could look for food and shelter.

As he wandered, in the jungle, the track seemed to get a little wet. His ear picked up the sound of water and he remembered that the river Waghora was in the vicinity, and he could follow it up to some human settlements. As he hastened, he came upon a small waterfall in a clearing that was running into a river, a few feet below the hillside. Here was the river he was looking for and he felt that he was in for luck. He galloped by the side of the river upstream, and then it happened...the horse slipped and Smith just managed to jump off the horse before the poor animal fell into the ravine. As he brushed himself and stood up, the entire picture loomed like a scary dream in front of him. Without a horse, lost in this dense jungle, he was as good as dead. he rushed to the edge of the cliff, and peered down, he was surprised to see that there was a rocky ledge just a few feet from where the horse had slipped, and luckily, the horse had fallen on that ledge. Though the steed was hurt, its feet bent and was apparently in pain, it was alive.

Smith immediately proceeded to scramble down the side of the cliff onto the ledge and held on with his dear life to some dry vegetation growth, some clumps of overgrown grass on the cliff-side. When ultimately, he could reach down to the ledge, he tried to calm the groaning horse. All that mattered to him now was to get the steed back to its feet, even if it was limping. He did not stand a chance in this jungle at night without the horse. He tore off his sash, the pride of his regiment and tied it around the knee of the rear right leg of the horse. All this excitement had completely worn him out and he sat down on a a piece of rock nearby, to decide on his next course of action. As he sat down, his hand touched the rocky surface of his seat. It seemed a bit too smooth to him and as he looked down, he was amazed to see that he was sitting down on a perfectly smooth piece of square rock, almost like a seat. As he stared incredulously at it, he found that the rock was not an isolated one and there were others strewn around and not only that, there seemed to be, some engravings on the the side of certain rocks. His curiosity got the better of him and he squatted down to tear off the growth of dry grass, from these rocky sides. 

His amazement was boundless when he found perfectly shaped statuettes, as well as flower emblems engraved on the rocks. He felt in his bones that he was on to something important. In the dying light, he was surprised to notice a flight of steps leading down to the river from the ledge-side and he hoped against hope that he had stumbled upon some sort of human settlement. As he climbed down the steps towards the river to quench his thirst, he noticed that the hill-side was queerly formed. It was as if he was standing in the middle of a horse shoe. Furthermore, he noticed a few openings on the sides of the hills, which looked like caves. He decided that it would be best for him to take shelter in the caves for the night, and to resume his search back home, the next morning, after his steed was rested. With this plan in place, He broke off, some dry branches from trees growing by the side of the river, attached a bit of his torn sash with some dried grass to them, sprinkled some gunpowder on it and lighted a torch. As he approached the entrance to the dark cave, holding his torch firmly, he was taken aback, by a colony of bats that screeched their way past him, their nauseating stench churning up his already empty stomach. 
As he timidly moved in, looking for a dry place to spend the night, his knees folded and he gasped at the splendour of the spectacle that unfolded before him. The stature of his discovery hit him instantly and he was unfalteringly convinced that he had stumbled upon one of the most culturally as well as historically significant discoveries of the century.

Fast-forward, Circa 2015, month of March. A motley group of 6 people had set out from, Hotel Kailas opposite the Ellora caves in an Innova to cover the 100 odd kms to reach one of the finest Unesco, World Heritage sites, Ajanta. We reached a point near the caves from where, transport belonging to the state tourism department alone, was allowed to ply till the cave site. As we disembarked from the airconditioned buses, we were confronted by a hoarding, proclaiming 'Ajanta Restaurant', which promised to serve authentic Maharashtrian thalis and and a variety of fruit juices. We planned a rendezvous with this eatery as soon as we would return from our cave sojourn.

Encircling the Waghora river, is a horse-shoe shaped cliff, that is home to a spectacular testimony of human creativity, perseverence and dedication. Set in sylvan surroundings, there are about 29 elaborate Buddhist cave temples, believed to have been constructed in the time span between 200 BC to the VI th century AD. After the VII th century AD, Buddhism started to decline in India and these caves were abandoned. All these caves as well their intricately carved interiors, have been carved out of one giant rock, that is the 70 feet high, Sahyadri mountain itself. Built by devoted Buddhist monks, depicting the lives and times of Buddha, the enlightened one and those of the Jatakas, the depiction of stories of Buddha in all his previous lives.

This Unesco, World Heritage site is a marvel to watch. Rock was cut from this mountain-side, then it was chiselled out and after that, carvings of Buddha in different postures, flowers, figures, stupas, chaityas and viharas were all built inside these tunnels. To top it all, intricate and exquisite paintings were done on the ceiling as well as on the pillars inside the caves.
These carvings and sculptures are considered to be the beginning of classical Indian art. This form of Indian art has exerted considerable influence in India and elsewhere, in particular to South Eastern Asia, Like Cambodia, Thailand and Java. Basically 5 of these caves were temples and the rest served as monasteries, accomodating about 200 monks and artisans. 

We walked up a winding road, that runs along a terrace towards the cave entrances. At one point of time, each of these caves were connected by a staircase to the edge of the river, most of which have disappeared now. The second group of caves, which were created at a later date, have a mark of the artistry of the Gupta and the post Gupta period. We could only visit the more significant of the caves, like, 9, 10, 19, 26 and 29 as it takes a very long time to go through them in details. By the time we could walk back the entire stretch, marvel at the sculptures and the frescoes, which were peeling away, complete a full circle, only allowing for intermittent breaks in between for water and snacks and photo and selfie sessions, we were completely drained out and were ready for some fresh pineapple juice along with an egg curry meal at the Ajanta restaurant. One reminder, for visitors. This is a good place to buy small rock cut statues of, Tathagata Buddha and the all time favourite deity of the Maharashtrians...Ganapati Bappa.

Soon we were speeding back towards Ellora, through a wide black road, flanked on either side by trees which seemed to be on flames, on the black soil of the Deccan. The palash was in full bloom in this part of the country. The friendly chit-chat and banter in the car was somehow silent now. Partly it was the tiredness, but, I feel, largely because of the enormity of the experience that we were all trying to grasp and to absorb, all in our own little ways.

Just about 5 kms before reaching Ellora, and about half an hour before sun down, Sandeep, our driver asked us, whether, we would like to visit, Khuldabad, which he said, had the mausoleum of Aurangzeb, the 6th Mughal emperor, and from where Aurangabad had derived its name. I certainly had no clue about Khuldabad and am sure, none of my fellow travellers did. Just like other lay people, I had assumed that all the tombs of the Mughal emperors were either in Delhi or in Agra. We readily agreed, to visit Khuldabad, and Sandeep screeched into a left u-turn and turned onto a dust road. 

Suddenly, as if in a blink of an eye, the entire ambience changed. It somehow seemed that we had reached medieval Agra. Where, there had been only vast stretches of farmlands, small shops, shacks and a few fruit vendors and wayside trees on the highway, the dirt road towards Khuldabad was lined with mosques, groups of middle-aged, slightly bulky ladies in black burkhas accompanying young giggly girls, with large colurful danglers in their ears, in bright-coloured hijabs, lining the narrow road. Men in white kurtas, with white taqiyah or the skull cap on their head and striking checked lungis were relaxing near paan shops. Their large guffaws could be heard from far off. It was time for the Maghrib namaaz. Ittr shops and shops selling mogra garlands and incense sticks, lined the place where we finally disembarked at the corner of the road.

I had read that the emperor Aurangzeb believed in austerity. however I was not ready for the totally inostentatious and nondescript building that stood before me in the name of the final resting place of Alamgir Aurangzeb, A person, who ruled Hindustan for 50 long years.

Abul Muzaffar Muhi-Ud-Din Mohammad Aurangzeb, the fanatic, unscrupulous, intolerant, religious zealot was one of the most hated names in our history books and not without reason. As a ruler of India, he was biased and discriminated against other religious beliefs. He destroyed temples, imposed the Jiziya tax, a discrimintory taxation system, against the hindus and the sikhs. Instead of consolidating his territories, he waged constant wars against the Marathas, Sikhs, Jats and the Bundelas, which, depleted the already depleting treasury, as well as added fuel and purpose to the resistance movements of these communities. With his death on March 3rd 1707, in Ahmednagar, he left a corrupt and crumbling empire which was too large to be handled by any single despot, he left behind alienated subjects, a demoralised army and a depleted treasury.

However, as I stood before the grave of this man, great or otherwise, I could not bring myself to believe, that, this unassuming cloth covered austere grave, with no enclosure fit for such a royal, was, where he lay in peace. This was the same man, who did not use the royal treasury for his own personal expenses. Instead, he used the money he earned from making the taqiyah, and writing the Quran to locate and buy a piece of land for his grave. Lord Curzon, ( the Governor General and Viceroy of India from 1899-1905) on visiting this grave, had instructed the Nizam of Hyderabad to build a marble screen around the grave.

Aurangzeb is buried according to his own wishes, in the courtyard, towards the right of the southern entrance at the Dargah of Sayyad, Zain-Ud-Din Sirazi, a muslim saint, he revered as his mentor and spiritual guide. The tombs of Azam Shah, Aurangzeb's son and that of his wife, lie to the east of Aurangzeb's tomb. 


Sayyed Zain-Ud-Din Sirazi is a highly revered muslim saint, and at one point of time was the chief qazi of Daulatabad. Strains of sufi music caught my ear, as I was moving around the courtyard engrossed in photography. As I entered the main entrance to the Darga, dusk was slowly descending on this almost surreal world. The sufi singers were in a trance like state, and men, women and children were engrossed in the atmosphere of incense and mysticism. I got absorbed in the whole ambience too, as I was offered a scarf by one of the old ladies and was asked to cover my head. I sat down, cross legged with them and drank the beauty of the moment to my heart's content. 

The sun had set, when we were leaving the Dargah. The day had taught me two diametrically opposite lessons. One, that of grandiosity and flamboyance in the creativity of Ajanta, where the basic tenet was simplicity...while on the other hand, the extravagance and pomposity of a much-hated emperor, subdued amidst unimposing and humble culminations. This was perhaps the essence of life, the existence of duality of simplicity amidst sophistication. Simplicity as the ultimate form of sophistication has always existed. One can never do without the other.


Author: Jayeeta Sen Roy

Photos by author





Wednesday, December 16, 2015

The Big Day - 'Borodin'

The Yuletide season is all over us again. Christmas or X-mas as it is known to many, is is a global phenomena.  Christmas carol, Christmas trees and cakes are an inherent part of Christmas. But again, though it is celebrated all over the world, albeit with a slight variance in divergent cultures, to us, here in Kolkata, it is known and acknowledged as the ‘Borodin’ or the Big Day. Allow me to clarify. Christmas in Kolkata is more of a social festival than a religious one. Just like Durga Puja or Deepavali or for that matter, even Eid.

The sleepy row of red brick houses, comprising of six blocks of three storied buildings  in Central Kolkata, behind Bowbazar, called the Bow Barracks is normally dormant throughout the year. But with the advent of December, prodigal sons and daughters of the dwindling Anglo Indian community of Kolkata start trickling in. The neighbourhood is suddenly alive with activity as rice bulbs adorn these heritage buildings, once built as a garrison mess for the British Army during the First World War. Sounds of laughter and mirth along with smell of fresh home-made wine and cakes waft out through the windows.

If Christmas ever had an address in any Indian city, it would be Park Street. Christmas celebration in India is synonymous with Park Street. Park Street and its adjoining areas have through ages been inhabited by a majority of the Anglo-Indian community of Kolkata. From about mid-December, Park Street is decked up like a bride. From Carol singing competitions to a huge bejewelled Christmas Tree, Park Street is known for  the heritage tearoom and confectionary ‘Flury’s’ founded in 1927 founded by Mr. and Mrs. J Flury’s and introduced Kolkata to the best of rich cream pastries and Christmas puddings, perhaps one of the best outside of the continent. Park Street boasts of other  eateries like the ‘Peter Cat’ and the ‘Mocambo’ whose inception dates back to the 50s and where you are destined to have a tryst with typical British Christmas lunch and dinner.

Kolkattans are infatuated with Christmas Cakes. The ritual of cake baking, goes back a long time at the ‘hole in the wall’ bakeries of Beckbagan. In fact, Beckbagan, a Muslim majority locality in Kolkata, got its name from baking of cakes. Much before dawn on Christmas, huge earthen ovens are lighted up by muslim workers who work with efficiency and diligence for their clientele, who still hold on to the traditions of the British Raj and prefer to bake their own cakes, from the recipes handed down through generations in bakeries like the Ahmad Hussain Bakery. Mohammad Hussain has been baking cakes since 1975 and people still swear by his cakes. The Ahmad Ali Bakery or the Kanchan Bakery are other bakeries of repute in Beckbagan.

The iconic jewish bakery of the Nahoums at New Market in Kolkata, set up in 1902 by Nahoum Israel from Baghdad became an instant hit with the British expatriates and the Anglo-Indians before the Bengali taste bud was tickled with the taste of its plum cakes, jam tarts and chocolate pastries.

I being a Bengali Hindu, have always seen Christmas celebrated in my home and neighbourhood most spontaneously. ‘Notun gurer payesh’ or kheer prepared from freshly brewed palm jaggery is a must on ‘Borodin’, as is the clamouring for gifts by Santa from little ones in every home.

These same communities of the Muslims, the Jews and the Christians are fighting it out tooth and nail in West Asia and it is said that, religion is dividing humanity. What then is the common factor that binds Kolkattans to celebrate any festival with equal fervor? Perhaps one needs to visit Kolkata to find that out.


 Article & Photos : Jayeeta Sinha Roy

Monday, December 7, 2015

The Road Less Travelled Part I

When in school, especially in senior classes, the detailed study of the conquests of the Mughal emperors was one thing, I generally avoided, especially the innumerable Deccan conquests of these countless emperors, both distinguished as well as the inconspicuous types. Firstly, I could never demarcate the area called 'Deccan'. It seemed to me, to be various overlapping areas of a venn diagram. However, to these kings, this area called the Deccan is where they seemed to have a field day. They just loved to send their generals there, chop off a bunch of heads amd levy the strangest of taxes, based on the even stranger logics.

My reader must be wondering about what exactly, I want to start off with, after beating the bush and flattening it almost to the ground. I know that it is a little difficult to bear with me when I am into this 'ringmarole' mood. But enough of it, let us get to the meaty part of the story. Our 7 seater Innova was gliding like a swan on Mumbai-Nashik Expressway, inching closer towards the region we now call Marathwada, after clearing the Mumbai traffic in 2 hours flat. The road was like a mirror, shining and smooth. There is a clan of Bengali-Mumbaikars, who are all gaga about not only Mumbai, but also about entire Maharashtra. They are always ready to show off their superiority to their poorer cousins from West Bengal. One of my Mumbaikar cousins informed me that, after travelling on road in West Bengal, we would feel quite privileged to make a road trip in Maharashtra. However this proved to be a statement that he had to swallow with his pride, later, as other than the expressways, most of the Maharashtrian roads, after travelling for about 100 kms beyond city limits, are as bad or as good as any other Indian road and I can quite vouch for that.


The present day, Marathwada is a revenue division of the Maharashtra State. Most of what we knew as the Deccan of India under the the Tughlaq, Khalji, Lodi, Mughal dynasty was within this greater Marathwada, some parts of Andhra, on the Deccan plateau , between the Vindhya range and the Krishna river. This area was of strategic importance to the rulers, and thus one of the finest forts, which were very similar to each other architecturally, were located in this region. Important amonst them were the Golconda, the Daulatabad or the Devagiri and the Bijapur Forts. We were headed towards one of these stunning forts, the Daulatabad fort. 


We took a short lunch break at Nashik. One thing that I must and must ask my reader to try a staple Maharashtrian thali. This thali is normally vegetarian and consists of salt, a wedge of lime, chutney, achar, raita and pakoras. Maharashtrians are particularly proud of their astonishing range and diversity of chutneys, achars, brine pickles and koshimbirs.

The arrangement of the rice in the thali is of importance, it is placed at a side of the thali with a thoor-dal puri on top. One dry vegetable and one curry is usually staple in the thali. However, what I liked the most was the masala-papad. The hot baked-papad was sprinkled with diced onions, tomatoes, chanachur and coriander leaves.

Nashik, Pune and Mumbai is the golden triangle of Maharashtra. Earlier, Nashik used to be considered inferior to its two big brothers, but with the advent of the wine industry, Nashik and its adjoining areas are fast spreading its wings, both for the thrill associated with factory-bought wines, as well as with new wine tourism concept with vineyard tours, and a stopover at resorts in the middle of vineyards. This place reminded me remarkably of Napa Valley in California. The Sula winery are at the forefront of the wine revolution in India. They have facilities built to serve wine connoisseurs. I was reminded of the Robert Mondavi Winery in the Napa Valley, where we were served a variety of cheese and fruits with the world-famed Fume Blanc, Pinot Noir Cabernet Sauvignon and Chardonnay. The ambience was somewhat similar, but as any Indian reader will understand that much leaves to be desired in terms of infrastructure.  

Turn right from Nashik, towards the heartland of India, and you are entering the rutty, dust laden, pebble-strewn, narrow lanes, that goes by the name of roads in India. Welcome to real India, your are now entering Marathwada. The only soothing effect that only one of our senses was privileged enough to have was miles upon miles of brilliant-green vineyards upon the rich black soil of plateau, India. 

We were halfway there, had travelled about 170 kms in 3 hours. Another odd 170 kms needed to be traversed. we were moving at a very slow speed. The beauty of the vineyards with the outline of the Sahyadri in the distance, with peasants walking home, tanned skins in very bright orange and pink sarees, with flowers in the braided hair...a local village marriage party with trumpets and the bride and groom walking side-by-side, and red 'palash' trees in full bloom, made for a very pretty picture.

Very soon, on the left side of the road, on a medium-sized plateau, loomed a dark and ominous structure. The mere sight of the Daulatabad Fort made me realise the the word 'magnifique' was coined for this fort alone. instantly, all 6 of us, moved to one side of the vehicle and tried to crane their neck out of only two windows. my daughter who has a great penchant for ghost stories, and films, immediately was convinced that this fort definitely had quite a few of those, whose, names should not be uttered in the evening. Thus the fort already famous world-wide, had another value-addition to it.

Very soon, we entered Aurangabad. This city is the largest city in Marathwada and is also known as the 'City of Gates' and is named after the Mughal Emperor, Aurangzeb, who lies buried in nearby Khuldabad. Soon we passed the 'Bibi Ka Maqbara' a replica of the Taj, which Aurangzeb's son, Azam Shah had built for his mother, Dilras Begum. This monument is also called the 'Dakkhani Taj' or the Taj of the Deccan. It is also cited as the poor man's Taj as it lacked the grandeur and the opulence of the original Taj, which was built by Azam Shah's grandfather, the great Shahjahan.

Evening was soon dropping its shroud over the horizon as we turned up towards the plateau which leads towards the world heritage site, Ellora. The Fort again loomed even larger than before, as rains started to fall in big drops. There was a dense jungle enroute to the Ellora caves and even I started to believe in my daughter's conviction of paranormal activities, given the ambience. Our car soon rolled into the portico of the Kailash Hotel at Ellora. Would like to add a little side-note here. "Kailash e Kelenkari" the thriller written by Satyajit Roy and filmed by his son Sandip Roy was shot right here in this hotel. And from that time onwards, I have always wanted to stay in this hotel, if I ever got a chance to visit Ellora. My fantasy was not unrealistic as it was a beautiful property with cottages which had huge terraces facing the Ellora caves. I had always thought of 'Kailash' as mount Kailash, as the abode of Mahadev and only got to understood why this barren land, hundreds of kilometers below the Himalayas was termed as Kailas, only after visiting the Ellora caves. 

The next day would be a day full of travelling and activities. We were ready to turn in but it was not to be without the highlight of the day....a bottle of chilled wine from the Sula stable, called the Madeira. and it felt like heaven on earth.

Tuesday, November 24, 2015

The Man from the Other Side

I observed him carefully as he walked to the door. I knew that time was running out but suppressed the urge to check my watch. I took a deep breath and started counting in reverse under my breath. “Ten, nine, eight, seven….” I was wishing him, almost urging him with my focused mental acumen to turn back just once and look at me in the eyes. Every step that he was taking away from me was bringing me out from my irresoluteness. Perhaps this was going to be the point culminant of my military career, if Major Rawat retraced his steps.

Just about half an hour ago, I wanted this chapter to be wrapped up fast. As soon as Major Rawat entered my tent with his adjutant in tow, he marched up to me in unfaltering footsteps, with an unflinching expression. I knew just about how much torturous and insulting, this can be for any military personnel. Here was Major Rawat, standing just across the table, his stare, not even for a moment, leaving my face, not a line on his stern face moving as he clicked his heels together, to salute me. As I returned the salute, I offered him a seat, but he remained standing. This was the nadir of any soldier’s career and I am sure that many would consider death to be more honourable than to relent to an unconditional surrender. There were a number of protocols regarding the surrender and he softly asked his adjutant, a young lieutenant, barely in his mid twenties to wait outside the tent. Similarly, I asked my adjutant, Captain Shaukat Ali to do the same. The deathly silence inside the tent was deafening. I fumbled for a tin of cigarettes in my drawer, I scraped around in the drawer with my fingers for the tin, and even that sound seemed to be obtrusively vulgar in the death-like silence that prevailed. On second thoughts, years of social conditioning stopped me in my track and I decided against offering him a cigarette. My nervousness was growing by the minute. I was noticing a mild tremor in my hands. I looked at my watch, it was around 1: 10 P M, mid-noon, but even the sunlight seemed to be mellowed, failing and resigned and it added to the gloom. The steady chirp of a bird and the recurrent metallic clicking of the cicada added to the despondency that was already shrouding me.

Major Rawat’s khaki uniform was smudged with grease, dirt and clay, it was torn in a few places and smelled of residual gunpowder, starkly different from the crisp and ironed olive green uniform that adorned my frame. His peaked cap was twisted and warped and bore marks of stress. The place, where a metal insignia should have embellished his uniform was a makeshift hurriedly-made, stitched cloth insignia. I could sense that he was eyeing me the way, I was checking him out. Suddenly, he broke the silence, “Let us get on with the process, Shall we?” His voice was low but firm and it felt like he was in command of the whole situation and that I was a mere protÊgÊ.

I opened the file in front of me, which contained the pre-determined conditions of the instrument of surrender, pushed it towards him so that he could go through the clauses mentioned in the instrument. This lightened up the heavy atmosphere somewhat, as Major Rawat, cleared his throat, put on a pair of glasses on his nose and started examining the contents of the instrument. I noticed that there was a crack in his glasses and suddenly felt a surge of emotion run through me. Now this was a very unlikely and most inappropriate thing to happen, considering the setting. Firstly, I was an officer of the Allied forces, and commanding the victorious side. Here was this man opposite me, who was by all means my enemy and the win over him in this battle had cost me a number of my finest men. I decided that I had to collect myself and my emotions and looked across the table. Major Rawat was adjusting his glasses and there seemed to be a faint smile on his lips which almost seemed like a smirk. I suddenly remembered that I had forgotten to go through the language and the spelling in the terms of surrender, after dictating the notes, in a hurry, and bent forward to ask him if there was anything mentioned in the document,  that was inconsistent with the discussion that we had, had, prior to the framing of this document. The defeated officer smiled wryly and asked me for a pen. I hurriedly started looking for a pen, without even wanting to know, why and finally managed to find a red marker pencil, that was used to mark strategic positions on maps. This I handed over to him. He surprised me again, by not replying and adjusting himself in the chair with a relaxed air and simultaneously started striking out portions from the document and at the same time laterally entering corrections over the struck out areas, without even once asking for my permission, even for courtesy’s sake.

Suddenly he looked up at me, and in an soft but authoritative voice, stated, “perhaps owing to urgency and haste, a few clerical errors have been committed in the document, which I have taken the liberty of rectifying. Especially in one instance, owing to the fact that a single letter is missing, the entire meaning stands changed. Please can you go over the instrument once more?” Saying this, he moved the file back, towards me. The sentence which had been marked by him read as ‘All PoWs will be accepted at the Battalion HQ and hence will be transported to the Regimental HQ.’ I read the sentence again but failed to find any fault with it. Actually owing to the precipitation of sudden events one by one, I was sort of stupefied, sort of under a trance. He smiled again, and said, “If I am permitted, can I add a ‘T’ before ‘hence’, because only then, the meaning of the sentence holds good.” I agreed immediately and without even turning the file, back towards him, he added the ‘t’ in the designated place. It now read as ‘All PoWs will be accepted at the Battalion HQ and thence will be transported to the Regimental HQ.’ I recalled that captain Shaukat Ali was a student of English literature before he had joined the army and was in the habit of using classical language.

“Major, I have gone through all the clauses of the instrument of surrender, and I abide by all of them. With immediate effect, according to the orders of my headquarters, all of the 137 jawans and officers under me shall surrender their arms and withhold any further military actions.” Major Rawat, stated this in a very slow but deliberate manner, as if he was have trouble breathing. Then he stopped to look at me. It was becoming increasingly difficult for me to keep a straight face as all the upheavals occurring for the past few days had played havoc with my psyche and my emotions.

It was May 1944, men of INA special groups had entered Manipur India, together with Japanese forces in the middle of March 1944. Colonel Malik of the Bahadur Group hoisted the Indian flag for the first time on Indian soil at Moirang near Imphal. The spirit was very high and upbeat for both the Japanese soldiers as well as the INA after the Burma victory. Some 7000 men from the INA’s First Division participated alongside the Japanese troops in the Battle of Manipur. What was happening in Imphal was of immense importance to the INA as well as to Netaji as this would prove to the world that they were not merely paper tigers. Setting foot in India and gaining a strong foothold here was after all what the Indian National Army lived and died for. This was its raison d’^etre, the excuse for its very existence in the first place. The 2nd and 3rd battalions of the Subhash Brigade, commanded by Lieutenant Colonel Shah Nawaz Khan had made considerable progress and the mood was extremely buoyant in the INA camps.

The Allied forces were facing a number of disadvantages. The area was too hilly for airstrips and the wounded could not be evacuated. The wounded were carried in trucks lined with parachutes from supply droppings. The handful of doctors did the best they could, but it was obviously not enough for the multitude of casualties thronging their tents everyday. The 3rd Battalion of the Subhash Brigade had crossed the Manipur river, south of Tiddim and with the element of surprise to their advantage had achieved some degree of success. I was commanding the 2nd Battalion of the 14th Punjab Regiment and received RAF report of a new bridge near Tiddim. I now realized the scale of the Japanese threat on the Tiddim Road. During the night, as per orders from the HQ, I asked troops to move along the Tiddim Road at 0530. My plan was for a small force to climb the ridge in order to guard the right flank. That night it rained heavily, and under the cover of the rain we moved forward at dawn. We inched our way slowly into the designated territory and finally at 1100 hours, I ordered a blitz attack which proved to be an immediate success. Their whole position was overrun leaving 38 dead and 67 injured.

Major Rawat, CO of the 3rd Battalion of the Subhash Brigade, spoke to me again and broke my chain of thoughts. He bent forward and in an almost apologetic voice now, said, “a number of my boys are seriously injured, Major, and we are totally lacking in medical facilities, and although we have a doctor in the Battalion, he is totally helpless without medical supplies. I would be indeed grateful, if you could arrange for their treatment.” I assured him that a doctor carrying medical supplies will attend to the injured at the field itself and those who could move would be carried up here. Major Rawat seemed to be at peace now. He now thanked me and nudged his head towards the file and asked “where do I have to sign?.  I explained to him that we both needed to sign along with our adjutants as witnesses.
Major Rawat called out softly “Lieutenant Rao, please come in” . Similarly, I called in Captain Shaukat Ali, my adjutant. He then proceeded to sign at the assigned place, then after a momentary thought,  he halted for a moment deliberately, and then added the date, time and place, below his signature. This procedure was followed by me and then both the adjutants one by one. Major Rawat then took out his pistol from his holster, placed it in front of me on the table and stood in attention. Then he saluted me and said, as if he was reading out from a book.

 “I, Major Vijay Rawat, Commanding Officer of the 3rd Battalion, of the Subhash Brigade of the Indian National Army along with 137 jawans and officers am surrendering my arms and announcing ceasefire from my side.” He then looked towards me for a reply. There was a lump in my throat and I was unable to speak for some time. I saluted him back and replied. “Major, by the powers invested in me as the Commanding Officer of the 2nd Battalion, 14th Punjab Regiment of the Indian Army, I accept the surrender of arms of Major Vijay Rawat as well as those of his officers and men of the 3rd Battalion of the Subhash Brigade of The INA and accept him along with his men as PoWs.”

Everything stood still for a moment. The air was heavy with a pregnant silence. I noticed that tears were flowing freely down the young Lieutenant ‘s face, his lips were quivering, however, not a single line moved in Major Rawat’s impassive face as he stood in attention. I was now on the point of breakdown. I was thinking to myself, “Will he not utter a single word?, will he not command me to join him and his forces in his fight against the British?” I kept saying to myself, if he even hints at such a proposition now, I would jump at it in agreement, happily. “Will he just leave his pistol with his self respect and simply leave? What was in a uniform? How could just the name of two different armies, separate us?  “The tricoloured insignia in the tattered uniform of Major Rawat, was blinding my eyes. A tiger was jumping out from the tricolor. My uniform held the insignia of the British Crown. “If he changed his decision now, would I be able to fight him back now, hold arms against him?” I was shivering like a reed as he was walking out of my sight. My only brother, Major Vijay Rawat was walking further and further away from me, Major Sanjay Rawat, CO of the 2nd Battalion, 14th Punjab Regiment.  I had not seen him in the last 5 years, nor heard of his whereabouts. But the memories of childhood and youth and the bondages that blood brings about silently kept calling out to him to return. He was my blood, my kin, somebody I had loved and idolised to the core.

“Six, five, four, three…I was muttering, as he lifted the corner of the flap of the canvas, that served as a doorway to the tent. He bent his tall and lean frame, so as to move out through the short tent opening, all the while, never turning back even once. And then, he was gone, perhaps forever.

Year 1970, Spring time. The Moirang War Cemetry was sprinkled with flowers. Lush green grasses separated each immaculately maintained white tomb stones from one another. I had come visiting with my family. I now led the retired leisurely life of an ex army personnel of the Indian Army who had been honoured and decorated many times over. As I stood before the epitaph, that read, “When you go home, tell them of us, and say, that, for their tomorrow, we gave our today” I saluted Major Vijay Rawat, who had remained true to his ideals all his life and proceeded on trudging down the slope towards my hotel.



Monday, October 26, 2015

āĻ–াāĻŦাāϰেāϰ āĻ“āĻĒাāϰে

āĻ•ে āϝেāύ āĻāĻ•āĻŦাāϰ āϏ্āĻ•āϟāϞ্āϝাāύ্āĻĄ āύি⧟ে āĻŦāĻĄ্āĻĄ āĻĻুঃāĻ– āĻ•āϰে āĻŦāϞেāĻ›িāϞ, āĻ“āχ āϟুāĻ•ু āĻāĻ•āϟা āĻĻেāĻļ, āĻ াāĻŖ্āĻĄা āϤে āϰāĻ•্āϤ āĻšিāĻŽ āĻšā§Ÿে āϝা⧟, āĻ­িāϜে āϏ্āϝাঁāϤāϏ্āϝাঁāϤে, āϜāϘāύ্āϝ āφāĻŦāĻšাāĻ“ā§Ÿা āĻ•িāύ্āϤু, āĻĒ্āϰāĻ•ৃāϤি āϝেāύ āϏেāχ āĻ–েāĻĻ āĻŽেāϟাāϤেāχ, āĻ…āĻ•ৃāĻĒāĻŖ āĻ­াāĻŦে āĻĒিāĻĒে āĻ­āϰে āĻ­āϰে, āϏেāϰাāϰ āϏেāϰা āϏুāϧা āϰেāĻ–ে āĻĻি⧟েāĻ›েāύ āĻ“āχ āϏ্āĻ•āϚāĻ—ুāϞোāϰ āĻ­াঁ⧜াāϰে āĻĨু⧜ি āϏেāϞাāϰ āĻ। āϤāĻŦে āĻ•িāύা āĻļুāϧু āϏ্āĻ•āϚ āϰা āύ⧟, āĻāĻ• āĻĢাāϞি āϏāĻŽুāĻĻ্āϰ āĻĄিāĻ™āϞেāχ āφāχāϰিāĻļ āϰাāĻ“ āĻšুāχāϏ্āĻ•ি āϤৈāϰি āϤে āĻ“āϏ্āϤাāĻĻ। āĻāχ āϏ্āĻ•āϚ āφāϰ āφāχāϰিāĻļ āϰা āϝāĻ–āύ āϏāĻĒ্āϤāĻĻāĻļ āĻļāϤāĻ•ে āϏাāĻ—āϰ āĻĒেāϰি⧟ে āĻĒা āϰাāĻ–āϞ āφāĻŽেāϰিāĻ•া āĻŽāĻšাāĻĻেāĻļেāϰ āĻ­ূāĻ–āĻŖ্āĻĄে, āϤāĻ–āύ āĻŦাāĻ›াāϧāύেāϰা āĻĒ⧜āϞ āĻŽāĻšা āĻĢাঁāĻĒāϰে। āϤাāϰা āĻĒাāύ āĻ•āϰে āĻ•ি? āĻāĻ–াāύে āϤো āϤাāĻĻেāϰ āĻĻেāĻļেāϰ āĻŽāϤ āĻŦাāϰ্āϞিāϰ āϚাāώ āĻšā§Ÿāύা, āφāϰ āύা āĻĒাāĻ“ā§Ÿা āϝা⧟ āĻĒিāϟ

āĻĒাāĻ āĻ• āĻ•ুāϞ āϝāĻĻি āĻ…āύুāĻŽāϤি āĻ•āϰেāύ āϤাāĻšāϞে āĻŽূāϞ āĻ—āϤিāĻĒāĻĨ āĻĨেāĻ•ে āĻāĻ•āϟু āĻ­িāύ্āύāĻŽুāĻ–ী āĻšāĻŦো। āϤাāϰ āĻ•াāϰāĻŖ āĻšুāχāϏ্āĻ•িāĻĒুāϰাāĻŖ āĻ•āĻĨা āĻ…āĻŽৃāϤāϏāĻŽাāύ, āφāϰ āĻĒুāϰাāĻŖেāϰ āĻ•āĻĨা āĻŦāϞāϤে āĻ—েāϞে āφāĻĻি āĻĒāϰ্āĻŦ āĻĨেāĻ•ে āĻļুāϰু āĻ•āϰāϤেāχ āĻšā§Ÿ। āĻāĻ–āύ āĻĒ্āϰāĻļ্āύ āĻšোāϞ āϝে āĻāχ āĻĒিāϟ āĻŦāϏ্āϤুāϟি āĻ•ি, āĻāĻŦং āĻšুāχāϏ্āĻ•ি āϤৈāϰি āĻĒāĻĻ্āϧāϤিāϤে āĻāϟা āĻāϤ āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻ•েāύ? āĻĒিāϟ, āφāĻĻ্āϰ āϏ্āĻĨাāύে āĻŦে⧜ে āĻ“āĻ া āĻ—াāĻ›āĻĒাāϞা, āĻ—ুāϞ্āĻŽāϞāϤা, āĻļ্āϝাāĻ“āϞাāϰ āφংāĻļিāĻ• āĻĒāϚāύ āĻĒ্āϰāĻ•্āϰি⧟া⧟ āĻ‰ā§ŽāĻĒāύ্āύ āĻ•ā§ŸāϞাāϰ āĻĒ্āϰাāĻĨāĻŽিāĻ• āĻĒāϰ্āϝা⧟। āĻļুāώ্āĻ• āĻ…āĻŦāϏ্āĻĨা⧟ āĻāϟি āĻ…āĻŦাāϧে āϜ্āĻŦāϞে। āĻāχ āĻĒিāϟেāϰ āϧোঁ⧟া āϤে āĻļুāĻ•াāύো āĻšā§Ÿ āφāϧা āĻ…āĻ™্āĻ•ুāϰিāϤ āĻŦাāϰ্āϞি। āĻāχ āϧোঁ⧟াāϰ āφāϞāĻ—া āĻ—āύ্āϧ āĻšুāχāϏ্āĻ•ি āϤে āϞেāĻ—ে āĻĨাāĻ•ে। āĻāχ āĻšুāχāϏ্āĻ•ি āϏāĻŦ āύিāϜ āύিāϜ āĻŦিāĻļিāώ্āϟ āϏ্āĻŦাāĻĻে āϏ্āĻŦāĻŽāĻšিāĻŽা⧟ āĻŦিāϰাāϜāĻŽাāύ। āĻāĻŦাāϰ āϤাāĻšāϞে āĻŦোāĻা āĻ—েāϞ āϝে āϏ্āĻ•āϚ āĻāĻŦং āφāχāϰিāĻļ āϰা āĻŦাāϰ্āϞি āĻāĻŦং āĻĒিāϟ āύা āĻĒে⧟ে āĻ•ি āĻĒāϰিāĻŽাāĻŖ āφāϤাāύ্āϤāϰে āĻĒāϰেāĻ›িāϞāĻāϰ āĻĒāϰে ‘āĻŽā§œাāϰ āĻ“āĻĒāϰ āĻ–া⧜াāϰ āϘা’ āĻāϰ āĻŽāϤāύ, āφāĻŽেāϰিāĻ•া āĻ­ূāĻ–āĻŖ্āĻĄেāϰ āφāĻŦāĻšাāĻ“ā§Ÿা āĻāĻŦং āϜāϞ, āϏ্āĻŦাāĻĻ-āĻ—āύ্āϧ āϏāĻŽāϏ্āϤ āφāϞাāĻĻা। āĻ•িāύ্āϤু āĻāχ āĻšুāχāϏ্āĻ•ি āϰāϏে āϝে āĻŽāϜেāĻ›ে, āϤাāϰ āĻĒāĻ•্āώে, āĻāϰ āĻĨেāĻ•ে āύিāϜেāĻ•ে āĻŦāĻž্āϚিāϤ āϰাāĻ–া āĻŦ⧜āχ āĻ•āĻ িāύ। āχংāϰেāϜি āϤে āĻāĻ•āϟা āĻ•āĻĨা āφāĻ›ে āύা, ‘Necessity is the mother of all inventions’ āĻ…āϰ্āĻĨাā§Ž, āĻĒ্āϰ⧟োāϜāύ āĻĒ⧜āϞে āĻ িāĻ•āχ āϰাāϏ্āϤা āĻŦেāϰো⧟। āĻŽাāĻĨা āϟাāĻĨা āϚুāϞāĻ•ি⧟ে āφāĻļāĻĒাāĻļ āϟা āĻĒāϰ্āϝāĻŦেāĻ•্āώāĻŖ āĻ•āϰে āϤাāϰা āĻĻেāĻ–āϞ āϝে āφāĻŽেāϰিāĻ•াāύ āύেāϟিāĻ­ āϰা āϜāĻŦ, āĻŦাāϰ্āϞিāϰ āϚাāώ āύা āϜাāύāϞেāĻ“, āĻ­ুāϟ্āϟাāϰ āϚাāώ āĻ•āϰে āĻĒ্āϰāϚুāϰ āĻĒāϰিāĻŽাāĻŖেāϤাāχ āĻ…āĻ—āϤ্āϝা āĻ­ুāϟ্āϟা āĻĻি⧟েāχ āĻšুāχāϏ্āĻ•ি āϤৈāϰিāϰ āϚেāώ্āϟা āĻ•āϰা āĻšোāϞ, āĻāĻŦং āĻ•ি āφāĻļ্āϚāϰ্āϝ, āϤৈāϰি āĻšāϞ āφāϰ āĻāĻ• āĻŦিāĻļ্āĻŦāϜ⧟ী āĻĒাāύী⧟। āĻāϟিāĻ“ āĻšুāχāϏ্āĻ•ি āĻŦāϟে, āĻ•িāύ্āϤু āĻāϰ āϏ্āĻŦāĻ­াāĻŦāϚāϰিāϤ্āϰāĻ“, āϏাāĻ•িāύ āϏāĻŦāχ āφāĻŽেāϰিāĻ•াāύ। āύাāĻŽ āĻĻেāĻ“ā§Ÿা āĻšāϞ āĻŦুāϰāĻŦ্āϝঁ। āφāϜāĻ•েāϰ āϜ্āϝাāĻ• āĻĄ্āϝাāύি⧟াāϞāϏ, āϜিāĻŽ āĻŦিāĻŽ, āĻāχ āĻŦুāϰāĻŦ্āϝঁāϰ āĻŽুāĻ•ুāϟেāϰ āĻāĻ• āĻāĻ•āϟি āĻĒাāϞāĻ•। āĻ āϤো āĻ—েāϞ āϏাāĻšেāĻŦāĻĻেāϰ āĻ­িāύ āĻĻেāĻļে āύিāϜেāĻĻেāϰ āĻĻেāĻļী⧟ āϰāϏāĻĻেāϰ āϜোāĻ—াāϰāϝāύ্āϤ্āϰেāϰ āĻ—āĻĒ্āĻĒ ।

āχāϤিāĻŽāϧ্āϝে, āĻĻāϞে āĻĻāϞে āĻŦāĻ™্āĻ—āĻĒুāĻ™্āĻ—āĻŦেāϰা, āĻŽাāϰ্āĻ•িāύ āĻŽুāϞুāĻ•েāϰ immigration āĻāϰ āĻ•āĻ োāϰ āύি⧟āĻŽেāϰ āĻĢাঁāĻ• āĻ—āϞে, āϏ্āĻŦāϰ্āĻŖাāϞী āĻ­āĻŦিāώ্āĻ¯ā§Ž āĻāϰ āĻšাāϤāĻ›াāύিāϰ āĻĄাāĻ•ে āϏা⧜া āĻĻি⧟ে āϏু⧜ুāϤ āĻ•āϰে āĻĸুāĻ•ে āĻĒ⧜েāĻ›ে, the land of great opportunities āĻ। āĻ•িāύ্āϤু āĻĒ্āϰāĻļ্āύ āĻšāϞ, āϝে āϤাāϰা āĻ•ি āĻ“āĻ–াāύে āĻĒৌঁāĻ›ে āϤাāĻĻেāϰ āĻĻেāĻļেāϰ āĻļুāĻ•্āϤো, āĻ›্āϝাঁāϚ⧜া, āϞাāω āϘāĻŖ্āϟ, āĻ•োāĻĒ্āϤা, āĻ•াāϞি⧟া, āχāϞিāĻļ, āĻĒাঁāĻ াāϰ āĻŽাংāϏāĻ“, āϚিং⧜িāϰ āĻŽাāϞাāχāĻ•াāϰি, āĻĒোāϞাāĻ“, āĻĻāχ āĻŽিāώ্āϟি āĻ•ে āĻāĻ•েāĻŦাāϰে, āĻ­ুāϞে āĻŽেāϰে āĻĻিāϞো? āϤাāχ āĻ•ি āĻ•āĻ–āύ āϏāĻŽ্āĻ­āĻŦ? āφāϰ āĻ িāĻ• āϏ্āĻ•āϚ āφāϰ āφāχāϰিāĻļ āĻĻেāϰ āĻŽāϤāχ, āφāĻŽাāĻĻেāϰ ‘Made in India’ āϏাāĻšেāĻŦ āϏুāĻŦো āϰা, āϏেāχ āĻŽাāϰ্āĻ•িāύ āĻĻেāĻļেāϰ āϏāĻšāϜে āϞāĻ­্āϝ āϰāϏāĻĻ, āϝেāĻŽāύ, āϝুāĻ•িāύি āφāϰ āφāϰ্āϟিāϚোāĻ• āĻ•ে āĻ•ি, āĻļুāĻ•্āϤুāύি āϤে āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰāϤে āĻļুāϰু āĻ•āϰāϞো? āĻ…āĻĨāĻŦা, āĻ–িāϚুāϰি āϤে āĻ•ি āϤাāϰা āĻŦ্āϰāĻ•োāϞি āĻĻে⧟? āϰāĻŦিāĻŦাāϰে āĻ•ি āĻĒাঁāĻ াāϰ āĻŦāĻĻāϞে āϟাāϰ্āĻ•িāϰ āĻোāϞ āĻ–া⧟? āφāĻŽেāϰিāĻ•া āĻāĻŦং āφāĻŽেāϰিāĻ•া āĻĒ্āϰāĻŦাāϏী āĻŦাāĻ™াāϞিāĻĻেāϰ āύি⧟ে āĻ—āϤ āĻĒāĻž্āϚাāĻļ āĻŦāĻ›āϰে āϝāϤ āϞেāĻ–াāϞেāĻ–ি āĻšā§ŸেāĻ›ে, āϤāϤāϟা āĻŦোāϧāĻšā§Ÿ āφāĻĒāύ āĻŦāĻ™্āĻ—āĻ­ূāĻŽি āύি⧟েāĻ“ āĻšā§Ÿāύি। āϤāĻŦু āϝāϤāχ āĻŦāχ āĻĒ⧜ি āύা āĻ•েāύ, āĻ•িāĻ›ু āĻ•িāĻ›ু āϜিāύিāώ āφāĻ›ে āϝেāĻ—ুāϞো, āĻ“āĻ–াāύে āĻ—ি⧟ে āύা āĻĒ⧜āϞে, āύিāϜেāϰ āϚোāĻ–ে āύা āĻĻেāĻ–āϞে, āύিāϜেāϰ āϜিāĻ­ে āφāϏ্āĻŦাāĻĻ āύা āύিāϞে, āĻŦোāĻা āĻĻা⧟। 

āĻāĻ• āĻĒāϰিāϚিāϤāϰ āĻ•াāĻ›ে āĻļুāύāϞাāĻŽ, āϏাāύāĻĢ্āϰাāύ্āϏিāϏ্āĻ•ো āϤে āϤাāϰ āĻŽেāϟে āϚāϚ্āϚ⧜ি āĻ–েāϤে āχāϚ্āĻ›ে āĻšāĻ“ā§Ÿা āϤে, āϤিāύি, āĻĢ্āϰাāĻ™্āĻ•āĻĢুāϰ্āϟাāϰ āϏāϏেāϜ āĻ•ে āϟুāĻ•āϰো āϟুāĻ•āϰো āĻ•āϰে āĻ•েāϟে āϚāϚ্āϚ⧜ি āĻ•āϰেāĻ›িāϞেāύ āĻ•াāϰāĻŖ āĻ…āύেāĻ• āĻ–ুঁāϜেāĻ“ āĻĒাঁāĻ াāϰ āĻŽেāϟে āĻĒাāύāύি। āĻĢ্āϰাāĻ™্āĻ•āĻĢুāϰ্āϟাāϰ āϏāϏেāϜ āĻ…āϤি āωāϤ্āϤāĻŽ āĻāĻ• āĻ–াāĻĻ্āϝāĻŦāϏ্āϤু, āĻ•িāύ্āϤু āϤাāϰ āύিāϜāϏ্āĻŦ āϏ্āĻŦাāĻĻ āĻ—āύ্āϧ āφāĻ›ে, āĻāĻŦং āϏেāχ āϏ্āĻŦাāĻĻ āĻ—āύ্āϧ, āĻāĻ•েāĻŦাāϰেāχ āĻĒাঁāĻ াāϰ āĻŽেāϟেāϰ āϏ্āĻŦাāĻĻ āĻ—āύ্āϧেāϰ āϧাāϰ āĻ•াāĻ› āĻĻি⧟েāĻ“ āϝা⧟āύা। āϤাāϰ āĻĒāϰ āϜিāϰে āϧāύে āĻ—āϰāĻŽ āĻŽāĻļāϞাāϰ āĻ—āύ্āϧāĻ“, āϏāϏেāϜ āĻāϰ āĻ—āύ্āϧেāϰ āϏāĻ™্āĻ—ে āϤেāϞ-āϜāϞেāϰ āĻŽāϤ āĻŽাāϰাāĻŽাāϰি āĻ•āϰāϤে āĻĒাāϰে, āϤাāχ, āϤিāύি āϏেāĻ—ুāϞোāĻ“ āĻŦাāĻĻ āĻ—েāϞো। āϤাāϰ āĻŦāĻĻāϞে, āϤাāϰ āĻŽāϧ্āϝে āĻĒ⧜āϞ, āϞাāϞ āĻ“ā§Ÿাāχāύেāϰ āĻĨেāĻ•ে āϤৈāϰি āĻ­িāύিāĻ—াāϰ, āĻĻু āϚাāĻŽāϚ, āĻ—োāϞāĻŽāϰিāϚ, āĻŦেāĻļি āĻ•āϰে āϞাāϞ āϞāĻ™্āĻ•া, āφāĻĻা āφāϰ āϰāϏুāύ। āĻĒ⧜āϞ, āϟāĻŽেāϟো āφāϰ āĻ•িāĻ›ু āĻŽেāĻĨি āĻĒাāϤা। āϏāϏেāϜ āĻ—ুāϞো āϟুāĻ•āϰো āĻ•āϰে āĻ•েāϟে āĻšাāϞ্āĻ•া āĻ­েāϜে āύেāĻ“ā§Ÿা āĻšāϞ, āϏāϰ্āώেāϰ āϤেāϞ āĻāϰ āĻŦāĻĻāϞে āϏাāĻĻা āϤেāϞে, āĻĒ⧜āϞ, āĻ•িāĻž্āϚিāϤ āĻŽাāĻ–āύ। āĻĢāϞে āϝে āĻŦāϏ্āϤু āϟি āĻĒ্āϰāϏ্āϤুāϤ āĻšāϞ, āϏেāϟি āĻ…āϤীāĻŦ āωāĻĒাāĻĻে⧟āĻ“, āĻ…āĻĨāϚ āĻĻেāĻ–ুāύ, āϏāϏেāϜ āφāϰ āϞাāϞ āĻ“ā§Ÿাāχāύ āĻŦাāĻĻে āĻŦাāĻ•ি āϜিāύিāώāĻ—ুāϞো āĻ•িāύ্āϤু āώোāϞ āφāύা āĻĻিāĻļি। āĻāĻ–াāύেāĻ“ āϏেāχ āĻĢিāωāĻļāύ āĻāϰ āϜ⧟āϜ⧟āĻ•াāϰ।

āφāĻŽেāϰিāĻ•াāϰ āϟেāĻ•্āϏাāϏ āϰাāϜ্āϝে āĻšিāωāϏ্āϟāύ āĻļāĻšāϰāϟি āϝেāĻŽāύ āύাāϏা āϰ āϜāύāϏāύ āϏ্āĻĒেāϏ āϏেāύ্āϟাāϰ āĻāϰ āϜāύ্āϝে āĻŦিāĻ–্āϝাāϤ, āϤেāĻŽāύি āϏে āĻ–্āϝাāϤ, āφāĻŽেāϰিāĻ•াāϰ āϏāĻŦ āĻļāĻšāϰ āĻ—ুāϞিāϰ āĻŽāϧ্āϝে āϏāĻŦāϚে⧟ে āĻŦেāĻļি āĻŦাāĻ™াāϞি āĻ…āϧ্āϝুāώিāϤ āĻŦāϞে। āĻ—ুāϜāϰাāϤি āĻĻেāϰ āϏ্āĻŦাāĻŽী āύাāϰা⧟āĻŖ āĻŽāύ্āĻĻিāϰ āφāĻŽেāϰিāĻ•াāϰ āĻŦেāĻļ āĻ•ā§ŸেāĻ•āϟি āĻļāĻšāϰে āĻĻেāĻ–া āĻ—েāϞেāĻ“, āĻŦাāĻ™াāϞিāĻĻেāϰ āĻĻুāϰ্āĻ—া āĻŦা⧜ি āĻ•িāύ্āϤু āĻāĻ•āĻŽাāϤ্āϰ āĻāχ āĻšিāωāϏ্āϟāύ āĻļāĻšāϰāĻ•েāχ āφāϞোāĻ•িāϤ āĻ•āϰে āφāĻ›ে। āĻāχ āĻļāĻšāϰে āφāĻŽাāϰ āĻ­াāχ āĻāϰ āĻŦা⧜ি āĻĨাāĻ•াāϰ āϏুāĻŦাāĻĻে āĻāχ āĻļāĻšāϰেāϰ āφāĻŽেāϰিāĻ•াāύ-āĻŦাāĻ™্āĻ—াāϞি⧟াāύাāϰ āĻĢিāωāĻļāύেāϰ āϏāϤ্āϤা āϟা āĻ•ে āĻ…āϞ্āĻĒ āĻšāϞেāĻ“ āωāĻĒāϞāĻŦ্āϧি āĻ•āϰāϤে āĻĒেāϰেāĻ›ি। āϰাāϤে āĻ•āώা āĻŽুāϰāĻ—িāϰ āĻŽাংāϏেāϰ āϏাāĻĨে āĻ—āϰāĻŽ āĻ—āϰāĻŽ āĻŽুāϚāĻŽুāϚে āĻŦাāĻĻাāĻŽি āĻĒāϰāϟা āĻ–ে⧟েāĻ›িāĻāχ āĻĒāϰāϟা āĻ—ুāϞো āĻ•িāύ্āϤু āĻŽাāϞ⧟েāĻļি⧟াāύ āĻĻোāĻ•াāύ āĻĨেāĻ•ে āĻ•েāύা, āĻāĻ•āϟা āĻĒ্āϝাāĻ•েāϟ āĻ āĻ—োāϟা āĻĻāĻļেāĻ• āĻ•াঁāϚা āĻĒāϰāϟা āĻĒাāĻ“ā§Ÿা āϝা⧟, āϤাāĻ“ā§Ÿা āϤে āĻāĻ•āϟু āωāϞāϟে āĻĒাāϞāϟে āύিāϞেāχ āĻšāϞ।

āφāĻ­োāĻ•াāĻĄো āĻ–ে⧟েāĻ›িāϞাāĻŽ āĻĒ্āϰāĻĨāĻŽ āĻŦাāϰ āĻāĻ•āϟি āϰেāϏ্āϤāϰাঁ āϤে, āύাāĻŽ āϰাāĻ—āϞāϏ। āĻ…āĻ–াāĻĻ্āϝ āϞেāĻ—েāĻ›িāϞ āĻŽেāĻ•্āϏিāĻ•ো āĻĨেāĻ•ে āφāĻ—āϤ, āĻĢāϞ āφāϰ āϏāĻŦāϜিāϰ āĻŽাāĻাāĻŽাāĻি āĻŦāϏ্āϤুāϟি āĻ•ে। āĻāϟিāĻ•ে āĻĻেāĻ–āϤে āĻ•াঁāϚা āφāĻŽ āφāϰ āĻ•িāĻ›ুāϟা āĻ—āύ্āϧāϰাāϜ āϞেāĻŦুāϰ āĻŽাāĻাāĻŽাāĻি āĻāĻ•āϟা āĻĢāϞেāϰ āĻŽāϤ, āĻŽাāĻে āĻāĻ•āϟা āĻŦ⧜āϏ⧜ āĻŦীāϜ, āϝাāϰ āϚাāϰāĻĒাāĻļে āύāϰāĻŽ āĻļাāϏ, āϝাāϰ āϏ্āĻŦাāĻĻ āĻŦāϞāϤে āύা āϟāĻ•, āύা āĻŽিāώ্āϟি, āύা āĻাāϞ, āĻŦাংāϞা āĻ•āĻĨা⧟ āĻĒাāύāϏে āĻāĻ•āϟা āϏ্āĻŦাāĻĻ āĻ•িāύ্āϤু āĻĒুāϰো āφāĻŽেāϰিāĻ•া āϤে āĻāϟি āĻ•ে āύি⧟ে āĻ–ুāĻŦ āĻŽাāϤাāĻŽাāϤি। āφāĻŽাāϰ āĻĒাāĻļে āĻŦāϏে, āφāĻŽাāϰ āĻ­াāχ āĻĻেāĻ–āϞাāĻŽ āĻĒāϰāĻŽ āϤৃāĻĒ্āϤিāϰ āϏাāĻĨে āĻ“āχ āφāĻ­োāĻ•াāĻĄো āϏ্āϝাāϞাāĻĄ, āϝাāϰ āĻŽāϧ্āϝে āφāϰ āύাāύাāύ āϧāϰāύেāϰ āϘাāϏ āĻĒাāϤাāĻ“ āϰ⧟েāĻ›ে, āĻ—āϞঃāϧāϰāύ āĻ•āϰāĻ›ে। āĻĒāϰে āĻ…āύেāĻ• āϧৈāϰ্āϝ āϏāĻšāĻ•াāϰে āφāĻŽাāĻ•ে āĻŦোāĻাāϞ āϝে āĻĒ্āϰāĻĨāĻŽ āĻĒ্āϰāĻĨāĻŽ āĻ“āχ āĻĻেāĻļে āĻ—ি⧟ে āĻ“āϰāĻ“ āĻ“āχ āĻĒ্āϞেāϟ āĻ­āϰ্āϤি āϘাāϏ āĻĒাāϤা āĻĻেāĻ–āϞেāχ āύাāĻ•ি āĻŽāύে āĻšāϤ āϝে āφāĻļেāĻĒাāĻļে āĻোāĻĒāĻা⧜ āĻĨেāĻ•ে āĻ•েāω āĻ›িঁ⧜ে āĻ“āϰ āĻĒ্āϞেāϟ āĻ­āϰ্āϤি āĻ•āϰেāĻ›ে, āĻĒāϰে āĻĒāϰে āĻ“āϰ āύাāĻ•ি, āĻāϟাāϤেāχ āĻ…āĻ­্āϝাāϏ āĻšā§Ÿে āϝা⧟, āĻāĻŦং āĻāϰāĻ“ āĻĒāϰে āĻ“āϰ āĻāϏāĻŦ āĻ­াāϞো āϞাāĻ—āϤে āĻļুāϰু āĻ•āϰে। āĻāχ āĻŦ্āϝাāĻĒাāϰāϟা āĻ•ে āύাāĻ•ি āĻŦāϞে acquired taste, āĻāĻŦং  āφāĻŽি āĻ•িāĻ›ুāĻĻিāύ āĻĨাāĻ•āϞে āύাāĻ•ি āφāĻŽাāϰāĻ“ āĻ­াāϞো āϞাāĻ—āϤে āĻļুāϰু āĻ•āϰāĻŦে। āĻŽিāĻĨ্āϝে āĻŦāϞāĻŦ āύা, āĻĒāϰে āĻĒāϰে āĻāχ āφāĻ­োāĻ•াāĻĄো āϰ āĻĒুāϰ āĻĻি⧟ে āĻĒāϰāϟা āĻ–েāϤে āĻŽāύ্āĻĻ āϞাāĻ—েāύি। āĻāχ āϰাāĻ—āϞāϏেāχ āĻ•িāύ্āϤু āĻ–ে⧟েāĻ›িāϞাāĻŽ 'āϟāĻŽেāϟো - āĻŦেāϏিāϞ' āϏুāĻĒ। āϝে āĻĻুāϟো āωāĻĒāĻ•āϰāĻŖ āĻĻি⧟ে āĻĒāĻĻ āϟি āĻŦাāύাāύো, āĻŽাāύে, āϟāĻŽেāϟো āĻāĻŦং āϤুāϞāϏী āĻĒাāϤা, āĻāχ āĻĻুāϟোāχ āφāĻŽাāĻĻেāϰ āĻĻেāĻļে āĻ–ুāĻŦāχ āϏāĻšāϜে āĻĒাāĻ“ā§Ÿা āϝা⧟, āĻŦāϰং āϤুāϞāϏী āĻ“āχ āĻĻেāĻļেāχ āĻŦেāĻļ āĻĻুāώ্āĻĒ্āϰাāĻĒ্āϝ, exotic herbs, āĻŦāϞে āĻŦিāĻĻিāĻ•িāϚ্āĻ›িāϰি āĻāĻ•āϟা āĻĻাāĻŽ āύি⧟েāĻ›িāϞ āĻ“āχ āϏুāĻĒāϟাāϰ, āĻ•িāύ্āϤু āĻ–েāϤে āĻŦেāĻļ āϞেāĻ—েāĻ›িāϞ āφāĻŽাāϰ। āĻŦুāĻāϞাāĻŽ, āϝে āϤুāϞāϏী āύিāϜেāϰ āĻ•ৌāϞীāύ্āϝ āĻŦāϜা⧟ āϰেāĻ–েāĻ›ে āϏāϰ্āĻŦāϤ্āϰ, āĻ•োāĻĨাāĻ“ āύাāϰা⧟āĻŖ āϰূāĻĒে āϤো āĻ•োāĻĨাāĻ“ āφāĻŦাāϰ āĻ­িāύ্āύāĻĻেāĻļী⧟ āωāĻĻ্āĻ­িāĻĻ āĻšিāϏেāĻŦে। 

āĻ­াāϰāϤāĻŦāϰ্āώেāϰ āĻ–াāĻĻ্āϝ āĻĒাāύী⧟āϰ āϝāĻĻি āĻ•োāύ āχāϤিāĻšাāϏ āϰāϚāύা āĻšā§Ÿ, āϤাāĻšāϞে āϏেāĻ–াāύে āϏুāϰা āĻ…āĻĨāĻŦা āĻ•াāϰāύ āĻŦাāϰিāϰ āϜāύ্āϝ āĻāĻ•āϟি āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āϜা⧟āĻ—া āĻĨাāĻ•āĻŦেāχ। āĻ…āĻĨāϚ, āĻĒāĻļ্āϚিāĻŽেāϰ āĻ“ā§Ÿাāχāύ āĻāĻ–াāύে āĻ•োāύāĻĻিāύ āϜা⧟āĻ—া āĻ•āϰে āύিāϤে āĻĒাāϰেāύি। āĻšাāϞে, āύাāϏিāĻ• āĻ āĻ“ā§Ÿাāχāύ āĻļিāϞ্āĻĒেāϰ āĻ•িāĻ›ুāϟা āĻŦা⧜āĻŦা⧜āύ্āϤ āĻšā§ŸেāĻ›ে, āĻ•িāύ্āϤু āĻ“ā§Ÿাāχāύāϟা āĻŽে⧟েāĻĻেāϰ āĻĒাāύী⧟ āĻšিāϏেāĻŦেāχ āĻāĻĻেāĻļে āϚিāĻš্āύিāϤ। āφāĻŽেāϰিāĻ•াāϰ āĻ•্āϝাāϞিāĻĢোāϰ্āύি⧟াāϰ āύাāĻĒা āωāĻĒāϤ্āϝāĻ•া⧟ āĻ—ি⧟ে āϚোāĻ– āϧাঁāϧি⧟ে  āĻ—েāϞো, āĻļুāϧু āϏ্āĻĨাāύāϟিāϰ āϏৌāύ্āĻĻāϰ্āϝেāχ āύ⧟ । āĻšাঁ āĻšā§Ÿে āĻĻেāĻ–āϤে āĻĨাāĻ•āϞাāĻŽ āϝে, āĻŦ্āϝāĻŦāϏা āĻ•āϰāϤে āĻ—ি⧟েāĻ“, āϤাāϤে āĻāĻ•āϟা āφāϞাāĻĻা āĻļৈāϞ্āĻĒিāĻ• āĻŽাāϤ্āϰাāĻ•ে āĻ•ি āĻ­াāĻŦে āĻāϰা āĻŦāϜা⧟ āϰাāĻ–āϤে āĻĒাāϰে। āĻāĻ–াāύে āϝেāĻŽāύ āĻ“ā§Ÿাāχāύ āϟ্āϝুāϰ āύেāĻ“ā§Ÿা āϝা⧟, āĻ“ā§Ÿাāχāύ āϟ্āϰেāύে āĻ•āϰে, āϝেāĻŽāύ āĻšāϰেāĻ• āϰāĻ•āĻŽ āĻ“ā§Ÿাāχāύ āĻāϰ āϏ্āĻŦাāĻĻ āύেāĻ“ā§Ÿা āϝা⧟, āĻŦিāĻ­িāύ্āύ āĻ“ā§Ÿাāχāύাāϰি āϤে āĻŦāϏে, āϤেāĻŽāύি, āύাāϤিāĻļীāϤোāώ্āĻŖ āφāĻŦāĻšাāĻ“ā§Ÿাāϰ āφāύুāĻ•ূāϞ্āϝে āĻāĻ–াāύে āĻŦে⧜ে āĻ“āĻ া āĻŽাāχāϞ āĻāϰ āĻĒāϰ āĻŽাāχāϞ āφāĻ™্āĻ—ুāϰেāϰ āĻ•্āώেāϤ āϚোāĻ–ে āĻļাāύ্āϤিāϰ āĻĒ্āϰāϞেāĻĒ āφঁāĻ•ে।





 
āĻŦিāĻļ্āĻŦāĻ–্āϝাāϤ āĻāχ āĻ“ā§Ÿাāχāύাāϰি āĻ—ুāϞো, āϝেāĻŽāύ āϰāĻŦাāϰ্āϟ āĻŽāύ্āĻĄাāĻ­ি, āĻ­ি āϏাāϤ্āϤুāχ āϤে, āϝেāĻŽāύ 'āĻļাāϰāĻĄāύে', 'āĻĒিāύো  āύাāĻ“ā§Ÿাāϰ', 'āĻŽাāϞāĻŦেāĻ•', 'āĻ•্āϝাāĻŦুāϰ্āύে āϏোāĻ­ীāύ্āϝ' āĻ“ā§Ÿাāχāύ āϏāĻŦ āĻĨāϰে āĻĨāϰে āϏাāϜাāύো āĻĨাāĻ•ে, āϤেāĻŽāύি, āύাāύাāύ āϰāĻ•āĻŽ āϚীāϜ, āĻĢāϞ, āĻšāϰেāĻ• āϰāĻ•āĻŽ āĻŦ্āϰেāĻĄ, āφāϚাāϰ, āĻ…āϞিāĻ­ āĻ…ā§ŸেāϞ āĻāϰ āϏāĻŽ্āĻ­াāϰ āĻ“ āϜিāĻ­ে āϜāϞ āφāύে। āĻāĻ–াāύেāχ āĻĒ্āϰāĻĨāĻŽ āĻ“ā§Ÿাāχāύ, āϚীāϜ āφāϰ āφāĻ™ুāϰ āϏāĻšāϝোāĻ—ে āĻ–ে⧟েāĻ›িāϞাāĻŽ। āϏেāχ āϏ্āĻŦাāĻĻ āφāϜ āĻ“ āĻ­ুāϞিāύি।

āϟেāĻ•্āϏাāϏ āϚিāϞāĻĄ্āϰেāύ'āϏ āĻšাāϏāĻĒাāϤাāϞে āĻļিāĻļু āϚিāĻ•িā§ŽāϏāĻ• āφāĻŽাāϰ āĻ­াāχ āĻāϰ āϏ্āϤ্āϰী। āϏেāχ āĻšাāϏāĻĒাāϤাāϞেāϰ āĻŦ্āϝাāĻĒ্āϤি āĻāĻŦং, āĻ…āϏুāϏ্āĻĨ āĻļিāĻļুāĻĻেāϰ āύি⧟ে āϤাāĻĻেāϰ āϚিāύ্āϤাāĻ­াāĻŦāύা, āĻļুāϧু āĻļāϰীāϰ āĻ িāĻ• āĻ•āϰা āύি⧟েāχ āύা, āĻļিāĻļুāĻĻেāϰ āĻŽāύেāϰ āĻ–িāĻĻে āĻŽেāϟাāύোāϰ āϜāύ্āϝেāĻ“, āĻ•āϤ āϤুāϚ্āĻ› āĻŦ্āϝাāĻĒাāϰ āύি⧟েāĻ“ āϤাāĻĻেāϰ āϏাāĻŽāĻ—্āϰিāĻ• āĻĒ্āϰāϚেāώ্āϟা āφāĻŽাāĻ•ে āĻŽুāĻ—্āϧ āĻ•āϰেāĻ›ে। āϏেāχ āĻ—āĻĒ্āĻĒ āĻ…āύ্āϝ āĻāĻ•āĻĻিāύ, āφāϜ, āĻāĻ–াāύে āĻŦāϞāĻŦ, āϏেāχ āĻšাāϏāĻĒাāϤাāϞেāϰ āĻĻুāϟি āĻŦৃāĻšā§Ž āφāĻ•াāϰেāϰ āĻ•্āϝাāĻĢেāϟেāϰি⧟াāϰ āĻāĻ•āϟি āϤে āĻĻুāĻĒুāϰেāϰ āĻ­োāϜāύāĻĒāϰ্āĻŦেāϰ āĻ•āĻĨা। āĻ•্āϝাāĻĢেāϟেāϰি⧟াāϰ āĻĻুāϟো āĻĻিāĻ•ে āύাāύাāύ āĻĻেāĻļী⧟ āĻ–াāĻŦাāϰ āϏাāϜাāύো। āĻĒ্āϞেāϟ āĻ āϤুāϞে āύিāϞাāĻŽ āĻŽেāĻ•্āϏিāĻ•াāύ  'āĻŦু⧜িāϤো', āĻāĻ•েāĻŦাāϰেāχ āĻĻিāĻļি āĻ–াāĻŦাāϰ āϝেāύ, āϰুāϟি, āĻ­াāϤ, āϏāĻŦāϜি, āϏ্āϝাāϞাāĻĄ, āĻĄাāϞ, āĻŽাংāϏ। āĻāϰ āĻŽāϧ্āϝে āφāĻŦাāϰ, āĻĄাāϞ, āϏāĻŦāϜি, āĻŽাংāϏ, āĻĻুāχ - āϤিāύ āϰāĻ•āĻŽেāϰ āφāĻ›ে, āύিāϜেāϰ āύিāϜেāϰ āĻĒāĻ›āύ্āĻĻ āĻŽāϤ āύি⧟ে āύিāύ āφāϰ āϏāĻŦāϟা āϰুāϟি āϤে āϰোāϞ āĻ•āϰে āĻŽুāĻ–ে āĻĒুāϰে āĻĢেāϞুāύ। āĻĒেāϟ āĻĒুāϰে āϝেāύ āĻŦা⧜িāϰ āĻ–াāĻŦাāϰ āĻ–েāϞাāĻŽ। āĻĻেāĻ–āϞাāĻŽ āĻāĻ• āϜা⧟āĻ—া⧟ āĻ›োāϟ্ āĻ›োāϟ  āĻŽিāύি⧟েāϚাāϰ āĻ—োāϟা āĻŦাঁāϧাāĻ•āĻĒি āϏেāĻĻ্āϧ āĻ•āϰে āϰেāĻ–েāĻ›ে, āĻ“āĻĒāϰে āĻ•ি āϏāĻŦ āĻŽāϏāϞা āĻ›ā§œাāύো। āύাāĻŽ āĻļুāύāϞাāĻŽ, 'āĻŦ্āϰাāϏেāϞ āϏ্āĻĒ্āϰাāωāϟ', āĻ–ে⧟ে āĻĻেāĻ–āϞাāĻŽ, āĻ–ুāĻŦāχ āϏুāϏ্āĻŦাāĻĻু, āĻ…āĻŦিāĻ•āϞ āĻŦাঁāϧাāĻ•āĻĒিāϰ āĻŽāϤ āĻ–েāϤে, āϝāĻĻিāĻ“ āĻŦেāϞāϜি⧟াāĻŽেāϰ āϏাāĻĨে āĻāχ āϏāĻŦāϜিāϟিāϰ āϝোāĻ—াāϝোāĻ— āφāĻĻৌ āφāĻ›ে āĻ•িāύা, āϜাāύা āĻšā§Ÿে āĻ“āĻ েāύি।

āϟেāĻ•্āϏাāϏ āϝেāĻšেāϤু, āĻŽেāĻ•্āϏিāĻ•ো āϞাāĻ—ো⧟া, āĻāĻ–াāύে 'āϟেāĻ•্āϏ - āĻŽেāĻ•্āϏ' āĻ–াāĻŦাāϰেāϰ āϚāϞ āĻ–ুāĻŦ āĻŦেāĻļি। āϟেāĻ•্āϏাāϏ āĻāϰ āϰাāϜāϧাāύী āĻļāĻšāϰ āĻ…āϏ্āϟিāύ āĻ āĻāĻ•āϟি 'āϟেāĻ•্āϏ - āĻŽেāĻ•্āϏ' āϰেāϏ্āϤāϰাঁ 'āϚুāĻĒা āĻ•াāĻŦ্āϰা' āϤে āĻ–ে⧟েāĻ›িāϞাāĻŽ 'āĻŦীāĻĢ - āĻāύāĻ•িāϞাāĻĄা ' āĻĻাāϰুāĻŖ āĻ–েāϤে, āĻ…āύেāĻ•āϟা āĻŽাāϟāύ āĻ­āϰ্āϤাāϰ āĻŽāϤāύ। 

āĻŦীāĻĢ āĻāύāĻ•িāϞাāĻĻা
āϟেāĻ•্āϏাāϏ āĻāϰ āφāϰ āĻāĻ•āϟি āĻļāĻšāϰ, 'āϏাāύ āφāύ্āϟāύিāĻ“' āϤে āφāϰেāĻ•āϟি āĻŽāϜাāϰ āϘāϟāύা āĻŽāύে āĻĒāϰে। āĻāχ āĻļāĻšāϰāϟি āĻāĻ•āĻĻা āĻŽেāĻ•্āϏিāĻ•োāϤেāχ āĻ›িāϞ āĻ•িāύ্āϤু  ā§§ā§Žā§Šā§Ŧ āϏাāϞে, 'āĻŦ্āϝাāϟāϞ āĻ…āĻĢ āϏাāύ āϜাāϏিāĻŖ্āϟো' āϤে, āϟেāĻ•্āϏাāύāϰা,  āĻŽেāĻ•্āϏিāĻ•াāύ āϜেāύাāϰেāϞ āϞোāĻĒেāϜ āĻĄে āϏাāύ্āϟা āφāύাāϰ āĻŦাāĻšিāύী āĻ•ে āĻĒāϰাāϏ্āϤ āĻ•āϰে, āϏেāĻ–াāύেāϰ āĻĻুāϰ্āĻ—, ' āφāϞাāĻŽো āĻŽিāĻļāύ' āĻĻāĻ–āϞ āĻ•āϰে। āϰোāĻŽāĻšāϰ্āώāĻ• āϏেāχ āϝুāĻĻ্āϧেāϰ āĻ—āϞ্āĻĒ āĻ›াāĻĒাāύো, āĻšোāϟেāϞেāϰ āĻŦ্āϰোāĻļাāϰে। āĻāϟāĻĒāϟ āĻŽুāĻ– āĻšাāϤ āϧু⧟ে āύি⧟ে āĻšোāϟেāϞ āĻāϰ āĻĒাāĻļে ' whataburger' āĻ āĻāĻ•āϟা āϚিāĻ•েāύ āĻŦাāϰ্āĻ—াāϰ āĻ—āϞঃāϧāϰāύ  āĻ•āϰে āϰাāϏ্āϤা⧟ āĻŦেāϰি⧟ে āĻĒāϰāϞাāĻŽ āĻāχ āĻŦিāĻ–্āϝাāϤ āφāϞাāĻŽো āĻĻুāϰ্āĻ— āĻĻেāĻ–āϤে। āĻ­াāϰāϤāĻŦāϰ্āώেāϰ āϰাāϜāϏ্āϤাāύ, āĻšা⧟āĻĻ্āϰাāĻŦাāĻĻেāϰ āĻ—োāϞāĻ•āύ্āĻĄা, āĻŦিāϜাāĻĒুāϰ āĻĻুāϰ্āĻ—, āϚোāĻ–েāϰ āϏাāĻŽāύে āĻ­াāϏāϤে āϞাāĻ—āϞ। āϰাāϏ্āϤা⧟ āĻŽাāύুāώāϜāύ āĻ•ে āφāϞাāĻŽো āϜিāϜ্āĻžেāϏ āĻ•āϰāϤেāχ āĻšাāϏি āĻŽুāĻ–ে āϰাāϏ্āϤা āĻĻেāĻ–ি⧟ে āĻĻিāϚ্āĻ›ে। āĻšাঁāϟāϤে āĻšাঁāϟāϤে āĻāĻ•āϟা āĻĒাāĻĨāϰে āĻŦাঁāϧাāύো āϚāϤ্āĻŦāϰে āĻāϏে āĻĻাঁ⧜াāϞাāĻŽ। āĻāĻĻিāĻ• āĻ“āĻĻিāĻ• āϤাāĻ•ি⧟ে, āĻ•িāĻ›ুāχ āĻ াāĻ“āϰ āĻ•āϰāϤে āύা āĻĒেāϰে, āĻāĻ•āϜāύ āĻ•ে āϜিāϜ্āĻžেāϏ āĻ•āϰāϤেāχ āĻ…āĻŦাāĻ• āĻšā§Ÿে āϏাāĻŽāύে āφāĻ™্āĻ—ুāϞ āĻĻি⧟ে āĻĻেāĻ–াāϞ। āϚোāĻ–ে āĻŽুāĻ–ে āĻ­ā§Žāϰ্āϏāύাāϰ āĻ­াāĻŦ āϤাāϰ, āϚোāĻ– āϏāϰু āĻ•āϰে āϤাāĻ•ি⧟ে āφāĻ›ে āφāĻŽাāĻĻেāϰ āĻĻিāĻ•ে, āĻāϤ āĻŦ⧜ āĻĻুāϰ্āĻ— āφāĻŽāϰা āĻĻেāĻ–āϤে āĻĒাāϚ্āĻ›ি āύা āĻŦāϞে । āϭ⧟ āĻĒে⧟ে āĻ—েāϞাāĻŽ, āύিāϜেāϰ āĻĻৃāώ্āϟিāĻļāĻ•্āϤি āϏāĻŽ্āĻĒāϰ্āĻ•ে āϏāύ্āĻĻিāĻšাāύ āĻšā§Ÿে āωāĻ āϞাāĻŽ। āĻĒা⧟ে āĻĒা⧟ে āĻāĻ—ি⧟ে āϝেāϤে āϚোāĻ–ে āĻĒ⧜āϞ āĻĒাāĻĨāϰেāϰ āĻāĻ•āϟা ⧧⧍-ā§§ā§Ē āĻĢুāϟেāϰ āĻĻেāĻ“ā§ŸাāϞ, āϤাāϰ āϏাāĻŽāύে āĻāĻ•āϟা āĻŦ⧜ āϏ⧜ āĻ•াāĻ েāϰ āĻĻāϰāϜা, āϞোāĻšাāϰ āϚাāĻ•āϤি āĻŦāϏাāύো, āϤাāϰ āϏাāĻŽāύে āϞোāĻšাāϰ āĻļিāĻ•āϞেāϰ āϰেāϞিং, āĻĻেāĻ“ā§ŸাāϞেāϰ āĻĒিāĻ›āύে, āĻāĻ•āϟা 

āĻŦিāϏ্āϤেāĻ• āϤ্āϝাāĻ•ো


āĻŦাāĻ—াāύ, āĻ•ā§ŸেāĻ• āϟা āϘāϰ, āχāϤিāωāϤি  āĻ•ā§ŸেāĻ•āϜāύ āĻŽিāϞিāϟাāϰি āϘোāϰাāĻĢেāϰা āĻ•āϰāĻ›ে, āϟেāĻ•্āϏাāύ āĻš্āϝাāϟ āĻĒāϰে। āĻ•াāĻ েāϰ āĻĻāϰāϜাāϰ āĻ“āĻĒāϰ, 'āϏ্āϝাāύ āϜ্āϝাāϏিāύ্āϤāϰ' āϭ⧟āĻ™্āĻ•āϰ āϝুāĻĻ্āϧেāϰ āĻŦিāĻŦāϰāĻŖ, āĻĻেāĻ–āϞাāĻŽ āĻāĻ•āϟা āϧাāϤুāϰ āĻĢāϞāĻ•ে āĻ–োāĻĻাāχ āĻ•āϰা। āĻāϟাāχ āϏেāχ āĻŦিāĻ–্āϝাāϤ 'āφāϞাāĻŽো āĻĻুāϰ্āĻ—'। āϤৃāϤী⧟ āĻŦিāĻļ্āĻŦেāϰ āĻŽাāύুāώ āφāĻŽāϰা, āĻāĻĻেāϰ āĻ•োāύ āĻŦ্āϝাāĻĒাāϰ āύি⧟ে āϤুāϞāύাāĻŽূāϞāĻ• āφāϞোāϚāύা āĻ•āϰা āφāĻŽাāĻĻেāϰ āϏাāϜে āύা। āĻŽāύে āĻĒ⧜āϞ, Texas āĻ āĻāĻ•āϟা āĻŦিāĻĒāĻŖী āϚেāύ āĻāϰ āĻ•āĻĨা ' Here everything is better' ।āĻĻুāϰ্āĻ— āĻĻেāĻ–āĻŦো, āĻāχ āωāϤ্āϤেāϜāύা āϤে āĻ–াāĻ“ā§Ÿা āĻšā§Ÿāύি āĻ­াāϞো āĻ•āϰে, āĻāĻ•āϟু āĻĻুāϰেāχ āĻĻেāĻ–āϞাāĻŽ ' āϞা āĻ—্āϞāϰি⧟া' āĻŦāϞে āĻāĻ•āϟি āĻŽেāĻ•্āϏিāĻ•াāύ āϰেāϏ্āϤāϰাঁ । āĻĻেāĻ–āϞাāĻŽ āϝে, Here everything is big, āϏা⧜ে āĻ› āĻĢুāϟি āĻāĻ• āĻ“ā§Ÿেāϟāϰ, āφāĻŽাāϰ āĻĻু āĻšাāϤে āϜ⧜ি⧟ে āϧāϰāϤে āĻšāĻŦে āĻāĻŽāύ āĻŦিāĻĻāϘুāϟে āϞāĻŽ্āĻŦা āĻ—্āϞাāϏে āϤāϰāĻŽুāϜ āφāϰ āϞেāĻŦুāϰ āϏāϰāĻŦāϤ āĻĸেāϞে āĻĻিāϞো। āĻšাঁ āĻ•āϰে āĻŽেāύু āĻ•াāϰ্āĻĄেāϰ āĻĻিāĻ•ে āϤাāĻ•ি⧟ে āφāĻ›ি, āĻĻেāĻ–ে, āĻŽুāϚāĻ•ি āĻšেāϏে, āϏেāχ āĻ“ā§Ÿেāϟাāϰ āĻĒ্āϰāĻŦāϰ āύিāϜেāϰ āĻĨেāĻ•েāχ ā§Ē āĻĒ্āϞেāϟ āϤ্āϝাāĻ•ো āĻ…āϰ্āĻĄাāϰ āĻĻি⧟ে        

āĻĻিāϞো, āφāĻŽাāĻĻেāϰ āĻšā§Ÿে, āϤাāϰāĻĒāϰ, āĻŦāϞāϞ, āφāĻŽāϰা āĻ—্āϰিāϞ্āĻĄ āĻšাāϞাāĻĒেāύো āĻ–ে⧟ে āĻĻেāĻ–āϤে āϚাāχ āĻ•িāύা? āφāĻŽāϰা āϝে āĻ­াāϰāϤী⧟ āĻāĻŦং āĻāĻ•āĻŽাāϤ্āϰ, āĻ­াāϰāϤী⧟ āφāϰ āĻŽেāĻ•্āϏিāĻ•াāύ āϰাāχ āĻāχ āĻĻুঃāϏাāĻšāϏ āĻĻেāĻ–াāϤে āĻĒাāϰে, āĻāĻŽāύি āϤাāϰ āĻŦিāĻļ্āĻŦাāϏ। āĻ—āϰāĻŦে āĻŦুāĻ• āĻĢুāϞে āωāĻ āϞ āφāĻŽাāϰ, āϏ্āĻŦāĻĻেāĻļেāϰ āχāϜ্āϜāϤ āĻāĻ–āύ āφāĻŽাāϰ āĻšাāϤে, āĻŦāϞে āĻĻিāϞাāĻŽ ⧍ āĻĒ্āϞেāϟ āĻ—্āϰিāϞ্āĻĄ āĻšাāϞাāĻĒেāύো āĻĻিāϤে। āĻļোāύা āĻ•āĻĨা, āĻšাāϞাāĻĒেāύো āĻŽেāĻ•্āϏিāĻ•ো āϤে āĻ‰ā§ŽāĻĒāύ্āύ āĻāĻ•āϰāĻ•āĻŽ āϞāĻ™্āĻ•া, āϝেāϟা āĻāĻ• āĻ•াāĻŽā§œ āĻ–েāϞে, āύাāĻ•ি āĻŦāϏে āĻ•ā§ŸেāĻ• āϘāĻŖ্āϟা āĻ•াঁāĻĻāϤে āĻšā§Ÿ। āφāĻŽাāϰ āĻŽāύে āφāĻ›ে, āĻ—্āϰিāϞ্āĻĄ āĻšাāϞাāĻĒেāύো āĻ–ে⧟ে, āĻ“āχ āĻŽেāĻ—া āĻ—্āϞাāϏেāϰ ā§Ē āĻ—্āϞাāϏ āĻļāϰāĻŦāϤ āĻ–ে⧟ে āύি⧟েāĻ›িāϞাāĻŽ।
āĻ—্āϰিāϞ্āĻĄ āĻšাāϞাāĻĒেāύো āωāχāĻĨ āφāĻ­োāĻ•াāĻĄো āĻ…্āϝাāύ্āĻĄ āϏাāϞāϏা

āĻšিāωāϏ্āϟāύ āĻĻুāϰ্āĻ—া āĻŦা⧜ি āϤে āϚাāϰ āĻĻিāύেāϰ āĻĻুāϰ্āĻ—াāĻĒূāϜা āϤে āĻ–ুāĻŦ āϜাঁāĻ•āϜāĻŽāĻ•। āφāĻŽেāϰিāĻ•াāϰ āĻĻূāϰāĻĻূāϰাāύ্āϤ āĻĨেāĻ•ে āĻŦাāĻ™াāϞি āϰা āϤাāĻĻেāϰ āύিāϜāϏ্āĻŦ brand āĻāϰ āĻŦাāĻ™্āĻ—াāϞি⧟াāύা āύি⧟ে āĻšাāϜিāϰ। āĻāĻŽāύāĻ•ি āĻ•াāύাāĻĄা āĻĨেāĻ•েāĻ“ āĻŦাāĻ™াāϞি āϰা āĻāϏেāĻ›েāύ āĻ—া⧜ি āϚাāϞি⧟ে। āĻšāχ āĻšāχ āϰāχ āϰāχ āĻ•াāĻŖ্āĻĄ। āĻĒূāϜা āϚāϞāĻ›ে āĻŦিāĻļাāϞ āĻ…āĻĄিāϟোāϰি⧟াāĻŽ āĻāϰ āĻ­েāϤāϰে। āĻāĻ•āĻĻিāĻ•ে āϏাংāϏ্āĻ•ৃāϤিāĻ• āĻ…āύুāώ্āĻ াāύ āĻāϰ āĻŦ্āϝāĻŦāϏ্āĻĨা, āĻ•āϞāĻ•াāϤা āĻĨেāĻ•ে, āĻ…āύেāĻ• āĻĻাāĻŽ āĻĻি⧟ে āĻļিāϞ্āĻĒীāĻĻেāϰ, āύি⧟ে āφāϏা āĻšā§ŸেāĻ›ে। āφāϰ āĻāĻ• āĻĻিāĻ•ে āĻĻেāĻ–āϞাāĻŽ āĻ•িāĻ›ু āωāĻĻ্āϝোāĻ—ী āĻŦāĻ™্āĻ— āϏāύ্āϤাāύ, āύাāύাāύ āĻŦাāĻ™াāϞি āĻĒāĻļāϰা āϏাāϜি⧟ে āĻŦāϏেāĻ›েāύ। āϤাāϤে, āĻŦেāϞুāύ āϚাāĻ•ি, āĻŦেāϤেāϰ āĻু⧜ি āĻ“ āϝেāĻŽāύ āĻĻেāĻ–āϤে āĻĒেāϞাāĻŽ, āϤেāĻŽāύি āĻĒেāϞাāĻŽ āύাāύাāύ āĻ•িāϏāĻŽেāϰ āĻļা⧜ি, āĻĒাāϜাāĻŽা, āĻĒাāĻž্āϜাāĻŦি, āφāϰ āĻ—ā§œি⧟াāĻšাāϟ, āĻĻāĻ•্āώিāύাāĻĒāĻŖ āĻāϰ āĻĻোāĻ•াāύে āĻĒাāĻ“ā§Ÿা āϝা⧟ āĻāĻŽāύ āύাāύাāύ āχāĻŽিāϟেāĻļāύ, āĻĄোāĻ•āϰাāϰ, āĻĒাāĻĨāϰেāϰ āĻ—ā§Ÿāύাāϰ āϏāĻŽ্āĻ­াāϰ। āϟāĻĒাāϟāĻĒ āĻŦিāĻ•্āϰিāĻ“ āĻšāϚ্āĻ›ে āϏেāϏāĻŦ। āĻ…āύ্āϝ āĻĻিāĻ•ে āĻļাঁāĻ–া-āĻĒāϞা, āφāϞāϤা,  āϏিঁāĻĻুāϰ, āϜাāĻŽāĻĻাāύি, āĻ•াāϤাāύ āĻĒāϰা āφāĻŽেāϰিāĻ•ো-āĻŦāĻ™্āĻ—āϞāϞāύা āϰা āφāϰ āĻ›োāϟ āĻ›োāϟ āĻŦাāϚ্āϚা āϰা āĻ›োāϟাāĻ›ুāϟি āĻ•āϰāĻ›ে। āφāĻŽাāϰ āĻĒ্āϝাঁāϚাāϞো āĻŽāύে āĻāĻ•āϟা āĻĒ্āϰāĻļ্āύ āϜাāĻ—āϞো, āϝāĻĻি, āĻāχ āĻĒ্āϰেāĻ•্āώাāĻĒāϟ āĻŦāĻĻāϞে, āĻāχ āϞāϞāύাāϰাāχ āĻāĻ•āĻĄাāϞি⧟া, āĻĻেāĻļāĻĒ্āϰি⧟ āĻĒাāϰ্āĻ• āĻāϰ āĻŽāĻŖ্āĻĄāĻĒে āϘুāϰে āĻŦে⧜াāϤো, āϤাāĻšāϞে āĻ•ি āĻāĻŽāύ āϰাāĻ™্āĻ—া āφāϞāϤা āĻĒāϰা āĻĒা āĻĻেāĻ–āϤে āĻĒেāϤাāĻŽ, āύাāĻ•ি āϚāĻ“ā§œা āϏিāύ্āĻĻূāϰ āĻĒāϰা āĻŽাāĻĨা āĻĻেāĻ–ে āĻŽুāĻ—্āϧ āĻšāϤাāĻŽ? āϤাāĻšāϞে āĻ•ি, āύিāϜেāϰ āύিāϜেāϰ āĻļিāĻ•ā§œেāϰ āĻ–োঁāϜ āĻĒেāϤে āĻŦাāĻ™াāϞি āĻĻেāϰ āφāĻŽেāϰিāĻ•া āĻ•ি āύিāĻĻেāύ āĻĒāĻ•্āώে āĻŦিāϞেāϤে āĻĒাāϰি āĻĻেāĻ“ā§Ÿা āωāϚিāϤ?

āφāĻŽাāϰ āϚিāύ্āϤা⧟, āĻ›েāĻĻ āĻĒ⧜āϞ, āϞুāϚি āĻ›োāϞাāϰ āĻĄাāϞেāϰ āϘ্āϰাāĻŖে। āĻŦিāĻļাāϞ āϤাāĻŦু, āϤাāϰ āĻ­িāϤāϰে āĻ–াāĻ“ā§Ÿাāϰ āĻ†ā§ŸোāϜāύ। āĻāĻ• āĻŽāĻšাāϝāϜ্āĻž āϝেāύ। āĻāĻ• āĻāĻ• āĻŦাāϰে, āĻĒ্āϰা⧟ ⧍ā§Ģā§Ļ āϜāύেāϰ āĻĒাāϤ āĻĒ⧜āĻ›ে। āĻāĻ•āĻĻāĻŽ āϏাāĻŦেāĻ•ি āĻŦাāĻ™াāϞি āĻ­োāϜ। āĻ…āώ্āϟāĻŽী āϤে āϞুāϚি, āĻ›োāϞাāϰ āĻĄাāϞ, āφāϞুāϰ āĻĻāĻŽ, āϚাāϟāύি, āĻĒা⧟েāϏ। āĻāϰ āĻĒāϰ āĻāϞো āύāϰāĻŽ āĻĒাāĻ•েāϰ āĻ›াāύাāϰ āϏāύ্āĻĻেāĻļ, āĻ•িāύ্āϤু āϏেāχ āϏāύ্āĻĻেāĻļেāϰ, āϏ্āĻŦাāĻĻ-āĻ—āύ্āϧ āφāĻŽাāĻĻেāϰ āĻ­ীāĻŽ āύাāĻ— āĻ…āĻĨāĻŦা āĻŦāϞāϰাāĻŽ āĻŽāϞ্āϞিāĻ• āĻāϰ āĻĨেāĻ•ে āĻŦেāĻļ āĻ•িāĻ›ুāϟা āφāϞাāĻĻা। āĻĒাāĻļে āĻŦāϏা āϘāϰো⧟া āĻŦাāĻ™াāϞি āĻŽāϤে āĻļা⧜ী āĻĒāϰা, āĻ•াāύে āĻুāĻŽāĻ•ো, āĻšাāϏ্āϝāĻŽā§Ÿী āϏুāύ্āĻĻāϰী āĻ•ে āĻ–āϟāĻ•াāϰ āĻ•āĻĨা āĻŦāϞāϤেāχ, āϤিāύি āφāĻŽাāϰ āĻ­ুāϞāϟা āϧāϰি⧟ে āĻĻিāϞেāύ। āĻāϟা āϤো āφāĻĻৌ āĻ›াāύাāϰ āϏāύ্āĻĻেāĻļ āχ āύা। āφāĻŽেāϰিāĻ•া āϤে āĻ–ুāĻŦ āχ āĻ•āĻŽ āϏংāĻ–্āϝāĻ• āĻĻুāώ্āĻĒ্āϰাāĻĒ্āϝ āϜিāύিāώেāϰ āĻŽāϧ্āϝে āĻāĻ•āϟা āĻšāϞ āĻ›াāύা। āĻ•িāύ্āϤু āĻŦাāĻ™াāϞি āϰা āĻ›াāύাāϰ āϏāύ্āĻĻেāĻļ āύা āĻ–ে⧟ে āĻŦাঁāϚে āĻ•ি āĻ•āϰে? āĻāχ āĻĄেāϏাāϰ্āϟ āϟি āϤো āφāĻŽাāĻĻেāϰ āĻŦাāĻ™াāϞি āĻĻেāϰ āϜাāϤী⧟ āĻĻুāϰ্āĻŦāϞāϤাāϰ āĻĒāϰ্āϝা⧟ে āĻĒāϰে। āĻĢāϞেāχ āφāĻŦাāϰ āĻŽাāĻĨা āĻ–াāϟাāύোāϰ āĻĒাāϞা, āĻāĻŦং āĻĢāϞাāĻĢāϞ āĻšāϞ āφāĻŽেāϰিāĻ•াāύ āĻŦাāĻ™াāϞি āĻĻেāϰ āϘāϰে āϘāϰে āϰিāĻ•োāϟা āϚীāϜ āĻĻি⧟ে āϤৈāϰি āϏāύ্āĻĻেāĻļ। āĻāχ āϚীāϜ āĻāϰ āϏাāĻĨে āĻ•āύāĻĄেāύ্āϏāĻĄ āĻĻুāϧ āĻŽিāĻļি⧟ে āϚিāύি āĻĻি⧟ে āĻŦেāĻ• āĻ•āϰāϞে āĻāχ āϰāϏāύা āĻŽোāĻšিāϤ āĻ•āϰা āĻŽিāώ্āϟাāύ্āύ āϟি āĻĒ্āϰāϏ্āϤুāϤ āĻšā§Ÿ। āĻŦৈāϚিāϤ্āϰ্āϝ āφāύাāϰ āϜāύ্āϝ, āĻāχ āĻŽিāĻļ্āϰāύ āϟি āϤে āĻ•েāĻļāϰ āĻ…āĻĨāĻŦা āϚāĻ•āϞেāϟ āĻĒাāĻ“āĻĄাāϰ āĻ…āĻĨāĻŦা āϤāϰāϞ āϚāĻ•āϞেāϟ āĻŽেāĻļাāϞেāχ āĻŽāύāĻĒāϏāύ্āĻĻ āĻ•েāĻļāϰ āϏāύ্āĻĻেāĻļ āĻ…āĻĨāĻŦা āϚāĻ•āϞেāϟ āϏāύ্āĻĻেāĻļ।
āφāĻŽেāϰিāĻ•াāύ āĻŦাāĻ™াāϞি āĻĻেāϰ āϘāϰে āϘāϰে āĻŽিāώ্āϟি āĻŦাāύাāύোāϰ āĻ–ুāĻŦ āϚāϞ āφāĻ›ে। āĻāĻ›া⧜াāĻ“ āϚāϞ āφāĻ›ে āĻ•ā§œাāχāĻļুāϟিāϰ āĻ•āϚুāϰি, āĻŽোāĻ—āϞাāχ āĻĒāϰāϟা, āϚāĻĒ āĻŦাāύাāύোāϰ। āĻŽāύে āĻ•āϰি⧟ে āĻĻে⧟ āφāĻŽাāĻĻেāϰ āĻ াāĻ•ুāĻŽা āĻĻিāĻĻিāĻŽাāĻĻেāϰ āφāĻŽāϞেāϰ āĻ•āĻĨা, āϝāĻ–āύ āĻĢাāϏ্āϟāĻĢুāĻĄ āĻŦা⧜িāϤেāχ āϤৈāϰি āĻšāϤ। āĻāχ āĻĢুāĻĄāĻ—ুāϞি āϝāĻĨেāώ্āϟ āĻĢাāϏ্āϟ āϤৈāϰি āύা āĻšāϞেāĻ“ āϏ্āĻŦাāĻĻে āĻ…āϤুāϞāύী⧟ āĻ›িāϞ। āϤৈāϰি āĻ–াāĻŦাāϰ, āĻĒ্āϰāϏ্āϤুāϤ āĻ•āϰা āϜāϞāĻ–াāĻŦাāϰ, āĻŦাāχāϰে āĻĒাāĻ“ā§Ÿা āύা āϝাāĻŦাāϰ āĻĢāϞেāχ āĻāχ āĻĻুāχ āĻĻেāĻļে, āĻĻুāχ āĻ•াāϞে, āĻāĻ•āχ āĻĒāĻĻ্āϧāϤি āĻ…āĻŦāϞāĻŽ্āĻŦāύ āĻ•āϰāϤে āĻŦাāϧ্āϝ āĻšā§ŸেāĻ›ে āĻŦাāĻ™াāϞি। āĻ•াāϰāύ āϚিāϰāĻ•াāϞ āϰāϏেāĻŦāĻļে āĻĨাāĻ•া āĻŦাāĻ™াāϞিāϰ āϜিāύে āĻ­োāϜāύ āϰāϏ āĻ“āϤāĻĒ্āϰোāϤ āĻ­াāĻŦে āϜ⧜ি⧟ে āĻ—েāĻ›ে, āĻāϰ āĻĨেāĻ•ে āĻĒাāϞাāύোāϰ āĻĒāĻĨ āύেāχ। āĻšিāωāϏ্āϟāύে āĻāĻ• āĻŦāύ্āϧুāϰ āĻŦা⧜িāϤে, āϘāϰে āĻĒাāϤা āĻŽিāώ্āϟি āĻĻāχ āĻ–ে⧟ে āĻŽāύে āĻĒāϰে āĻ—েāϞো, āĻ…āύেāĻ• āĻŦāĻ›āϰ āφāĻ—ে āĻĸাāĻ•া āĻļāĻšāϰে āĻŦে⧜াāϤে āĻ—ি⧟ে āĻĒ্āϰāϏিāĻĻ্āϧ āĻŽāϰāύāϚাঁāĻĻেāϰ āĻĻāχ āĻāϰ āϏ্āĻŦাāĻĻ। āφāĻļ্āϚāϰ্āϝ āĻŽিāϞ āϏ্āĻŦাāĻĻে। āϰেāϏিāĻĒি āϜিāϜ্āĻžেāϏ āĻ•āϰāϤেāχ āĻ¤ā§ŽāĻ•্āώāĻŖাā§Ž āĻšাāϏি āĻŽুāĻ–ে āĻŦāϞে āĻĻি⧟েāĻ›িāϞ। āĻĻু āĻ•াāĻĒ āĻĻুāϧ āĻĢুāϟি⧟ে āϘāύ āĻ•āϰে, āϤাāϤে āĻāĻ• āϟিāύ āĻ•āύāĻĄেāύ্āϏāĻĄ āĻĻুāϧ āφāϰ āĻ—্āϰীāĻ• āĻ‡ā§ŸāĻ—াāϰ্āϟ āĻŽিāĻļি⧟ে, ā§Šā§Ģā§Ļ āĻĄিāĻ—্āϰি āϤে āφāϧāϘāĻŖ্āϟা āĻ–াāύেāĻ• āĻŦেāĻ• āĻ•āϰāϤে āĻšāĻŦে। āĻŦ্āϝাāϏ, āĻĻāχ āĻĒ্āϰāϏ্āϤুāϤ।āφāĻŽেāϰিāĻ•াāύ āχāϏ্āϟ-āĻ•োāϏ্āϟে āϝে āĻŦাāĻ™াāϞি āϰা āĻĨাāĻ•েāύ, āĻŦিāĻļেāώāϤ āύিāω āϜাāϰ্āϏিāϰ āĻĻিāĻ•ে, āϤাāϰা āĻŦāϞেāύ, āĻ•āϞāĻ•াāϤা⧟ āϝাāĻŦāϤী⧟ āϝা āĻĒাāĻ“ā§Ÿা āϝা⧟, āϏেāχ āϏāĻŦ āĻ•িāĻ›ুāχ āύাāĻ•ি āύিāω āϜাāϰ্āϏি āϤে āĻĒাāĻ“ā§Ÿা āϝা⧟, āφāϤ্āĻŽী⧟ āϏ্āĻŦāϜāύ āĻŦাāĻĻে। āĻ…āϰ্āĻĨাā§Ž āĻ•িāύা, āĻŽা āĻŦাāĻŦা, āĻŦাāĻ•ি āφāϤ্āĻŽী⧟ āϏ্āĻŦāϜāύ āĻĻেāϰ āύিāω āϜাāϰ্āϏি āϤে āφāĻŽāĻĻাāύি āĻ•āϰāϤে āĻĒাāϰāϞে āϏেāĻ–াāύে āĻāĻ•āϟা āĻŽিāύি āĻ•āϞāĻ•াāϤা āĻŦাāύি⧟ে āĻĢেāϞāϤে āĻĒাāϰāĻŦে। āĻāĻŽāύি āĻāĻ• āύিāω āϜাāϰ্āϏি āϏ্āĻĨিāϤ āĻŦাāĻ™্āĻ—াāϞিāύি āĻ—āϰāĻŦিāύীāϰ āĻŦা⧜িāϤে āĻ–ে⧟েāĻ›িāϞাāĻŽ āϏāϰ্āώে–āχāϞিāĻļ āĻĨু⧜ি, āϏāϰ্āώে-āϏ্āϝাāĻŽāύ। āϏ্āϝাāĻŽāύ āĻĢিāϞে, āψāώāĻĻুāώ্āĻŖ āϜāϞে āϞেāĻŦুāϰ āϰāϏ āφāϰ āύুāύ āĻĻি⧟ে āĻŽ্āϝাāϰিāύেāϟ āĻ•āϰāϤে āĻšāĻŦে āĻ•ā§ŸেāĻ• āϘāĻŖ্āϟা। āĻāϰāĻĒāϰ, ‘āĻŽāĻ•āϰāĻŽিāĻ• āĻ—ুāϰ্āĻŽে āĻ…āϞ āĻ—্āϰাāωāύ্āĻĄ āĻŽাāϏāϟাāϰ্āĻĄ āĻĒাāĻ“āĻĄাāϰ’,(āϝাāϰ āϏ্āĻŦাāĻĻ āĻ িāĻ• āϏাāύāϰাāχāϜ āĻ—ু⧜ো āĻŽāĻļāϞাāϰ āĻŽāϤ) āĻ•াঁāϚা āϞāĻ™্āĻ•া, āϏāϰ্āώেāϰ āϤেāϞ, āύুāύ āĻŽাāĻ–ি⧟ে, āĻĢিāϞে āĻ—ুāϞোāĻ•ে, ā§Šā§Ļ āĻŽিāύিāϟ āĻ•āĻŽ āφঁāϚে āĻŦেāĻ• āĻ•āϰāϤে āĻšāĻŦে। āĻ­ো⧟াāϞা!! (āφāϰে āĻŦাāĻŦা, āĻ•ā§ŸāϞা āϟ⧟āϞা āύ⧟, āĻĢ্āϰেāĻž্āϚে, 'āĻ­ো⧟াāϞা' āĻŽাāύে, āĻ•িāĻŽ āφāĻļ্āϚāϰ্āϝāĻŽ!) āĻ•ে āĻŦāϞে, āϝে āϏāϰ্āώে āχāϞিāĻļ āϤুāϞ্āϝ āĻ•োāύ āĻŽাāĻ›েāϰ āĻĒāĻĻ āĻšā§Ÿāύা?
āĻ–াāύা-āĻĢিāωāĻļāύ āφāϰ āĻ–াāĻĻ্āϝ āĻĻ্āϰāĻŦ্āϝ āχāĻŽ্āĻĒ্āϰāĻ­াāχāϜেāĻļāύ āύি⧟ে āϝāĻ–āύ āĻāϤāϟাāχ āĻŦāϞে āĻĢেāϞāϞাāĻŽ, āϤāĻ–āύ āĻ–াঁāϟি āφāĻŽেāϰিāĻ•াāύ āĻĻেāĻļāϜ āĻāĻ•āϟি āĻĄেāϜাāϰ্āϟ āĻāϰ āĻ•āĻĨা āύা āĻŦāϞে āĻĒাāϰāĻ›িāύাāĻ–ুāĻŦ āϏ্āĻŦাāĻ­াāĻŦিāĻ• āĻ­াāĻŦেāχ, āĻŦāĻ™্āĻ—-āφāĻŽেāϰিāĻ•াāύāϰা āĻ“āĻ–াāύāĻ•াāϰ āĻ•িāĻ›ু āĻ–াāĻŦাāϰ āĻ•ে āĻĒāĻ›āύ্āĻĻ āĻ•āϰে āφāĻĒāύ āϰাāύ্āύাāϘāϰে āφāϰ āĻŽāύে āϏ্āĻĨাāύ āĻĻি⧟েāĻ›ে। 
āĻĢ্āϰুāϟ āϟ্āϰাāχāĻĢেāϞ
āĻāĻŽāύি āĻāĻ•āϟা āϤুāϚ্āĻ› āĻĒāĻĻেāϰ āĻāϰ āύাāĻŽ ‘āϤ্āϰাāχāĻĢেāϞ’, āχংāϰেāϜি āϤে āϝাāϰ āφāĻ•্āώāϰিāĻ• āĻ…āϰ্āĻĨ āϤুāϚ্āĻ›āĻ“। āĻĻেāĻļেāĻ“ āĻ–ুāĻŦ āϏāĻšāϜেāχ āĻāϟা āĻŦাāύাāύো āϝাāĻŦে āφāϰ āĻšāϞāĻĢ āĻ•āϰে āĻŦāϞāϤে āĻĒাāϰি, āĻŦাāϚ্āϚাāĻĻেāϰ āĻŽāύ āϜ⧟ āĻ•āϰāĻŦেāχ। āĻĒুāĻĄিং āĻ…āĻĨāĻŦা āĻ•াāϏ্āϟাāϰ্āĻĄ āφāĻ—ে āĻĨেāĻ•ে āĻŦাāύি⧟ে āϰাāĻ–āϤে āĻšāĻŦে। āĻĻোāĻ•াāύে āĻĒাāĻ“ā§Ÿা āϝা⧟ āĻāĻŽāύ āĻĢ্āϰুāϟ-āĻ•েāĻ• āϞাāĻ—āĻŦে, āφāϰ āϞাāĻ—āĻŦে āĻ•িāĻ›ু āϟুāĻ•āϰো āĻ•āϰা āĻŽৌāϏুāĻŽি āĻĢāϞ, āϝেāĻ—ুāϞো āϏāĻšāϜে āĻ—āϞে āϝাāĻŦে āύা, āϝেāĻŽāύ, āφāĻĒেāϞ, āφāĻŽ, āĻĒাāĻ•া āĻĒেঁāĻĒে, āχāϤ্āϝাāĻĻি। āφāϰ āϞাāĻ—āĻŦে āϜ্āϝাāĻŽ āĻ…āĻĨāĻŦা āϜেāϞি āφāϰ āĻāĻ•āϟু āĻ•্āϰিāĻŽ। āĻāĻŦাāϰ āĻ•াāϚেāϰ āĻ—্āϞাāϏ āĻ…āĻĨāĻŦা āĻ—āĻŦāϞেāϟে āĻĒ্āϰāĻĨāĻŽে āĻ•িāĻ›ু āĻ•ুāϚো āĻĢāϞ āϰাāĻ–āϤে āĻšāĻŦে, āĻāϰ āĻ“āĻĒāϰেāϰ āϏ্āϤāϰে, āĻ•েāĻ•, āϤাāϰāĻĒāϰে, āĻ•িāĻ›ুāϟা āĻ•াāϏ্āϟাāϰ্āĻĄ āĻ…āĻĨāĻŦা āĻĒুāĻĄিং। āĻāχ āĻĒ্āϰāĻ•্āϰি⧟াāϟিāϰ āĻĒুāύāϰাāĻŦৃāϤ্āϤি āĻ•āϰāϤে āĻšāĻŦে, āĻŽাāύে, āĻĢāϞ, āĻ•েāĻ•, āĻ•াāϏ্āϟাāϰ্āĻĄ āφāĻŦাāϰ āĻāĻ•েāϰ āĻ“āĻĒāϰে āĻāĻ•। āĻ“āĻĒāϰে āĻ•্āϰিāĻŽ āĻĻি⧟ে, āĻāϟি āĻĢ্āϰিāϜে āĻ াāĻŖ্āĻĄা āĻ•āϰāϤে āĻĻিāϤে āĻšāĻŦে। āϜিāύিāώāϟা āĻ–েāϤে āĻšāĻŦে āĻ…āϤুāϞāύী⧟। āĻĒāϰীāĻ•্āώা āĻĒ্āϰাāϰ্āĻĨāύী⧟।āĻĒāϰিāĻļেāώে, āĻāϟুāĻ•ুāχ āĻŦāϞি, āĻŽৌāϞিāĻ• āϏ্āĻŦাāĻĻ āĻĨেāĻ•ে āϏāϰে āĻāϏেāĻ“ āĻŦাāĻ™াāϞি āϰāϏāύাāϰ āϤৃāĻĒ্āϤি āϘāϟাāϚ্āĻ›ে āĻ•িāύ্āϤু āϏেāχ āχāĻŽ্āĻĒ্āϰāĻ­াāχāϜেāĻļāύ। āϤাāχ, āϰুāĻĄি⧟াāϰ্āĻĄ āĻ•িāĻĒ্āϞিং āĻāϰ āĻŦিāĻ–্āϝাāϤ āωāĻ•্āϤি, " Oh East is East and West is West, and never the twain shall meet" āĻŦোāϧāĻšā§Ÿ āĻāχāĻ•্āώেāϤ্āϰে āĻ–াāϟেāύা।

Loneliness Celebrated

The lonely day is now my friend a lonely sigh, gasping for sound a lonely tear to cool my face as the wheels of time, come a round. ...