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Paragraph on Folk Music | For HSC Students




The songs and music of a community which remain uninfluenced by any sophisticated musical rules or any standard music styles are basically called folk music. Bangladesh has a heritage of rich folk music which includes both religious and secular songs. Folk music has some significant characteristics. It is composed by rural folk based on ancient rules transmitted orally.  Classical or modern music have not influenced these ancient rules of music. No regular practice is vital for folk music. It is basically composed and performed by illiterate or semi-literate rural people. The culture and the lifestyle of the different tribes have also influenced folk music. Tribes like the Santal, Garo, Hajong, Chakma, Monipuri, Tripuri, Marma etc. have immense influence on ethnic Bengali culture and lifestyle. The interaction has been clearly reflected in the richness of folk music. Folk songs may be sung individually or in chorus. Folk songs sung individually include Baul, Bhatiyali, Murshidi, Marfati, while songs sung in chorus include Kabigan, Leto, Alkap and Gambhira. In Banglesh, folk music is losing its appeal to young guys day by day. Modern pop or band songs are greatly influencing the common folk's tastes. Government should take some steps to retain our old heritage and culture.

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Students Should (or not) Use Facebook | Paragraph



Students should or should not use Facebook has become a debating issue. If a student uses facebook just to communicate with his/ her near and dear ones, then it can easily be said that using facebook is not totally harmful. Actually, very often facebooking gives us somewhat mental relief specially when we feel utter loneliness. A student can very comfortably communicate with his/ her other classmates through Facebook. He/ she can send important  messages instantly and can get up-to-date information from his/ her Facebook friends. But it may be very harmful for a student if he/ she loses control over it. Sometimes, many young students become curious just to make friendship with opposite sexes and try to fall in love. If it happens, their valuable times will be killed on  trifle matters. The relationship based on Facebook is very fragile. A student might lose everything and bring utter disaster by Facebooking. Needless to say, it’s quite tough to decide whether a student would use Facebook or not. It just depends on the mentality of the students. If he/ she applies it for the noble cause, I just appreciate to use Facebook. Otherwise, using facebook should be prohibited.

(āĻ†āĻŽাāĻ° āĻāĻ• āĻ¸্āĻŸুāĻĄেāĻ¨্āĻŸেāĻ° āĻ…āĻ¨ুāĻ°োāĻ§ে- paragraph-āĻŸা āĻ˛িāĻ–াāĻ° āĻšেāĻˇ্āĻŸা āĻ•āĻ°āĻ˛াāĻŽ)
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A paragraph on "Diaspora" by Wadud Khan

Diaspora mainly refers to those people who had to leave their own homelands and had to settle in other parts of the world. There are two main reasons of diaspora. People were forced to leave or they intentionally left their homelands. The researchers are still studying to find out the facts of diaspora. In ancient time, the Aryans settled in the Indian-subcontinent leaving central Europe. The Jewish people had to be diasporas several times. During the secord world war, the Jews settled in Palestine. Later, they compelled the Palestinians to leave their own homelands and made them diaspora for another country. Recently, the Myanmar government compelled the Rohingyas to leave their own country and they are trying to settle in Bangladesh. We come to see that there are massive diasporas in Africa. There are some causes of diasporas such as economic, social conflict, political, conflict, war, natural disasters, etc. Today globalization is the root cause of diasporas.

______________________________
This paragraph is vital for the HSC students of Bangladesh.       
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A brief biography of Nazrul


Kazi Nazrul Islam (24 May 1899 – 29 August 1976) was a Bengali poet, writer, musician, and revolutionary from the Indian subcontinent. He is the national poet of Bangladesh. Popularly known as Nazrul, he produced a large body of poetry and music with themes that included religious devotion and spiritual rebellion against fascism and oppression. Nazrul's activism for political and social justice earned him the title of "Rebel Poet" (Bidrohi Kobi).His compositions form the avant-garde genre of Nazrul Sangeet (Music of Nazrul). Nazrul and his works are equally commemorated and celebrated in Bangladesh and India, particularly in India's Bengali-speaking states such as West Bengal, parts of Assam, and Tripura.

Born in a Bengali Muslim Kazi family, Nazrul Islam received religious education and as a young man worked as a muezzin at a local mosque. He learned about poetry, drama, and literature while working with the rural theatrical group Letor Dal. He joined the British Indian Army in 1917. After serving in the British Indian Army in the Middle East (Mesopotamian campaign) during World War I, Nazrul established himself as a journalist in Calcutta. He criticised the British Raj and called for revolution through his poetic works, such as "Bidrohi" (The Rebel) and "Bhangar Gaan" (The Song of Destruction) as well as in his publication Dhumketu ('The Comet'). His nationalist activism in Indian independence movement led to his frequent imprisonment by the colonial British authorities. While in prison, Nazrul wrote the "Rajbandir Jabanbandi" (Deposition of a Political Prisoner). His writings greatly inspired Bengalis of East Pakistan during the Bangladesh Liberation War.

Nazrul's writings explored themes such as love, freedom, humanity, and revolution. He opposed all forms of bigotry and fundamentalism, including religious, caste-based and gender-based. Nazrul wrote short stories, novels, and essays but is best known for his songs and poems. He created the first Bengali language ghazals. He is also known to have experimented with Arabic, Persian, and Sanskrit words in his works to produce rhythmic effects.

Nazrul wrote and composed music for nearly 4,000 songs (many recorded on HMV and gramophone records), collectively known as Nazrul Geeti. In 1942 at the age of 43, he began to suffer from an unknown disease, losing his voice and memory. A medical team in Vienna diagnosed the disease as Morbus Pick, a rare incurable neurodegenerative disease. It caused Nazrul's health to decline steadily and forced him to live in isolation in India. He was also admitted in Ranchi(Jharkhand) psychiatric hospital for many years. At the invitation of the Government of Bangladesh, Nazrul and his family moved to Dhaka in 1972. He died four years later on 29 August 1976 in Bangladesh.

Information collected from Wikipedia 
Collected and edited by Wadud Khan
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A brief biography of Nazrul


Kazi Nazrul Islam (24 May 1899 – 29 August 1976) was a Bengali poet, writer, musician, and revolutionary from the Indian subcontinent. He is the national poet of Bangladesh. Popularly known as Nazrul, he produced a large body of poetry and music with themes that included religious devotion and spiritual rebellion against fascism and oppression. Nazrul's activism for political and social justice earned him the title of "Rebel Poet" (Bidrohi Kobi).His compositions form the avant-garde genre of Nazrul Sangeet (Music of Nazrul). Nazrul and his works are equally commemorated and celebrated in Bangladesh and India, particularly in India's Bengali-speaking states such as West Bengal, parts of Assam, and Tripura.

Born in a Bengali Muslim Kazi family, Nazrul Islam received religious education and as a young man worked as a muezzin at a local mosque. He learned about poetry, drama, and literature while working with the rural theatrical group Letor Dal. He joined the British Indian Army in 1917. After serving in the British Indian Army in the Middle East (Mesopotamian campaign) during World War I, Nazrul established himself as a journalist in Calcutta. He criticised the British Raj and called for revolution through his poetic works, such as "Bidrohi" (The Rebel) and "Bhangar Gaan" (The Song of Destruction) as well as in his publication Dhumketu ('The Comet'). His nationalist activism in Indian independence movement led to his frequent imprisonment by the colonial British authorities. While in prison, Nazrul wrote the "Rajbandir Jabanbandi" (Deposition of a Political Prisoner). His writings greatly inspired Bengalis of East Pakistan during the Bangladesh Liberation War.

Nazrul's writings explored themes such as love, freedom, humanity, and revolution. He opposed all forms of bigotry and fundamentalism, including religious, caste-based and gender-based. Nazrul wrote short stories, novels, and essays but is best known for his songs and poems. He created the first Bengali language ghazals. He is also known to have experimented with Arabic, Persian, and Sanskrit words in his works to produce rhythmic effects.

Nazrul wrote and composed music for nearly 4,000 songs (many recorded on HMV and gramophone records), collectively known as Nazrul Geeti. In 1942 at the age of 43, he began to suffer from an unknown disease, losing his voice and memory. A medical team in Vienna diagnosed the disease as Morbus Pick, a rare incurable neurodegenerative disease. It caused Nazrul's health to decline steadily and forced him to live in isolation in India. He was also admitted in Ranchi(Jharkhand) psychiatric hospital for many years. At the invitation of the Government of Bangladesh, Nazrul and his family moved to Dhaka in 1972. He died four years later on 29 August 1976 in Bangladesh.

Information collected from Wikipedia  
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Car Crash Takes a Heavy Toll



---- By Wadud Khan

DEMANDING  ‘safety roads’ has become a common expectation in Bangladesh for all walks of life irrespective of caste, creed, religion and political parties. Each year innumerable innocent people are falling a great victim to car crash. No measure is still looking effective to prevent such devastating incidents. No light of hope is still vivid in the gloomy sky of Bangladesh regrading road accidents.

There are many reasons to cause road accidents. Reckless driving is one of the most fatal causes of it. Narrow roads, disobeying traffic rules, lack of proper training for driving, unnecessary overtaking tendency, mismanagement in highways are also responsible for car crashes. Some motor-bikers look desperate while driving in the busy roads. 

If we closely imagine how much sufferings are brought about by road accidents, we cannot but shed our tears silently. Many people have become crippled, many wives have become widows, many innocent kids have become orphans, many parents have lost their only child and become hopeless due to road accidents. Man must die today or tomorrow. There is no way to escape death. But as a human being, everybody wants to die a natural death. No unnatural death is acceptable to anybody. But who cares?

There are some laws regarding road accidents but no drivers, passersby is willing to follow the existing laws. Some experts and researchers like Illias Kanchon propose many ideas to decrease road accidents and lessen the loss of it. The general people are quite ignorant of traffic rules. That’s why they do not abide by the rules. Even in many cases, the helpers of a car often drive in absence of the main drivers.
Some days ago, in August, 2018, many school children throughout the country have come out of their classrooms to protest against road accidents because their two classmates have been killed by a careless driver. The guardians, university students also support their non-violent movement. The school kids stand on the highways and check many cars and find out that most of the cars have no fitness, no road permission, no driving licenses. Even the Members of Parliament, govt officials, actors or actresses, intellectuals, journalists do not abide by the traffic rules. The whole nation becomes speechless to see the terrific situation of the traffic. In spite of having a lot of over bridge in Dhaka or other mega city, the common people are very reluctant to use that to avoid road crashes.     

A new law has recently been passed to lessen the road accidents and to ensure the safety roads. This law will also control the unlawful activities of the drivers and the car-owners. It will ensure severe punishment for those who intentionally cause road accidents. Though the law is now active, road accidents still continue. Even yesterday, on 25 August, 2018, at least 25 people have been killed and many were severely injured due to several road crashes all over the country. No laws can save us if all kinds of people do not become aware of the severe sufferings of road accidents. We all are waiting for a better Bangladesh having safety roads.

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āĻāĻ¸ো, āĻ‡ংāĻ°েāĻœি āĻļিāĻ–ি | āĻĢ্āĻ°ি āĻ•্āĻ˛াāĻ¸ āĻ…āĻ¨ āĻ‡ংāĻ˛িāĻļ

āĻāĻ¸ো, āĻ‡ংāĻ°েāĻœি āĻļিāĻ–ি

āĻ†āĻœāĻ•ে āĻšāĻ˛ো āĻ†āĻŽāĻ°া āĻ•িāĻ›ু āĻ—ুāĻ°ুāĻ¤্āĻŦāĻĒূāĻ°্āĻŖ āĻĒ্āĻ°āĻŦাāĻĻ āĻŦাāĻ•্āĻ¯ āĻļিāĻ–ে āĻĢেāĻ˛ি---

1) āĻĸিāĻ˛āĻŸি āĻŽাāĻ°āĻ˛ে āĻĒাāĻŸāĻ•েāĻ˛āĻŸি āĻ–েāĻ¤ে āĻšāĻ¯় /
āĻ¯েāĻŽāĻ¨ āĻŦুāĻ¨ো āĻ“āĻ˛, āĻ¤েāĻŽāĻ¨ āĻŦাāĻ˜া āĻ¤েঁāĻ¤ুāĻ˛ /
āĻ¯েāĻŽāĻ¨ āĻ•ুāĻ•ুāĻ°, āĻ¤েāĻŽāĻ¨ āĻŽুāĻ—ুāĻĄ় ।
⇨ Tit for tat.
2) āĻ¤েāĻ˛া āĻŽাāĻĨাāĻ¯় āĻ¤েāĻ˛ āĻĻেāĻ¯়া।
⇨To carry coal to Newcastle.
3) āĻ¤িāĻ˛āĻ•ে āĻ¤াāĻ˛ āĻ•āĻ°া।
⇨ To make a mountain out of a mole hill.
4) āĻĻāĻļেāĻ° āĻ˛াāĻ ি āĻāĻ•েāĻ° āĻŦোāĻা /
āĻ°াāĻ‡ āĻ•ুঁāĻĄ়িāĻ¯়ে āĻŦেāĻ˛।
⇨ Many a pickle ( OR, little) makes a mickle.
5) āĻĻাঁāĻ¤ āĻĨাāĻ•āĻ¤ে āĻĻাঁāĻ¤েāĻ° āĻŽāĻ°্āĻ¯াāĻĻা āĻŦোāĻা āĻ¯াāĻ¯় āĻ¨া।
⇨ Blessings are not valued till they are gone.
6) āĻĻুāĻˇ্āĻŸ āĻ—āĻ°ুāĻ° āĻšেāĻ¯়ে āĻļূāĻ¨্āĻ¯ āĻ—োāĻ¯়াāĻ˛ āĻ­াāĻ˛ো।
⇨ Better an empty house than a bad (OR, an ill) tenant.
7) āĻ§āĻ°ি āĻŽাāĻ› āĻ¨া āĻ›ুঁāĻ‡ āĻĒাāĻ¨ি।
⇨ A cat loves fish but is loath to wet her feet.
8) āĻ¨াāĻ‡ āĻŽাāĻŽাāĻ° āĻšেāĻ¯়ে āĻ•াāĻ¨া āĻŽাāĻŽা āĻ­াāĻ˛ো।
⇨ Something is better than nothing.
9) āĻ¸āĻŦুāĻ°ে āĻŽেāĻ“āĻ¯়া āĻĢāĻ˛ে।
⇨ Patience is bitter, but its fruit is sweet.
10) āĻ¨াāĻšāĻ¤ে āĻ¨া āĻœাāĻ¨āĻ˛ে āĻ‰āĻ াāĻ¨ āĻŦাঁāĻ•া।
⇨ A bad workman quarrels with his tools.
11) āĻ¨াāĻ¨া āĻŽুāĻ¨িāĻ° āĻ¨াāĻ¨া āĻŽāĻ¤।
⇨ Many men, many minds.
12) āĻ¨িāĻœেāĻ° āĻ¨াāĻ• āĻ•েāĻŸে āĻĒāĻ°েāĻ° āĻ¯াāĻ¤্āĻ°া āĻ­āĻ™্āĻ— āĻ•āĻ°া।
⇨ To cut off one’s nose to spite one’s face.
13) āĻĒāĻ°েāĻ° āĻŽāĻ¨্āĻĻ āĻ•āĻ°āĻ¤ে āĻ—েāĻ˛ে āĻ¨িāĻœেāĻ° āĻŽāĻ¨্āĻĻ āĻ†āĻ—ে āĻĢāĻ˛ে।
⇨ Harm hatch, harm catch.
14) āĻĒাāĻ¨āĻ¨া āĻ¤াāĻ‡ āĻ–াāĻ¨āĻ¨া / āĻ†āĻ™্āĻ—ুāĻ° āĻĢāĻ˛ āĻŸāĻ•।
⇨The grapes are sour.
15) āĻĒাāĻĒেāĻ° āĻ§āĻ¨ āĻĒ্āĻ°াāĻ¯়āĻļ্āĻšিāĻ¤্āĻ¤ে āĻ¯াāĻ¯়।
⇨ Ill got ill spent.
16) āĻĒেāĻŸে āĻ–েāĻ˛ে āĻĒিāĻ ে āĻ¸āĻ¯়।
⇨ Give me roast meat and beat me with the spit.
17) āĻŦিāĻ¨া āĻŽেāĻ˜ে āĻŦāĻœ্āĻ°āĻĒাāĻ¤।
⇨ A bolt from the blue.
18) āĻŦāĻ¸āĻ¤ে āĻĒেāĻ˛ে āĻļুāĻ¤ে āĻšাāĻ¯়।
⇨ Give him an inch, and he will take an ell.
19) āĻŦāĻœ্āĻ° āĻ†ঁāĻŸুāĻ¨ি āĻĢāĻ¸্āĻ•া āĻ—িāĻ°ো।
⇨ The more laws, the more offenders.
20) āĻŦাāĻŽুāĻ¨ āĻ—েāĻ˛ো āĻ˜āĻ° āĻ¤ো āĻ˛াāĻ™্āĻ—āĻ˛ āĻ¤ুāĻ˛ে āĻ§āĻ°।
⇨When the cat is away, the mice will play.

(āĻšāĻ˛āĻŦে....)
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Kurbani requires sacrifice from heart



 Facebook Live Telecast with the Cow

Eid-ul-Azha, one of the biggest Muslim festivals, is knocking at the door, just three more days away. Most of the economically solvent Muslims are buying their sacrificial animals, especially cows, buffalos, goats. The richest persons of the country are trying to buy exceptional animals like camels with a heavy amount of money. 

Actually, Kurbani is a Arabic word which basically means sacrifice from the core of one’s heart in the name of Almighty Allah. But unfortunately, nowadays we come to see that many of us are trying to draw others’ attention regarding their purchased animals. 

Showing others-I am this, I am that– has become our main motto. Ikhlas is another Arabic term which basically means performing any good deeds should be for the satisfaction of Allah Tala and his messenger Hazrat Muhammad (pbuh), is totally absent from us.

If we buy our sacrificial animals in order to show our social status to others, or if our target becomes to have the tasty meat of the slaughtered animals, our sacrifices will neither be holly nor be acceptable to Allah. In that case, we will get no reword from Allah Subhanahu Tala. 

The flesh or blood of the slaughtered animals never goes to Allah, only the sacred will of the Muslims goes to Him. Undoubtedly, Allah Jalla Shanhu never expects anything from His slaves except Ikhlas, He just observes His slaves’s sacrifices from the core of heart for Him. Among us who have decided to sacrifice animals, should look at our hearts closely. Why are we sacrificing? Is it to make the common people happy or to get compliments from others? If so, our sacrifices will bring nothing from our Kind Creator. But, if we sacrifice our animals for the sole satisfaction of our Creator, we will get uncountable, unbelievable rewards from Him after death.   

Islamic scholars and researchers always advise ordinary Muslims to be loyal to Allah unconditionally. Uploading pictures of the sacrificial animals on the social networking sites like Facebook, Twitter, WhatsApp, Instagram or taking selfies with cows, buffalos, goats completely ruin our sincerity, integrity, honesty and holly will.

Wadud Khan 
Lecturer, English 
Sadarpur Govt  College 
khanwadud2@gmail.com   




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Dhaka Attack certainly a quality movie

A scene from Dhaka Attack

Reviewed by Wadud Khan

Finally, I have enjoyed full length Bangla action thriller movie entitled Dhaka Attack written by Sunny Sanwar and directed by Dipankar Dipon.

The theme, plot, setting, diction, acting- all are outstanding. This movie proves that Bangladeshi film makers can make special movies if they get proper logistic supports.

Especially, the protagonist, Arifin Shuvoo's acting and his exceptional role charm us a lot. The presence of some veteran actors like Alamgir, Afzal Hossain, Shatabdi Wadud  widens this movie's appeal to all. Nonetheless, Taskeen Rahman has proved his worth. He deserves to be a promising villain in near future. Mahiya Mahi's role as a journalist is also praiseworthy. Both ABM Sumon and Quazi Nawshaba Ahmed have acted better than before.

Bangladeshi film-viewers are nowadays not going to the cinemas due to many logical reasons. The environment of the cinema halls is not family friendly. Dust, waste, trash, rubbish, mosquitoes often disturb the viewers in many local cinemas.

Neither the educated nor the uneducated is enjoying Bangla movies these days. The film makers, producers, actors, actresses feel utter helpless when they see their films are becoming a super flop, a time-wasting effort.

The film makers condemn the viewers. On the other hand, the viewers condemn the film makers. If the viewers don't respond to Bangladeshi movies, how can the directors dare make a big-budget movies? If the Bangladeshi movies don't ensure qualities like Bollywood or Hollywood or even like Tollywood, why will the viewers spend money or time on watching Bangla movies?

In a nutshell, we may conclude that the film like Dhaka Attack may bring the movie-viewers back to the cinemas and Bangladeshi films may get back its lost reputation, appeal, acceptability to all classes of movie-viewers.

Wadud Khan 
Lecturer, English 
Sadarpur Govt College, Faridpur 
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āĻāĻ•াāĻ˛েāĻ° āĻ¸েāĻ•েāĻ˛ে āĻļিāĻ•্āĻˇāĻ• : āĻĒ্āĻ°āĻ¤ি āĻĒāĻĻে āĻŦāĻž্āĻšāĻ¨া | āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāĻ¨




āĻ¸āĻŽ্āĻĒ্āĻ°āĻ¤ি (ā§Ļā§Ē āĻœুāĻ¨ ā§¨ā§Ļā§§ā§Ž āĻ–্āĻ°িāĻˇ্āĻŸাāĻŦ্āĻĻ) āĻœāĻ¨āĻĒ্āĻ°āĻļাāĻ¸āĻ¨ āĻŽāĻ¨্āĻ¤্āĻ°āĻŖাāĻ˛ā§Ÿ āĻĨেāĻ•ে "āĻ¸āĻ°āĻ•াāĻ°ি āĻŸেāĻ˛িāĻĢোāĻ¨, āĻ¸েāĻ˛ুāĻ˛াāĻ°, āĻĢ্āĻ¯াāĻ•্āĻ¸ āĻ“ āĻ‡āĻ¨্āĻŸাāĻ°āĻ¨েāĻŸ āĻ¨ীāĻ¤িāĻŽাāĻ˛া, ā§¨ā§Ļā§§ā§Ž" āĻļিāĻ°োāĻ¨াāĻŽে āĻāĻ•āĻŸি āĻ¸āĻŽā§ŸোāĻĒāĻ¯োāĻ—ী āĻ¨ীāĻ¤িāĻŽাāĻ˛া āĻœাāĻ°ি āĻ•āĻ°া āĻšā§ŸেāĻ›ে। āĻ¸āĻ™্āĻ—āĻ¤ āĻ•াāĻ°āĻŖেāĻ‡ āĻĒ্āĻ°āĻœাāĻ¤āĻ¨্āĻ¤্āĻ°েāĻ° āĻ•āĻ°্āĻŽāĻšাāĻ°ীāĻ°া (āĻŦāĻ°্āĻ¤āĻŽাāĻ¨ে 'āĻ•āĻ°্āĻŽāĻ•āĻ°্āĻ¤া' āĻļāĻŦ্āĻĻāĻŸি āĻ†āĻ° āĻŦ্āĻ¯āĻŦāĻšাāĻ° āĻ•āĻ°া āĻšāĻš্āĻ›ে āĻ¨া। āĻāĻ•াāĻ°āĻŖে āĻ•āĻ°্āĻŽāĻ•āĻ°্āĻ¤াāĻ° āĻ¸্āĻĨāĻ˛ে āĻ‡āĻš্āĻ›ে āĻ•āĻ°েāĻ‡ 'āĻ•āĻ°্āĻŽāĻšাāĻ°ী' āĻ˛েāĻ–া āĻšā§ŸেāĻ›ে।) āĻāĻ¤ে āĻ–ুāĻļি āĻšā§ŸেāĻ›েāĻ¨। āĻ•েāĻ¨āĻ¨া, āĻ—্āĻ°েāĻĄ-ā§§ āĻĨেāĻ•ে āĻļুāĻ°ু āĻ•āĻ°ে āĻ—্āĻ°েāĻĄ-ā§¯ āĻĒāĻ°্āĻ¯āĻ¨্āĻ¤ āĻ¸āĻ°āĻ•াāĻ°ি āĻ•āĻ°্āĻŽāĻšাāĻ°ীāĻ°াāĻ°া āĻŽাāĻ¸িāĻ• "āĻŽোāĻŦাāĻ‡āĻ˛ āĻ“ āĻ‡āĻ¨্āĻŸাāĻ°āĻ¨েāĻŸ āĻ­াāĻ¤া" āĻĒাāĻŦেāĻ¨। āĻāĻ¤ে āĻ…āĻ¨্āĻ¤āĻ°্āĻ­ুāĻ•্āĻ¤ āĻšā§ŸেāĻ›েāĻ¨ āĻŦিāĻ­িāĻ¨্āĻ¨ āĻĻāĻĒ্āĻ¤āĻ°, āĻ…āĻ§িāĻĻāĻĒ্āĻ¤āĻ°, āĻĒāĻ°িāĻĻāĻĒ্āĻ¤āĻ°েāĻ° āĻĒ্āĻ°āĻ§াāĻ¨āĻ—āĻŖ। āĻ¸āĻŦāĻ‡ āĻļুāĻ­ āĻ‰āĻĻ্āĻ¯োāĻ—। āĻ¸āĻ°āĻ•াāĻ° āĻ¨িঃāĻ¸āĻ¨্āĻĻেāĻšে āĻĒ্āĻ°āĻļংāĻ¸াāĻ° āĻĻাāĻŦিāĻĻাāĻ°।
āĻŦāĻ°াāĻŦāĻ°েāĻ° āĻŽāĻ¤ো āĻāĻ‡ āĻ¨ীāĻ¤িāĻŽাāĻ˛াāĻ¤েāĻ“ āĻ‰āĻĒেāĻ•্āĻˇিāĻ¤ āĻĨেāĻ•ে āĻ—েāĻ›েāĻ¨ āĻļিāĻ•্āĻˇা āĻ•্āĻ¯াāĻĄাāĻ°েāĻ° āĻ•āĻ°্āĻŽāĻšাāĻ°ীāĻŦৃāĻ¨্āĻĻ। āĻ…āĻ§্āĻ¯āĻ•্āĻˇ, āĻ‰āĻĒাāĻ§্āĻ¯āĻ•্āĻˇ  āĻ“ āĻ…āĻ§্āĻ¯াāĻĒāĻ• āĻ›াā§œা āĻļিāĻ•্āĻˇা āĻ•্āĻ¯াāĻĄাāĻ°েāĻ° āĻ†āĻ° āĻ•োāĻ¨ো āĻ•āĻ°্āĻŽāĻšাāĻ°ী āĻāĻ‡ āĻ¸ুāĻŦিāĻ§া āĻĒাāĻŦেāĻ¨ āĻ¨া। āĻ•াāĻ°āĻŖ, āĻ¤াঁāĻ°া āĻĒ্āĻ°āĻ¤িāĻˇ্āĻ াāĻ¨েāĻ° āĻĒ্āĻ°āĻ§াāĻ¨ āĻ¨āĻ¨। āĻ…āĻĨāĻš, āĻ…āĻ¨্āĻ¯াāĻ¨্āĻ¯ āĻ•্āĻ¯াāĻĄাāĻ°েāĻ° āĻ•্āĻˇেāĻ¤্āĻ°ে āĻāĻ‡ āĻ¸ুāĻŦিāĻ§া āĻĒাāĻš্āĻ›েāĻ¨ āĻ—্āĻ°েāĻĄ-ā§­ āĻĨেāĻ•ে āĻ—্āĻ°েāĻĄ-ā§¯ āĻāĻ° āĻ•āĻ°্āĻŽāĻšাāĻ°ীāĻ—āĻŖ। āĻ¯েāĻŽāĻ¨: āĻ‰āĻĒāĻœেāĻ˛া āĻĒāĻ°্āĻ¯াā§ŸেāĻ° āĻ¸āĻšāĻ•াāĻ°ী āĻ•āĻŽিāĻļāĻ¨াāĻ° (āĻ­ূāĻŽি) āĻāĻ‡ āĻ¸ুāĻŦিāĻ§া āĻĒাāĻš্āĻ›েāĻ¨, āĻ•েāĻ¨āĻ¨া āĻ¤াঁāĻ° āĻāĻ•āĻŸি āĻ…āĻĢিāĻ¸ āĻ°ā§ŸেāĻ›ে āĻ¯āĻĻিāĻ“ āĻ¤াঁāĻ° āĻŦেāĻ¤āĻ¨ āĻ—্āĻ°েāĻĄ-ā§¯।
āĻ¯েāĻšেāĻ¤ু āĻ•্āĻ¯াāĻĄাāĻ° āĻļিāĻ•্āĻˇāĻ• āĻ•āĻ°্āĻŽāĻšাāĻ°ীāĻĻেāĻ° āĻ¨িāĻœāĻ¸্āĻŦ āĻ•োāĻ¨ো āĻ…āĻĢিāĻ¸ āĻ¨েāĻ‡, āĻ¤াāĻ‡ āĻ¤াঁāĻ°া āĻ—্āĻ°েāĻĄ-ā§Ģ āĻ•িংāĻŦা āĻ—্āĻ°েāĻĄ-ā§Ŧ āĻāĻ° āĻ•āĻ°্āĻŽāĻšাāĻ°ী āĻšā§ŸেāĻ“ "āĻŽোāĻŦাāĻ‡āĻ˛ āĻ“ āĻ‡āĻ¨্āĻŸাāĻ°āĻ¨েāĻŸ āĻ­াāĻ¤া" āĻĒ্āĻ°াāĻĒ্āĻ¯ āĻšāĻŦেāĻ¨  āĻ¨া। āĻāĻ•āĻŸি āĻ¸āĻ°āĻ•াāĻ°ি āĻ•āĻ˛েāĻœে ā§¨ā§Ļā§ĻāĻœāĻ¨ āĻļিāĻ•্āĻˇāĻ• āĻ•āĻ°্āĻŽāĻšাāĻ°ী (āĻ•্āĻ¯াāĻĄাāĻ° āĻļিāĻ•্āĻˇāĻ•) āĻ•āĻ°্āĻŽāĻ°āĻ¤ āĻĨাāĻ•āĻ˛েāĻ“ āĻ…āĻĢিāĻ¸ āĻĒāĻ°িāĻšাāĻ˛āĻ¨া āĻ•āĻ°ে āĻĨাāĻ•েāĻ¨ āĻŽাāĻ¤্āĻ° āĻĻুāĻœāĻ¨- āĻ…āĻ§্āĻ¯āĻ•্āĻˇ āĻ“ āĻ‰āĻĒাāĻ§্āĻ¯āĻ•্āĻˇ। āĻ•াāĻœেāĻ‡ āĻāĻ‡ āĻĻুāĻœāĻ¨ āĻ•āĻ°্āĻŽāĻšাāĻ°ী āĻ“ āĻĒāĻĻāĻŽāĻ°্āĻ¯াāĻĻাāĻ° āĻ•াāĻ°āĻŖে āĻ…āĻ§্āĻ¯াāĻĒāĻ•āĻĻেāĻ° āĻ‰āĻĒāĻ°িāĻ‰āĻ•্āĻ¤ āĻ¸ুāĻŦিāĻ§া āĻĒ্āĻ°āĻĻাāĻ¨āĻ‡ āĻ•āĻ°্āĻ¤ৃāĻĒāĻ•্āĻˇেāĻ° āĻ¨িāĻ•āĻŸ āĻ¯āĻĨেāĻˇ্āĻŸ āĻŽāĻ¨ে āĻšā§ŸেāĻ›ে।
āĻļিāĻ•্āĻˇāĻ•āĻĻেāĻ° āĻŽাāĻ˛্āĻŸিāĻŽিāĻĄিā§Ÿা āĻ•্āĻ˛াāĻ¸āĻ°ুāĻŽে āĻĒাāĻ āĻĻাāĻ¨ে āĻĻāĻ•্āĻˇ āĻ•āĻ°াāĻ° āĻŽাāĻ¨āĻ¸ে āĻ¸āĻ°āĻ•াāĻ° āĻ†āĻ‡āĻ¸িāĻŸি āĻ•োāĻ°্āĻ¸েāĻ° āĻĒেāĻ›āĻ¨ে  āĻ‡āĻ¤োāĻŽāĻ§্āĻ¯ে āĻ•োāĻŸি āĻ•োāĻŸি āĻŸাāĻ•া āĻ–āĻ°āĻš āĻ•āĻ°ে āĻĢেāĻ˛েāĻ›ে। āĻ…āĻĨāĻš, āĻļিāĻ•্āĻˇāĻ•āĻĻেāĻ° āĻāĻ•āĻŸি āĻ•āĻ°ে āĻ†āĻ§ুāĻ¨িāĻ• āĻ˛্āĻ¯াāĻĒāĻŸāĻĒ āĻ•িāĻ¨ে āĻĻিāĻ¤ে āĻĒাāĻ°েāĻ¨ি। āĻļিāĻ•্āĻˇāĻ•āĻĻেāĻ° āĻ˛্āĻ¯াāĻĒāĻŸāĻĒ āĻ¨েāĻ‡, āĻŸ্āĻ¯াāĻŦāĻ˛েāĻŸ āĻĒিāĻ¸ি āĻ¨েāĻ‡, āĻāĻŽāĻ¨āĻ•ি āĻ…āĻ¨েāĻ•েāĻ° āĻŽোāĻĄেāĻŽ āĻ•িংāĻŦা āĻ¸্āĻŽাāĻ°্āĻŸ āĻĢোāĻ¨āĻ“ āĻ¨েāĻ‡। āĻ…āĻĨāĻš, āĻ•োāĻ¨āĻ“ āĻ•োāĻ¨āĻ“ āĻļিāĻ•্āĻˇāĻ• āĻ¤িāĻ¨-āĻšাāĻ°āĻŦাāĻ° āĻ†āĻ‡āĻ¸িāĻŸি āĻŸ্āĻ°েāĻ¨িং āĻ¸āĻŽ্āĻĒāĻ¨্āĻ¨ āĻ•āĻ°ে āĻĢেāĻ˛েāĻ›েāĻ¨।
āĻļিāĻ•্āĻˇāĻ•āĻĻেāĻ° āĻŽাāĻ˛্āĻŸিāĻŽিāĻĄিā§Ÿা āĻ•্āĻ˛াāĻ¸āĻ°ুāĻŽে āĻĒাāĻ āĻĻাāĻ¨ে āĻĻāĻ•্āĻˇ āĻ•āĻ°াāĻ° āĻ…āĻ­িāĻĒ্āĻ°াā§Ÿে āĻĒ্āĻ°াā§ŸāĻļ āĻŦāĻ˛া āĻšā§Ÿে āĻĨাāĻ•ে, "āĻāĻ•āĻœāĻ¨ āĻļিāĻ•্āĻˇāĻ• āĻšāĻŦেāĻ¨ āĻĒুāĻ°োāĻĒুāĻ°ি āĻĄিāĻœিāĻŸাāĻ˛। āĻ¤িāĻ¨ি āĻ—ুāĻ—āĻ˛ে āĻ¸াāĻ°্āĻš āĻĻিā§Ÿে āĻŦেāĻ° āĻ•āĻ°ে āĻ†āĻ¨āĻŦেāĻ¨ āĻšাāĻ˛āĻ¨াāĻ—াāĻĻ āĻ•িāĻ¨্āĻ¤ু āĻ¸āĻ িāĻ• āĻ“ āĻ¨িāĻ°্āĻ­ুāĻ˛ āĻ¸āĻ•āĻ˛ āĻ¤āĻĨ্āĻ¯। āĻ¤িāĻ¨ি āĻ‡āĻ‰āĻŸিāĻ‰āĻŦে āĻ¸াāĻ°্āĻš āĻĻিā§Ÿে āĻĄাāĻ‰āĻ¨āĻ˛োāĻĄ āĻ•āĻ°ে āĻ¨িāĻŦেāĻ¨ āĻ¤াāĻ° āĻĒ্āĻ°ā§ŸোāĻœāĻ¨ীā§Ÿ āĻ­িāĻĄিāĻ“ āĻŽ্āĻ¯াāĻŸেāĻ°িā§ŸাāĻ˛āĻ¸। āĻ­িāĻĄিāĻ“ āĻāĻĄিāĻŸিং, āĻ•াāĻŸিং, āĻĒেāĻ¸্āĻŸিং āĻ–ুāĻŦ āĻ¸ুāĻ¨্āĻĻāĻ° āĻ•āĻ°ে āĻļিāĻ–ে āĻ¨িāĻŦেāĻ¨। āĻāĻ•āĻœāĻ¨ āĻļিāĻ•্āĻˇāĻ• āĻŽাāĻ‡āĻ•্āĻ°োāĻ¸āĻĢāĻŸ āĻĒাāĻ“ā§ŸাāĻ° āĻĒā§ŸেāĻ¨্āĻŸে āĻšāĻŦেāĻ¨ āĻ¸ুāĻĻāĻ•্āĻˇ। āĻ•্āĻ˛াāĻ¸āĻ°ুāĻŽে āĻŦā§œো āĻŽāĻ¨িāĻŸāĻ°ে āĻ•্āĻ˛াāĻ¸ āĻ¨িāĻ¤ে āĻĒাāĻ°āĻ™্āĻ—āĻŽ āĻšāĻŦেāĻ¨ āĻāĻ•āĻœāĻ¨ āĻļিāĻ•্āĻˇāĻ• āĻ•āĻ°্āĻŽāĻšাāĻ°ী।"
āĻ†āĻ‡āĻ¸িāĻŸি āĻŸ্āĻ°েāĻ¨িংā§ŸেāĻ° āĻ•āĻ˛্āĻ¯াāĻŖে āĻ…āĻ¨েāĻ• āĻļিāĻ•্āĻˇāĻ• āĻ¯ুāĻ—োāĻĒāĻ¯োāĻ—ী āĻĄিāĻœিāĻŸাāĻ˛ āĻ•āĻ¨্āĻŸেāĻ¨্āĻŸ āĻ¤ৈāĻ°ি āĻ•āĻ°ে āĻ‡āĻ¤োāĻŽāĻ§্āĻ¯ে āĻ¸াā§œাāĻ“ āĻĢেāĻ˛েāĻ›েāĻ¨। āĻ•িāĻ¨্āĻ¤ু āĻ…āĻ¤্āĻ¯āĻ¨্āĻ¤ āĻĒāĻ°িāĻ¤াāĻĒেāĻ° āĻŦিāĻˇā§Ÿ āĻšāĻ˛ো- āĻ¸āĻ°āĻ•াāĻ° āĻļিāĻ•্āĻˇāĻ•āĻĻেāĻ° "āĻŽোāĻŦাāĻ‡āĻ˛ āĻ“ āĻ‡āĻ¨্āĻŸাāĻ°āĻ¨েāĻŸ āĻ­াāĻ¤া" āĻĨেāĻ•ে āĻ‰āĻĒāĻ°িāĻ‰āĻ•্āĻ¤ āĻ¨ীāĻ¤িāĻŽাāĻ˛াā§Ÿ āĻŦāĻž্āĻšিāĻ¤ āĻ•āĻ°েāĻ›ে।
āĻ†āĻŽāĻ°া āĻ¯āĻĻি āĻāĻ•āĻŸু āĻ—āĻ­ীāĻ°āĻ­াāĻŦে āĻ…āĻ¨ুāĻ§াāĻŦāĻ¨ āĻ•āĻ°ি, āĻ¤াāĻšāĻ˛ে āĻĻেāĻ–āĻ¤ে āĻĒাāĻŦো- āĻĨাāĻ¨াāĻ° āĻāĻ•āĻœāĻ¨ āĻ­াāĻ°āĻĒ্āĻ°াāĻĒ্āĻ¤ āĻ•āĻ°্āĻŽāĻ•āĻ°্āĻ¤াāĻ° (āĻ“āĻ¸ি) āĻšেā§Ÿে āĻāĻ•āĻœāĻ¨ āĻļিāĻ•্āĻˇāĻ•েāĻ° āĻŽোāĻŦাāĻ‡āĻ˛ āĻ“ āĻ‡āĻ¨্āĻŸাāĻ°āĻ¨েāĻŸ āĻŦ্āĻ¯āĻŦāĻšাāĻ° āĻ•āĻŽ āĻĒ্āĻ°ā§ŸোāĻœāĻ¨ীā§Ÿ āĻ¨ā§Ÿ। āĻāĻ•āĻœāĻ¨ āĻļিāĻ•্āĻˇāĻ•āĻ•ে āĻ¯োāĻ—াāĻ¯োāĻ— āĻ°āĻ•্āĻˇা āĻ•āĻ°āĻ¤ে āĻļিāĻ•্āĻˇাāĻ°্āĻĨী āĻ“ āĻ…āĻ­িāĻ­াāĻŦāĻ•āĻĻেāĻ° āĻ¸াāĻĨে।
āĻāĻ•āĻœāĻ¨ āĻļিāĻ•্āĻˇāĻ• āĻ•েāĻ¨ āĻ¨িāĻœ āĻĒāĻ•েāĻŸেāĻ° āĻŸাāĻ•া āĻ–āĻ°āĻš āĻ•āĻ°ে āĻ—ুāĻ—āĻ˛ে āĻĸুāĻ•āĻŦেāĻ¨, āĻ‡āĻ‰āĻŸিāĻ‰āĻŦে āĻ¸াঁāĻ¤āĻ°াāĻŦেāĻ¨, āĻ°াāĻ¤ āĻœেāĻ—ে āĻĄিāĻœিāĻŸাāĻ˛ āĻ•āĻ¨্āĻŸেāĻ¨্āĻŸ āĻ¤ৈāĻ°ি āĻ•āĻ°āĻŦেāĻ¨, āĻ¯েāĻ–াāĻ¨ে āĻ¸েāĻ‡ āĻļিāĻ•্āĻˇāĻ•āĻŸিāĻ•ে āĻĻেā§Ÿা āĻšā§ŸāĻ¨ি āĻāĻ•āĻŸি āĻ˛্āĻ¯াāĻĒāĻŸāĻĒ, āĻŸ্āĻ¯াāĻŦāĻ˛েāĻŸ āĻ•িংāĻŦা āĻ•āĻŽ্āĻĒিāĻ‰āĻŸাāĻ°? āĻ†āĻŦাāĻ° āĻļিāĻ•্āĻˇāĻ•āĻĻেāĻ° āĻŦাā§œāĻ¤ি āĻ‰ā§ŽāĻ¸াāĻš āĻĻেāĻ“ā§ŸাāĻ° āĻœāĻ¨্āĻ¯ āĻĻেā§Ÿা āĻšāĻš্āĻ›ে āĻ¨া "āĻŽোāĻŦাāĻ‡āĻ˛ āĻ“ āĻ‡āĻ¨্āĻŸাāĻ°āĻ¨েāĻŸ āĻ­াāĻ¤া"।
āĻļিāĻ•্āĻˇāĻ•āĻĻেāĻ° āĻ•āĻ°্āĻŽ āĻĒāĻ°িāĻŦেāĻļেāĻ° āĻŦৈāĻļিāĻˇ্āĻŸ্āĻ¯āĻ‡ āĻāĻŽāĻ¨ āĻ¯ে, āĻ¸āĻŦাāĻ‡ āĻāĻ•āĻ‡ āĻ¸াāĻĨে āĻ…āĻĢিāĻ¸ āĻĒ্āĻ°āĻ§াāĻ¨ āĻšāĻŦেāĻ¨ āĻ¨া। āĻ¸āĻŦাāĻ° āĻ…āĻĢিāĻ¸ āĻĨাāĻ•া āĻœāĻ°ুāĻ°িāĻ“ āĻ¨ā§Ÿ। āĻāĻ° āĻŽাāĻ¨ে āĻ¨ā§Ÿ āĻ¯ে āĻ¤াঁāĻĻেāĻ° āĻŽোāĻŦাāĻ‡āĻ˛ āĻ“ āĻ‡āĻ¨্āĻŸাāĻ°āĻ¨েāĻŸ āĻšাāĻ˛াāĻ¨োāĻ° āĻĒ্āĻ°ā§ŸোāĻœāĻ¨ āĻ¨েāĻ‡।
āĻ†āĻļাāĻ•āĻ°ি, āĻ†āĻŽাāĻ° āĻ˛েāĻ–াāĻŸি āĻ¸ংāĻļ্āĻ˛িāĻˇ্āĻŸ āĻ•āĻ°্āĻ¤ৃāĻĒāĻ•্āĻˇেāĻ° āĻ¨āĻœāĻ°ে āĻ†āĻ¸āĻŦে āĻāĻŦং āĻ¤াঁāĻ°া āĻĻ্āĻ°ুāĻ¤āĻ¤āĻŽ āĻ¸āĻŽā§Ÿে āĻ¨ীāĻ¤িāĻŽাāĻ˛াāĻŸিāĻ° āĻ¸ংāĻļোāĻ§āĻ¨ী āĻāĻ¨ে āĻ¸āĻ•āĻ˛ āĻļিāĻ•্āĻˇāĻ• āĻ•āĻ°্āĻŽāĻšাāĻ°ীāĻĻেāĻ° "āĻŽোāĻŦাāĻ‡āĻ˛ āĻ“ āĻ‡āĻ¨্āĻŸাāĻ°āĻ¨েāĻŸ āĻ­াāĻ¤া" āĻĒ্āĻ°āĻĻাāĻ¨ āĻ•āĻ°া āĻšāĻŦে।
āĻ­ুāĻ˛ে āĻ—েāĻ˛ে āĻšāĻ˛āĻŦে āĻ¨া, āĻāĻŸি āĻļিāĻ•্āĻˇāĻ•āĻĻেāĻ° āĻĒ্āĻ°āĻ¤ি āĻ•োāĻ¨ো āĻĻā§Ÿা āĻ¨ā§Ÿ; āĻŦāĻ°ং āĻ¤াঁāĻĻেāĻ° āĻ¨্āĻ¯াā§ŸāĻ¸āĻ™্āĻ—āĻ¤ āĻ…āĻ§িāĻ•াāĻ°।
āĻ†āĻ° āĻ•āĻ¤āĻ•াāĻ˛ āĻšাāĻœাāĻ°ো āĻŦāĻž্āĻšāĻ¨াāĻ° āĻļিāĻ•াāĻ° āĻāĻ•াāĻ˛েāĻ° āĻļিāĻ•্āĻˇāĻ•āĻ°া āĻĨেāĻ•ে āĻ¯াāĻŦেāĻ¨ āĻ¸েāĻ•েāĻ˛ে?

āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāĻ¨
āĻĒ্āĻ°āĻ­াāĻˇāĻ•, āĻ‡ংāĻ°েāĻœি āĻŦিāĻ­াāĻ—
āĻ¸āĻĻāĻ°āĻĒুāĻ° āĻ¸āĻ°āĻ•াāĻ°ি āĻ•āĻ˛েāĻœ, āĻĢāĻ°িāĻĻāĻĒুāĻ° 

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āĻ† āĻĒ্āĻ¯াāĻ°াāĻ—্āĻ°াāĻĢ āĻ…āĻ¨ "āĻ°োāĻĄ āĻāĻ•্āĻ¸িāĻĄেāĻ¨্āĻŸ" | āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāĻ¨

āĻ¸ā§œāĻ• āĻĻুāĻ°্āĻ˜āĻŸাāĻ° āĻ›āĻŦি

Road Accidents


At present  (āĻŦāĻ°্āĻ¤āĻŽাāĻ¨ে), road accidents have become regular incidents (āĻĻৈāĻ¨āĻ¨্āĻĻিāĻ¨ āĻ˜āĻŸāĻ¨া) in all over the world (āĻ¸াāĻ°া āĻĒৃāĻĨিāĻŦীāĻ¤ে), especially (āĻŦিāĻļেāĻˇ āĻ•āĻ°ে) in Bangladesh. It is increasing day by day  (āĻĻিāĻ¨ে āĻĻিāĻ¨ে āĻŦাā§œāĻ›ে). Thousands of people are dying every year due to road accident (āĻ¸ā§œāĻ• āĻĻুāĻ°্āĻ˜āĻŸāĻ¨াā§Ÿ āĻĒ্āĻ°āĻ¤িāĻŦāĻ›āĻ° āĻšাāĻœাāĻ° āĻšাāĻœাāĻ° āĻ˛োāĻ• āĻŽাāĻ°া āĻ¯াāĻš্āĻ›ে). Most of the road accidents take place (āĻ˜āĻŸে) in the urban areas  ( āĻļāĻšāĻ° āĻāĻ˛াāĻ•াā§Ÿ) and in the highways (āĻŽāĻšাāĻ¸ā§œāĻ•ে). Buses, trucks, rickshaws, baby-taxies etc mainly cause road accidents.The causes of road accidents are reckless driving  (āĻŦেāĻĒāĻ°োā§Ÿা āĻ—াā§œি āĻšাāĻ˛াāĻ¨ো), brake failures of vehicles, over-taking of one vehicle by another, driving by unskilled (āĻ…āĻĻāĻ•্āĻˇ) drivers. Another reason is violation of traffic rules ( āĻŸ্āĻ°াāĻĢিāĻ• āĻ¨িā§ŸāĻŽেāĻ° āĻ˛āĻ™্āĻ˜). Even the police cannot control     the traffic rule breakers (āĻĒুāĻ˛িāĻļ āĻ¨িā§ŸāĻŽ āĻ­āĻ™্āĻ—āĻ•াāĻ°ীāĻĻেāĻ° āĻ¨িā§ŸāĻ¨্āĻ¤্āĻ°āĻŖ āĻ•āĻ°āĻ¤ে āĻĒাāĻ°ে āĻ¨া). They dash  (āĻ§াāĻ•্āĻ•া āĻĻেā§Ÿ) the small vehicles and cause accidents. Sometimes pedestrians (āĻĒāĻĨāĻšাāĻ°ীāĻ°া) are crashed (āĻĻুāĻ°্āĻ˜āĻŸāĻ¨াāĻ° āĻļিāĻ•াāĻ° āĻšā§Ÿ) under the wheels of heavy vehicles (āĻ­াāĻ°ী āĻ¯াāĻ¨āĻŦাāĻšāĻ¨েāĻ° āĻšাāĻ•াāĻ° āĻ¨িāĻšে). Sometimes the speedy vehicles fall into the roadside ditch  (āĻ°াāĻ¸্āĻ¤াāĻ° āĻĒাāĻļেāĻ° āĻ–াāĻĻে) or into the river and thus kill the passengers  (āĻ¯াāĻ¤্āĻ°ীāĻ°া) on the spot (āĻ˜āĻŸāĻ¨াāĻ¸্āĻĨāĻ˛ে). Many lives are nipped in the bud (āĻ…āĻ™্āĻ•ুāĻ°ে āĻŦিāĻ¨āĻˇ্āĻŸ āĻšā§Ÿ). Many a family loses the only earning member (āĻāĻ•āĻŽাāĻ¤্āĻ° āĻ‰āĻĒাāĻ°্āĻœāĻ¨āĻ•্āĻˇāĻŽ āĻŦ্āĻ¯āĻ•্āĻ¤ি). Many people become crippled (āĻĒāĻ™্āĻ—ু). Road accidents make many children orphans (āĻāĻ¤িāĻŽ). Many wives become windows (āĻŦিāĻ§āĻŦা). This problem can be solved by all out efforts  (āĻ¸āĻ°্āĻŦাাāĻ¤্āĻŽāĻ•) from both the authority and the general people. To do so, first our general people have to be made aware (āĻ¸āĻšেāĻ¤āĻ¨). The drivers have to be skilled and they also have to avoid their overtaking tendency (āĻ“āĻ­াāĻ°āĻŸেāĻ• āĻ•āĻ°াāĻ° āĻĒ্āĻ°āĻŦāĻ¨āĻ¤া). And the authority should be more strict (āĻ†āĻ°āĻ“ āĻ•ā§œা āĻšāĻ¤ে āĻšāĻŦে) to enforce the existing laws (āĻŦিāĻĻ্āĻ¯āĻŽাāĻ¨ āĻ†āĻ‡āĻ¨ āĻĒ্āĻ°ā§ŸোāĻ—েāĻ° āĻŦেāĻ˛াā§Ÿ). However, this problem should be solved by taking necessary (āĻĒ্āĻ°ā§ŸোāĻœāĻ¨ীā§Ÿ) steps. Traffic rules should be imposed strictly (āĻœোāĻ°াāĻ˛োāĻ­াāĻŦে āĻĒ্āĻ°ā§ŸোāĻ— āĻ•āĻ°āĻ¤ে āĻšāĻŦে). Radio and television can play a vital role  (āĻ°েāĻĄিāĻ“, āĻŸেāĻ˛িāĻ­িāĻļāĻ¨ āĻ—ুāĻ°ুāĻ¤্āĻŦāĻĒূāĻ°্āĻ¨ āĻ­ূāĻŽিāĻ•া āĻĒাāĻ˛āĻ¨ āĻ•āĻ°āĻ¤ে āĻĒাāĻ°ে) in this regard.
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āĻ˛্āĻ¯াংāĻ¸্āĻŸāĻ¨ āĻšিāĻ‰āĻœেāĻ° ( Langston Hughes) āĻāĻ•āĻŸি āĻ…āĻ¸াāĻ§াāĻ°āĻŖ āĻ•āĻŦিāĻ¤াāĻ° āĻ¸āĻ°āĻ˛ āĻĨিāĻŽ | āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāĻ¨

āĻœেāĻŽāĻ¸ āĻŽাāĻ°্āĻ¸াāĻ° āĻ˛্āĻ¯াংāĻ¸্āĻŸāĻ¨ āĻšিāĻ‰āĻœ
(āĻœāĻ¨্āĻŽ: ā§§ āĻĢেāĻŦ্āĻ°ুā§ŸাāĻ°ি, ā§§ā§¯ā§Ļā§¨, āĻŽৃāĻ¤্āĻ¯ু: ā§¨ā§¨ āĻŽে, ā§§ā§¯ā§Ŧā§­)

Dreams

By Langston Hughes 

Hold fast to dreams
For if dreams die
Life is a broken-winged bird
That cannot fly.
Hold fast to dreams
For when dreams go
Life is a barren field
Frozen with snow.

āĻ¸āĻ°āĻ˛ āĻĨিāĻŽ 
By Wadud Khan
Using very easy and lucid language, Hughes tries to define what a true dream is. Dreams habitually come while we are fast asleep. But these dreams are not dreams at all. True dreams are those which actually take away our sleep. If a person desires to reach his vision and mission, he/she should have a dream. Dream is a mental energy, an inner inspiration. If a person doesn't have any dream, he/she is just like a wingless bird which cannot fly and cannot enjoy freedom. So, human beings should hold fast to dreams. Life becomes like a barren field if there is no true dream. A person loses his hope, ambition, future, career if he/she does not possess any dream. Dream is a will power, a mental strength which moves a person forward. 

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āĻ‡ā§ŸেāĻŸāĻ¸েāĻ° āĻāĻ•āĻŸি āĻŦিāĻ–্āĻ¯াāĻ¤ āĻ•āĻŦিāĻ¤াāĻ° āĻĨিāĻŽ | āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāĻ¨

āĻ‰āĻ‡āĻ˛িā§ŸাāĻŽ āĻŦাāĻŸāĻ˛াāĻ° āĻ‡ā§ŸেāĻŸāĻ¸

āĻŽূāĻ˛ āĻ•āĻŦিāĻ¤া: 

The Lake Isle of Innisfree
I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean-rows will I have there, a hive for the honey-bee,
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.

āĻ•āĻŦিāĻ¤াāĻ° āĻĨিāĻŽ: 

BY WADUD KHAN (khanwadud2@gmail.com)

W.B. Yeats, at the beginning of this peom, makes a decision to leave the busy city life. He wants to arise and go now. He has decided to make the break from modern society and go to a place he loves, Innisfree. He decides to build a cabin of clay and wattles to live in there. He imagines his garden with exactly nine rows for growing beans, and he wants to have a beehive for honey. He then will live alone in the bee-loud glade. Here Yeats wonderfully expresses that all he will hear is the loud drone of bees, not the drone of civilization. There will be no stress, no noise, no tiresome activities. Peace will come here slowly. From the time the morning dawns until the evening when the cricket sings, there will be unmixed pleasure.  
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ā§§ā§Ļā§ĻāĻŸি āĻ‡ংāĻ°েāĻœি āĻļāĻ°্āĻŸ āĻĄাā§ŸাāĻ˛āĻ—, āĻ•āĻĨা āĻŦāĻ˛āĻ¤ে āĻ¯া āĻĒ্āĻ°াā§ŸāĻ‡ āĻŦ্āĻ¯āĻŦāĻšাāĻ° āĻšā§Ÿ...

✪ What’s up - āĻ•ি āĻ–āĻŦāĻ°?
✪ Carry on - āĻšাāĻ˛িā§Ÿে āĻ¯াāĻ“
✪ Wow - āĻŦাāĻš, āĻĻাāĻ°ুāĻ¨ āĻ¤ো
✪ My goodness! - āĻāĻ•ি!
✪ How come - āĻ•ি āĻŦ্āĻ¯াāĻĒাāĻ°?
✪ What a mess! - āĻ•ি āĻāĻ• āĻাāĻŽেāĻ˛া!
✪ Oh shit - āĻ§্āĻ¯াāĻ¤্āĻ¤েāĻ°ি
✪ Yes, go on - āĻš্āĻ¯া, āĻŦāĻ˛āĻ¤ে āĻĨাāĻ•
✪ Oh dear! - āĻŦāĻ˛ো āĻ•ী! 
✪ Hi guys - āĻš্āĻ¯াāĻ˛ো āĻŦāĻ¨্āĻ§ুāĻ°া
✪ Good job! – āĻ¸াāĻŦাāĻļ!
✪ So what? – āĻ¤াāĻ¤ে āĻ•ি?
✪ Oh, no! - āĻ āĻšāĻ¤ে āĻĒাāĻ°েāĻ¨া!
✪ Pay attention! - āĻŽāĻ¨োāĻ¯োāĻ— āĻĻিāĻ¨!
✪ Definitely – āĻ…āĻŦāĻļ্āĻ¯āĻ‡
✪ Let it pass - āĻ›েā§œে āĻĻিāĻ¨।
✪ Obviously – āĻ¸্āĻĒāĻˇ্āĻŸāĻ¤, āĻ¸āĻŽ্āĻ­āĻŦāĻ¤
✪ I’m off - āĻ†āĻŽি āĻ—েāĻ˛াāĻŽ।
✪ It’s your turn - āĻāĻŦাāĻ° āĻ¤োāĻŽাāĻ° āĻĒাāĻ˛া
✪ As if - āĻ¯েāĻ¨, āĻ•ি āĻ¯ে āĻšāĻ¤ো
✪ Damn it! - āĻšুāĻ˛াā§Ÿ āĻ¯াāĻ•!
✪ What a surprise!- āĻšāĻŸাā§Ž āĻ¯ে!
✪ Go to the devil! – āĻ—োāĻ˛্āĻ˛াā§Ÿ āĻ¯াāĻ•!
✪ What about you? – āĻ¤োāĻŽাāĻ° āĻ–āĻŦāĻ° āĻ•ি?
✪ so so - āĻŽোāĻŸাāĻŽোāĻŸি
✪ So be it - āĻ¤āĻŦে āĻ¤াāĻ‡ āĻšোāĻ•
✪ Who cares! – āĻ•াāĻ° āĻ•ি āĻ¯াā§Ÿ āĻ†āĻ¸ে!
✪ I'm at a loss - āĻ•ি āĻŦāĻ˛āĻŦ āĻ­েāĻŦে āĻĒাāĻš্āĻ›িāĻ¨া!
✪ Heiya! It is you I see - āĻ†āĻ°ে āĻ¤ুāĻŽি āĻ¯ে!
✪ Oh! come on - āĻ†āĻš! āĻāĻ•āĻŸু āĻŦুāĻāĻ¤ে āĻšেāĻˇ্āĻŸা āĻ•āĻ°ো
✪ Excuse me - āĻāĻ‡ āĻ¯ে āĻļুāĻ¨ুāĻ¨
✪ Not a bit - āĻāĻ•āĻŸুāĻ“ āĻ¨া
✪ That’s fantastic - āĻāĻŸা āĻ¸āĻ¤্āĻ¯ি āĻšāĻŽā§ŽāĻ•াāĻ° 
✪ Next to nothing - āĻŦāĻ˛āĻ¤ে āĻ—েāĻ˛ে āĻ•িāĻ›ুāĻ‡ āĻ¨া
✪ Mind your language - āĻ­াāĻˇা āĻ¸ংāĻ¯āĻ¤ āĻ•āĻ°ো
✪ Come to the point – āĻ†āĻ¸āĻ˛ āĻ•āĻĨা āĻŦāĻ˛
✪ Thats right - āĻ িāĻ• āĻŦāĻ˛েāĻ›েāĻ¨
✪ To be frank - āĻ–োāĻ˛াāĻ–ুāĻ˛ি āĻ­াāĻŦে āĻŦāĻ˛āĻ¤ে āĻ—েāĻ˛ে।
✪ Really pleased - āĻ¸āĻ¤্āĻ¯ি āĻ†āĻ¨āĻ¨্āĻĻিāĻ¤
✪ I am delighted- āĻ†āĻŽি āĻ†āĻ¨āĻ¨্āĻĻিāĻ¤ ।
✪ So kind of you! - āĻ†āĻĒāĻ¨াāĻ° āĻĻā§Ÿা।
✪ Anybody home? - āĻŦাā§œিāĻ¤ে āĻ•েāĻ‰ āĻ†āĻ›েāĻ¨?
✪ Keep quiet - āĻšুāĻĒ āĻ•āĻ°
✪ No entrance - āĻĒ্āĻ°āĻŦেāĻļ āĻ¨িāĻˇেāĻ§
✪ It’s enough - āĻ¯āĻĨেāĻˇ্āĻŸ āĻšā§ŸেāĻ›
✪ What happened - āĻ•ি āĻšā§ŸেāĻ›ে
✪ What an idea! - āĻ•ি āĻŦুāĻĻ্āĻ§ি!
✪ Well done - āĻ¸াāĻŦাāĻļ
✪ Indeed! - āĻ¸āĻ¤্āĻ¯ি!
✪ How peaceful! - āĻ•ি āĻļাāĻ¨্āĻ¤!
✪ Get lost - āĻŦিāĻĻাā§Ÿ āĻšোāĻ¨।
✪ Let me see - āĻ†āĻŽাāĻ•ে āĻĻেāĻ–āĻ¤ে āĻĻাāĻ“
✪ Oh sure - āĻ“ āĻ¨িāĻļ্āĻšā§ŸāĻ‡
✪ Who knows! – āĻ•ে āĻœাāĻ¨ে!
✪ Bullshit! – āĻŦাāĻœে āĻ•āĻĨা
✪ But who cares! - āĻ•ে āĻ§াāĻ°āĻ§াāĻ°ে!
✪ No more buts - āĻ†āĻ° āĻ•োāĻ¨ āĻ•িāĻ¨্āĻ¤ু āĻ¨ā§Ÿ
✪ How so – āĻ¤া āĻ•ি āĻ•āĻ°ে āĻšā§Ÿ?
✪ I think so - āĻ†āĻŽি āĻ¤াāĻ‡ āĻŽāĻ¨ে āĻ•āĻ°ি
✪ Calm down - āĻļাāĻ¨্āĻ¤ āĻšāĻ“
✪ Let’s have a look - āĻšāĻ˛ āĻĻেāĻ–ি
✪ Let’s run away - āĻšāĻ˛ো āĻāĻ•্āĻˇুāĻ¨ি āĻĒাāĻ˛াāĻ‡ 
✪ I am getting wet - āĻ†āĻŽি āĻ­িāĻœে āĻ¯াāĻš্āĻ›ি
✪ I don’t care! – āĻ†āĻŽাāĻ° āĻ•িāĻ›ু āĻ¯াā§Ÿ āĻ†āĻ¸েāĻ¨া!
✪ How else – āĻ†āĻ° āĻ•িāĻ­াāĻŦে?
✪ Little by little – āĻ•্āĻ°āĻŽাāĻ¨্āĻŦā§Ÿে।
✪ Is it so! - āĻ¤াāĻ‡ āĻ¨াāĻ•ি!
✪ If you do case - āĻ¯āĻĻি āĻ†āĻĒāĻ¨ি āĻšাāĻ¨
✪ Have a good day - āĻ­াāĻ˛ āĻāĻ•āĻŸি āĻĻিāĻ¨ āĻ•াāĻŸাāĻ“।
✪ Let’s sit somewhere - āĻšāĻ˛ āĻ•োāĻĨাāĻ“ āĻŦāĻ¸ি
✪ So far so good - āĻ āĻĒāĻ°্āĻ¯āĻ¨্āĻ¤ āĻ¸āĻŦāĻ‡ āĻ­াāĻ˛ো
✪ I tend to think – āĻ†āĻŽাāĻ° āĻ•েāĻ¨ āĻ¯েāĻ¨ āĻŽāĻ¨ে āĻšā§Ÿ।
✪ I suppose so – āĻ†āĻŽিāĻ“ āĻ¸েāĻŸা āĻ§াāĻ°āĻŖা āĻ•āĻ°āĻ›ি।
✪ I don’t mind – āĻ†āĻŽি āĻ•িāĻ›ু āĻŽāĻ¨ে āĻ•āĻ°ি āĻ¨া।
✪ If so, so what - āĻ¯āĻĻি āĻ¤াāĻ‡ āĻšā§Ÿ āĻ¤াāĻ¤ে āĻ•ী
✪ Keep your word – āĻ¤োāĻŽাāĻ° āĻ•āĻĨা āĻ°েāĻ–ো।
✪ Nothing is impossible – āĻ•োāĻ¨ āĻ•িāĻ›ুāĻ‡ āĻ…āĻ¸āĻŽ্āĻ­āĻŦ āĻ¨ā§Ÿ।
✪ Whatever (you want) – āĻ¤ুāĻŽি āĻ¯া āĻšাāĻ“।
✪ Whatever you do? – āĻ¤ুāĻŽি āĻ¯া āĻ•āĻ°।
✪ Why should I care? – āĻ•েāĻ¨ āĻ†āĻŽি āĻĒāĻ°োā§Ÿা āĻ•āĻ°āĻŦ?
✪ Something else – āĻ…āĻ¨্āĻ¯ āĻ•িāĻ›ু।
✪ Nothing else – āĻ…āĻ¨্āĻ¯ āĻ•িāĻ›ুāĻ‡ āĻ¨া।
✪ Talk sense - āĻšিāĻ¨্āĻ¤া āĻ•āĻ°ে āĻ•āĻĨা āĻŦāĻ˛ 
✪ Don’t say anymore – āĻ†āĻ° āĻ•িāĻ›ু āĻŦāĻ˛ো āĻ¨া।
✪ Forget it - āĻ“ āĻ­ুāĻ˛ে āĻ¯াāĻ“। 
✪ What a pity- āĻ•ি āĻĻু:āĻ–āĻœāĻ¨āĻ• ।
✪ Hold on - āĻ˛াāĻ‡āĻ¨ে āĻĨাāĻ•ুāĻ¨
✪ Do it at once! - āĻāĻ•্āĻˇুāĻ¨ি āĻ•āĻ°!
✪ Speak with care - āĻ¸াāĻŦāĻ§াāĻ¨ে āĻ•āĻĨা āĻŦāĻ˛।
✪ How strange! - āĻ•ি āĻ…āĻĻ্āĻ­ুāĻ¤!
✪ By the grace of Allah - āĻ†āĻ˛্āĻ˛াāĻšাāĻ° āĻ°āĻšāĻŽāĻ¤ে
✪ How absurd! - āĻ•ি āĻŦাāĻœে āĻŦāĻ•āĻ›ো!
✪ Good riddance! - āĻ¯াāĻ• āĻŦাāĻšা āĻ—েāĻ˛!
✪ Just for asking - āĻšাāĻ‡āĻ˛েāĻ‡ āĻĒাāĻ“ā§Ÿা āĻ¯াā§Ÿ
✪ Stand in queue - āĻ˛াāĻ‡āĻ¨ে āĻĻাঁā§œাāĻ¨
✪ No smoking - āĻ§ূāĻŽāĻĒাāĻ¨ āĻ¨িāĻˇেāĻ§
✪ Let me digress - āĻāĻ•āĻŸু āĻ­িāĻ¨্āĻ¨ āĻĒ্āĻ°āĻ¸āĻ™্āĻ—ে āĻ¯াāĻ“ā§Ÿা āĻ¯াāĻ• 
✪ I swear I will - āĻ•āĻ¸āĻŽ āĻ†āĻŽি āĻ•āĻ°āĻŦ ।
✪ I give up - āĻ†āĻŽি āĻ›েā§œে āĻĻিā§ŸেāĻ›ি ।
✪ Pardon me - āĻ•্āĻˇāĻŽা āĻ•āĻ°ো।
✪ It’s sound good - āĻ¤োāĻŽাāĻ° āĻ•āĻĨা āĻ­াāĻ˛ো āĻ˛াāĻ—āĻ›ে।
✪ On the other hand - āĻ…āĻĒāĻ° āĻĒāĻ•্āĻˇে 

(collected from Internet
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āĻŽাāĻ“āĻ˛াāĻ¨া āĻ¸াāĻĻāĻ•ে āĻ¨িā§Ÿে āĻ†āĻ° āĻŦিāĻ¤āĻ°্āĻ• āĻšাāĻ‡ āĻ¨া

āĻŦিāĻļ্āĻŦ āĻ‡āĻœāĻ¤েāĻŽাāĻ° āĻ¨াāĻŽ āĻļোāĻ¨েāĻ¨āĻ¨ি āĻāĻŽāĻ¨ āĻ•াāĻ‰āĻ•ে āĻāĻ‡ āĻŦাংāĻ˛াāĻĻেāĻļে āĻĒাāĻ“ā§Ÿা āĻāĻ–āĻ¨ āĻŽুāĻļāĻ•িāĻ˛। āĻ°াāĻœāĻ¨ৈāĻ¤িāĻ• āĻŽāĻ¤াāĻĻāĻ°্āĻļেāĻ° āĻĒ্āĻ°āĻšাāĻ° āĻ¨া āĻĨাāĻ•াā§Ÿ āĻāĻŦং āĻšাāĻ¨্āĻĻা āĻ•িংāĻŦা āĻ§াāĻ¨্āĻ§াāĻ° āĻŦ্āĻ¯াāĻĒাāĻ° āĻ¨া āĻĨাāĻ•াā§Ÿ- āĻ–ুāĻŦ āĻĻ্āĻ°ুāĻ¤ āĻ¤াāĻŦāĻ˛ীāĻ— āĻœাāĻŽাāĻ¤ āĻ¸āĻ°্āĻŦāĻ¸াāĻ§াāĻ°āĻŖেāĻ° āĻ†āĻ¸্āĻĨা āĻ“ āĻ­াāĻ˛োāĻŦাāĻ¸া āĻĒেāĻ¤ে āĻ¸āĻŽāĻ°্āĻĨ āĻšā§Ÿ।

āĻ†āĻœ āĻĨেāĻ•ে āĻĒ্āĻ°াā§Ÿ āĻļāĻ¤āĻŦāĻ°্āĻˇ āĻ†āĻ—ে āĻ­াāĻ°āĻ¤েāĻ° āĻŽেāĻ“ā§ŸাāĻ¤ āĻ…āĻž্āĻšāĻ˛ে āĻŽাāĻ“āĻ˛াāĻ¨া āĻ‡āĻ˛িā§ŸাāĻ¸ āĻ•াāĻ¨্āĻ§āĻ˛āĻŦী (āĻ°āĻš.) āĻāĻ‡ āĻŽেāĻšāĻ¨āĻ¤ āĻļুāĻ°ু āĻ•āĻ°েāĻ¨। āĻŽাāĻĻāĻ°াāĻ¸া āĻ“ āĻ–াāĻ¨āĻ•াāĻš āĻ•েāĻ¨্āĻĻ্āĻ°িāĻ• āĻ§āĻ°্āĻŽ āĻšāĻ°্āĻšাāĻ° āĻŦāĻ˛ā§Ÿ āĻĨেāĻ•ে āĻŦেāĻ° āĻšā§Ÿে āĻ¤িāĻ¨ি āĻāĻ• āĻ¨āĻŦāĻœাāĻ—āĻ°āĻŖ āĻ¸ৃāĻˇ্āĻŸি āĻ•āĻ°েāĻ¨। āĻ†āĻŽ āĻœāĻ¨āĻ¤া āĻ¤াāĻ° āĻŽেāĻšāĻ¨āĻ¤েāĻ° āĻ¸াāĻĨে āĻļāĻ°ীāĻ• āĻšāĻ¤ে āĻĨাāĻ•েāĻ¨ āĻāĻŦং āĻ¨িāĻœেāĻ•ে āĻŦāĻĻāĻ˛াāĻ¤ে āĻĨাāĻ•েāĻ¨ āĻ†āĻŽূāĻ˛।

āĻŦিāĻļ্āĻŦ āĻ¤াāĻŦāĻ˛ীāĻ—েāĻ° āĻŽূāĻ˛ āĻŽাāĻ°āĻ•াāĻœ āĻšāĻš্āĻ›ে āĻĻিāĻ˛্āĻ˛ীāĻ° āĻ¨িāĻœাāĻŽুāĻĻ্āĻĻীāĻ¨ে। āĻĒāĻ°āĻŦāĻ°্āĻ¤ীāĻ•াāĻ˛ে āĻšাāĻ•্āĻ•াāĻ¨ী āĻ“āĻ˛াāĻŽাā§Ÿে āĻ•েāĻ°াāĻŽ, āĻŦুāĻœুāĻ°্āĻ—াāĻ¨ে āĻĻ্āĻŦীāĻ¨ āĻāĻ• āĻŦাāĻ•্āĻ¯ে āĻ¸্āĻŦীāĻ•াāĻ° āĻ•āĻ°ে āĻ¨িā§ŸেāĻ›েāĻ¨ āĻ¤াāĻŦāĻ˛ীāĻ— āĻ“ āĻĻাāĻ“ā§ŸাāĻš- āĻāĻ•āĻŸি āĻšāĻ• āĻŽেāĻšāĻ¨āĻ¤। āĻāĻŦং āĻ āĻŽেāĻšāĻ¨āĻ¤েāĻ° āĻ¸াāĻĨে āĻœুā§œāĻ˛ে āĻŦāĻĻāĻ˛ে āĻ¯েāĻ¤ে āĻĒাāĻ°ে āĻ¯ে āĻ•াāĻ°āĻ“ āĻœীāĻŦāĻ¨। āĻĒাঁāĻšāĻ“ āĻŽāĻšাāĻĻেāĻļে āĻāĻ‡ āĻŽেāĻšāĻ¨āĻ¤ āĻāĻ–āĻ¨ āĻ›ā§œিā§Ÿে āĻĒā§œেāĻ›ে। āĻŦāĻĻāĻ˛ে āĻ—েāĻ›ে āĻ˛াāĻ–ো āĻœীāĻŦāĻ¨।

āĻŽাāĻ“āĻ˛াāĻ¨া āĻ¸াāĻĻ āĻ•াāĻ¨্āĻ§āĻ˛āĻŦী (āĻŽা. āĻ†.)
āĻ¸াāĻŽ্āĻĒ্āĻ°āĻ¤িāĻ•āĻ•াāĻ˛ে āĻŽাāĻ“āĻ˛াāĻ¨া āĻ‡āĻ˛িā§ŸাāĻ¸ āĻ•াāĻ¨্āĻ§āĻ˛āĻŦী (āĻ°āĻš.) āĻāĻ° āĻĻৌāĻšিāĻ¤্āĻ° āĻ¨িāĻœাāĻŽুāĻĻ্āĻĻীāĻ¨ āĻŽাāĻ°āĻ•াāĻœেāĻ° āĻ¸āĻ°্āĻŦāĻœāĻ¨ āĻļ্āĻ°āĻĻ্āĻ§েā§Ÿ āĻŽুāĻ°ুāĻŦ্āĻŦী (āĻŦিāĻļ্āĻŦ āĻ†āĻŽীāĻ°āĻ“ āĻŦāĻ˛া āĻšā§Ÿে āĻĨাāĻ•ে) āĻŽাāĻ“āĻ˛াāĻ¨া āĻ¸াāĻĻ āĻ•াāĻ¨্āĻ§āĻ˛āĻŦীāĻ° āĻ•িāĻ›ু āĻŦā§ŸাāĻ¨ āĻ¨িā§Ÿে āĻ“āĻ˛াāĻŽাāĻĻেāĻ° āĻŽাāĻে āĻŽāĻ¤āĻĒাāĻ°্āĻĨāĻ•্āĻ¯ āĻĻেāĻ–া āĻĻেā§Ÿ। āĻ“āĻ˛াāĻŽা āĻŽাāĻļাā§ŸেāĻ–āĻĻেāĻ° āĻŽāĻ¤āĻĒাāĻ°্āĻĨāĻ•্āĻ¯ āĻ¨āĻ¤ুāĻ¨ āĻ•োāĻ¨āĻ“ āĻŦিāĻˇā§Ÿ āĻ¨ā§Ÿ। āĻ†āĻ—েāĻ° āĻ¯ুāĻ—েāĻ“ āĻšā§ŸেāĻ›ে। āĻšাāĻ°āĻŸি āĻŽাāĻœāĻšাāĻŦ āĻ•িংāĻŦা āĻ˛া-āĻŽাāĻœāĻšাāĻŦ āĻ•িāĻ¨্āĻ¤ু āĻŽāĻ¤āĻĒাāĻ°্āĻĨāĻ•্āĻ¯ āĻĨেāĻ•েāĻ‡।

āĻ“āĻ˛াāĻŽাā§Ÿে āĻĻেāĻ“āĻŦāĻ¨্āĻ§েāĻ° āĻ†āĻ¨ীāĻ¤ āĻ…āĻ­িāĻ¯োāĻ—āĻ•ে āĻ¸্āĻŦীāĻ•াāĻ°  āĻāĻŦং āĻ­ুāĻ˛েāĻ° āĻœāĻ¨্āĻ¯ āĻ•্āĻˇāĻŽা āĻšেā§Ÿে āĻŽāĻšāĻ¤্āĻŦেāĻ° āĻĒāĻ°িāĻšā§Ÿ āĻĻিā§ŸেāĻ›েāĻ¨ āĻŽাāĻ“āĻ˛াāĻ¨া āĻ¸াāĻĻ। āĻ¨āĻŦী-āĻ°āĻ¸ূāĻ˛ āĻŦাāĻĻে āĻ•েāĻ‰āĻ‡ āĻ­ুāĻ˛েāĻ° āĻ‰āĻ°্āĻ§ে āĻ¨ā§Ÿ। āĻ­ুāĻ˛ āĻ¸ংāĻļোāĻ§āĻ¨েāĻ° āĻ¸ুāĻ¯োāĻ— āĻĻিāĻ¤ে āĻšāĻŦে।

ā§§ā§Š āĻœাāĻ¨ুā§ŸাāĻ°ি āĻĒ্āĻ°āĻĨāĻŽ āĻ†āĻ˛োāĻ¤ে āĻĒ্āĻ°āĻ•াāĻļিāĻ¤ āĻ¸ংāĻŦাāĻĻেāĻ° āĻŽাāĻ§্āĻ¯āĻŽে āĻŦুāĻāĻ¤ে āĻĒাāĻ°āĻ˛াāĻŽ āĻ“āĻ˛াāĻŽাā§Ÿে āĻĻেāĻ“āĻŦāĻ¨্āĻĻ āĻ“ āĻŽাāĻ“āĻ˛াāĻ¨া āĻ¸াāĻĻেāĻ° āĻŽাāĻে āĻ¤ৈāĻ°ি āĻšāĻ“ā§Ÿা āĻ­ুāĻ˛ āĻŦোāĻাāĻŦুāĻিāĻ° āĻ…āĻŦāĻ¸াāĻ¨ āĻšā§ŸেāĻ›ে।

āĻ¤āĻŦুāĻ“ āĻāĻĻেāĻļেāĻ° āĻ•িāĻ›ু āĻ“āĻ˛াāĻŽা-āĻŽাāĻļাā§ŸেāĻ– āĻŽাāĻ“āĻ˛াāĻ¨া āĻ¸াāĻĻāĻ•ে āĻŸāĻ™্āĻ—ীāĻ¤ে āĻšāĻ˛āĻŽাāĻ¨ āĻŦিāĻļ্āĻŦ āĻ‡āĻœāĻ¤েāĻŽাā§Ÿ āĻļāĻ°ীāĻ• āĻšāĻ¤ে āĻ¨া āĻĻিā§Ÿে āĻ˛āĻ•্āĻˇ āĻ˛āĻ•্āĻˇ āĻ§āĻ°্āĻŽāĻĒ্āĻ°াāĻŖ, āĻ¤াāĻŦāĻ˛ীāĻ—-āĻ…āĻ¨্āĻ¤āĻĒ্āĻ°াāĻŖ āĻ¸াāĻĨীāĻĻেāĻ° āĻšৃāĻĻā§ŸāĻ•ে āĻ°āĻ•্āĻ¤াāĻ•্āĻ¤ āĻ•āĻ°েāĻ›েāĻ¨।

āĻ¯ে āĻ–াāĻ¨āĻĻাāĻ¨ āĻŦিāĻļ্āĻŦ āĻĻāĻ°āĻŦাāĻ°ে āĻ¤াāĻŦāĻ˛ীāĻ—েāĻ° āĻ…āĻŽিā§Ÿ āĻŦাāĻŖী āĻĒৌঁāĻ›ে āĻĻিā§ŸেāĻ›েāĻ¨, āĻāĻ–āĻ¨āĻ“ āĻĻিāĻš্āĻ›েāĻ¨, āĻ¸েāĻ‡ āĻ–াāĻ¨āĻĻাāĻ¨েāĻ° āĻ…āĻ¨ুāĻĒāĻ¸্āĻĨিāĻ¤ি āĻ‡āĻœāĻ¤েāĻŽাāĻ° āĻ¸ৌāĻ¨্āĻĻāĻ°্āĻ¯āĻ•ে āĻ…āĻ¨েāĻ•āĻŸা āĻŽāĻ˛িāĻ¨ āĻ•āĻ°েāĻ›ে।

āĻāĻĻেāĻļেāĻ° āĻ¸āĻŽāĻ¸্āĻ¤ āĻ‡āĻ¸āĻ˛াāĻŽী āĻĒāĻ¨্āĻĄিāĻ¤ āĻ“ āĻŦুāĻœুāĻ°্āĻ—াāĻ¨ে āĻĻ্āĻŦীāĻ¨েāĻ° āĻ•াāĻ›ে āĻāĻ‡ āĻ…āĻ§āĻŽ, āĻ—ুāĻ¨াāĻšāĻ—াāĻ°, āĻ–াāĻ•āĻ›াāĻ° āĻŦ্āĻ¯āĻ•্āĻ¤িāĻŸিāĻ° āĻŦিāĻ¨ীāĻ¤ āĻĒ্āĻ°াāĻ°্āĻĨāĻ¨া- āĻ†āĻĒāĻ¨াāĻ°া āĻŽাāĻ“āĻ˛াāĻ¨া āĻ¸াāĻĻ āĻ•াāĻ¨্āĻĻāĻ˛āĻŦী (āĻŽা.āĻ†.)āĻ•ে āĻ¨িā§Ÿে āĻāĻ‡ āĻ§্āĻŦংāĻ¸াāĻ¤্āĻŽāĻ• āĻ–েāĻ˛া āĻŦāĻ¨্āĻ§ āĻ•āĻ°ুāĻ¨। āĻ¤াāĻŦāĻ˛ীāĻ—āĻ•ে āĻ†āĻ°āĻ“ āĻ¸াāĻŽāĻ¨ে āĻāĻ—িā§Ÿে āĻ¯েāĻ¤ে āĻ¸াāĻšাāĻ¯্āĻ¯ āĻ•āĻ°ুāĻ¨।

āĻ¤াāĻŦāĻ˛ীāĻ— āĻŦিāĻ¤āĻ°্āĻ•িāĻ¤, āĻ•্āĻˇāĻ¤িāĻ—্āĻ°āĻ¸্āĻ¤ āĻ•িংāĻŦা āĻŦāĻ¨্āĻ§ āĻšā§Ÿে āĻ—েāĻ˛ে āĻĒুāĻ°ো āĻŽুāĻ¸āĻ˛িāĻŽ āĻ‰āĻŽ্āĻŽাāĻš āĻ•্āĻˇāĻ¤িāĻ—্āĻ°āĻ¸্āĻ¤ āĻšāĻŦে।

(āĻ‰āĻĒāĻ°িāĻ‰āĻ•্āĻ¤ āĻ˛েāĻ–া āĻ†āĻŽাāĻ° āĻāĻ•াāĻ¨্āĻ¤ āĻŦ্āĻ¯āĻ•্āĻ¤িāĻ—āĻ¤ āĻŽāĻ¤াāĻŽāĻ¤)
āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāĻ¨
ā§§ā§Ē āĻœাāĻ¨ুā§ŸাāĻ°ি, ā§¨ā§Ļā§§ā§Ž
āĻ¸āĻĻāĻ°āĻĒুāĻ°, āĻĢāĻ°িāĻĻāĻĒুāĻ°
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