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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.

(āφāĻŽাāϰ āĻāĻ• āϏ্āϟুāĻĄেāύ্āϟেāϰ āĻ…āύুāϰোāϧে- paragraph-āϟা āϞিāĻ–াāϰ āϚেāώ্āϟা āĻ•āϰāϞাāĻŽ)
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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āϏো, āχংāϰেāϜি āĻļিāĻ–ি | āĻĢ্āϰি āĻ•্āϞাāϏ āĻ…āύ āχংāϞিāĻļ

āĻāϏো, āχংāϰেāϜি āĻļিāĻ–ি

āφāϜāĻ•ে āϚāϞো āφāĻŽāϰা āĻ•িāĻ›ু āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻĒ্āϰāĻŦাāĻĻ āĻŦাāĻ•্āϝ āĻļিāĻ–ে āĻĢেāϞি---

1) āĻĸিāϞāϟি āĻŽাāϰāϞে āĻĒাāϟāĻ•েāϞāϟি āĻ–েāϤে āĻšāϝ় /
āϝেāĻŽāύ āĻŦুāύো āĻ“āϞ, āϤেāĻŽāύ āĻŦাāϘা āϤেঁāϤুāϞ /
āϝেāĻŽāύ āĻ•ুāĻ•ুāϰ, āϤেāĻŽāύ āĻŽুāĻ—ুāĻĄ় ।
⇨ Tit for tat.
2) āϤেāϞা āĻŽাāĻĨাāϝ় āϤেāϞ āĻĻেāϝ়া।
⇨To carry coal to Newcastle.
3) āϤিāϞāĻ•ে āϤাāϞ āĻ•āϰা।
⇨ To make a mountain out of a mole hill.
4) āĻĻāĻļেāϰ āϞাāĻ ি āĻāĻ•েāϰ āĻŦোāĻা /
āϰাāχ āĻ•ুঁāĻĄ়িāϝ়ে āĻŦেāϞ।
⇨ Many a pickle ( OR, little) makes a mickle.
5) āĻĻাঁāϤ āĻĨাāĻ•āϤে āĻĻাঁāϤেāϰ āĻŽāϰ্āϝাāĻĻা āĻŦোāĻা āϝাāϝ় āύা।
⇨ Blessings are not valued till they are gone.
6) āĻĻুāώ্āϟ āĻ—āϰুāϰ āϚেāϝ়ে āĻļূāύ্āϝ āĻ—োāϝ়াāϞ āĻ­াāϞো।
⇨ Better an empty house than a bad (OR, an ill) tenant.
7) āϧāϰি āĻŽাāĻ› āύা āĻ›ুঁāχ āĻĒাāύি।
⇨ A cat loves fish but is loath to wet her feet.
8) āύাāχ āĻŽাāĻŽাāϰ āϚেāϝ়ে āĻ•াāύা āĻŽাāĻŽা āĻ­াāϞো।
⇨ Something is better than nothing.
9) āϏāĻŦুāϰে āĻŽেāĻ“āϝ়া āĻĢāϞে।
⇨ Patience is bitter, but its fruit is sweet.
10) āύাāϚāϤে āύা āϜাāύāϞে āωāĻ াāύ āĻŦাঁāĻ•া।
⇨ A bad workman quarrels with his tools.
11) āύাāύা āĻŽুāύিāϰ āύাāύা āĻŽāϤ।
⇨ Many men, many minds.
12) āύিāϜেāϰ āύাāĻ• āĻ•েāϟে āĻĒāϰেāϰ āϝাāϤ্āϰা āĻ­āĻ™্āĻ— āĻ•āϰা।
⇨ To cut off one’s nose to spite one’s face.
13) āĻĒāϰেāϰ āĻŽāύ্āĻĻ āĻ•āϰāϤে āĻ—েāϞে āύিāϜেāϰ āĻŽāύ্āĻĻ āφāĻ—ে āĻĢāϞে।
⇨ Harm hatch, harm catch.
14) āĻĒাāύāύা āϤাāχ āĻ–াāύāύা / āφāĻ™্āĻ—ুāϰ āĻĢāϞ āϟāĻ•।
⇨The grapes are sour.
15) āĻĒাāĻĒেāϰ āϧāύ āĻĒ্āϰাāϝ়āĻļ্āϚিāϤ্āϤে āϝাāϝ়।
⇨ Ill got ill spent.
16) āĻĒেāϟে āĻ–েāϞে āĻĒিāĻ ে āϏāϝ়।
⇨ Give me roast meat and beat me with the spit.
17) āĻŦিāύা āĻŽেāϘে āĻŦāϜ্āϰāĻĒাāϤ।
⇨ A bolt from the blue.
18) āĻŦāϏāϤে āĻĒেāϞে āĻļুāϤে āϚাāϝ়।
⇨ Give him an inch, and he will take an ell.
19) āĻŦāϜ্āϰ āφঁāϟুāύি āĻĢāϏ্āĻ•া āĻ—িāϰো।
⇨ The more laws, the more offenders.
20) āĻŦাāĻŽুāύ āĻ—েāϞো āϘāϰ āϤো āϞাāĻ™্āĻ—āϞ āϤুāϞে āϧāϰ।
⇨When the cat is away, the mice will play.

(āϚāϞāĻŦে....)
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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•াāϞেāϰ āϏেāĻ•েāϞে āĻļিāĻ•্āώāĻ• : āĻĒ্āϰāϤি āĻĒāĻĻে āĻŦāĻž্āϚāύা | āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāύ




āϏāĻŽ্āĻĒ্āϰāϤি (ā§Ļā§Ē āϜুāύ ⧍ā§Ļā§§ā§Ž āĻ–্āϰিāώ্āϟাāĻŦ্āĻĻ) āϜāύāĻĒ্āϰāĻļাāϏāύ āĻŽāύ্āϤ্āϰāĻŖাāϞ⧟ āĻĨেāĻ•ে "āϏāϰāĻ•াāϰি āϟেāϞিāĻĢোāύ, āϏেāϞুāϞাāϰ, āĻĢ্āϝাāĻ•্āϏ āĻ“ āχāύ্āϟাāϰāύেāϟ āύীāϤিāĻŽাāϞা, ⧍ā§Ļā§§ā§Ž" āĻļিāϰোāύাāĻŽে āĻāĻ•āϟি āϏāĻŽā§ŸোāĻĒāϝোāĻ—ী āύীāϤিāĻŽাāϞা āϜাāϰি āĻ•āϰা āĻšā§ŸেāĻ›ে। āϏāĻ™্āĻ—āϤ āĻ•াāϰāĻŖেāχ āĻĒ্āϰāϜাāϤāύ্āϤ্āϰেāϰ āĻ•āϰ্āĻŽāϚাāϰীāϰা (āĻŦāϰ্āϤāĻŽাāύে 'āĻ•āϰ্āĻŽāĻ•āϰ্āϤা' āĻļāĻŦ্āĻĻāϟি āφāϰ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰা āĻšāϚ্āĻ›ে āύা। āĻāĻ•াāϰāĻŖে āĻ•āϰ্āĻŽāĻ•āϰ্āϤাāϰ āϏ্āĻĨāϞে āχāϚ্āĻ›ে āĻ•āϰেāχ 'āĻ•āϰ্āĻŽāϚাāϰী' āϞেāĻ–া āĻšā§ŸেāĻ›ে।) āĻāϤে āĻ–ুāĻļি āĻšā§ŸেāĻ›েāύ। āĻ•েāύāύা, āĻ—্āϰেāĻĄ-ā§§ āĻĨেāĻ•ে āĻļুāϰু āĻ•āϰে āĻ—্āϰেāĻĄ-⧝ āĻĒāϰ্āϝāύ্āϤ āϏāϰāĻ•াāϰি āĻ•āϰ্āĻŽāϚাāϰীāϰাāϰা āĻŽাāϏিāĻ• "āĻŽোāĻŦাāχāϞ āĻ“ āχāύ্āϟাāϰāύেāϟ āĻ­াāϤা" āĻĒাāĻŦেāύ। āĻāϤে āĻ…āύ্āϤāϰ্āĻ­ুāĻ•্āϤ āĻšā§ŸেāĻ›েāύ āĻŦিāĻ­িāύ্āύ āĻĻāĻĒ্āϤāϰ, āĻ…āϧিāĻĻāĻĒ্āϤāϰ, āĻĒāϰিāĻĻāĻĒ্āϤāϰেāϰ āĻĒ্āϰāϧাāύāĻ—āĻŖ। āϏāĻŦāχ āĻļুāĻ­ āωāĻĻ্āϝোāĻ—। āϏāϰāĻ•াāϰ āύিঃāϏāύ্āĻĻেāĻšে āĻĒ্āϰāĻļংāϏাāϰ āĻĻাāĻŦিāĻĻাāϰ।
āĻŦāϰাāĻŦāϰেāϰ āĻŽāϤো āĻāχ āύীāϤিāĻŽাāϞাāϤেāĻ“ āωāĻĒেāĻ•্āώিāϤ āĻĨেāĻ•ে āĻ—েāĻ›েāύ āĻļিāĻ•্āώা āĻ•্āϝাāĻĄাāϰেāϰ āĻ•āϰ্āĻŽāϚাāϰীāĻŦৃāύ্āĻĻ। āĻ…āϧ্āϝāĻ•্āώ, āωāĻĒাāϧ্āϝāĻ•্āώ  āĻ“ āĻ…āϧ্āϝাāĻĒāĻ• āĻ›া⧜া āĻļিāĻ•্āώা āĻ•্āϝাāĻĄাāϰেāϰ āφāϰ āĻ•োāύো āĻ•āϰ্āĻŽāϚাāϰী āĻāχ āϏুāĻŦিāϧা āĻĒাāĻŦেāύ āύা। āĻ•াāϰāĻŖ, āϤাঁāϰা āĻĒ্āϰāϤিāώ্āĻ াāύেāϰ āĻĒ্āϰāϧাāύ āύāύ। āĻ…āĻĨāϚ, āĻ…āύ্āϝাāύ্āϝ āĻ•্āϝাāĻĄাāϰেāϰ āĻ•্āώেāϤ্āϰে āĻāχ āϏুāĻŦিāϧা āĻĒাāϚ্āĻ›েāύ āĻ—্āϰেāĻĄ-ā§­ āĻĨেāĻ•ে āĻ—্āϰেāĻĄ-⧝ āĻāϰ āĻ•āϰ্āĻŽāϚাāϰীāĻ—āĻŖ। āϝেāĻŽāύ: āωāĻĒāϜেāϞা āĻĒāϰ্āϝা⧟েāϰ āϏāĻšāĻ•াāϰী āĻ•āĻŽিāĻļāύাāϰ (āĻ­ূāĻŽি) āĻāχ āϏুāĻŦিāϧা āĻĒাāϚ্āĻ›েāύ, āĻ•েāύāύা āϤাঁāϰ āĻāĻ•āϟি āĻ…āĻĢিāϏ āϰ⧟েāĻ›ে āϝāĻĻিāĻ“ āϤাঁāϰ āĻŦেāϤāύ āĻ—্āϰেāĻĄ-⧝।
āϝেāĻšেāϤু āĻ•্āϝাāĻĄাāϰ āĻļিāĻ•্āώāĻ• āĻ•āϰ্āĻŽāϚাāϰীāĻĻেāϰ āύিāϜāϏ্āĻŦ āĻ•োāύো āĻ…āĻĢিāϏ āύেāχ, āϤাāχ āϤাঁāϰা āĻ—্āϰেāĻĄ-ā§Ģ āĻ•িংāĻŦা āĻ—্āϰেāĻĄ-ā§Ŧ āĻāϰ āĻ•āϰ্āĻŽāϚাāϰী āĻšā§ŸেāĻ“ "āĻŽোāĻŦাāχāϞ āĻ“ āχāύ্āϟাāϰāύেāϟ āĻ­াāϤা" āĻĒ্āϰাāĻĒ্āϝ āĻšāĻŦেāύ  āύা। āĻāĻ•āϟি āϏāϰāĻ•াāϰি āĻ•āϞেāϜে ⧍ā§Ļā§ĻāϜāύ āĻļিāĻ•্āώāĻ• āĻ•āϰ্āĻŽāϚাāϰী (āĻ•্āϝাāĻĄাāϰ āĻļিāĻ•্āώāĻ•) āĻ•āϰ্āĻŽāϰāϤ āĻĨাāĻ•āϞেāĻ“ āĻ…āĻĢিāϏ āĻĒāϰিāϚাāϞāύা āĻ•āϰে āĻĨাāĻ•েāύ āĻŽাāϤ্āϰ āĻĻুāϜāύ- āĻ…āϧ্āϝāĻ•্āώ āĻ“ āωāĻĒাāϧ্āϝāĻ•্āώ। āĻ•াāϜেāχ āĻāχ āĻĻুāϜāύ āĻ•āϰ্āĻŽāϚাāϰী āĻ“ āĻĒāĻĻāĻŽāϰ্āϝাāĻĻাāϰ āĻ•াāϰāĻŖে āĻ…āϧ্āϝাāĻĒāĻ•āĻĻেāϰ āωāĻĒāϰিāωāĻ•্āϤ āϏুāĻŦিāϧা āĻĒ্āϰāĻĻাāύāχ āĻ•āϰ্āϤৃāĻĒāĻ•্āώেāϰ āύিāĻ•āϟ āϝāĻĨেāώ্āϟ āĻŽāύে āĻšā§ŸেāĻ›ে।
āĻļিāĻ•্āώāĻ•āĻĻেāϰ āĻŽাāϞ্āϟিāĻŽিāĻĄি⧟া āĻ•্āϞাāϏāϰুāĻŽে āĻĒাāĻ āĻĻাāύে āĻĻāĻ•্āώ āĻ•āϰাāϰ āĻŽাāύāϏে āϏāϰāĻ•াāϰ āφāχāϏিāϟি āĻ•োāϰ্āϏেāϰ āĻĒেāĻ›āύে  āχāϤোāĻŽāϧ্āϝে āĻ•োāϟি āĻ•োāϟি āϟাāĻ•া āĻ–āϰāϚ āĻ•āϰে āĻĢেāϞেāĻ›ে। āĻ…āĻĨāϚ, āĻļিāĻ•্āώāĻ•āĻĻেāϰ āĻāĻ•āϟি āĻ•āϰে āφāϧুāύিāĻ• āϞ্āϝাāĻĒāϟāĻĒ āĻ•িāύে āĻĻিāϤে āĻĒাāϰেāύি। āĻļিāĻ•্āώāĻ•āĻĻেāϰ āϞ্āϝাāĻĒāϟāĻĒ āύেāχ, āϟ্āϝাāĻŦāϞেāϟ āĻĒিāϏি āύেāχ, āĻāĻŽāύāĻ•ি āĻ…āύেāĻ•েāϰ āĻŽোāĻĄেāĻŽ āĻ•িংāĻŦা āϏ্āĻŽাāϰ্āϟ āĻĢোāύāĻ“ āύেāχ। āĻ…āĻĨāϚ, āĻ•োāύāĻ“ āĻ•োāύāĻ“ āĻļিāĻ•্āώāĻ• āϤিāύ-āϚাāϰāĻŦাāϰ āφāχāϏিāϟি āϟ্āϰেāύিং āϏāĻŽ্āĻĒāύ্āύ āĻ•āϰে āĻĢেāϞেāĻ›েāύ।
āĻļিāĻ•্āώāĻ•āĻĻেāϰ āĻŽাāϞ্āϟিāĻŽিāĻĄি⧟া āĻ•্āϞাāϏāϰুāĻŽে āĻĒাāĻ āĻĻাāύে āĻĻāĻ•্āώ āĻ•āϰাāϰ āĻ…āĻ­িāĻĒ্āϰা⧟ে āĻĒ্āϰা⧟āĻļ āĻŦāϞা āĻšā§Ÿে āĻĨাāĻ•ে, "āĻāĻ•āϜāύ āĻļিāĻ•্āώāĻ• āĻšāĻŦেāύ āĻĒুāϰোāĻĒুāϰি āĻĄিāϜিāϟাāϞ। āϤিāύি āĻ—ুāĻ—āϞে āϏাāϰ্āϚ āĻĻি⧟ে āĻŦেāϰ āĻ•āϰে āφāύāĻŦেāύ āĻšাāϞāύাāĻ—াāĻĻ āĻ•িāύ্āϤু āϏāĻ িāĻ• āĻ“ āύিāϰ্āĻ­ুāϞ āϏāĻ•āϞ āϤāĻĨ্āϝ। āϤিāύি āχāωāϟিāωāĻŦে āϏাāϰ্āϚ āĻĻি⧟ে āĻĄাāωāύāϞোāĻĄ āĻ•āϰে āύিāĻŦেāύ āϤাāϰ āĻĒ্āϰ⧟োāϜāύী⧟ āĻ­িāĻĄিāĻ“ āĻŽ্āϝাāϟেāϰি⧟াāϞāϏ। āĻ­িāĻĄিāĻ“ āĻāĻĄিāϟিং, āĻ•াāϟিং, āĻĒেāϏ্āϟিং āĻ–ুāĻŦ āϏুāύ্āĻĻāϰ āĻ•āϰে āĻļিāĻ–ে āύিāĻŦেāύ। āĻāĻ•āϜāύ āĻļিāĻ•্āώāĻ• āĻŽাāχāĻ•্āϰোāϏāĻĢāϟ āĻĒাāĻ“ā§Ÿাāϰ āĻĒ⧟েāύ্āϟে āĻšāĻŦেāύ āϏুāĻĻāĻ•্āώ। āĻ•্āϞাāϏāϰুāĻŽে āĻŦ⧜ো āĻŽāύিāϟāϰে āĻ•্āϞাāϏ āύিāϤে āĻĒাāϰāĻ™্āĻ—āĻŽ āĻšāĻŦেāύ āĻāĻ•āϜāύ āĻļিāĻ•্āώāĻ• āĻ•āϰ্āĻŽāϚাāϰী।"
āφāχāϏিāϟি āϟ্āϰেāύিং⧟েāϰ āĻ•āϞ্āϝাāĻŖে āĻ…āύেāĻ• āĻļিāĻ•্āώāĻ• āϝুāĻ—োāĻĒāϝোāĻ—ী āĻĄিāϜিāϟাāϞ āĻ•āύ্āϟেāύ্āϟ āϤৈāϰি āĻ•āϰে āχāϤোāĻŽāϧ্āϝে āϏা⧜াāĻ“ āĻĢেāϞেāĻ›েāύ। āĻ•িāύ্āϤু āĻ…āϤ্āϝāύ্āϤ āĻĒāϰিāϤাāĻĒেāϰ āĻŦিāώ⧟ āĻšāϞো- āϏāϰāĻ•াāϰ āĻļিāĻ•্āώāĻ•āĻĻেāϰ "āĻŽোāĻŦাāχāϞ āĻ“ āχāύ্āϟাāϰāύেāϟ āĻ­াāϤা" āĻĨেāĻ•ে āωāĻĒāϰিāωāĻ•্āϤ āύীāϤিāĻŽাāϞা⧟ āĻŦāĻž্āϚিāϤ āĻ•āϰেāĻ›ে।
āφāĻŽāϰা āϝāĻĻি āĻāĻ•āϟু āĻ—āĻ­ীāϰāĻ­াāĻŦে āĻ…āύুāϧাāĻŦāύ āĻ•āϰি, āϤাāĻšāϞে āĻĻেāĻ–āϤে āĻĒাāĻŦো- āĻĨাāύাāϰ āĻāĻ•āϜāύ āĻ­াāϰāĻĒ্āϰাāĻĒ্āϤ āĻ•āϰ্āĻŽāĻ•āϰ্āϤাāϰ (āĻ“āϏি) āϚে⧟ে āĻāĻ•āϜāύ āĻļিāĻ•্āώāĻ•েāϰ āĻŽোāĻŦাāχāϞ āĻ“ āχāύ্āϟাāϰāύেāϟ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āĻŽ āĻĒ্āϰ⧟োāϜāύী⧟ āύ⧟। āĻāĻ•āϜāύ āĻļিāĻ•্āώāĻ•āĻ•ে āϝোāĻ—াāϝোāĻ— āϰāĻ•্āώা āĻ•āϰāϤে āĻļিāĻ•্āώাāϰ্āĻĨী āĻ“ āĻ…āĻ­িāĻ­াāĻŦāĻ•āĻĻেāϰ āϏাāĻĨে।
āĻāĻ•āϜāύ āĻļিāĻ•্āώāĻ• āĻ•েāύ āύিāϜ āĻĒāĻ•েāϟেāϰ āϟাāĻ•া āĻ–āϰāϚ āĻ•āϰে āĻ—ুāĻ—āϞে āĻĸুāĻ•āĻŦেāύ, āχāωāϟিāωāĻŦে āϏাঁāϤāϰাāĻŦেāύ, āϰাāϤ āϜেāĻ—ে āĻĄিāϜিāϟাāϞ āĻ•āύ্āϟেāύ্āϟ āϤৈāϰি āĻ•āϰāĻŦেāύ, āϝেāĻ–াāύে āϏেāχ āĻļিāĻ•্āώāĻ•āϟিāĻ•ে āĻĻে⧟া āĻšā§Ÿāύি āĻāĻ•āϟি āϞ্āϝাāĻĒāϟāĻĒ, āϟ্āϝাāĻŦāϞেāϟ āĻ•িংāĻŦা āĻ•āĻŽ্āĻĒিāωāϟাāϰ? āφāĻŦাāϰ āĻļিāĻ•্āώāĻ•āĻĻেāϰ āĻŦা⧜āϤি āĻ‰ā§ŽāϏাāĻš āĻĻেāĻ“ā§Ÿাāϰ āϜāύ্āϝ āĻĻে⧟া āĻšāϚ্āĻ›ে āύা "āĻŽোāĻŦাāχāϞ āĻ“ āχāύ্āϟাāϰāύেāϟ āĻ­াāϤা"।
āĻļিāĻ•্āώāĻ•āĻĻেāϰ āĻ•āϰ্āĻŽ āĻĒāϰিāĻŦেāĻļেāϰ āĻŦৈāĻļিāώ্āϟ্āϝāχ āĻāĻŽāύ āϝে, āϏāĻŦাāχ āĻāĻ•āχ āϏাāĻĨে āĻ…āĻĢিāϏ āĻĒ্āϰāϧাāύ āĻšāĻŦেāύ āύা। āϏāĻŦাāϰ āĻ…āĻĢিāϏ āĻĨাāĻ•া āϜāϰুāϰিāĻ“ āύ⧟। āĻāϰ āĻŽাāύে āύ⧟ āϝে āϤাঁāĻĻেāϰ āĻŽোāĻŦাāχāϞ āĻ“ āχāύ্āϟাāϰāύেāϟ āϚাāϞাāύোāϰ āĻĒ্āϰ⧟োāϜāύ āύেāχ।
āφāĻļাāĻ•āϰি, āφāĻŽাāϰ āϞেāĻ–াāϟি āϏংāĻļ্āϞিāώ্āϟ āĻ•āϰ্āϤৃāĻĒāĻ•্āώেāϰ āύāϜāϰে āφāϏāĻŦে āĻāĻŦং āϤাঁāϰা āĻĻ্āϰুāϤāϤāĻŽ āϏāĻŽā§Ÿে āύীāϤিāĻŽাāϞাāϟিāϰ āϏংāĻļোāϧāύী āĻāύে āϏāĻ•āϞ āĻļিāĻ•্āώāĻ• āĻ•āϰ্āĻŽāϚাāϰীāĻĻেāϰ "āĻŽোāĻŦাāχāϞ āĻ“ āχāύ্āϟাāϰāύেāϟ āĻ­াāϤা" āĻĒ্āϰāĻĻাāύ āĻ•āϰা āĻšāĻŦে।
āĻ­ুāϞে āĻ—েāϞে āϚāϞāĻŦে āύা, āĻāϟি āĻļিāĻ•্āώāĻ•āĻĻেāϰ āĻĒ্āϰāϤি āĻ•োāύো āĻĻ⧟া āύ⧟; āĻŦāϰং āϤাঁāĻĻেāϰ āύ্āϝা⧟āϏāĻ™্āĻ—āϤ āĻ…āϧিāĻ•াāϰ।
āφāϰ āĻ•āϤāĻ•াāϞ āĻšাāϜাāϰো āĻŦāĻž্āϚāύাāϰ āĻļিāĻ•াāϰ āĻāĻ•াāϞেāϰ āĻļিāĻ•্āώāĻ•āϰা āĻĨেāĻ•ে āϝাāĻŦেāύ āϏেāĻ•েāϞে?

āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāύ
āĻĒ্āϰāĻ­াāώāĻ•, āχংāϰেāϜি āĻŦিāĻ­াāĻ—
āϏāĻĻāϰāĻĒুāϰ āϏāϰāĻ•াāϰি āĻ•āϞেāϜ, āĻĢāϰিāĻĻāĻĒুāϰ 

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āφ āĻĒ্āϝাāϰাāĻ—্āϰাāĻĢ āĻ…āύ "āϰোāĻĄ āĻāĻ•্āϏিāĻĄেāύ্āϟ" | āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāύ

āϏ⧜āĻ• āĻĻুāϰ্āϘāϟাāϰ āĻ›āĻŦি

Road Accidents


At present  (āĻŦāϰ্āϤāĻŽাāύে), road accidents have become regular incidents (āĻĻৈāύāύ্āĻĻিāύ āϘāϟāύা) in all over the world (āϏাāϰা āĻĒৃāĻĨিāĻŦীāϤে), especially (āĻŦিāĻļেāώ āĻ•āϰে) in Bangladesh. It is increasing day by day  (āĻĻিāύে āĻĻিāύে āĻŦা⧜āĻ›ে). Thousands of people are dying every year due to road accident (āϏ⧜āĻ• āĻĻুāϰ্āϘāϟāύা⧟ āĻĒ্āϰāϤিāĻŦāĻ›āϰ āĻšাāϜাāϰ āĻšাāϜাāϰ āϞোāĻ• āĻŽাāϰা āϝাāϚ্āĻ›ে). Most of the road accidents take place (āϘāϟে) in the urban areas  ( āĻļāĻšāϰ āĻāϞাāĻ•া⧟) and in the highways (āĻŽāĻšাāϏ⧜āĻ•ে). Buses, trucks, rickshaws, baby-taxies etc mainly cause road accidents.The causes of road accidents are reckless driving  (āĻŦেāĻĒāϰো⧟া āĻ—া⧜ি āϚাāϞাāύো), brake failures of vehicles, over-taking of one vehicle by another, driving by unskilled (āĻ…āĻĻāĻ•্āώ) drivers. Another reason is violation of traffic rules ( āϟ্āϰাāĻĢিāĻ• āύি⧟āĻŽেāϰ āϞāĻ™্āϘ). Even the police cannot control     the traffic rule breakers (āĻĒুāϞিāĻļ āύি⧟āĻŽ āĻ­āĻ™্āĻ—āĻ•াāϰীāĻĻেāϰ āύি⧟āύ্āϤ্āϰāĻŖ āĻ•āϰāϤে āĻĒাāϰে āύা). They dash  (āϧাāĻ•্āĻ•া āĻĻে⧟) the small vehicles and cause accidents. Sometimes pedestrians (āĻĒāĻĨāϚাāϰীāϰা) are crashed (āĻĻুāϰ্āϘāϟāύাāϰ āĻļিāĻ•াāϰ āĻšā§Ÿ) under the wheels of heavy vehicles (āĻ­াāϰী āϝাāύāĻŦাāĻšāύেāϰ āϚাāĻ•াāϰ āύিāϚে). Sometimes the speedy vehicles fall into the roadside ditch  (āϰাāϏ্āϤাāϰ āĻĒাāĻļেāϰ āĻ–াāĻĻে) or into the river and thus kill the passengers  (āϝাāϤ্āϰীāϰা) on the spot (āϘāϟāύাāϏ্āĻĨāϞে). Many lives are nipped in the bud (āĻ…āĻ™্āĻ•ুāϰে āĻŦিāύāώ্āϟ āĻšā§Ÿ). Many a family loses the only earning member (āĻāĻ•āĻŽাāϤ্āϰ āωāĻĒাāϰ্āϜāύāĻ•্āώāĻŽ āĻŦ্āϝāĻ•্āϤি). Many people become crippled (āĻĒāĻ™্āĻ—ু). Road accidents make many children orphans (āĻāϤিāĻŽ). Many wives become windows (āĻŦিāϧāĻŦা). This problem can be solved by all out efforts  (āϏāϰ্āĻŦাাāϤ্āĻŽāĻ•) from both the authority and the general people. To do so, first our general people have to be made aware (āϏāϚেāϤāύ). The drivers have to be skilled and they also have to avoid their overtaking tendency (āĻ“āĻ­াāϰāϟেāĻ• āĻ•āϰাāϰ āĻĒ্āϰāĻŦāύāϤা). And the authority should be more strict (āφāϰāĻ“ āĻ•ā§œা āĻšāϤে āĻšāĻŦে) to enforce the existing laws (āĻŦিāĻĻ্āϝāĻŽাāύ āφāχāύ āĻĒ্āϰ⧟োāĻ—েāϰ āĻŦেāϞা⧟). However, this problem should be solved by taking necessary (āĻĒ্āϰ⧟োāϜāύী⧟) steps. Traffic rules should be imposed strictly (āϜোāϰাāϞোāĻ­াāĻŦে āĻĒ্āϰ⧟োāĻ— āĻ•āϰāϤে āĻšāĻŦে). Radio and television can play a vital role  (āϰেāĻĄিāĻ“, āϟেāϞিāĻ­িāĻļāύ āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āύ āĻ­ূāĻŽিāĻ•া āĻĒাāϞāύ āĻ•āϰāϤে āĻĒাāϰে) in this regard.
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āϞ্āϝাংāϏ্āϟāύ āĻšিāωāϜেāϰ ( Langston Hughes) āĻāĻ•āϟি āĻ…āϏাāϧাāϰāĻŖ āĻ•āĻŦিāϤাāϰ āϏāϰāϞ āĻĨিāĻŽ | āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāύ

āϜেāĻŽāϏ āĻŽাāϰ্āϏাāϰ āϞ্āϝাংāϏ্āϟāύ āĻšিāωāϜ
(āϜāύ্āĻŽ: ā§§ āĻĢেāĻŦ্āϰু⧟াāϰি, ⧧⧝ā§Ļ⧍, āĻŽৃāϤ্āϝু: ⧍⧍ āĻŽে, ⧧⧝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.

āϏāϰāϞ 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§ŸেāϟāϏেāϰ āĻāĻ•āϟি āĻŦিāĻ–্āϝাāϤ āĻ•āĻŦিāϤাāϰ āĻĨিāĻŽ | āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāύ

āωāχāϞি⧟াāĻŽ āĻŦাāϟāϞাāϰ āĻ‡ā§ŸেāϟāϏ

āĻŽূāϞ āĻ•āĻŦিāϤা: 

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•āĻŦিāϤাāϰ 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§Ļāϟি āχংāϰেāϜি āĻļāϰ্āϟ āĻĄা⧟াāϞāĻ—, āĻ•āĻĨা āĻŦāϞāϤে āϝা āĻĒ্āϰা⧟āχ āĻŦ্āϝāĻŦāĻšাāϰ āĻšā§Ÿ...

✪ What’s up - āĻ•ি āĻ–āĻŦāϰ?
✪ Carry on - āϚাāϞি⧟ে āϝাāĻ“
✪ Wow - āĻŦাāĻš, āĻĻাāϰুāύ āϤো
✪ My goodness! - āĻāĻ•ি!
✪ How come - āĻ•ি āĻŦ্āϝাāĻĒাāϰ?
✪ What a mess! - āĻ•ি āĻāĻ• āĻাāĻŽেāϞা!
✪ Oh shit - āϧ্āϝাāϤ্āϤেāϰি
✪ Yes, go on - āĻš্āϝা, āĻŦāϞāϤে āĻĨাāĻ•
✪ Oh dear! - āĻŦāϞো āĻ•ী! 
✪ Hi guys - āĻš্āϝাāϞো āĻŦāύ্āϧুāϰা
✪ Good job! – āϏাāĻŦাāĻļ!
✪ So what? – āϤাāϤে āĻ•ি?
✪ Oh, no! - āĻ āĻšāϤে āĻĒাāϰেāύা!
✪ Pay attention! - āĻŽāύোāϝোāĻ— āĻĻিāύ!
✪ Definitely – āĻ…āĻŦāĻļ্āϝāχ
✪ Let it pass - āĻ›ে⧜ে āĻĻিāύ।
✪ Obviously – āϏ্āĻĒāώ্āϟāϤ, āϏāĻŽ্āĻ­āĻŦāϤ
✪ I’m off - āφāĻŽি āĻ—েāϞাāĻŽ।
✪ It’s your turn - āĻāĻŦাāϰ āϤোāĻŽাāϰ āĻĒাāϞা
✪ As if - āϝেāύ, āĻ•ি āϝে āĻšāϤো
✪ Damn it! - āϚুāϞা⧟ āϝাāĻ•!
✪ What a surprise!- āĻšāϟাā§Ž āϝে!
✪ Go to the devil! – āĻ—োāϞ্āϞা⧟ āϝাāĻ•!
✪ What about you? – āϤোāĻŽাāϰ āĻ–āĻŦāϰ āĻ•ি?
✪ so so - āĻŽোāϟাāĻŽোāϟি
✪ So be it - āϤāĻŦে āϤাāχ āĻšোāĻ•
✪ Who cares! – āĻ•াāϰ āĻ•ি āϝা⧟ āφāϏে!
✪ I'm at a loss - āĻ•ি āĻŦāϞāĻŦ āĻ­েāĻŦে āĻĒাāϚ্āĻ›িāύা!
✪ Heiya! It is you I see - āφāϰে āϤুāĻŽি āϝে!
✪ Oh! come on - āφāĻš! āĻāĻ•āϟু āĻŦুāĻāϤে āϚেāώ্āϟা āĻ•āϰো
✪ Excuse me - āĻāχ āϝে āĻļুāύুāύ
✪ Not a bit - āĻāĻ•āϟুāĻ“ āύা
✪ That’s fantastic - āĻāϟা āϏāϤ্āϝি āϚāĻŽā§ŽāĻ•াāϰ 
✪ Next to nothing - āĻŦāϞāϤে āĻ—েāϞে āĻ•িāĻ›ুāχ āύা
✪ Mind your language - āĻ­াāώা āϏংāϝāϤ āĻ•āϰো
✪ Come to the point – āφāϏāϞ āĻ•āĻĨা āĻŦāϞ
✪ Thats right - āĻ িāĻ• āĻŦāϞেāĻ›েāύ
✪ To be frank - āĻ–োāϞাāĻ–ুāϞি āĻ­াāĻŦে āĻŦāϞāϤে āĻ—েāϞে।
✪ Really pleased - āϏāϤ্āϝি āφāύāύ্āĻĻিāϤ
✪ I am delighted- āφāĻŽি āφāύāύ্āĻĻিāϤ ।
✪ So kind of you! - āφāĻĒāύাāϰ āĻĻ⧟া।
✪ Anybody home? - āĻŦা⧜িāϤে āĻ•েāω āφāĻ›েāύ?
✪ Keep quiet - āϚুāĻĒ āĻ•āϰ
✪ No entrance - āĻĒ্āϰāĻŦেāĻļ āύিāώেāϧ
✪ It’s enough - āϝāĻĨেāώ্āϟ āĻšā§ŸেāĻ›
✪ What happened - āĻ•ি āĻšā§ŸেāĻ›ে
✪ What an idea! - āĻ•ি āĻŦুāĻĻ্āϧি!
✪ Well done - āϏাāĻŦাāĻļ
✪ Indeed! - āϏāϤ্āϝি!
✪ How peaceful! - āĻ•ি āĻļাāύ্āϤ!
✪ Get lost - āĻŦিāĻĻা⧟ āĻšোāύ।
✪ Let me see - āφāĻŽাāĻ•ে āĻĻেāĻ–āϤে āĻĻাāĻ“
✪ Oh sure - āĻ“ āύিāĻļ্āϚ⧟āχ
✪ Who knows! – āĻ•ে āϜাāύে!
✪ Bullshit! – āĻŦাāϜে āĻ•āĻĨা
✪ But who cares! - āĻ•ে āϧাāϰāϧাāϰে!
✪ No more buts - āφāϰ āĻ•োāύ āĻ•িāύ্āϤু āύ⧟
✪ How so – āϤা āĻ•ি āĻ•āϰে āĻšā§Ÿ?
✪ I think so - āφāĻŽি āϤাāχ āĻŽāύে āĻ•āϰি
✪ Calm down - āĻļাāύ্āϤ āĻšāĻ“
✪ Let’s have a look - āϚāϞ āĻĻেāĻ–ি
✪ Let’s run away - āϚāϞো āĻāĻ•্āώুāύি āĻĒাāϞাāχ 
✪ I am getting wet - āφāĻŽি āĻ­িāϜে āϝাāϚ্āĻ›ি
✪ I don’t care! – āφāĻŽাāϰ āĻ•িāĻ›ু āϝা⧟ āφāϏেāύা!
✪ How else – āφāϰ āĻ•িāĻ­াāĻŦে?
✪ Little by little – āĻ•্āϰāĻŽাāύ্āĻŦ⧟ে।
✪ Is it so! - āϤাāχ āύাāĻ•ি!
✪ If you do case - āϝāĻĻি āφāĻĒāύি āϚাāύ
✪ Have a good day - āĻ­াāϞ āĻāĻ•āϟি āĻĻিāύ āĻ•াāϟাāĻ“।
✪ Let’s sit somewhere - āϚāϞ āĻ•োāĻĨাāĻ“ āĻŦāϏি
✪ So far so good - āĻ āĻĒāϰ্āϝāύ্āϤ āϏāĻŦāχ āĻ­াāϞো
✪ I tend to think – āφāĻŽাāϰ āĻ•েāύ āϝেāύ āĻŽāύে āĻšā§Ÿ।
✪ I suppose so – āφāĻŽিāĻ“ āϏেāϟা āϧাāϰāĻŖা āĻ•āϰāĻ›ি।
✪ I don’t mind – āφāĻŽি āĻ•িāĻ›ু āĻŽāύে āĻ•āϰি āύা।
✪ If so, so what - āϝāĻĻি āϤাāχ āĻšā§Ÿ āϤাāϤে āĻ•ী
✪ Keep your word – āϤোāĻŽাāϰ āĻ•āĻĨা āϰেāĻ–ো।
✪ Nothing is impossible – āĻ•োāύ āĻ•িāĻ›ুāχ āĻ…āϏāĻŽ্āĻ­āĻŦ āύ⧟।
✪ Whatever (you want) – āϤুāĻŽি āϝা āϚাāĻ“।
✪ Whatever you do? – āϤুāĻŽি āϝা āĻ•āϰ।
✪ Why should I care? – āĻ•েāύ āφāĻŽি āĻĒāϰো⧟া āĻ•āϰāĻŦ?
✪ Something else – āĻ…āύ্āϝ āĻ•িāĻ›ু।
✪ Nothing else – āĻ…āύ্āϝ āĻ•িāĻ›ুāχ āύা।
✪ Talk sense - āϚিāύ্āϤা āĻ•āϰে āĻ•āĻĨা āĻŦāϞ 
✪ Don’t say anymore – āφāϰ āĻ•িāĻ›ু āĻŦāϞো āύা।
✪ Forget it - āĻ“ āĻ­ুāϞে āϝাāĻ“। 
✪ What a pity- āĻ•ি āĻĻু:āĻ–āϜāύāĻ• ।
✪ Hold on - āϞাāχāύে āĻĨাāĻ•ুāύ
✪ Do it at once! - āĻāĻ•্āώুāύি āĻ•āϰ!
✪ Speak with care - āϏাāĻŦāϧাāύে āĻ•āĻĨা āĻŦāϞ।
✪ How strange! - āĻ•ি āĻ…āĻĻ্āĻ­ুāϤ!
✪ By the grace of Allah - āφāϞ্āϞাāĻšাāϰ āϰāĻšāĻŽāϤে
✪ How absurd! - āĻ•ি āĻŦাāϜে āĻŦāĻ•āĻ›ো!
✪ Good riddance! - āϝাāĻ• āĻŦাāϚা āĻ—েāϞ!
✪ Just for asking - āϚাāχāϞেāχ āĻĒাāĻ“ā§Ÿা āϝা⧟
✪ Stand in queue - āϞাāχāύে āĻĻাঁ⧜াāύ
✪ No smoking - āϧূāĻŽāĻĒাāύ āύিāώেāϧ
✪ Let me digress - āĻāĻ•āϟু āĻ­িāύ্āύ āĻĒ্āϰāϏāĻ™্āĻ—ে āϝাāĻ“ā§Ÿা āϝাāĻ• 
✪ I swear I will - āĻ•āϏāĻŽ āφāĻŽি āĻ•āϰāĻŦ ।
✪ I give up - āφāĻŽি āĻ›ে⧜ে āĻĻি⧟েāĻ›ি ।
✪ Pardon me - āĻ•্āώāĻŽা āĻ•āϰো।
✪ It’s sound good - āϤোāĻŽাāϰ āĻ•āĻĨা āĻ­াāϞো āϞাāĻ—āĻ›ে।
✪ On the other hand - āĻ…āĻĒāϰ āĻĒāĻ•্āώে 

(collected from Internet
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āĻŽাāĻ“āϞাāύা āϏাāĻĻāĻ•ে āύি⧟ে āφāϰ āĻŦিāϤāϰ্āĻ• āϚাāχ āύা

āĻŦিāĻļ্āĻŦ āχāϜāϤেāĻŽাāϰ āύাāĻŽ āĻļোāύেāύāύি āĻāĻŽāύ āĻ•াāωāĻ•ে āĻāχ āĻŦাংāϞাāĻĻেāĻļে āĻĒাāĻ“ā§Ÿা āĻāĻ–āύ āĻŽুāĻļāĻ•িāϞ। āϰাāϜāύৈāϤিāĻ• āĻŽāϤাāĻĻāϰ্āĻļেāϰ āĻĒ্āϰāϚাāϰ āύা āĻĨাāĻ•া⧟ āĻāĻŦং āϚাāύ্āĻĻা āĻ•িংāĻŦা āϧাāύ্āϧাāϰ āĻŦ্āϝাāĻĒাāϰ āύা āĻĨাāĻ•া⧟- āĻ–ুāĻŦ āĻĻ্āϰুāϤ āϤাāĻŦāϞীāĻ— āϜাāĻŽাāϤ āϏāϰ্āĻŦāϏাāϧাāϰāĻŖেāϰ āφāϏ্āĻĨা āĻ“ āĻ­াāϞোāĻŦাāϏা āĻĒেāϤে āϏāĻŽāϰ্āĻĨ āĻšā§Ÿ।

āφāϜ āĻĨেāĻ•ে āĻĒ্āϰা⧟ āĻļāϤāĻŦāϰ্āώ āφāĻ—ে āĻ­াāϰāϤেāϰ āĻŽেāĻ“ā§ŸাāϤ āĻ…āĻž্āϚāϞে āĻŽাāĻ“āϞাāύা āχāϞি⧟াāϏ āĻ•াāύ্āϧāϞāĻŦী (āϰāĻš.) āĻāχ āĻŽেāĻšāύāϤ āĻļুāϰু āĻ•āϰেāύ। āĻŽাāĻĻāϰাāϏা āĻ“ āĻ–াāύāĻ•াāĻš āĻ•েāύ্āĻĻ্āϰিāĻ• āϧāϰ্āĻŽ āϚāϰ্āϚাāϰ āĻŦāϞ⧟ āĻĨেāĻ•ে āĻŦেāϰ āĻšā§Ÿে āϤিāύি āĻāĻ• āύāĻŦāϜাāĻ—āϰāĻŖ āϏৃāώ্āϟি āĻ•āϰেāύ। āφāĻŽ āϜāύāϤা āϤাāϰ āĻŽেāĻšāύāϤেāϰ āϏাāĻĨে āĻļāϰীāĻ• āĻšāϤে āĻĨাāĻ•েāύ āĻāĻŦং āύিāϜেāĻ•ে āĻŦāĻĻāϞাāϤে āĻĨাāĻ•েāύ āφāĻŽূāϞ।

āĻŦিāĻļ্āĻŦ āϤাāĻŦāϞীāĻ—েāϰ āĻŽূāϞ āĻŽাāϰāĻ•াāϜ āĻšāϚ্āĻ›ে āĻĻিāϞ্āϞীāϰ āύিāϜাāĻŽুāĻĻ্āĻĻীāύে। āĻĒāϰāĻŦāϰ্āϤীāĻ•াāϞে āĻšাāĻ•্āĻ•াāύী āĻ“āϞাāĻŽা⧟ে āĻ•েāϰাāĻŽ, āĻŦুāϜুāϰ্āĻ—াāύে āĻĻ্āĻŦীāύ āĻāĻ• āĻŦাāĻ•্āϝে āϏ্āĻŦীāĻ•াāϰ āĻ•āϰে āύি⧟েāĻ›েāύ āϤাāĻŦāϞীāĻ— āĻ“ āĻĻাāĻ“ā§ŸাāĻš- āĻāĻ•āϟি āĻšāĻ• āĻŽেāĻšāύāϤ। āĻāĻŦং āĻ āĻŽেāĻšāύāϤেāϰ āϏাāĻĨে āϜু⧜āϞে āĻŦāĻĻāϞে āϝেāϤে āĻĒাāϰে āϝে āĻ•াāϰāĻ“ āϜীāĻŦāύ। āĻĒাঁāϚāĻ“ āĻŽāĻšাāĻĻেāĻļে āĻāχ āĻŽেāĻšāύāϤ āĻāĻ–āύ āĻ›ā§œি⧟ে āĻĒ⧜েāĻ›ে। āĻŦāĻĻāϞে āĻ—েāĻ›ে āϞাāĻ–ো āϜীāĻŦāύ।

āĻŽাāĻ“āϞাāύা āϏাāĻĻ āĻ•াāύ্āϧāϞāĻŦী (āĻŽা. āφ.)
āϏাāĻŽ্āĻĒ্āϰāϤিāĻ•āĻ•াāϞে āĻŽাāĻ“āϞাāύা āχāϞি⧟াāϏ āĻ•াāύ্āϧāϞāĻŦী (āϰāĻš.) āĻāϰ āĻĻৌāĻšিāϤ্āϰ āύিāϜাāĻŽুāĻĻ্āĻĻীāύ āĻŽাāϰāĻ•াāϜেāϰ āϏāϰ্āĻŦāϜāύ āĻļ্āϰāĻĻ্āϧে⧟ āĻŽুāϰুāĻŦ্āĻŦী (āĻŦিāĻļ্āĻŦ āφāĻŽীāϰāĻ“ āĻŦāϞা āĻšā§Ÿে āĻĨাāĻ•ে) āĻŽাāĻ“āϞাāύা āϏাāĻĻ āĻ•াāύ্āϧāϞāĻŦীāϰ āĻ•িāĻ›ু āĻŦ⧟াāύ āύি⧟ে āĻ“āϞাāĻŽাāĻĻেāϰ āĻŽাāĻে āĻŽāϤāĻĒাāϰ্āĻĨāĻ•্āϝ āĻĻেāĻ–া āĻĻে⧟। āĻ“āϞাāĻŽা āĻŽাāĻļা⧟েāĻ–āĻĻেāϰ āĻŽāϤāĻĒাāϰ্āĻĨāĻ•্āϝ āύāϤুāύ āĻ•োāύāĻ“ āĻŦিāώ⧟ āύ⧟। āφāĻ—েāϰ āϝুāĻ—েāĻ“ āĻšā§ŸেāĻ›ে। āϚাāϰāϟি āĻŽাāϜāĻšাāĻŦ āĻ•িংāĻŦা āϞা-āĻŽাāϜāĻšাāĻŦ āĻ•িāύ্āϤু āĻŽāϤāĻĒাāϰ্āĻĨāĻ•্āϝ āĻĨেāĻ•েāχ।

āĻ“āϞাāĻŽা⧟ে āĻĻেāĻ“āĻŦāύ্āϧেāϰ āφāύীāϤ āĻ…āĻ­িāϝোāĻ—āĻ•ে āϏ্āĻŦীāĻ•াāϰ  āĻāĻŦং āĻ­ুāϞেāϰ āϜāύ্āϝ āĻ•্āώāĻŽা āϚে⧟ে āĻŽāĻšāϤ্āĻŦেāϰ āĻĒāϰিāϚ⧟ āĻĻি⧟েāĻ›েāύ āĻŽাāĻ“āϞাāύা āϏাāĻĻ। āύāĻŦী-āϰāϏূāϞ āĻŦাāĻĻে āĻ•েāωāχ āĻ­ুāϞেāϰ āωāϰ্āϧে āύ⧟। āĻ­ুāϞ āϏংāĻļোāϧāύেāϰ āϏুāϝোāĻ— āĻĻিāϤে āĻšāĻŦে।

ā§§ā§Š āϜাāύু⧟াāϰি āĻĒ্āϰāĻĨāĻŽ āφāϞোāϤে āĻĒ্āϰāĻ•াāĻļিāϤ āϏংāĻŦাāĻĻেāϰ āĻŽাāϧ্āϝāĻŽে āĻŦুāĻāϤে āĻĒাāϰāϞাāĻŽ āĻ“āϞাāĻŽা⧟ে āĻĻেāĻ“āĻŦāύ্āĻĻ āĻ“ āĻŽাāĻ“āϞাāύা āϏাāĻĻেāϰ āĻŽাāĻে āϤৈāϰি āĻšāĻ“ā§Ÿা āĻ­ুāϞ āĻŦোāĻাāĻŦুāĻিāϰ āĻ…āĻŦāϏাāύ āĻšā§ŸেāĻ›ে।

āϤāĻŦুāĻ“ āĻāĻĻেāĻļেāϰ āĻ•িāĻ›ু āĻ“āϞাāĻŽা-āĻŽাāĻļা⧟েāĻ– āĻŽাāĻ“āϞাāύা āϏাāĻĻāĻ•ে āϟāĻ™্āĻ—ীāϤে āϚāϞāĻŽাāύ āĻŦিāĻļ্āĻŦ āχāϜāϤেāĻŽা⧟ āĻļāϰীāĻ• āĻšāϤে āύা āĻĻি⧟ে āϞāĻ•্āώ āϞāĻ•্āώ āϧāϰ্āĻŽāĻĒ্āϰাāĻŖ, āϤাāĻŦāϞীāĻ—-āĻ…āύ্āϤāĻĒ্āϰাāĻŖ āϏাāĻĨীāĻĻেāϰ āĻšৃāĻĻ⧟āĻ•ে āϰāĻ•্āϤাāĻ•্āϤ āĻ•āϰেāĻ›েāύ।

āϝে āĻ–াāύāĻĻাāύ āĻŦিāĻļ্āĻŦ āĻĻāϰāĻŦাāϰে āϤাāĻŦāϞীāĻ—েāϰ āĻ…āĻŽি⧟ āĻŦাāĻŖী āĻĒৌঁāĻ›ে āĻĻি⧟েāĻ›েāύ, āĻāĻ–āύāĻ“ āĻĻিāϚ্āĻ›েāύ, āϏেāχ āĻ–াāύāĻĻাāύেāϰ āĻ…āύুāĻĒāϏ্āĻĨিāϤি āχāϜāϤেāĻŽাāϰ āϏৌāύ্āĻĻāϰ্āϝāĻ•ে āĻ…āύেāĻ•āϟা āĻŽāϞিāύ āĻ•āϰেāĻ›ে।

āĻāĻĻেāĻļেāϰ āϏāĻŽāϏ্āϤ āχāϏāϞাāĻŽী āĻĒāύ্āĻĄিāϤ āĻ“ āĻŦুāϜুāϰ্āĻ—াāύে āĻĻ্āĻŦীāύেāϰ āĻ•াāĻ›ে āĻāχ āĻ…āϧāĻŽ, āĻ—ুāύাāĻšāĻ—াāϰ, āĻ–াāĻ•āĻ›াāϰ āĻŦ্āϝāĻ•্āϤিāϟিāϰ āĻŦিāύীāϤ āĻĒ্āϰাāϰ্āĻĨāύা- āφāĻĒāύাāϰা āĻŽাāĻ“āϞাāύা āϏাāĻĻ āĻ•াāύ্āĻĻāϞāĻŦী (āĻŽা.āφ.)āĻ•ে āύি⧟ে āĻāχ āϧ্āĻŦংāϏাāϤ্āĻŽāĻ• āĻ–েāϞা āĻŦāύ্āϧ āĻ•āϰুāύ। āϤাāĻŦāϞীāĻ—āĻ•ে āφāϰāĻ“ āϏাāĻŽāύে āĻāĻ—ি⧟ে āϝেāϤে āϏাāĻšাāϝ্āϝ āĻ•āϰুāύ।

āϤাāĻŦāϞীāĻ— āĻŦিāϤāϰ্āĻ•িāϤ, āĻ•্āώāϤিāĻ—্āϰāϏ্āϤ āĻ•িংāĻŦা āĻŦāύ্āϧ āĻšā§Ÿে āĻ—েāϞে āĻĒুāϰো āĻŽুāϏāϞিāĻŽ āωāĻŽ্āĻŽাāĻš āĻ•্āώāϤিāĻ—্āϰāϏ্āϤ āĻšāĻŦে।

(āωāĻĒāϰিāωāĻ•্āϤ āϞেāĻ–া āφāĻŽাāϰ āĻāĻ•াāύ্āϤ āĻŦ্āϝāĻ•্āϤিāĻ—āϤ āĻŽāϤাāĻŽāϤ)
āĻ“ā§ŸাāĻĻুāĻĻ āĻ–াāύ
ā§§ā§Ē āϜাāύু⧟াāϰি, ⧍ā§Ļā§§ā§Ž
āϏāĻĻāϰāĻĒুāϰ, āĻĢāϰিāĻĻāĻĒুāϰ
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