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āϏিāϞāĻ­িāϝ়া āĻĒ্āϞাāĻĨেāϰ āĻ•āĻŦিāϤাāϰ āĻ…āύুāĻŦাāĻĻ/ Poetry Of Sylvia Plath - Translation

āĻ•āĻŦিāϤাāϰ āĻ…āύুāĻŦাāĻĻ  Edge By Sylvia Plath The woman is perfected.    Her dead Body wears the smile of accomplishment,    The illusion of a Greek necessity Flows in the scrolls of her toga,    Her bare Feet seem to be saying: We have come so far, it is over. Each dead child coiled, a white serpent,    One at each little Pitcher of milk, now empty.    She has folded Them back into her body as petals    Of a rose close when the garden Stiffens and odors bleed From the sweet, deep throats of the night flower . The moon has nothing to be sad about,    Staring from her hood of bone . She is used to this sort of thing. Her blacks crackle and drag.  āĻĒ্āϰাāύ্āϤে (āφāĻ•্āώāϰিāĻ• āĻ…āϰ্āĻĨ) āύাāϰীāϟি āϝেāύ āĻŦāĻšুāĻĻিāύ āϧāϰে āĻ•্āϞাāύ্āϤ āĻ›িāϞ— āφāϜ āϏে āϏāĻŽ্āĻĒূāϰ্āĻŖ। āĻŽৃāϤāĻĻেāĻšে āĻāĻ• āĻ…āĻĻ্āĻ­ুāϤ āĻĒ্āϰāĻļাāύ্āϤি, āϝেāύ āϏāĻŦ āĻšিāϏাāĻŦ āĻŽিāϟে āĻ—েāĻ›ে āϏāύ্āϧ্āϝাāϰ āĻ­েāϤāϰ। āϤাāϰ āϏাāĻĻা āĻĒোāĻļাāĻ•েāϰ āĻ­াঁāϜে āĻšেāϞেāύীāϝ় āύিāϝ়āϤিāϰ āĻŽāϤো āĻāĻ• āĻļুāώ্āĻ• āφāϞো āϧীāϰে āϧীāϰে āύেāĻŽে āφāϏে। āĻĒা āĻĻুāϟি āϏ্āĻĨিāϰ— āĻŽাāϟি āĻ›ুঁāϝ়ে āφāĻ›ে, āĻ•িāύ্āϤু āϝেāύ āφāϰ āĻ•োāύো āĻĒāĻĨ āĻŦাāĻ•...
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āĻĢ্āϰাāύāϜ āĻ•াāĻĢāĻ•াāϰ āĻ›োāϟāĻ—āϞ্āĻĒ - āĻ…āύুāĻŦাāĻĻ/ Short Story Of Franz Kafka - Bengali Translation

  āĻ—াāĻ›েāϰা āφāĻŽāϰা āϝেāύ āϤুāώাāϰেāϰ āĻ­িāϤāϰে āĻĻাঁ⧜ি⧟ে āĻĨাāĻ•া āĻ—াāĻ›েāϰ āĻ•াāĻŖ্āĻĄেāϰ āĻŽāϤো। āĻŦাāχāϰে āĻĨেāĻ•ে āϤাāĻĻেāϰ āĻāĻŽāύ āĻŽāϏৃāĻŖ āĻŽāύে āĻšāϝ়, āĻāĻŽāύ āĻ­াāĻŦে āĻļু⧟ে āĻĨাāĻ•ে āϤাāϰা, āĻŽāύে āĻšā§Ÿ āϝে, āĻšাāϞāĻ•া āĻāĻ• āĻ েāϞাāϤেāχ āĻŦুāĻি āĻ—ā§œি⧟ে āϝাāĻŦে। āύা—āϤা āĻšā§Ÿ āύা āĻŦোāϧāĻšāϝ়; āϤাāϰা āĻŽাāϟিāϰ āϏāĻ™্āĻ—ে āĻĻৃā§āĻ­াāĻŦে āφāϟāĻ•ে āĻĨাāĻ•ে, āĻŦিāĻŦাāĻšিāϤ āĻĻāĻŽ্āĻĒāϤিāĻĻেāϰ āĻŽāϤো āĻ•āϰে, āĻ—āĻ­ীāϰ āĻŦāύ্āϧāύে āφāĻŦāĻĻ্āϧ। āĻ…āĻĨāϚ āĻĻেāĻ–ো, āϏেāχ āĻĻৃā§āϤাāĻ“ āĻ•েāĻŦāϞāχ āĻāĻ• āĻŦাāĻš্āϝিāĻ• āϰূāĻĒেāϰ āĻĒ্āϰāĻ•াāĻļ āĻŽাāϤ্āϰ। (āϚāϞāĻŦে) Franz Kafka, āĻĢ্āϰাāύāϜ āĻ•াāĻĢāĻ•া

āϟি.āĻāϏ. āĻāϞিāϝ়āϟ: āϞেāĻ–া, āϏাāĻšিāϤ্āϝ, āĻŽāύāύ / T.S. Eliot on Writing, Literature, Thoughts

āϟি.āĻāϏ. āĻāϞিāϝ়āϟ: āĻāĻ• āωāϚ্āϚāĻ­িāϞাāϏী  āϤāϰুāĻŖ  āϞেāĻ–āĻ•āĻ•ে āĻĻেāĻ“āϝ়া  āĻĒāϰাāĻŽāϰ্āĻļেāϰ āϚিāĻ ি / T.S. āĻāϞিāϝ়āϟ: His Warm Letter Of Advice To A Aspiree How  To Become A Writer “If you write what you yourself sincerely think and feel and are interested in,”  āĻāĻ•āϜāύ āϞেāĻ–āĻ• āĻšāĻ“āϝ়াāϰ āωāϚ্āϚাāĻ•াāĻ™্āĻ–া, āώোāϞ āĻŦāĻ›āϰেāϰ āĻāĻ• āĻ•িāĻļোāϰীāϰ  āĻĒ্āϰāϤি āϞিāĻ–িāϤ āĻĒāϰাāĻŽāϰ্āĻļ āϝা  āϧāϰা āφāĻ›ে āϚিāĻ িāϤে !āϤাঁāϰ āφāĻŦেāĻ—েāϰ āωāώ্āĻŖāϤাāϰ āϏ্āĻĒāϰ্āĻļ āĻĒাāχ āϝেāύ! āϟি. āĻāϏ āĻāϞিāϝ়āϟ: Image Courtesy: Wikimedia Commons  āϏাāĻŽুāĻĻ্āϰিāĻ• āϜীāĻŦāĻŦিāϜ্āĻžাāύী āĻāĻŦং āϞেāĻ–āĻ• āϰ‌্āϝাāϚেāϞ āĻ•াāϰāϏāύ āϞেāĻ–āĻ• āĻšāϤে āφāĻ—্āϰāĻšী āĻāĻ•āϜāύāĻ•ে, āĻāĻ•āϜāύ āĻĻৃāώ্āϟিāĻšীāύ āĻŽেāϝ়েāĻ•ে āĻĒāϰাāĻŽāϰ্āĻļ āĻĻিāϝ়েāĻ›িāϞেāύ, “you will interest other people.”- "āφāĻĒāύি āĻ…āύ্āϝ āϞোāĻ•েāĻĻেāϰ āφāĻ—্āϰāĻšী āĻ•āϰāĻŦেāύ।"  ⧧⧝ā§Ģ⧍ āϏাāϞে, āĻ…্āϝাāϞিāϏ āĻ•ুāχāύ āύাāĻŽে āĻāĻ•āϜāύ āώোāϞ āĻŦāĻ›āϰ āĻŦāϝ়āϏী   “aspiring Young Writer” - "āωāϚ্āϚাāĻ•াāĻ™্āĻ•্āώী āϤāϰুāĻŖ āϞেāĻ–āĻ•" āϟি.āĻāϏ.  āĻāϞিāϝ়āϟ ( āϜāύ্āĻŽ ⧍ā§Ŧ āĻļে āϏেāĻĒ্āϟেāĻŽ্āĻŦāϰ, ā§§ā§Žā§Žā§Ž – āĻŽৃāϤ্āϝু ā§ĒāĻ া āϜাāύুāϝ়াāϰী, ⧧⧝ā§Ŧā§Ģ) āĻāϰ āϏāĻ™্āĻ—ে āĻĻেāĻ–া āĻ•āϰেāύ - āϏেāχ āϏāĻŽāϝ়ে āĻŦিāĻļ্āĻŦেāϰ āϏāĻŦāϚেāϝ়ে āĻŦিāĻ–্āϝাāϤ āϞেāĻ–āĻ•āĻĻেāϰ āĻŽāϧ্āϝে āĻāĻ•āϜāύ āĻāϞিāϝ়āϟ -āϤিāύি āϏৃāϜāύāĻļীāϞāϤা , āϞেāĻ–াāϰ, āϏৃāϜāύāĻļীāϞ āĻĒ্āϰāĻ•্āϰিāϝ়া, āϞেāĻ–āĻ• āĻšāϝ়ে āĻ“āĻ া āϏāĻŽ্āĻĒāϰ্āĻ•ে āĻŦিāĻ­িāύ্āύ āĻĒ্āϰāĻļ্āύেāϰ āωāϤ্āϤāϰ āĻĻিāϤে ...

āĻ•াāĻšāϞিāϞ āϜিāĻŦ্āϰাāύ: āϏ্āĻŦāĻ—āϤāĻ•āĻĨāύ, āϏāϤ্āϤা, āϏাāĻšিāϤ্āϝ/ Kahlil Gibran On Soliloquy, Be Oneself, Literature

āĻ…্āϝাāĻŦāϏাāϰāĻĄিāϟি āĻ…āĻĢ্ āϏেāϞāĻĢ āϰাāχāϟাāϏāύেāϏ āφāϰ āĻ•াāĻšāϞিāϞ āϜিāĻŦ্āϰাāύ / Kahlil Gibran: Absurdity of Self-Righteousness āϏ্āĻŦ-āύ্āϝাāϝ়āϤ্āĻŦেāϰ āĻāĻ•āĻĒ্āϰāĻ•াāϰ āĻ…āϝৌāĻ•্āϤিāĻ•āϤা āĻĨাāĻ•ে,  āĻļিāϞ্āĻĒী āĻ…্āϝাāύ āϟ্āϰুāχāϟ (Anne Truitt) āφāĻŽাāĻĻেāϰ āĻĻীāϰ্āϘāϏ্āĻĨাāϝ়ী self-righteousness āύিāϰাāĻŽāϝ় āύিāϝ়ে āϚিāύ্āϤা āĻ•āϰাāϰ āĻ•āϝ়েāĻ• āĻĻāĻļāĻ• āφāĻ—ে, āφāϰেāĻ•āϟি āĻ…āϏাāϧাāϰāĻŖ āϏৃāϜāύāĻļীāϞ āĻŽāύ āĻāχ āĻšিāωāĻŽ্āϝাāύ āĻĒ্āϝাāĻĨāϞāϜিāϰ āϏাāĻĨে āϧাāĻ•্āĻ•া āĻ–েāϝ়েāĻ›িāϞ ! āϞেāĻŦাāύিāϜ-āφāĻŽেāϰিāĻ•াāύ āĻļিāϞ্āĻĒী, āĻ•āĻŦি, āĻāĻŦং āĻĻাāϰ্āĻļāύিāĻ• āĻ•াāĻšāϞিāϞ āϜিāĻŦ্āϰাāύেāϰ ā§§ā§¯ā§§ā§Ž āϏাāϞে āĻĒ্āϰāĻ•াāĻļিāϤ āϏংāĻ•āϞāύ āĻĻ্āϝ āĻŽ্āϝাāĻĄāĻŽ্āϝাāύ: āĻšিāϜ āĻĒ্āϝাāϰাāĻŦāϞāϏ āĻ…্āϝাāύ্āĻĄ āĻĒোāϝ়েāĻŽāϏ (The Madman: His Parables and Poems)-āĻāϰ āĻ…āύেāĻ• āϰāϤ্āύāĻ—ুāϞিāϰ āĻŽāϧ্āϝে āĻāĻ•āϟি- āχংāϰেāϜিāϤে āϜিāĻŦ্āϰাāύেāϰ āĻĒ্āϰāĻĨāĻŽ āĻ•াāϜ, āĻāĻ•āϟি āĻ•্āϞাāϏিāĻ• āϝা āωāχāϞিāϝ়াāĻŽ āĻŦ্āϞেāĻ• (William Blake ) Mary Oliver —āĻāĻŦং āĻŽেāϰি āĻ…āϞিāĻ­াāϰেāϰ (Mary Oliver ) āĻ•āĻĨা āĻ•োāĻĨাāĻ“ āĻŽāύে āĻĒāĻĄ়িāϝ়ে āĻĻেāϝ়— āĻāĻ•āϟি āĻ›োāϟ āĻ•āĻŦিāϤা āϝা āφāĻŽাāĻĻেāϰ āĻŦিāϚ্āĻ›িāύ্āύāϤাāϰ āĻŦিāĻ­্āϰāĻŽ āϤৈāϰী āĻ•āϰে, subtlety āĻāĻ•āϟা illusion āĻāϰ āϜāύ্āĻŽ āĻĻেāϝ়, āϜāύ্āĻŽ āĻĻিāϤে āĻĨাāĻ•ে insightful separateness āĻāĻŦং self-righteousness āĻāϰ , āĻĻুāϰ্āĻĻাāύ্āϤ āϏূāĻ•্āώ্āĻŽāϤা āĻāĻŦং āĻĻুāϰāύ্āϤ āĻ…āύ্āϤāϰ্āĻĻৃāώ্āϟি āϝোāĻ— āĻšāϝ় āĻāϰ āϏāĻ™্āĻ—ে, āϏাāĻĨে āĻ•āĻĨা āĻŦāϞে, āφāĻŽাāĻĻেāϰ āĻŦিāώāĻŖ্āĻŖ āĻĒ্āϰāĻŦāĻŖāϤা āĻ…āύ্āϝ āĻ…āύেāĻ• āĻĒāϰিāĻļীāϞিāϤ āφāĻ•াāĻ™্āĻ•্āώাāĻ•ে āĻŦাāϧা āĻĻেāϝ়, nuisances āĻ•ে...

āĻ•ীāĻ­াāĻŦে āϞেāĻ–āĻ• āĻ•িংāĻŦা āύা āϞেāĻ–āĻ• āĻšāϝ়ে āĻ“āĻ া āϏāĻŽ্āĻ­āĻŦ : āĻļিāϞ্āĻĒেāϰ āϟাāύে āφāύ্āϤāύ āϚেāĻ–āĻ­ / How To Be Or Not To Be A Writer: Anton Chekhov And An Art

āĻ•ীāĻ­াāĻŦে āϞেāĻ–āĻ• āĻ•িংāĻŦা āύা āϞেāĻ–āĻ• āĻšāϝ়ে āĻ“āĻ া āϏāĻŽ্āĻ­āĻŦ : āĻļিāϞ্āĻĒেāϰ āϟাāύে  āφāύ্āϤāύ āϚেāĻ–āĻ­ / How To Be Or Not To Be A Writer: Anton Chekhov And  An Art āφāĻŽāϰা āĻāĻ• āĻāĻ•āϟি āϏāϤ্āϝāĻ•ে āĻ–ুঁāϜে āĻŦেāĻĄ়াāϚ্āĻ›ি,  āφāĻŽāϰা āϝে āĻĒ্āϰāĻļ্āύāĻ—ুāϞি āϜিāϜ্āĻžাāϏা āĻ•āϰি āϏেāχ āωāϤ্āϤāϰāĻ—ুāϞিāĻ•ে āφāĻŽাāĻĻেāϰāĻ•েāχ āĻ–ুঁāϜে āύিāϤে āĻšāϝ়।  āĻāϟাāĻ“ āĻāĻ•āϟা āϏāϤ্āϝ। āĻĒ্āϰāĻļ্āύেāϰ āϏāĻ™্āĻ—ে āϏāĻ™্āĻ—ে āωāϤ্āϤāϰāĻ•েāĻ“ āĻāĻ•āϟা āφāĻ•ৃāϤি, āĻāĻ•āϟা āĻļেāĻĒ āĻĻিāϤে āĻĨাāĻ•ে। āφāϰেāĻ•āϟি āĻšāϞ āϝে āφāĻŽাāĻĻেāϰ āĻĒ্āϰāĻļ্āύāĻ—ুāϞি - āϏেāχ āĻŦিāϏ্āĻŽāϝ়, āĻ…āύিāĻļ্āϚāϝ়āϤা āĻāĻŦং āϏāύ্āĻĻেāĻšেāϰ āϤ্āĻŦāϰাāύ্āĻŦিāϤ āĻĒ্āϰāĻŦাāĻš āϝা āϜীāĻŦāύেāϰ āϏাāϰāĻĢেāϏে āϰāϝ়ে āĻ—েāĻ›ে।  āύীāϚে āϰāϝ়ে āϝাāϝ় - āφāĻŽাāĻĻেāϰ āϏৃāϜāύāĻļীāϞāϤাāϰ āĻļāĻ•্āϤি, āϏৃāϜāύāĻļীāϞāϤাāϰ āϏāϤ্āϝ, āĻĒাāϰāĻŽাāĻŖāĻŦিāĻ• āĻļāĻ•্āϤিāϰ āĻŽāϤ āϏāϤ্āϝি,  āĻāĻ•āĻ• āĻļাāύ্āϤ āϏāĻŽাāĻšিāϤ āĻļāĻ•্āϤি।  āφāĻŽāϰা āϝা āĻ•িāĻ›ু āϤৈāϰি āĻ•āϰি - āφāĻŽাāĻĻেāϰ āĻ—াāύ āĻāĻŦং āφāĻŽাāĻĻেāϰ āĻ—āϞ্āĻĒ, āφāĻŽাāĻĻেāϰ āĻ•āĻŦিāϤা āφāϰ āφāĻŽাāĻĻেāϰ āϏāĻŽ্āĻĒāϰ্āĻ•েāϰ  āϏāĻŽীāĻ•āϰāĻŖāĻ—ুāϞি - āφāĻŽāϰা āĻ–োঁāϜা āĻļুāϰু  āĻ•āϰি āĻĒৃāĻĨিāĻŦীāϤে āĻ•ে āĻ•ীāĻ­াāĻŦে āĻāĻ•ে āĻ…āĻĒāϰāĻ•ে āϘিāϰে āĻĨাāĻ•ে,  āĻ•াāϜ āĻ•āϰে āύিāϝ়āĻŽāĻŽāϤো āĻāĻŦং āφāĻŽāϰা āϝে āĻ•ী āϤা āĻ–ুঁāϜে āĻŦেāϰ āĻ•āϰাāϰ āϜāύ্āϝ āφāĻ•ুāϞ āĻšāχ,  āφāĻĒেāĻ•্āώিāĻ• āĻŽāĻšাāĻŦিāĻļ্āĻŦে āĻĒāϰāĻŽāĻ•ে āĻĒাāĻ“āϝ়াāϰ āϜāύ্āϝ āφāĻŽাāĻĻেāϰ āĻ…āϏ্āĻĨিāϰ āφāĻ•াāĻ™্āĻ•্āώা āύিāϝ়ে āĻ•ীāĻ­াāĻŦে āĻŦেঁāϚে āĻĨাāĻ•া āϝাāϝ় āϤা āĻ–ুঁāϜে āĻŦেāϰ āĻ•āϰাāϰ āϚেāώ্āϟা āĻ•āϰāϤেāχ āĻĨাāĻ•ি। āĻāĻ•āϟা āĻ…্āϝাāĻŦāϏāϞিāωāϟ āĻ•ে āĻĒাāĻ“āϝ়াāϰ āϚেāώ্āϟা āĻāχ āϰিāϞেāϟ...

āχāϝ়েāϤি : āĻŽিāĻĨ āύাāĻ•ি āϏāϤ্āϝি? / Yeti: Myth Or Reality?

  āχāϝ়েāϤি : āĻŽিāĻĨ  āύাāĻ•ি āϏāϤ্āϝি ? / Yeti: Myth Or Reality? āχāϝ়েāϤি āĻ•ি āϏāϤ্āϝিāχ āφāĻ›ে ? āĻĻিāϏ্āϤা āĻĻিāϏ্āϤা āϤāĻĨ্āϝ āĻĒ্āϰāĻŽাāĻŖ āύাāĻ•ি āφāĻ›ে āĻāϰ āϏ্āĻŦāĻĒāĻ•্āώে? āĻ•িāύ্āϤু āϤাāϰ āϏāϤ্āϝāϤা āĻĒ্āϰāĻŽাāĻŖিāϤ āĻšāϝ়েāĻ›ে āĻ•ি? āĻĒ্āϰāϚুāϰ āĻ…āĻ­িāϝাāϤ্āϰী āύাāĻ•ি āϏ্āĻŦāϚāĻ•্āώে āĻĻেāĻ–েāĻ›েāύ āĻāχ āχāϝ়েāϤি āĻĻেāϰ? āĻ•িāύ্āϤু āϤাāϰা āύাāĻ•ি āĻŽাāύুāώ āĻĻেāĻ–āϞে āĻĻুāĻŽ āĻ•āϰে āύিāϜেāĻĻেāϰ āϞুāĻ•িāϝ়ে āĻĢেāϞে! āϏāϤ্āϝি āύাāĻ•ি āχāϞিāωāĻļāύ āĻāχ āϰāĻšāϏ্āϝেāϰ āϘেāϰাāϟোāĻĒে āĻ–ুঁāϜāĻ›ি āχāϝ়েāϤিāϰ āĻ…āϏ্āϤিāϤ্āĻŦ। āĻŽাāωāύ্āϟ āĻāĻ­াāϰেāϏ্āϟেāϰ āχāϝ়েāϤিāϰ āĻĒাāϝ়েāϰ āĻ›াāĻĒ, āϝাāϰ āĻ›āĻŦি āϤুāϞেāĻ›িāϞেāύ āĻāϰিāĻ• āĻļিāĻĒāϟāύ, ⧧⧝ā§Ģā§§ āϏাāϞে। āχāϝ়েāϤি āĻ•িংāĻŦা āĻ…āϤিāĻ•াāϝ় āϤুāώাāϰāĻŽাāύুāώ, āϝে āύাāĻŽেāχ āĻĄাāĻ•া āĻšোāĻ• āύা āĻ•েāύ, āϝাāχ āĻšিāϏাāĻŦে āφāĻŽāϰা āϜাāύি āύা āĻ•েāύ, āĻāχ āĻŦাāύāϰেāϰ āĻŽāϤো āĻĒ্āϰাāĻŖীāϰা āϤুāώাāϰে āĻŦাāϏāĻ•াāϰী āĻ•্āϰিāĻĒ্āϟিāĻĄāĻĻেāϰ ( cryptids) āĻŽāϧ্āϝে āĻ…āύāϏ্āĻŦীāĻ•াāϰ্āϝāĻ­াāĻŦেāχ āϰাāϜা āϏ্āĻŦāϰূāĻĒ। āωāϤ্āϤāϰ āφāĻŽেāϰিāĻ•াāύ āĻŦিāĻ—āĻĢুāϟেāϰ (bigfoot) āĻŽāϤো, āχāϝ়েāϤিāĻ•ে āĻŦāϞা āĻšāϝ় āĻāĻ• āύিāϰ্āϜāύ āĻĒ্āϰাāĻŖী, āϝে āĻļুāϧুāĻŽাāϤ্āϰ āĻšিāĻŽাāϞāϝ়েāϰ āϤুāώাāϰāĻŽāϝ় āĻĒāϰ্āĻŦāϤāĻŽাāϞাāϝ় āϘুāϰে āĻŦেāĻĄ়াāϝ়। āϏাāϧাāϰāĻŖāϤ āĻļেāϰāĻĒাāĻĻেāϰ āĻŽāϧ্āϝে āχāϝ়েāϤিāϰা āϤিāĻŦ্āĻŦāϤীāϝ় āĻāĻ• āϞোāĻ•āĻ•াāĻšিāύীāϰ āĻ…ংāĻļ āĻšāϞেāĻ“, āĻāχ āĻ…āĻž্āϚāϞেāϰ āĻĒāϰ্āĻŦāϤাāϰোāĻšীāϰা āĻŦিāĻ—āϤ āĻĻুāχ āĻļāϤাāĻŦ্āĻĻী āϜুāĻĄ়ে āύাāĻ•ি ‘sightings’ - 'āĻĻāϰ্āĻļāύ' āĻ•āϰেāĻ›েāύ āϤাāĻĻেāϰ, āφāϰ āϝা āĻ•িāύা āĻāĻ•āĻ–াāύি āϰেāĻ•āϰ্āĻĄāĻ“ āĻ—āĻĄ়েāĻ›ে, āĻāĻŦং āĻāĻ•āχāϏāĻ™্āĻ—ে āϜāύ্āĻŽ āĻĻিāϝ়েāĻ›ে āĻāĻ• āĻŦিāϤāϰ্āĻ•েāϰ- āĻāχ āĻĒ্āϰাāĻŖীāϟি āĻ•িংāĻŦা āĻ...