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April 30, 2025, 12:56 pm

🌷POET ANGELA KOSTA A rare literary life story🌷

Tamikio L. Dooley
  • āĻĒā§āϰāĻ•āĻžāĻļāĻŋāϤ: Friday, January 19, 2024,
  • 509 āĻŦāĻžāϰ āĻĒ⧜āĻž āĻšā§Ÿā§‡āϛ⧇

ENGLISH BY ANGELA KOSTA

Angela Kosta was born in Albania in 1973 and has lived in Italy since 1995. She is a translator, essayist, literary critic and promoter. He has published 11 books: novels, poems and fairy tales in Albanian, Italian and English. His publications have appeared in various literary magazines and newspapers in: Albania, Kosovo, Italy, USA, England, China, Russia, Germany, Saudi Arabia, Lebanon, Algeria, Poland, Australia, Egypt, Greece, Tajikistan, South Korea, Hungary, Poland, etc. Angela Kosta translates and writes articles and interviews for the newspaper “Calabria Live”, Saturno magazine, the newspaper “Le Radici”, the international magazine “Orfeu”, Alessandria Today magazine, the Nacional newspaper, the Gazeta Destinacioni, the Perqasje Italo magazine – Shqiptare, the international magazine Atunis – Belgium, collaborates with magazines in Lebanon, USA, Morocco, etc. Angela Kosta is Ambassador of Culture and Peace in: Bangladesh, Lebanon, Poland, Morocco, Canada, Algeria, Egypt, etc.

1. I think so… For more than 20 years now I have been publishing books and writing both in Italy and also in my native country Albania. In the long journey of writing, formation takes place gradually, maturing in us the pen and thoughts.

2. When I was a child there were many Albanian writers that I liked, but I was particularly attracted by Zhyl Vem’s books. I was fascinated by the wonderful world under the sea.

3. At the age of 6 I wrote my first poem dedicated to my mother. Since I was a child I wrote almost every day: verse and prose.

4. Writing is my oxygen. Without it, it’s as if I don’t live, I don’t eat, I don’t drink, I don’t sleep.

5. My working day starts with translations into Italian or Albanian and sometimes even bilingual. I’ll also do editing and corrections. I pruomovo and publish not only in the newspapers where I am Director and Deputy Director but also in many other newspapers and magazines in which I have been collaborating for a long time.

6. A lot, I would say. With this I choose high-level poets from all over the world. I also adapt to the search for the latest news about contemporary international literature.

7. Freely I would say… I pour when my muse is very alert and active. I mainly deal with

current issues that have been wearing down human beings and our planet lately.

8. It’s the lyrics, the haikus, the rhymes, the verses, the verse.

9. Sometimes I compose irregular verses, elegy, poems. I use metaphors, rhetoric, allegories, oxymorons, images, contrasts a lot like a painting on a canvas with a thousand shades.

10. It wasn’t easy. Sometimes the day ends with other things left half-finished, as writing, translations, publications take up a lot of time. In any case, by planning everything the day before, you can balance the time due to work and the time dedicated to home, family, everyday life.

11. Reading beautiful verses that remain long in the memory. Also writing….

12. There are quite a few, but I will mention a few. Oriana Fallaci, Andrea Cammilleri, John Grisham, Nicola Sparks, etc…

13. Federico Garcia Lorca, Emily Dickinson, Gabriele D’Annunzio, Gianni Rodari, Cesare Pavese, Mihai Eminescu, Herman Hesse, etc…

14. I read Nicolas Sparks, romantic and charming in his narration, Sveva Casati Modigliani, an Italian pen rich in writing, full of colors and values.

15. Horror books. They don’t attract me, they don’t even arouse interest in me.

16. Very difficult I would say. Being an immigrant, I found many doors closed, but life is known to be unpredictable: it closes a door but opens a door. Today everything is different.. I have been working with two publishing houses for a long time.

17. Yes… certainly. But by insisting I managed to publish it and I think that next year I will publish the second edition.

18. Don’t rush. Neither by writing nor by publishing. Time must give time to time. With the verses you have to reconcile the thoughts well, the state of mind, with the publishing house is important, starting from the creation of the cover, promotion, the way the author would be followed step by step in his sales path, because you don’t just have to be able to publish, the satisfaction is to see your book in the hands of many readers.

19. I have written 5 novels, 3 manuscripts and many essays. I have no preference. I write my texts in a simple format because what is important is

what I write, not where I write.

20. I think that’s the desire of all authors. I also have experience in this because I have

promoted various books by signing many autographs to readers.

ABOUT POETRY

1. So many times, yes. I think that pain resides in the soul of many poets and each one tries to externalize it through verses.

2. Living in Italy for more than 28 years, my comprehension of the language has become fluid, without obstacles, on the contrary with my memory, slower, more careful not to forget the grammar of my mother tongue Albanian, a very difficult language.

3. Absolutely not! What I write or read must be completed according to my criteria first and foremost, but also according to those of the society in which we live, as long as it sometimes goes against the tide.

4. Never! That would be very difficult. As I mentioned above, the verses must be free and fluid, expressing what comes from our soul.

5. I would say yes. Every era, as long as it is different, with different ideologies is “witnessed” in a special way by ideologies.

6. Both! One becomes the protagonist, the other a director. By going in symbiosis, they find and manage to give space to our thoughts, dreams, projects…

7. As long as it is extended, sometimes even on a half-shredded piece of paper, it still becomes popular and as controversial as it is, it is known everywhere.

8. Absolutely. Tonality is very important to give the right light to the verses and vice versa: without this light the tonality would become dark, with this the poem would be dull, without any sweetness, it would completely lose its sense and significance.

9. I think a woman goes deeper than being. By endowing more pain, sadness, he animatedly processes all that life offers in itself.

10. If it were true, the apocalypse would not be long in coming.

11. A lot. Since ancient times, the Aedi, Homer also made poetry esteemed, leapfrogging the centuries to reach us today. This also applies to classical and contemporary poetry.

12. Who writes and also who reads. Poet and writer cannot do without each other.

13. Without the whole world. Poetry is life, nature, yesterday, today, tomorrow.

14. I have a very complex experience of this because I have translated hundreds of authors. I’ve always tried to keep their originality, because in every verse there is a piece of their soul. Therefore, by translating carefully, by making available the necessary time, poetry does not lose the slightest originality as long as it is “composed” in another language

15. There are 4 poems but especially the poem dedicated to Woman: mother, daughter,

sister, wife, friend. Hoping and wishing that she will be more protected and esteemed,

because despite living in the twenty-first century, femicide, mistreatment has

unfortunately not decreased but is increasing more and more every day.

16. I would say a lot, especially now that more or less everyone writes, defining

themselves as poets simply with two poems in their reading baggage.

17. Free in soul and light as if I were a feather, for through the verses and in the verses

there is the mirror of karma.

18. It depends… There are some verses that turn us upside down, some written and

read non-stop, and others sometimes left half-baked.

19. The message of existence. Because poetry is virtue, it is the path where we walk paths never explored before.

20. It begins right where it ends because it does not flourish, it does not find space, nor destination. By the time you reach the age of 50, skepticism does not exist, it disappears with half-century maturity.

ABOUT YOUR BOOK

1. With many sacrifices, sometimes even giving up myself, sleep, food, walks, at the same time.

2. It was helpful to read a lot carefully. Exploiting and capturing every single letter, every rhyme, every line, from great authors, classics and contemporaries. The most moneyed and least useful is to get lost behind the search for a suitable publishing house.

3. There are many of my favorite writers, but I would like to point out one in particular: Danielle Steel. Very romantic and wonderful to read. His way of drawing us into his books in a surprising and magnificent way became my inspiration with my writings.

4. My new book of poetry is coming out in Italy, after which I will finish the new novel I have in my hands. Beyond that, I have to finish a children’s fairy tale.

5. Opening a magazine on my own, thus giving space to those poets who compose wonderful verses, but find the doors closed everywhere.

6. My personal experience. Having been seriously ill for four very long years in a row, my consciousness suffered so much.

7. I act calm. Wisdom lies in the person who can tame impulsiveness. Only in this way can we deal with difficult situations. And then there is also prayer, postulated daily and not only in difficult situations.

8. I don’t have a proportion or rule. I decide instantly, starting with something that strikes me deeply, then I elaborate in verse (poetry), or manuscript (novel).

9. Thanks to social media sites, it happens very often. It is really satisfying to receive not only compliments but comparisons, reviews, shares.

10. In addition to being a writer, poet and essayist, I am also a promoter. I read and translate a lot of poetry or prose, also doing editing.

Thank you very much!

🌷āĻ•āĻŦāĻŋ, āĻāĻžā§āĻœā§‡āϞāĻž āϕ⧋āĻ¸ā§āϤāĻž āĻāĻ• āĻŦāĻŋāϰāϞ āϏāĻžāĻšāĻŋāĻ¤ā§āϝ āĻœā§€āĻŦāύ⧇āϰ āχāϤāĻŋāĻŦ⧃āĻ¤ā§āĻ¤đŸŒˇ

🌷POET ANGELA KOSTA A rare literary life story🌷

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3. 6 āĻŦāĻ›āϰ āĻŦāϝāĻŧāϏ⧇ āφāĻŽāĻŋ āφāĻŽāĻžāϰ āĻŽāĻžāϕ⧇ āĻ‰ā§ŽāϏāĻ°ā§āĻ— āĻ•āϰ⧇ āφāĻŽāĻžāϰ āĻĒā§āϰāĻĨāĻŽ āĻ•āĻŦāĻŋāϤāĻž āϞāĻŋāϖ⧇āĻ›āĻŋāϞāĻžāĻŽāĨ¤ āϝ⧇āĻšā§‡āϤ⧁ āφāĻŽāĻŋ āϛ⧋āϟ āĻ›āĻŋāϞāĻžāĻŽ āφāĻŽāĻŋ āĻĒā§āϰāĻžāϝāĻŧ āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύāχ āϞāĻŋāĻ–āϤāĻžāĻŽ: āĻĒāĻĻā§āϝ āĻāĻŦāĻ‚ āĻ—āĻĻā§āϝāĨ¤

4. āϞ⧇āĻ–āĻž āφāĻŽāĻžāϰ āĻ…āĻ•ā§āϏāĻŋāĻœā§‡āύāĨ¤ āĻāϟāĻž āĻ›āĻžāĻĄāĻŧāĻž, āĻāϟāĻž āϝ⧇āύ āφāĻŽāĻŋ āĻŦāĻžāρāϚāĻŋ āύāĻž, āφāĻŽāĻŋ āĻ–āĻžāχ āύāĻž, āφāĻŽāĻŋ āĻĒāĻžāύ āĻ•āϰāĻŋ āύāĻž, āφāĻŽāĻŋ āϘ⧁āĻŽāĻžāχ āύāĻžāĨ¤

5. āφāĻŽāĻžāϰ āĻ•āĻžāĻœā§‡āϰ āĻĻāĻŋāύ āĻļ⧁āϰ⧁ āĻšāϝāĻŧ āχāϤāĻžāϞ⧀āϝāĻŧ āĻŦāĻž āφāϞāĻŦ⧇āύāĻŋāϝāĻŧāĻžāύ āĻ­āĻžāώāĻžāϝāĻŧ āĻ…āύ⧁āĻŦāĻžāĻĻ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻāĻŦāĻ‚ āĻ•āĻ–āύāĻ“ āĻ•āĻ–āύāĻ“ āĻāĻŽāύāĻ•āĻŋ āĻĻā§āĻŦāĻŋāĻ­āĻžāώāĻŋāϕ⧇āĻ“āĨ¤ āφāĻŽāĻŋ āϏāĻŽā§āĻĒāĻžāĻĻāύāĻž āĻāĻŦāĻ‚ āϏāĻ‚āĻļā§‹āϧāύ āĻ•āϰāĻŦāĨ¤ āφāĻŽāĻŋ āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āϝ⧇ āϏāĻ‚āĻŦāĻžāĻĻāĻĒāĻ¤ā§āϰ⧇ āĻĒāϰāĻŋāϚāĻžāϞāĻ• āĻāĻŦāĻ‚ āωāĻĒ-āĻĒāϰāĻŋāϚāĻžāϞāĻ• āĻ›āĻŋāϞāĻžāĻŽ āϏ⧇āĻ–āĻžāύ⧇āχ āφāĻŽāĻŋ āĻĒā§āϰ⧁āĻ“āĻŽā§‹āĻ­ā§‹ āĻ•āϰāĻŋ āĻāĻŦāĻ‚ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰāĻŋ, āĻŦāϰāĻ‚ āφāϰāĻ“ āĻ…āύ⧇āĻ• āϏāĻ‚āĻŦāĻžāĻĻāĻĒāĻ¤ā§āϰ āĻ“ āĻŽā§āϝāĻžāĻ—āĻžāϜāĻŋāύ⧇āĻ“ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰāĻŋ āϝ⧇āĻ–āĻžāύ⧇ āφāĻŽāĻŋ āĻĻā§€āĻ°ā§āϘāĻĻāĻŋāύ āϧāϰ⧇ āϏāĻšāϝ⧋āĻ—āĻŋāϤāĻž āĻ•āϰ⧇ āφāϏāĻ›āĻŋāĨ¤

6. āĻ…āύ⧇āĻ•, āφāĻŽāĻŋ āĻŦāϞāĻŦ. āĻāϟāĻŋ āĻĻāĻŋāϝāĻŧ⧇ āφāĻŽāĻŋ āϏāĻžāϰāĻž āĻŦāĻŋāĻļā§āĻŦ⧇āϰ āωāĻšā§āϚ āĻĒāĻ°ā§āϝāĻžāϝāĻŧ⧇āϰ āĻ•āĻŦāĻŋāĻĻ⧇āϰ āĻŦ⧇āϛ⧇ āύāĻŋāχāĨ¤ āφāĻŽāĻŋ āϏāĻŽāϏāĻžāĻŽāϝāĻŧāĻŋāĻ• āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āϏāĻžāĻšāĻŋāĻ¤ā§āϝ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āϏāĻ°ā§āĻŦāĻļ⧇āώ āϏāĻ‚āĻŦāĻžāĻĻ āĻ…āύ⧁āϏāĻ¨ā§āϧāĻžāύ⧇āϰ āϏāĻžāĻĨ⧇āĻ“ āĻ–āĻžāĻĒ āĻ–āĻžāχāϝāĻŧ⧇ āύāĻŋāχāĨ¤

7. āύāĻŋāĻ°ā§āĻĻā§āĻŦāĻŋāϧāĻžāϝāĻŧ āφāĻŽāĻŋ āĻŦāϞāĻŦ… āϝāĻ–āύ āφāĻŽāĻžāϰ āĻŽāĻŋāωāϜ āϖ⧁āĻŦ āϏāϤāĻ°ā§āĻ• āĻāĻŦāĻ‚ āϏāĻ•ā§āϰāĻŋāϝāĻŧ āĻĨāĻžāϕ⧇ āϤāĻ–āύ āφāĻŽāĻŋ āĻĸāĻžāϞāĻžāĻ“āĨ¤ āφāĻŽāĻŋ āĻĒā§āϰāϧāĻžāύāϤ āĻŽā§‹āĻ•āĻžāĻŦ⧇āϞāĻž

āĻŦāĻ°ā§āϤāĻŽāĻžāύ āϏāĻŽāĻ¸ā§āϝāĻž āϝāĻž āχāĻĻāĻžāύ⧀āĻ‚ āĻŽāĻžāύ⧁āώ āĻāĻŦāĻ‚ āφāĻŽāĻžāĻĻ⧇āϰ āĻ—ā§āϰāĻšāϕ⧇ āĻŦāĻŋāĻĒāĻ°ā§āϝāĻ¸ā§āϤ āĻ•āϰ⧇ āĻĢ⧇āϞ⧇āϛ⧇āĨ¤

8. āĻāϟāĻŋ āĻ—āĻžāύ⧇āϰ āĻ•āĻĨāĻž, āĻšāĻžāχāϕ⧁āϏ, āĻ›āĻĄāĻŧāĻž, āĻļā§āϞ⧋āĻ•, āĻĒāĻĻā§āϝāĨ¤

9. āĻŽāĻžāĻā§‡ āĻŽāĻžāĻā§‡ āφāĻŽāĻŋ āĻ…āύāĻŋāϝāĻŧāĻŽāĻŋāϤ āĻļā§āϞ⧋āĻ•, āωāĻĒāĻžāĻ–ā§āϝāĻžāύ, āĻ•āĻŦāĻŋāϤāĻž āϰāϚāύāĻž āĻ•āϰāĻŋāĨ¤ āφāĻŽāĻŋ āϰ⧂āĻĒāĻ•, āĻ…āϞāĻ™ā§āĻ•āĻžāϰ, āϰ⧂āĻĒāĻ•, āĻ…āĻ•ā§āϏāĻŋāĻŽā§‹āϰāύ, āχāĻŽā§‡āϜ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰāĻŋ, āĻšāĻžāϜāĻžāϰ āĻļ⧇āĻĄ āϏāĻš āĻ•ā§āϝāĻžāύāĻ­āĻžāϏ⧇ āĻāĻ•āϟāĻŋ āĻĒ⧇āχāĻ¨ā§āϟāĻŋāĻ‚āϝāĻŧ⧇āϰ āĻŽāϤ⧋ āĻ…āύ⧇āĻ•āϟāĻž āĻŦ⧈āĻĒāϰ⧀āĻ¤ā§āϝāĨ¤

10. āĻāϟāĻž āϏāĻšāϜ āĻ›āĻŋāϞ āύāĻž. āĻ•āĻ–āύāĻ“ āĻ•āĻ–āύāĻ“ āĻĻāĻŋāύāϟāĻŋ āĻ…āĻ°ā§āϧ-āϏāĻŽāĻžāĻĒā§āϤ āϰ⧇āϖ⧇ āĻ…āĻ¨ā§āϝāĻžāĻ¨ā§āϝ āϜāĻŋāύāĻŋāϏ āĻĻāĻŋāϝāĻŧ⧇ āĻļ⧇āώ āĻšāϝāĻŧ, āĻ•āĻžāϰāĻŖ āϞ⧇āĻ–āĻž, āĻ…āύ⧁āĻŦāĻžāĻĻ, āĻĒā§āϰāĻ•āĻžāĻļāύāĻž āĻ…āύ⧇āĻ• āϏāĻŽāϝāĻŧ āύ⧇āϝāĻŧāĨ¤ āϝāĻžāχ āĻšā§‹āĻ• āύāĻž āϕ⧇āύ, āφāϗ⧇āϰ āĻĻāĻŋāύ āϏāĻŦāĻ•āĻŋāϛ⧁ āĻĒāϰāĻŋāĻ•āĻ˛ā§āĻĒāύāĻž āĻ•āϰ⧇, āφāĻĒāύāĻŋ āĻ•āĻžāĻœā§‡āϰ āĻ•āĻžāϰāϪ⧇ āϏāĻŽāϝāĻŧ āĻāĻŦāĻ‚ āĻŦāĻžāĻĄāĻŧāĻŋ, āĻĒāϰāĻŋāĻŦāĻžāϰ, āĻĻ⧈āύāĻ¨ā§āĻĻāĻŋāύ āĻœā§€āĻŦāύ⧇ āύāĻŋāĻŦ⧇āĻĻāĻŋāϤ āϏāĻŽāϝāĻŧ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻ­āĻžāϰāϏāĻžāĻŽā§āϝ āϰāĻžāĻ–āϤ⧇ āĻĒāĻžāϰ⧇āύāĨ¤

11. āĻ¸ā§āĻŽā§ƒāϤāĻŋāϤ⧇ āĻĻā§€āĻ°ā§āϘāĻ•āĻžāϞ āϧāϰ⧇ āĻĨāĻžāĻ•āĻž āϏ⧁āĻ¨ā§āĻĻāϰ āφāϝāĻŧāĻžāϤ āĻĒāĻĄāĻŧāĻžāĨ¤ āϤāĻžāĻ“ āϞāĻŋāĻ–āĻ›āĻŋ….

12. āĻŦ⧇āĻļ āĻ•āϝāĻŧ⧇āĻ•āϟāĻŋ āφāϛ⧇, āϤāĻŦ⧇ āφāĻŽāĻŋ āĻ•āϝāĻŧ⧇āĻ•āϟāĻŋ āωāĻ˛ā§āϞ⧇āĻ– āĻ•āϰāĻŦāĨ¤ āĻ“āϰāĻŋāϝāĻŧāĻžāύāĻž āĻĢā§āϝāĻžāϞāĻžāϏāĻŋ, āφāĻ¨ā§āĻĻā§āϰ⧇āϝāĻŧāĻž āĻ•ā§āϝāĻžāĻŽāĻŋāϞ⧇āϰāĻŋ, āϜāύ āĻ—ā§āϰāĻŋāĻļāĻžāĻŽ, āύāĻŋāϕ⧋āϞāĻž āĻ¸ā§āĻĒāĻžāĻ°ā§āĻ•āϏ, āχāĻ¤ā§āϝāĻžāĻĻāĻŋ…

13. āĻĢ⧇āĻĻ⧇āϰāĻŋāϕ⧋ āĻ—āĻžāĻ°ā§āϏāĻŋāϝāĻŧāĻž āϞ⧋āϰāĻ•āĻž, āĻāĻŽāĻŋāϞāĻŋ āĻĄāĻŋāĻ•āĻŋāύāϏāύ, āĻ—ā§āϝāĻžāĻŦā§āϰāĻŋāϝāĻŧ⧇āϞ āĻĄāĻŋ’āφāύ⧁āĻžā§āϜāĻŋāĻ“, āϜāĻŋāϝāĻŧāĻžāĻ¨ā§āύāĻŋ āϰ⧋āĻĻāĻžāϰāĻŋ, āϏāĻŋāϜāĻžāϰ āĻĒāĻžāϭ⧇āϏ, āĻŽāĻŋāĻšāĻžāχ āĻāĻŽāĻŋāύ⧇āĻ¸ā§āϕ⧁, āĻšāĻžāϰāĻŽāĻžāύ āĻšā§‡āϏ⧇, āχāĻ¤ā§āϝāĻžāĻĻāĻŋ…

14. āφāĻŽāĻŋ āύāĻŋāϕ⧋āϞāĻžāϏ āĻ¸ā§āĻĒāĻžāĻ°ā§āĻ•āϏ āĻĒāĻĄāĻŧ⧇āĻ›āĻŋ, āϤāĻžāϰ āĻŦāĻ°ā§āĻŖāύāĻžāϝāĻŧ āϰ⧋āĻŽāĻžāĻ¨ā§āϟāĻŋāĻ• āĻāĻŦāĻ‚ āĻ•āĻŽāύ⧀āϝāĻŧ, Sveva Casati Modigliani, āϞ⧇āĻ–āĻžāϝāĻŧ āϏāĻŽā§ƒāĻĻā§āϧ āĻāĻ•āϟāĻŋ āχāϤāĻžāϞ⧀āϝāĻŧ āĻ•āϞāĻŽ, āϰāĻ™ āĻāĻŦāĻ‚ āĻŽā§‚āĻ˛ā§āϝāĻŦā§‹āϧ⧇ āĻĒāϰāĻŋāĻĒā§‚āĻ°ā§āĻŖāĨ¤

15. āĻšāϰāϰ āĻŦāχāĨ¤ āϤāĻžāϰāĻž āφāĻŽāĻžāϕ⧇ āφāĻ•āĻ°ā§āώāĻŖ āĻ•āϰ⧇ āύāĻž, āĻāĻŽāύāĻ•āĻŋ āϤāĻžāϰāĻž āφāĻŽāĻžāϰ āĻĒā§āϰāϤāĻŋ āφāĻ—ā§āϰāĻš āϜāĻžāĻ—āĻžāϝāĻŧ āύāĻžāĨ¤

16. āϖ⧁āĻŦ āĻ•āĻ āĻŋāύ āφāĻŽāĻŋ āĻŦāϞāĻŦ. āĻāĻ•āϜāύ āĻ…āĻ­āĻŋāĻŦāĻžāϏ⧀ āĻšāĻ“āϝāĻŧāĻžāϰ āĻ•āĻžāϰāϪ⧇, āφāĻŽāĻŋ āĻ…āύ⧇āĻ• āĻĻāϰāϜāĻž āĻŦāĻ¨ā§āϧ āĻĒ⧇āϝāĻŧ⧇āĻ›āĻŋ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻœā§€āĻŦāύ āĻ…āĻĒā§āϰāĻ¤ā§āϝāĻžāĻļāĻŋāϤ āĻŦāϞ⧇ āĻĒāϰāĻŋāϚāĻŋāϤ: āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻĻāϰāϜāĻž āĻŦāĻ¨ā§āϧ āĻ•āϰ⧇ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻāĻ•āϟāĻŋ āĻĻāϰāϜāĻž āϖ⧁āϞ⧇ āĻĻ⧇āϝāĻŧāĨ¤ āφāϜ āϏāĻŦāĻ•āĻŋāϛ⧁ āĻ­āĻŋāĻ¨ā§āύ.. āφāĻŽāĻŋ āĻĻā§€āĻ°ā§āϘāĻĻāĻŋāύ āϧāϰ⧇ āĻĻ⧁āϟāĻŋ āĻĒā§āϰāĻ•āĻžāĻļāύāĻž āϏāĻ‚āĻ¸ā§āĻĨāĻžāϰ āϏāĻžāĻĨ⧇ āĻ•āĻžāϜ āĻ•āϰāĻ›āĻŋāĨ¤

17. āĻšā§āϝāĻžāρ… āĻ…āĻŦāĻļā§āϝāχāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻĒā§€āĻĄāĻŧāĻžāĻĒā§€āĻĄāĻŧāĻŋ āĻ•āϰ⧇ āφāĻŽāĻŋ āĻāϟāĻŋ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰāϤ⧇ āĻĒ⧇āϰ⧇āĻ›āĻŋ āĻāĻŦāĻ‚ āφāĻŽāĻŋ āĻŽāύ⧇ āĻ•āϰāĻŋ āφāĻ—āĻžāĻŽā§€ āĻŦāĻ›āϰ āφāĻŽāĻŋ āĻĻā§āĻŦāĻŋāϤ⧀āϝāĻŧ āϏāĻ‚āĻ¸ā§āĻ•āϰāĻŖ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰāĻŦāĨ¤

18. āϤāĻžāĻĄāĻŧāĻžāĻšā§āĻĄāĻŧāĻž āĻ•āϰāĻŦ⧇āύ āύāĻžāĨ¤ āύāĻž āϞāĻŋāϖ⧇ āύāĻž āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤ āϏāĻŽāϝāĻŧāϕ⧇ āϏāĻŽāϝāĻŧ āĻĻāĻŋāϤ⧇ āĻšāĻŦ⧇āĨ¤ āĻļā§āϞ⧋āĻ•āϗ⧁āϞāĻŋāϰ āϏāĻžāĻĨ⧇ āφāĻĒāύāĻžāϰ āϚāĻŋāĻ¨ā§āϤāĻžāϗ⧁āϞāĻŋāϕ⧇ āĻ­āĻžāϞāĻ­āĻžāĻŦ⧇ āĻŽāĻŋāϞāĻŋāϤ āĻ•āϰāϤ⧇ āĻšāĻŦ⧇, āĻŽāύ⧇āϰ āĻ…āĻŦāĻ¸ā§āĻĨāĻž, āĻĒā§āϰāĻ•āĻžāĻļāύāĻž āϏāĻ‚āĻ¸ā§āĻĨāĻžāϰ āϏāĻžāĻĨ⧇ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ, āĻĒā§āϰāĻšā§āĻ›āĻĻ āϤ⧈āϰāĻŋ āĻĨ⧇āϕ⧇ āĻļ⧁āϰ⧁ āĻ•āϰ⧇ āĻĒā§āϰāϚāĻžāϰ, āϞ⧇āĻ–āĻ• āϤāĻžāϰ āĻŦāĻŋāĻ•ā§āϰāϝāĻŧ⧇āϰ āĻĒāĻĨ⧇ āϧāĻžāĻĒ⧇ āϧāĻžāĻĒ⧇ āĻ…āύ⧁āϏāϰāĻŖ āĻ•āϰāĻŦ⧇āύ, āĻ•āĻžāϰāĻŖ āφāĻĒāύāĻŋ āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰāϤ⧇ āϏāĻ•ā§āώāĻŽ āĻšāϤ⧇ āĻšāĻŦ⧇ āύāĻž, āϏāĻ¨ā§āϤ⧁āĻˇā§āϟāĻŋ āĻ…āύ⧇āĻ• āĻĒāĻžāĻ āϕ⧇āϰ āĻšāĻžāϤ⧇ āφāĻĒāύāĻžāϰ āĻŦāχ āĻĻ⧇āĻ–āϤ⧇ āĻšāϝāĻŧ.

19. āφāĻŽāĻŋ 5āϟāĻŋ āωāĻĒāĻ¨ā§āϝāĻžāϏ, 3āϟāĻŋ āĻĒāĻžāĻŖā§āĻĄā§āϞāĻŋāĻĒāĻŋ āĻāĻŦāĻ‚ āĻ…āύ⧇āĻ• āĻĒā§āϰāĻŦāĻ¨ā§āϧ āϞāĻŋāϖ⧇āĻ›āĻŋāĨ¤ āφāĻŽāĻžāϰ āϕ⧋āύ āĻĒāĻ›āĻ¨ā§āĻĻ āύ⧇āχāĨ¤ āφāĻŽāĻŋ āφāĻŽāĻžāϰ āĻĒāĻžāĻ ā§āϝāϗ⧁āϞāĻŋ āĻāĻ•āϟāĻŋ āϏāĻžāϧāĻžāϰāĻŖ āĻŦāĻŋāĻ¨ā§āϝāĻžāϏ⧇ āϞāĻŋāĻ–āĻŋ āĻ•āĻžāϰāĻŖ āϝāĻž āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āϤāĻž āĻšāϞ

āφāĻŽāĻŋ āĻ•āĻŋ āϞāĻŋāĻ–āĻŋ, āϕ⧋āĻĨāĻžāϝāĻŧ āϞāĻŋāĻ–āĻŋ āύāĻžāĨ¤

20. āφāĻŽāĻŋ āĻŽāύ⧇ āĻ•āϰāĻŋ āĻāϟāĻž āϏāĻŦ āϞ⧇āĻ–āϕ⧇āϰ āχāĻšā§āĻ›āĻžāĨ¤ āφāĻŽāĻžāϰāĻ“ āĻ āĻŦāĻŋāώāϝāĻŧ⧇ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āφāϛ⧇ āĻŦāϞ⧇āχ āφāĻŽāĻžāϰ āφāϛ⧇, āĻĒāĻžāĻ āĻ•āĻĻ⧇āϰ āĻ•āĻžāϛ⧇ āĻ…āύ⧇āĻ• āĻ…āĻŸā§‹āĻ—ā§āϰāĻžāĻĢ āĻ¸ā§āĻŦāĻžāĻ•ā§āώāϰ āĻ•āϰ⧇ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āĻŦāχ āĻĒā§āϰāϚāĻžāϰ āĻ•āϰ⧇āϛ⧇āĨ¤

āĻ•āĻŦāĻŋāϤāĻž āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇

1. āĻ…āύ⧇āĻ• āĻŦāĻžāϰ, āĻšā§āϝāĻžāρ. āφāĻŽāĻŋ āĻŽāύ⧇ āĻ•āϰāĻŋ āϝ⧇ āĻŦā§āϝāĻĨāĻž āĻ…āύ⧇āĻ• āĻ•āĻŦāĻŋāϰ āφāĻ¤ā§āĻŽāĻžāϝāĻŧ āĻŦāĻžāϏ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āĻĒā§āϰāĻ¤ā§āϝ⧇āϕ⧇āχ āĻ•āĻŦāĻŋāϤāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϤāĻž āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰāĻžāϰ āĻšā§‡āĻˇā§āϟāĻž āĻ•āϰ⧇āĨ¤

2. 28 āĻŦāĻ›āϰ⧇āϰāĻ“ āĻŦ⧇āĻļāĻŋ āϏāĻŽāϝāĻŧ āϧāϰ⧇ āχāϤāĻžāϞāĻŋāϤ⧇ āĻŦāϏāĻŦāĻžāϏ āĻ•āϰ⧇, āφāĻŽāĻžāϰ āĻ­āĻžāώāĻž āĻŦā§‹āĻāĻž āϤāϰāϞ āĻšāϝāĻŧ⧇ āωāϠ⧇āϛ⧇, āĻŦāĻžāϧāĻž āĻ›āĻžāĻĄāĻŧāĻžāχ, āφāĻŽāĻžāϰ āĻ¸ā§āĻŽā§ƒāϤāĻŋāϰ āĻŦāĻŋāĻĒāϰ⧀āϤ⧇, āϧ⧀āϰ, āφāĻŽāĻžāϰ āĻŽāĻžāϤ⧃āĻ­āĻžāώāĻž āφāϞāĻŦ⧇āύāĻŋāϝāĻŧāĻžāύ⧇āϰ āĻŦā§āϝāĻžāĻ•āϰāĻŖ āϭ⧁āϞ⧇ āύāĻž āϝāĻžāĻ“āϝāĻŧāĻžāϰ āϜāĻ¨ā§āϝ āφāϰāĻ“ āϏāϤāĻ°ā§āĻ•, āĻāĻ•āϟāĻŋ āϖ⧁āĻŦ āĻ•āĻ āĻŋāύ āĻ­āĻžāώāĻžāĨ¤

3. āĻāϕ⧇āĻŦāĻžāϰ⧇ āύāĻž! āφāĻŽāĻŋ āϝāĻž āϞāĻŋāĻ–āĻŋ āĻŦāĻž āĻĒāĻĄāĻŧāĻŋ āϤāĻž āĻ…āĻŦāĻļā§āϝāχ āφāĻŽāĻžāϰ āĻŽāĻžāύāĻĻāĻŖā§āĻĄ āĻ…āύ⧁āϏāĻžāϰ⧇ āĻĒā§āϰāĻĨāĻŽ āĻāĻŦāĻ‚ āϏāĻ°ā§āĻŦāĻžāĻ—ā§āϰ⧇ āϏāĻŽā§āĻĒāĻ¨ā§āύ āĻ•āϰāϤ⧇ āĻšāĻŦ⧇, āϤāĻŦ⧇ āφāĻŽāϰāĻž āϝ⧇ āϏāĻŽāĻžāĻœā§‡ āĻŦāĻžāϏ āĻ•āϰāĻŋ āϤāĻžāϰ āĻ…āύ⧁āϏāĻžāϰ⧇āĻ“, āϝāϤāĻ•ā§āώāĻŖ āύāĻž āϤāĻž āĻ•āĻ–āύāĻ“ āĻ•āĻ–āύāĻ“ āĻœā§‹āϝāĻŧāĻžāϰ⧇āϰ āĻŦāĻŋāĻĒāϰ⧀āϤ⧇ āϝāĻžāϝāĻŧāĨ¤

4. āĻ•āĻ–āύāχ āύāĻž! āϝ⧇ āϖ⧁āĻŦ āĻ•āĻ āĻŋāύ āĻšāĻŦ⧇. āφāĻŽāĻŋ āωāĻĒāϰ⧇ āωāĻ˛ā§āϞ⧇āĻ– āĻ•āϰ⧇āĻ›āĻŋ, āφāϝāĻŧāĻžāϤāϗ⧁āϞāĻŋ āĻ…āĻŦāĻļā§āϝāχ āĻŽā§āĻ•ā§āϤ āĻāĻŦāĻ‚ āϤāϰāϞ āĻšāϤ⧇ āĻšāĻŦ⧇, āϝāĻž āφāĻŽāĻžāĻĻ⧇āϰ āφāĻ¤ā§āĻŽāĻž āĻĨ⧇āϕ⧇ āφāϏ⧇ āϤāĻž āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤

5. āφāĻŽāĻŋ āĻšā§āϝāĻžāρ āĻŦāϞāĻŦāĨ¤ āĻĒā§āϰāϤāĻŋāϟāĻŋ āϝ⧁āĻ—, āϝāϤāĻ•ā§āώāĻŖ āϤāĻž āĻ­āĻŋāĻ¨ā§āύ, āĻ­āĻŋāĻ¨ā§āύ āĻŽāϤāĻžāĻĻāĻ°ā§āĻļ⧇āϰ āϏāĻžāĻĨ⧇ āĻŽāϤāĻžāĻĻāĻ°ā§āĻļ āĻĻā§āĻŦāĻžāϰāĻž āĻāĻ•āϟāĻŋ āĻŦāĻŋāĻļ⧇āώ āωāĻĒāĻžāϝāĻŧ⧇ “āϏāĻžāĻ•ā§āώ⧀” āĻšāϝāĻŧāĨ¤

6. āωāĻ­āϝāĻŧ! āĻāĻ•āϜāύ āĻšāύ āύāĻžāϝāĻŧāĻ•, āĻ…āĻ¨ā§āϝāϜāύ āĻĒāϰāĻŋāϚāĻžāϞāĻ•āĨ¤ āϏāĻŋāĻŽā§āĻŦāĻŋāϝāĻŧāĻžāϏāĻŋāϏ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡, āϤāĻžāϰāĻž āφāĻŽāĻžāĻĻ⧇āϰ āϚāĻŋāĻ¨ā§āϤāĻžāĻ­āĻžāĻŦāύāĻž, āĻ¸ā§āĻŦāĻĒā§āύ, āĻĒā§āϰāĻ•āĻ˛ā§āĻĒāϗ⧁āϞāĻŋāϕ⧇ āĻ¸ā§āĻĨāĻžāύ āĻĻāĻŋāϤ⧇ āĻāĻŦāĻ‚ āĻĒāϰāĻŋāϚāĻžāϞāύāĻž āĻ•āϰ⧇ …

7. āϝāϤāĻ•ā§āώāĻŖ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āĻāϟāĻŋ āĻĒā§āϰāϏāĻžāϰāĻŋāϤ āĻšāϝāĻŧ, āĻ•āĻ–āύāĻ“ āĻ•āĻ–āύāĻ“ āĻāĻŽāύāĻ•āĻŋ āĻ…āĻ°ā§āϧ-āĻ›āĻŋāĻ¨ā§āύ āĻ•āĻžāĻ—āĻœā§‡āϰ āϟ⧁āĻ•āϰ⧋āϤ⧇āĻ“, āĻāϟāĻŋ āĻāĻ–āύāĻ“ āϜāύāĻĒā§āϰāĻŋāϝāĻŧ āĻāĻŦāĻ‚ āĻŦāĻŋāϤāĻ°ā§āĻ•āĻŋāϤ āĻšāϝāĻŧ⧇ āĻ“āϠ⧇, āĻāϟāĻŋ āϏāĻ°ā§āĻŦāĻ¤ā§āϰ āĻĒāϰāĻŋāϚāĻŋāϤāĨ¤

8. āĻāϕ⧇āĻŦāĻžāϰ⧇āĨ¤ āĻļā§āϞ⧋āĻ•āϗ⧁āϞāĻŋāϤ⧇ āϏāĻ āĻŋāĻ• āφāϞ⧋ āĻĻ⧇āĻ“āϝāĻŧāĻžāϰ āϜāĻ¨ā§āϝ āĻŸā§‹āύāĻžāϞāĻŋāϟāĻŋ āϖ⧁āĻŦ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻāĻŦāĻ‚ āϤāĻĻā§āĻŦāĻŋāĻĒāϰ⧀āϤ: āĻāχ āφāϞ⧋ āύāĻž āĻĨāĻžāĻ•āϞ⧇ āĻŸā§‹āύāĻžāϞāĻŋāϟāĻŋ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ āĻšāϝāĻŧ⧇ āϝāĻžāĻŦ⧇, āĻāϰ āϏāĻžāĻĨ⧇ āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋ āύāĻŋāĻ¸ā§āϤ⧇āϜ āĻšāϝāĻŧ⧇ āϝāĻžāĻŦ⧇, āϕ⧋āύāĻ“ āĻŽāĻžāϧ⧁āĻ°ā§āϝ āĻ›āĻžāĻĄāĻŧāĻžāχ āĻāϟāĻŋ āϤāĻžāϰ āĻ…āĻ°ā§āĻĨ āĻāĻŦāĻ‚ āϤāĻžāĻ¤ā§āĻĒāĻ°ā§āϝ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖāĻ­āĻžāĻŦ⧇ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āĻĢ⧇āϞāĻŦ⧇āĨ¤

9. āφāĻŽāĻŋ āĻŽāύ⧇ āĻ•āϰāĻŋ āĻāĻ•āϜāύ āĻŽāĻšāĻŋāϞāĻž āϏāĻ¤ā§āϤāĻžāϰ āĻšā§‡āϝāĻŧ⧇ āĻ—āĻ­ā§€āϰ⧇ āϝāĻžāϝāĻŧāĨ¤ āφāϰāĻ“ āĻŦ⧇āĻĻāύāĻž, āĻŦāĻŋāώāĻŖā§āĻŖāϤāĻž āĻĒā§āϰāĻĻāĻžāύ āĻ•āϰ⧇, āϤāĻŋāύāĻŋ āĻĒā§āϰāĻžāĻŖāĻŦāĻ¨ā§āϤāĻ­āĻžāĻŦ⧇ āϏāĻŽāĻ¸ā§āϤ āĻœā§€āĻŦāύ āύāĻŋāĻœā§‡āϰ āĻŽāĻ§ā§āϝ⧇ āĻ…āĻĢāĻžāϰ āĻ•āϰ⧇āύāĨ¤

10. āϝāĻĻāĻŋ āĻāϟāĻŋ āϏāĻ¤ā§āϝ āĻšāϝāĻŧ, āϤāĻžāĻšāϞ⧇ āĻŽāĻšāĻžāĻ•āĻžāĻļ āφāϏāϤ⧇ āĻŦ⧇āĻļāĻŋ āϏāĻŽāϝāĻŧ āϞāĻžāĻ—āĻŦ⧇ āύāĻžāĨ¤

11. āĻ…āύ⧇āĻ•āĨ¤ āĻĒā§āϰāĻžāĻšā§€āύ āĻ•āĻžāϞ āĻĨ⧇āϕ⧇, āĻāĻĄāĻŋ, āĻšā§‹āĻŽāĻžāϰāϰāĻžāĻ“ āĻ•āĻŦāĻŋāϤāĻžāϕ⧇ āϏāĻŽā§āĻŽāĻžāύāĻŋāϤ āĻ•āϰ⧇ āϤ⧁āϞ⧇āϛ⧇, āĻļāϤāĻžāĻŦā§āĻĻā§€āϰ āĻĒāϰ āĻļāϤāĻžāĻŦā§āĻĻā§€ āĻĒ⧇āϰāĻŋāϝāĻŧ⧇ āφāϜ āφāĻŽāĻžāĻĻ⧇āϰ āĻ•āĻžāϛ⧇ āĻĒ⧌āρāϛ⧇āϛ⧇āĨ¤ āĻāϟāĻž āĻ•ā§āϞāĻžāϏāĻŋāĻ•ā§āϝāĻžāϞ āĻāĻŦāĻ‚ āϏāĻŽāϏāĻžāĻŽāϝāĻŧāĻŋāĻ• āĻ•āĻŦāĻŋāϤāĻžāϰ āĻ•ā§āώ⧇āĻ¤ā§āϰ⧇āĻ“ āĻĒā§āϰāϝ⧋āĻœā§āϝāĨ¤

12. āϕ⧇ āϞ⧇āϖ⧇ āĻāĻŦāĻ‚ āϕ⧇ āĻĒāĻĄāĻŧ⧇āĨ¤ āĻ•āĻŦāĻŋ āĻ“ āϞ⧇āĻ–āĻ• āĻāϕ⧇ āĻ…āĻĒāϰāϕ⧇ āĻ›āĻžāĻĄāĻŧāĻž āϚāϞāϤ⧇ āĻĒāĻžāϰ⧇ āύāĻžāĨ¤

13. āϏāĻŽāĻ—ā§āϰ āĻŦāĻŋāĻļā§āĻŦ āĻ›āĻžāĻĄāĻŧāĻž. āĻ•āĻŦāĻŋāϤāĻž āĻœā§€āĻŦāύ, āĻĒā§āϰāĻ•ā§ƒāϤāĻŋ, āĻ—āϤāĻ•āĻžāϞ, āφāϜ, āφāĻ—āĻžāĻŽā§€āĻ•āĻžāϞāĨ¤

14. āφāĻŽāĻžāϰ āĻāχ āĻŦāĻŋāώāϝāĻŧ⧇ āϖ⧁āĻŦ āϜāϟāĻŋāϞ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āφāϛ⧇ āĻ•āĻžāϰāĻŖ āφāĻŽāĻŋ āĻļāϤ āĻļāϤ āϞ⧇āĻ–āĻ• āĻ…āύ⧁āĻŦāĻžāĻĻ āĻ•āϰ⧇āĻ›āĻŋāĨ¤ āφāĻŽāĻŋ āϏāĻŦāϏāĻŽāϝāĻŧ āϤāĻžāĻĻ⧇āϰ āĻŽā§ŒāϞāĻŋāĻ•āϤāĻž āϰāĻžāĻ–āĻžāϰ āĻšā§‡āĻˇā§āϟāĻž āĻ•āϰ⧇āĻ›āĻŋ, āĻ•āĻžāϰāĻŖ āĻĒā§āϰāϤāĻŋāϟāĻŋ āφāϝāĻŧāĻžāϤ⧇ āϤāĻžāĻĻ⧇āϰ āφāĻ¤ā§āĻŽāĻžāϰ āĻāĻ•āϟāĻŋ āĻ…āĻ‚āĻļ āϰāϝāĻŧ⧇āϛ⧇āĨ¤ āĻ…āϤāĻāĻŦ, āϝāĻ¤ā§āύ āϏāĻšāĻ•āĻžāϰ⧇ āĻ…āύ⧁āĻŦāĻžāĻĻ āĻ•āϰ⧇, āĻĒā§āϰāϝāĻŧā§‹āϜāύ⧀āϝāĻŧ āϏāĻŽāϝāĻŧ āωāĻĒāϞāĻ­ā§āϝ āĻ•āϰ⧇, āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋ āϝāϤāĻ•ā§āώāĻŖ āύāĻž āĻ…āĻ¨ā§āϝ āĻ­āĻžāώāĻžāϝāĻŧ “āϰāϚāĻŋāϤ” āĻšāϝāĻŧ āϤāϤāĻ•ā§āώāĻŖ āϤāĻžāϰ āϏāĻžāĻŽāĻžāĻ¨ā§āϝ āĻŽā§ŒāϞāĻŋāĻ•āϤāĻž āĻšāĻžāϰāĻžāϝāĻŧ āύāĻžāĨ¤

15. 4āϟāĻŋ āĻ•āĻŦāĻŋāϤāĻž āφāϛ⧇ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻŦāĻŋāĻļ⧇āώ āĻ•āϰ⧇ āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋ āύāĻžāϰ⧀āϕ⧇ āĻ‰ā§ŽāϏāĻ°ā§āĻ— āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇: āĻŽāĻž, āĻŽā§‡āϝāĻŧ⧇,

āĻŦā§‹āύ, āĻ¸ā§āĻ¤ā§āϰ⧀, āĻŦāĻ¨ā§āϧ⧁āĨ¤ āφāĻļāĻž āĻ•āϰāĻ›āĻŋ āĻāĻŦāĻ‚ āĻ•āĻžāĻŽāύāĻž āĻ•āϰāĻ›āĻŋ āϝ⧇ āϤāĻŋāύāĻŋ āφāϰāĻ“ āϏ⧁āϰāĻ•ā§āώāĻŋāϤ āĻāĻŦāĻ‚ āϏāĻŽā§āĻŽāĻžāύāĻŋāϤ āĻšāĻŦ⧇āύ,

āĻ•āĻžāϰāĻŖ āĻāĻ•āĻŦāĻŋāĻ‚āĻļ āĻļāϤāĻžāĻŦā§āĻĻā§€āϤ⧇ āĻŦāϏāĻŦāĻžāϏ āĻ•āϰ⧇āĻ“ āύāĻžāϰ⧀āĻšāĻ¤ā§āϝāĻž, āĻĻ⧁āĻ°ā§āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻšāϝāĻŧ⧇āϛ⧇

āĻĻ⧁āĻ°ā§āĻ­āĻžāĻ—ā§āϝāĻŦāĻļāϤ āĻ•āĻŽā§‡āύāĻŋ āĻŦāϰāĻ‚ āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύāχ āĻŦāĻžāĻĄāĻŧāϛ⧇āĨ¤

16. āφāĻŽāĻŋ āĻ…āύ⧇āĻ• āĻ•āĻŋāϛ⧁ āĻŦāϞāĻŦ, āĻŦāĻŋāĻļ⧇āώ āĻ•āϰ⧇ āĻāĻ–āύ āϝ⧇ āĻ•āĻŽāĻŦ⧇āĻļāĻŋ āϏāĻŦāĻžāχ āϞ⧇āϖ⧇, āϏāĻ‚āĻœā§āĻžāĻžāϝāĻŧāĻŋāϤ āĻ•āϰ⧇

āϤāĻžāĻĻ⧇āϰ āĻĒāĻžāϠ⧇āϰ āĻŦā§āϝāĻžāϗ⧇ āĻĻ⧁āϟāĻŋ āĻ•āĻŦāĻŋāϤāĻž āύāĻŋāϝāĻŧ⧇ āύāĻŋāĻœā§‡āĻĻ⧇āϰāϕ⧇ āĻ•āĻŦāĻŋ āĻšāĻŋāϏ⧇āĻŦ⧇āĨ¤

17. āφāĻ¤ā§āĻŽāĻž āĻāĻŦāĻ‚ āφāϞ⧋āϤ⧇ āĻŽā§āĻ•ā§āϤ āϝ⧇āύ āφāĻŽāĻŋ āĻāĻ•āϟāĻŋ āĻĒāĻžāϞāĻ•, āĻ•āĻžāϰāĻŖ āφāϝāĻŧāĻžāϤ āĻāĻŦāĻ‚ āφāϝāĻŧāĻžāϤ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡

āĻ•āĻ°ā§āĻŽā§‡āϰ āφāϝāĻŧāύāĻž āφāϛ⧇āĨ¤

18. āĻāϟāĻž āύāĻŋāĻ°ā§āĻ­āϰ āĻ•āϰ⧇… āĻ•āĻŋāϛ⧁ āĻļā§āϞ⧋āĻ• āφāϛ⧇ āϝāĻž āφāĻŽāĻžāĻĻ⧇āϰ āωāĻ˛ā§āĻŸā§‡ āĻĻ⧇āϝāĻŧ, āĻ•āĻŋāϛ⧁ āϞāĻŋāĻ–āĻŋāϤ āĻāĻŦāĻ‚

āύāύ-āĻ¸ā§āϟāĻĒ āĻĒāĻĄāĻŧ⧁āύ, āĻāĻŦāĻ‚ āĻ…āĻ¨ā§āϝāϰāĻž āĻ•āĻ–āύāĻ“ āĻ•āĻ–āύāĻ“ āĻ…āĻ°ā§āϧ-āĻŦ⧇āĻ• āĻ•āϰ⧇ āϰ⧇āϖ⧇ āϝāĻžāύāĨ¤

19. āĻ…āĻ¸ā§āϤāĻŋāĻ¤ā§āĻŦ⧇āϰ āĻŦāĻžāĻ°ā§āϤāĻžāĨ¤ āĻ•āĻžāϰāĻŖ āĻ•āĻŦāĻŋāϤāĻž āĻšāϞ āĻĒ⧁āĻŖā§āϝ, āĻāϟāĻŋ āϏ⧇āχ āĻĒāĻĨ āϝ⧇āĻ–āĻžāύ⧇ āφāĻŽāϰāĻž āĻšāĻžāρāϟāĻžāϰ āĻĒāĻĨ āφāϗ⧇ āĻ•āĻ–āύ⧋ āĻ…āĻ¨ā§āĻŦ⧇āώāĻŖ āĻ•āϰāĻŋāύāĻŋāĨ¤

 20. āĻāϟāĻŋ āϝ⧇āĻ–āĻžāύ⧇ āĻļ⧇āώ āĻšāϝāĻŧ āϏ⧇āĻ–āĻžāύ⧇āχ āĻļ⧁āϰ⧁ āĻšāϝāĻŧ āĻ•āĻžāϰāĻŖ āĻāϟāĻŋ āĻŦāĻŋāĻ•āĻžāĻļ āĻ•āϰ⧇ āύāĻž, āĻāϟāĻŋ āĻ¸ā§āĻĨāĻžāύ āĻĒāĻžāϝāĻŧ āύāĻž, āĻ—āĻ¨ā§āϤāĻŦā§āϝāĻ“ āϖ⧁āρāĻœā§‡ āĻĒāĻžāϝāĻŧ āύāĻžāĨ¤ āφāĻĒāύāĻŋ 50 āĻŦāĻ›āϰ āĻŦāϝāĻŧāϏ⧇ āĻĒ⧌āρāĻ›āĻžāύ⧋āϰ āϏāĻŽāϝāĻŧ, āϏāĻ‚āĻļāϝāĻŧ āύ⧇āχ, āĻāϟāĻŋ āĻ…āĻ°ā§āϧ-āĻļāϤāĻ• āĻĒāϰāĻŋāĻĒāĻ•ā§āĻ•āϤāĻžāϰ āϏāĻžāĻĨ⧇ āĻ…āĻĻ⧃āĻļā§āϝ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤

 (āĻŦāχ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇)

 1. āĻ…āύ⧇āĻ• āĻ¤ā§āϝāĻžāϗ⧇āϰ āϏāĻžāĻĨ⧇, āĻ•āĻ–āύāĻ“ āĻ•āĻ–āύāĻ“ āĻāĻŽāύāĻ•āĻŋ āύāĻŋāĻœā§‡āϕ⧇, āϘ⧁āĻŽ, āĻ–āĻžāĻŦāĻžāϰ, āĻšāĻžāρāϟāĻž, āĻāĻ•āχ āϏāĻŽāϝāĻŧ⧇ āĻŦāĻŋāϏāĻ°ā§āϜāύ āĻĻāĻŋāϝāĻŧ⧇āĨ¤

 2. āĻ…āύ⧇āĻ• āĻŽāύ⧋āϝ⧋āĻ— āϏāĻšāĻ•āĻžāϰ⧇ āĻĒāĻĄāĻŧāĻž āϏāĻšāĻžāϝāĻŧāĻ• āĻ›āĻŋāϞāĨ¤ āĻŽāĻšāĻžāύ āϞ⧇āĻ–āĻ•, āĻ•ā§āϞāĻžāϏāĻŋāĻ• āĻāĻŦāĻ‚ āϏāĻŽāϏāĻžāĻŽāϝāĻŧāĻŋāĻ•āĻĻ⧇āϰ āĻĨ⧇āϕ⧇ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻāĻ•āĻ• āĻ…āĻ•ā§āώāϰ, āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻ›āĻĄāĻŧāĻž, āĻĒā§āϰāϤāĻŋāϟāĻŋ āϞāĻžāχāύ āĻļā§‹āώāĻŖ āĻāĻŦāĻ‚ āĻ•ā§āϝāĻžāĻĒāϚāĻžāϰ āĻ•āϰāĻžāĨ¤ āϏāĻŦāĻšā§‡āϝāĻŧ⧇ āĻ…āĻ°ā§āĻĨā§‹āĻĒāĻžāĻ°ā§āϜāĻŋāϤ āĻāĻŦāĻ‚ āϏāĻŦāĻšā§‡āϝāĻŧ⧇ āĻ•āĻŽ āωāĻĒāϝ⧋āĻ—ā§€ āĻšāϞ āĻāĻ•āϟāĻŋ āωāĻĒāϝ⧁āĻ•ā§āϤ āĻĒā§āϰāĻ•āĻžāĻļāύāĻž āϘāϰ⧇āϰ āϏāĻ¨ā§āϧāĻžāύ⧇ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāĨ¤

 3. āφāĻŽāĻžāϰ āĻ…āύ⧇āĻ• āĻĒā§āϰāĻŋāϝāĻŧ āϞ⧇āĻ–āĻ• āφāϛ⧇āύ, āϤāĻŦ⧇ āφāĻŽāĻŋ āĻŦāĻŋāĻļ⧇āώāĻ­āĻžāĻŦ⧇ āĻāĻ•āϜāύāϕ⧇ āύāĻŋāĻ°ā§āĻĻ⧇āĻļ āĻ•āϰāϤ⧇ āϚāĻžāχ: āĻĄā§āϝāĻžāύāĻŋāϝāĻŧ⧇āϞ āĻ¸ā§āϟāĻŋāϞāĨ¤ āϖ⧁āĻŦ āϰ⧋āĻŽāĻžāĻ¨ā§āϟāĻŋāĻ• āĻāĻŦāĻ‚ āĻĒāĻĄāĻŧāϤ⧇ āĻŦāĻŋāĻ¸ā§āĻŽāϝāĻŧāĻ•āϰ. āφāĻļā§āϚāĻ°ā§āϝāϜāύāĻ• āĻāĻŦāĻ‚ āĻĻ⧁āĻ°ā§āĻĻāĻžāĻ¨ā§āϤāĻ­āĻžāĻŦ⧇ āϤāĻžāρāϰ āĻŦāχāϝāĻŧ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āφāρāĻ•āĻžāϰ āωāĻĒāĻžāϝāĻŧ āφāĻŽāĻžāϰ āϞ⧇āĻ–āĻžāϰ āĻ…āύ⧁āĻĒā§āϰ⧇āϰāĻŖāĻž āĻšāϝāĻŧ⧇ āωāϠ⧇āϛ⧇āĨ¤

 4. āχāϤāĻžāϞāĻŋāϤ⧇ āφāĻŽāĻžāϰ āύāϤ⧁āύ āĻ•āĻŦāĻŋāϤāĻžāϰ āĻŦāχ āĻŦ⧇āϰ āĻšāĻšā§āϛ⧇, āϤāĻžāϰāĻĒāϰ āφāĻŽāĻžāϰ āĻšāĻžāϤ⧇ āĻĨāĻžāĻ•āĻž āύāϤ⧁āύ āωāĻĒāĻ¨ā§āϝāĻžāϏāϟāĻŋ āĻļ⧇āώ āĻ•āϰāĻŦāĨ¤ āĻāϰ āĻŦāĻžāχāϰ⧇, āφāĻŽāĻžāϕ⧇ āĻāĻ•āϟāĻŋ āϛ⧋āϟāĻĻ⧇āϰ āϰ⧂āĻĒāĻ•āĻĨāĻž āĻļ⧇āώ āĻ•āϰāϤ⧇ āĻšāĻŦ⧇āĨ¤

 5. āφāĻŽāĻŋ āύāĻŋāĻœā§‡āχ āĻāĻ•āϟāĻŋ āĻĒāĻ¤ā§āϰāĻŋāĻ•āĻž āϖ⧁āϞāĻ›āĻŋ, āĻāχāĻ­āĻžāĻŦ⧇ āϏ⧇āχāϏāĻŦ āĻ•āĻŦāĻŋāĻĻ⧇āϰ āĻ¸ā§āĻĨāĻžāύ āĻĻāĻŋāĻšā§āĻ›āĻŋ āϝāĻžāϰāĻž āĻŦāĻŋāĻ¸ā§āĻŽāϝāĻŧāĻ•āϰ āĻļā§āϞ⧋āĻ• āϰāϚāύāĻž āĻ•āϰ⧇āϛ⧇āύ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻĻāϰāϜāĻž āϏāĻ°ā§āĻŦāĻ¤ā§āϰ āĻŦāĻ¨ā§āϧāĨ¤

 6. āφāĻŽāĻžāϰ āĻŦā§āϝāĻ•ā§āϤāĻŋāĻ—āϤ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž. āϟāĻžāύāĻž āϚāĻžāϰāϟāĻŋ āĻĻā§€āĻ°ā§āϘ āĻŦāĻ›āϰ āϧāϰ⧇ āϗ⧁āϰ⧁āϤāϰ āĻ…āϏ⧁āĻ¸ā§āĻĨ āĻĨāĻžāĻ•āĻžāϰ āĻ•āĻžāϰāϪ⧇, āφāĻŽāĻžāϰ āĻšā§‡āϤāύāĻž āĻ…āύ⧇āĻ• āĻ•āĻˇā§āϟ āĻĒ⧇āϝāĻŧ⧇āĻ›āĻŋāϞāĨ¤

 7. āφāĻŽāĻŋ āĻļāĻžāĻ¨ā§āϤ āφāϚāϰāĻŖ āĻ•āϰāĻŋāĨ¤ āĻĒā§āϰāĻœā§āĻžāĻž āϏ⧇āχ āĻŦā§āϝāĻ•ā§āϤāĻŋāϰ āĻŽāĻ§ā§āϝ⧇ āύāĻŋāĻšāĻŋāϤ āϝ⧇ āφāĻŦ⧇āĻ—āϕ⧇ āĻĻāĻŽāύ āĻ•āϰāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻāχ āĻ­āĻžāĻŦ⧇ āφāĻŽāϰāĻž āĻ•āĻ āĻŋāύ āĻĒāϰāĻŋāĻ¸ā§āĻĨāĻŋāϤāĻŋ āĻŽā§‹āĻ•āĻžāĻŦ⧇āϞāĻž āĻ•āϰāϤ⧇ āĻĒāĻžāϰ⧇āύ. āĻāĻŦāĻ‚ āϤāĻžāϰāĻĒāϰ⧇ āĻĒā§āϰāĻžāĻ°ā§āĻĨāύāĻžāĻ“ āϰāϝāĻŧ⧇āϛ⧇, āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ āĻ…āύ⧁āĻŽāĻžāύ āĻ•āϰāĻž āĻšāϝāĻŧ āĻāĻŦāĻ‚ āϕ⧇āĻŦāϞ āĻ•āĻ āĻŋāύ āĻĒāϰāĻŋāĻ¸ā§āĻĨāĻŋāϤāĻŋāϤ⧇āχ āύāϝāĻŧāĨ¤

 8. āφāĻŽāĻžāϰ āϕ⧋āύ āĻ…āύ⧁āĻĒāĻžāϤ āĻŦāĻž āύāĻŋāϝāĻŧāĻŽ āύ⧇āχāĨ¤ āφāĻŽāĻŋ āϤāĻžāĻ¤ā§āĻ•ā§āώāĻŖāĻŋāĻ•āĻ­āĻžāĻŦ⧇ āϏāĻŋāĻĻā§āϧāĻžāĻ¨ā§āϤ āύāĻŋāχ, āĻāĻŽāύ āĻ•āĻŋāϛ⧁ āĻĻāĻŋāϝāĻŧ⧇ āĻļ⧁āϰ⧁ āĻ•āϰ⧇ āϝāĻž āφāĻŽāĻžāϕ⧇ āĻ—āĻ­ā§€āϰāĻ­āĻžāĻŦ⧇ āφāϘāĻžāϤ āĻ•āϰ⧇, āϤāĻžāϰāĻĒāϰ āφāĻŽāĻŋ āĻļā§āϞ⧋āĻ• (āĻ•āĻŦāĻŋāϤāĻž), āĻŦāĻž āĻĒāĻžāĻŖā§āĻĄā§āϞāĻŋāĻĒāĻŋ (āωāĻĒāĻ¨ā§āϝāĻžāϏ) āĻ āĻŦāĻŋāĻļāĻĻ āĻŦāĻ°ā§āĻŖāύāĻž āĻ•āϰāĻŋāĨ¤

 9. āϏ⧋āĻļā§āϝāĻžāϞ āĻŽāĻŋāĻĄāĻŋāϝāĻŧāĻž āϏāĻžāχāϟāϗ⧁āϞāĻŋāϕ⧇ āϧāĻ¨ā§āϝāĻŦāĻžāĻĻ, āĻāϟāĻŋ āĻĒā§āϰāĻžāϝāĻŧāĻļāχ āϘāĻŸā§‡āĨ¤ āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻĒā§āϰāĻļāĻ‚āϏāĻžāχ āύāϝāĻŧ, āϤ⧁āϞāύāĻž, āĻĒāĻ°ā§āϝāĻžāϞ⧋āϚāύāĻž, āĻļ⧇āϝāĻŧāĻžāϰ āĻĒāĻžāĻ“āϝāĻŧāĻž āϏāĻ¤ā§āϝāĻŋāχ āϏāĻ¨ā§āϤ⧋āώāϜāύāĻ•āĨ¤

 10. āĻāĻ•āϜāύ āϞ⧇āĻ–āĻ•, āĻ•āĻŦāĻŋ āĻāĻŦāĻ‚ āĻĒā§āϰāĻžāĻŦāĻ¨ā§āϧāĻŋāĻ• āĻšāĻ“āϝāĻŧāĻžāϰ āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ āφāĻŽāĻŋ āĻāĻ•āϜāύ āĻĒā§āϰāϚāĻžāϰāĻ•āĻ“āĨ¤ āφāĻŽāĻŋ āĻĒā§āϰāϚ⧁āϰ āĻ•āĻŦāĻŋāϤāĻž āĻŦāĻž āĻ—āĻĻā§āϝ āĻĒāĻĄāĻŧāĻŋ āĻāĻŦāĻ‚ āĻ…āύ⧁āĻŦāĻžāĻĻ āĻ•āϰāĻŋ, āϏāĻŽā§āĻĒāĻžāĻĻāύāĻžāĻ“ āĻ•āϰāĻŋāĨ¤

āϏāĻŦāĻžāχāϕ⧇ āĻ…āύ⧇āĻ• āϧāĻ¨ā§āϝāĻŦāĻžāĻĻ!

āĻŦāĻžāĻ‚āϞāĻž āĻ­āĻžāώāĻžāĻ¨ā§āϤāϰ āĻ•āĻŦāĻŋ āĻŽā§‹āσ āϏāĻžāĻĻāĻŋāϕ⧁āϰ āϰāĻšāĻŽāĻžāύ āϰ⧁āĻŽā§‡āύ

Bangla Translated by Poet, Md. Sadiqur Rahman Rumen Bangladesh.

Editor In Chief-PEN CRAFT.

Published by, Tamikio L. Dooley Michigan America.

Editor In Chief-PEN CRAFT literature.

āϏāĻ‚āĻŦāĻžāĻĻāϟāĻŋ āĻļā§‡ā§ŸāĻžāϰ āĻ•āϰ⧁āύ

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