āĻŽāĻ¨ā§āĻĻāĻŋāϰ

āĻĻā§‚āĻ°ā§āĻ—āĻž āĻŽāĻ¨ā§āĻĻāĻŋāϰ āĻ›āĻŋāϞ āφāĻŽāĻžāϰ āĻŦāĻžāĻĄāĻŧāĻŋāϰ āĻ•āĻžāϛ⧇ , āϰ⧋āϜ āĻŦāĻŋāϕ⧇āϞ⧇ āϏ⧇āĻ–āĻžāύ⧇ āϝāĻžāĻ“āϝāĻŧāĻž āĻ›āĻŋāϞ⧋ āφāĻŽāĻžāĻĻ⧇āϰ āύ⧇āĻļāĻž , āϏāĻ¨ā§āĻ§ā§āϝāĻžāϰ āĻĒāϰ-āĻ“ āĻāĻ•āĻžāχ āϝ⧇āϤ⧇ āĻĒāĻžāϰāϤāĻžāĻŽ āϏ⧇āĻ–āĻžāύ⧇ , āĻĒāĻžāĻĄāĻŧāĻžāϰ āϛ⧇āϞ⧇ āĻŦ⧁āĻĄāĻŧā§‹ , āĻŽāĻž – āĻŦā§‹āύ⧇āϰāĻž āϜāĻĄāĻŧā§‹ āĻšāϤ⧋ āώāĻ¸ā§āϟāĻŋ āϤāϞāĻžāϝāĻŧ āĻĒāĻžāϞāĻžāĻĒāĻžāĻ°ā§āĻŦāύ⧇ , āĻ•āĻŋāĻŽā§āĻŦāĻž āύāĻŋāĻ›āĻ• āĻ—āĻ˛ā§āĻĒ āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ⧇, āϛ⧋āϟāĻĻ⧇āϰ āϜāĻžāϝāĻŧāĻ—āĻž āĻšāϤ⧋ āύāĻž āϏ⧇āĻ–āĻžāύ⧇ āϏāĻŦāϏāĻŽāϝāĻŧ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϜāĻžāϝāĻŧāĻ—āĻžāϟāĻžāϝāĻŧ āĻĒ⧌āρāĻ›āϞ⧇ āϕ⧀ āĻāĻ• āĻ—āĻ­ā§€āϰ āφāύāĻ¨ā§āĻĻ⧇ āφāĻ¤ā§āĻŽāĻšāĻžāϰāĻž āĻšāϝāĻŧ⧇ āϝ⧇āϤāĻžāĻŽ , āφāύāĻ¨ā§āĻĻ⧇ āĻ­āϰāĻĒ⧁āϰ āĻšāϝāĻŧ⧇ āϝ⧇āϤ⧋ āĻŽāύ⧇āϰ āϜāĻžāύāĻžāϞāĻžāϗ⧁āϞ⧋, āĻ…āĻĒāĻžāĻ°ā§āĻĨāĻŋāĻŦāĻ­āĻžāĻŦ⧇āĨ¤

āϝ⧇āĻĻāĻŋāϕ⧇ āĻĻ⧁āĻ°ā§āĻ—āĻžāĻŦāĻžāĻĄāĻŧāĻŋ āϤāĻžāϰ āωāĻ˛ā§āĻŸā§‹ āĻĻāĻŋāϕ⧇āϰ āϰāĻžāĻ¸ā§āϤāĻžāϝāĻŧ āĻāĻ—ā§‹āϞ⧇ āĻŦāĻžāρāĻļ āĻŦāĻžāĻ—āĻžāύ āĻĒā§‚āĻ°ā§āĻŦ āϕ⧋āύ⧇ , āϘāύ āĻ…āĻ¨ā§āϧāĻ•āĻžāϰ⧇ āĻĄā§āĻŦ⧇ āĻĨāĻžāĻ•āϤ⧋ āĻĻāĻŋāύ āĻĻ⧁āĻĒ⧁āϰ⧇āĻ“āĨ¤ āĻ­āϝāĻŧ āĻŽā§‡āĻļāĻžāύ⧋ āĻŽāύ āύāĻŋāϝāĻŧ⧇ āϤāĻžāĻ•āĻžāϤāĻžāĻŽ āϏ⧇āĻĻāĻŋāϕ⧇ , āφāϰ āφāĻŽ āĻ•āĻžāρāĻ āĻžāϞ⧇āϰ āĻŦāĻžāĻ—āĻžāύ āĻ…āĻ—ā§āύāĻŋ āϕ⧋āϪ⧇ ,āĻŦāĻĄāĻŧ āĻŦāĻĄāĻŧ āĻĄāĻžāϞ āĻĒāĻžāϞāĻžāϝāĻŧ āĻ­āĻ°ā§āϤāĻŋ , āĻ āĻĻ⧁āϝāĻŧ⧇āϰ āĻŽāĻžāĻ āĻŦāϰāĻžāĻŦāϰ āϗ⧇āϛ⧇ āϰāĻžāĻ¸ā§āϤāĻžāϟāĻž āϏ⧋āϜāĻž āĻāĻ•āϟ⧁ āĻŦ⧇āρāϕ⧇ āĻšāϰāĻŋāϜāύ āĻĒāĻ˛ā§āϞ⧀āϰ āĻĻāĻŋāϕ⧇āĨ¤ āύāĻžāĻŽā§‡āχ āĻĒāĻžāĻĄāĻŧāĻž , āĻĻ⧁’ āĻāĻ•āϟāĻŋ āϚāĻ°ā§āĻŽāĻ•āĻžāϰ āφāϰ āĻšāϰāĻŋāϜāύ āĻŽāĻžāύ⧁āώ⧇āϰ āĻŦāĻžāϏ, āϝ⧇āĻ–āĻžāύ⧇ āĻĒāĻžāĻĄāĻŧāĻžāϟāĻž āĻļ⧁āϰ⧁ āϤāĻžāϰ āĻĒāĻžāρāϚāĻļ āĻŽāĻŋāϟāĻžāϰ āφāϗ⧇ āĻŦāĻšā§ āĻĒ⧁āϰ⧋āύ⧋ āύāĻŋāϚ⧁ āϛ⧋āϟ āĻāĻ• āĻ•āĻžāϞ⧀ āĻŽāĻ¨ā§āĻĻāĻŋāϰ – āĻĒā§āϰāĻžāϝāĻŧāχ āĻĻ⧇āĻ–āϤāĻžāĻŽ āĻŽāĻ¨ā§āĻĻāĻŋāϰ⧇āϰ āĻŽāĻžāϤ⧃ āĻ¸ā§āĻŦāϰ⧂āĻĒ āĻĒā§āϰāĻ¸ā§āϤāϰ āĻ–āĻŖā§āĻĄāϟāĻŋ , āĻĢ⧁āϞ⧇ āĻĢāϞ⧇ āϜāϞ⧇ āĻ­āϰ⧇ āĻĨāĻžāĻ•āϤ⧋ āϤāĻžāĨ¤ āĻŦ⧈āĻļāĻžāĻ– āĻŽāĻžāϏ⧇ āĻ—ā§āϰāĻžāĻŽā§‡āϰ āĻĒ⧁āϰ⧁āώ āĻŽāĻžāύ⧁āώ⧇āϰ āĻĻāϞ āĻĻā§‚āĻ°ā§āĻ—āĻž āĻŽāĻ¨ā§āĻĻāĻŋāϰ āĻĨ⧇āϕ⧇ āϕ⧀āĻ°ā§āϤāύ āĻ•āϰāϤ⧇ āĻ•āϰāϤ⧇ āϏ⧇āĻ–āĻžāύ⧇ āĻ—āĻŋāϝāĻŧ⧇ āĻĒ⧌āĻ›āϤ⧋ āĨ¤ āĻ•āĻ–āύ⧋ āĻ•āĻ–āύ⧋ āĻĒāĻĄāĻŧāĻž āĻļ⧇āώ āĻ•āϰ⧇ āφāĻŽāϰāĻž āϛ⧋āϟāϰāĻžāĻ“ āϝ⧋āĻ— āĻĻāĻŋāϤāĻžāĻŽ āϤāĻžāϤ⧇āĨ¤ āϚ⧈āĻ¤ā§āϰ āϏāĻ‚āĻ•ā§āϰāĻžāĻ¨ā§āϤāĻŋ āωāĻĒāϞāĻ•ā§āώ⧇ āϏ⧇āĻ–āĻžāύ⧇ āĻ—āĻžāϜāύ⧇āϰ āĻ‰ā§ŽāϏāĻŦ , āĻŽā§‡āϞāĻž āĻšāϤ⧋ āĻ•āĻĻāĻŋāύ āϧāϰ⧇ , āϛ⧋āϟ āĻŦ⧇āϞāĻžāϰ āϏ⧇āχ āφāύāĻ¨ā§āĻĻ āĻāĻ–āύ āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰāĻŋ āĻ…āϜāĻžāĻ¨ā§āϤ⧇āχ āĨ¤ āφāϰ⧋ āĻŦ⧇āĻļāĻŋ āϕ⧋āϰ⧇ āĨ¤

āφāϧ⧁āύāĻŋāĻ• āĻŽāĻ¨ā§āĻĻāĻŋāϰ⧇ āϏ⧇āχ āφāύāĻ¨ā§āĻĻ āĻĒāĻžāχ āύāĻž āφāĻŽāĻŋ āφāϰ āĨ¤ āφāĻŽāĻŋ āĻĒāĻžāϰāĻŋāύāĻŋ āϭ⧁āϞ⧇ āϝ⧇āϤ⧇ āφāĻŽāĻžāϰ āĻ¸ā§āĻŦāĻĒā§āύ⧇āϰ āĻļ⧈āĻļāĻŦ āĻ•ā§ˆāĻļā§‹āϰ⧇āϰ āϏāĻŦ⧁āϜ āĻĻāĻŋāύāϗ⧁āϞāĻŋāϕ⧇ āĨ¤āĨ¤

THE TEMPLE

– Dr. Sushil Rudra

I never forget the tiny Temple , not even our Durga Bari, which was near to my village home . Sometimes I reach there in conscious or sub – conscious mind , feel those days as present , vivid . From our main gate it’s two minutes to reach there at Durga Bari, and in the right direction a few metre after a big Bamboo Forest which was ever dark , even in the sunny day. Just opposite of it standing side by side gigantic mango and jackle fruits trees, there lived so many monkeys – roamed jumping from one branch to another, once while I, along with my brother went there to pick up mangoes , a big tail of a mankey touched to my head and I became afraid of and ran away from there . A narrow road was in between the Bamboo Forest and the Mango garden which straightly goes to Charmakar area . Two or three families lived there . We couldn’t go there because of bad smell, but on the way to this area , there’s a tiny Kali Temple which was very living, a small door to enter into this Temple, a small stone is worshipped as Mother Kali , always filled with flowers, water and red Sindoor . At the last day of Chayittra the Gajan festival and the puja of Serpent deity Mother Manosa used to start. It was a grand and stupendous for the communities of sorrounding areas. Throughout the first month of Bengali new year the people assembled in the premise of Durga Bari for spiritual songs which is called Kirton with Khol – Kartal and being sung reached to Kali Temple . After singing for a while again returned to the Durga Bari . We saw and enjoy this every year in my childhood days. Perhaps it is still going on in its own space , but I feel a great attraction of these eventful days. I have traveled so many places and visit a lots of grandeur Temples , but couldn’t feel such attraction there as I still get peace to feel my tiny , discoloured remote Temple of my childhood days. Modern gargious Temples and its monks are unable to give me pleasure and peace , I need my little temple and my feelings and emotions of childhood days .

I DREAM I WANT TO LIVE

” Don’t try to live forever. You will not succeed.” — G. B . Shaw

Life of a common people like us is  not bed of roses. We have the right to dream for a better world , but the path is full of hurdles. In this poem this struggling journey is depicted. – Dr. Sushil Rudra ——————————————-

It’s drizzling raining with thunder storms touching me by its cooling sensation, I am wetted with it furious hugging, My bones, my blood and my soul too . The masculine blows like an angry giant shivering and shouting loudly , which touching me , my skin and wounds me , wrapped with black clouds. What a surprise ! A white gascious substance coming out from my eyes and uncertain dreams showering like rain without any conscious , So , I , engage in pudding the holes .

I am trying to collect the small pieces of paper and making a boat , Probably, a holy spiritual man sails away for a remote kingdom . The sink of bathroom has filled in water . I’m then early age, My beloved mother shut off the sink quickly with rebuking me ; Noya hurt the Night with full swing and energy, as if it stinks out.

The Tsunami is live in deep blue sea , nobody survive , I am standing at the end of the Titanic , alone , No friend with me . I’m alone there, Alone — Going to the deepest sea . The big ice pieces cover me from the poisonous sharpen teeths of Sharks , But I am undone to save Noya from this dreadful situation , May God save her for ever.

I’m as good as dead waiting in the dream world for love and happiness and to hug . So I start for an unknown world where I can get security to live in peace.

Bengali Version:

āĻŦāĻžāρāϚāϤ⧇ āϚāĻžāχ āφāĻŽāĻŋ āϤ⧋āĻŽāĻžāϰ āχāĻļāĻžāϰāĻžāϝāĻŧ – āϏ⧁āĻļā§€āϞ āϰ⧁āĻĻā§āϰ

āĻŦ⧃āĻˇā§āϟāĻŋ āĻĒāĻĄāĻŧāϛ⧇ , āφāϰ āĻ­āĻŋāϜāĻŋāϝāĻŧ⧇ āĻĻāĻŋāĻšā§āϛ⧇ āωāϞāĻ™ā§āĻ— āĻĒā§āϰāĻ•ā§ƒāϤāĻŋāϰ āύāϰāĻŽ āύ⧀āϞ āĻĻ⧇āĻšāϟāĻžāϕ⧇ , āĻ—ā§‹āρ āĻ—ā§‹āρ āφāĻ“āϝāĻŧāĻžāϜ āĻ•āϰ⧇ āϰāĻžāĻ—ā§€ āĻŽāĻžāϤāĻžāϞ āĻšāĻžāϤāĻŋāϰ āĻĻāϞ⧇āϰ āĻŽāϤ⧋ āĻŦāĻŋāĻ•ā§āώ⧋āϭ⧇ āωāĻ¤ā§āϤāĻžāϞ āĻŦāĻžāϤāĻžāϏ āϰāĻžāϤāĻ­ā§‹āϰ āĻĻāĻžāĻ™ā§āĻ—āĻžāϝāĻŧ āĻŽāĻĻāĻŽāĻ¤ā§āϤ , āĻŦāĻŋāĻ­ā§‹āϰ ; āĻĻ⧁āĻ°ā§āĻŦ⧃āĻ¤ā§āϤāϰāĻž āĻ•āĻ–āύ⧋ āĻ•ā§āϞāĻžāĻ¨ā§āϤ āĻšāϝāĻŧ āύāĻžāĨ¤ āĻ•āĻ–āύ⧋ āĻŽāĻŽāϤāĻžāϝāĻŧ āĻšāϝāĻŧāύāĻž āφāĻŦāĻŋāĻˇā§āϟāĨ¤ āĻšāĻ āĻžā§Žāχ āĻŦāĻŋāĻĻā§āĻ¯ā§ā§Ž āĻ¸ā§āĻĒ⧃āĻˇā§āϟ āĻ•āϰ⧇ āϗ⧇āϞ āφāĻŽāĻžāϰ āϏ⧁āϚāĻŋāĻ•āύ āϚāĻžāĻŽāĻĄāĻŧāĻž, āϚāĻžāĻŽāĻĄāĻŧāĻžāϰ āĻ…āĻ­ā§āϝāĻ¨ā§āϤāϰ⧇ āĻĨāĻžāĻ•āĻž āϰāĻ•ā§āϤ āĻŽāĻœā§āϜāĻž āĻļāĻŋāϰāĻž āωāĻĒ -āĻļāĻŋāϰāĻž , āύ⧇āĻŽā§‡ āĻāϞ⧋ āĻŽāĻŋāĻļāĻ•āĻžāϞ⧋ āĻāĻ• āĻĒā§āϰāĻ•āĻžāĻŖā§āĻĄ āĻŽā§‡āĻ˜ā§‡āϰ āĻĻāϞ , āϕ⧇āύ āϜāĻžāύāĻŋ āύāĻž , āφāĻŽāĻžāϰ āĻĻ⧁āĻšā§‹āĻ– āĻ­āϰ⧇ āĻŦ⧇āĻĄāĻŧāĻŋāϝāĻŧ⧇ āĻāϞ⧋ āϏāĻžāĻĻāĻž āϏāĻžāĻĻāĻž āĻŦāĻŋāώāĻ¨ā§āύ āĻ­āĻžāĻĒ , āĻšāĻ āĻžā§Žāχ āĻ…āĻĒā§āϰāĻ¤ā§āϝāĻžāĻļāĻŋāϤ āĻ¸ā§āĻŦāĻĒā§āύāϗ⧁āϞ⧋ āĻŦāĻ°ā§āώāύ āϧāĻžāϰāĻžāϝāĻŧ āĻāϰ⧇ āĻĒāĻĄāĻŧāϤ⧇ āϞāĻžāĻ—āϞ⧋, āφāϰ āφāĻŽāĻŋ āĻ…āϜāĻžāĻ¨ā§āϤ⧇āχ āĻĢāĻžāρāĻ• āĻĢā§‹āĻ•āϰāϗ⧁āϞ⧋ āϰ⧁āĻĻā§āϧāĻļā§āĻŦāĻžāϏ⧇ āĻŦāĻ¨ā§āϧ āĻ•āϰāϤ⧇ āϞāĻžāĻ—āϞāĻžāĻŽāĨ¤

āϟ⧁āĻ•āϰ⧋ āϟ⧁āĻ•āϰ⧋ āĻ•āĻžāĻ—āϜāϗ⧁āϞ⧋ āĻĻāĻŋāϝāĻŧ⧇ āϤ⧈āϰāĻŋ āĻ•āϰāϤ⧇ āϞāĻžāĻ—āϞāĻžāĻŽ āĻ•āĻžāĻ—āĻœā§‡āϰ āύ⧌āĻ•āĻž , āĻšāϝāĻŧāϤ⧋ āϕ⧋āύ⧋ āĻŽāĻšāĻžāĻĒ⧁āϰ⧁āώ āĻĒāĻžāĻĄāĻŧāĻŋ āĻĻ⧇āĻŦ⧇ āĻĻ⧁āϕ⧂āϞ āĻŦāĻ¨ā§āϝāĻžāϝāĻŧ āϭ⧇āϏ⧇ āϗ⧇āϞ⧇ , āĻŦāĻžāĻĨāϰ⧁āĻŽā§‡āϰ āϏāĻŋāĻ™ā§āĻ•āϟāĻŋ āĻ­āϰ⧇ āϗ⧇āϛ⧇ āĻĒāϰāĻŋāĻĒā§‚āĻ°ā§āĻŖ āϜāϞ⧇ āĻ–ā§‹āϞāĻž āĻĨāĻžāĻ•āĻžāϰ āĻĢāϞ⧇, āφāĻŽāĻžāϰ āĻŦāϝāĻŧāϏ āϤāĻ–āύ āύ⧇āĻšāĻžāϤ āĻ•āĻŽ , āĻŽāĻž āĻĻ⧇āĻ–āϤ⧇ āĻĒ⧇āϝāĻŧ⧇ āϤāĻžāĻĄāĻŧāĻžāϤāĻžāĻĄāĻŧāĻŋ āĻŦāĻ¨ā§āϧ āĻ•āϰ⧇ āĻĻāĻŋāϝāĻŧ⧇ āϧāĻŽāĻ• āĻĻāĻŋāϞ⧇āύ āφāĻŽāĻžāϕ⧇ , āφāϰ āύ⧋āϝāĻŧāĻž āϰāĻžāĻ¤ā§āϰāĻŋ āϕ⧇ āϏāĻœā§‹āϰ⧇ āϧāĻžāĻ•ā§āĻ•āĻž āĻŽāĻžāϰāϞ⧋ āϝāĻžāϤ⧇ āϤāĻžāϰ āύ⧌āĻ•āĻž āĻĄā§āĻŦ⧇ āϝāĻžāϝāĻŧ āĻ…āϕ⧂āϞ āϏāĻžāĻ—āϰ⧇āĨ¤

āύ⧀āϞ āĻ—āĻ­ā§€āϰ āϏāĻŽā§āĻĻā§āϰ⧇ āϏ⧁āύāĻžāĻŽāĻŋ āϚāϞāϛ⧇, āĻŦāĻžāρāϚāĻžāϰ āφāĻļāĻž āύ⧇āχ āϕ⧋āύ āφāϰ āĨ¤ āĻĄā§āĻŦāĻ¨ā§āϤ āϟāĻžāϝāĻŧāϟāύāĻŋāϕ⧇āϰ āĻāĻ• āϕ⧋āĻŖāĻžāϝāĻŧ āĻĻāĻžāρāĻĄāĻŧāĻŋāϝāĻŧ⧇ āφāĻ›āĻŋ āφāĻŽāĻŋ , āύāĻŋāĻ°ā§āĻŦāĻžāĻ• , āĻ¸ā§āĻĒāĻ¨ā§āĻĻ āĻšā§€āύ āĻĒ⧃āĻĨāĻŋāĻŦā§€ āφāĻŽāĻžāϰ āϚāĻžāϰāĻĒāĻžāĻļ⧇ , āφāϰ āφāĻŽāĻŋ āϚāϞ⧇āĻ›āĻŋ āĻāĻ•āĻž āϏāĻ™ā§āĻ—ā§€ āĻšā§€āύ āĻ—āĻšāύ āϏāĻŽā§āĻĻā§āϰ⧇āĨ¤ āφāϰ āĻŦāϰāĻĢ⧇āϰ āϚāĻžāρāχ āϗ⧁āϞ⧋ āφāĻĄāĻŧāĻžāϞ āĻ•āϰ⧇ āϰāĻžāĻ–āϛ⧇ āφāĻŽāĻžāϕ⧇ āϧāĻžāϰāĻžāϞ⧋ āĻ…āĻ¸ā§āĻ¤ā§āϰ⧇āϰ āĻŽāϤ⧋ āϤ⧀āĻ•ā§āĻˇā§āĻŖ āϤāĻŋāĻŽāĻŋāϰ āĻĻāĻžāρāϤāϗ⧁āϞ⧋ āφāϘāĻžāϤ āĻĨ⧇āϕ⧇āĨ¤ āϤāĻŦ⧁āĻ“ āĻŦāĻžāρāϚāĻžāϤ⧇ āĻĒāĻžāϰāϞāĻžāĻŽ āĻ•ā§ˆ āύ⧋āϝāĻŧāĻžāϕ⧇ ! āĻšāϝāĻŧāϤ⧋ āψāĻļā§āĻŦāϰ āϜāĻžāύ⧇āύ āĻ•āĻŋ āĻĒāϰāĻŋāύāĻžāĻŽ āϤāĻžāϰ!

āĻāĻŽāύāĻŋ āĻ•āϰ⧇āχ āĻœā§€āĻŦāĻ¨ā§āĻŽā§ƒāϤ āφāĻŽāĻŋ , āϏ⧁āϖ⧇āϰ āφāĻļāĻžāϝāĻŧ āĻŦ⧁āĻ• āĻŦ⧇āρāϧ⧇āĻ›āĻŋ āĻ…āĻšāĻ°ā§āύāĻŋāĻļāĻŋ , āύ⧋āϝāĻŧāĻžāϰ āĻ—āϞāĻžāϝāĻŧ āĻĒāĻĄāĻŧāĻŋāϝāĻŧ⧇ āĻŽāĻžāϞāĻž āϚāϞ⧇āĻ›āĻŋ āφāĻŽāĻŋ āĻāĻ•āĻžāχ āύāĻŋāϰ⧁āĻĻā§āĻĻ⧇āĻļ⧇āϰ āĻĒāĻĨ⧇, āϰāĻ•ā§āώāĻž āϤāϰ⧀ āύ⧇āχ āϕ⧋ āφāĻŽāĻžāϰ āĻĒāĻžāĻļ⧇, āĻ…āĻŦāĻļ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇ āφāĻŽāĻžāϰ āĻĄāĻžāύāĻž , āφāĻŽāĻžāϰ āĻļāϰ⧀āϰ āφāĻŽāĻžāϰ āĻ­ā§‚āώāĻŖ āĻŦāϰāĻĢ āĻĻāĻŋāϝāĻŧ⧇ āĻĸāĻžāĻ•āĻž, āĻŽāĻžāĻ—ā§‹ , āφāĻŽāĻžāϰ āĻŽāĻž , āφāĻŽāĻŋ āĻŦāĻĄāĻŧ āχ āĻ•ā§āϞāĻžāĻ¨ā§āϤ āĻāĻ•āĻž āĨ¤

BENGALI BHASHA

“Moder Garob Moder Asha/Aamori Bangla Bhasha”.

Bengali alphabet: Vowel sounds and consonants

Bengali language also known by its endonym Bangla Bhasha,is an Indo-Aryan language/Indic language primarily spoken by the Bengalis in South Asia,specially in the Eastern part of the Indian subcontinent. The Indo-Aryan language is a major language family native to northern India subcontinent, and presently found all across South Asia. Again, Indo-Aryan language and Indo-Iranian language is the branch of Indo-European language family.

ÂļÂļ Modern Indo-Aryan languages are descended from Sanskrit through Prakit. These Languages are Hindustani (Hindi-Urdu) about 350 million people’s mother tongue, Bengali (350million), Punjabi (120million), Marathi (112million), Gujarati (60million),Bhojpuri(55million), Odia (35million),Maithuli (35million), Sindhi (30million) and other languages, with an estimate placing the total number of speakers , nearly 900million.

ÂļÂļ Bengali language has many dialects,viz :. 1. Kamrupi dialect – 15million speakers, 2. Bangali – 300 million speakers : a. Rarhi -35m b. Barendri – 25 m c. Sundarbani – 20 m d. Jharkhandi – 15 million.

ÂļÂļ Bengali is the official and most widely spoken language of Bangladesh and second most widely spoken of the 22 scheduled Languages of India and another 40 million as second language speakers. Bengali is the fifth most spoken native language and the seventh most spoken language by total number of speakers in the World.

ÂļÂļ Besides, Bangladesh, West Bengal, Tripura, Borak Valley of Assam, Andaman Nicobar Island, it’s spoken by the significant global Bengali diaspora (Bangladeshi Diaspora and Indian Bengalis) communities in Pakistan, the United Kingdom, the United States, and the middle East.

ÂļÂļ Bengali language has been developed over the course of more than 1000 years. Charyapad and some other punthi (manuscript) of this time has been discovered by the researchers. It’s written in tenth to twelve century. Thirteenth century to fourteenth century was totally baren due to socio- political anarchism. So we don’t have any literature. Srikrishna kirtan Kavya of Boru Chandidas was the only Kavya in the first half of mediaeval period . It was written in fifteenth century. After the religious and social change made by Sri Chaitanya , We got a lot of Bengali literature like Vaishnava literature, Chatanya Jibani and so on.

ÂļÂļ Along with other Eastern Indo-Aryan languages, Bengali evolved circa 1000- 1200 CE from Sanskrit and Magadhi Prakit . The local Apabhransa of the Eastern subcontinent, Purbi – Apabhransa or Abahatta, eventually evolved into regional dialects, which in turn formed three groups of the Bengali – Assmese languages, the Bihari languages and Odia languages.

ÂļÂļ Bengali literature enriched in the second half of the nineteenth century when a renaissance took place in Bengal . Rammohan Roy, Pandit Ishwar Chandra Vidyasagar , Bankimchandra Chattapadhay, Mychael Mashusudan Dutta and other Poets and Play writers composed various types of literature. Rabindranath came to flourish the Bengali literature with his vibrant genius and still now no other writers wasn’t found in Indian literature who is parral to him. Obviously, Tagore ,by his literature and multi-talented personality , overwhelmed the Eastern and Western world .