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āĻļ⧇āϰ⧇ āĻŦāĻžāĻ‚āϞāĻž āĻšāχāϤ⧇ āĻŦāĻ™ā§āĻ—āĻŦāĻ¨ā§āϧ⧁

āĻĒāĻžāĻ•āĻŋāĻ¸ā§āϤāĻžāύ āĻ­āĻžāĻ‚āĻ—āĻŋ⧟āĻž āĻĻ⧁āχ āĻĻ⧁āχ āϟ⧁āĻ•āϰāĻž āĻšāĻ‡ā§ŸāĻžāϛ⧇āĨ¤ āĻĒā§‚āĻ°ā§āĻŦāĻžāĻžā§āϚāϞ āĻ¸ā§āĻŦāĻžāϧ⧀āύ āϏāĻžāĻ°ā§āĻŦāϭ⧌āĻŽ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ āϰāĻžāĻˇā§āĻŸā§āϰ⧇ āωāĻ¨ā§āύ⧀āϤ āĻšāĻ‡ā§ŸāĻžāϛ⧇āĨ¤ āĻ¸ā§āĻŦāĻžāϧ⧀āύ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ āφāϜ āĻŦāĻžāĻ¸ā§āϤāĻŦ āϏāĻ¤ā§āϝāĨ¤ āĻāχ āϰ⧁āĻĒ⧇āχ āϏ⧇ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āĻ¸ā§āĻŦā§€āĻ•ā§ƒāϤāĻŋ āϞāĻžāĻ­ āĻ•āϰāĻŋ⧟āĻžāϛ⧇āĨ¤ āĻ—āύāϤāĻ¨ā§āĻ¤ā§āϰ⧀ āφāϧ⧁āύāĻŋāĻ• āϰāĻžāĻˇā§āϟ āĻšāĻŋāϏāĻžāĻŦ⧇ āĻ—āĻŖ-āĻĒā§āϰāϜāĻžāĻ¨ā§āĻ¤ā§āϰ⧀ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ āϝ⧇ āĻŦāĻŋāĻļā§āĻŦ⧇āϰ āĻĻāϰāĻŦāĻžāϰ⧇ āϤāĻžāϰ āϝāĻĨāĻžāϝ⧋āĻ—ā§āϝ āĻŽāĻ°ā§āϝāĻĻāĻžāϰ⧇ āϏāĻžāĻĨ⧇ āĻ¸ā§āĻĨāĻžāύ āĻĻāĻ–āϞ āĻ•āϰāĻŋāĻŦ⧇ , āϏ⧇ āϏāĻŽā§āĻŦāĻ¨ā§āϧ⧇ āĻ•āĻžāϰāĻ“ āĻŽāύ⧇ āĻĻā§āĻŦāĻŋāϧāĻž āϏāĻ¨ā§āĻĻ⧇āĻšā§‡āϰ āĻ…āĻŦāĻ•āĻžāĻļ āύāĻžāχāĨ¤


āĻ•āϤ⧋ āύāĻĻā§€ āϏāϰ⧋āĻŦāϰ āĻŦāĻž āĻŦāĻžāĻ™āϞāĻž āĻ­āĻžāώāĻžāϰ āĻœā§€āĻŦāύ⧀ (āĻšāĻžāĻ°ā§āĻĄāĻ•āĻ­āĻžāϰ)

āϕ⧋āĻĨāĻž āĻĨ⧇āϕ⧇ āĻāϏ⧇āϛ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻŦāĻžāĻ‚āϞāĻž āĻ­āĻžāώāĻž? āĻ­āĻžāώāĻž āĻ•āĻŋ āϜāĻ¨ā§āĻŽ āĻ¨ā§‡ā§Ÿ āĻŽāĻžāύ⧁āώ⧇āϰ āĻŽāϤ⧋? āĻŦāĻž āϝ⧇āĻŽāύ āĻŦā§€āϜ āĻĨ⧇āϕ⧇ āĻ—āĻžāĻ› āϜāĻ¨ā§āĻŽā§‡ āϤ⧇āĻŽāύāĻ­āĻžāĻŦ⧇ āϜāĻ¨ā§āĻŽ āĻ¨ā§‡ā§Ÿ āĻ­āĻžāώāĻž? āύāĻž, āĻ­āĻžāώāĻž āĻŽāĻžāύ⧁āώ āĻŦāĻž āϤāϰ⧁āϰ āĻŽāϤ⧋ āϜāĻ¨ā§āĻŽ āĻ¨ā§‡ā§Ÿ āύāĻžāĨ¤ āĻŦāĻžāĻ‚āϞāĻž āĻ­āĻžāώāĻžāĻ“ āĻŽāĻžāύ⧁āώ āĻŦāĻž āϤāϰ⧁āϰ āĻŽāϤ⧋ āϜāĻ¨ā§āĻŽ āĻ¨ā§‡ā§ŸāύāĻŋ, āϕ⧋āύ⧋ āĻ•āĻ˛ā§āĻĒāĻŋāϤ āĻ¸ā§āĻŦāĻ°ā§āĻ— āĻĨ⧇āϕ⧇āĻ“ āφāϏ⧇āύāĻŋāĨ¤ āĻāĻ–āύ āφāĻŽāϰāĻž āϝ⧇ āĻŦāĻžāĻ‚āϞāĻž āĻ­āĻžāώāĻž āĻŦāϞāĻŋ āĻāĻ• āĻšāĻžāϜāĻžāϰ āĻŦāĻ›āϰ āφāϗ⧇ āϤāĻž āĻ āĻŋāĻ• āĻāĻŽāύ āĻ›āĻŋāϞ āύāĻžāĨ¤ āϏ⧇ āĻ­āĻžāώāĻžā§Ÿ āĻ āĻĻ⧇āĻļ⧇āϰ āĻŽāĻžāύ⧁āώ āĻ•āĻĨāĻž āĻŦāϞāϤ, āĻ—āĻžāύ āĻ—āĻžāχāϤ, āĻ•āĻŦāĻŋāϤāĻž āĻŦāĻžāύāĻžāϤāĨ¤ āĻŽāĻžāύ⧁āώ⧇āϰ āĻŽā§āϖ⧇ āĻŽā§āϖ⧇ āĻŦāĻĻāϞ⧇ āϝāĻžā§Ÿ āĻ­āĻžāώāĻžāϰ āĻ§ā§āĻŦāύāĻŋāĨ¤ āϰ⧂āĻĒ āĻŦāĻĻāϞ⧇ āϝāĻžā§Ÿ āĻļāĻŦā§āĻĻ⧇āϰ, āĻŦāĻĻāϞ āϘāĻŸā§‡ āĻ…āĻ°ā§āĻĨ⧇āϰāĨ¤ āĻ…āύ⧇āĻ• āĻĻāĻŋāύ āϕ⧇āĻŸā§‡ āϗ⧇āϞ⧇ āĻŽāύ⧇ āĻšā§Ÿ āĻ­āĻžāώāĻžāϟāĻŋ āĻāĻ•āϟāĻŋ āύāϤ⧁āύ āĻ­āĻžāώāĻž āĻšā§Ÿā§‡ āωāϠ⧇āϛ⧇āĨ¤ āφāϰ āϏ⧇ āĻ­āĻžāώāĻžāϰ āĻŦāĻĻāϞ āϘāĻŸā§‡āχ āϜāĻ¨ā§āĻŽ āĻšā§Ÿā§‡āϛ⧇ āĻŦāĻžāĻ‚āϞāĻž āĻ­āĻžāώāĻžāϰāĨ¤ āĻšāĻžāϜāĻžāϰ āĻŦāĻ›āϰ āφāϗ⧇ āĻĒā§āϰāĻžāĻšā§€āύ āĻ­āĻžāϰāϤ⧀āϝāĻŧ āφāĻ°ā§āϝāĻ­āĻžāώāĻž āϰ⧂āĻĒāĻžāĻ¨ā§āϤāϰāĻŋāϤ āĻšāϝāĻŧ⧇ āĻŦāĻ™ā§āĻ—ā§€āϝāĻŧ āĻ…āĻžā§āϚāϞ⧇ āϜāĻ¨ā§āĻŽ āύāĻŋāϝāĻŧ⧇āĻ›āĻŋāϞ⧋ āĻāĻ• āĻŽāϧ⧁āϰ - āϕ⧋āĻŽāϞ - āĻŦāĻŋāĻĻā§āϰ⧋āĻšā§€ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĨ¤ āϤāĻžāϰ āύāĻžāĻŽ āĻŦāĻžāĻ™āϞāĻžāĨ¤ 


āĻŦāĻžāĻ™āϞāĻžāĻĻ⧇āĻļ⧇āϰ āĻĒā§āϰāĻ¤ā§āύāϏāĻŽā§āĻĒāĻĻ

āϏ⧁āĻŦāĻŋāĻļāĻžāϞ ”āĻŦāĻžāĻ™āϞāĻžāĻĻ⧇āĻļ⧇āϰ āĻĒā§āϰāĻ¤ā§āύāϏāĻŽā§āĻĒāĻĻ” āĻ—ā§āϰāĻ¨ā§āĻĨāϟāĻŋ āĻļ⧁āϧ⧁ āĻ•āĻžāĻ—āĻœā§‡āϰ āĻ­āĻžāϰ⧇āχ āĻ­āĻžāϰ⧀ āύ⧟, āĻ…āĻŽā§āĻ˛ā§āϝ āĻšā§€āϰāĻž āϜāĻšāĻ“āϰāĻžāĻĻāĻŋāϤ⧇ āĻĒā§‚āĻ°ā§āύ āϰāĻ¤ā§āύāĻ­āĻžāĻ¨ā§āĻĄāĻžāϰ⧇āϰ āĻŽāϤ⧋ āϤāĻĨā§āϝ⧇āĻ“ āĻĒāϰāĻŋāĻĒā§‚āĻ°ā§āύ āĨ¤ āĻļ⧁āϧ⧁ āĻĒā§āϰāĻ¤ā§āύāĻ­āĻžāĻ¨ā§āĻĄāĻžāϰ⧇āϰ āύ⧟, āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āϭ⧌āĻ—ā§‹āϞāĻŋāĻ• āĻĒāϰāĻŋāϚ⧟ āĻĒāĻžāĻ“ā§ŸāĻž āϝāĻžāĻŦ⧇āĨ¤


āĻĒā§āϰāϏāĻ™ā§āĻ— āĻĒ⧁āϰāĻžāϕ⧀āĻ°ā§āϤāĻŋ

āφāĻŽāĻžāĻĻ⧇āϰ āĻĻ⧇āĻļ⧇āϰ āĻĒ⧁āϰāĻžāϕ⧀āĻ°ā§āϤāĻŋ āϚāĻ°ā§āϚāĻžāϰ āĻŽā§‚āϞ āĻ…āύ⧁āώāĻ™ā§āĻ—āϗ⧁āϞ⧋āϰ āĻĒā§āϰāĻžāĻĨāĻŽāĻŋāĻ• āĻĒāϰāϚāĻŋ⧟ āϤ⧁āϞ⧇ āϧāϰāĻž āĻšā§Ÿā§‡āϛ⧇āĨ¤ āĻĒāĻ°ā§āϝāĻžāĻ•ā§āϰāĻŽā§‡ āĻāϏ⧇āϛ⧇ āϏ⧇ āĻ…āύ⧁⧃āώāĻ™ā§āĻ—āϗ⧁āϞ⧋ āϧāϰ⧇ āϰāĻžāĻ–āĻžāϰ āϜāĻ¨ā§āϝ āφāĻŽāĻžāĻĻ⧇āϰ āĻĻ⧇āĻļ⧇ āĻ āϝāĻžāĻŦā§Ž āĻ—ā§ƒāĻšā§€āϤ āĻ•āĻžāĻ°ā§āϝāĻ•ā§āϰāĻŽ āĻĻ⧃āĻˇā§āϟāĻžāĻ¨ā§āϤāĨ¤


Buildings of the British Raj in Bangladesh

The British period was not only one during which the British alone were responsible for constructions but also one during which magnificent palaces were built by local ruling class, in it style unique to Bengal. Although most of the grand monuments of the British period are located in and around Calcutta - the Job Charnock's factory-city established in 1692, - which eventually-occupied a premier position as the British capital of India between 1773 and 1912, the building remains of the period in Bangladesh are no less significant, if only less grandiose in scale. The author has, in this book, endeavored to follow the evolution of a European Renaissance style planted on its soil, on the basis of his field study of selected groups of monuments. Along with a number of photographs and colored plates, the book also presents a study, of the syncretic trend in the building art of the early 20th century when the fading Mughal style was fused with the European Renaissance. It covers, in brief, an account of old churches, British political and economic settlements, some magnificent palaces built by the local feudal nobles, Indigo-this and a few bridges. This is an excellent book, equally fascinating to the specialist as to the general reader with an interest in Bangladesh or in old buildings.


JOURNAL OF THE BANGLADESH NATIONAL GEOGRAPHICAL ASSOCIATION

Gradient changes of any morphology can be characterized mainly by the distinctive geo-environmental processes and anthropogenic parameters. The gradual change of an estuarine morphology can reflected by coastal morphodynamic behaviours. Generally an estuary contains a strong hydrogeomorphological, morphodynamical, sedimentological, chemical and bio-ecological zone.


āĻœā§‡āϞāĻž, āωāĻĒāĻœā§‡āϞāĻž āĻ“ āύāĻĻ-āύāĻĻā§€āϰ āύāĻžāĻŽāĻ•āϰāϪ⧇āϰ āχāϤāĻŋāĻšāĻžāϏ

āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ āĻĒā§āϰāĻžāĻšā§€āύ āĻ­ā§‚āĻ–āĻŖā§āĻĄāĨ¤ āύāĻĻā§€āĻŽāĻžāϤ⧃āĻ• āĻšāĻ“ā§ŸāĻžā§Ÿ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ āĻœā§‹ā§ŸāĻžāϰ-āĻ­āĻžāϟāĻž āφāϰ āϜāϞāϏāĻŋāĻžā§āϚāύ⧇āϰ āĻ•ā§āϰāĻŋ⧟āĻž-āĻĒā§āϰāϤāĻŋāĻ•ā§āϰāĻŋ⧟āĻžāϰ āĻ­āĻžāĻ™ā§āĻ—āĻžāĻ—ā§œāĻžāϰ āϖ⧇āϞāĻžā§Ÿ āύāĻŋ⧟āϤ āĻ—ā§œā§‡āϛ⧇ āφāϰ āϭ⧇āĻ™ā§āϗ⧇āĻ—ā§œāĻžāϰ āϖ⧇āϞāĻžā§Ÿ āύāĻŋ⧟āϤ āĻ—ā§œā§‡āϛ⧇ āφāϰ āϭ⧇āĻ™ā§āϗ⧇āϛ⧇āĨ¤āĻĢāϞ⧇ āĻĒā§āϰāĻžāĻšā§€āύ āĻšāϞ⧇āĻ“ āĻāϰ āĻĒā§āϰāĻžāĻšā§€āύāĻ¤ā§āĻŦ āϏāĻ°ā§āĻŦāĻ¤ā§āϰ āĻ…āĻŦāĻŋāĻšā§āĻ›āĻŋāĻ¨ā§āύ āĻ›āĻŋāϞ āύāĻžāĨ¤


āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āύāĻĻ-āύāĻĻā§€āϰ āχāϤāĻŋāĻ•āĻĨāĻž

āĻ•ā§ŒāĻļāĻŋāϕ⧀ āύāĻĻā§€āϰ āϤ⧀āϰ⧇ āĻŦāĻžāϏ āĻ•āϰāϤ⧇āύ āĻŦāĻŋāĻ­āĻžāĻŖā§āĻĄāĻ• āύāĻžāĻŽā§‡āϰ āĻāĻ• āĻŽā§āύāĻŋ āĻāĻŦāĻ‚ āϤāĻžāϰ āĻĒ⧁āĻ¤ā§āϰ āĻ‹āĻˇā§āϝāĻļ⧃āĻ™ā§āĻ—āĨ¤ āĻĒ⧁āĻ¤ā§āϰ⧇āϰ āĻŦā§āϰāĻšā§āĻŽāϚāĻ°ā§āϝāĻŦā§āϰāϤ  āϏāĻ āĻŋāĻ•āĻ­āĻžāĻŦ⧇ āĻĒāĻžāϞāύ⧇āϰ āϜāĻ¨ā§āϝ⧇ āĻŦāĻŋāĻ­āĻžāĻŖā§āĻĄāĻ• āϤāĻžāϰ āĻĒ⧁āĻ¤ā§āϰāϕ⧇ āĻ•āĻ–āύāĻ“ āύāĻžāϰ⧀ āϜāĻžāϤāĻŋ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āϕ⧋āύāĻžā§‡ āϧāĻžāϰāĻŖāĻž āĻĻ⧇āύāύāĻŋāĨ¤ āύāĻžāϰ⧀ āϜāĻžāϤāĻŋ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āϧāĻžāϰāĻŖāĻžāĻšā§€āύ āĻ…āĻŦāĻ¸ā§āĻĨāĻžāϝāĻŧ āĻ‹āĻˇā§āϝāĻļ⧃āĻ™ā§āĻ— āϝ⧌āĻŦāύ⧇ āωāĻ¤ā§āϤ⧀āĻ°ā§āĻŖ āĻšāύāĨ¤ āĻ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋāĻŦāĻŋāϰ⧁āĻĻā§āϧ āĻŦā§āϝāĻžāĻĒāĻžāϰ āĻŦāĻŋāĻĒāĻ¤ā§āϤāĻŋ āϘāϟāĻžāϝāĻŧ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āĻĒāϰāĻŋāĻŦ⧇āĻļ⧇- āĻ…āĻ™ā§āĻ— āĻĻ⧇āĻļ⧇āϰ āϏāĻŽāĻ¸ā§āϤ āĻ…āĻžā§āϚāϞ āϜ⧁āĻĄāĻŧ⧇ āĻĻ⧇āĻ–āĻž āĻĻ⧇āϝāĻŧ āĻ–āϰāĻž āφāϰ āĻ…āύāĻžāĻŦ⧃āĻˇā§āϟāĻŋāĨ¤ āϰāĻžāĻŽāĻžāϝāĻŧāϪ⧇āϰ āĻ āĻŽā§‚āϞ āĻ•āĻžāĻšāĻŋāύ⧀āϰ āĻ“āĻĒāϰ āĻ­āĻŋāĻ¤ā§āϤāĻŋ āĻ•āϰ⧇ āĻŦ⧁āĻĻā§āϧāĻĻ⧇āĻŦ āĻŦāϏ⧁ āϞāĻŋāϖ⧇āϛ⧇āύ āϤāĻžāϰ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āϤāĻĒāĻ¸ā§āĻŦāĻŋāύ⧀ āĻ“ āϤāϰāĻ™ā§āĻ—āĻŋāĻŖā§€’ āύāĻžāϟāĻ•; āĻŦāĻžāĻ‚āϞāĻž āϏāĻžāĻšāĻŋāĻ¤ā§āϝ⧇ āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āωāĻ˛ā§āϞ⧇āĻ–āϝāĻžā§‡āĻ—ā§āϝ āϏ⧃āĻˇā§āϟāĻŋāĨ¤


āĻļāĻŋāĻŦāϰāĻžāĻŽā§‡āϰ āĻŽāϜāĻžāϰ āĻ—āĻ˛ā§āĻĒ

āĻ•āĻžāϰāĻžā§‡ āϧāĻžāϰ āϧāĻžāϰāĻŋ āύāĻž, āĻāĻŽāύ āĻ•āĻĨāĻž āφāϰ āϝ⧇-āχ āĻŦāϞ⧁āĻ• āφāĻŽāĻŋ āĻ•āĻ–āύāĻ“āχ āĻŦāϞāϤ⧇ āĻĒāĻžāϰāĻŋ āύāĻžāĨ¤ āφāĻŽāĻžāϰ āϧāĻžāϰāĻŖāĻž, āĻāĻ• āĻ•āĻžāĻŦ⧁āϞāĻŋāĻ“āϝāĻŧāĻžāϞāĻž āĻ›āĻžāĻĄāĻŧāĻž āĻ-āϜāĻ—āϤ⧇ āĻāĻ•āĻĨāĻž āϕ⧇āωāχ āĻŦāϞāϤ⧇ āĻĒāĻžāϰ⧇ āύāĻžāĨ¤ āĻ…āĻŽā§ƒāϤ⧇āϰ āĻĒāĻĨ āĻ•ā§āώ⧁āϰāĻ¸ā§āϝ āϧāĻžāϰāĻž āύāĻŋāĻļā§āϚāĻŋāϤāĻž’; āĻ…āĻ•āĻžāϞ⧇ āĻŽā§ƒāϤ āύāĻž āĻšāϤ⧇ āĻšāϞ⧇ āϧāĻžāϰ āĻ•āϰāϤ⧇āχ āĻšāĻŦ⧇āĨ¤

āϧāĻžāϰ āĻšāϞ⧇āĻ“ āĻ•āĻĨāĻž āĻ›āĻŋāϞ āĻŦāϰāĻ‚, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻž-āĻ“ āύāϝāĻŧāĨ¤ āĻŦāĻžāĻĄāĻŧāĻŋāĻ­āĻžāĻĄāĻŧāĻž āĻŦāĻžāĻ•āĻŋ, āϤāĻž-āĻ“ āĻŦ⧇āĻļāĻŋāĨ¤ , āĻĒāĻžāρāϚāĻļāĻžā§‡ āϟāĻžāĻ•āĻž āĻŽāĻžāĻ¤ā§āϤāϰ! āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻžāϰ āϜāĻ¨ā§āϝ⧇āχ āĻŦāĻžāĻĄāĻŧāĻŋāĻ“āϝāĻŧāĻžāϞāĻž āĻ•āϰāĻžāϞ āĻŽā§‚āĻ°ā§āϤāĻŋ āϧāϰ⧇ āĻĻ⧇āĻ–āĻž āĻĻāĻŋāϞ⧇āύ āĻāĻ•āĻĻāĻŋāύ

āφāĻĒāύāĻžāϕ⧇ āĻ…āύ⧇āĻ• āϏāĻŽāϝāĻŧ āĻĻāĻŋāϝāĻŧ⧇āĻ›āĻŋ, āϕ⧋āύāĻžā§‡ āĻ…āϜ⧁āĻšāĻžāϤ āĻļ⧁āύāĻ›āĻŋ āύāĻž āφāϰ ‘āϭ⧇āĻŦ⧇ āĻĻ⧇āϖ⧁āύ āĻāĻ•āĻŦāĻžāϰ, āφāĻŽāĻŋ āϤāĻžāϕ⧇ āĻŦāϞāϤ⧇ āϝāĻžāχ : ‘āĻāχ āϏāĻžāĻŽāĻžāĻ¨ā§āϝ āĻĒāĻžāρāϚāĻļāĻžā§‡ āϟāĻžāĻ•āĻžāϰ āϜāĻ¨ā§āϝ⧇ āφāĻĒāύāĻŋ āĻāĻŽāύ āĻ•āϰāϛ⧇āύ! āĻ…āĻĨāϚ āĻāĻ• āϝ⧁āĻ— āĻĒāϰ⧇ āĻāĻ•āĻĻāĻŋāύ āφāĻŽāĻŋ āĻŽāĻžāϰāĻž āϝāĻžāĻŦāĻžāϰ āĻĒāϰ⧇āχ āĻ…āĻŦāĻŋāĻļā§āϝāĻŋ āφāĻĒāύāĻžāϰ āĻāχ āĻŦāĻžāĻĄāĻŧāĻŋāϰ āĻĻāĻŋāϕ⧇ āϞāĻžā§‡āϕ⧇ āφāϙ⧁āϞ āĻĻ⧇āĻ–āĻŋāϝāĻŧ⧇ āĻŦāϞāĻŦ⧇, āĻāĻ•āĻĻāĻž āĻāĻ–āĻžāύ⧇ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āϞ⧇āĻ–āĻ• āĻļā§āϰ⧀āĻ…āĻŽā§āĻ•āϚāĻ¨ā§āĻĻā§āϰ āĻŦāĻžāϏ āĻ•āϰāϤ⧇āύāĨ¤

 


āĻ•āĻžāĻ°ā§āϞ āĻŽāĻžāĻ°ā§āĻ•āϏ

āψāĻļā§āĻŦāϰ⧇āϰ āĻ…āĻ¸ā§āϤāĻŋāĻ¤ā§āĻŦ⧇ āϕ⧋āύāĻžā§‡āĻĻāĻŋāύāχ āĻŦāĻŋāĻļā§āĻŦāĻžāϏ āĻ•āϰāϤ⧇āύ āύāĻž āĻŽāĻžāĻ°ā§āĻ•āϏāĨ¤ āϤāĻŋāύāĻŋ āĻŦāϞāϞ⧇āύ, āĻĒā§āϰāĻ•ā§ƒāϤāĻŋ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύāϕ⧇ āĻ•āĻŋāϛ⧁āϟāĻž āĻĒā§āϰāĻ­āĻžāĻŦāĻŋāϤ āĻ•āϰāϞ⧇āĻ“ āĻŽāĻžāύ⧁āώ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋāϰ āĻĒā§āϰāĻ­āĻžāĻŦāϕ⧇ āϚāĻŋāϰāĻ•āĻžāϞ āĻŽāĻžāĻĨāĻž āĻĒ⧇āϤ⧇ āύ⧇āϝāĻŧāύāĻŋ, āĻŦāϰāĻ‚ āύāĻŋāĻœā§‡āϰ āĻĒā§āϰāϝāĻŧāĻžā§‡āϜāύ⧇ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋāϕ⧇ āϰ⧂āĻĒāĻžāĻ¨ā§āϤāϰāĻŋāϤ āĻ•āϰ⧇ āύāĻŋāϝāĻŧ⧇ āĻŦ⧇āρāĻšā§‡ āĻĨāĻžāϕ⧇āĨ¤ āĻĻāĻžāĻ°ā§āĻļāύāĻŋāĻ• āĻĢāϝāĻŧ⧇āϰāĻŦāĻžāĻ• āĻŽāĻžāύ⧁āώāϕ⧇ āϏāĻŽāĻžāϜ āĻ“ āĻĒāϰāĻŋāĻŦ⧇āĻļ āĻĨ⧇āϕ⧇ āĻŦāĻŋāĻšā§āĻ›āĻŋāĻ¨ā§āύ āĻ•āϰ⧇ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻ•āϰāϤ⧇āύāĨ¤ āĻŽāĻžāĻ°ā§āĻ•āϏ āĻŦāϞāϞ⧇āύ, āϤāĻžāϰ āĻāχ āϧāĻžāϰāĻŖāĻž āϭ⧁āϞ āĨ¤ āĻŽāĻžāύ⧁āώ āĻšāĻšā§āϛ⧇ āϏāĻŽāĻžāϜāĻŦāĻĻā§āϧ āĻœā§€āĻŦāĨ¤ āĻŽāĻžāύ⧁āώ āĻāĻ•āĻž āĻĨāĻžāĻ•āϤ⧇ āĻĒāĻžāϰ⧇ āύāĻžāĨ¤ āϤāĻžāχ āϤāĻžāϕ⧇ āϏāĻŽāĻžāϜ āĻ—āĻĄāĻŧ⧇ āϤ⧁āϞāϤ⧇ āĻšāϝāĻŧāĨ¤ āĻĒāĻŋāĻāχāϚāĻĄāĻŋ āĻĄāĻŋāĻ—ā§āϰāĻŋāϰ āϜāĻ¨ā§āϝ āϰāϚāĻŋāϤ āĻ—āĻŦ⧇āώāĻŖāĻžāĻ—ā§āϰāĻ¨ā§āĻĨ⧇āϰ āĻŽā§āĻ–āĻŦāĻ¨ā§āϧ⧇ āĻŽāĻžāĻ°ā§āĻ•āϏ āϞāĻŋāϖ⧇āϛ⧇āύ, āĻĻāĻ°ā§āĻļāύ⧇āϰ āĻ•āĻžāϜ āĻļ⧁āϧ⧁ āϜāĻ—ā§Žāϕ⧇ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻ•āϰāĻž āύāϝāĻŧ, āϜāĻ—āϤ⧇āϰ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ āφāύāĻžāĻ“ āĻĻāĻ°ā§āĻļāύ⧇āϰ āĻ•āĻžāϜāĨ¤ āϧāĻ°ā§āĻŽ āĻŦāĻž āψāĻļā§āĻŦāϰ āύāϝāĻŧ, āĻĻāĻ°ā§āĻļāύ āĻĨ⧇āϕ⧇āχ āĻŽāĻžāύ⧁āώ āĻĒāĻžāĻŦ⧇ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ⧇āϰ āĻĒā§āϰ⧇āϰāĻŖāĻž, āϜāĻ—ā§Ž āĻ“ āĻœā§€āĻŦāύ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻĒāĻžāĻŦ⧇ āϏāĻ āĻŋāĻ• āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋāĨ¤


Lord Of The Flies

The boy with fair hair lowered himself down the last few feet of rock and began to pick his way toward the lagoon. Though he had taken off

his school sweater and trailed it now from one hand, his grey shirt stuck to him and his hair was plastered to his forehead. All round him the long scar smashed into the jungle was a bath of heat. He was clambering heavily among the creepers and broken trunks when a bird, a vision of red and yellow, flashed upwards with a witch-like cry; and this cry was echoed by another.

 


The Bad Girl

That was a fabulous summer. Pérez Prado and his twelve-professor orchestra came to liven up the Carnival dances at the Club Terrazas of Miraflores and the Lawn Tennis of Lima; a national mambo championship was organized in Plaza de Acho, which was a great success in spite of the threat by Cardinal Juan Gualberto Guevara, Archbishop of Lima, to excommunicate all the couples who took part; and my neighborhood, the Barrio Alegre of the Miraflores streets Diego Ferré, Juan Fanning, and Colón, competed in some Olympic games of mini-soccer, cycling, athletics, and swimming with the neighborhood of Calle San Martín, which, of course, we won.

 


The 80/20 Principle

You have probably observed that often the majority of output stem from the minority of input. It could happen in your business when the majority of sales come from a little subset of your products. Often this ratio is around, but not limited to 20% and 80%.That’s why it’s called the 80/20 rule or principle. Aka the Pareto principle, the law of the vital few, or the principle of factor sparsity.The ratio could be more dramatically like 99.9/0.01 or less drastic 60/40, but the point is that, in most cases, there is a non-linear relationship between input and output, effort, and results.


The Spy

"In his new novel, Paulo Coelho, best-selling author of The Alchemist and Adultery, brings to life one of history's most enigmatic women: Mata Hari. 

HER ONLY CRIME WAS TO BE AN INDEPENDENT WOMAN

When Mata Hari arrived in Paris she was penniless. Within months she was the most celebrated woman in the city. 

As a dancer, she shocked and delighted audiences; as a courtesan, she bewitched the era’s richest and most powerful men. 

But as paranoia consumed a country at war, Mata Hari’s lifestyle brought her under suspicion. In 1917, she was arrested in her hotel room on the Champs Elysees, and accused of espionage.

Told in Mata Hari’s voice through her final letter, The Spy is the unforgettable story of a woman who dared to defy convention and who paid the ultimate price"


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āύāĻŋāĻ°ā§āĻŦāĻžāϚāĻŋāϤ āĻ•āϞāĻžāĻŽ

āφāĻŽāĻŋ āĻ“āχ āĻŦāϝāĻŧāϏ⧇āχ āĻšā§‹āϖ⧇āϰ āϏāĻžāĻŽāύ⧇ āĻ¸ā§āĻĒāĻˇā§āϟ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāĻšā§āĻ›āĻŋāϞāĻžāĻŽ āφāĻŽāĻŋ āϛ⧇āϞ⧇āϟāĻŋāϕ⧇ āϧāϰāĻŦāĻžā§‡ āĻ…āĻĨāĻŦāĻž āϧāϰāĻŦāĻžāϰ āϜāĻ¨ā§āϝ āϞāĻžā§‡āĻ•āϜāύ⧇āϰ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āϚāĻžāχāĻŦāĻžā§‡, āϏāĻŦāĻžāχ āφāĻŽāĻžāϕ⧇ āĻ­āĻŋāĻĄāĻŧ āĻ•āϰ⧇ āĻĻ⧇āĻ–āĻŦ⧇, āφāĻŽāĻžāϰ āĻļāϰ⧀āϰ⧇āϰ āĻŦāĻžāρāĻ• āĻĻ⧇āĻ–āĻŦ⧇, āωāĻœā§āĻœā§āĻŦāϞāϤāĻž āĻĻ⧇āĻ–āĻŦ⧇, āϝāĻ¨ā§āĻ¤ā§āϰāĻŖāĻž āĻĻ⧇āĻ–āĻŦ⧇, āφāĻŽāĻžāϰ āφāĻ°ā§āϤāĻ¸ā§āĻŦāϰ, āφāĻŽāĻžāϰ āĻ•ā§āϰ⧋āϧ, āφāĻŽāĻžāϰ āĻ•āĻžāĻ¨ā§āύāĻž āĻĻ⧇āĻ–āĻŦ⧇āĨ¤ āϕ⧇āω āφāĻšāĻž āωāĻšā§ āĻ•āϰāĻŦ⧇, āϕ⧇āω āĻ—āĻžāϝāĻŧ⧇ āĻĒāĻĄāĻŧ⧇ āϜāĻžāύāϤ⧇ āϚāĻžāχāĻŦ⧇ āĻŦā§āϝāĻžāĻĒāĻžāϰāϟāĻŋ āϕ⧀, āϕ⧇āω āϛ⧇āϞ⧇āϟāĻŋāϕ⧇ āϧāϰ⧇ āĻāύ⧇ āĻ•āώ⧇ āĻĻ⧁āχ āĻĨāĻžāĻĒā§āĻĒāĻĄāĻŧ āĻŽāĻžāϰāĻŦāĻžāϰ āĻ•āĻĨāĻž āĻŦāϞāĻŦ⧇, āϕ⧇āω āĻŦāĻžāĻĄāĻŧāĻŋ āϕ⧋āĻĨāĻžāϝāĻŧ, āĻŦāĻžāĻŦāĻž āϕ⧇ āχāĻ¤ā§āϝāĻžāĻĻāĻŋāϰ āĻ–ā§‹āρāϜāĻ–āĻŦāϰ āύ⧇āĻŦ⧇āĨ¤ āφāϏāϞ⧇ āϏāĻŦāĻžāχ āϤāĻžāϰāĻž āφāĻŽāĻžāϕ⧇ āωāĻĒāĻ­āĻžā§‡āĻ— āĻ•āϰāĻŦ⧇āĨ¤ āφāĻŽāĻžāϰ āĻ…āϏāĻšāĻžāϝāĻŧāĻ¤ā§āĻŦ āωāĻĒāĻ­āĻžā§‡āĻ— āĻ•āϰāĻŦ⧇āĨ¤ āφāĻŽāĻžāϰ āύāĻŋāϰāĻžāĻĒāĻ¤ā§āϤāĻžāĻšā§€āύāϤāĻž āωāĻĒāĻ­āĻžā§‡āĻ— āĻ•āϰāĻŦ⧇āĨ¤ āĻĒāĻžā§‡āĻĄāĻŧāĻž āĻŦāĻžāĻšā§ āĻĻ⧇āĻ–āĻŦāĻžāϰ āύāĻžāĻŽ āĻ•āϰ⧇ āφāϏāϞ⧇ āϤāĻžāϰāĻž āφāĻŽāĻžāϰ āϏ⧁āĻĄāĻžā§‡āϞ āĻ–āĻžā§‡āϞāĻž āĻŦāĻžāĻšā§āϟāĻŋāχ āĻĻ⧇āĻ–āĻŦ⧇āĨ¤ āφāĻŽāĻŋ āϚāϞ⧇ āϗ⧇āϞ⧇ āĻĒ⧇āĻ›āύ⧇āϰ āĻļ⧁āĻ­āĻžāĻ°ā§āĻĨā§€āϰāĻž āϏāĻŽāĻ¸ā§āĻŦāϰ⧇ āϏāĻŋāϟāĻŋ āĻĻ⧇āĻŦ⧇āĨ¤ āĻāϏāĻŦ āϭ⧇āĻŦ⧇āχ āφāĻŽāĻŋ āφāĻŽāĻžāϰ āϏāĻŽāĻ¸ā§āϤ āϝāĻ¨ā§āĻ¤ā§āϰāĻŖāĻž āύāĻŋāĻœā§‡āϰ āϭ⧇āϤāϰ⧇ āĻšā§‡āĻĒ⧇ āϰ⧇āϖ⧇āĻ›āĻŋāϞāĻžāĻŽāĨ¤


āĻŽā§‡āĻ ā§‹ āχāρāĻĻ⧁āϰ⧇āϰ āĻŽāϤ⧋ āĻŽāĻžāύ⧁āώāĻĻ⧇āϰ āĻ—āĻ˛ā§āĻĒ

āĻĒāϰāĻŋāĻļ⧇āώ⧇ āĻāĻ•āϟ⧁ āĻŦā§āϝāĻ•ā§āϤāĻŋāĻ—āϤ āĻ•ā§ƒāϤāĻœā§āĻžāϤāĻž āĻĒā§āϰāĻ•āĻžāĻļ āύāĻž āĻ•āϰāϞ⧇āχ āύāϝāĻŧāĨ¤ āĻĸāĻžāĻ•āĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ⧇āϰ āĻ…āĻ°ā§āĻĨāύ⧀āϤāĻŋ āĻŦāĻŋāĻ­āĻžāϗ⧇āϰ āĻ…āĻ§ā§āϝāĻžāĻĒāĻ•, āĻļā§āϰāĻĻā§āϧāĻžāĻ­āĻžāϜāύ āĻāĻŽ āĻāĻŽ āφāĻ•āĻžāĻļ āĻŦāχāϟāĻŋāϰ āϏāĻ™ā§āϗ⧇ āφāĻŽāĻžāϰ āĻĒā§āϰāĻžāĻĨāĻŽāĻŋāĻ• āĻĒāϰāĻŋāϚāϝāĻŧ āύāĻž āϘāϟāĻŋāϝāĻŧ⧇ āĻĻāĻŋāϞ⧇ āφāĻŽāĻŋ āĻāĻŽāύ āĻāĻ•āϟāĻŋ āϚāĻŽā§ŽāĻ•āĻžāϰ, āĻšā§ƒāĻĻāϝāĻŧāĻ—ā§āϰāĻžāĻšā§€ āωāĻĒāĻ¨ā§āϝāĻžāϏ āĻ…āύ⧁āĻŦāĻžāĻĻ āĻ•āϰāĻžāϰ āφāύāĻ¨ā§āĻĻ āĻĨ⧇āϕ⧇ āĻŦāĻžā§āϚāĻŋāϤ āĻšāϤāĻžāĻŽāĨ¤ āφāϰ-āĻāĻ•āϜāύ⧇āϰ āĻ•āĻĨāĻž āύāĻž āωāĻ˛ā§āϞ⧇āĻ– āĻ•āϰāϞ⧇āχ āύāϝāĻŧāĨ¤ āĻ•āĻ°ā§āĻŽ āωāĻĒāϞāĻ•ā§āώ⧇ āĻ¸ā§āĻŦāĻ˛ā§āĻĒāĻ•āĻžāϞ⧇āϰ āϜāĻ¨ā§āϝ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇ āφāϏāĻž āϝ⧁āĻ•ā§āϤāϰāĻžāĻˇā§āĻŸā§āϰ⧇āϰ āĻāĻ• āĻŦā§āϝāĻ•ā§āϤāĻŋāϰ āĻ•āĻĨāĻžāĨ¤ āύāĻžāĻŽ āϤāĻžāϰ āĻœā§‡āύāĻŋāĻĢāĻžāϰ āϞāϰ⧇āĻžā§āϜāĨ¤ āϤāĻŋāύāĻŋ āφāĻŽāĻžāϕ⧇ āĻŽā§‚āϞ āχāĻ‚āϰ⧇āϜāĻŋāϰ āĻ•āĻŋāϛ⧁ āĻ•āĻŋāϛ⧁ āφāĻžā§āϚāϞāĻŋāĻ• āĻļāĻŦā§āĻĻ, āĻ…āĻ­āĻŋāĻŦā§āϝāĻ•ā§āϤāĻŋ āĻāĻŦāĻ‚ āĻŦāĻžāĻ—ā§-āĻŦ⧈āĻļāĻŋāĻˇā§āĻŸā§āϝ āĻŦ⧁āĻāϤ⧇ āϏāĻžāĻ—ā§āϰāĻšā§‡ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰ⧇āϛ⧇āύāĨ¤

 


āĻĄā§āĻŦā§‹āϚāϰ

āĻĒā§āϰāĻ¤ā§āϝ⧇āĻ• āϞ⧇āĻ–āϕ⧇āϰāχ āύāĻŋāϜāĻ¸ā§āĻŦ āĻāĻ• āĻ­āϰāϕ⧇āĻ¨ā§āĻĻā§āϰ āĻĨāĻžāϕ⧇āĨ¤ āϝ⧇āĻ–āĻžāύ⧇ āĻĻāĻžāρ⧜āĻŋā§Ÿā§‡ āϤāĻŋāύāĻŋ āύāĻŋāĻœā§‡āϰ āϜāĻ—ā§Ž āύāĻŋāĻ°ā§āĻŽāĻžāĻŖ āĻ•āϰ⧇āύāĨ¤ āĻ…āĻĨāĻŦāĻž āϏ⧇āĻ–āĻžāύ⧇ āĻĒāĻž āϰ⧇āϖ⧇āχ āϤāĻŋāύāĻŋ āύāĻŋāĻœā§‡āϰ āĻŦā§‹āϧ-āĻ­āĻžāώāĻžāϕ⧇ āĻ…āύāĻ¨ā§āϤ āύāĻ•ā§āώāĻ¤ā§āϰāĻŦā§€āĻĨāĻŋāϤ⧇ āĻ›ā§œāĻŋā§Ÿā§‡ āĻĻ⧇āύāĨ¤ āφāϰ āĻŦ⧜ āϞ⧇āĻ–āĻ•āϰāĻž āĻ…āύ⧇āĻ• āϏāĻŽā§Ÿ āĻāχ āĻ­āϰāϕ⧇āĻ¨ā§āĻĻā§āϰāĻ“ āĻŦāĻĻāϞ⧇ āĻĢ⧇āϞāĻžāϰ āĻ•ā§āώāĻŽāϤāĻž āϰāĻžāϖ⧇āύāĨ¤ āĻ—āĻ˛ā§āĻĒāĻ•āĻžāϰ āĻĒāĻžāϰāϭ⧇āϜ āĻšā§‹āϏ⧇āύ⧇ āĻāχ āĻĒāĻžā§āϚāĻŽ āĻ—āĻ˛ā§āĻĒāĻ—ā§āϰāĻ¨ā§āĻĨ āĻĄā§āĻŦā§‹āϚāϰ āĻāϰ āĻāϏ⧇ āĻŽāύ⧇ āĻšāĻšā§āϛ⧇, āϤāĻŋāύāĻŋ āϤāĻžāρāϰ āĻœā§€āĻŦāύ āĻ“ āĻļāĻŋāĻ˛ā§āĻĒāĻ­ā§āϰāĻŽāϪ⧇āϰ āĻŽāĻ§ā§āϝāĻĒāĻ°ā§āĻŦ⧇ āĻāϏ⧇ āϏ⧇āϟāĻŋāϕ⧇āĻ“ āĻŦāĻĻāϞ⧇ āĻĢ⧇āϞāĻžāϰ āϏāĻ•ā§āώāĻŽāϤāĻž āĻĻ⧇āĻ–āĻŋā§Ÿā§‡āϛ⧇āύāĨ¤ āϤāĻžāρāϰ āĻŦāĻŋāĻ—āϤ āĻ—āĻ˛ā§āĻĒāĻŦāχāϗ⧁āϞ⧋āϤ⧇ āφāĻŽāϰāĻž āĻĢāĻŋāϰ⧇ āĻĢāĻŋāϰ⧇ āĻĒā§‡ā§Ÿā§‡āĻ›āĻŋ āĻŦāĻŋāώāĻ–āĻžāϞāĻŋ-āϏ⧁āĻ—āĻ¨ā§āϧāĻž-āϧāĻžāύāϏāĻŋāρ⧜āĻŋ-āϜāĻžāĻ™ā§āĻ—āĻžāϞāĻŋ⧟āĻž āύāĻĻā§€āϤ⧀āϰāĻŦāĻ°ā§āϤ⧀ āĻœā§€āĻŦāύ⧇āϰ āĻ—āĻžā§ āφāĻ–ā§āϝāĻžāύ āĻāĻŽāύāĻ•āĻŋ āύāĻ—āϰāĻœā§€āĻŦāύ⧇āϰ āĻ—āĻ˛ā§āĻĒ⧇āĻ“ āϝ⧇āύ āĻāϰ āĻ˜ā§āϰāĻžāĻŖ āĻĨāĻžāĻ•āϤāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻāχ āĻŦāĻ‡ā§Ÿā§‡ āĻāϏ⧇ āϝ⧇āύ āϤāĻŋāύāĻŋ āĻŦ⧜ āϧāϰāύ⧇āϰ āĻŦāĻžāρāĻ• āύāĻŋāϞ⧇āύāĨ¤ āφāϰ āϕ⧇āĻŦāϞ āĻ—āĻ˛ā§āĻĒāχ āϞāĻŋāϖ⧇āύāύāĻŋ āϤāĻŋāύāĻŋ, āĻŦāϰāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āĻāĻŽāύ āϏāĻŦ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āĻ“ āϜāĻŋāĻœā§āĻžāĻžāϏāĻžāϰ āϏāĻžāĻŽāύ⧇āϰ āύāĻŋāĻœā§‡āϕ⧇ āĻĻāĻžāρ⧜ āĻ•āϰāĻŋā§Ÿā§‡āϛ⧇āύ āϝ⧇, āĻ•āĻ–āύ⧋ āĻ•āĻ–āύ⧋ āϤāĻžāρāϰ āĻ—āĻ˛ā§āĻĒāϗ⧁āϞ⧋ āĻšā§Ÿā§‡ āωāϠ⧇āϛ⧇ āφāĻ¤ā§āĻŽāĻĻāĻ°ā§āĻļāύ-āωāĻĒāϞāĻŦā§āϧ āĻ…āĻ¨ā§āϤāĻ°ā§āĻ—āϤ āĻŦ⧟āĻžāύāĨ¤ āĻ—āĻ˛ā§āĻĒāϗ⧁āϞ⧋ āĻĒāĻžāĻ  āĻ•āϰāϤ⧇ āĻ•āϰāϤ⧇ āĻœā§€āĻŦāύāĻžāύāĻ¨ā§āĻĻ⧇āϰ āĻ—āĻĻā§āϝāĻĒāĻĻā§āϝāϰ āĻ˜ā§āϰāĻžāĻŖ āĻŸā§‡āϰ āĻĒāĻžāĻŦ⧇āύ āĻĒāĻžāĻ āĻ•, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻāϤ⧇ āĻœā§€āĻŦāύāĻžāύāĻ¨ā§āĻĻāϰ āĻ­āĻžāώāĻžāĻĒā§āϰāĻ­āĻžāĻŦ⧇āϰ āϏāĻ™ā§āϗ⧇ āωāϭ⧟ āϞ⧇āĻ–āϕ⧇āϰ āĻ­ā§‚āĻ—ā§‹āϞ, āύ⧈āĻ•āĻŸā§āϝāĻ“ āĻ…āύ⧇āĻ• āĻŦ⧇āĻļāĻŋ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖāĨ¤ āĻšā§ŸāϤ⧋āĻŦāĻž āĻĻ⧇āĻļ⧇āϰ āĻĻāĻ•ā§āώāĻŋāĻŖāĻžāĻžā§āϚāϞ⧇āϰ āĻĒā§āϰāϤāĻŋāĻŦ⧇āĻļāϟāĻžāχ āĻāĻŽāύ āϝāĻž āĻāĻ• -āĻāĻ•āϜāύ āϞ⧇āĻ–āĻ•āϕ⧇ āĻœā§€āĻŦāύāĻžāĻ¨ā§āĻĻāϤ⧁āĻ˛ā§āϝ āĻ•āϰ⧇ āϤ⧋āϞ⧇āĨ¤ āφāĻļāĻŋāϰ āĻĻāĻļāϕ⧇āϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āĻļāĻ•ā§āϤāĻŋāĻŽāĻžāύ āĻ—āĻ˛ā§āĻĒāĻ•āĻžāϰ āĻĒāĻžāϰāϭ⧇āϜ āĻšā§‹āϏ⧇āύ āϤāĻžāρāϰ āĻāχ āύāϤ⧁āύ āĻŦāĻ‡ā§Ÿā§‡āĻ“ āϞāĻŋāϖ⧇āϛ⧇āύ āĻ—ā§āϰāĻžāĻŽ āĻ“ āĻļāĻšāϰ⧇āϰ āĻ—āĻ˛ā§āĻĒāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϞāĻŋāϖ⧇āϛ⧇āύ āĻ…āĻ¨ā§āϝ āĻāĻ• āĻ­āĻžāώāĻžā§Ÿ, āφāϰ⧋ āύāĻŋāĻŦāĻŋ⧜ āĻ•āϰ⧇, āĻĒāĻžāĻ āϕ⧇āϰ āĻ…āĻ¨ā§āϤ āϖ⧁āĻā§œā§‡ āϖ⧁āĻā§œā§‡āĨ¤