ಸಂ
Àsu
ಸಚಿತ್ರ್ ಹಫ್ತ್ಯಾಳ ೊಂ
ಅೊಂಕ : 7 ಸಂಖ ೊ: 13 ಜನ ರ್ 25, 2024
ಕವಿತಾ ಟ್ರಸ್ಾಾ ಥಾವ್ನ್ ಪುತ್ುುರಾಾಂತ್ 18ವ ಾಂ
“2024 ಕವಿತಾ ಫ ಸ್ತು”
1 ವೀಜ್ ಕ ೊಂಕಣಿ
ಸಂಪಾದಕೀಯ್: ಆಮ್ಚೊ ಹಂಕಾರ್ ಆನಿ ತಾಚೊ ಪ್ರ ತಿಫಳ್! ಸಂಪಾದಕೀಯ್: ಝುಜಾಕ್ ತಯಾರ್ ಆಸ್ೊ ಂ ಉತತ ರ್ ಆನಿ ದಕಿ ಣ್ ಕೊರಿಯಾ ಉತ್ತ ರ್ ಕೊರಿಯಾಚೊ ಅಧ್ಯ ಕ್ಷ್ ಆನಿ ದಯಾ ದಾಕ್ಷೆ ಣ್ ನಾಸ್ಚೊ ಮುಖೆಲಿನ್ ದಕ್ಷೆ ಣ್ ಕೊರಿಯಾಕ್ ಆಪ್ಲೊ ನಂಬರ್ ವನ್ ದುಸ್ಮಾ ನ್ ಮ್ಹ ಣ್ ಜಾಹೀರ್ ಕ್ಷಲಂ. ಪಾಟ್ಲ್ೊ ಯ ಸಭಾರ್ ವಸ್ಮಸಂ ಥಾವ್ನ್ ಉತ್ತ ರ್ ಕೊರಿಯಾನ್ ದಕ್ಷೆ ಣ್ ಕೊರಿಯಾಲಗಂ ಆಪ್ಲೊ ಸಂಬಂಧ್ ವಿದ್ರೂ ಪ್ ಕನ್ಸ ಆತಂಚೊ ಅಧ್ಯ ಕ್ಷ್ ಮ್ಹ ಣ್ಟಾ ಕ್ಷೀ ಆಪುಣ್ ಝುಜ್ ಮಂಡುನ್, ಝುಜಾವೆಳಾರ್ ದಕ್ಷೆ ಣ್ ಕೊರಿಯಾ ಆಪಾಾ ಚಂ ಕತ್ಸಲಂ ಆನಿ ಕೊರಿಯಾ ಏಕ್ ದೀಶ್ ಜಾಂವೆೊ ಯ ಪರಿಂ ಪಳೆತ್ಲಂ ಮ್ಹ ಣ್. ಆಪಾೊ ಯ ದೀಶಂ ಮ್ಧ್ಲ್ೊ ಯ ಗಡಂಕ್ ಆಪುಣ್ ಮನ್ ದೀನಾ. ಆಯ್ಲೊ ವಾರ್ ದೀನಿೀ ದೀಶಂ ಮ್ಧ್ೊ ಂ ಘಡತಂ ಹೊ ಸಂಬಂಧ್ ತೀರ್ ತರ್ಕಸಟ್ ಕರ್ಚ್ಯ ಸಕ್ ವಾಟ್ ದಾಖವ್ನ್ ದತತ್ ಆನಿ ತಂ ಗಂಭೀರ್ ಸ್ಥಿ ತೆಕ್ ಪಾವಾೊ ಯ ಂತ್. ಇತೆೊ ಂಚ್ ನಹ ಂಯ್ ಆಸ್ಮತ ಂ ಪ್ಲಯ ೀನ್್ಯ ಂಗ್ ಮೀಸ್ಚೊ ಕ್ ಲಗಂ ಲಗಂ ಸತಸ. ತಂರ್ಚ್ಯ ಸ್ಮಯ ಟೆಲೈಟ್ ಕಾರ್ಸಕೂ ಮಕ್ ಆಧ್ಲ್ರ್ ಜಾವ್ನ್ ರಶಯ ನ್ ಯುಕ್ಷೂ ೀನಾಲಗಂ ಕರ್ಚ್ಯ ಸ ಝುಜಾಂತ್ ಉತ್ತ ರ್ ಕೊರಿಯಾ ಮೆತೆರ್ ಜಾವ್ನ್ ರಶಯ ಕ್ ಝುಜಾ ಅಸ್ಮತ ರಂ ದೀವ್ನ್ ಆಪ್ಲೊ ಸ್ಮಂ್ತ್ ಘಟ್ ಕತಸ. ಹ್ಯ ಂಕೊಯ ರ್ಹಸ ಪತೂ ವಯ್ಲೊ ಂ ಸಂಪಾದಕ್ಷೀಯ್ ಸ್ಮಂ್ತ ಕ್ಷೀ ಸ್ಚೀಲ್ ಅಧ್ಕ್ ಘಟ್ಲ್ಯ್ಲೀನ್ ಭಲಸಂ ಆನಿ ಆಪಾೊ ಯ ಗೀದಾ ನದೂ ರ್ಚ್ಯ ವಾವಾೂ ನ್ ಆಪುಣ್ ಬಳಾಧ್ೀಕ್ ಆಸ್ಮ ಮ್ಹ ಣ್. ಉತ್ತ ರ್ ಕೊರಿಯಾ ದೀಸ್ ವೆತಂ, ವೆತಂ, ಹಂಕಾರಾನ್ ಭರೊನ್ ಯ್ಲತ ಆನಿ ಹ್ಂ್ಚೊ ಸಕಾಸರ್ ರ್ಹಂ ಸವ್ನಸ ಕಠೀಣ್ಟಯ್ಲೀನ್ ಪಳೆವ್ನ್ ಆಸ್ಮ ಮ್ಹ ಣ್. ಮಿಲಿಟರಿ ಶಿಕ್ಷಣ್ಟರ್ಚ್ಯ ಸಂಗಿ
ಯುನಿವಸ್ಥಸಟಿನ್ ಸ್ಮಂಗ್ಚ್ೊ ಯ ಪೂ ಕಾರ್ ದೀನಿೀ ಉತ್ತ ರ್ ಆನಿ ದಕ್ಷೆ ಣ್ ಕೊರಿಯಾ ಅತೀ ಹೀನ್ ಝ್ಯ ಯ ಕ್ ತ್ಯಾರ್ ಜಾಲಯ ತ್ ಮ್ಹ ಣ್. ಅಸಂ ತ್ರ್ ಖಂಡತ್ ಜಾವ್ನ್ ಹ್ಯ ದೀನಿೀ ದೀಶಂ ಮ್ಧಂ ಝುಜ್ ಏಕಾ ಮರೆಕಾರ್ ಸ್ಥಿ ತೆಕ್ ಪಾವೆತ ಲಂ ಮ್ಹ ಳಾಯ ಯ ಕ್ ದುಬಾವ್ನ ನಾ ಮ್ಹ ಳಾಂ. ದೀನಿೀ ದೀಶ್ ಏಕಾಮೆಕಾಕ್ ತೀವ್ನೂ ದುಸ್ಮಾ ನ್ ಲಖ್ತತ ತ್ ಆಸ್ಮತ ಂ ಹ್ಂಚ ಮ್ಧ್ೊ ದುಸ್ಮಾ ನಾೊ ಯ್ ರಾವಾತ್ ಮ್ಹ ಳಾಯ ಯ ಕ್ ಸುವೆಯ ರ್ಚ್ಯ ಬುರಾಕಾ ತತೊ ಯ್ ಆಶ ದಸ್ಮನಾ. 2010 ಇಸವ ಂತ್ ಉತ್ತ ರ್ ಕೊರಿಯಾನ್ ದಕ್ಷೆ ಣ್ ಕೊರಿಯಾರ್ಚ್ಯ ಉತ್ತ ರ್ ಗಡ ಪೂ ದೀಶರ್ ಗುಳೆ ಮರುನ್ 4 ಜಣ್ಟಂಚೊ ಜೀವ್ನ ಕಾಡ್‍ಲಲೊ . ಸ್ಚೀಲಚಂ ಎಫ್-19 ವಿಮನಾ ಆಕಾಸ್ಮರ್ ತ್ಯಾರ್ ಆಸ್ಲಿೊ ಂ ತ್ರಿೀ ತೆನಾ್ ಂರ್ಚ್ಯ ಅಧ್ಯ ಕ್ಷ್ ಲಿೀ ಮ್ಯ ಂಗ್-ಬಕಾನ್ ಪರಿಸ್ಥಿ ತ ಭಗಡೊ ನಾಕಾ ಮ್ಹ ಣ್ ಝುಜಾಕ್ ದಂವ್ಲೊ ನಾ. ಪುಣ್ ಆತಂಚಯ ಪರಿಸ್ಥಿ ತೆಂತ್ ತ್ಸಂ ಘಡ್ೊ ಂ ನಾ ಮ್ಹ ಣ್ಟತ ತ್ ಜಾಣ್ಟರಿ. ಎಪ್ರೂ ಲಂತ್ ದಕ್ಷೆ ಣ್ ಕೊರಿಯಾಂತ್ ಚುನಾವ್ನ ಚಲಿೊ ಆಸ್ಮ. ತೆಣಂ ಉತ್ತ ರಾಚೊ ಅಧ್ಯ ಕ್ಷ್ ಆಪ್ರೊ ಪ್ಲೀವ್ನಿ ದಡ ಕರುಂಕ್ ಪಂಥಾಹ್ವ ನ್ ಘೆವ್ನ್ ಆಸ್ಮ. ಅಸಂ ಮ್ಹ ಣ್ಟಾ ನಾ ಹ್ಯ ಝುಜಾಂತ್ ಪೂ ಥಮ್ತ್ ಅಮೆೀರಿಕಾ ದಕ್ಷೆ ಣ್ ಕೊರಿಯಾಕ್ ಹ್ತ್ ದೀಂವ್ನೊ ಫುಡ್ಂ ಸತಸನಾ ತೆಣಂ ಉತ್ತ ರ್ ಕೊರಿಯಾಕ್ ರಶಯ ಆನಿ ಚೈನಾ ಪ್ಲಟ್ಲೊ ನ್ ಧ್ರುಂಕ್ ಪಳೆತೆಲ ತೆ ಖಂಡತ್. ಹ್ಯ ಖ್ತತೆಯ ಂತ್ ಖಂಚಂ ಕ್ಷಜಾನಾ ಜೀವ್ನ ಉತೆಸಲಿಂ ಮ್ಹ ಳೆಯ ಂ ಝುಜ್ ಸುರು ಜಾಲಯ ಉಪಾೂ ಂತ್ಚ್ೊ ಕಳಿತ್ ಜಾಯ್ತ .
ಡಾ. ಆಸ್ಥಾ ನ್ ಪೂ ಭು, ಚಕಾಗೊ, ಸಂ.
2 ವೀಜ್ ಕ ೊಂಕಣಿ
ಕಾಲೊ ಯ
ದಸ್ಮ (1-14-2024) ಪುತ್ತತ ರ್ಚ್ಯ ಸ ಸ್ಮಂ ಫಿಲಮಿನಾ ಕಾಲೀಜ್
ಕಾಯ ಂಪಸ್ಮಂತೊ ಯ ಮ. ಪತೂ ವ್ಲ ಸ್ಮಾ ರಕ್ ಸ್ಮಲಂತ್ ಅಟ್ಲ್ೂ ವ್ಲ ಕವಿತ ಫೆಸ್ಮತಚೊ ದಬಾಜೊ ಚಲೊ . ಕೊಂಕಣಿ ಸ್ಮಹತ್ಯ ತರ್ಚ್ಯ ಕ್ಷೀ ಚಡ್‍ಲ ಕನ್ಸ ಕವಿತೆಂಕ್ ಆಂವಡಾೊ ಯ ಮಗಂಕ್ ರ್ಹಂ ಏಕ್ ವಾರ್ಷಸಕ್ ಪರಬ್ ಮ್ಹ ಳಾಯ ರ್ ಚೂಕ್ ನಾಂ. ಕವಿತ ಟೂ ಸ್ಾ ಆನಿ ತಚ ವಾಂ್ಯ ಯ ನಿಂ ಸ್ಮದರ್ ಕರ್ಚ್ಯ ಸ ಹರ್ ಕಾಮನಿಂ ಕಾವ ಲಿಟಿ ದಂವಿೊ ತಂಚ ವಿಶೀಷತ ಆನಿ ರ್ಹಂ ಪಯ್ಲೊ ಂರ್ಚ್ಯ ಪರಿಂಚ್ ಕಾಲ್ ಸಯ್ತ ರುಜು ಜಾಲಂ. ವ್ಲವಿಯೊ ಆನಿ ವೆೀಸ್ಸ ಸ್ಮದರಿೀಕರಣ್ ಫೆಸ್ಮತ ಮಟ್ಲ್ವ ಥಾವ್ನ್ ಕಾಜಾರಾ ಮಟ್ಲ್ವ ಕ್ ಆಪವ್ನ್ ವಹ ನ್ಸ ಗ್ಚ್ಲ ತ್ರ್ ತಯ ಬರಾಬರ್ ಕವಿ ನೂತ್ನ್ ಸಕಾದಾಸಂಡ್ ಹಣ ಜಣಯ ಕಾಣಿ ಆನಿ ಕವಿತ ಮಿಸ್ಮಯ ವ್ನ್ ಪೂ ಸುತ ತ್ ಕ್ಷಲಿೊ ಕವಿಸಂಧ್, ನೆಲ್ಸ ನ್ ಆನಿ ಲ್ವಿನಾ ರೊಡೂ ಕ್ಸ - ರ್ಚ್ ಫ್ರೂ ದಕೊಸ್ಮತ ಸ್ಮಾ ರಕ್ ಕವಿತ ಸ್ಮದರಿೀಕರಣ್ ಸತೆಸರ್ಚ್ಯ ವಿಜೀತ್ ಸಪ ಧ್ಸಂಕಾನಿ ಪೂ ಸುತ ತ್ ಕ್ಷಲೊ ಯ ಕವಿತ, ಗೀತ್ ಜಾಲೊ ಯ ಕವಿತೆಂಚೊ ವಾಳೊ, ಆಶಂ ಕವಿತೆಂಕ್ ಧಂಪಂವಾೊ ಯ ಕ್ ಕ್ಷಲೊ ಹರ್ ಪೂ ರ್ತ್್ ಮ್ನಾಂ ಖುಶ್ ಕರುಂಕ್ ಪಾವ್ಲೊ . ಉ್ತ ವಾಣ್ ಆನಿ ಸಮರೊೀಪಾರ್ಚ್ಯ ಸಯಾೂ ಯ ನಿಂ ಉತತ ೀಮ್ ಸಂದೀಶ್ ದೀವ್ನ್ ಫೆಸ್ಮತಚೊ ಮನ್ ಚಡಯೊೊ . ಕವಿ ಪೂ ಕಾಶ್ ನಾಯ್ೊ ಹ್ಂಕಾಂ ಮ್ಥಾರ್ಸ್ ರ್ಕಟ್ಲ್ಮ್ ಕವಿತ ಪೂ ಶಸ್ಥತ ಹ್ಯ ಚ್ ಕಾಯಾಸರ್ ಪೂ ಧ್ಲ್ನ್ ಜಾಲಿ. ಪುತ್ತತ ರ್ ್ಂವಿೊ ಕವಿರ್ತೂ ಫ್ರೊ ವಿಯಾ ಅಲ್ಬು ಕಕ್ಸ ತಚಂ ಸಂಪೂಣ್ಸ ಮೆತೆಪಸಣ್ ಆನಿ ತರ್ಚ್ಯ ಸ್ಮಂ್ತಯ ಂಚ ರ್ಕಮ್ಕ್ ಫೆಸ್ಮತರ್ಚ್ಯ ಅಕ್ಷೀರ್ ಪಯಾಸಂತ್ ದಸ್ಚನ್ ಯ್ಲತಲಿ. ಕೊಂಕಣಿ ಕವಿತಂಕ್ ಆಂವೆಯ ಂವೆೊ ಆನಿ ಗೊೀವಾ ಸ್ಮಹತಕ್ ಮಿತ್ೂ ಸ್ಮಲಕ್ ಸ್ಚಭಾಯ್ ದತಲಿಂ ತ್ರ್, ಪಾಟ್ಲ್ೊ ಯ ಸಭಾರ್ ದಸ್ಮಂಥಾವ್ನ್ ಕವಿತ ಟೂ ಸ್ಾ ಹ್ಣಿ ಪೂ ರ್ಚ್ರ್ ಕ್ಷಲೊ ತ್ರಿೀ ಆಸ್-ಪಾಸ್ರ್ಚ್ಯ ಲಕಾಚ ವಿಶೀಸ್ ಜಾವ್ನ್ ಪುತ್ತತ ರ್್ರಾಂಚಂ ಹ್ಜಪಸಣ್ಟಚ ಉಣಪಣ್ ಭ್ತ ಲಂ. ಹ ಬೆಜಾರಾಯ್ ಟೂ ಸ್ಥಾ ಂರ್ಚ್ಯ ಆನಿ ಫ್ರೊ ವಿಯಾ ಬಾಯ್ಲರ್ಚ್ಯ ತಂಡಾರ್ ಥೊಡಪುಣಿ ಧೊಸ್ಮತಲಿ ತ್ಶಂ ಮಹ ಕಾ ಭೊಗ್ಚ್ೊ ಂ ತ್ರಿೀ, ಭಾಗ್ ಘೆತ್ಲೊ ಯ ಸಭಕಾಂಕ್ ವಹ ಡಾ ಗೌರವಾನ್ ಕವಿತ ಟೂ ಸ್ಮಾ ರ್ಚ್ಯ ವಾಂ್ಯ ಯ ನಿಂ ಸುಧ್ಲ್ಸ್ಥಸಲಂ. ಕವಿತೆಕ್ ಕೊಂಕಣಿ ಭಾರ್ಷಕಾಂಕ್ ಪಾವಂವಾೊ ಯ ಕ್, ಕೊಂಕಣಿ ಮ್ನಾಯ ಯ ಲಗಂ ಕವಿತ ಟೂ ಸ್ಮಾ ಕ್ ವಹ ರ್ಚ್ಯ ಸ ಟೂ ಸ್ಥಾ ಂರ್ಚ್ಯ ಸಪಾಾ ಕ್ ಕೊಂಕಣಿ ಲಕಾನಿಂ ಚಡ್‍ಲ ಸ್ಮಂ್ತ್ ದಂವಿೊ ಗಜ್ಸ ಆಸ್ಮ ಆಶಂ ಭೊಗ್ಚ್ೊ ಂ ಮ್ಹ ಳೆಯ ಂ ಏಕ್ ಉತರ್ ತ್ರ್, ಕವಿತ ಟೂ ಸ್ಾ ಆಪಾೊ ಯ ಮಿಸ್ಮಂವಾಂತ್ ಏಕ್ಷೀನ್ಪಣ್ಟನ್ ಆನಿ ವಹ ಡಾ ಹುಮೆದನ್, ಭವಸಶಯ ನ್ ಕೊಂಕಣಿ ಕವಿತೆಚೊ ಫುಡಾರ್ ಘಟ್ ಕರ್ಚ್ಯ ಸ ವಾವಾೂ ಂತ್ ಅಚಲ್ ಆಸ್ಮ ಮ್ಹ ಳೆಯ ಂ ಸತ್ ಗಮೆೊ ಂ. ಅನೆಯ ೀಕ್ ಖುಶಚ ಗಜಾಲ್ ಮ್ಹ ಳಾಯ ರ್ ಹ್ಯ ಕಾಯಾಸಚಂ ಕಾಯ್ಲಸಂ ನಿವಸಹಣ್ ಕಚೊಸ ಆವಾೊ ಸ್ ಹ್ಯ ಪಾವಿಾ ಂ ಮಹ ಕಾ ಫ್ರವ್ಲ ಜಾಲೊ ಮ್ಹ ಜಂ ಭಾಗ್ ಮ್ಹ ಣ್ ಹ್ಂವ್ನ ಪಾತೆಯ ತಂ. ಹ್ಚ ಬರಾಬರ್ ಕೊಂಕ್ಷಾ ರ್ಚ್ಯ ಮ್ಂಗುಯ ರಿ ಆನಿ ಗೊೀವಾರ್ಚ್ಯ ಕವಿಮಿತೂ ಂಚ ಭೆಟ್ ದೀಸ್ಥತ ಚಡುಂಕ್ ಕಾರಣ್ ಜಾಲಿ. ಆಶಂ ಕವಿತ ಫೆಸ್ತ ಉ್ಯ ಸ್ಮಂತ್ ಉಚಸಂ ಫೆಸ್ ತ ಜಾಲಂ. ಥಾಯ ಂಕ್ ಯೂ ಕವಿತ ಟೂ ಸ್ಾ -ಫ್ಲೀಯ್ಡ್ ಕಿರಣ್ 3 ವೀಜ್ ಕ ೊಂಕಣಿ
4 ವೀಜ್ ಕ ೊಂಕಣಿ
5 ವೀಜ್ ಕ ೊಂಕಣಿ
6 ವೀಜ್ ಕ ೊಂಕಣಿ
7 ವೀಜ್ ಕ ೊಂಕಣಿ
8 ವೀಜ್ ಕ ೊಂಕಣಿ
9 ವೀಜ್ ಕ ೊಂಕಣಿ
10 ವೀಜ್ ಕ ೊಂಕಣಿ
11 ವೀಜ್ ಕ ೊಂಕಣಿ
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15 ವೀಜ್ ಕ ೊಂಕಣಿ
ಕನಾಸಟಕಾಂತೊ ಯ ್ಯ ರಂಟಿ’ - ಲೀಖನ್ 5:
ಸ್ತ್ರೀಯಾಾಂಚಾ ಸಬಲೀಕರಣ್ ಉದ್ದೀಶಾಚ್ಾಂ
ಗೃಹಲಕ್ಷ್ಮಿ ಯೀಜನ್
ಆದಂ ಥಾವ್ನ್ ಕೊಂಗ್ಚ್ೂ ಸ್ ಪಾಡತ ಕ್ ಆಧ್ಲ್ರ್ ದೀವ್ನ್ ಆಯಿಲೊ ಯ ಕನಾಸಟಕಾರ್ಚ್ ಲಕಾನ್ ೨೦೧೮ವಾಯ ಚುನಾವಾಂತ್ ಕೊಂಗ್ಚ್ೂ ಸ್ಮಕ್ ಅಧ್ಕಾರ್ ದಂವ್ನೊ ನಾತ್ಲೊ . ತ್ಶಂ ಪಳಯಾತ ನಾ ಬಿಜಪ್ರಕ್ಯಿೀ ಅಧ್ಕಾರ್ ಮೆಳೊಂಕ್ ನಾ. ಪೂಣ್ ಅಪರೆೀಶನ್ ಕಮ್ಲ್ ಮುಕಾಂತ್ೂ ಬಿಜಪ್ರ ಆಡಳಾತ ಯ ಕ್ ಚಡ್‍ಲಲೊ ಂ. ತಂಕಾಂ ಜಾಯ್ ಜಾಲೊ ಯ ಬರಿ ಆಡಳೆತಂ ಚಲ್ಲೊ ಂ. ಪೂಣ್ ವಿರೊೀಧ್ ಪಾಡ್‍ಲತ ಜಾವ್ನ್ ಕೊಂಗ್ಚ್ೂ ಸ್ ಆಸ್ಲಿೊ ಆನಿ ವಿರೊೀಧ್ ಕರುಂಕ್ ಸಕಾೊ ಯ ತತೆೊ ಂ ಬಳ್, ಪೂ ಬಲ್
ರಾಜ್ಯ ಮುಕ್ಷಲಿ ತಂತ್ತಂ ಆಸ್ಲೊ ಯ ನ್ ಕನಾಸಟಕಾಂತ್ ಆದೊ ಸಕಾಸರ್ ಚಡ್‍ಲ ರ್ಶಸ್ಥವ ಜಾಲೊ ನಾ. ೨೦೨೩ವಾಯ ಚುನಾವಾಂತ್ಯಿೀ ಅಧ್ಕಾರ್ ಧ್ರುಂಕ್ ಕೊಂಗ್ಚ್ೂ ಸ್ಮಕ್ ತತೆೊ ಂ ಸುಲ್ಭ್ ನಾತ್ಲೊ ಂ, ಕಾರಣ್ ರಾಷ್ಟ್ಾ ರ ಮ್ಟ್ಲ್ಾ ರ್ ಮೀದಚಂ ಆಡಳೆತಂ ಆನಿ ತಚ ರ್ಚ್ರಿಷ್ಮಾ . ತಕಾ ಪಳೆವ್ನ್ ಕನಾಸಟಕಾಂತೊ ಯ ಲಕಾನ್ ವಿಧ್ಲ್ನ್ ಸಭೆರ್ಚ್ ಚುನಾವಾಂತ್ ಮ್ತ್ ಘಾಲೊ ಸಂಭವ್ನ ಆಸ್ಲೊ . ಕೊಂಗ್ಚ್ೂ ಸ್
16 ವೀಜ್ ಕ ೊಂಕಣಿ
್ಯ ರಂಟಿಂನಿ
ಬಿಜಪ್ರ
ಸಕಾಸರಾಕ್ ಸಲ್ವ ಯ್ಲೊ ಂ: ಮೆೀ ಧ್ಲ್ ತರಿಕ್ಷರ್ಚ್ ವಿಧ್ಲ್ನ್ಸಭಾ ಚುನಾವಾಂತ್ ಕೊಂಗ್ಚ್ೂ ಸ್ಮಕ್ ಅಧ್ಕಾರ್ ಜೊೀಡ್‍ಲ್ ಬಿಜಪ್ರಚಂ ದುರಾಡಳೆತಂ ಅಂತ್ಯ ಕರುಂಕ್ ಜಾಯಾಸೊ ಂ. ಹ್ಯ ಉದದ ೀಶನ್ ಕನಾಸಟಕಾರ್ಚ್ ವಹ ಡ್‍ಲ ವಾಂಟೊ ಲಕಾಕ್ ಲಗು ಜಾಂವಾೊ ಯ ಬರಿ ‘್ಯ ರಂಟಿ’ ಯೊೀಜನಾಂ ಉಭಂ ಕ್ಷಲಿಂ. ಬಿಪ್ರಎಲ್, ಅಂತಯ ೀದರ್ ರ್ಕಟ್ಲ್ಾ ಂತೊ ಯ ಜಣ್ಟ ಎಕಾೊ ಯ ಕ್ ಮ್ಹನಾಯ ವಾರ್ ಧ್ಲ್ ಕ್ಷಲ ತಂದುಳ್ (ಪ್ಲಟ್ಲ್ಚೊ ್ೂ ಸ್) ದಂವೆೊ ಂ ಅನ್ ಭಾಗಯ , ಕನಾಸಟಕಾರ್ಚ್ ಸವ್ನಸ ಸ್ಥತ ರೀಯಾಂಕ್ ಸಕಾಸರಿ ಬಸ್ಮಸ ಂನಿ ಫುಂಕಾಯ ಕ್ ಪಯಾಾ ಸವೊ ತಯ್ಲಚಂ ಶಕ್ಷತ , ಘರಾಕ್ 200 ಯುನಿಟ್ಲ್ಂತತೆೊ ಂ ವಿೀಜ್ ಸಕತ್ ಫುಂಕಾಯ ಚಂ ಗೃಹಜೊಯ ೀತ, ಡಗೂ / ಡಪ್ಲೊ ಮ ಶಿಕ್ಲೊ ಯ ಯುವಜಣ್ಟಂಕ್ ಕಾಮ್ ಮೆಳೆಯ ಂನಾ ತ್ರ್ ನಿರುದಯ ೀಗ್ ಭಾತಯ ಚಂ ಯುವನಿಧ್, ಹ್ಂರ್ಚ್ಸವೆಂ ಘರಾೊ ಯ ಯ್ಲಜಾಾ ನಿಕ್ ಮ್ಹನಾಯ ವಾರ್ 2000 ರುಪಯ್ ದಂವೆೊ ಂ ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನ್ - ಹೊಯ ಪಾಂಚ್ ್ಯ ರಂಟಿ ಉದಲಯ .
ಕನಾಸಟಕಾಂತ್
್ಯ ರಂಟಿ
ಯೊೀಜನಾಂನಿ, ಮಯ ಜಕ್ ಕನ್ಸ ಅಧ್ಕಾರ್ ಚಲ್ಂವಾೊ ಯ ಬಿಜಪ್ರಕ್ ಸಕಯ್ೊ ದಂವಯ್ಲೊ ಂ ಆನಿ ಕೊಂಗ್ಚ್ೂ ಸ್ಮಕ್ ವಯ್ೂ ಚಡಯ್ಲೊ ಂ. ಕೊಂಗ್ಚ್ೂ ಸ್ಮರ್ಚ್ ಯೊೀಜನಾಂ ಪಯಿೊ ಂ ಪಯ್ಲೊ ಂ ಸುವಾಸತ್ಲೊ ಂ ಶಕ್ಷತ ಯೊೀಜನ್. ಹ್ಯ ವವಿಸಂ ಕನಾಸಟಕಾ ಭತ್ರಾೊ ಯ ಸಕಾಸರಿ ಬಸ್ಮಸ ಂನಿ ಸ್ಥತ ರೀಯೊ ಫುಂಕಾಯ ಕ್ ಪಯ್ಾ ಕನ್ಸ ಆಸ್ಮತ್. ಅನ್ ಭಾಗಯ ಯೊೀಜನಾಖ್ತಲ್ ವಾಂಟ್ಲಂಕ್ ಜಾಯ್ ಪುತಸ ತಂದುಳ್ ಮೆಳಾನಾತೊ ಯ ಕಾರಣ್ಟನ್ ಥೊಡಾಯ ಮ್ಹನಾಯ ಂ ಖ್ತತರ್ ಪಾಂಚ್ ಕ್ಷಲ ತಂದುಳ್ ಆನಿ ಜಣ್ಟ ಎಕಾೊ ಯ ಕ್ ರು. 170 ಪೂ ಕಾರ್ ನಿಧ್ ದಂವಾೊ ಯ ಸವೆಂ ಯೊೀಜನ್ ಜಾಯ ರಿ ಕ್ಷಲೊ ಂ. ಗೃಹಜೊಯ ೀತ ಜುಲಂಯ್ತ ಲಯ ವಿೀಜ್ ಉಪ್ಲಯ ೀ್ಸವೆಂ ಸುವಾಸತ್ಲೊ ಂ. ಹ್ಚೊ ಫ್ರಯೊದ (ರೆಜಸಾ ರ್ ಕ್ಷಲಲಯ ಂಕ್) ಆಗೊೀಸ್ಮತ ಂತ್ ಮೆಳಾೊ ಯ ವಿೀಜ್ ಬಿಲೊ ಸವೆಂ ಮೆಳ್ಲೊ . ಯುವನಿಧ್ ಯೊೀಜನ್ ೨೦೨೩-ಂತ್ ಉತತ ೀಣ್ಸ ಜಾಲೊ ಯ ವಿದಾಯ ರ್ಸಂಕ್ಯಿೀ ಲಗವ್ನ್ ಆತಂ ಜಾಯ್ಲಸಕ್ ಆಯಾೊ ಂ. ಶಕ್ಷತ , ಅನ್ ಭಾಗಯ ಆನಿ ಗೃಹೃಜೊಯ ೀತ ವಿಷ್ಮಯ ಂತ್ ಸವಿಸ್ಮತ ರ್ ಥರಾನ್ ಬರಯಿಲಿೊ ಂ ಲೀಖನಾಂ ಎದಳ್ಚ್
17 ವೀಜ್ ಕ ೊಂಕಣಿ
ಫ್ರಯ್ಸ ಜಾಲಯ ಂತ್. ಚೊವಿತ ್ಯ ರಂಟಿ ಜಾವ್ನ್ ಅನುಷ್ಮಾ ನ್ ಕರ್ಚ್ಸಕ್ ಜುಲೈ 14ವೆರ್ ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನಾಚ ಸುವಾಸತ್ ಕ್ಷಲಿೊ . ಹ್ಯ ಯೊೀಜನಾವಿಶಿಂ ಹ್ಯ ಲೀಖನಾಂತ್ ವಿವರ್ ದತಂ. ಗೃಹಲ್ಕ್ಷೆ ಾ - ಪ್ರೂ ಯಾಂಕಾ ್ಂಧ್ನ್ ಸೂಚಯಿಲೊ ಂ ಯೊೀಜನ್:
2023 ಜನವರಿ ಇಕಾೂ ವೆರ್ ಕೊಂಗ್ಚ್ೂ ಸ್ಮನ್ ಮುಕಾೊ ಯ ಚುನಾವಾಂತ್ ವಿಂಚೊನ್ ಆಯಾೊ ಯ ರ್ ಕನಾಸಟಕಾಂತೊ ಯ ಘರಾಂಕ್ ಮ್ಹನಾಯ ವಾರ್ 200 ಯುನಿಟ್ ವಿೀಜ್ ಫುಂಕಾಯ ಕ್ ದತಂವ್ನ ಮ್ಹ ಳಿಯ ಭಾಸ್ಮವಿಾ ಪಯಿೊ ಜಾವಾ್ ಸ್ಮ. ಕನಾಸಟಕ ಕೊಂಗ್ಚ್ೂ ಸ್ ಅಧ್ಯ ಕ್ಷ್ ಡ.ಕ್ಷ. ಶಿವರ್ಕಮರಾನ್ ಬೆಳಾಗ ಂವಾಂತೊ ಯ ಚಕೊೊ ೀಡಂತ್ ಚಲ್ಲೊ ಯ ‘ಪೂ ಜಾಧ್ವ ನಿ ಯಾತೂ ’ (ಚುನಾವ್ನ ಸಂಬಂಧ್ಂ ರಾಯ ಲಿ)ಂಂತ್ ಹ ಭಾಸ್ಮವಿಾ ಜಾಹೀರ್ ಕ್ಷಲಿೊ . ತಯ ಚ್ ಜನವರಿ ಸ್ಚಳಾವೆರ್ ಬೆಂಗುಯ ರಾೊ ಪಾಯ ಲೀಸ್ ಮ್ಯಾದ ನಾರ್ ‘ನಾ ನಾರ್ಕ್ಷ’ ನಾಂವಾರ್ ಸ್ಥತ ರೀಯಾಂಚೊ ಬೃಹತ್ ಸಮವೆೀಶ್ ಚಲ್ಲೊ . ತಯ ಸಮವೆೀಶವೆಳಿಂ ಕೊಂಗ್ಚ್ೂ ಸ್ ಮುಕ್ಷಲ್್ ಆನಿ ಎಐಸ್ಥಸ್ಥ
ಜರಾಲ್ ಕಾರ್ಸದಶಿಸ ಪ್ರೂ ಯಾಂಕಾ ್ಂಧ್ನ್ ಚುನಾವಾಂತ್ ಕೊಂಗ್ಚ್ೂ ಸ್ ಜಕೊನ್ ಆಯಾೊ ಯ ರ್ ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನಾಖ್ತಲ್ ರ್ಕಟ್ಲ್ಾ ರ್ಚ್ ಮುಕ್ಷಲಿ್ ಕ್ ಮ್ಹನಾಯ ವಾರ್ ರು. 2000 ತರ್ಚ್ ಬಾಯ ಂಕ್ ಎಕಂಟ್ಲ್ಕ್ ಘಾಲಿೊ ಭಾಸ್ಮವಿಾ ದಲಿೊ . ಹ ಕೊಂಗ್ಚ್ೂ ಸ್ಮಚ ದುಸ್ಥೂ ಭಾಸ್ಮವಿಾ ಜಾವಾ್ ಸ್ಲಿೊ . ಥಂರ್ಸ ರ್ ಉಲ್ಯಿಲೊ ಯ ಪ್ರೂ ಯಾಂಕಾನ್ ಪಾಟ್ಲ್ೊ ಯ ಥೊಡಾಯ ವಸ್ಮಸಂ ರ್ಹವಿಯ ನ್ ಸ್ಥತ ರೀಯಾಂಚಂ ಜವಿತ್ ಬದಾೊ ನಾತೊ ಯ ವಿಶಿಂ ಆನಿ ತಂಕಾಂ ಕಾಮಚ ಅವಾೊ ಸ್ ಮೆಳಾನಾತೊ ಯ ವಿಶಿಂ ಹುಸ್ಚೊ ಉರ್ಚ್ರ್ಲೊ . ಹಯ್ಲಸಕಾ ವಸುತ ಂಚ ಮಲಂ ಚಡ್‍ಲಲೊ ಯ ಹ್ಯ ಕಾಳಾರ್ ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನಾಚ ಐವಜ್ ರ್ಕಟ್ಲ್ಾ ಕ್ ಮಸುತ ಆಧ್ಲ್ರಾಚಂ ಜಾಂವ್ನೊ ಪಾವತ ಲಂ ಮ್ಹ ಳೆಯ ಂ. ರ್ಕಟ್ಲ್ಮ್ ಚಲ್ಂವಾೊ ಯ ಂತ್ ಸ್ಥತ ರೀಯಾಂ ಪಾತ್ೂ ವಿಶೀಷ್ಟ್. ದಾದೊ ಕಾಮ್ ಕನ್ಸ ಜೊೀಡ್‍ಲ್ ಹ್ಡುಂಕ್ ಪಾಟಿಂ ಕರ್ಚ್ಸ ರ್ಕಟ್ಲ್ಾ ಂನಿ ಘರ್ ಚಲ್ಂವ್ನೊ , ಭುರಾಗ ಯ ಂಕ್ ಸ್ಮಂಭಾಳಂಕ್ ಸ್ಥತ ರೀಯಾಂನಿ ಮ್ಸ್ತ ಕಷ್ಮಾ ಜಾಯ್ ಪಡಾತ . ಆಸಲಯ ಸ್ಥತ ರೀಯಾಂಕ್ ಮ್ನಾಂತ್ ದವ್ರೂ ನ್ ಕನಾಸಟಕಾಂತೊ ಯ ಸ್ಥತ ರೀಯಾಂಚಯ ಉದರಗ ತೆ ಖ್ತತರ್ ಗೃಹಲ್ಕ್ಷೆ ಯೊೀಜನ್ ಜಾಯ್ಲಸಕ್ ಹ್ಡ್‍ಲಲೊ ಂ. ಸ್ಥತ ರೀಯಾಂಕ್ ಆರ್ಸಕ್ ರಿತರ್ ಬಳವ ಂತ್ ಕಚೊಸ ಮುಕ್ಷಲ್ ಉದದ ೀಶ್ ಹ್ಯ ಯೊೀಜನಾಚೊ ಜಾವಾ್ ಸ್ಮ. 2023 ಜುಲಯ್ ಎಕ್ಷಾ ೀಸ್ ತರಿಕ್ಷ ಥಾವ್ನ್ ಹ್ಯ ಯೊೀಜನಾಕ್ ಅಜಸ ಘಾಲ್ಬಂಕ್ ಆರಂಭ್ ಕ್ಷಲೊ ಂ.
18 ವೀಜ್ ಕ ೊಂಕಣಿ
ಅಜಸದಾರಾಂನಿ ಸೀವಾ ಸ್ಥಂಧ ಪ್ಲೀರಾ ಲ ಮುಕಾಂತ್ೂ ವಾ ್ೂ ಮ್ ವನ್, ಬೆಂಗಳೂರು ವನ್ ವಾ ಕನಾಸಟಕ ವನ್ ವಯ ವಸಿ ಂನಿ ಗಜಸಚ ದಾಖೆೊ ದಾಖಲ್ ಕನ್ಸ ಅಜಸ ಘಾಲೊ ಅವಾೊ ಸ್ ದಲೊ . ಅಜಸ ದತನಾ ಕಸಲೀಯಿೀ ಶುಲ್ೊ ಭಾಂದುಂಕ್ ನಾತ್ಲೊ . ಅಜಸದಾರಾಂನಿ ಕ್ಷಲೊ ಯ ಸವ ರ್ಂ ಘೀಷಣ್ಟಚರ್ ಹೊಂದವ ನ್ ಆಗೊಸ್ತ ಪಂದಾೂ ತರಿಕ್ಷ ಉಪಾೂ ಂತ್ ಹ್ಯ ಯೊೀಜನಾಚೊ ಫ್ರಯೊದ ಮೆಳೊಂಕ್ ಆರಂಭ್ ಜಾಲೊ .ರ್ಕಟ್ಲ್ಾ ಚ ವಹ ಡಲ್್ ಅಂತ್ರ್ಲೊ ಯ ವೆಳಾರ್ ತಕಾ ಮೆಳೊನ್ ಆಸ್ಚೊ ಫ್ರಯೊದ ರಾವಾತ . ಅಜಸದಾರ್್ ವಾ ತಚೊ ಪತ ಆದಾಯ್ ತವ್ಲಸ ಭಾಂದಾತ ತ್ರ್ ವಾ ಗೂಡ್‍ಲಸ ಆಂಡ್‍ಲ ಸವಿಸಸ್ (ಜಎಸ್ಟಿ) ಯೊೀಜನಾಖ್ತಲ್ ರಿಟರ್್ ಸ ಫ್ರಯ್ೊ ಕತಸ ತ್ರ್ ತ್ಸಲಯ ಂಕ್ ರ್ಹಂ ಯೊೀಜನ್ ಲಗು ಜಾಯಾ್ . ಖ್ತಣ್ ಆನಿ ನಾಗರಿಕ್ ಸರಬರಾಜ್ ಇಲಖ್ತಯ ನ್ ವಿತ್ರಣ್ ಕ್ಷಲೊ ಯ ಎಪ್ರಎಲ್, ಬಿಪ್ರಎಲ್ ಆನಿ ಅಂತಯ ೀದರ್ ಕಾಡಾಸಂನಿ ರ್ಜಮನಿ (ವಹ ಡಲ್್ ) ಮ್ಹ ಣ್ ನಾಂವ್ನ ಆಸ್ಮೊ ಯ ಸ್ಥತ ರೀಯಾಂಕ್ ಹ್ಯ ಯೊೀಜನಾಚೊ ಫ್ರಯೊದ ಲಭಾತ . ಗೃಹಲ್ಕ್ಷೆ ಾ ಜಾಲಂ:
ಯೊೀಜನ್
ಕಾರ್ಸಗತ್
ಮೆೀ 20ವೆರ್ ಬೆಂಗುಯ ರಾೊ ಕಂಠೀರವ ಕ್ಷೂ ೀಡಾಂಗಣ್ಟಂತ್ ಮುಕ್ಷಲ್ಮ್ಂತೂ , ಉಪ ಮುಕ್ಷಲ್ಮ್ಂತೂ ಆನಿ ಆಟ್ ಜಣ್
ಮ್ಂತೂ ಂನಿ ಪೂ ತಜಾಾ ಘೆತ್ಲಿೊ . ತಯ ದಸ್ಮ ಚಲ್ಲೊ ಯ ಪಯಾೊ ಯ ಕಾಯ ಬಿನೆಟ್ ಜಮತೆರ್ ಗೃಹಲ್ಕ್ಷೆ ಾ ಸವೆಂ ಪಾಂಚ್ಯಿೀ ಯೊೀಜನಾಂಕ್ ಮ್ಂಜೂರಾತ ದಲಿೊ . ಹ್ಯ ಯೊೀಜನಾ ಪೂ ಕಾರ್ ಬಿಪ್ರಎಲ್, ಅಂತಯ ೀದರ್, ಆನಿ ಅಹಸತೆರ್ಚ್ ಎಪ್ರಎಲ್ ಕಾಡ್‍ಲಸದಾರಾಂಕ್, ಖುದ್ ಸ್ಥತ ರೀ ವಾ ತಚೊ ಪತ ಸಕಾಸರಿ ವಾವಾೂ ಡ ನಹ ಂಯ್ ತ್ರ್, ತ ವಾ ಪತ ಆದಾಯ್ ತರಾವ ಯ ಕ್ ವಾ ಜಎಸ್ಟಿಕ್ ಭಾದ್ಯ ನಹ ಂಯ್ ತ್ರ್ ಯೊೀಜನಾಚೊ ಫ್ರಯೊದ ಲಭಾತ .
19 ವೀಜ್ ಕ ೊಂಕಣಿ
ಕನಾಸಟಕಾಂತ್ ಜಾಯ್ಲಸರ್ ಆಸ್ಮೊ ಯ ಬಿಪ್ರಎಲ್ / ಎಪ್ರಎಲ್ ಕಾಡಾಸಂನಿ ರ್ಕಟ್ಲ್ಾ ಚೊ ವಹ ಡಲ್ ಮ್ಹ ಳಾಯ ಯ ಕೊಲ್ಮಂತ್ ವಹ ಡ್‍ಲ ವಾಂಟ್ಲ್ಯ ನ್ ಸ್ಥತ ರೀಯಾಂಚಂ ನಾಂವಾಂ ಆಸ್ಲೊ ಯ ನ್ ರ್ಕಟ್ಲ್ಾ ರ್ಚ್ ವಹ ಡಲಿ್ ಚೊ ವಿಷಯ್ ಕಷ್ಮಾ ಂಚೊ ಜಾಲೊ ನಾ. ಮಂಯ್ ಸುನಾಂ ಮ್ಧಂ ಲ್ಡಾಯ್ಲಕ್ ಯೊೀಜನ್ ಕಾರಣ್ ಜಾಯ್ತ ಮ್ಹ ಳಾಯ ಯ ತ್ಸಲಿ ಭರಾಂತ್ ಥೊಡಾಯ ಂನಿ ವಯ ಕ್ತ ಕ್ಷಲಿೊ . ಆತಂ ಹ್ಕಾಯಿೀ ಪರಿಹ್ರ್ ಮೆಳಾಯ . ರ್ಕಟ್ಲ್ಾ ಚ ವಹ ಡಲ್್ ಕೊೀಣ್ ವಾ ಮಸ್ಮಶನ್ ಕೊಣ್ಟರ್ಚ್ ಅಕಂಟ್ಲ್ಕ್ ವರ್ಚ್ಜಾಯ್ ಮ್ಹ ಳೆಯ ಂ ತಯ ತಯ ರ್ಕಟ್ಲ್ಾ ನ್ ನಿಧ್ಲ್ಸರ್ ಕಯ್ಲಸತ ಮ್ಹ ಣ್ ಸ್ಮಂಗ್ಲೊ ಂ. ಹ್ಯ ಸ್ಥತ ರೀಯ್ಲಕ್ 18 ವಸ್ಮಸಂ ಪಾೂ ಯ್ ಜಾಲಿೊ ಆಸ್ಮಜಾಯ್. ವೃದಾಾ ಪಯ , ವಿಧ್ವಾ ವಾ ವಿಶೀಷ್ಟ್ ಚೀತ್ನ್ ಮಶಸನ್ ಮೆಳಾೊ ಯ ಂಕ್ಷೀ ಗೃಹಲ್ಕ್ಷೆ ಾ ಸವೊ ತಯ್ ಲಭಾತ . ಕನಾಸಟಕಾಂತ್ ಸುಮರ್ 1.8 ಕೊರೊಡ್‍ಲ ರ್ಕಟ್ಲ್ಾ ಂ ಪಯಿೊ ಂ 1.3 ಕೊರೊಡ್‍ಲ ಬಿಪ್ರಎಲ್, ಅಂತಯ ೀದರ್ ಕಾಡಾಸಂ ಆಸ್ಮತ್. ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನ್ ಸ್ಥತ ರೀಯಾಂರ್ಚ್ ಆನಿ ಭುರಾಗ ಯ ಂರ್ಚ್ ಖ್ತತಯ ಚ ಮ್ಂತೂ ಶಿೂ ೀಮ್ತ ಲ್ಕ್ಷೆ ಾ ರ್ಹಬಾು ಳೊ ರ್ ಹರ್ಚ್ ಮುಕ್ಷೀಲ್ಪ ಣ್ಟರ್ ಚಲತ . ಕಂದಾಯ್ ಖ್ತತ ಯೊೀಜನಾಕ್ ಆಧ್ಲ್ರ್ ದತ.
ಚಡೊನ್ಂಚ್ ಗ್ಚ್ಲಯ ಂತ್. ರ್ಕಟ್ಲ್ಾ ಚೊ ದುಡಾವ ಭೊರೊ ಎದಳ್ ದಾದಾೊ ಯ ಂಚರ್ ಪಡೊನ್ ಆಸ್ಲೊ . ಅರ್ಹಸ ಸ್ಥತ ರೀಯಾಂಕ್ ಮ್ಹನಾಯ ವಾರ್ ರು. ೨೦೦೦ ಪಾವಿತ್ ಜಾತನಾ ರ್ಹಂ ಯೊೀಜನ್ ಸ್ಥತ ರೀಯಾಂಕ್ ಆದಾಯಾಚಂ ಏಕ್ ಮ್ಳ್ ಜಾತ. ಹ್ಯ ಯೊೀಜನಾವವಿಸಂ ಸಮಜರ್ಚ್ ಸಕಯಾೊ ಯ ಸತ ರಾಚ ದುಬಿಯ ಕಾಯ್ ನಿವಾರೆಯ ತ. ರ್ಕಟ್ಲ್ಾ ಚೊ ದುಡಾವ ಭೊರೊ ಇಲೊ ದಂವಯಿಲೊ ಯ ಬರಿ ಜಾತ. ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನಾಕ್ ವಸ್ಮಸವಾರ್ ರು.೩೩೦೦೦ ಕೊರೊಡ್‍ಲ ಆನಿ ಹ್ಯ ವಸ್ಮಸರ್ಚ್ ಫುಡಾೊ ಯ ಆವೆದ ಕ್ ರು.26000 ಕೊರೊಡ್‍ಲ ಖಚ್ಸ ಪಡಾತ ಮ್ಹ ಳಾಂ. ಜುಲೈ 7 ತರಿಕ್ಷರ್ಚ್ ಕನಾಸಟಕ ಬಜಟಿಂತ್ ಹ್ಯ ಬಾಬಿತ ನ್ ಐವಜ್ ನಮಿಯಾರಾೊ .
ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನಾಚ ಫ್ರಯ್ಲದ : ಗಜಸರ್ಚ್ ಮಲಂ
ವಸುತ ಆನಿ ಆಯಾೊ ಯ
ಸಂಗತ ಂಚಂ ದಸ್ಮಂನಿ
ಯೊೀಜನಾಕ್ ಅಜಸ ಘಾಲೊ ಯ ಂಕ್ ಮಶಸನ್ ಮೆಳೊಂಕ್ ಲ್ೊ ಂ:
20 ವೀಜ್ ಕ ೊಂಕಣಿ
ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನಾವಿಶಿಂ ಆಪ್ ತ್ಯಾರ್ ಕರ್ಚ್ಸಂತ್ ಆನಿ ರ್ಹರ್ ಆಡಳಿತತ್ಾ ಕ್ ಸಂಗತ ಂವವಿಸಂ ಯೊೀಜನಾರ್ಚ್ ಅನುಷ್ಮಾ ನಾಂತ್ ಘಳಾಯ್ ಜಾಲಿೊ . ಜುಲೈ ದುಸ್ಮೂ ಯ ಹಫ್ರತ ಯ ಂತ್ ಜಾಲೊ ಯ ಕನಾಸಟಕ ಸಕಾಸರಾರ್ಚ್ ಕಾಯ ಬಿನೆಟ್ ಜಮತೆರ್ ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನ್ ಕಾರ್ಸಗತ್ ಕಚೊಸ ನಿಧ್ಲ್ಸರ್ ಘೆತ್ಲೊ . ಜುಲೈ ಎಕ್ಷಾ ೀಸ್ ತರಿಕ್ಷರ್ ಬೆಂಗುಯ ರಾಂತೊ ಯ ವಿಧ್ಲ್ನ್ ಸೌಧ್ಲ್ಂತ್ ರ್ಹರ್ ಮುಕ್ಷಲಯ ಂಸವೆಂ ಮುಕ್ಷಲ್ ಮ್ಂತೂ ಸ್ಥದಾ ರಾಮ್ರ್ಯ ನ್ ಯೊೀಜನಾಕ್ ರ್ಚ್ಲ್ನ್ ದಲೊ ಂ. ತಯ ಸವೆಂ ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನಾಕ್ ಅಜಸ ಪಾಟಂವ್ಲೊ ವಾವ್ನೂ ಆರಂಭ್ ಜಾಲೊ . ಕನಾಸಟಕಾರ್ಚ್ ್ೂ ಮಂತ್ರ್ ಪೂ ದೀಶಂತೊ ಯ ಂಕ್ ್ೂ ಮ್ ವನ್ ಕ್ಷೀಂದ್ೂ ವಾ ಬಾಪೂಜ ಕ್ಷೀಂದಾೂ ಂತ್ ಆನಿ ನಗರ್ ಪೂ ದೀಶಂತೊ ಯ ಂನಿ ಕನಾಸಟಕ ವನ್ ವಾ ಬೆಂಗಳೂರು ವನ್ ಕ್ಷೀಂದಾೂ ಂನಿ ನೀಂದಣಿಕ್ ಅಜಸ ದವೆಯ ತ ಆಸ್ಲಿೊ . ಸ್ಯ ಯ ದಾಖ್ತೊ ಯ ಂಸವೆಂ ಅಜಸ ದಲೊ ಯ ಂಕ್ ಮ್ಂಜೂರಾತ ಪತ್ೂ ಥಂಯ್ೊ ಮೆಳಿೊ ವಯ ವಸ್ಮಿ ಆಸ್ಲಿೊ . ಗೃಹಜೊಯ ೀತ ಆನಿ ರ್ಹರ್ ಯೊೀಜನಾಂಬರಿ
ಓನ್ಲೈನ್ ಅಜಸಕ್ ಅವಾೊ ಸ್ ನಾತ್ಲೊ . ಯೊೀಜನಾಚ ಅಹಸತ ಹ್ಯ ಪರಿಂ ಆಸ್ಮ. ಸ್ಥತ ರೀ ಕನಾಸಟಕಾಂತೊ ನಿವಾಸ್ಥ ಆಸ್ಚಂಕ್ ಜಾಯ್. ಬಿಪ್ರಎಲ್, ಆದಾಯ್ ಮಿತಖ್ತಲ್ ಎಪ್ರಎಲ್ ಕಾಡ್‍ಲಸ ಆಸ್ಮೊ ಯ ರ್ಕಟ್ಲ್ಾ ಚ ವಹ ಡಲ್್ ವಾ ರ್ಕಟ್ಲ್ಾ ನ್ ನಮಿಯಾರೆೊ ಲಿ 18 ವಸ್ಮಸಂವಯಿೊ ಸ್ಥತ ರೀ ಜಾಯಾಿ ಯ್. ಸಕಾಸರಿ ಸವೆಂತ್ ಆಸ್ಮನಾಯ್ಲ ವಾ ಸಕಾಸರಿ ಸವೆಖ್ತತರ್ ಪೆನಯ ನ್ ಜೊಡನಾಯ್ಲ. ಸವ ತ: ವಾ ದಾದಾೊ ಯ ನ್ ಆದಾಯ್ ತವ್ಲಸ, ಜಎಸ್ಟಿಕ್ ಭಾದ್ಯ ಆಸ್ಚಂಕೊ್ ಜೊ. ಆಧ್ಲ್ರ್ ಲಗಯಿಲೊ ಂ ಬಾಯ ಂಕ್ ಅಕಂಟ್ ನಂಬರ್ ಆನಿ ತಚ ವಿವರ್ ಎದಳ್ ದಲೊ ಆಸ್ಮೊ ಯ ರ್ ಮಶಸನ್ ತಯ ಎಕಂಟ್ಲ್ಕ್ ವೆತ. ನವಾಯ ಬಾಯ ಂಕ್ ಖ್ತತಯ ಕ್ ಐವಜ್ ವರ್ಚ್ಜಾಯ್ ತ್ರ್ ತಚ ವಿವರ್ ದಜಾಯ್. ಆಧ್ಲ್ರ್ ನಂಬರ್ (ಸವ ತ್: ಆನಿ ದಾದಾೊ ಯ ಚಂ), ರೆೀಶನ್ ಕಾಡ್‍ಲಸ, ಪಾನ್ ಕಾಡ್‍ಲಸ, ವ್ಲಳೆೊ ಕ್ ಆನಿ ಕನಾಸಟಕ ನಿವಾಸ್ಥ ಮ್ಹ ಣಂಕ್ ದಾಖೆೊ , ಆದಾಯ್ ದಾಖ್ಲೊ , ಮಬಾಯ್ೊ ಸಂಖ್ಲ ತ್ಸಲ ವಿವರ್ ಗಜ್ಸ. ಫಟಿ ಮರ್ಹತ್ ದೀವ್ನ್ ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನಾ ಥಾವ್ನ್ ಪಾಯೊದ ಜೊಡಾೊ ಯ ರ್ ಉಪಾೂ ಂತ್ ಮರ್ಹತ್ ಸತಚ ನಹ ಂಯ್ ಮ್ಹ ಣ್ ಶಬಿತ್ ಜಾಲಯ ರ್ ತ್ಸಲಯ ಂಚರ್ ಸೂಕ್ತ ಕೂ ಮಂ ಘೆತತ್ ಮ್ಹ ಳಾಂ. ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನಾರ್ಚ್ ಫ್ರಯಾದ ಯ ಕ್ ಆಗೊಸ್ತ ೩೦ವೆರ್ ಮೆೈಸೂರಾಂತ್ ರ್ಚ್ಲ್ನ್ ದಲೊ ಂ. ನಮಿಯಾರೆೊ ಲಯ ಆವೆದ
21 ವೀಜ್ ಕ ೊಂಕಣಿ
ಭತ್ರ್ ಅಜಸ ದಲೊ ಯ ಂಕ್ ಮಶಸನ್ ತಯ ಉಪಾೂ ಂತ್ ಮೆಳೊಂಕ್ ಆರಂಭ್ ಜಾಲೊ ಂ. ಗೃಹಲ್ಕ್ಷೆ ಾ ಪೂ ಗತ:
ಯೊೀಜನ್ ಅನುಷ್ಮಾ ನಾಚ
ಗೃಹಲ್ಕ್ಷೆ ಾ ಯೊೀಜನಾಕ್ ನವೆಂಬರ್ ಪಯಾೊ ಯ ಹಫ್ರತ ಯ ಪಯಾಸಂತ್ 1.2 ಕೊರೊಡ್‍ಲ ರ್ಕಟ್ಲ್ಾ ಂರ್ಚ್ ಸ್ಥತ ರೀ ವಹ ಡಲಿ್ ಂನಿ ಅಜಸ ಘಾಲೊ ಯ . ಹ್ಯ ಂ ಪಯಿೊ 88 ಪೂ ತಶತ್ ಅಜಸದಾರಾಂಕ್ ಯೊೀಜನಾಚೊ ಫ್ರಯೊದ ಲಭ್ಲೊ . ರ್ಹರಾಂಕ್ ನಾನಾಂತಯ ಕಾರಣ್ಟಂ ಖ್ತತರ್ ತಂರ್ಚ್ ಬಾಯ ಂಕ್ ಖ್ತತಯ ಕ್ ದುಡು ಜಮ ಜಾಲೊ ನಾ. ಆಧ್ಲ್ರ್ ಕಾಡ್‍ಲಸ ಆನಿ ಬಾಯ ಂಕ್ ಖ್ತತಯ ರ್ಚ್ ನಾಂವಾಂತ್ ಹೊಂದಾಣಿಕ್
ಜಾಯಾ್ ಸ್ಮತ ನಾ ಆಸ್ಲೊ ಂ, ಸ್ಮಕೊಸ ವಿಳಾಸ್ ದೀನಾಸ್ಮತ ನಾ ಆಸೊ ಂ, ಇತಯ ದ ಕಾರಣ್ಟಂನಿ ಅಶಂ ಘಡಾೊ ಂ ಮ್ಹ ಣ್ ಅಧ್ಕಾರಿಂನಿ ಸ್ಮಂಗ್ಲೊ ಂ. ಯುವಜಣ್ಟಂಚ ಬೆಕಾರಪ ಣ್ ಸಮ್ಸ್ಮಯ ಆನಿ ಕನಾಸಟಕ ಸಕಾಸರಾರ್ಚ್ ಯುವನಿಧ್ ್ಯ ರಂಟಿವಿಶಿಂ ಮುಕಾೊ ಯ ಲೀಖನಾಂತ್......
-ಎಚ್. ಆರ್. ಆಳ್ವ -----------------------------------------------------------------------------------------
22 ವೀಜ್ ಕ ೊಂಕಣಿ
ಅವಸವ ರ್ 39:
ಸಸ್ಪೆ ನ್ಸ್ ,
ಥ್ರರ ಲ್ಲ ರ್-ಪ್ತ್ತ ೀದಾರಿ
ಕಾಣಿ ದರ್ಷಾ ಕ್
ಪಡೊಂದ,
ತಯ
ಉಪಾೂ ಂತ್ ಪಳೆಯಾ, ತ್ತಮೊ ಂ ಕ್ಷತೆಂ
ಸವಾಸಂಯಾೊ ಯ
ಕರಾತ ಂ
ಸ್ಮಂಗೊನ್,
ಹ್ತಂ
ಪ್ರಸುತ ಲಯ ಆಸ್ಲೊ ಯ . ತಣಿಂ
“ಏಕ್ ಪಾವಿಾ ಂ ಮ್ಹ ಜೊ ಚಕೊಸ ಮ್ಹ ಜಾಯ
ಘಾಲ. ತಯ
ಹಶರೊ
ಕರುನ್
ನೂಯ ಮೆನಾಕ್ ಕಾರಾ ಭಾಯ್ೂ ಆಪಯ್ಲೊ ಂ.
ನೂಯ ಮೆನ್ ಯ್ಲತ್ಚ್,
ಕಾರಾಂತೊ ತಚ
ಹ್ತ್
ಭಾಯ್ೂ ಪಾಟ್ಲ್ೊ ಯ ನ್
ಹ್ಂವ್ನ”
ಮ್ಹ ಣ್
ಬಾಂದುನ್ ತರ್ಚ್ ದಳಾಯ ಂಕ್ ಪಟಿಾ
ನೂಯ ಮೆನ್
ಪರತ್
ಬಾಂದುನ್
ಕಾರಾಂತ್ ರಿಗೊೊ ಆನಿ ಭೊೀವ್ನ ವೆ್ನ್, ‘ರಿಡಾನ್’ ಠಕಾಣ್ಟಯ ಚ ವಾಟ್ ಧ್ರುನ್ ಗ್ಚ್ಲ.
ಥಂಯ್
ಉಭೆಂ
ಆಸ್ಲೊ ಯ ಆನೆಯ ೀಕಾ ಕಾರಾಂತ್ ಬಸೈಲಂ. ತ್ಕ್ಷಣ್ಟ ಘೆವ್ನ್
‘ಸ್ಮಯ ಂಡ ಸ್ಥಪ ರಂಗ್ಸ ’ ಥಾವ್ನ್ ‘ರಿಡಾನ್’
ತಕಾ
ತೆಂ ಕಾರ್ ನೂಯ ಮೆನಾಕ್
ತೆಂ
ವಾಟ್ಲ್ರ್
ಸ್ಚಡುನ್
ಧ್ಲ್ಂವಾಲಗ್ಚ್ೊ ಂ. ಸುಮರ್ ರ್ಚ್ಳಿೀಸ್
೧೯ ಮ್ಯಾೊ ಂ ಪಯ್ಸ ಆಸ್ಲೊ ಂ. ರಿಡಾನ್
ಮಿನುಟ್ಲ್ಂರ್ಚ್ಯ
ಪಾವಾತ ನಾ, ನೂಯ ಮೆನಾರ್ಚ್ಯ
ಕಾರ್ ಎಕಾ ಕಟೊಾ ನಾ ಮುಕಾರ್ ಉಭೆಂ
ಕಾರಾಕ್,
ಸುಮರ್ ಸ್ಮತ್ ಆಟ್ ಜಣ್ಟಂನಿ ವೆಡೊ
ಜಾಲಂ.
23 ವೀಜ್ ಕ ೊಂಕಣಿ
ಧ್ಲ್ಂವೆಾ
ಉಪಾೂ ಂತ್
ನೂಯ ಮೆನಾಕ್ ಕಾರಾಂತ್ ಆಸ್ಲೊ ಯ
ಕ್ಷತಯ ಕ್ ಅಪಹರಿಸ ಲಂ?” ನೂಯ ಮೆನ್
ದ್ಂನಿ ಸಕಾೊ ದಂವಯೊೊ ಆನಿ ತಯ
ವಿರ್ಚ್ರಿಲಗೊೊ .
ಕಟೊಾ ನಾ ಭತ್ರ್ ವೆಹ ಲಂ. ತೀನ್ ಗ್ಚ್ಟಿ
“ತ್ತಜಾಯ
ಭತ್ರಾೊ ಯ ನ್ ಆಪುಣ್ ಪಾಶರ್ ಜಾಲಂ
ಅಪಹರಿಸ ಲಂ,
ಮ್ಹ ಳೊಯ
ಅಂದಾಜ್
ನೂಯ ಮೆನಾನ್
ವಚೂಲ್
ಲಯೊೊ .
ತಚ
ಪಾಟ್ಲ್ೊ ಯ ನ್
ಬಾಂಧೂನ್
ಹ್ತ್
ಆಸ್ಲೊ
ಶಿವಾಯ್
ಪುತಕ್
ಆಮಿಂ
ಕಸಲಂಯ್ ರೆನಸ ಮ್
ಕರುಂಕ್
ನಹಂ.
ತಚ
ಆಮೊ ಂ ಗಜ್ಸ ಆಸ್ಮ. ತ್ತವೆಂ ತಕಾ ಆಮೊ ಂ
ತ್ತಜಾಯ
ಸವ ಂತ್
ಖುಶೀನ್
ದಳಾಯ ಂಚರ್ ಪಟಿಾ ಆಸ್ಲೊ ಯ ನ್ ತ
ದೀವ್ನ್ , ಹೊ ದೀಶ್ಚ್ ಸ್ಚಡುನ್, ಪಯ್ಸ
ಖಂಯ್ ಪಾವಾೊ , ಆನಿ ತಚ ದುಸ್ಮಾ ನ್
ವ್ಲಚುಂಕ್ ಪಡ್ತ ಲಂ.”
ಕೊೀಣ್
ಮ್ಹ ಳೆಯ ಂ
ತಕಾ
ಆಜೂನ್
ಕಳೊಂಕ್ ನಾತ್ಲೊ ಂ.
“ಮ್ಹ ಜಾಯ ಪುತಚ ಗಜ್ಸ ತ್ತಮೊ ಂ ಕಸಲಿ? ತಯ ಶಿವಾಯ್ ತ್ತಮಿಂ ಮಹ ಕಾ
“ಬಾಂಧ್ಾ
ಆನಿ ರ್ಕಡಾಯ ಯ ಪಣ್ಟಂತೆೊ ಂ
ತಚ ಥಾವ್ನ್ ಪಯ್ಸ ಕರುಂಕ್ ಕ್ಷತಯ ಕ್
ತಕಾ ಸುಟ್ಲ್ೊ
ದಯಾ...” ಏಕ್ ತಳೊ
ಚಂತತ್?”
ಆಯಾೊ ಲ.
“ತ್ತವೆಂ ತ್ತಜಾಯ ಪುತರ್ಚ್ಯ ಜಣಯ ಂತ್
ಕೂಡ್ೊ
ನೂಯ ಮೆನಾಕ್ ಪಾಟ್ಲ್ೊ ಯ ನ್
ಬಾಂಧ್ಲೊ ಯ
ಹ್ತಂ ಆನಿ ದಳಾಯ ಂ
ವಯ್ೂ ಆಸ್ಲೊ ಯ ಪಟೆಾ ಥಾವ್ನ್ ಸುಟ್ಲ್ೊ ಮೆಳಿಯ .
ನಾ ಜಾಲಯ ರ್ಚ್, ತ ತರ್ಚ್ಯ ಆವಯ್ೊ ಮೆಳೊತ ಲ.” “ತ್ರ್ ಕ್ಷತೆಂ ಡೊರೊಟಿನ್ ತ್ತಮೊ ಂ ಮಹ ಕಾ
ಮುಕಾರ್
ಏಕ್
ವಯ ಕ್ಷತ
ಲಿಬಾಸ್ಮರ್ ಉಭ ಆಸ್ಥೊ ಭೊಂವ್ಲತ ಣಿ
ಲ್ಗು ಗ್
ಕಾಳಾಯ
ಆನಿ ತರ್ಚ್ಯ ಏಕ್
ಡಜನ್
ಪಯ್ಸ
ನೂಯ ಮೆನ್
ಆಸ್ಲೊ .
“ಮ್ಹ ಜಾಯ ದೀವ್ನ್
ಹ್ಂ್
ಆಮಿಂ
ಹ್ಡುಂಕ್
ಪರಾಯ ಂತ್
ಪಡ್ೊ ಂ”
ಕಾಳಾಯ
ಲಿಬಾಸ್ಮರ್ ಆಸ್ಲೊ ಮ್ಹ ಣ್ಟಲ. “ತ್ತಮಿಂ
ಕೊೀಣ್
ಆನಿ
ಅಜಾಯ ಪ್ಲನ್
ವಿರ್ಚ್ರಿಲಗೊೊ . “ವಹ ಯ್”
ತೂ ಸ್
ಕಾಮ್
ಸಂಪಾೊ ಂ...?”
ಮ್ನಿಸ್ ಹ್ತಂ ಪ್ರಸುತ ಲಯ ಘೆವ್ನ್ ಉಭೆ “ಸ್ಚರಿೂ ನೂಯ ಮೆನ್, ತ್ತಕಾ ಮಸುತ
ಧ್ಲ್ಡ್ೊ ಂ
ಪ್ಲಸುಂಕ್ ಮ್ಹ ಜಾಯ
ಪುತಕ್ ತಚ ಆವಯ್ ಚಂತ
ತ್ರ್,
ಹ್ಂವ್ನ
ಪುತಕ್ ಸಂತೀಸ್ಮನ್ ತಕಾ
ವ್ಲಪುಸ ಂಕ್ ತ್ಯಾರ್ ಆಸ್ಮಂ. ಪುಣ್ ತಣ ಅಸಂ ತ್ತಮೆೊ ಕರಾ್ ಂ ಮ್ಹ ಜಾಯ ಪುತಕ್
ಕ್ಷತೆಂ
ಆಶತತ್...? ಮ್ಹ ಜಾಯ ಪುತಕ್ ತ್ತಮಿಂ
ಅಪಹರುಸ ನ್
ಮಹ ಕಾ
ಪಯ್ಸ
ಧ್ಲ್ಡುಂಕ್ ಪಳಯಿಲೊ ಂ ಸತ್ ವ ಫಟ್ ಮ್ಹ ಳೆಯ ಂ ಹ್ಂವ್ನ ಸವ ತಾಃ ಡೊರೊಟಿರ್ಚ್ಯ
24 ವೀಜ್ ಕ ೊಂಕಣಿ
ತಂಡಾಂ
ಥಾವ್ನ್
ಆಯೊೊ ಂಕ್
ಆಶತಂ.”
ನಹಂ, ಪನಾ್ ಸ್ ಜಣ್ ಮೆಳೊನ್ಯಿ ಮಹ ಕಾ ರಾವಂವ್ನೊ ಸಕ್ಷೊ ನಾಂತ್.”
“ನಾ, ತ ತ್ತಜ ಮುಕಾರ್ ಯ್ಲಂವಿೊ ನಾ
“ಜಾಣ್ಟಂ
ಹ್ಂವ್ನ,
ತ್ತಂ
ಏಕ್
ವ ತಚ ಕಡ್ನ್ ಉಲಂಕ್ಯಿ ಹ್ಂವ್ನ
ಪ್ಲೂ ಫೆಶನಲ್ ಮರೆಯ ಲ್ಆರ್ಾ ಯ
ಸ್ಚಡೊೊ ಂನಾ. ತ್ತಜೊ ಪುತ್ ಕಸ್ಚಯಿ
ಆಸ್ಚೊ
ಆಮೆೊ
ಲಗಗ ಂ ಆಸ್ಮ. ತಕಾ ಆಮಿಂ
ಮ್ಹ ಣನ್. ದರ್ಕನ್ಂಚ್ ಆಮಿಂ ತ್ತಕಾ
ತ್ತಜ
ಮುಕಾರ್
ತೀನ್
ಹ್ಡಾತ ನಾ,
ತ್ತವೆಂ
ನಾಯ ಶನಲ್ ಕಡ್ನ್
ಫ್ರರ್ಾ ರ್
ಭೊಂವಾಯ ವ್ನ್ ,
ತಕಾ ಆಮೊ ಂ ವಿಕಾೊ ಂಯ್ ಮ್ಹ ಣ್
ರ್ಕಖ್ತಯ ತ್
ಸ್ಮಂಗೊನ್, ತ್ತವೆಂ ತಚ ಥಾವ್ನ್ ಪಯ್ಸ
ಆಯಿಲೊ ಯ ಂವ್ನ.
ವಚೊಂಕ್ ಜಾಯ್.”
ಆಮೆೊ ಲಗಗ ಂ ಆಸ್ಲೊ ಯ
“ಹೊ ಭು್ಯ ಸಂಚೊ ಖೆಳ್ ತ್ತಮಿಂ
ಅಡಾಯ ಯ ಕ್
ಗುಳಾಯ ಂಕ್,
ಜಾಣ್ಟ
ಹ್ಡುನ್
ತ್ತವೆಂ
ತ್ತಜ
ಹ್ಯ
ಆತಂ,
ಪ್ರಸುತ ಲಂರ್ಚ್ಯ ಮರೆಯ ಲ್ಆರ್ಾಸ
ಮ್ಹ ಜ ಕಡ್ನ್ ಖೆಳೊನ್, ಮ್ಹ ಜ ಥಾವ್ನ್
ವಿದಾಾ ಯ
ಆಡೊವ್ನ ದವರುನ್, ತ್ತಜೊ
ತ್ಸಂ
ಜೀವ್ನ
ವಾಂಚವ್ನ್
ಕರಂವ್ನೊ
ಸಕ್ಷತ ಲಯ ತ್...?”
ಹ್ಂ್
ಜಾವ್ನ್
ಥಾವ್ನ್
ನೂಯ ಮೆನ್ ಹ್ಸ್ಚನ್ ತ್ರಿ, ರಾ್ನ್ ತಯ
ಬರ್ಚ್ವ್ನ
ವ್ಲಚೊಂಕ್
ಮ್ನಾಯ ಯ ಕ್ ಸ್ಮಂ್ಲಗೊೊ . “ಮ್ಹ ಜೊ
ಜಾಂವೆೊ ಂನಾ.
ಪೂತ್, ಹ್ವೆಂ ತಕಾ ಮ್ಹ ಜಾಯ ಜಣಯ ಂತ್
ತಂಡ್‍ಲ ಸೈತ್, ನಿಮಣಯ ಘಡ್ಯ ತ್ತಕಾ
ಜಾಗೊ ನಾ ಮ್ಹ ಣ್ ಸಮ್ಿ ಯಾೊ ಯ ರ್ಯಿ,
ಪಳಂವ್ನೊ ಜಾಂವೆೊ ಂ ನಾ...”
ತ್ತಜಾಯ
ತ ಮ್ಹ ಜ ಥಾವ್ನ್ ಪಯ್ಸ ವೆಚೊನಾ.
ಆನಿ
ಹ್ವೆಂ ತಕಾ ತ್ತಮೊ ಂ ವಿಕಾೊ ಂ ಮ್ಹ ಣ್
ಜ್ಯ ಣರ್ಚ್ಯ
ಸೂಪ ರ್ಥಸರ್
ಉಡೊನ್,
ಫಟ್ ಮರೆೊ ಂ ಪಯಿಯ ಲಂ....
ಮುಕಾೊ ಯ
ಮ್ನಾಯ ಯ ಕ್
ಆಪಾೊ ಯ
“ಆತಂ ಬರಾಯ ನ್ ಮ್ಹ ಜಾಯ ಪುತಕ್
ತಯ ಚ್ಫರಾ
ಪುತಚಂ
ಕ್ಷೈದಳಾಂತ್ ಬಿಗದ ಲಗೊೊ . ತಚೊ ಏಕ್
ಮಹ ಕಾ ವ್ಲಪ್ರಸ ಯಾತ್ ಆನಿ ತ್ತಮಿೊ
ಹ್ತ್
ಬರ್ಚ್ವಿ ತ್ತಮಿಂ ಮ್ಹ ಜ ಥಾವ್ನ್ ಜೊಡಾ.
ಬಸ್ಲೊ .
ತ್ತಮಿಂ
ಎದಳ್
ಘೆಂವ್ನೊ ಹುಳವ ಳೊಯ !
ಕಷ್ಮಾ ಂಕ್
ಆನಿ
ಅಪಹ ರಿಸ ಲೊ ಯ
ಮಹ ಕಾ
ದಲೊ ಯ
ಮ್ಹ ಜಾಯ
ಪುತಕ್
ಚೂಕ್ಷಕ್
ಭೊಗುಸ ನ್,
ನೂಯ ಮೆನ್
ತಯ
ಮ್ನಾಯ ಯ ರ್ಚ್ಯ
ಗಳಾಯ ಚರ್
ತ
ಉಸ್ಮವ ಸ್
ಮ್ನಿಸ್
ಭೊಂವ್ಲತ ಣಿ ಆಸ್ಲೊ , ನೂಯ ಮೆನಾನ್ ಕ್ಷಲೊ ಯ
ಎಕಾ
ಸರ್ಕಂದಾ
ಭತ್ರಾೊ ಯ
ತ್ತಮೊ ಂ ಮಫ್ ಕರಿನ್. ಹಚ್ ಏಕ್
ಹಲೊ ಯ ಕ್ ಪಳವ್ನ್ , ಕ್ಷತೆಂ ಕರೆೊ ಂ ಮ್ಹ ಣ್
ವಾಟ್ ತ್ತಮೆೊ
ಘುಸಪ ಡಾತ ನಾ,
ಲಗಗ ಂ ಆಸ್ಮ. ಹ್ಂವ್ನ
ಜರತ ರ್ ಮ್ಹ ಜಾಯ ಆಸ್ಥೊ ರೂಪಾರ್ ಯ್ಲೀನ್,
ನೂಯ ಮೆನ್
ತಂಕಾಂ
ಛತೂ ಯ್ ದೀವ್ನ್ ಮ್ಹ ಣ್ಟಲ-
ತ್ತಮಿಂ ಹ್ಂ್ ಆಸೊ ದಾ-ಬಾರಾ ಜಣ್ 25 ವೀಜ್ ಕ ೊಂಕಣಿ
“ತ್ತಮೊ ಯ ಪ್ರಸುತ ಲಯ ಕೂಡ್ೊ ಖ್ತಲಿ
ಕರುನ್, ತಯ ಜನೆಲಂತೊ ಯ ನ್ ಭಾಯ್ೂ
ವಾಂರ್ಚ್ೊ ಯ ರ್ ಭಕ್ ಮಗೊನ್ ಖ್ತವೆಯ ತ್
ಉಡಯಾ.
ಮ್ಹ ಣ್ ಥಂಯ್ ಥಾವ್ನ್ ಧ್ಲ್ಂವಾತ ನಾ,
ನಾ
ಜಾಲಯ ರ್
ಹ್ಯ
ಮ್ನಾಯ ಯ ಕ್ ಹ್ಂ್ಚ್ ಗಳೊ ಚಡುಸನ್
ತಂಕಾಂ
ವಚೊಂಕ್
ಸ್ಚಡುನ್,
ಮರಾತ ಂ.”
ನೂಯ ಮೆನ್
ಆಪಾೊ ಯ
ಚಕಾಯ ಸ
ನೂಯ ಮೆನಾರ್ಚ್ಯ
ಕ್ಷೈದಾಳಾಂತ್
ಬಿಗುದ ನ್ ಆಸ್ಲೊ ತ ಮ್ನಿಸ್, ಆಪಾೊ ಯ ಮ್ನಾಯ ಯ ಂ
ಕಡ್ನ್
ಉಲಂಕ್
ಸಕಾನಾಸ್ಮತ ಂ,
ಸ್ಮಂಗ್ಲೊ ಪರಿಂ
ಕರಾ
ಮ್ಹ ಣ್ ಪ್ರಂ್ಸಲ.
ಸ್ಚಧಂಕ್
ಪಡೊೊ ತಯ ಅಡಾಯ ಯ ಂತ್. ಪುಣ್
ಥಂಯ್
ಮಟಿಸನ್ಲೂಕ್
ಖಂರ್ಸ ರ್ಯಿ
ತಕಾ
ಪಳಂವ್ನೊ
ಮೆಳೊಯ ನಾ. ಶಿವಾಯ್ ಥಂಯ್ ಆಸ್ಲೊ
ಸ್ಯ ಯ ಂನಿ ಆಪ್ಲೊ ಯ ಪ್ರಸುತ ಲಯ ಖ್ತಲಿ ಕರುನ್
ಮಟಿಸನ್ಲೂಕಾಕ್
ಜನೆಲಂತೊ ಯ ನ್
ಭಾಯ್ೂ
ಉಡರ್ತ ಚ್,
ನೂಯ ಮೆನಾನ್,
ಕ್ಷೈದಳಾಂತ್
ಆಸ್ಲೊ ಯ
ಆಪಾೊ ಯ
ಮ್ನಾಯ ಯ ಕ್
ಖಂಯ್ ಮಯಾಗ್ ಜಾಲ ಮ್ಹ ಣ್ ತ ನೆಣ್ಟ ಜಾಲ. ತಯ ್ಯ ಂ್ರ್ಚ್ಯ ಮುಖೆಲಿನ್ ಕೂಡ್ೊ ಸಂಪಕ್ಸ ಕ್ಷಲ ಆಫೊ ಲಸ ಕ್...
ಸುಟ್ಲ್ೊ ದಲಿ.
“ರ್ಹಲೊ ಆಫೊ ಲ್ಸ ಹ್ಂವ್ನ ರೆೈಟಸ್
“ದಾಖಯಾ ತ್ತಮೆೊ ಂ ಬಳ್ ಸ್ಮಧ್ಯ
ಉಲೈತಂ. ತ್ತಜಾಯ ಮ್ನಾಯ ಯ ಕ್ ಜವೆಶಿಂ
ತ್ರ್ ಆನಿ ವಾಂಚಯಾ ತ್ತಮೊ ಂ ಮ್ಹ ಜ
ಮರೂಂಕ್
ನಜೊ
ಮ್ಹ ಣ್
ತ್ತವೆಂ
ಥಾವ್ನ್ .”
ದಲೊ ಯ ನ್,
ತಚ
ಸಂಗಂ
ಮ್ಹ ಣನ್
ನೂಯ ಮೆನ್
ತಕ್ಷದ್
ತ್ಯಾರ್ ಜಾಲ, ತಯ
ಡಜನ್ಬರ್
ಆಪಾಲಿಪಾ ಗ್ಚ್ೀಮ್ ಖೆಳೊಂಕ್ ಪಡೊೊ
ಮ್ನಾಯ ಯ ಂಕ್ ಮರೂನ್ ಉಡಂವ್ನೊ .
ಕ್ಷತೊ ಯಿ ವಿದಾಯ
ಮಹ ಕಾ.
ತೂ ಣ್ ಆನಿ ಕಸಲಿಯಿ
ಆಸ್ಲೊ
ಮ್ನಿಸ್, ಎಕೊೊ ಚ್
ತಕಾ
ಭೊಂವಾಯ ಂವ್ನ್
ತೀನ್
ಜಾ್ಯ ರ್
ಹ್ಂ್
ಹ್ಡ್‍ಲಲೊ ಂ.
ಆತಂ ತ ಆಮೊ ಂ ಭಾರಿಕ್ ಪಡಾೊ .
ಇತೊ ಯ ಜಣ್ಟಂಕ್ ಏಕ್ ಸ್ಮಂ್ತ ಕಸಂ
ಆಮೊ ಯ
ಜಕಾತ್ ಮ್ಹ ಣ್ ಚಂತ್ತನ್, ತೆ ಸಗ್ಚ್ಯ
ಸ್ಚಡ್‍ಲದೀಡ್‍ಲ ಆನಿ ಘಳಾಯ್ ತ್ತಜ
ಎಕ್ಚ್ ಪಾವಿಾ ಂ ಸ್ಮಂ್ತ ಮೆಳನ್
ಖ್ತತರ್ ಪಯ್ಲೊ
ವಾರ್ ಕರಿಲಗ್ಚ್ೊ ನೂಯ ಮೆನಾಚರ್.
ನಾ
ನೂಯ ಮೆನಾರ್ಚ್ಯ ಪಾಂಯಾಂರ್ಚ್ಯ
ಸೂಪ ರ್ಥಸಕ್
ಕಾಮಂತ್
ಅಸಲಿ
ಪಾವಿಾ ಂ ಕ್ಷಲಿೊ ಹ್ವೆಂ.
ಜಾಲಯ ರ್,
ಎಕಾ
ಸರ್ಕಂದಾಕ್
ಹ್ತಂ
ಹ್ಂವ್ನ
ಡಜನ್ಬರ್
ಮಡಂ
ಎಕ್ಷಕಾ
ನಿದಾಯಾತ ಂ.
ಮ್ಹ ಜ
ಮ್ನಿಸ್
ಇತೆೊ
ಮರಾಕ್ ಎಕ್ಷೀಕ್ ಮ್ನಿಸ್, ಹ್ಡಾಂ
ಪ್ರಸುತ ಲಯ ಘೆವ್ನ್ ಆಸ್ಮತ ಂಯ್, ತಂಕಾಂ
ಆನಿ
ನೂಯ ಮೆನಾಕ್
ಬೊರಿಯೊ
ಮಡುನ್
ವ್ಲಳವ ಳಾತ ನಾ, ಥೊಡ್ ಮ್ನಿಸ್ ಜೀವ್ನ
ಪಡ್ೊ ಂ.
26 ವೀಜ್ ಕ ೊಂಕಣಿ
ಶರಣ್ಟ್ತ್
ಆತಂ
ಕ್ಷತೆಂ
ಜಾಂವ್ನೊ
ಮ್ಹ ಣ್ಟತ ಯ್,
ತಕಾ ಅಸಂಚ್ ಸ್ಚಡುನ್ ಹ್ಂವ್ನ
ಫ್ರೂ ಯ ಂಕೊ ಮ್ಹ ಳಾಯ ರ್ ‘ಸೀಫ್ ಹೌಸ್’ ವ
ಮ್ಹ ಜ ಖ್ತತರ್ ಆಪಾಯ್ ಹ್ಡಂವ್ನ ವ
‘ಭದೂ ತಚಂ ಘರ್’ ಹೊ ಏಕ್ ಭೊೀವ್ನ
ತರ್ಚ್ಯ
ವಹ ಡ್‍ಲ
ಜಣಯ ಚರ್
ಫುಲ್ಸ್ಚಾ ೀಪ್
ಘಾಲ್ಬಂ?”
ಮ್ಜೂೂ ತ್
ಬೊಂಗೊೊ ,
ಜೊ
ಚೊವಿಸ್ ವಹ ರಾಂಯ್ ೩೨ ಬಂಧೂಕೊಯ
“ನಾ, ನೂಯ ಮೆನಾಕ್ ಮರೆೊ ವಿಶಿಂ ಸಪಾಾ ಂತ್ಯಿ ಚಂತನಾಕಾ ರೆೈಟಸ್...” ಆಫೊ ಲ್ಸ ತ್ಕ್ಷಣ್ಟ ಮ್ಹ ಣ್ಟಲ. (ತಯ ದೀಸ್
ಘೆವ್ನ್ ಸುರಕ್ಷಣ್ ರಾಕವ ಲಿಂರ್ಚ್ ನದೂ ಂತ್, ರಾಕಾಾ ಯ ವಯ ವಸತ ರ್ ಆಸ್ಮತ ಲ.) “ಚಕಾಯ ಸಕ್ ಪ್ಲಟ್ಲ್ಕ್ ದಲಂಮ್?
ಆಮಲರ್ ತಣ ರೆೈಟಸ್ಮರ್ಚ್ಯ ಘರಾ
ತಕಾ
ವಚೊನ್ ನೂಯ ಮೆನಾಕ್ ಮರೆೊ ವಿಶಿಂ
ನಾಂತ್ಮ್ ರೆೈಟಸ್?”
ಸ್ಮಂಗ್ಲೊ ಂ ವಹ ಯ್. ಪುಣ್ ಉಪಾೂ ಂತ್
ಕಸಲಚ್
“ಮಸುತ
ಕಷ್ಟ್ಾ
ಸಳ್
ದೀಂವ್ನೊ
ಕರಾತ ಲ
ಆನಿ
ಸ್ಮಕಾಯ ಸ ಸ್ಥಂತದಾರ್ ಆಸ್ಮತ ನಾ, ಆಪಾೊ ಯ
ಆಪಾಾ ಕ್ ಡ್ಡ ಕಡ್ನ್ ವಹ ರಾತ್ ಮ್ಹ ಣ್
ಭಯಿಾ
ತಣ
ಜಗಡಾತ ಲ. ಭೊೀವ್ನ ಕಷ್ಮಾ ಂನಿ ತಕಾ
ಇರಾದ
ಸ್ಮಂಬಾಳನ್ ದವರಾೊ ಆಮಿಂ. ಆತಂ
ವಿಶಂತ್
ನೂಯ ಮೆನಾಕ್ ಬದೊ ಲೊ .)
ಚಂತ್ತನ್,
ಮರೊೊ
“ತಕಾ
ಮರೆೊ ಂ
ತ್ರ್,
ಮಹ ಕಾ ತ್ತಜ ಮ್ಜತ್ ಘೆಂವಿೊ
ಗಜ್ಸ
ಪಡತ ನಾ.
ತ್ತವೆಂ
ಜಣಯ ಚರ್
ಫುಲ್ೊ ಸ್ಚಾ ೀಪ್
ಪಯ್ಲೊ ಂ, ತ್ತಕಾ
ನೂಯ ಮೆನಾರ್ಚ್ಯ ಘಾಲೊ
ನಪೆೈಂಚ್ ಕರುಂಕ್
ಕ್ಷತೆ ಕರೆೊ ಂ.?” “ನೂಯ ಮೆನ್
ಚಕಾಯ ಸಕ್
ದೀವ್ನ್ ,
್ಂವ್ನ ಸ್ಚಡುನ್ ವ್ಲಚುಂಕ್ ತ್ಯಾರ್ ನಾ ಮ್ಹ ಣ್ಟಲ?” “ವಹ ಯ್. ತ ಭಾರಿಚ್ ತೂ ೂ ಣಿ ಆನಿ
ಆಸ್ಮಂ ಹ್ಂವ್ನ...” ಆಫೊ ಲ್ಸ ರಾ್ನ್
ಪೂ ಭಾವಿ.
ಸ್ಮಂ್ಲಗೊೊ .
ಮರುನ್ ಸುಟೊನ್ ಧ್ಲ್ಂವಾೊ ...”
ಮೆಬಲ್ಾ ನ್
“ತಕಾ
ತ್ತಮಿಂ
ಅಡಾಯ ಯ ರ್ಚ್
ವೆಹ ಲೊ ಂಮ್...?”
ಆಮೊ ಯ
“ಆತಂ
ತಕಾ
ಸವಾಸಂಯಿೊ
ಜರತ ರ್
ತ್ತಮಿಂ
ತ್ತಮೊ ಯ ಅದನ್ ಕರುಂಕ್ ಸಕಾನಾಂತ್
“ವಹ ಯ್. ರಿಡನ್ ಥಾವ್ನ್ ತಕಾ ಬಂಧ್
ತ್ರ್, ರ್ಹಂ ಅಪಹರಣ್ ಆಮೊ ಂ ಮ್ಸುತ
ಕರುನ್, ದಳಾಯ ಂಕ್ ಪಟಿಾ ಬಾಂದುನ್,
ಮಹ ರೊಗ್ ಪಡ್ತ ಲಂ. ತ ವ್ಲಗೊಚ್
ಆಮಿಂ ಮೆಬಲ್ಾ ನ್ಂಚ್ ಹ್ಡ್‍ಲಲೊ ಂ.”
ರಾಂವ್ಲೊ ನಾ.”
“ಚಕೊಸ ಖಂಯ್ ಆಸ್ಮ...?”
“ಪುಣ್ ಚಕೊಸ ಆಮೊ ಯ
“ತಕಾ ಆಮಿಂ ಮೆಬಲ್ಾ ನ್ ಥಾವ್ನ್ 25
ಮ್ಯಾೊ ಂ
ಆಸ್ಮತ ಪರಾಯ ಂತ್ ತ ಕಾಂಯ್ ಕರುಂಕ್
ಆಸ್ಮೊ ಯ
ಸಕೊೊ ನಾ ಆಫೊ ಲ್ಸ . ಚಕೊಸ ಆಸ್ಚೊ
‘ವಿಲೊ ರಿಕಾ’ಂಂತೊ ಯ ‘ಪ್ರಸ್ಚೊ ಫ್ರೂ ಯ ಂಕೊ’
ಅಡೊಯ ‘ವಿಲೊ ರಿಕಾ’ ಮೆಬಲ್ಾ ನ್ ಥಾವ್ನ್
ಅಡಾಯ ಯ ರ್
ಪಯ್ಸ
ತಬೆನ್
ದವರಾೊ ಂ.”
(ಪ್ರಸ್ಚೊ 27 ವೀಜ್ ಕ ೊಂಕಣಿ
ಸುಮರ್ 25 ಮ್ಯಾೊ ಂ ಪಯ್ಸ ಆಸ್ಮ
ಉ್ಯ ಸ್ ಆಸ್ಚಂ, ತಕಾ ಫಕತ್ತ ಖೆೈದ
ಮ್ಹ ಣ್ ತ್ತಕಾ ಕಳಿತ್ ಆಸ್ಮ.”
ದವರ್
“ತ್ತಮಿಂ ಕ್ಷತಯ ಕ್ ತರ್ಚ್ಯ
ವ
ದೀಶ
ಥಾವ್ನ್
ಪುತಕ್
ಧ್ಲ್ಡುಂಕ್
ಕರುಂಕ್
ತರ್ಚ್ಯ ಜೀವಾಕ್ ಕಾಯಿಂಚ್ ಬಾಧ್ಕ್
ಚಂತತ್ ಮ್ಹ ಣ್ ತಣ ವಿರ್ಚ್ರುಂಕ್
ಜಾಂವ್ನೊ ನಜೊ. ತಚವಿಣ ನಾ ತಚೊ
ನಾ?”
ಪೂತ್ ಜಯ್ಲಂವ್ನೊ ಸಕೊತ ಲ ವ ಮ್ಹ ಜ
ತಚ
ಥಾವ್ನ್
ವಿಂಗಡ್‍ಲ
“ವಿರ್ಚ್ರೆೊ ಂ.
ಹ್ವೆಂ
ಸ್ಮಂಗ್ಚ್ೊ ಂ,
ತ್ತವೆಂ ತ್ತಜಾಯ ಪುತರ್ಚ್ಯ ಜಣಯ ಂತ್ ನಾ ಜಾಲಯ ರ್ಚ್, ತ ತರ್ಚ್ಯ
ಆವಯ್ೊ
ಮೆಳೊತ ಲ ಮ್ಹ ಣ್.”
ಮ್ಜೂು ರ್
ಭಾಯ್ೂ
ಕರ್.
ಪುಣ್
ಭಯ್ಾ . ಹ್ಂವ್ನ ಶಿೀದಾ ‘ವಿಲೊ ರಿಕಾ’
ವೆತಂ ಆತಂ...” “ಜಾಯ್ತ
ಆಫೊ ಲ್ಸ , ತ್ತಜ ಖ್ತತರ್
ಹ್ವೆಂ ಕ್ಷತೆಂಯ್ ಕರುಂಕ್ ಆಸ್ಮಚ್.
“ಆರೆ ಪ್ರಶಯ , ತ್ಸಂ ಕ್ಷತಯ ಕ್ ತ್ತವೆಂ
ತ್ತಂ ಫಿಕ್ಷರ್ ಕರಿನಾಕಾ, ಹ್ಂವ್ನ ತಯ
ಸ್ಮಂಗ್ಚ್ೊ ಂಯ್...?” ಆಫೊ ಲ್ಸ ಬೊಬಾಟೊೊ .
ನೂಯ ಮೆನಾಚ
“ರ್ಹರ್
ಸ್ಮಂಗೊತ
ರೆೈಟಸ್ಮನ್ ಫೊನ್ ಬಂಧ್ ಕ್ಷಲಂ. ಪುಣ್
ಆಸ್ಲೊ ಯ್...? ಆತಂ ತಕಾ ಖಂಡತ್
ತ ಭಂಯ್ಲಲೊ , ಆಫೊ ಲಸ ಕ್ ದಲಿೊ
ಮ್ಹ ಜಾಯ
ಭಯಿಾ
ಡೊರೊಟಿಚರ್
ಭಾಸ್
ದುಭಾವ್ನ
ಜಾವ್ನ್
ಸಗೊಯ
ಸಕೊತ ಲ ವ ನಾ ತೆಂ ಚಂತ್ತನ್.
ಉ್ಯ ಪ್ಲ
ಜಾತಲ.
ಕ್ಷತೆಂಯ್
ಘುಟ್
ಛತೂ ಯ್
ತ
ಧ್ೀನತೆನ್
ಘೆತಂ”
ಪಾಳಂಕ್
ಡೊರೊಟಿಕ್
ರ್ಹಣ ನೂಯ ಮೆನ್ ಸಗೊಯ ಚ್ ಪ್ರಸ್ಚ
ತ್ರ್, ಹ್ಯ ವಿಶಿಂ ಕಾಂಯ್ೊ ಕಳಿತ್ ನಾ
ಕಸ್ಚ ಜಾಲೊ ! ತಚೊ ಪೂತ್ ತಕಾ
ಮ್ಹ ಣ್ತ ಚ್,
ತೆಂ
ತಣಿಂ
ದುಭಾವ್ನ
ಕರೆತ ಲಂ
ಶಿೀದಾ
ಮ್ಹ ಜರ್ಚ್
ಆನಿ
ಹ್ಂವ್ನ
ಸ್ಮಂಪಡೊತ ಲಂ.” “ಓರ್ಹ, ಚೂಕ್ ಜಾಲಿ ಆಫೊ ಲ್ಸ . ತ್ತವೆಂ
ಇತೆೊ ಂ
ಮೆಳೊಂಕ್
ಭೊಂವಾಯ ವ್ನ್ ಯಿ
ನಾತ್ಲೊ .
ಪುತರ್ಚ್ಯ
ಸ್ಚಡವ ಣ
ಮರುಂಕ್
ವ
ತರ್ಚ್ಯ
ಖ್ತತರ್
ತ್ರ್
ಮ್ರೊಂಕ್
ಏಕ್ ಹಶರೊ ತ್ರಿೀ ದಲೊ ಯ್ ತ್ರ್,
ತ್ಯಾರ್ ಆಸ್ಲೊ . ಅಸಲಯ
ತ್ತಜಾಯ
ತ ಪ್ರಶಯ ಪರಿಂ ತಯ
ಭಯಿಾ ಚಂ ನಾಂವ್ನ ಯ್ಲೀಂವ್ನೊ
ತ ಸ್ಥಿ ತೆರ್
ಕಟೊಾ ನಾಂತ್
ನಜೊ ಮ್ಹ ಣ್, ಹ್ಂವ್ನ ಕ್ಷತೆಂಯಿ ರ್ಹರ್
ಆಪಾೊ ಯ
ಸ್ಮಂಗೊನ್, ತಕಾ ಕನೂಪ ಯ ಸ್ ಕರೊತ ಂ.
ಭೊಂವಾತ ನಾ, ತಕಾ ದಸ್ಚೊ ತ ಕಾಳಾಯ
ತೆಂಚ್ ತ ಚಕಾಯ ಸರ್ಚ್ಯ
ಲಿಬಾಸ್ಮಂತ್
ಆವಯ್ಲೊ ಂ
ನಾಂವ್ನ ಆಯೊೊ ನ್, ಅಜಾಯ ಪ್ಲೊ .” “ಆತಂ ನೂಯ ಮೆನಾಕ್
ಪುತಕ್
ಸ್ಚಧನ್
ಆಸ್ಲೊ
ಮ್ನಿಸ್,
ರೆೈಟಸ್!
ಕ್ಷತೆಂಯ್
ಕರುನ್
ಆಡಾಯ್.
ಪುಣ್
ಎಕಾರ್ಚ್ಾ ರಾ ರೆೈಟಸ್ಮಕ್ ಆರಾಯ್ಲೊ ಂ.
28 ವೀಜ್ ಕ ೊಂಕಣಿ
ನೂಯ ಮೆನಾನ್
“ತ್ತಜೊ ಪೂತ್ ಹ್ಂ್ ನಾ. ತಕಾ
ಫ್ರಯೊದ ನಾ.” ರೆೈಟಸ್ ಮ್ಹ ಣ್ಟಲ.
ಹ್ಂ್ ಸ್ಚಧನ್ ಕಾಂಯ್ ಮುಖಾರ‍್ ಂಕ್ ಆಸಾ-----------------------------------------------------------------------------------------
ಪೆಟುಲಾಂತ್ಲೊ
ಘುಟ್
ಕೊಂಕ್ಷಾ ಕ್ : ಲಿಲಿೊ ಮಿರಾಂದಾ - ಜಪುಪ (ಬೆಂಗುಯ ರ್) ಸಬಾರ್ ವರಾಸ ಂ ಪಯ್ಲೊ ಂ ಚೀನಾರ್ಚ್ಯ ತೆನಾೊ ಭಾ್ಂತ್ ಮಿದುನೀ ಮ್ಹ ಳಾಯ ಯ ದಾಕಾಾ ಯ ಹಳೆಯ ಂತ್ ಮ್ೂ ಂಚಂ ಏಕ್ ರ್ಕಟಮ್ ಜಯ್ಲತಲಂ. ತಯ ರ್ಕಟ್ಲ್ಾ ಂತ್ ಉರೊೀರ್ಷಮ ನಾಂವಾಚೊ ಯುವಕ್ ಆಸ್ಲೊ . ಏಕ್ ಪಾವಿಾ ಂ ತ ಜಾಳ್ ಖ್ತಂದಾಯ ರ್ ಘಾಲ್್ ದರ್ಯಾಥಾವ್ನ್ ಘರಾರ್ಕಶಿನ್ ಪರಾತ ತಲ. ವಾಟೆರ್ ಏಕ್ ಕಡ್ನ್ ಥೊಡ್ ಪ್ಲಕ್ಷೂ ಭುರೆಗ ಎಕಾ ಕಾಸ್ಮವ ವಾಕ್ ಧ್ರ್್ ತಕಾ ಧ್ಲ್ಡಾಯಾತ ಲ. ಉರೊೀರ್ಷಮಕ್ ರ್ಹಂ ಪಳವ್ನ್ ಕಾಸ್ಮವ ಚ ಬಿರೊಾ ತ್ ದಸ್ಥೊ . ತಣಂ ಏಕ್ ರುಪಯ್ ಭುರಾಗ ಯ ಂಕ್ ದೀವ್ನ್ ಕ್ಷತೆಂ ಪುಣಿ ಖ್ತಣ್
ಕಾಣಗ ವ್ನ್ ಖ್ತಯಾ ಮ್ಹ ಳೆಂ. ಭುರೆಗ ಪಯ್ಲಯ ಘೆವ್ನ್ ಸಂತಸ್ಮನ್ ಧ್ಲ್ಂವೆೊ . ಉರೊೀರ್ಷಮ ಕಾಸ್ಮವ ಕ್ ಘೆವ್ನ್ ಪರುತ ನ್ ದರ್ಯಾಲಗಂ ಗ್ಚ್ಲ. ಕಾಸ್ಮವ ಮಮ ತ್ತಂ ಪರಾತ ಯ ನ್ ಆಮೊ ಯ ಹಳೆಯ ಕ್ ಯ್ಲೀನಾಕಾ. ಹ್ಂ್ಚ ಭುರೆಗ ಭಾರಿೀ ಪ್ಲಕ್ಷೂ ಮ್ಹ ಣ್ ಸ್ಮಂಗೊನ್ ತಣಂ ಕಾಸ್ಮವ ಕ್ ಉದಾೊ ಂತ್ ಸ್ಚಡೊೊ . ಕಾಸ್ಮವ ಕ್ ಮಸುತ ಪುರಾಸಣ್ ಜಾಲಿೊ . ತಚಂ ಆಂಗ್ಪಾಂಗ್ ದುಕಾತ ಲಂ. ದರ್ಕನ್ ಕ್ಷತೆಂಚ್ ಉಲ್ಯಾ್ ಸ್ಮತ ನಾ ತ ಉದಾೊ ಂತ್ ಉಪೆಯ ವ್ನ್ ಗ್ಚ್ಲ. ಪೂಣ್ ದುಸ್ಮೂ ಯ ದಸ್ಮ ಉರೊೀರ್ಷಮ ಆಪಾೊ ಯ
29 ವೀಜ್ ಕ ೊಂಕಣಿ
ದಣಿಚ ದರಿ ಸುಟಯಾತ ಸ್ಮತ ನಾ ಕಾಸ್ಚವ್ನ ತಚ ಸರಿಯ ನ್ ಆಯೊೊ . ಕಾಲ್ ತ್ತವೆಂ ಮ್ಹ ಜೊ ಜೀವ್ನ ಉರಯೊೊ ಯ್. ತ್ತಂ ಯ್ಲೀಂವ್ನೊ ನಾತ್ಲೊ ಯ್ ಜಾಲಯ ರ್ ತೆ ಭುರೆಗ ಮಕಾ ಲ್್ಡ್‍ಲ ಕಾಡ್ತ ಆಸ್ಲೊ . ತ್ತಕಾ ಧ್ನಯ ವಾದ್ ಮ್ಹ ಣ್ ಮ್ಹ ಣ್ಟಲ. ತ ಖಂಚ ವಹ ಡೊ ಗಜಾಲ್? ಕಷ್ಮಾ ಂತ್ ಆಸ್ಲೊ ಯ ಂಕ್ ಸ್ಮಂಬಾಳೆೊ ಂ ಸರಾವ ಂಚಂ ಕರತ ವ್ನಯ . ಹ್ಂವೆಂ ಮ್ಹ ಜಂ ಕರತ ವ್ನಯ ಮತ್ೂ ಕ್ಷಲಂ ತತೆೊ ಂಚ್. ಖ್ತಲತ ಪಣ್ಟನ್ ಮ್ಹ ಳೆಂ ತಣಂ. ಕಾಸ್ಮವ ಕ್ ತಚಂ ಖ್ತಲತ ಂಪಣ್ ಮೆರ್ಚ್ವ ಲಂ. ತಕಾ ಕ್ಷತೆಂ ಪುಣಿ ಉಪಾೊ ರ್ ಕರಿಜ ಮ್ಹ ಣ್ ಭೊಗ್ಚ್ೊ ಂ ತಕಾ. ತ್ತವೆಂ ದರ್ಯಾ ರಾಯಾಚ ಧವ್ನ ಮಿಸ್ಮಕ್ಷಚಂ ನಾಂವ್ನ ಆಯಾೊ ಲಂಯಿಗ ? ಮ್ಹ ಣ್ ವಿರ್ಚ್ರೆೊ ಂ ಕಾಸ್ಮವ ನ್. ಆಯಾೊ ಲಂ ತೆಂ ಭಾರಿೀ ಸ್ಚಭತ್ ಖಂಯ್. ಪೂಣ್ ಯ್ಲದಳ್ ಪರಾಯ ಂತ್ ಕೊಣಂ ತಕಾ ಪಳಂವ್ನೊ ನಾ. ದರ್ಯಾರ್ಚ್ಯ ಗುಂಡಾಯ್ಲಂತ್ ರಾವಾತ ತೆಂ. ತಕಾ ಪಳಂವೆೊ ತ್ರಿೀ ಕಶಂ? ಮ್ಹ ಣ್ ಸವಾಲ್ ಕ್ಷಲಂ ಉರೊೀರ್ಷಮನ್. ಹ್ಂವ್ನ ತ್ತಕಾ ತಚ ಭೆಟ್ ಕರಯಾತ ಂ. ಕಾಲ್ ತ್ತವೆಂ ಮಹ ಕಾ ಕ್ಷಲೊ ಉಪಾೊ ರ್ ತಕಾ ಕಳಯಾೊ ಹ್ಂವೆಂ. ತೆಂ ಆಯೊೊ ನ್ ತಕಾ ಸಂತಸ್ ಜಾಲ. ತ್ತಕಾ ಆಪವ್ನ್ ಹ್ಡ್‍ಲ ಮ್ಹ ಣ್ ಸ್ಮಂ್ೊ ಂ. ಮ್ಹ ಳೆ ಕಾಸ್ಮವ ನ್. ಪೂಣ್ ತ್ತಂ ಏಕ್ ಲಹ ನ್ ಕಾಸ್ಚವ್ನ. ತ್ತಕಾ ತಚವಿಶಿಂ ಕಶಂ ಕಳಿತ್? ಉರೊೀರ್ಷಮನ್ ಅಜಾಪ್ ಪಾವ್ಲನ್ ವಿರ್ಚ್ರೆೊ ಂ. ಹ್ಂವ್ನ ತರ್ಚ್ಯ ್ಂವಾಂತ್ಚ್ ಆಸ್ಮಂ. ಖರಾಯ ನ್ ಹ್ಂವ್ನ ತಚೊ ಪಾರೊತ್ದಾರ್
ವಹ ಯ್. ಖಂತ್ ಕರಿನಾಕಾ. ಮ್ಹ ಜ ಸ್ಮಂ್ತ ಯ್ಲ. ಕಾಸ್ಮವ ನ್ ಧ್ಯ್ೂ ದಲಂ. ಉರೊೀರ್ಷಮನ್ ಮಿಸ್ಮಕ್ಷವಿಶಿಂ ಜಾಯ್ಲತ ಂ ಆಯಾೊ ಲೊ ಂ. ತಕಾ ಪಳಂವಿೊ ತಕಾ ಆಶ ಜಾಲಿ. ಕಾಸ್ಮವ ಸವೆಂ ವಚೊಂಕ್ ಒಪಾವ ಲ ತ. ಕಾಸ್ಮವ ನ್ ತಕಾ ಆಪಾೊ ಯ ಪಾಟಿರ್ ಬಸಯ್ಲೊ ಂ ಆನಿ ತ ಉದಾೊ ಂತ್ ಬುಡೊೊ . ಉರೊೀರ್ಷಮಕ್ ದರ್ಯಾ ಭತ್ರೊೊ ಸಂಸ್ಮರ್ ಪಳೆವ್ನ್ ಅಜಾಪ್ ಜಾಲಂ. ವಾಟೆರ್ ವಹ ಡೊೊ ಯ ವಹ ಡೊೊ ಯ ಮಸ್ಚೊ ಯ , ಸ್ಥಸ್ಥೂ , ಬಂಡಾಸ್ಮಂ, ತಮಿಂಗಲ್ ಆನಿ ರ್ಹರ್ ದರ್ಯಾಜೀವಿ ಆಸ್ಲೊ ಯ . ರ್ಹಣಂ ತೆಣಂ ಗುಡ್ ದಂಗರ್ ಆಸ್ಲೊ . ಕಾಸ್ಮವ ನ್ ತಕಾ ಎಕಾ ವಹ ಡ್‍ಲ ರಾವೆಯ ರಾ ಮುಕಾರ್ ದಂವಯ್ಲೊ ಂ ಆನಿ ತೆ ದಗೀ ಭತ್ರ್ ಗ್ಚ್ಲ. ರಾವೆಯ ರಾಚೊ ವರ್ೂ ವ್ನ ಪಳೆವ್ನ್ ಶರೆಾ ಲ ಉರೊೀರ್ಷಮ. ರಾವೆಯ ರಾರ್ಚ್ಯ ಎಕಾ ವರ್ು ವಾನ್ ಭರ್ಲೊ ಯ ರ್ಕಡಾಂತ್ ದರ್ಯಾರಾಯಾಚ ಧವ್ನ ಮಿಸ್ಮಕ್ಷ ಬಸ್ಲೊ ಂ. ಉರೊೀರ್ಷಮ ಆಯಿಲಚ್ ತಣಂ ಉಟೊನ್ ತಕಾ ಸ್ಮವ ಗತ್ ಕ್ಷಲ. ಅಪೂೂ ಪ್ ಸ್ಚಭಾಯ್ಲನ್ ಪರಿ ಳಾೊ ಯ ಮಿಸ್ಮಕ್ಷಕ್ ಪಳವ್ನ್ ನಮೃತೆನ್ ಹ್ತ್ ಜೊಡ್ೊ ಉರೊೀರ್ಷಮನ್. ಮಿಸ್ಮಕ್ಷನ್ ತಕಾ ಹ್ತಕ್ ಧ್ರ್್ ಭತ್ರ್ ಆಪವ್ನ್ ವೆಲಂ. ಭತ್ರ್ ಜವಾಾ ಸ್ಮಲಂತ್ ಜಾಯಿತ ಂ ಪಕಾವ ನಾಂ ರಾಂದುನ್ ದವರ್ಲಿೊ ಂ. ಪ್ಲೀಟ್ ಭರ್ ಜವಣ್ ಜಾಲೊ ಂಚ್, ತೆಂ ಉರೊೀರ್ಷಮಕ್ ಎಕಾ ರ್ಕಡಾಕ್ ಆಪವ್ನ್ ವಹ ರ್್ ಗ್ಚ್ಲಂ. ತಯ ರ್ಕಡಾಥಾವ್ನ್ ಸಕೊ ಡ್‍ಲ ಕಾಳಾಂಚೊ ಹವ್ಲ ಎಕ್ಚ್ ಪಾವಿೊ ಂ ಪಳವೆಯ ತ್ ಆಸ್ಲೊ . ಏಕ್ ಜನೆಲ್ ಉಗ್ಚ್ತ ಂ ಕ್ಷಲೊ ಂಚ್ ಭಾಯ್ೂ ದೀವ್ನ ಪಡೊೊ
30 ವೀಜ್ ಕ ೊಂಕಣಿ
ಪಳಲ ತಣಿಂ. ಧ್ರಿಾ ರ್ ಬರಾಾ ಚ ರಾಸ್ ಆಸ್ಲಿೊ ಆನಿ ವಿಶೀಸ್ ಹಂವ್ನ ಆಸ್ಲೊ ಂ. ಅನೆಯ ೀಕ್ ಜನೆಲ್ ಕಾಡ್‍ಲಲೊ ಂಚ್ ವಸಂತ್ ಕಾಳಾರ್ ಪರಿ ಳಿೊ ಂ ಫುಲಂ, ಫಳಾಂ ಆನಿ ರಾನಾಂ ತಕಾ ದಸ್ಥೊ ಂ. ಭಾಯ್ೂ ಮೀವ್ನ ವ್ಲೀತ್ ಆಸ್ಲೊ ಂ. ಮಿಸ್ಮಕ್ಷನ್ ತಸೂ ಂ ಜನೆಲ್ ಕಾಡ್ೊ ಂ. ಥಂರ್ಸ ರ್ ಶಿರಾಂಧ್ಲ್ರಿಚೊ ಪಾವ್ನಸ ವ್ಲತತ ಲ. ಉರೊೀರ್ಷಮ ರ್ಹಂ ಸರ್ವ ದಳೆ ವಾಟ್ಲ್ರ್್ ಪಳೆಲಗೊೊ . ಮಿಸ್ಮಕ್ಷ ತಚ ಬರಿ ಜತ್ನ್ ಘೆತಲಂ. ತಕಾ ಜಾಯ್ ಆಸ್ಲೊ ಂ ಸರ್ವ ತ್ಕ್ಷಣ್ ದತಲಂ. ತಕಾ ಬೆಜಾರ್ ಜಾಯಾ್ ತೊ ಯ ಪರಿಂ ಸದಾಂ ಸಂತಸ್ಮನ್ ಆಸ್ಮೊ ಯ ಪರಿಂ ಪಳೆತಲಂ. ಏಕ್ ದೀಸ್ ಕಾಸ್ಚವ್ನ ತಚಲಗಂ ಮ್ಹ ಣ್ಟಲ. ತ್ತಂ ಭಾರಿೀ ಅದುಷ್ಟ್ಾ ಷ್ಟ್ಾ ಷ್ಟ್ಾ ವಂತ್. ಮಿಸ್ಮಕ್ಷಕ್ ತ್ತಜರ್ ಮಸುತ ಮೀಗ್ ಆಸ್ಮ. ತ್ತಜೊ ಗೂಣ್ ತಕಾ ಮೆಚವ ಲ. ಆಮೊ ಯ ಸಂಸ್ಮರಾಕ್ ಆಯಿಲೊ ಯ ಂ ಪಯಿೊ ತ್ತಂಚ್ ಪಯಿಲೊ ಮ್ನಿಸ್ ಅಶಂ ಉರೊೀರ್ಷಮಚಂ ಜವಿತ್ ಸುಖ್ತ ಸಂತಸ್ಮನ್ ಪಾಶರ್ ಜಾತಲಂ. ಏಕ್ ದೀಸ್ ತಕಾ ಆಪಾೊ ಯ ಆವಯ್ ಬಾಪಾಯ್ೊ ಪಳಯ್ಲಿ ಮ್ಹ ಣ್ ಭೊಗ್ಚ್ೊ ಂ. ತಣಂ ಮಿಸ್ಮಕ್ಷಲಗಂ ವಚುನ್ ಮಹ ಕಾ ಮ್ಹ ಜಾಯ ಹಳೆಯ ಕ್ ವೆಚ ಆಶ ಜಾಲಯ . ಮ್ಹ ಜಾಯ ಆವಯ್ ಬಾಪಾಯ್ೊ ಪಳಯ್ಲಿ . ಅತಂ ತಂ ಕಶಿಂ ಆಸ್ಮತಗ ಕಳಿತ್ ನಾ. ಮ್ಹ ಣ್ಟಲ. ರ್ಹಂ ಆಯೊೊ ನ್ ಮಿಸ್ಮಕ್ಷಕ್ ದ್ರಕ್ ಭೊಗ್ಚ್ೊ ಂ. ಉರೊೀರ್ಷಮ ಹಳೆಯ ಕ್ ವಚುಂಕ್ ಭಾಯ್ೂ ಸರೊೊ . ಕಾಸ್ಮವ ನ್ ತಚ ಸರಿಯ ನ್ ಯ್ಲೀವ್ನ್ ಕಾಂಯ್ ಭಯ್ಲನಾಕಾ. ಹ್ಂವ್ನ ತ್ತಕಾ ತ್ತಜಾಯ ಹಳೆಯ ಕ್ ಆಪವ್ನ್ ವಹ ರಾತ ಂ ಮ್ಹ ಣ್
ಮ್ಹ ಳೆಂ. ಉರೊೀರ್ಷಮ ಭಾಯ್ೂ ಸರ್ಲೊ ಯ ವೆಳಾರ್ ಮಿಸ್ಮಕ್ಷನ್ ತರ್ಚ್ಯ ಹ್ತಕ್ ಏಕ್ ಪೆಟ್ಲಲ್ ದೀವ್ನ್ ಹ ತ್ತಕಾ ಮ್ಹ ಜ ಕಾಣಿಕ್, ಭಾರಿಚ್ ಮಲಧ್ಕ್ ಜಾವಾ್ ಸೊ ಂ ರ್ಹಂ ಪೆಟ್ಲಲ್ ಕ್ಷದಂಚ್ ಉಗ್ಚ್ತ ಂ ಕರ್್ ಪಳಯಾ್ ಕಾ. ತ್ತಕಾ ಬರೆಂ ಜಾಂವ್ನ ಮ್ಹ ಣ್ ತಕಾ ಆದೀವ್ನಸ ಮಗೊೊ . ಕಾಸ್ಮವ ನ್ ತಕಾ ತರ್ಚ್ಯ ಹಳೆಯ ರ್ಚ್ ದರ್ಯಾತ್ಡಕ್ ಹ್ಡ್‍ಲ್ ಸ್ಚಡ್ೊ ಂ. ಉರೊೀರ್ಷಮ ಚಲನ್ ಚಲನ್ ಮಿದುನೀ ಹಳೆಯ ಕ್ ಪಾವ್ಲೊ . ಥಂರ್ಸ ರ್ ಜಾಯಿತ ಬದಾೊ ವಣ್ ಜಾಲಿೊ . ತಕಾ ಆಪೆೊ ಂ ಘರ್ ಸ್ಚದೊ ಂಚ್ ಕಷ್ಮಾ ಂಚಂ ಜಾಲಂ. ಕಷ್ಮಾ ಂನಿಂ ಘರ್ ಸ್ಚದುನ್ ತಣಂ ಆಪಾೊ ಯ ಆವಯ್ೊ ಉಲ ಮರೊೊ . ಕಾಂಯ್ಚ್ ಪಾಟಿಂ ಜಾಪ್ ಯ್ಲೀಂವ್ನೊ ನಾ. ಥೊಡಾಯ ವೆಳಾನ್ ಎಕ್ಷೊ ಮಹ ತರಿ ಭಾಯ್ೂ ಆಯಿೊ . ತಚ ಪಾಟ್ ಬಾ್ವ ಲಿೊ ಆನಿ ತಕಾ ದಳೆ ಸ್ಮರೆೊ ದಸ್ಮನಾತ್ಲೊ . ಮ್ಹ ಜಂ ನಾಂವ್ನ ಉರೊೀರ್ಷಮ ಮ್ಹ ಜ ಆವಯ್ ಬಾಪಯ್ ಹ್ಂ್ ಆಸ್ಲಿೊ ಂ. ತಂ ಖಂಯ್ ಆಸ್ಮತ್? ಮಹ ಕಾ ತಂಕಾ ಪಳಯ್ಲಿ ಮ್ಹ ಳೆಂ ಉರೊೀರ್ಷಮನ್. ಉರೊೀರ್ಷಮ ಮ್ಹ ಳೆಯ ಂ ನಾಂವ್ನಂಚ್ ಪಯಿಲೊ ಪಾವಿಾ ಂ ಆಯೊೊ ಂಚಂ ಹ್ಂವೆ. ಹ್ಂ್ ತ್ತಜಂ ಕೊಣ್ಂಚ್ ನಾಂತ್. ಮ್ಹ ಳೆಂ ಮಹ ತರೆನ್. ರ್ಹಂ ಮ್ಹ ಜಂಚ್ ಘರ್, ಆಮಿ ಹ್ಂ್ಚ್ ಆಸ್ಲೊ ಯ ಂವ್ನ. ನಿರಾಶನ್ ಸ್ಮಂಗ್ಚ್ೊ ಂ ಉರೊೀರ್ಷಮನ್. ರ್ಹಂ ಆಯೊೊ ನ್ ಮ್ತರಿ ಥೊಡೊ ವೆೀಳ್ ಚಂತ್ತಂಕ್ ಪಡೊ . ವಹ ಯ್ ಉರೊೀರ್ಷಮಚ ಕಾಣಿ ಉಡಾಸ್ಮಕ್ ಯ್ಲತ. ್ಂವೆೊ ಮಲ್ಗ ಡ್ ತಚ ಕಾಣಿ
31 ವೀಜ್ ಕ ೊಂಕಣಿ
ಸ್ಮಂ್ತ ತ್, ಕಾಂಯ್ ಸುಮರ್ ತನಿಯ ಂ ಆಪಯ್ಲೊ ಂ. ಪೂಣ್ ಕಾಸ್ಚವ್ನ ವರಾಸ ಂ ಪಯ್ಲೊ ಂ ದರ್ಯಾರಾಯಾರ್ಚ್ಯ ಎದಳ್ಚ್ ಆಪಾೊ ಯ ವಹ ಡಲಿ್ ರ್ಚ್ಯ ಧವೆನ್ ತಚರ್ ಭುಲ್ ಘಾಲ್್ ತಕಾ ರಾವೆಯ ರಾಕ್ ಪಾಟಿಂ ಗ್ಚ್ಲೊ ಯ ನ್ ತಕಾ ಆಪಾೊ ಯ ್ಂವಾಕ್ ವೆಹ ಲೊ ಖಂಯ್. ಮೆಳೊಂಕ್ ನಾ. ತ್ವಳ್ ಉರೊೀರ್ಷಮಕ್ ಅತಂ ತನಿಸ ಂ ವರಾಸ ಂ ಉಪಾೂ ಂತ್ ತ್ತಂ ಆಪಾಾ ಕ್ ಮಿಸ್ಮಕ್ಷನ್ ದಲೊ ಯ ತಯ ಯ್ಲೀವ್ನ್ ಹ್ಂವ್ನ ಉರೊೀರ್ಷಮ ಪೆಟ್ಲಲಚೊ ಉ್ಯ ಸ್ ಆಯೊೊ . ತಣಂ ಮ್ಹ ಣ್ಟತ ಯ್. ಭಾರಿೀ ಅಜಾಪ್ ಹ್ಬಾ ಮಿಸ್ಮಕ್ಷನ್ ದಲಿೊ ಜಾಗವ ಣಿ ವಿಸ್ಚೂ ನ್ ತೆಂ ಅಜಾಪ್! ಮ್ಹ ಣ್ಟಲಿ ಮಹ ತರಿ. ಪೆಟ್ಲಲ್ ಉಗ್ಚ್ತ ಂ ಕ್ಷಲಂ. ತ್ಕ್ಷಣ್ಟಂಚ್ ತ ಉರೊೀರ್ಷಮಕ್ ತಚಂ ಉತೂ ಂ ಧ್ರಿಾ ರ್ ಪಡೊನ್ ಉಳವ ಳೊಂಕ್ ಆಯೊೊ ನ್ ಅಜಾಯ ಪ್ ಜಾಲಂ. ಆಪುಣ್ ಲಗೊೊ . ಆತಂ ತ ಮಹ ತರೊ ಅನಿಕ್ಷೀ ತ್ರಾ್ ಟೊ. ಹಂ ಮಹ ತರಿ ಜಾಲೊ . ಪಾಟ್ ಬಾ್ವ ಲಿ, ದಾಂತ್ ತನಿಯ ಂ ವರಾಸ ಂ ಪಾಶರ್ ಜಾಲಯ ಂತ್ ಝಡ್ೊ . ಮಿಸ್ಮಕ್ಷನ್ ಆಪ್ರೊ ಂ ತನಿಯ ಂ ಮ್ಹ ಣ್ಟತ . ತ್ರ್ ದರ್ಯಾಂತ್ ಪಾೂ ಯ್ ವರಾಸ ಂ ತಯ ಪೆಟ್ಲಲಂತ್ ಫಿರ್ಚ್ರ್ ಮ್ಹ ಳಿಯ ಚ್ ಉತೂ ನಾ ರ್ಹಂ ಚಂತ್ತನ್ ಕ್ಷಲಿೊ ಂ ಮ್ಹ ಣ್ ತಕಾ ಕಳಿತ್ ಜಾಲಂ. ತಕಾ ಪರಾತ ಯ ನ್ ಮಿಸ್ಮಕ್ಷಲಗಂ ಥೊಡಾಯ ಚ್ ವೆಳಾನ್ ತಚೊ ಜೀವ್ನ ವಚೊಂಕ್ ಮ್ನ್ ಆಯ್ಲೊ ಂ. ತಣ ಉಬೊೊ . ದಯಾಸತ್ಡಕ್ ವಚೊನ್ ಕಾಸ್ಮವ ಕ್ ------------------------------------------------------------------------------------------
32 ವೀಜ್ ಕ ೊಂಕಣಿ
33 ವೀಜ್ ಕ ೊಂಕಣಿ
39. ದೆವಾಚಿ ಕೃಪಾ-ರಿೀಣ್ ವಾರ್ಚ್ಯ ರ್ಥಸ: ಜೀವಸತವ ಚಂ ಏಕ್ ಭಂಡಾರ್ ಆಸ್ಮ. ದಳಾಯ ಂಕ್ ದಸ್ಮನಾತ್ಲೊ ಸ್ಮವಾೊ ರ್ ತಚಂ ಆಡಳೆತ ಂ ಚಲ್ಯಾತ . ಗಜಸ ತೆಕ್ಷದ್ ತ ರಿೀಣ್ ದತ ಕಂಯ್. ತಕಾ ಮನವ ಂಚಂ ಕಶಂ? ವಿವರಣ್ : ಹರೆಯ ೀಕ್ ವಸುತ ಕ್, ಏಕ್ ಸೃರ್ಷಾ ಕತ್ಸ ಆಸ್ಮ. ರೆೀಡಯೊ ಸ್ಚಧನ್ ಕಾಡ್‍ಲಲೊ ಎಕೊೊ , ದ್ರರ್ದಶಸನ್ ಸ್ಚಧನ್ ಕಾಡ್‍ಲಲೊ ಎಕೊೊ , ಭಾತ್, ನಾತ್ , ಕಾಪುಸ್ ಹ್ಂಚ ತ್ಳಿ ಸ್ಚಧನ್ ಕಾಡ್‍ಲಲೊ ಎಕೊೊ . ಅಶಂ ಹರೆಯ ೀಕಾ ಸೃಷ್ಟಾ ರ್ಚ್ಯ ಪಾಟ್ಲ್ೊ ಯ ನ್ ಏಕ್ ಕಾರಣ್ ಆನಿ ತೆಂ ಸ್ಚಧನ್ ಕಾಡ್‍ಲಲೊ ಎಕೊೊ ಜಣ್ ಆಸ್ಮ. ಪುಣ್ ಹೊ ಸಂಸ್ಮರ್ ಆಸ್ಮ ನಹ ಯ್ವೆ, ವಿಜಾ ತೊ ಯ್ಲನ್ ಭರೊ ಲ. ಹೊ ನಿಮಸಣ್ ಕ್ಷಲೊ ಕೊಣ? ಹರೆಯ ೀಕ್ಷ ಘಡ್ಯ ಚಂತ್ತಂಕ್
ಅಸ್ಮಧ್ಯ ತತೊ ಯ ಮ್ಟ್ಲ್ಾ ನ್ ಸಂಗತ ಹ್ಂ್ಸರ್ ಅಸ್ಥತ ತವ ಕ್ ಯ್ಲತತ್. ತತೊ ಯ ಚ್ ಪೂ ಮಣ್ಟನ್ ನಾಸ್ಯಿೀ ಜಾತತ್. ಅಮಿೀಬಾ ತ್ಸಲಯ ಸೂಕ್ಷ್ಾ ಜೀವಿಕ್ ಧ್ರ್್ , ಹಸ್ಥತ ತ್ಸಲಯ ವಹ ಡ್‍ಲ ಮ್ನಾಿ ತಂಚ ಸೃರ್ಷಾ ಜಾವ್ನ್ ಗ್ಚ್ಲಯ . ಭುಂಯ್ಕಾಂಪ್, ಆವ್ನೂ ತ್ಸಲಯ ಅನಾಹುತಂಕ್ ಲಗುನ್, ಹಜಾರಾಂನಿ ಜೀವಿಂಚೊ ನಾಸ್ ಜಾಲ. ರ್ಹಂ ಏಕ್ ಬೊವ್ನ ವಹ ಡ್‍ಲ ಜೀವಸತವ ಚಂ ಉ್ೂ ಣ್. ಹ್ಯ ಉ್ೂ ಣ್ಟಚೊ ಧ್ನಿ ಕೊಣ್? ರ್ಹಂ ಚಂತ್ಪ್ ಹಜಾರಾಂರ್ಚ್ಯ ಹಜಾರ್ ವಸ್ಮಸಂನಿ ಜಾವ್ನ್ ಗ್ಚ್ಲಂ. ಆಮೊ ಯ ಹ್ಯ ಬಹುಕಾಲಿೀನ್ ದರ್ಷಾ ಕಾರಾಂನಿ ರ್ಹಯ ಸಕ್ಷತ ಕ್ ‘ದೀವ್ನ’ ಮ್ಹ ಣ್ ಆಪಯಾೊ ಂ. ದೀವ್ನ ಆಮೊ ಯ ದಳಾಯ ಂಕ್ ದಸ್ಮನಾ, ತ್ರಿೀಪುಣ್ ಪೂ ತ ಅಣಂತ್ ತ
34 ವೀಜ್ ಕ ೊಂಕಣಿ
ಮಿಸ್ಮಯ ಲ. ತ್ಶಂ ಜಾಲಯ ರ್ ತಚಂ ಸೃರ್ಷಾ , ಸ್ಥಿ ತ ನಾಸ್ಮಕ್ ದೀವ್ನ ಮ್ನ್ ಜಕ್ಷೊ ಂ ಕಶಂ? ತಣ ದಯ್ಲನ್ ಕಾರಣ್ ಜಾವಾ್ ಸ್ಮ. ಅಂತ್ಯಾಸಮಿ ದಂವಿೊ ವಸ್ತ ರಿೀಣ್ ಮ್ಹ ಣ್ ವಿಸ್ಚೂ ಂಚ ಜಾವ್ನ್ ಸಕೊ ಡ್‍ಲಯಿೀ ಸಕಾಾ ಂಕ್ಯಿೀ ನಹ ಯ್. ಕಡ ಮ್ಹ ಳಾಯ ರ್ ರಿೀಣ್. ರಿೀಣ್ ನಿರ್ಂತ್ೂ ಣ್ಟರ್ ದವರಾತ . ಕಮಸಧ್ಯ ಕ್ಷ್ ಕ್ಷದಂಕ್ಚ್ ದಾನ್ ನಹ ಯ್. ತೆಂ ಪಾಟಿಂ ಜಾವ್ನ್ ಫಳ್ ದತ. ತ ಆಕಾರ್ ಪಾವಿತ್ ಕರಿಜಯ್ ಜಾಲಿೊ ಜವಾಬಾದ ರಿ. ಆಸ್ಲೊ ಯಿೀ ವಹ ಯ್, ಆಕಾರ್ ಬಹುಷಯ ವಾಡ ಸಮೆೀತ್ ಪಾಟಿಂ ನಾತ್ಲೊ ಯಿೀ ವಹ ಯ್. ಆಮೆೊ ಯ ದಜಯ್ ಪಡಾತ . ಆನಿ ವಿನಮೃತೆನ್, ಬುಧ್ವ ಂತ್ಕಾಯ್ಲನ್ ರ್ಥಾರ್ಥಸಪಣ್ ಪಾೂ ಮಣಿಕ್ಪಣ್ಟನ್ ಆಮೆೊ ಂ ಕತ್ಸವ್ನಯ ಸಮುಿ ನ್ ಕಾಣಘ ಂವ್ನೊ ಜಾಂವ್ನ, ಕ್ಷಲೊ ಯ ವೆಳಾರ್ಯಿೀ ದವಾನ್ ಆಮೊ ಂ ವಿವರುಂಕ್ ಜಾಂವ್ನ, ಸ್ಮಧ್ಯ ಜಾಯಾ್ . ದಂವೆೊ ಂ ರಿೀಣ್ಚ್. ತ್ಶಂ ಮ್ಹ ಳಾಯ ರ್ ಪುಣ್ ಆಮಿ ಹಂಕಾರಾವಿಣ ಅನನ್ಯ ಆಮಿ ದವಾ ಥಾವ್ನ್ ಜೊಡ್‍ಲ್ ಘೆತ್ೊ ಲಂ, ಭಕ್ಷತ ನ್ ತಚ ಭಕ್ತ ಆಧ್ಲ್ರಾೊ ಯ ರ್ ತ ತೆಂ ಆಮೆೊ ಂ ನಹ ಯ್. ತೆಂಚ್ ಸ್ಮವ ಮಿ ಮ್ಭರಿತ್ ಜಾವ್ನ್ ಆಮೆೊ ರ್ ತಚಂ ವಿವೆೀಕಾನಂದ ತ್ನಾಸಟ್ಲ್ಯ ರಾಕ್ಫೆಲಕ್ ಆಶಿೀವಾಸದಾಂ ವ್ಲತತ , ಹ ಆಮೊ ಯ ಸ್ಮಂ್ತ , ‘ತ್ತಜ ಪಯ್ಲಯ ತೆ ತ್ತಜ ನಹ ಯ್. ದಶಸನಾಂರ್ಚ್ಯ ಭತ್ರಿೊ ದಸವ್ನಾ . ಕವಿತ ತ್ತಂವೆ ತೆ ಲಕಾಕ್ ವಾಂಟ್ಲ್ೊ ಯ ಕ್ ಹ್ಯ ಚ್ ವಿಷ್ಮಯ ಂತ್ ಉಲ್ಯಾತ : ಹ್ಯ ದವಾನ್ ತ್ತಜಯ ಆಧ್ೀನ್ ದಲಯ ತ್.’ ಪೂ ಚಂಡ್‍ಲ ಜೀವಸತವ ರ್ಚ್ಯ ಆಮೊ ಂ ಮೆಳ್ಲೊ ಂ ಪೂರಾ ತಣಂಚ್ ಭಂಡಾರಾಚೊ ಧ್ನಿ ಎಕೊೊ ಆಸ್ಮ. ಪುಣ್ ದಲೊ ಂ ದಾನ್. ತೆಂ ಶೃದಾ ನ್ ಪಾಟಿಂ ತ ದಳಾಯ ಂಕ್ ದಸ್ಮನಾ. ತ್ರಿೀ ಏಕ್ ಪಾವಿತ್ ಕ್ಷಲೊ ಯ ವೆಳಾರ್ ತ ವಿಷಯ್ ಆಸ್ಮ ಕ್ಷ, ತಣ ಮ್ನ್ ಕ್ಷಲಯ ರ್ ಸಂತಸ್ಮನ್ ಚಡತ್ ಮಪಾನ್ ಆಮೊ ಂ ಗಜ್ಸ ಆಸ್ಲೊ ಂ ರಿೀಣ್ ಜಾವ್ನ್ ಆಮೊ ಂ ದತ್ಲ.’ ತಕಾ ದವೆಯ ತ್ ಕಂಯ್. -----------------------------------------------------------------------------------------
35 ವೀಜ್ ಕ ೊಂಕಣಿ
5 ಕೊಂಕಿ ಕಾವಾಯ ಂ
(ಲ್ಬವಿಸ್
ಘಾಲೊ ಂ ಪಾಂಪಾಳೆಂ
ರ್ಜ್ಞದಾನ (ಸಂ) ವಿಲ್ಯ ಮ್ ದ ಸ್ಥಲ್ವ : ಪೂ :
ಬಾರಾತೆರಾ ವರಸ್ಮಂ ಜಾತ್ಚ್
ಪೂ ಗತೀ ಪೂ ಕಾಶನ 1987)
ಮ್ಹ ಜೀ
ಮಂರ್ೊ
ಮ್ಸೊ ರೆೀನಹ ಸ್-ಕೊಂಕಣಿೀ
ದವೆಸಂ-1914; ಪಾ. 66; ಆಬಾೂ ಂವಚಂ
ಹ್ಂವ್ನ
ಶಿಕರ್ತಲಂ;
ಮ್ಹ್ನ್ ಕವಿ ರ್ಚ್ ಫ್ರೂ ದಕೊೀಸ್ಮತ ನ್
ಸ್ಮಧ್ಲ್ಣ್ಸ ಮಿಶ್ಯಯ ಫುಟೊನ್ ಯ್ಲತ್ಚ್
ಕೊಂಕ್ಷಾ ರ್ಚ್ಯ ಕವಿ ಸಂಸ್ಮರಾಕ್ ಮ್ಹ್ಣ್
ಬಾಬಾಪಾಶಿೀಂ ಬುದವಂತ್ ಜಾಲಂ,
ದಣಿಗ ದಲಯ . ಸಹಜಪ ಣಿ ತಣ ಕೊಂಕ್ಷಾ
ಆತಂ ಮ್ಹ ಜೀ ಪಾೂ ಯ್ ತ್ರ್ ಲಕೂಂ, ಸುಮರ್
ಸ್ಮಟ್ಲ್ಂಕ್ ಅದೃಶ್ಾ
ಕ್ಷತೆಂ
ಕ್ಷಲಂ.
ಫ್ರೂ ರ್ಚ್ಯ
ಚುಟ್ಲಕಾಂನಿ
ತರ್ಚ್ಯ ಕವಿತೆಂತ್ ಆಸೊ
ಪರಿಂ ಸಹಜ್
ರ್ಚ್
ಗ್ಚ್ೂ ೀಸ್ತ
ನಹ ಂಯ್ ಏಕ್ ಸಂದೀಶ್ ಆಸ್ಮ. ತಯ ನಿಮಿತ ಂ ತೀಂ ಫಕತ್ತ ರೂಚ್ ರ್ಚ್ಕೊನ್,
ಸ್ಮಂಗೂಂ? ನಾತೂ ಮಹ ಕಾ ಶಿಕಂವ್ನೊ ಯ್ಲತ.
ಸಂಸ್ಮರಾಕ್ಯಿೀ
ಭಾರ್ಷಕ್ ಗ್ಚ್ೂ ೀಸ್ತ ಕಾಯ್ ಆಸ್ಮ ಮತ್ೂ
ಲಗೀಂ ಜಾತ; ಮ್ಹ ಜಂ
ಚುಟ್ಲೊ ಲಂ
ಆಸ್ಮವ ದತ್ ಕರಾೊ ಯ ರುಪಾಚಂ ನಹ ಂಯ್
ಬ್ರ್ ಅಖ್ತಯ ಯ
36 ವೀಜ್ ಕ ೊಂಕಣಿ
ದಸ್ಮ ಚಂವಡಾಪ ಕ್
ಆಸ್ಮೊ ಯ
ಕೊಬಾ
ತ್ಸಲಿಂ,
ಚಂವಡ್ೊ
ತತೊ ರೊೀಸ್.
ಉಜಾಯ ಚ ಖ್ಲಡ್‍ಲ ಉಜೊ ಮ್ಹ ಣಿ ಉಜೊ ರಾ್ನ್ ಹ್ತ್ ಲಯ್
ದಂವಾೊ ರಾಚೊ ದುಡು
ವ ಮ್ನ್
ದಂವಾೊ ರಾಚೊ ದುಡು
ಹ್ತ್ ಹೊ ಲಸತ ಲಚ್
ತಚಲಗಂಚ್ ಆಸ್ಚಂ ಸಂದಾಸಂದಾಂತ್ ತರ್ಚ್
ಮ್ಹ ಜ ರವಿ
ಕೊಡಾಸ ಣ್ ಆಸ್ಮತ
ಮ್ಹ ಜ ರವಿ
ದಂವಾೊ ರಾಚಂ ಭಾಂ್ರ್
ಆನಿ
ಥಳಿ ಳಿತ್ ಆಸ್ಚಂ
ತ್ತಜಂ ಧ್ಂಯ್
ಕ್ಷೈಲ ರ್ಕಡಾೊ ಯ ಚಂಯ್
ಮೆಳೊನ್
ತಕಾ ಮೀಲ್ ನಾಸ್ಮತ ಂ
ಲೀಣಿ ಜಾತ,
(ಪಾ-266;
ಪಣತ ಚ
ಪೆಲಿ;
ರ್ಚ್
ಫ್ರೂ
ತಕ್ ಜಾತ
ದ’ಕೊಸ್ಮತಚಂ ಸ್ಮಹತ್ಯ ಸಂಗೂ ರ್ಹ; (ಸಂ)
ಲೀಣಿ ತ್ತಜಂ?
ನಂದನಿ, ಪೂ : ಕ್ಷೊ ಫಡಸ ಸ್ಚಜ್:2005)
ತಕ್ಯಿೀ ತ್ತಜಂ? ಆನಿ
ನಾಗರಿ
ಲಿಪ್ರಂತೊ ಯ
ಚುಟ್ಲಕಾಂಕ್
ಕೊಂಕ್ಷಾ ಂತ್
ವಿಶೀಸ್
ಮ್ಹ ಜಂ ಕ್ಷತೆಂ?
ಮನ್
ಲಬಯಿಲಿೊ ಖ್ತಯ ತ ರ ವಿ ಪಂಡತಂಕ್
ಮ್ನೀಹರ್ರಾಯ್
ಸರೆದ ೀಸ್ಮಯ್
ಆನಿ ಮ್ನೀಹರ್ರಾಯ್ ಲ್ಕ್ಷಾ ಣ್ರಾವ್ನ
ಹ್ಂರ್ಚ್ಯ
ಚುಟ್ಲಕಾಂಚ
ಸರೆದ ೀಸ್ಮಯ್ ಹ್ಂಕಾಂ ಫ್ರವ್ಲ ಜಾತ.
ವಿಷಯ್ ಸ್ಚಂಪೆ, ಆಯೊೊ ಪಾಯ ಕ್ ಖುಷ್ಟ್
ರ
ದವರೆೊ
ವಿ
ಪಂಡತ್
್ವೆಯ
ಕವಿ
ಚಡ್‍ಲಶಯ
ತ್ಶಂಸ್ ಮ್ತ್ ಸಂತಸ್ಮಂವೆೊ .
ಮ್ಹ ಣನ್ಂಚ್ ಆಪಾಾ ಕ್ ವಳಾೊ ತತ್.
ಖ್ಲಲಯ್ಲನ್
ತಂರ್ಚ್ಯ
ಆಶತ್ಲಯ ಂಕ ಥಂರ್ಸ ರ್ ಜಾಯ್ಲತ ಂ ಆಸ್ಮ
ಚಡ್‍ಲಶಯ
ಪೂ ತರೊೀಧ್ಲ್ಚ
ಸ್ಮಹತಯ ಂತ್ ಸ್ಮವಿಯ
ಆಸ್ಮ.
ವಾಚೊಂಕ್
ತೆೀಂ ತತೆೊ ಂಚ್ ಖರೆಂ.
ಜಾತ್ವಾದ್, ಧ್ರಾಾ ಂದಯ ಂಪಣ್ ತಣಿ ಉ್ತ ಯ ನ್ ಆನಿ ಜೊರಾಯ್ಲನ್ ವಿರೊದ್
ಏಕ್ ಆಸ್ಲೊ ಬೆಬೊ
ಕ್ಷಲೊ . ತಂರ್ಚ್ಯ ಚುಟ್ಲೊ ಲಂನಿ ಸಯ್ತ
ಏಕ್ ಆಸ್ಲೊ ಬೆಬೊ
ಹ
ಸವಾಲ್
ಪೂ ವೃತತ
ಮ್ಹ ಣನ್ ದಸ್ಚನ್ ಯ್ಲತ.
ಧ್ರ್ಧ್ರ್
ತಕಾ ದಸ್ಚೊ ಖುಬೊ ಬೆಬಾಯ ನ್ ಮ್ಹ ಳೆಂ ‘ಖುಬಾಯ ಖುಬಾಯ
37 ವೀಜ್ ಕ ೊಂಕಣಿ
ವಾಟೆರ್ ಕ್ಷತಯ ಉಬೊ?’
(ಪಾ 66: ಚಪುಸಟ್ಲ್ಂ; ಪೂ ತಪ್ ನಾಯ್ೊ
ಖುಬಾಯ ನ್ ಮ್ಹ ಳೆಂ ‘ಬೆಬಾಯ ಬೆಬಾಯ
ಜ.ಸ.-ಪೂ ; ದವ್ಲ ಪೂ ಕಾಶನ್ ಮುಂಬಯ್-
ಸ್ಚದಾತ ಂ ಮ್ಹ ಜೊ ಬೊಬೊ’
2002)
ಸ್ಮಂಯ್ ಸ್ಚದಾಪ್
ಜ ಬಿ ಸ್ಥಕ್ಷವ ೀರಾ ಆಮೊ ಯ
ಸ್ಮಂಯ್ ಸ್ಚದುಂಕ್
ನಾಮೆಾ ಚೊ ಕವಿ. ತರ್ಚ್ಯ ಚುಟ್ಲೊ ಲಂನಿ
ಸಗೊಯ ದೀಸ್
ಆಮೊ ಂ
ಭೊಂವ್ಲೊ ಂ ವ್ಲತಂತ್
ರೂಚ್
ಪಾವ್ಲೊ ಂ ಲಗಂ ತೆನಾ್
ಚಂತಪ
ಆಯಿೊ ರಾತ್
ಮಲಂಚ ವಾಹ ಳ್ ದಸ್ಮತ . ಕೊಂಕ್ಷಾ ಕವಿ
ಚಡ್‍ಲಶಂ
ಜೀಣ್,
ನಾಗರಿಂತ್
ಸಭಾರ್
ತಂರ್ಚ್ಯ
ಬರಯಿಲಿೊ ಂ
ಆಮೊ ಂ
ಮೆಳಾತ ತ್.
ಚುಟ್ಲೊ ಲಂ ಪಳೆಂವ್ನೊ
ತಂರ್ಚ್ಯ
ಝರಿಂತ್
ಮ್ಹ ನಾಯ ಯ
ಜೀ
ಜಾಲಯ ತ್
ತಂಚ
ತಂಚಂ
ಜಣಯ
ಮಲಂ
ಸ್ಮಹತಕ್
ಸಂರಚನಾಂನಿ
ಪೂ ತಫಳಿತ್ ಜಾಲಯ ಂತ್. ದುಬಿಯ ಕಾಯ್, ಸ್ಮದಾಯ
ಶಂತಪಣ್ಟಚ ಜೀಣ್, ಆನಿ
ಸಂಗೂ ಹ್ಂತ್ ಜೀಂ ಚುಟ್ಲೊ ಲಂ ಆಸ್ಮತ್
ಚಡ್‍ಲಶಿಂ
ಬಾಇಬಲಚಂ
ತೀಂ
ಹ್ಂ್ ದಸ್ಮತ ತ್.
ಲಕಾಕ್
ದಂವಾೊ ಯ
ಚಪುಸಟ್ಲ್ಂ
ತ್ತ್ವ ಶಸ್ಥತ ರಾಚ
ರ್ಚ್ಕೊಂಕ್ ಮೆಳಾತ . ತರ್ಚ್ಯ
ಮ್ಹ ಣನ್ ಜಜುರ್ಚ್ಯ ಸಭೆರ್ಚ್ಯ ಪೂ ತಪ್ ನಾಯಾೊ ನ್
ಕಾಳಾಚೊ
ತದವ ಣ್,
ಸುರುಪಾಚಂ.
ಜಾಗವ ಣ್
ಮಲಂ
ಶಂಭೊರ್
ಚಪುಸಟ್ಲ್ಂಚೊ ಹೊ ಸಂಗೂ ರ್ಹ ಪೂ ತಪ್
ಝುಜಾಂ ಜಾತತ್
ನಾಯಾೊ ಕ್ ಆನಿ ತರ್ಚ್ಯ ವಾವಾೂ ಕ್ ಜೊೀ
ಝುಜಾಂ ಜಾತತ್; ಮ್ನಿಸ್ ಮರಾತ ತ್.
ವಳಾೊ ತ
ತಕಾ ತಯ
ಚಪುಸಟ್ಲ್ಚಂ
ಹ ಬರಾಯ ವಾಯಾಾ ವಿಂಚೊವ್ನಾ
ಪಾಟ್ತ್ಳ್
ಚಡ್‍ಲ
ಸಲಿೀಸ್ಮಯ್ಲನ್
ನೆಣ್ಟಂ ಕ್ಷತಯ ಕ್ - ಪುಣ್ ಏಕ್ ವಿರ್ಚ್ರ್
ಸಮಿ ತ್.
ಬಸ್ಮೊ ಕಾಳಾಿ ಂತ್ ಖಂಚೊನ್. ಝುಜಾಂ ಖಂಡತ್ ನಿಧ್ಲ್ಸರ್ ಕರಾತ ತ್
ಮಡ್‍ಲ ಜರ್ಯಿೀ ಆಮೊ
ಉರೆೊ ಕ್ಷತೆೊ ವಾಂಚೊನ್!
ಮಡಾ ಸ್ಮವಿಯ ಯ್ ಆಮಿೊ ಚ್ ಜಾತ ?
(ಪಾ-17; ಏಕ್ ಧೀಂಟ್ ಏಕ್ ಪಾನ್-
್ಂವ್ನ ಆಮೊ ಜಾಲ ಮ್ಹ ಣನ್
ಜ.ಬಿ. ಮರಾರ್ಸ್: ರೊೀಶನ್ ಸ್ಮಹತ್ಯ
ಮತಯ ವಯ್ಲೊ ಂ ಮ್ಳಬ್ ಆಮೆೊ ಂ ?
ಪೂ ಕಾಶನ್, ಮುಂಬಯ್-2002)
‘್ಂವಿಾ ’ ಆನಿ ‘ಘಾಟಿ’ ವಾಂಟೆ ಕರೊೊ
ಮವಿೂ ಸ್
ನೆೀಮ್ ಖಂಯೊೊ ್ ನಾಯಾೊ ?
ನಾಮೆಾ ಚೊ 38 ವೀಜ್ ಕ ೊಂಕಣಿ
ಶಂತಪುರ ಕವಿ
ಕೊಂಕ್ಷಾ ಂತೊ
ತರ್ಚ್ಯ
‘ಭಂ್ರಿ’
ಕವಿತ ಪುಸತ ಕಾನ್ ಕವಿತೆರ್ಚ್ಯ ಮಳಾರ್
ನಾತೊ ಯ ಬ್ರ್
ವಹ ಡ್‍ಲ
ಪ್ಲಪಾಳ್ ಕಶಂ ಜಾಶಿ?
ಲರಾಂ
ಉಟಯಿಲಿೊ ಂ.
‘ಭಂ್ರಿ’ಂಂತ್
ತಯ
ಮಹ ಕಾ
ಆಪುರಾು ಯ್ಲಚಂ
ಜಾಲಿೊ ಂ
ದೀನ್
(ಪಾ 45; ಭಂ್ರಿ: ಮವಿೂ ಸ್ ಡ್ಸ್ಮ, ಶಂತಪುರ, ಪೂ : ರಾಕೊಾ
ಚುಟ್ಲೊ ಲಂ
ತ್ತಮೆೊ
ಮುಕಾರ್
ದವರಾತ ಂ.
ಮವಿೂ ಸ್
ಆಪಾೊ ಯ
ಪೂ ಕಾಶನ್,
ಮ್ಂಗುಯ ರ್-1995)
ಚುಟ್ಲೊ ಲಂನಿ ಉತೂ ಂ ಉತೂ ನ್ ಜೀಣ್
ದಕಾತ .
ಉತೂ ಂ
ವಾಪಾರ್್
ತಯ
ಕೊಂಕ್ಷಾ ಂತ್
ಚುಟ್ಲೊ ಲ್
‘ಚಡ್‍ಲಶಂ
ಉತೂ ಂವಳಿ ಭಾಯ್ೂ ಪಾಂವಿೊ ಹ ಶರ್
ವಯ ಂಗ್ಯ ಆನಿ ವಯ ಂ್ಯ ದಾವ ರಿಂ ಆಪಾಾ ಕ್
ಜೀ
ಸ್ಮಂಗೊಂಕ್
ತರ್ಚ್ಯ
ಕವಿತಂನಿ
ಆಮೊ ಂ
ಆಸೊ ಂ
ಸ್ಮಂಗ್ಚ್ೊ ಂ
ಪಳೆಂವ್ನೊ ಮೆಳಾತ ತೀ ಹ್ಂ್ಸರ್ಯಿೀ
ಮಧ್ಯ ಮ್ ಜಾವ್ನ್ ’ ಫ್ರಮದ್ ಜಾಲಂ.
ಸುಲ್ಲಿತ್ ದಸ್ಚನ್ ಯ್ಲತ.
ಆಪಾಾ ಕ್ ಜಾಯ
ಸಂಗತ ಚೊ ಕಾಂಠಾಳೊ
ಆಸ್ಮ, ಜಾಯ ಸಂಗತ ಂ ವಿಶಿಂ ವಿೀಟ್ ಆಸ್ಮ ಪಾಂರ್ಿ ಣ್
ತಯ
ಸರಾವ ಂಕ್ ಬೆಂಡುಂಕ್ ಚುಟ್ಲೊ ಲ್
ಯ್ಲದ ರಾತಂ
ಸಲಿೀಸ್ ಮಧ್ಯ ಮ್ ಜಾತ. ಹ್ಕಾ ದೀಕ್
ಮ್ಹ ಜ ಮ್ತಂ
ಜಾವ್ನ್
ಚಂದೂ ಮರ್ಚ್ಯ ಉಡಾಸ್ಮನ್
ಅಂಜಲರ್
ಪಾಂರ್ಿ ಣ್ ಕಾಂಯ್ ಪ್ರಂರಗ ತ?
ಕವಿತಘಸ್ಮಂತ್ ಪಳವೆಯ ತ್.
ಜಫಿೂ
ಸ್ಥ
ಫೆನಾಸಂಡಸ್,
ಹ್ರ್ಚ್ಯ
‘ಮಹ ಂವ್ನ’
ಪ್ರಶಿ ಆಮಸ್
ಹ್ಸ್ಮತ ಂ ಹ್ಸ್ಮತ ಂ
ಊಂಚ್
ರಾತ್ ಮ್ಹ ಜ ಹಳೂ ಹಳೂ ಕರಗ ತ
ಹ್ಂ್ಸರ್ ಎಕೊೊ
(ಪಾ 105; ಭಂ್ರಿ: ಮವಿೂ ಸ್ ಡ್ಸ್ಮ,
ಮ್ಂತೂ ಮ್ಹ ಣ್ಟತ
ಶಂತಪುರ, ಪೂ : ರಾಕೊಾ
ಆಪ್ರೊ ಂ ಕಾಮ ಕ್ಷದಾ್ ಂಯ್
ಮ್ಂಗುಯ ರ್-1995)
ಪೂ ಕಾಶನ್,
ಊಂಚ್ ಪೂಣ್ ರ್ಹವಿಯ ಲಿ ಕಾಡ
ಜೀಣ್
ತೆವಿಯ ನ್ ದವಿೂ ನಾ
ಮತಯ ರ್ ಆಸ್ಮ
ದನಾ ಜಾಲಯ ರ್
ಪ್ಲವೆೊ ಕಂಡ
ಲಂಚ್
ಜೀಣ್ ಕ್ಷತಯ ಅಶಿ?
(ಪಾ 18: ಮಹ ಂವ್ನ, ಜಫಿೂ ಸ್ಥ
ಭಂ್ರಿ ಜರ್
ಫೆನಾಸಂಡಸ್, ಅಂಜಲರ್, ಸವಕ್ 39 ವೀಜ್ ಕ ೊಂಕಣಿ
ಪೂ ಕಾಶನ್: 2005)
ಕವಿತಂಚೊ
ಪುಸತ ಕ್
ಘವಾಚಂ ಮಗ್ಚ್ಾ ಂ
ವ್ಲಲಯಾೊ ಂ.
ಮ್ಹ ಣನ್
ಏ ದವಾ ಮ್ಹ ಜಾಯ ಬಾಯ್ಲೊ ರ್ಚ್ಯ
ಡಾ.
ಆಸ್ಥಾ ನ್
ಪೂ ಭುರ್ಚ್ಯ
3500
ದಳಾಯ ಂತ್ ಕೊಯ್ೂ
ಚುಟ್ಲೊ ಲಂಚೊ ಸಂಗೂ ರ್ಹ ವಜಾೂ ಂ ಹ್ಯ
ಪಡಾೊ ಯ ರ್ ವಹ ಡ್‍ಲ ನಹ ಯ್!
ಶತಂತ್ ವಹ ಡ್‍ಲ ಏಕ್ ದಾಕೊೊ ಚ್ ಸಯ್.
ಕಾಪಾಡ್‍ಲ
ವಜಾೂ ಂ ಕಾನಡ ಆನಿ ನಾಗರಿಂತ್ ಪರಗ ಟ್
ಪಡ್ೊ ಂ ನಾಕಾ!
ಜಾಲ.
(ಪಾ
19:
ಮಹ ಂವ್ನ,
ಫೆನಾಸಂಡಸ್,
ಜಫಿೂ
ಅಂಜಲರ್,
ಸ್ಥ
ಸವಕ್
ಪೂ ಕಾಶನ್ :2005)
ರಿಚೊ
ಲ್ಸ್ಮೂ ದಾರ್ಚ್ಯ
ಚುಟ್ಲೊ ಲಂನಿ
ಸ್ಥದಾದ ಂತಂ ಆಸ್ಮತ್, ನಕಾೊ ಂ ಆಸ್ಮತ್, ಭಾಷ್ಟಚ ಸ್ಚಭಾಯ್ ಆಸ್ಮ, ವಯ ಂಗ್ಯ
ಸಬಾರ್ ತೆೀಂಪ್ ಚುಟ್ಲೊ ಲಂ ಸವ ತ್ಂತ್ೂ
ಆಸ್ಮ, ಅಶಂ ಸುತೂ ಂ ವ್ಲಣಿತ ಂ ಭಾಯ್ೂ
ಕಾವಾಯ ರೂಪ್
ಜಾವ್ನ್
ಕೊಂಕ್ಷಾ ಂತ್
ಪರಿಪೂರ್ಾ
ವಾಡೊನ್
ಆಯಿಲೊ ಂ
ದಸ್ಚಂಕ್
ಮಿರಿಂ’ಯಾಂತ್ ಆಮಿ ಪಳವೆಯ ತ್.
ಚುಟ್ಲೊ ಲಂ
‘ಮಹ ಂವ್ನವ
ಮೆಳಾನಾ. ಚಡ್‍ಲಶಂ ಕವಿಂನಿ ಆಪಾೊ ಯ ಕವಿತ ಪುಸತ ಕಾಂ ಮ್ದಂ ಜಾಗೊ ಭರಿತ
ಹೊೀಮ್ ರೂಲ್
ಕರುಂಕ್ ಮ್ಹ ಳೆಯ ಪರಿಂ ಚುಟ್ಲೊ ಲಂಕ್
ಘರಾಂತ್ ಸಕಾಸರ್ ಚಲ್ವ್ನ್ ಪತ
ಹ್ಡೊ ಲಂ ಪಳೆಂವ್ನೊ
ಜಾಯ ರಿ ಕರಾತ ಕಾನೂನ್
ಮೆಳಾತ . ಲಹ ನ್
ಕವಿತಂ ಪೂ ಕಾರ್ (Short Poetry) ಏಕ್
ಬಾಯ್ಲೊ ಚ ಹರ್ ತದವ ಣ್ ತ
ಪೂ ಕಾರ್ ಜಾವ್ನ್ ವಾಡೊಂಕ್ ಸಬಾರ್
ಉಪಾೂ ಂತ್ ಘೆತ ಮನುನ್
ತೆೀಂಪ್
(ಪಾ 73; ಮಹ ಂವ್ನ ಮಿರಿಂ೯ಚುಟ್ಲಕಾಂ
ಲಗೊೊ .
ತ್ಶಂ
ಚುಟ್ಲೊ ಲಂಚಚ್ ಪುಸತ ಕ್ ಮ್ಹ ಣನ್
ಆನಿ
ಕೊಂಕ್ಷಾ ಂತ್ ವಾಡ್‍ಲಲೊ
ರ್ಹಳೆೊ
ಲ್ಸ್ಮೂ ದ್,
ವಿಲ್ಸ ನ್
ದಶಂಬ್ೂ 25
ಪರಾಾ ಣ
ರ್ಚ್ರ್
ಮ್ಹ ಜಾಯ
ಮತ್ೂ .
ವಿನೀದಕ್ ಪುನವ್ನ
ಕವನಾಂ,
ರಿಚೊ
ಪೂ ಕಾಶನ್,೧೯೮೪
ಕಟಿೀಲಚಂ ‘ಪಾವೆಯ ’ ಪುಸತ ಕ್ ಯ್ಲಂವೆೊ ಪಯ್ಲೊ ಂ ರಿಚೊ ಲ್ಸ್ಮೂ ದಾಚಂ ‘ಮಹ ಂವ್ನವ
ಸವ ರಾಜ್
ಮಿರಿಂ’,
ತಕೊಡ್ಚ
ರಾಯಾಂಲಗಂ ಖಂರ್ಚ್ಯ ಯ್ ವೆಳಾರ್
ಜಾಲಯ ಂತ್
ವಹ ರೆಯ ತ್ ಆಸ್ಥೊ ಂ ದುರಾಂ
‘ಪೆಟೊ್ ಳಿ’ ‘ಪೆಟೊ್ ಳಿ’
ಆನಿ
ಎಲಯ ರ್ ಯ್ಲೀವ್ನ್
ಹ್ಯ
ಜಮಯ ಕ್
ಚಕ್ಷಾ
ಆತಂ ಕಛೀರಿಂರ್ಚ್ಯ ಥಳಾರ್
40 ವೀಜ್ ಕ ೊಂಕಣಿ
ಸುಕಾಜಯ್ ಆಠ್ ವ್ಲರಾಂ
ಉತೂ ಂ ವ್ಲಳಾಯಾತ ಆನಿ ಶಿಜೊಂವ್ನೊ
(ಪಾ 79; ಮಹ ಂವ್ನ ಮಿರಿಂ 9 ಚುಟ್ಲಕಾಂ
ಆಸೊ ಂ ಶಿಜಯಾತ .
ಆನಿ
ವಿನೀದಕ್
ಲ್ಸ್ಮೂ ದ್,
ಪುನವ್ನ
ಕವನಾಂ,
ರಿಚೊ
ಅಲ
ಪೂ ಕಾಶನ್,1984
ಪಳೆತ್ಲಯ ಕ್ ದಳೆ
ದಶಂಬ್ೂ 25)
ಹ್ಲ್ರ್ತ ಲಯ ಕ್ ರ್ಕಲ ಪಳೆನಾಸ್ಮತ ಂ
ಎಲಯ ರ್
ತಕೊಡ್ರ್ಚ್ಯ
ಚುಟ್ಲೊ ಲಂನಿ ಪಳೆಂವ್ನೊ
ಆಮೊ ಂ
ಮೆಳಾತ ,
ಆಪೊ ಯ
ತೀ
ಭಾಷ್ಟಕ್
ಹ್ಲ್ಯ್ಲತ ಲಯ ಕ್
ವಯ ಂಗ್ಯ
ದೀನ್ ರುಪಾಯ ಂಚಂ
ಮ್ತಂತ್
ಆಸ್ಥೊ ಂ ಭೊ್ಾ ಂ, ಭಾವನಾ ಕರುಂಕ್
ಚಡ್‍ಲಶಯ
‘ಅಲ’
ಪರಗ ಟ್
(‘ಪೆಟೊ್ ಳಿ’ ಲೀಯ್ಯ ರೆೀಗೊ, ತಕೊಡ್
ಖೆಳಯಾತ ,
ಸ್ಮಂ್ತ ಮಿೀಡಯಾ ಪೂ ಕಾಶನ್-2005)
ಮ್ಹ ಣೊ ಂ ರ್ಹಂ ಚುಟ್ಲೊ ಲ್ ಫಕತ್ತ ತ್ತೊ ಲ್
ಸತ್ತ ಸ್ಮಂಗ್
ರಾಗ್ ಕಾಡುಂಕ್ ಸಕಾತ , ರ್ಹಡಾಯಾತ ಆನಿ
ತ್ತವೆಂ ಲ್ಬಸ್ಥಫೆರಾಕ್
ಮಗರ್ ಕ್ಷತೆಂ ತಚಂ ಶಶಿವ ತ್ ಮೀಲ್?
ಕ್ಷತೆೊ ಪಾವಿಾ ಂ ಭೊಗಯ ಲಂಯ್?
ತಯ ಚ್ ಪುಸತ ಕಾಂತ್ ತಯ ಚ್ ಕವಿಚಂ
(‘ಪೆಟೊ್ ಳಿ’ ಲೀಯ್ಯ ರೆೀಗೊ, ತಕೊಡ್
ಆನೆಯ ೀಕ್ ಚುಟ್ಲೊ ಲ್ ಪಳವಾಯ ಂ.
ಸ್ಮಂ್ತ ಮಿೀಡಯಾ ಪೂ ಕಾಶನ್-2005)
ಸವಾಲ್
ರ್ಹೀಂ
ಚುಟ್ಲೊ ಲ್
ಕಾಳಾಂಕಾಳಾಂಕ್
ದವಾ ದವಾ
ಲಕಾಂಕ್-ತಂರ್ಚ್ಯ
ಮ್ಹ ಜಾಯ
ಉತೂ ನ್ ರಾವ್ಲಂಕ್ ಸಕ್ಷೊ ಂ ಸವಾಲ್
ಭಾಷ್ಟಂಕ್
ದುಸ್ಮಾ ನಾಂಕ್
ಜಾತ.
ಸ್ಮತಂಚ ಸತ್ತ ರ್ ಪಾವಿಾ ಂ
ಮುಖಾರ‍್ ಂಕ್ ಆಸಾ-
ಭೊಗುಸ ಂಕ್ ಸ್ಮಂ್ೊ ಂಯ್
----------------------------------------41 ವೀಜ್ ಕ ೊಂಕಣಿ
23. ಪ್ರೂ ೀತಲ್ತ ವಡ್ೀದಾರ್ 1911-1932
ಶ್ಯೀಷಣ್ಟಚಂ ಪೂ ತೀಕ್ ಜಾವಾ್ ಸ್ಲೊ ಯ ಸರಾೊ ರಿ ಅಧ್ಕಾರಿಂಕ್ ಮರ್್ ಕಾಡಾೊ ಯ ವಾವಾೂ ಂತ್ಯಿ ಥೊಡಾಯ
ಧ್ಯಾೂ ಧ್ಕ್
ಸ್ಥತ ರೀಯಾಂನಿ ಪೂ ಮುಕ್ ಪಾತ್ೂ ಘೆತೊ ಮ್ಹ ಣೊ ಂ ಆಮಿ ವಿಸರಾ್ ಂಯ್ಲ.
ಗ್ಲ್ಯಾಡಿಸ್ ಕ್್ಾಡ್ರಸ್ ಪ ರ‍್ುದ ಎದಳ್ಚ್
ಆಮಿ
ಭಾರತರ್ಚ್ಯ
ಸುಟ್ಲ್ೊ ಯ್ಲ
ಅಸಲಯ ಸ್ಮಹಸ್ಥ ಸ್ಥತ ರೀಯಾಂಪಯಿೊ ಎಕ್ಷೊ
ಪಳಯಿಲೊ ಪರಿಂ ಝುಜಾಂತ್
ಆಸ್ಮ ಪ್ರೂ ೀತಲ್ತ ವಡ್ೀದಾರ್. ಬಿೂ ಟಿೀಶಂ ವಿರೊೀದ್ ಝುಜಾಂತ್ ಅಪೆೊ ಂ ಸರವ ಸ್ವ
ಸಭಾರ್ ನಮುನಾಯ ಂಚೊ ವಾವ್ನೂ ಆಸ್ಮ.
ತಯ ಗ್
್ಂಧ್ೀಜ
ಮುಕ್ಷಲಿ
ಆನಿ
ತರ್ಚ್ಯ
ಸ್ಮಂ್ತಯ ಂಚೊ ಶಂತ, ಅಹಂಸ್ಮ ಆನಿ
ಕ್ಷಲಿೊ
ಬಂ್ಲಿ
ಪ್ರೂ ೀತಲ್ತ
ವಾಡ್ೀದಾರ್
ಮೆೀ
5,
ಕಾೂ ಂತಕಾರಿ ದಾಸ್ಗುಪಾತ
1911
ಚತ್ತ ್ಂ್ಂತೊ ಯ
ವೆರ್
ಪಟಿಯಾ
ಅಸಹಕಾರಾಚೊ ಏಕ್ ನಮುನ ತ್ರ್,
ದಲಘ ಟ್ಲ್ಂತೊ ಯ ಬಾೂ ಹಾ ಣ್ ರ್ಕಟ್ಲ್ಾ ಂತ್
ತಲ್ಕ್ ಬಿಪ್ರನ್ ಪಾಳ್ ಅಸಲಯ ಂಚೊ
ಜನಾಾ ಲಿ.
ತಚೊ
ತೀವ್ನೂ ವಾದ
ನವೊ ರ್
ಆಸ್ಲೊ .
ವಾವ್ನೂ ,
ಸುಭಾಸ್
ಭೊೀಸ್ಮಚೊ ಸಂ್ೂ ಮಿ ವಾವ್ನೂ
ಬಾಪಯ್ ಆಪೆೊ ಂ
ಸರಾೊ ರಿ ಸುರಿವ ಲ
ತ್ರ್
ಶಿಕಪ್ ತಣ ಚತ್ತ ್ಂ್ಂತ್ ಸಂಪಯ್ಲೊ ಂ
ಭಗತ್ ಸ್ಥಂಗ್, ಮ್ದನ್ಲಲ್ ಧ್ೀಂ್ೂ ,
ಆನಿ ಉಪಾೂ ಂತ್ ಕಲ್ೊ ತತರ್ಚ್ಯ ಬೆಥೂನ್
ಸೂರಯ ಸೀನ್ ತ್ಸಲಯ ಂಚೊ ಶಿೀದಾ ಶಿೀದಾ
ಕಾಲಜಂತ್ ಶಿಕಪ್ ಕರ್್ ತ್ತ್ವ ಶಸ್ಮತ ರಂತ್
ಬಿೂ ಟಿೀಶಂಕ್ ಭೊಂಬ್ಗುಳಾಯ ಂನಿ ಫುಡ್‍ಲ
ಸನದ್
ತಣ
ಜೊಡೊ .
ಕಾಲೀಜಂತ್
ಕರೊೊ
ಆಸ್ಮತ ನಾಂಚ್
ಥೊಡಂ
ಕಾೂ ಂತಕಾರಿ
ವಾವ್ನೂ .
ಅಸಲಯ
ಬಿೂ ಟಿೀಶ್
42 ವೀಜ್ ಕ ೊಂಕಣಿ
ಚಂತಪ ಂ ಆನಿ ಬರಾಪ ಂ ತ ಪರಗ ಟ್ಲ್ತ ಲಿ
ಹ್ಯ
ಜಾಲೊ ಯ ನ್
ತಚ
ಕಾೂ ಂತಕಾರಿ
ಸರಾೊ ರಾನ್
ಆಡಾಯಿೊ .
ಕಲ್ೊ ತತ ಂತ್
ಚತ್ತ ್ಂ್ಚೊ ಪ್ಲಲಿೀಸ್ ಕಮಿೀಶನರ್
ಆಪಾೊ ಯ
ಶಿಕಾಪ
ಉಪಾೂ ಂತ್
ಮಿಸಾ ರ್ ಕ್ಷೂ ಯಾಗ ಕ್ ಜವೆಶಿಂ ಮರಿೊ
ಸನದ್
ಬಿೂ ಟಿೀಶ್
ಮ್ಧಂ
ಸೂರಯ ಸೀನಾರ್ಚ್ಯ ಪಂ್ಯ
ಚತತ ್ಂ್ಕ್ ತ ಪಾಟಿಂ ಗ್ಚ್ಲಿ ಆನಿ
ಆಲೀಚನ್
ಥಂರ್ಸ ರ್
ಕಾಳಿಪಾದ ಚಕೂ ವರಿತ
ಶಿಕ್ಷಕ್ಷ
ಜಾವ್ನ್
ವಾವ್ರರ್್
ಥಾವ್ನ್
ಜಾತ.
ಕಾೂ ಂತಕಾರಿ
ಆನಿ ರಾಮ್ಕೃಷಾ
ಆಸ್ಮತ ನಾ ತಕಾ ಮ್ಹ್ನ್ ಕಾೂ ಂತಕಾರಿ
ಭಸ್ಮವ ಸ್ಮಕ್ ಹ ಜವಾಬಾದ ರಿ ದತತ್.
ಸೂರಯ ಸೀನಾರ್ಚ್ಯ
ಬಿಸ್ಮವ ಸ್ಮನ್
ಕರುತ ಬಾಂಚೊ ಆನಿ
ವಳಕ್
ತರ್ಚ್ಯ ಸ್ಥದಾದ ಂತಂಚೊ ವಿವರ್ ಮೆಳೊಯ
ರ್ಚ್ಂದ್ಪುರಾರ್ಚ್ಯ
ಆನಿ ತಚ ಥಾವ್ನ್ ತ ಪೂ ಭಾವಿತ್ ಜಾಲಿ.
ಆಫ್
ಆಪ್ಲೊ
ಕಾಳಿಪಾದಾಕ್
ಮಂಯಾಗ ಂವ್ನ
ಆಜನ್
ಚುಕೊನ್
ಸುಪರಿಂಟೆಂಡ್ಂಟ್
ಪ್ಲಲಿಸ್ಮಕ್
ಮರೊೊ .
ತಡ್‍ಲಪಾರಾಚ
ಗುಲಮ್ಪ ಣ್ಟಂತ್ ಆಸ್ಮ ತೆಂ ಸಮುಿ ನ್
ಬಿಸ್ಮವ ಸ್ಮಕ್
ಪಾಶಚ
ಹ್ಯ ಗುಲಮ್ಪ ಣ್ಟಕ್ ಕಾರಣ್ ಜಾಲೊ ಯ
ರಾಮ್ಕೃಷಾ
ಭಸ್ಮವ ಸ್ ಪಾಶಚ ಶಿಕಾೆ
ಬಿೂ ಟಿೀಶಂ ವಿರೊೀದ್ ಝುಜುಂಕ್ ತಚಂ
ರಾರ್ಕನ್
ಕಲ್ೊ ತತ
ಮ್ನ್
ಜಯಾೊ ಂತ್
ಆಸ್ಮತ ನಾ
ಸದಾಂಚ್
ಅತೊ ್ತ ಲಂ.
ಶಿಕಾೆ
ಆನಿ ಜಾಲಿ.
ಆಲಿಪುರಾೊ ಯ ತಕಾ
ಭೆಟಿೊ
್ಂಧ್ೀಜರ್ಚ್ಯ
ವಾಟ್ಲ್ಂ ಪಾೂ ಸ್ ತಕಾ
ಜವಾಬಾಾ ರಿ ಪ್ರೂ ರ್ಲ್ತಚ ಆಸ್ಲಿೊ ಅಶಂ
ಸೂರಯ ಸೀನ್,
ಜತೀನ್
ಬಿಸ್ಮವ ಸ್ಮ
ದಾ
ಅಸಲಯ
ಥಾವ್ನ್
ನಿರಂತ್ರ್
ಆನಿ
ಪೊ ೀರೆೀಪಣ್
ಬಂ್ಲಿ ಕಾೂ ಂತಕಾರಿ ಮುಕ್ಷಲಯ ಂಚೊಯ
ಮರಗ ದರಯ ನ್
ವಾಟೊ ಆಕರಯ ಕ್ ದಸ್ಮತ ಲಯ . ಆನ್ 13,
ಪ್ರೂ ರ್ಲ್ತಕ್ ಲಭಾತ .
1932 ವೆರ್ ತ ಕಾೂ ಂತಕಾರಿ ಮುಕ್ಷಲಿ
ಸೂರಯ ಸೀನಾಚೊ ಪಂಗಡ್‍ಲ ತ್ವಳ್ ತ್ವಳ್
ಸೂರಯ ಸೀನ್
ಆನಿ
ಸರಾೊ ರಿ
ಭೆಟ್ಲ್ತ .
ಹ್ಯ
ನಿರಾ ಲ್
ಸೀನಾಕ್
ಕಾೂ ಂತಕಾರಿಂಕ್
ಆನಿ
ದಫತ ರಾಂಚರ್,
ರಯ್ೊ
ಟೆಲಿಫೊೀನ್
ಆಫಿಸ್ಮಂಚರ್
ದಾಡ್‍ಲ
ಸ್ಥತ ರೀಯಾಂರ್ಚ್ಯ ಎಕಾಪಂ್ಯ ಚ ಸಸ್ಮಯ್
ಮರಾತ ಲ
ಆನಿ
ಹಂಸ್ಮರ್ಚ್ರ್
ಅಸ್ಮೊ ಯ ರ್
ಬಿೂ ಟಿೀಶಂಕ್
ದುಬಾವ್ನ
ಚಲ್ಯಾತ ಲ.
ಹ್ಯ
ಸಂದರಾೂ ಂನಿ
ನಾಸ್ಮತ ನಾ
ಹ್ತೆರಾಂ
ರ್ಹಣತೆಣ
ತಂಕಾಂ ಜಾಯ್ ತಂ ಹ್ತೆರಾಂ ವಹ ರ್್
ವಹ ರುಂಕ್ ಸಲಿೀಸ್ ಜಾಯ್ತ ಅಶಂ ತಂ
ಪಾವ್ಲಂವಿೊ
ಆಲೀಚನ್ ಕರಾತ ತ್ ಆನಿ ಪ್ರೂ ೀತಲ್ತಕ್
ಪ್ರೂ ರ್ಲ್ತಚರ್
ಅಸಲ
ತ್ಶಂಚ್ ಸ್ಥತ ರೀ ಜಾಲೊ ಯ ನ್ ಪ್ಲಲಿಸ್ಮಂಕ್
ಸ್ಥತ ರೀಯಾಂಚೊ
ಏಕ್ ಪಂಗಡ್‍ಲ
ಜವಾಬಾಾ ರಿ ದತತ್.
ಕಾೂ ಂತಕಾರಿ ಬಾಂದೊ
ಸಯ್ತ
ಜವಾಬಾಾ ರಿ ಪಡಾತ ಲಿ.
ಕ್ಷತೆಂಚ್
ತ
ಶಿಕ್ಷಕ್ಷ
ದುಬಾವ್ನ
ಯ್ಲೀನಾತ್ಲೊ . ಹ್ಯ ಮ್ಧಂ ಪಹರ್ತ್ಲಿ 43 ವೀಜ್ ಕ ೊಂಕಣಿ
ಯುರೊೀಪ್ರರ್ನ್
ಕೊ ಬಾು ಕ್
ಉಜೊ
ಆಸ್ಲೊ ಯ ಮ್ಚರ್
ಗುಳೆ
ಮರುಂಕ್
ಘಾಲಿೊ
ಆಲೀಚನ್ ತಣಿ ಕ್ಷಲಿ. ಹ್ಯ
ಸುರಾವ ತೆೊ ಂ. ಸುಲಿೀವಾನ್ ಮ್ಹ ಣಿೊ
ಕೊ ಬಾು
ಭಾಯ್ೂ
‘ಸುಣ್ಟಯ ಂಕ್
ಆನಿ
ಸತೂ ೀ
ಪೂ ವೆೀಶ್
ನಾ’
ತತೊ ಯ ರ್ ಪ್ಲಲಿಸ್ಮಂನಿ ತಂಕಾಂ ವೆಡೊ
ಮ್ಹ ಣೊ ಬಿಲೊ ಚಡಾೊ ಯಿಲೊ . ಹ್ಯ
ಘಾಲ. ಪ್ಲಲಿಸ್ಮಂನಿ ತಂಚರ್ ಗುಳೆ
ಧ್ಲ್ವ ರಿಂ
ಮರೆೊ
ಭಾರತೀಯಾಂಕ್ ಬಿೂ ಟಿೀಶ್
ಭೊ್ಾ ಂಕ್
ಭಾರತೀಯಾಂರ್ಚ್ಯ
ಎಕದ ಮ್
ದುಕೊವ್ನ್
ಹ್ಯ
ಸಂಘರಾಯ ಂತ್
ಏಕ್
ಅಂತ್ರಿೊ .
ಆನಿ ಆಪುಣ್ ಪ್ಲಲಿಸ್ಮಂರ್ಚ್ಯ
ಹ್ತಂತ್
ಸ್ಮಂಪಡಾೊ ಯ ರ್
ಆಸ್ಲೊ . ಹ್ಯ ಕೊ ಬಾು ಕ್ ಉಜೊ ಘಾಲೊ ಯ
ಕಾೂ ಂತಕಾರಿಂಚಂ
ಕಾಮಕ್
ಎಕಾ
ನೆಮೆೊ ಂ
ಪ್ಲಲಿಸ್ಮಂಕ್ ಕಳಿತ ತ್ ಮ್ಹ ಣ್ ಚಂತ್ತನ್
ಮ್ಹ ಣ್
ಸೂರಯ ಸೀನಾನ್
ನಿರಾಾ ರ್
ಪ್ರೂ ೀತಲ್ತನ್
ಸ್ಥತ ರೀಯ್ಲಕ್
ಕ್ಷಲೊ .
ದುಸ್ಮೂ ಯ
ಸರ್ವ
ಎಕ್ಷೀಕ್
ಅಡೊ ಳಿ
ಆಯೊೊ ಯ
ನಿಮಣ
ಸ್ಚಡಾತ .
ವಡ್ೀದಾರಾಕ್
ಹ್ಯ
ಬಿೀರಕನಾಯ
ಪ್ರೂ ೀತಲ್ತ
ಸ್ಥತ ರೀಯಾಂಕ್
ಯೊೀಜನಾ
ಆಪಾಾ ಸವೆಂ
ದವರ್್
ಘೆತ್ಲೊ ಂ ಸರ್ನಯ್ಯ ಸವ್ನ್ ತ ಜೀವ್ನ ಪ್ರೂ ೀತಲ್ತ
ಆಜ್
ವಾವಾೂ ಚಂ ಮುಕ್ಷೀಲ್ಪ ಣ್ ದಲಂ.
ಬಾಂ್ೊ ದೀಶ್
23 ಸಪೆತ ಂಬರ್ 1932 ವೆರ್ ಪ್ರೂ ೀತಲ್ತ
ಬಂ್ಲಂತ್ ಸ್ಮಹಸ್ಥ ಸ್ಥತ ರೀಯಾಂರ್ಚ್ಯ
ಆನಿ
ವಾಂಟ್ಲ್ಯ ಕ್ ಆಜ್ ಏಕ್ ಜಾನಪದೀಯ್
ತರ್ಚ್ಯ
ಸ್ಮಂ್ತಯ ಂನಿ
(ಕಾಳಿಶಂಕರ್ ದೀ, ಬಿೀರೆೀಶವ ರ್ ರೊಯ್,
ವಿೀರ್ಚ್
ಪೂ ಫುಲೊ
ದಾಸ್, ಶಂತ ಚಕೂ ವರಿತ )
ಸಂ್ೂ ಮಂತ್
ಪಂಜಾಬಿ
ದಾದಾೊ ಯ ಂರ್ಚ್ಯ
ದಾಕಯಿಲೊ ಂ
ವೆಸ್ಮರ್
ಆನಿ
ಪಶಿೊ ಮ್
ಜಾಲಯ .
ಸ್ಮವ ತ್ಂತ್ೂ ಪ್ರೂ ೀತಲ್ತನ್
ಧ್ಯ್ೂ
ತಚೊ
ಕೊ ಬಾು ಕ್ ಪೂ ವೆೀಸ್ ಕ್ಷಲ. ಕೊ ಬಾು ಭತ್ರ್
ಸ್ಮಹಸ್
ಸುಮರ್ 40 ಜಣ್ ಯುರೊೀಪ್ರರ್ನ್
ದಶರ್ಚ್ಯ ಉದರಗ ತೆ ಖ್ತತರ್ ಧ್ಯಾೂ ನ್
ಮ್ಜಾ ಕರ್್ ಆಸ್ಲೊ . ಪ್ರೂ ೀತಲ್ತ ಆನಿ
ಮುಕಾರ್
ತರ್ಚ್ಯ
ತಯ ಗ್ ಕರುಂಕ್ ಪೊ ೀರೆೀಪಣ್ ದತ.
ಸ್ಮಂ್ತಯ ಂನಿ
ಥಂರ್ಸ ರ್
ಆಮೊ ಂ
ಆನಿ
ಸರುಂಕ್
ಸಮೆೀಸ್ಮತ ಂಕ್ ಆನಿ
ಕ್ಷತೆಂಪುಣಿ
******************************************************************************
44 ವೀಜ್ ಕ ೊಂಕಣಿ
ಘಡಿತಾಂ ಜಾಲಂ ಅನ್ವವ ರಂ-73
ಪ್ರವೀಣ್ ಆನಿ ರೂಪಾಚಿ ನಿಮಾಣಿ ಭ್ಟ್!! ಎಚ್. ಜೆ. ಗೋವಿಯಸ್ ಆಪಾೊ ಯ ಬಾಯ್ಲೊ ಚೊ ಬಲತೊ ರ್ ಕ್ಷಲೊ ಯ ತಯ ಪಾಂಚ್ ಜಣ್ ಮ್ನಾಯ ಯ ಂಚಂ ಫ್ರರಿಕಪ ಣ್ ಘೆಂವ್ನೊ ಜವಂತ್ ಆಸ್ಲೊ
ಬಾಕ್ಷ ಉರ್ಲೊ ಯ ಸಂಜೀವಾರ್ಚ್ಯ ಸ್ಚಧ್ ರ್ ಪೂ ವಿೀಣ್ ಪೂನಾ ಭಾಯ್ೂ ಸರೊನ್ ಗ್ಚ್ಲ. ತಕಾಯಿ ತರ್ಚ್ಯ
ಪೂ ವಿೀಣ್, ಪಯಿಲೊ ಂ ಮುರಿೊ ಕ್ ತರ್ಚ್ಯ ಚ್ ಘರಾ ರಿಗೊನ್, ತಚೊ ಗಳೊ ಕಾಪುನ್ ಜವಿಯ ಂ ಮರುನ್, ತರ್ಚ್ಯ ಘರಾಂತೊ ಭಾಯ್ೂ ಪಡಾತ ... ಫುಡ್ಂ ವಾರ್ಚ್ತೆಯ ಚ್ ರಾತಂ ಪೂ ವಿೀಣ್ಟನ್, ತಯ ಚೊವಾಗ ಂ ಪಯಿೊ ಂ, ಮುಂಬಯ್ ಆಸ್ಲೊ ಯ ಬಾಕ್ಷರ್ಚ್ಯ ತೆ್ಂಕ್ ಎಕಾಮೆಕಾರ್ಚ್ಯ ನಾಂವಾರ್ ಫೊನ್ ಕರುನ್ ನಿಜಸನ್ ಸುವಾತೆನಿಂ ಆಪವ್ನ್ , ಭೊೀವ್ನ ಅಮನುಷ್ಟ್ ಆನಿ ಭಯಾನಕ್ ರಿತರ್ ತಂಕಾಂ ವಳವ ಳಾವ್ನ್ ತಂಚೊ ಜೀವ್ನ ಕಾಡೊೊ !!! ಉಪಾೂ ಂತ್ ವೆೀಳ್ ಕಾಡನಾಸ್ಮತ ಂ,
ಸ್ಮಂ್ತಯ ಂ ಸಂಗಂ ವಹ ಯ್ೂ ಧ್ಲ್ಡುಂಕ್! ದುಸ್ಮೂ ಯ ದಸ್ಮ ಮುಂಬಂಯ್ತ ವಹ ಡೊೊ ಗಂಡಾಂತ್ರ್ಚ್ ಉಭೊ ಜಾಲ. ತೆ ಚೊವ್ನಗಯಿ ಬರೆ ಮಿತ್ೂ ಆನಿ ವಾಯ ಪಾರಿಸ್ತ ಜಾವಾ್ ಸ್ಲೊ ಮ್ಹ ಳೆಯ ಂ ಕಳಿತ್ ಆಸ್ಲೊ ಂ ಸರಾವ ಂಯಿೊ , ಪೂಣ್ ತಂಕಾಂ ಕೊಣ್ಯಿೀ ದುಸ್ಮಾ ನ್ ಆಸ್ಲೊ ಮ್ಹ ಳೆಯ ಂ ಕೊಣ್ಟಯಿೊ ಕಳಿತ್ ನಾತ್ಲೊ ಂ. ಸವ್ನಸ ಖುನಿಯೊ ಎಕಾಚ್ ರಿತರ್ ಆನಿ ಎಕಾಚ್ ಮ್ನಾಯ ಯ ನ್ ಕ್ಷಲಯ ತ್ ಮ್ಹ ಣ್ ಖಚತ್ ಜಾಲಂ! ಪ್ಲಲಿಸ್ ಖುನಿ್ರಾರ್ಚ್ಯ ಸ್ಚಧ್ ರ್ ಭರಾನ್
45 ವೀಜ್ ಕ ೊಂಕಣಿ
ಲಗ್ಚ್ೊ ! ರ್ಹಣಂ ಪೂನಾ ಪಾವ್ನಲಯ ಪೂ ವಿೀಣ್ಟನ್, ಸಂಜೀವ್ನ ರಾವ್ಲನ್ ಆಸ್ಮೊ ಯ ಹೊಟೆಲಕ್ ಪಾವ್ಲನ್, ರಿಸಪಯ ನಿೀಸ್ಮಾ ಕ್ ವಿರ್ಚ್ರೆೊ ಂ, ೮೦೧-ಚೊ ಗ್ಚ್ಷ್ಟ್ಾ ಮಿ. ಸಂಜೀವ್ನ ಕಾಮ್ತ್ ರೂಮಂತ್ ಆಸ್ಮಗ ಮ್ಹ ಣ್. ರಿಸಪಯ ನಿೀಷ್ಮಾ ನ್ ತ್ಪಾಸುನ್ ಸ್ಮಂಗ್ಚ್ೊ ಂ, ‘ಆಸ್ಮ’ ಮ್ಹ ಣ್. “ಮಹ ಕಾ ಮೆಳೊಂಕ್ ಜಾಯ್ ಆಸ್ಲೊ ಂ...” “ತ್ತಮೆೊ ಂ ನಾಂವ್ನ...?” “ಪೂ ವಿೀಣ್. ಹ್ಂವ್ನ ಮುಂಬಯ್ ಥಾವ್ನ್ ಆಯಾೊ ಂ.” “ಏಕ್ ಮಿನಟ್ ಸರ್...” ರಿಸಪೆಸ ನಿೀಸ್ಮಾ ನ್ ರೂಮ್೮೦೧-ಕ್ ಸಂಪರ್ೊ ಕರುನ್ ಆಯಿಲೊ ಯ ಗ್ಚ್ಸ್ಮಾ ಚಂ ನಾಂವ್ನ ಸ್ಮಂಗ್ಚ್ೊ ಂ. ಪೂ ವಿೀಣ್ ನಾಂವಾರ್ಚ್ಯ ಮ್ನಾಯ ಯ ಕ್ ಸಂಜೀವ್ನ ವಳಾೊ ನಾತ್ಲೊ . ತ್ರಿೀ, ಕಾಂಯ್ ಬಿಸ್ ಸ್ಮನ್ ಆಯಾೊ ಆಸತ ಲ ಮ್ಹ ಣ್ ಚಂತ್ತನ್, ಆಪಾೊ ಯ ರೂಮಕ್ ಧ್ಲ್ಡ್‍ಲ ಮ್ಹ ಣ್ ತಳಿಸ ಲಗೊೊ . ತ ಕ್ಷತೆಂ ಜಾಣ್ಟ ತಣ ತರ್ಚ್ಯ ಮ್ರಾಾ ಕ್ ಆಪವೆಾ ಂ ದಲಂ ಮ್ಹ ಣ್? ದಾರಾರ್ ಬೆಲ್ೊ ಆಯೊೊ ನ್, ಸಂಜೀವಾನ್ ದಾರ್ ಉಘಡಾತ ನಾ, ಪೂ ವಿೀಣ್ ತ್ಕ್ಷಣ್ಟ ಭತ್ರ್ ಘುಸುನ್, ದಾರ್ ಬಂಧ್ ಕರಿಲಗೊೊ ! ಪೂ ವಿೀಣ್ಟಕ್ ಪಳವ್ನ್ ಸಂಜೀವಾಚಂ ಅಂತ್ರಾಾ ಳಾಂ ಉಡೊ ಂ! “ತ್ತಂ...? ತ್ತಂ ಹ್ಂ್ ಕಸ್ಚ
ಪಾವ್ಲೊ ಯ್...!?” ಸಂಜೀವ್ನ ಕಾಂಪ್ಲನ್ ಉಲ್ಯೊೊ . “ಮ್ರಣ್ ಖಂರ್ಸ ರಿೀ ಆಪವೆಾ ನಾಸ್ಮತ ಂ ಪಾವಾತ ಸುಣ್ಟಯ ...” ಪೂ ವಿೀಣ್ ಮುಖ್ತರ್ ಸರೊೊ . “ತ್ತಜಾಯ ತಯ ಚೊವಾಗ ಂ ಸ್ಮಂ್ತಯ ಂಕ್ ಯ್ಲದಳ್ಚ್ ಹ್ಂವೆಂ ವಹ ಯ್ೂ ಧ್ಲ್ಡಾೊ ಂ. ಆತಂ ತ್ತಕಾಯ್ ತಂಚಸಂಗಂ ಧ್ಲ್ಡುಂಕ್ ಹ್ಂವ್ನ ಆಯಾೊ ಂ. ತೆ ತ್ತಕಾ ರಾಕೊನ್ ಆಸ್ಮತ್.” “ರಾವ್ನ ಥಂಯ್ೊ , ಮುಖ್ತರ್ ಸರಾನಾಕಾ. ಹ್ಂ್ ಥಾವ್ನ್ ಮಹ ಕಾ ಮರೂನ್ ತ್ತಂ ಬರ್ಚ್ವ್ನ ಜಾಂವ್ನೊ ಸಕೊೊ ನಾಂಯ್.” ಸಂಜೀವ್ನ ಪಾಟಿಂ ಸರೊನ್ ಭಂಯಾನ್ ಮ್ಹ ಣ್ಟಲ. “ಹ್ಂವ್ನ ಬರ್ಚ್ವ್ನ ಜಾಂವ್ನೊ ಯಿೀ ಚಂತನಾ. ತ್ತಮೊ ಂ ಮರೆೊ ಂಚ್ ಮ್ಹ ಜಾಯ ಜಣಯ ಂತ್ ಬಾಕ್ಷ ಉರ್ಲೊ ಉಧೀಶ್ ಜಾವಾ್ ಸ್ಮ. ಹ್ಂವ್ನ ತಯ ಚ್ ದೀಸ್ ಮೆಲೊ ಂ, ಜದಾ್ ಂ ತ್ತಮಿಂ ಮೆಳೊನ್, ಮ್ಹ ಜ ಮುಖ್ತರ್ ಮ್ಹ ಜ ಬಾಯ್ಲೊ ಚೊ ಬಲತೊ ರ್ ಕ್ಷಲೊ ! ಮ್ಹ ಜ ಜಾವಾ್ ಸ್ಲಿೊ ಸುಹ್ಗ್ ರಾತ್ ತ್ತಮಿಂ ತ್ತಮಿೊ ಕರುನ್ ಘೆತ್ಲಿೊ !!” ಪೂ ವಿೀಣ್ಟರ್ಚ್ಯ ಹ್ತಂ ಥಳಿ ಳಿೊ ಸ ಇಂರ್ಚ್ಂ ಲಂಬ್ ಸುರಿ ಉದಲಿ!!! “ಮಹ ಕಾ ಮಫ್ ಕರ್, ತ ಮ್ಹ ಜ ಚೂಕ್ ಜಾವಾ್ ಸ್ಲಿೊ . ತಯ ಬಾಬಿತ ಂ ಹ್ಂವ್ನ ತ್ತಕಾ ಕ್ಷತೆಂಯ್ ದೀಂವ್ನೊ ತ್ಯಾರ್ ಆಸ್ಮಂ. ಮ್ಹ ಜ ಸವ್ನಸ ಗ್ಚ್ೂ ೀಸ್ತ ಕಾಯ್ ಘೆ, ಜಾಯ್ ಜಾಲಯ ರ್ ಮಹ ಕಾ ಪ್ಲಲಿಸ್ಮಂಕ್ ಒಪ್ರಯ ; ಪೂಣ್
46 ವೀಜ್ ಕ ೊಂಕಣಿ
ಮ್ಹ ಜೊ ಜೀವ್ನ ಕಾಡನಾಕಾ...” ಹ್ತ್ ಜೊಡುನ್, ಸಂಜೀವ್ನ ಪರಾತತ ಲಗೊೊ . “ಪ್ಲಲಿಸ್ ಮಹ ಕಾ ಸ್ಚಧ್ಲ್ತ ತ್! ಆನಿ ತ್ತಜ ಖುನಿ ಕ್ಷಲಯ ಉಪಾೂ ಂತ್ ತೆ ಮಹ ಕಾ ಧ್ರೆತ ಲಚ್. ತ್ತಕಾ ಹ್ಂವೆಂ ಪ್ಲಲಿಸ್ಮಂಕ್ ಒಪ್ರಯ ಲಯ ರ್ ತ್ತಂ ಕಸ್ಚಯ್ ಪಯ್ಲಯ ಖ್ತವವ್ನ್ ಸುಟತ ಲಯ್.... ತೆಯ ರಾತಂ ಮ್ಹ ಜಯ ಬಾಯ್ಲೊ ಕಡ್ನ್, ತ್ತಂವೆಂಚ್ ಸ್ಮಂಗ್ ಲೊ ಂಯ್ನೆೀ, ತಣಂಚ್ ತ್ತಮೊ ಂ, ತಚ ಆಶ ಭಾಗಂವ್ನೊ ಆಪಯಿಲೊ ಂ ಮ್ಹ ಳೆಯ ಂ ತ್ತಮಿ ರುಜು ಕರುಂಕ್ ಸಕ್ಷತ ಲಯ ತ್ ಮ್ಹ ಣ್...? ತ್ತಜಂ ಥುಕ್ಲೊ ಂ ಖೆಲಯ ರ್, ತ್ತಂ ಮ್ಹ ಜಯ ಬಾಯ್ಲೊ ಕ್ ಹ್ತ್ ಲಂವ್ಲೊ ನಾಂಯ್ ಮ್ಹ ಣ್? ಹ್ಂವೆಂ ತ್ತಜಂ ಥುಕ್ಲೊ ಂ ಧ್ಕಾಸಲ್ ಖೆಲಂ. ತ್ತಜ ಪಾಂಯ್ ಲಂವೆೊ . ತ್ರಿೀ ತ್ತಂವೆಂ ತಕಾ ಸ್ಚಡ್ೊ ಂ ನಾಂಯ್... “ಮ್ಹ ಜ ಬಾಯ್ೊ ಆಂಕಾವ ರ್ ಆಸ್ಲಿೊ , ಆನಿ ತೆಂ ಆಂಕಾವ ರಪ ಣ್ ತಣ ಮ್ಹ ಜ ಖ್ತತರ್ ಸ್ಮಂಬಾಳ್ಲೊ ಂ. ತಯ ದೀಸ್ ಮ್ಹ ಜೊ ಜನಮ್ ದವಸ್ ಆಸ್ಲೊ ಆನಿ ತೆಯ ರಾತಂ ತ ಮಹ ಕಾ, ತಣ ಸ್ಮಂಬಾಳನ್ ಹ್ಡ್‍ಲಲೊ ಂ ಆಕಾವ ಪಸಣ್ ಅಪುಸಂಕ್ ಆಸ್ಲಿೊ . ಪೂಣ್ ತ್ತಂವೆಂ ತೆಂ ಮ್ಹ ಜ ಮುಖ್ತರ್ಚ್ ಲ್ಬಟೆೊ ಂಯ್! ಭಾರಿ ಮ್ಝಾ ಆಯಿಲಿೊ ನೆೀ ತ್ತಕಾ ತೆಯ ರಾತಂ...? ಮ್ಹ ಜ ಬಾಯ್ೊ ಕ್ಷತೊ ರಡೊ ಆನಿ ಪರಾತೊ ತಚೊ ಮನ್ ಸ್ಮಂಬಾಳಂಕ್. ಪೂಣ್ ತ್ತಕಾ ದಯಾ ಆಯಿೊ ನಾ. ಆತಂ ತ್ತಜಾಯ ಜವಾಚಂ ಭಕ್ ಮ್ತ ಯ್ ತ್ತಂ...?
ದಯಾ ಕ್ಷತೆಂ ಮ್ಹ ಣ್ ನೆಣ್ಟಸ್ಲೊ , ತ್ತಂ ತ ದಯಾ ಮ್ಹ ಜ ಕಡ್ನ್ ಮ್ತ ಯ್...? ತ್ತಕಾ ಭೊಗಸ ಲಯ ರ್ ಮ್ಹ ಜ ತತೊ ವಹ ಡೊೊ ಪ್ರಸ್ಚ ಕೊಣ್ ಆಸ್ಮತ್ ಹ್ಯ ಸಂಸ್ಮರಾಂತ್...? ಸಂಜೀವಾನ್ ಆಪೆೊ ಂ ಮ್ರಣ್ ಪೂ ವಿೀಣ್ಟರ್ಚ್ಯ ದಳಾಯ ಂನಿ, ತಣ ತೆಯ ರಾತಚಂ ಘಡತ್ ನಿಯಾಳನ್ ಸ್ಮಂ್ತ ನಾ, ಪಳವ್ನ್ ಜಾಲೊ ಂ! ಆಖೊ ೀರ್ಚ್ಯ ಘಡ್ಯ ಕಸ್ಚ ತ್ರಿೀ ಆಪ್ಲೊ ಜೀವ್ನ ವಾಂಚಂವ್ನೊ ಜಾಯ್ ಮ್ಹ ಣ್ ಎಕಾರ್ಚ್ಾ ರಾ ಸಂಜೀವಾನ್ ರ್ಕಶಿಕ್ ಆಸ್ಲೊ ರೂಮ್ ಸರಿವ ೀಸ್ ಬಟಾ ನ್ ದಾಂಬುನ್ ಜಾಲೊ !!! ...ಆನಿ ತಯ ಚ್ ಘಡ್ಯ , ಪೂ ವಿೀಣ್ಟನ್ ಸಂಜೀವಾಕ್ ಆರಾವ್ನ್ ಜಾಲೊ ಂ...!!! ಪೂ ವಿೀಣ್ಟರ್ಚ್ಯ ಕ್ಷೈದಾಳಾಂತ್ ಉಡೊಸಂರ್ಚ್ ಸಂಜೀವಾಚೊ ದಳೊ ಕೊಂಕೊೊ ಪೂ ವಿೀಣ್ಟನ್ ಆಪಾೊ ಯ ಹ್ತಂತೆೊ ಯ ಸುರಿಯ್ಲನ್! ತ ತ ದ್ರಾಃಖ್ ಸ್ಚಸುಂಕ್ ಜಾಯಾ್ ಸ್ಮತ ಂ ಬೊೀಬ್ ಮರಾತ ನಾ, ಸುರಿಯ್ಲನ್ ಸಂಜೀವಾಚೊ ಗಳೊ ಕಾಪುನ್ ಜಾಲೊ ...!!! ದುಸ್ಮೂ ಯ ಘಡ್ಯ , ತೆಯ ಚ್ ಸುರೆಯ ನ್ ಪೂ ವಿೀಣ್ಟನ್ ಸಂಜೀವಾಚಂ ಶರಿೀರ್ ಗಳಾಯ ಥಾವ್ನ್ ಪ್ಲಟ್ಲ್ ಪರಾಯ ಂತ್ ಉಸವ್ನ್ ಸ್ಚಡ್ೊ ಂ...!!! ರ್ತರ್ಚ್ಯ ಖ್ಲಂಡಾಂತ್ ಧ್ಡೂ ಡೊನ್ ಸಂಜೀವಾನ್ ಪಾೂ ಣ್ ಸ್ಚಡಾತ ನಾ, ಪೂ ವಿೀಣ್ಟಚಂ ಆಂಗ್ಯಿೀ ರ್ತ ನ್ ಭಜ್ಲೊ ಂ! ಹ್ಂ್ಸರ್ ಪೂ ವಿೀಣ್ಟರ್ಚ್ಯ ಫ್ರರಿಕಪ ಣ್ಟಚ ತನ್ ನಿಂವ್ನಲಿೊ . ಸಂಜೀವಾರ್ಚ್ಯ ಪಡೊನ್ ಆಸ್ಲೊ ಯ
47 ವೀಜ್ ಕ ೊಂಕಣಿ
ನಿಜೀಸವ್ನ ರ್ಕಡಚರ್ ಥುಕೊನ್ ಪೂ ವಿೀಣ್ ತಯ ರೂಮ ಥಾವ್ನ್ ಭಾಯ್ೂ ಆಯೊೊ , ಆನಿ ತಯ ಚ್ ಘಡ್ಯ ದಾರಾರ್ ಪಾವ್ನಲೊ ರೂಮ್ ಸರಿವ ೀಸ್ ಬೊೀಯ್, ರ್ತ ನ್ ಭಜ್ಲೊ ಯ ಪೂ ವಿೀಣ್ಟಕ್ ಪಳವ್ನ್ ಶಿರಿಂ ಚುಕೊೊ ! ಭತ್ರೆೊ ಂ ಆಂಗ್ ಕಾಡ್ೊ ಂ ಧೃಶ್ ಪಳವ್ನ್ ತ ಕಾಂಪ್ಲೊ !! ದುಸ್ಮೂ ಯ ಕ್ಷಣ್ಟ ತ ಬೊೀಬ್ ಮರುನ್ ಧ್ಲ್ಂವಾತ ನಾ, ಪೂ ವಿೀಣ್ ಥಂಯ್ ಥಾವ್ನ್ ಪ್ಲಳನ್ ಜಾಲೊ . ಥಂಯ್ ಥಾವ್ನ್ ಧ್ಲ್ಂವ್ಲನ್ ಗ್ಚ್ಲೊ ಪೂ ವಿೀಣ್, ಆಪಾಾ ಚೊ ಪಾಟ್ಲ್ೊ ವ್ನ ಜಾತ ತೆಂ ಕಳೊನ್, ಸದಾದ ಯ ಕ್ ಆಂ್ವಯ್ಲೊ ಂ ರ್ತಳೆಂ ವಸುತ ರ್ ನಿಕಾಯ ವ್ನ್ ಲಿಪೆೊ ಖ್ತತರ್, ಎಕಾ ಉಗ್ಚ್ತ ಂ ಆಸ್ಲೊ ಯ ದಾಕಾಾ ಯ ಘರಾಂತ್ ಲಿಪ್ಲೊ ! ಜಾಲೊ ಯ ಆವಾಜಾಕ್, “ಕೊೀಣ್ ಥಂಯ್...” ಮ್ಹ ಳಾಯ ಯ ಪರಿಚತ್ ತಳಾಯ ಕ್ ತ ತಯ ದಕಾೊ ನ್ ಪಳೆೈತನಾ, ತಚ ಮುಖ್ತರ್ ತಚಂ ರೂಪಾ ಉಭೆ ಆಸೊ ಂ ದಸೊ ಂ ತಕಾ!!! “ಓರ್ಹ ಪೂ ವಿೀಣ್, ತ್ತಂ ಮಹ ಕಾ ಸ್ಚಧನ್ ಹ್ಂ್ಯಿೀ ಪಾವ್ಲೊ ಯಿಗ ...? ಮುಂಬಂಯ್ತ ಸ್ಚಡುನ್ ಆಯಿಲೊ ಯ ಆಪಾೊ ಯ ಘವಾಕ್ ಅರ್ಚ್ನಕ್ ತರ್ಚ್ಯ ಘರಾ ಪಳವ್ನ್ ರೂಪಾ ಮುಖ್ತರ್ ಧ್ಲ್ಂವ್ಲನ್ ಆಯ್ಲೊ ಂ! ತಯ ಆಮಸ ರಾಂತ್ ತಕಾ ಪೂ ವಿೀಣ್ ರ್ತ ನ್ ಭಜೊನ್ ಆಸ್ಮ ಮ್ಹ ಳೆಯ ಂಯಿ ದಸೊ ಂನಾ. ಪೂ ವಿೀಣ್ ರೂಪಾಕ್ ಪಳವ್ನ್ ಆಪಾೊ ಯ ದಳಾಯ ಂಕ್ ಪಾತೆಯ ನಾ ಜಾಲ!!! “ಓರ್ಹ ಮ್, ತ್ತಂ ಹ್ಂ್ ಕಸ್ಚ
ಪಾವ್ಲೊ ಯ್, ತ್ತಕಾ ಸ್ಚಡುನ್ ಆಯಿಲಿೊ ಂ ಹ್ಂವ್ನ, ತ್ತಜ ಲಯ್ಲಕ್ ಉರಿೊ ಂನಾ ಮ್ಹ ಣ್. ಪುಣ್ ತ್ತಜ ವಿೀಣ್ ಜಯ್ಲಂವ್ನೊ ಸಕ್ಷೊ ಂನಾ...” ತೆಂ ಪೂ ವಿೀಣ್ಟಕ್ ವೆಂಗೊನ್ ರಡಾಲಗ್ಚ್ೊ ಂ. ತೆದಾ್ ಂ ತಕಾ ಭಾಸ್ ಜಾಲಂ, ಪೂ ವಿೀಣ್ಟರ್ಚ್ಯ ಆಂ್ಕ್ ರ್ತಚೊ ಜವ್ಲಚ್ೊ ವಾಸ್ ಯ್ಲತ ಮ್ಹ ಣ್! ಪೂ ವಿೀಣ್ ಸಗೊಯ ಚ್ ಥರಿ ರಾತ ಲ. ರೂಪಾನ್ ಎಕಾಚಾ ರಾ ಪೂ ವಿೀಣ್ಟಕ್ ಆಪಾಾ ಥಾವ್ನ್ ವಿಂಗಡ್‍ಲ ಕರುನ್ ಪಳೆಲಂ! ತ ರ್ತ ನ್ ಭಜೊನ್ ಆಸ್ಚೊ ದಸ್ಚೊ ತಕಾ! “ರ್ಹಂ ಕ್ಷತೆಂ ಕರುನ್ ಆಯಾೊ ಯ್ ಪೂ ವಿೀಣ್...? ತ್ತಂ ಸಗೊಯ ಚ್ ಕಾಂಪಾತ ಯ್ ಆನಿ ಕೊಣ್ಟಚಂ ರ್ತ್ ತ್ತಜಾಯ ಆಂ್ರ್ ಆಸ್ಮ...?” ಪೂ ವಿೀಣ್ ರೂಕ್ ಕಸ್ಚ ಜಾವ್ನ್ , ತ ಆಪಾೊ ಯ ಸ್ಮಂಡುನ್ ಗ್ಚ್ಲೊ ಯ ರೂಪಾಕ್ ಪಳೆಂವ್ನೊ ಪಡ್‍ಲಲೊ . “ತ್ತಂ ಉಲೈನಾಂಯ್ ಕ್ಷತಯ ಕ್ ಮ್...? ತ್ತಂ ಭಂಯ್ಲಲೊ ಪರಿಂ ದಸ್ಮತ ಯ್...! ತ್ತಂ ರ್ತ ಂತ್ ಕಸ್ಚ ಭಜಾೊ ಯ್ ಪೂ ವಿೀಣ್...? ರ್ಹಂ ಕಸಲಂ ರ್ತ್...? ” ಪೂ ವಿೀಣ್ಟನ್ ಏಕ್ ಕರುಣ್ಟಭರಿೀತ್ ದೀಷ್ಟ್ಾ ರೂಪಾಚರ್ ಘಾಲಿ! “ರ್ಹಂ ಕ್ಷತೆಂ ಪೂ ವಿೀಣ್...? ತ್ತಜಾಯ ಆಂ್ರ್ ರ್ತ್ ಕಸಲಂ...? ತ್ತಂ..., ತ್ತಂ ಕೊಣ್ಟಚ ಖುನಿ ಕರುನ್ ಆಯಾೊ ಯ್...?” ರೂಪಾ ಪೂ ವಿಣ್ಟಕ್ ಹ್ಲವ್ನ್ ಆನಿ ರಡೊನ್ ವಿರ್ಚ್ರಿಲಗ್ಚ್ೊ ಂ.
48 ವೀಜ್ ಕ ೊಂಕಣಿ
“ತಯ ಚ್ ಧ್ಳಿಾ ರಾಯ ಚ ಖುನಿ ಕರುನ್ ಆಯಾೊ ಂ ಮ್, ಜಾಣ ತ್ತಕಾ ಪಯಿಲೊ ಂ ಲ್ಬಟ್ ಲೊ ಂ...” ಪೂ ವಿೀಣ್ ಖರೆಯ ವ್ನ್ ಮ್ಹ ಣ್ಟಲ. “ತಚ ಎಕಾೊ ಯ ಚಚ್ ನಹಂ, ತಯ ಸರಾವ ಂಯಿೊ ಹ್ಂವ್ನ ಯ್ಲಮೊ ಂಡಾಕ್ ಧ್ಲ್ಡುನ್ ಆಯಾೊ ಂ.” “ರ್ಹಂ ಕ್ಷತೆಂ ಕ್ಷಲಂಯ್ ತ್ತಂವೆಂ ಪೂ ವಿೀಣ್...? ತ್ತಂ ಮಹ ಕಾ ಪರತ್ ಮೆಳೊಯ ಯ್ ಮ್ಹ ಣ್ ಹ್ಂವ್ನ ಖುಶಿ ಜಾತನಾ, ತ್ತಂ ಸವ ತಾಃ ತ್ತಜಾಯ ಫ್ರಶಯ ಚೊ ಪಾಸ್ ಸ್ಮಂ್ತ ಹ್ಡುನ್ ಆಯಾೊ ಯಿಗ ಮ್...?” “ರಡಾನಾಕಾ ರೂಪಾ. ತ್ತಜರ್ ಅತತ ಯ ರ್ಚ್ರ್ ಕರುನ್, ತೆಂಯಿೀ ತ್ತಜಾಯ ಘವಾ ಮುಖ್ತರ್ಚ್ ತ್ತಕಾ ಲ್ಬಟ್ಲೊ ಯ ಂಕ್ ಮ್ರಣ್ ಯ್ಲೀಂವ್ನೊ ಚ್ ಆಸ್ಲೊ ಂ. ಆನಿ ತೆಂ ಆಮೊ ಸರಾೊ ರ್ ದೀಂವ್ನೊ ಸಕೊತ ನಾ; ದರ್ಕನ್ ಹ್ಂವೆಂ ದಲಯ ತಂಕಾಂ ತ ಶಿಕಾೆ ಮ್ರಾಾ ಚ. ಮ್ಹ ಜಾ ಪಾಟ್ಲ್ೊ ಯ ನ್ ಪ್ಲಲಿಸ್ ಆಸ್ಮತ್, ತೆ ಮಹ ಕಾ ಧ್ರುನ್ ವಹ ರೆತ ಲ ಆನಿ ಖಂಡತ್ ಫ್ರಶಿ ದತೆಲ. ಪುಣ್ ತ್ತಂ ಖಂತ್ ಕರಿನಾಕಾ.” “ನಾ, ನಾ, ತ್ತಕಾ ಹ್ಂವ್ನ ಫ್ರಶಿ ದೀಂವ್ನೊ ಸ್ಚಡೊ ಂನಾ. ಹ್ಂವ್ನ ತ್ತಜ ತ್ಫೆಸನ್ ಝುಜತ ಲಿಂ. ತಣಿಂ ಕ್ಷಲೊ
ಅತತ ಯ ರ್ಚ್ರ್ ಸಮಜ ಮುಖ್ತರ್ ದವರೆತ ಲಿಂ.” ರೂಪಾ ಬೊಬಾಟ್ಲನ್ ರಡಾಲಗ್ಚ್ೊ ಂ. “ಕಾಂಯ್ ಫ್ರಯೊದ ಜಾಂವ್ಲೊ ನಾ, ರೂಪಾ, ಆಮೆೊ ಂ ಕಾನುನ್ ರ್ಕಡ್ಸಂ ಜಾವಾ್ ಸ್ಮ. ಪೂಣ್ ಮಹ ಕಾ ಸಂತೀಸ್, ತ್ತಕಾ ಹ್ಂವ್ನ ಪಳೆಂವ್ನೊ ಸಕೊೊ ಂ ಮ್ಹ ಣ್. ಮಹ ಕಾ ದವಾನ್, ತ್ತಕಾ ಪಳೆಂವ್ನೊ ಫ್ರವ್ಲ ಕ್ಷಲಂ, ತಯ ತ್ತಜಾಯ ಗುನಾಯ ಂವಾೊ ರಾಂಕ್ ಶಿಕಾೆ ದಲಯ ಉಪಾೂ ಂತ್ಚ್. ನಾ ತ್ರ್, ತ್ತಜಯ ಮುಕಾರ್ ಹ್ಂವ್ನ ಉಭೊ ಜಾಂವ್ನೊ ಯಿ ಸಕೊತ ಂನಾ.” ತತೊ ಯ ರ್ ಪ್ಲಲಿಸ್ ಸೈರಾಣ್ ಲಗಗ ಂ ಜಾಂವೆೊ ಂ ಆಯಾೊ ಲಂ! ಪೂ ವಿೀಣ್ಟರ್ಚ್ಯ ತಂಡಾರ್ ಹ್ಸ್ಚಯ ಉದಲಯ . ತ ತಯ ಖಂತರ್ಚ್ಯ ಹ್ಸ್ಮಯ ಮ್ಧಂ ಭರೊಾ ತಚ ನದರ್ ರೂಪಾಚರ್ ದವರುನ್ ಮ್ಹ ಣ್ಟಲ“ಆದವ್ನಸ ಮ್.” ಉತೂ ಂ ಬರಾಬರ್ ಪೂ ವಿೀಣ್ ರೂಪಾರ್ಚ್ಯ ಘರಾ ಥಾವ್ನ್ ಭಾಯ್ೂ ಆಯೊೊ ! ರೂಪಾನ್ ಜನೆಲಂತೊ ಯ ನ್ ಪಳೆಲಂ ತರ್ಚ್ಯ ಪೊ ೀಮಿಕ್, ತರ್ಚ್ಯ ಮ್ಕ್ ಆನಿ ತರ್ಚ್ಯ ಘವಾಕ್ ಪ್ಲಲಿಸ್ಮಂನಿ ಕ್ಷೈದ್ ಕರುನ್ ವಹ ರೆೊ ಂ...!
ಸಮಪ್ತ ------------------------------------------------------------------------------------
49 ವೀಜ್ ಕ ೊಂಕಣಿ
ಭುರ್ಗಯ ಯಂಲಂ ವೀಜ್
ಚ ಲೋರ್ ಸ್ಾಾಂಪಡ ಲೊ -
ಜೆ. ಎಫ್. ಡಿಸೀಜಾ, ಅತಾತ ವರ್ ಎಕಾ ್ಂವಾಂತ್ ಏಕ್ ಅನಾರ್ಥ ಮಹ ತರಿ ಜಯ್ಲತಲಿ. ತಕಾ ಚಡ್‍ಲ
ಪಾೂ ಯ್ ಜಾಲಿೊ . ಲಗಸ ಲೊ ಹಳೆಯ ಕ್ ವಚೊನ್ ಭಕ್ ಮಗೊನ್ ತಚಂ ಜೀವನ್ ಸ್ಮತಸಲಿ. ಆತ'ತಂ ತಕಾ ದೀಷ್ಟ್ಾ 'ಯಿ ಉಣಿ ಜಾಲಿೊ . ದಳೆ ಸಮ ದಸ್ಮನಾತೆೊ . ಹ ಗಜಾಲ್ ಎಕಾ ಚೊರಾಕ್ ಕಳಿತ್ ಜಾಲಿ. ತ ಕ್ಷದಾಳಾಯ್ ತೆ ಮಹ ತರೆರ್ಚ್ಯ ಘರಾ ವೆತಲ. ತಣಂ ಭಕ್ ಮಗೊನ್ ಹ್ಡ್‍ಲ'ಲೊ ಪಯ್ಲಯ ಆನಿ ಖ್ತಣ್ ಜವಾಣ್ ತ ಚೊತಸಲ. ದಸ್ಮಂದೀಸ್
ಆಪೆಾ ಂ
ಮಗೊನ್
ಹ್ಡ್‍ಲ'ಲೊ ಯ ವಸುತ , ಪಯ್ಲಯ ಮಯಾಕ್ ಜಾಂವೆೊ ಂ ಪಳೆವ್ನ್ ಮಹ ತರೆನ್ ಸಜಾಯಾಸಲಗಂ ವಿರ್ಚ್ರ್ ಕ್ಷಲ. ಪುಣ್ ತಣಿಂ ಕೊಣಂಯ್ ಚೊರಾಕ್ ಪಳೆಂವ್ನೊ ನಾ ಮ್ಹ ಣ್ ಸ್ಮಂಗ್ಚ್ೊ ಂ. ದೀಸ್ ಹಶಸಂರ್ಚ್ಯ ಪರಿಂ ಭಕ್
ಏಕ್
ಮಗೊಂಕ್ ಮಹ ತರಿ ಭಾಯ್ೂ ಸಲಿಸ. ತ್ಶಂ ವೆತನಾ ಎಕಾರ್ಚ್ಾ ಣಂ ಮಡಾರ್ ಥಾವ್ನ್ ಏಕ್ ನಾಲ್ಸ ಪಡೊನ್ ತರ್ಚ್ಯ ಪಾಂಯಾಥಳಾ ಆಯೊೊ . 'ವಹ ಡೊ ಮಂಯ್... ಏ ವಹ ಡೊ ಮಂಯ್... ಮಕಾ ವಿಂಚುನ್ ತ್ತಜಾಯ ಪ್ಲತಯ ಂತ್ ಘಾಲ್. ಹ್ಂವ್ನ ತ್ತಕಾ ಕಸಲ ಪುಣಿ
ಉಪಾೊ ರ್ ನಾಲಸನ್ ನಾಲಸಕ್ ಘಾಲ.
ಕತ್ಸಲಂ' ಮ್ಹ ಣ್ ಸ್ಮಂಗ್ಚ್ೊ ಂ. ತಣಂ ತಯ ಉರ್ಕೊ ನ್ ಪ್ಲತಯ ಂತ್
ಥೊಡ್ಂ ಮುಕಾರ್ ವೆತನಾ ತಕಾ ಏಕ್ ಮಹ ಂವಾಚ ಪ್ಲತ ದಸ್ಥೊ . ' ವಹ ಡೊ ಮಂಯ್, ಮಕಾಯಿೀ ತ್ತಜಾಯ ಪ್ಲತಯ ಂತ್ ಘಾಲ್... ಆಮಿಂ ತ್ತಜ ಸವಾ ಕತೆಸಲಯ ಂವ್ನ' ಮ್ಹ ಣ್ ಮಹ ಂವಾಂರ್ಚ್ಯ ಮುಸ್ಮಂನಿ ಸ್ಮಂಗ್ಚ್ೊ ಂ. ತ್ಶಂ ತ
50 ವೀಜ್ ಕ ೊಂಕಣಿ
ಮಹ ಂವಾಂಚ ಪ್ಲತ ಕಾಡ್‍ಲ್ ತಣಂ ಪ್ಲತಯ ಂತ್ ಘಾಲಿ. ಆನಿ ಥೊಡ್ಂ ಮುಕಾರ್ ವೆತನಾ, ಧ್ಣಿಸರ್ ಏಕ್ ಸುರಿ ಪಡ್‍ಲ'ಲಿೊ ತಣಂ ಪಳೆಲಿ. 'ವಹ ಡೊ ಮಂಯ್ ಮಕಾ ತ್ತಂ ವಿಂಚುನ್ ತ್ತಜಾಯ ಪ್ಲತಯ ಂತ್ ಘಾಲ್... ತ್ತಜಾಯ ಖಂರ್ಚ್ಯ್ ಗಜಸಕ್ ಪಾವಾತ ಂ' ಮ್ಹ ಣ್ ಸುರಿಯ್ಲನ್ ಮ್ಹ ಳಾಯ ರಿ ನಗೊಸನ್'ಶಂ ತಣಂ ತೆ ಸುರಿಯ್ಲಕ್ ವಿಂಚೊ ಂ ಆನಿ ಪ್ಲತಯ ಂತ್ ಘಾಲಂ. ಆಶಂ ಪುಡ್ಂ ಗ್ಚ್ಲಯ ಉಪಾೂ ಂತ್ ಏಕ್ ಮಜಾರ್ ಯ್ಲೀವ್ನ್ ಪಾಂಯಾಂ ಭೊಂವಾರಿಂ ನಾಚೊಂಕ್ ಲಗ್ಚ್ೊ ಂ. ತಣಂ ತಯ ಮಜಾೂ ಕ್ ಸ್ಮಂ್ತ ಘೆವ್ನ್ ಘಚಸ ವಾಟ್ ಧ್ಲಿಸ. ತ ಘರಾ ಪಾವಾತ ನಾ ರಾತ್ ಜಾಲಿೊ . ಜವಾಣ್ ಜಾತ್ಚ್ ನಿದಂಕ್ ವೆರ್ಚ್ಯ ಪಯ್ಲೊ ಂ ಪ್ಲತಯ ಂತೊ ಯ ನಾಲಸಕ್ ರಾಂದಾ ಲ್ಸ ರ್ ದವಲಸ, ದುಸ್ಮೂ ಯ ದಸ್ಮ ನಿಸ್ಮತ ಯ ಕ್ ಗಜ್ಸ ಪಡತ ಲ ಮ್ಹ ಣ್. ಮಹ ಂವಾಂಚ ಪ್ಲತ ಕಾಡ್‍ಲ್ ಬಾ್ೊ ಲಗಸ ಲಯ ಎಕಾ ವಾಸ್ಮಯ ರ್ಚ್ಯ ರ್ಕಡಾೊ ಯ ಕ್ ಶಿಕಾಸಯಿೊ . ಸುರಿ ಕಾಡ್‍ಲ್ ಎಕಾ ಕೊನಾಯ ಯ ಕ್ ಉಡಯಿೊ . ಮಜಾರ್ ರಾಂದಾ ಕಡ್ ರ್ಕವ್ಲಸನ್ ಬಸೊ ಂ.
ಮ್ಧ್ಲ್ಯ ನೆ ರಾತಂ ಚೊೀರ್ ಘರಾ ಭತ್ರ್ ರಿಗೊನ್ ಹಶಸಂರ್ಚ್ಯ ಪರಿಂ ಖ್ತಣ್ - ಜೆ. ಎಫ್. ಡಿಸೀಜಾ, ಅತಾತ ವರ್.
ಜವಾಣ್ ಸ್ಚಧನ್ ರಾಂದಾ ಲಗಂ ಗ್ಚ್ಲ. ಥಂಯ್ ಆಸ್ಚೊ ಯ ಥೊಡೊಯ ವಸುತ ಪಳೆವ್ನ್ ಹ್ತ್ ಘಾಲತ ಂ ಮ್ಹ ಣ್ಟತ ನಾ ಮಜಾರ್ ದಬಕ್ೊ ಕನ್ಸ ಉಟೊನ್ ದಾವಿೊ ಮರುನ್ ತಕಾ ಭೊಕೊನ್ಸ ಸ್ಚಡ್ೊ ಂ. ತ ಭಂಯಾನ್ ಕಾಲ್ಬಬುಲ ಜಾವ್ರನ್ ಕಾಳೊಕಾಂತ್ ಧ್ಲ್ಂವಾತ ನಾ ತಚೊ ಪಾಂಯ್ ನಾಲಸ ವಯ್ೂ ಪಡ್‍ಲ'ಲೊ ಯ ನ್ ನಿಸ್ಚೂ ನ್ ತ ಧ್ಣಿಸರ್ ವ್ಲಮೆತ ಂ ಉದಾರೆಂ ಲಳೊಯ . ಲಳಾತ ನಾ ಲ್ಸ ರ್'ಚ್ ಸುರಿ ಆಸ್ಮೊ ಯ ನ್ ತರ್ಚ್ಯ ಕಪಾಲಕ್ ಸುರಿ ಲಗೊನ್ ಘಾಯ್ ಜಾಲ. ಪಡ್ೊ ಕಡೊೊ ಉಟೊನ್ ಕಸ್ಚಯ್ ಅಪ್ಲಾ ನ್ ಧ್ಪ್ಲಾ ನ್ ಧ್ಲ್ಂವಾತ ಂ ಮ್ಹ ಣ್ಟತ ನಾ ಮಹ ಂವಾಚ ಪ್ಲತಯ್ಲರ್ ಬಸ್'ಲೊ ಮ್ಸ್ ತರ್ಚ್ಯ ಆಂ್ರ್ ಸರೊನ್ ರ್ಚ್ಬೊಂಕ್ ಲಗ್ಚ್ೊ . ಆತಂ ಚೊರಾಚೊಯ ಬೊಬೊಚ್ೊ ಬೊಬೊ. ಹ್ಚೊಯ ಬೊಬೊ ಆಯೊೊ ನ್ ಸಜಾಚೊಸ ಲೀಕ್ ಉಟೊನ್ ಧ್ಲ್ಂವ್ಲನ್ ಆಯೊೊ . ಚೊರಾಕ್ ತಣಿಂ ಧ್ನ್ಸ ಬಾಂದುನ್ ಘಾಲ. ಮಹ ತರೆನ್ ಮ್ನಾಂತ್'ಚ್ ನಾಲಸಚೊ, ಮಹ ಂವಾಂರ್ಚ್ಯ ಮುಸ್ಮಂಚೊ, ಸುರಿಯ್ಲಚೊ ಆನಿ ಮಜಾೂ ಚೊ ಉಪಾೊ ರ್ ಭಾವ್ರಡೊೊ , ಚೊರಾಕ್ ಧ್ರುಂಕ್ ರ್ಕಮ್ಕ್ ಕ್ಷಲೊ ಖ್ತತರ್.
51 ವೀಜ್ ಕ ೊಂಕಣಿ
ರಾಹುಲ್ ಗಾಾಂಧಿಚ ಾಂ ರಾಜಕೋಯ್ ಭವಿಷ್ಯ್ (ಖಬ್ ರ ವಿಶ ೊೋಷಣ್)
ಟೀನಿ ಮಂಡೀನ್ವ್ (ದುಬಾಯ್)
ನಿಡಡ ೀಡಿ
ಕನಾಸಟಕಾರ್ಚ್ಯ ಕೊೀಲರಾಂತ್ 2019 ಇಸವ ಂತ್ ಲೀಕ್ ಸಭಾ ಚುನಾವ್ನ ಪೂ ರ್ಚ್ರ್ ಭಾಷಣ್ಟವೆಳಿಂ ತ್ವಳೊೊ ಕೊಂಗ್ಚ್ೂ ಸ್ ಅಧ್ಯ ಕ್ಷ್ ಜಾವ್ನ್ ಆಸ್ಲೊ ಯ ರಾಹುಲ್ ್ಂಧ್ ಹ್ಣಂ ಮೀಸ್ ಕರುನ್ ವಿದೀಶಕ್ ಪರಾರಿ ಜಾಲೊ ಯ ಚೊರಾಂರ್ಚ್ಯ ನಾಂವಾಂ ಫುಡ್ಂ ಮೀದ ಮ್ಹ ಳೆಯ ಂ ನಾಂವ್ನಚ್ ಕ್ಷತಯ ಕ್ ಆಸ್ಮ ಮ್ಹ ಣ್ ಪೂ ಧ್ಲ್ನಿ ನರೆೀಂದ್ೂ ಮೀದ ಹ್ಕಾ ಒತ್ತತ ದೀವ್ನ್ ಕ್ಷಲಿೊ ಟಿೀಕಾ ಮೀದ ಸಮುದಾಯಾಕ್ ಕ್ಷಲೊ ಅಕಾಾ ನ್ ಕ್ಷೂ ಮಿನಲ್ ಅಪಾೂ ಧ್ ಮ್ಹ ಣ್ ಗುಜಾೂ ರ್ಥ ಸೂರತ್ ಜಲೊ ಮಯ ಜಸಾ ರೀಟ್ ಕೊೀಟ್ಲ್ಸನ್ ರಾಹುಲ್ ್ಂಧ್ಕ್ ಐ.ಪ್ರ.ಸ್ಥ. ಸಕ್ಷನ್ 499 ಆನಿ 500ರ್ಚ್ಯ ಕಾಯಾದ ಯ ಅನುಸ್ಮರ್ ದೀಜಾಯ್ ಜಾಲಿೊ ಗರಿಷ್ಟ್್ ದೀನ್ ವಸ್ಮಸಂ ಜೈಲ್ ಶಿಕ್ಷೆ ಚಂ ತೀಪ್ಸ ದಲಂ ಆನಿ 15000 ರುಪಯ್
ದಂಡ್‍ಲ ಫ್ರರಿಕ್ ಕರ್ಚ್ಯ ಸಕ್ ಪೂ ಕಟನ್ ಕರುನ್ ಆದೀಶ್ ದಲ. ಸೂರತ್ಚೊ ಪೂ ಮುಖ್ ಜುಡರ್ಷರ್ಲ್ ಮಯ ಜಸಾ ರೀಟ್ ಎಚ್.ಎಚ್. ವಮಸ ಹ್ಣಂ ರ್ಹಂ ತೀಪ್ಸ ದೀವ್ನ್ , ರ್ಹಂ ತೀಪ್ಸ ವಯಾೊ ಯ ಸುಪ್ರೂ ೀಮ್ ಕೊೀಟ್ಲ್ಸಂತ್ ವಿರ್ಚ್ರಣ್ ಕರುಂಕ್ 30 ದಸ್ಮಂಚೊ ಆವಾೊ ಸ್ ದೀವ್ನ್ ತ್ವಳ್ ಪಯಾಸಂತ್ ಶಿಕ್ಷೆ ಚಂ ಅನುಷ್ಮಾ ನ್ ಅಮನತಂತ್ ದವ್ರೂ ಂಕ್ ಸ್ಮಂಗೊನ್ ಜಾಮಿೀನ್ ದಲಯ .
ಲೀಕ್ಸಭಾ ಸಚವಾಲ್ಯ್ ಸೂರತ್ ನಾಯ ಯಾಲ್ಯಾನ್ ದಲೊ ಯ ತೀಪಾಸ ಪೂ ಕಾರ್ ರಾಹುಲ್ ್ಂಧ್ಚಂ ಲೀಕ್ಸಭಾ ಸದಸಯ ತ್ವ ರದ್ದ ಕ್ಷಲಂ ಮ್ಹ ಣ್ ಪೂ ಕಟಣ್ ಕ್ಷಲಂ. ಕ್ಷೂ ಮಿನಲ್ ಅಪಾೂ ಧ್ಲ್ಂತ್ ದೀನ್ ವಸ್ಮಸಂ ವನಿಸಂ ಚಡತ್ ಆವೆದ ಕ್ ಜೈಲ್ ಶಿಕ್ಷೆ ರ್ಚ್ಯ
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ತೀಪಾಸಕ್ ಎಮ್.ಪ್ರ. ವಾ ಶಸಕ್ ಹ್ಚಂ ಶಸನ್ ಸಭೆಚಂ ಸದಸಯ ತ್ವ ಶಿಕಾೆ ವಿದಸ ಲೊ ಯ ಆವೆದ ಕ್ ಆನಿ ಉಪಾೂ ಂತ್ ಸ ವಸ್ಮಸಂ ಕಾಳ್ ಪಯಾಸಂತ್ ಖಂರ್ಚ್ಯ ಚ್ ಚುನಾವಾಂತ್ ಸಪ ಧ್ಸಸುಂಕ್ ಭಲ್ಬೊ ಕ್ ಆವಾೊ ಸ್ ನಾ. ತಯ ಖ್ತತರ್ ರಾಹುಲ್ ್ಂಧ್ 2024 ಇಸ್ಥವ ಮತ್ೂ ನಹ ಯ್ 2029 ಇಸ್ಥವ ರ್ಚ್ಯ ಲೀಕ್ಸಭಾ ಚುನಾವಾಂತ್ಯಿೀ ಸಪ ಧ್ಸಸುಂಚೊ ಆವಾೊ ಸ್ ಹೊ್ಯ ವ್ನ್ ಘೆತಲ; ತಯ ಶಿವಾಯ್ ದೀನ್ ವಸ್ಮಸಂ ಪಯಾಸಂತ್ ತಹ್ರ್ ಜೈಲಚೊ ಖೆೈದ ಜಾವ್ನ್ ಆಸ್ಚತ ಲ. ಭಾರತ್ ದೀಶಚ ಲಂಕಾಯ ಕಾಸ್ಮತಚ ಮ್ಹಳಾ ಏಕ್ ಮತ್ೂ ಸ್ಥತ ರೀ ಪೂ ಧ್ಲ್ನಿ ದವಂಗತ್ ಇಂದರಾ್ಂಧ್ ಹಕಾಯಿೀ ಸವ್ಲಸನ್ ಆಜ್ ಪಯಾಸಂತ್ ಸುಮರ್ 32 ಎಂ.ಪ್ರ.ಚ ಸಂಸತ್ ಸದಸಯ ತ್ವ ನಾಯ ಯಾಲ್ಯಾನ್ ದೀನ್ ವಸ್ಮಸಂರ್ಚ್ಯ ಕ್ಷೀ ಚಡತ್ ಆವೆದ ವನಿಸಂ ಚಡತ್ ವೆೀಳ್ ಜೈಲ್ ಶಿಕಾೆ ಪೂ ಕಟನೆ ಥಾವ್ನ್ ರದ್ದ ಜಾಲಯ . ಪುಣ್ ಮನ್ ನಷ್ಟ್ಾ ಕ್ಷೀಸ್ಥರ್ಚ್ಯ ತೀಪಾಸಕ್ ಲಗೊನ್ ಸಂಸತ್ ಸದಸಯ ತ್ವ ಹೊ್ಯ ವ್ನ್ ಘೆತ್ಲೊ ಪಯೊೊ
ರಾಜ್ಕಾರಣಿ ರಾಹುಲ್್ಂಧ್ ಜಾವಾ್ ಸ್ಮ. “ಮೀದ ಸಮುದಾಯ್ ಚೊರಾಂಚೊ” ಮ್ಹ ಣ್ ರಾಹುಲ್ ್ಂಧ್ನ್ ಅಕಾಾ ನ್ ನಿಂದಾ ಕ್ಷಲಯ ಮ್ಹ ಣ್ ಸೂರತ್ ಕೊಡತ ನ್ ತೀಪ್ಸ ದಲಂ. ಶಿವಾಯ್ “ಚೌಕ್ಷದಾರ್ ಚೊೀರ್ ರ್ಹೈ” ಮ್ಹ ಣ್ ತಣಂ ಹಣಿಸ ಲಂ.
ಉಪಾೂ ಂತ್ ತಣಂ ಆಪಾೊ ಯ ಭೊ್ಸ ಣಂ ಮ್ೊ ಂ.
ಚುಕ್ಷಚಂ
ರಾಹುಲ್ ್ಂಧ್ ವಿರೊೀಧ್ ಆನಿಕ್ಷೀ ಸ್ಮತ್ ಮನ್ ನಷ್ಮಾ ಚೊಯ ಕ್ಷೀಸ್ಥ ಆಸ್ಮತ್. ತಂ ಸ್ಮತ್ ಪೂ ಕರಣ್ಟಂ ಪರತ್ ಜೀವಾಳ್
ಜಾಂವಾೊ ಯ ರ್ ಆಸ್ಮತ್. ಹ್ಯ ಸವ್ನಸ ಪೂ ಕರಣ್ಟಂನಿ ರಾಹುಲ್ ್ಂಧ್ ಅಪಾೂ ಧ್ ಮ್ಹ ಣ್ ತೀಪ್ಸ ಆಯ್ಲೊ ಂ ತ್ರ್ ಫುಡ್ಂ ಕ್ಷತೆಂ ಜಾಯ್ತ ? ದೀಶರ್ಚ್ಯ ಪೂ ಜಾಪೂ ಭುತ್ವ ರಕ್ಷಣ ಖ್ತತರ್ ಆಪುಣ್ ಸಂಸತ್ ಸದಸಯ ತ್ವ ಪಣ್ ಹೊ್ಯ ಂವಾೊ ಯ ಕ್ ತ್ಯಾರ್ ಆಸ್ಮಂ ಆನಿ ಜೈಲಕ್ ವಚೊಂಕ್ಷೀ ತ್ಯಾರ್ ಆಸ್ಮಂ ಆನಿ ಸತ ಖ್ತತರ್ ಆಪುಣ್ ಝುಜೊತ ಲಂ ಮ್ಹ ಣ್ ರಾಹುಲ್ ್ಂಧ್ ಪತೂ ಕಾಗೊೀರ್ಷ್ ಂಟ್ ಹಧಸಂ ಬಡಯಾತ . ಅದಾನಿ ಸಮ್ರ್ಹ ಕಂಪೆನಿಕ್ ನಕ್ಷೊ ಕಂಪೆನಿ ಥಾವ್ನ್ ಲಭ್ಲೊ ಂ 20,000 ಕರೊೀಡ್‍ಲ ರುಪಯ್ ಕೊಣ್ಟಕ್ ಲಘು ಜಾತತ್ ಆನಿ ಅದಾನಿ - ಪೂ ಧ್ಲ್ನಿ ನರೆೀಂದ್ೂ ಮೀದ ಹ್ಂಚ ಮ್ದೊ ನಿಕಟ್ ಸಂಬಂಧ್ ಕಸಲ ಮ್ಹ ಳೊಯ ೀ ದೀಶರ್ಚ್ಯ ಫುಡ್ಂ ಉಗತ ಡಾಕ್ ಯ್ಲೀಜಾಯ್ ಮ್ಹ ಣ್ ತಣಂ ಮ್ನವಿ ಕ್ಷಲಯ . 2019 ಇಸವ ರ್ಚ್ಯ ಲೀಕ್ಸಭಾ ಚುನಾವ್ನ ಪೂ ರ್ಚ್ರಾ ಪೂ ಮಣಂ ಹಗರಣ್ ಚಲೊ ಂ ಮ್ಹ ಣ್ ಆನಿ ಆನಿ ಪೂ ಧ್ಲ್ನಿ ಮೀದ “ಚೌಕ್ಷದಾರ್ ಚೊೀರ್ ರ್ಹೈ” ಮ್ಹ ಣ್ ಹಣಸ ನ್ ಪೂ ರ್ಚ್ರ್ ಕ್ಷಲೊ . ರಾಹುಲ್
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್ಂಧ್ನ್
ರಾಜಕ್ಷೀಯ್
ಮರ್ಹತ್ ಜಾಣ್ಟವ ಯ್ ಆನಿಕ್ಷೀ ಜೊಡನ್ ಘೆಂವ್ನೊ ನಾ ಮ್ಹ ಣ್ ತಚಂ ನಡ್ತ ಂ ಆನಿ ಉಲವೆಾ ಂ ಮ್ಹ ಳೆಯ ಂ ಕಳೊನ್ ಆಯಾೊ ಂ. ಪಾಶಯ ರ್ ಜಾಲೊ ಯ ಲೀಕ್ ಸಭಾ ಚುನಾವಾಂತ್, ಕೊಂಗ್ಚ್ೂ ಸ್ ದುಸ್ಮೂ ಯ ಪಾವಿಾ ಂ ವಿರೊೀಧ್ ಪಾಡತ ಚಂ ಸ್ಮಿ ನ್ ಘೆಂವಾೊ ಯ ಕ್ ವಿಫಲ್ ಜಾತನಾ ಸಲ್ವ ಣಚಂ ಸವಾಲ್ ಸ್ಥವ ೀಕಸುಸನ್ ಕೊಂಗ್ಚ್ೂ ಸ್ ಪಕ್ಷ್ ಪತ್ತಸನ್ ಬಾಂದುನ್ ಹ್ಡ್ೊ ಂ ಮೆೀಟ್ ದವರ್ಚ್ಯ ಸ ಬದಾೊ ಕೊಂಗ್ಚ್ೂ ಸ್ ಅಧ್ಯ ಕ್ಷ್ ಸ್ಮಿ ನಾಕ್ ರಾಜನಾಮೆ ದೀವ್ನ್ ದೀಶಚಂ ಸ್ಮವ ತ್ಂತ್ೂ ಯ ಝುಜಾಚಂ ಹೊ್ಯ ಪ್ ಜೊಡುಲಿೊ ಕೊಂಗ್ಚ್ೂ ಸ್ ಪಕಾೆ ಅಧ್ಯ ಕ್ಷ್ಚ್ ನಾತೆೊ ಲಿ ಪಕಾೆ ಮ್ಹ ಳಿಯ ಆವಾಜ್ ಉಟಯಿಲೊ . ಯು.ಪ್ರ.ಎ. ಸಕಾಸರಾಚೊ ಪೂ ಧ್ಲ್ನಿ ಜಾವ್ನ್ ಆಸ್ಲೊ ಮ್ನ್ ಮೀಹನ್ ಸ್ಥಂಗ್ ಹ್ಚಂ ಸಂಪುಟ್ ಸಭಾ, ಖಂರ್ಚ್ಯ ಚ್ ಕ್ಷೂ ಮಿನಲ್ ಪೂ ಕರಣ್ಟಂತ್ ನಾಯ ಯಾಲ್ಯ್ ದೀನ್ ವಸ್ಮಸಂರ್ಚ್ಯ ಕ್ಷೀ ಚಡತ್ ಆವೆದ ಚ ಶಿಕಾೆ ದಲೊ ಯ ಂತ್ ಸಂಬಂಧ್ ಜಾಲೊ ಯ ಶಸನ್ ಸಭಾ ಸದಸ್ಮಯ ಚಂ ಶಸನ್ ಸಭಾ ಸದಸಯ ತ್ವ ತೀಪಾಸರ್ಚ್ಯ ತೀನ್ ಮ್ಹ ಯಾ್ ಯ ಂರ್ಚ್ಯ ಕಾಳಾ ಆವೆದ ಂತ್ ರದ್ದ ಜಾಯಾ್ ಸ್ಮತ ಂ ಆಸ್ಮೊ ಯ ಸುಗೂ ೀವಾಜ್ಞ್ ಸ್ಥವ ೀಕಾರ್ ಕ್ಷವೆಳಿಂ ತಚ ಪೂ ತ ಖಬೊ ಗೊೀರ್ಷಾ ಂಟ್ ಪ್ರಂದುನ್ ಉಡೊವ್ನ್ ಆಪಾೊ ಯ ಪಾಡತ ರ್ಚ್ಯ ಸಕಾಸರಾ ವಿರೊೀಧ್ಚ್ ರಾಹುಲ್್ಂಧ್ ಉಜೊ ವ್ಲಂಕ್ಷಲಗೊೊ . ಆತಂ ತಚ ಸ್ಥಿ ತ ಕಶಿ ರಾವಾೊ ಯ ತೆಂ
ತಣಂಚ್ ಚಂತ್ತನ್ ಪಳೆಂವಿೊ ಗಜ್ಸ ಆಸ್ಮ. ರಾಹುಲ್ ್ಂಧ್ ಸಂಸತತ ಚಯ ಅಧ್ೀವೆೀಶನ್ ಆವೆದ ರ್ಚ್ಯ ಚಡತ ಕ್ ಸಂದಭಾಸರ್ ವಿದೀಶಂಚಂ ಪೂ ವಾಸ್ ಕಚೊಸ ಪರಿಪಾಠ್ ವಾಡೊವ್ನ್ ಘೆಂವ್ಲೊ ಪರಿಣ್ಟಮ್ ಜಾವ್ನ್ ಆಡಳಿತ್ ಬಿ.ಜ.ಪ್ರ. ನಾರ್ಕಾಂರ್ಚ್ಯ ತಂಡಾಂಕ್ ದುಸ್ಚಸಣ್ಟಯ ಂಕ್ ಒಳಗ್ ಜಾಲ. ಸಂಪೆೊ ಲಯ ವಸ್ಮಸ ಆಖೊ ೀಕ್ ತಣಂ ಚಲವ್ನ್ ವೆಲೊ ಂ ಭಾರತ್ ಜೊೀಡೊೀ ಯಾತ್ೂ ಲಕಾಂಚಂ ಗಮ್ನ್ ಆಪಾಾ ರ್ಕಶಿಂ ವ್ಲಡುನ್ ಘೆಂವ್ನೊ ಸಫಲ್ ಜಾಲೊ . ಪುಣ್ ವಿನಾರ್ಕ್ ದಾಮೀದರ್ ಸ್ಮವಕಸರ್ ವಿರ್ಚ್ರ್ ಜಾವ್ನ್ ಅನಗತ್ಯ ಸ್ಮಂಗ್ಚ್ಾ ಂ ದಲೊ ಯ ಮುಖ್ತಂತ್ೂ ಭಾರತ್ ಜೊೀಡೊೀ ಯಾತೊ ಚಂ ರ್ಶಸ್ಸ ತಣಂಚ್ ಸವ ರ್ಂ ಜಾವ್ನ್ ಪಾಡ್‍ಲ ಕ್ಷಲೊ ಂ. ವಿವಾದಾತ್ಾ ಕ್ ಸ್ಮಂಗ್ಚ್ಾ ಂ ಕೊಂಗ್ಚ್ೂ ಸ್ ಪಾಡ್‍ಲತ ಆನಿ ತರ್ಚ್ಯ ವಯ ಕ್ಷತ ತವ ಕ್ ವಯ ತರಿಕ್ತ ಪರಿಣ್ಟಮ್ ಪಡಾತ ಮ್ಹ ಳೆಯ ಂ ತಕಾ ಸಮ್ಿ ಣಿ ಸ್ಮಂ್ೊ ಯ ಸಲ್ಹ್್ರಾಂಕ್ ಕೊಂಗ್ಚ್ೂ ಸ್ ಹೊಂದವ ನ್ ನಾಸ್ಮತ ಂ ಆಸೊ ಂಚ್ ರಾಹುಲ್ ್ಂಧ್ಚ ಸ್ಥಿ ತ ಅಶಿ ಜಾಂವ್ನೊ ಕಾರಣ್ ಜಾಲಯ . ಲೀಕ್ಸಭಾ ಸದಸಯ ತ್ವ ರದದ ತೆಚಂ ತೀಪ್ಸ ಕೊೀಟ್ಸ ಖ್ತಯಾಂ ಜಾವ್ನ್ ರಾಹುಲ್ ್ಂದ ದೀನ್ ವಸ್ಮಸಂ ಜೈಲ್ ಶಿಕ್ಷೆ ಕ್ ಸವ್ಲಸನ್ ಉಪಾೂ ಂತ್ ಆಟ್ ವಸ್ಮಸಂ ಚುನಾವ್ನ ಸಪ ಧ್ಲ್ಯ ಸ ಥಾವ್ನ್ ಭಾಯ್ೂ ರಾಂವಿೊ ಪರಿಸ್ಥಿ ತ ಉಬಾಿ ಲಯ ರ್ ತಚಂ ರಾಜಕ್ಷೀಯ್ ಜೀವನಾಚರ್ ಕಾಳೆಂ
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ಮೀಡ್‍ಲ ಉದಲೊ ಯ ಪರಿಂ ಜಾಯ್ತ . ಎಕಾದಾವೆಳಾ ರ್ಹಂ ರಾಹುಲ್ ್ಂಧ್ ಆನಿ ಕೊಂಗ್ಚ್ೂ ಸ್ ಪಾಡತ ಅನುಕಂಪ್ ಜಾಯ್ತ ತ್ರ್ ಬಿ.ಜ.ಪ್ರ.ಕ್ ಸಮ್ಸಯ ಂ ಫುಡ್‍ಲ ಕರುಂಕ್ ಜಾಯ್ತ .
ತಚಂ ಸಕಾಸರಿ ಘರ್ ಪರತ್ ಆಪಾಾ ಂವ್ನೊ ಪಾವ್ಲೊ . ಸದಾದ ಯ ಕ್ ಲಕಾಂರ್ಚ್ಯ ಅಭಪಾೂ ಯ್ಲ ಪೂ ಕಾರ್ ತ ಆತಂ ಭಾರತಯಾಂರ್ಚ್ಯ ಕಾಳಾಿ ಮ್ನಾಂನಿ ಪರತ್ ರಾಜ್ ಕರುಂಕ್ ಲ್ೊ .
ಆತಂ ಪೂ ಸ್ಮರ್ ಜಾಲೊ ಯ ಖಬೊ ಅನುಸ್ಮರ್ ಕೊಂಗ್ಚ್ೂ ಸ್ ಫುಡಾರಿ ರಾಹುಲ್ ರಾಜಕ್ಷೀಯ್ ಫುಡಾರಿ ಲಿೀಡರ್ ನಾರ್ಕ್ ್ಂಧ್ ನಾಯ ಯಾಲ್ಯಾರ್ಚ್ಯ ಎಕಾ ಕೊಣಿೀ ಜಾಂವಿದ , ಪೂ ಜ ಸಂಗಂ ಆಪ್ರೊ ಂ ಕ್ಷೀಸ್ಥಂತ್ ಶಿಕಾೆ ಜಾವ್ನ್ ಲೀಕ್ಸಭೆಚಂ ಭಾಷಣ್ಟಂ ದತನಾ ರ್ಹರಾಂ ಉದೂ ಕ್ತ ಸದಸ್ಯ ಪಣ್ ಹೊ್ಯ ವ್ನ್ ಘೆತ್ಲೊ ಂ. ಜಾಯಾ್ ಶಂ ಉರ್ಚ್ಂಬಳಾಯ್ ಉಪಾೂ ಂತ್ ರಾಹುಲ್ ಕೊಡತ ಂತ್ ಆಡಾಯಾಿ ಯ್. ಉಲ್ಯಾತ ನಾ ಧ್ಲ್ ಭರ್ಲೊ ಯ ಲಕಾ ಫುಡ್ಂ ಆಪ್ರೊ ಚೂಕ್ ಪಾವಿಾ ಂ ಚಂತ್ತನ್ ್ಳಿ ಗಲೀಟ್ ವಳೊೊ ನ್ ಮಫಿ ಭ್ಸ ಣಂ ಕರಿನಾಸ್ಮತ ಂ ತಂಚಂ ಕಾಳಾಿ ಂ ಮ್ಲಗೊೊ . ಸುಪ್ರೂ ೀಮ್ ಕೊಡತ ನ್ ಜಕಾಜಾಯ್. ತ್ವಳ್ ತ ಆಪ್ಲೊ ಮನ್ ತಚ ಶಿಕಾೆ ಮಫಿ ಕ್ಷಲಿ, ಆನಿ ಪರತ್ ತ ಗೌರವ್ನ ಹೊ್ಯ ಂವ್ನೊ ಪಾಂವ್ಲೊ ನಾ. ಲೀಕ್ಸಭೆಕ್ ಪಾವ್ಲೊ . ತಯ ಶಿವಾಯ್ -----------------------------------------------------------------------------------------
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ಮ್ಹಾ ಕಾ ತುಮ್ೊ ಂ ಬಪಾಯಂ ಫಕತ್ ವೀಜ್ತಪಾೆ ಲಾರ್ (ಈ ಮೀಯ್ಲ ) ಮ್ಹತ್ರ ಧಾಡಾತ್: veezkonkani@gmail.com 57 ವೀಜ್ ಕ ೊಂಕಣಿ
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ವಿಕ್ಾರಪಾರ್ ಆಸ್ಾ.... ಕವತಾ ಪುಸತ ಕ್
ಮಂಗ್ಳು ರಂತ್ : ಜೆರೊಸಾ ಕಂಪೆನಿ, ಹಂಪ್ನ್ಸ'ಕಟ್ಟಾ ಇನ್ಫ ಂಟ್ ಜೀಜಸ್ ಬುಕ್ ಸಾಾ ಲ್, ಕಾಮಯಲ್ ಗ್ಳಡ. ಸಂಪ್ಕಾಯಕ್ Email: avilrasquinha@gmail.com ಆಪ್ಯಾ - ಆವಲ್ ರಸ್ಕ ೀಞಾ: +91 89715 63221 ಪಾನ್ವಂ: XXII + 114
ಮ್ಚೀಲ್: ರ.150/= 60 ವೀಜ್ ಕ ೊಂಕಣಿ
61 ವೀಜ್ ಕ ೊಂಕಣಿ
ಚಿಟ್... ಚುಟ್... ಚುಟುಕಾಂ...39 1. ಕರ ಸಮ ಸ್
ಕರ ಸ್ ತ ಜಲ್ಮ ಲಾಲ ಯ ಜಾರ್ಗಯ ರ್ ನ್ವ ಜಾಲೊ ಸಂಭ್ರ ಮ್ ಕರ ಸಮ ಸ್ ಥಂಯ್್ ರ್ ಝುಜೊನ್ಸ ಆಸ್ ಲಲ ಇಸಾರ ಯೆಲ್ ಆನಿ ಹಮ್ಹಸ್ 2. ಬಸ್ ಯಾತಾರ ಭಾರತ್ ಜೊೀಡೀ ಯಾತಾರ ಜಾಲಲ ಪೂಣ್ಯ ಯ್ಶಸ್ವ ಕರ‍ನ್ಸ ಪಾದ್ ಯಾತಾರ ಭಾರತ್ ನ್ವಯ ಯ್ ಯಾತಾರ
ಜೊಡಿತ್ ಆಶೆಲಲ ಯ್ಶಸ್ವ ಕೆಲಾಯ ರ್ ಬಸ್ ಯಾತಾರ ? 3. ಪ್ರ ಗತಿ ಹಪಾತ ಯ ಕ್ 70 ವೊರಂ ಕರಿಜೆ ಕಾಮ್ ಮಾ ಣ್ತತ ಇನಿೆ ನ್ವರಯ್ಣ್ ಮೂತಿಯ ಕಾಮ್ ವಾಂಟುನ್ಸ ದಿಲಂ ತರ್ ನಿರ‍ದ್ಯ ೀಗಂಕ್ ಜಾಂವೊ ನ್ವಂಗೀ ತಾಣಂ ಆಶೆಂವೊ ದೆೀಶಾಚಿ ಪ್ರ ಗತಿ? -ಮ್ಹಚ್ಚೊ , ಮ್ಲಾರ್ 62 ವೀಜ್ ಕ ೊಂಕಣಿ
ಜವಾಳ್ ಸೃಷ್ಟಾ ಉದಾಕ್ ಆನಿ ಉಜಾವ ಡ್ ಸ್ಪವ್ನ್ ಝಡಾಂ ರೂಕ್ ಜಾವ್ನ್ ಸುಯಾಯಚ್ಚ ಕಣ್ತಯಂಚ್ಚ ಸಕೆತ ನ್ಸ ಜಯೆಂವ್ನಕ ಉಸಾವ ಸ್ ದಿವ್ನ್ ರೂಕ್ ಉಸಾವ ಸ್ ಘೆವ್ನ್ ಪ್ರಿಸರ್ ಶುದಿಧ ೀಕರಣ್ ಕರ್್ ಮನಿಸ್ ಉಸಾವ ಸ್ ಸ್ಪಂವ್ನಕ ನಿತಳ್ ವಾರಂ ದಿವ್ನ್ ಭುಂಯ್ಥಳಾ ಆಸರ ಘೆವ್ನ್ ಹವಾಯ ಬದಾಲ ಪಾಕ್ ಝುಜೊನ್ಸ ವಾಯಾಾ ಥಾವ್ನ್ ರಕಾೊ ಯ ಜೀವಂಕ್ ವಸ್ಪತ ಸುವಾತ್ ದಿವ್ನ್ ಭಾಷ್ಟೆ ೀಕರಣ್ತಚ್ಚಯ ಯೀಗದಾನ್ವನ್ಸ ಮ್ಚಡಾಂನಿ ಭ್ರೊನ್ಸ ಮ್ಚಳಾಬ್ ಜವಾಳ್ ವಾಂಟೆಲ್ೆ ಣ್ ಘೆವ್ನ್ ಮ್ಹಪುನ್ಸ ಪಾವಾ್ ಚೊ ಅಂದಾಜ್ ಕಲಾತಮ ಕ್ ವನ್ವಯ ಸಾನ್ಸ ಸಭುನ್ಸ ಮಜ್ಭು ತ್ ಜಾವ್ನ್ ರವುನ್ಸ ನ್ೈಸಗಯಕ್ ಅನ್ವವ ರಂತ್ ರಕೊನ್ಸ ಅಡ್ೊ ಣಕ್ ಫುಡ್ ಕರ‍ನ್ಸ ಬಾಂದುನ್ಸ ಹಾಡುನ್ಸ ಸಮ್ಹಜ್ ಸೃಷ್ಟಾ ಉರೊವ್ನ್ ಜವಾಳ್ ದವರ್್ ಬರೊ ಸಂಬಂಧ್ ಪ್ರಸೆ ರ್ ಅವಲ್ಂಬಿ ಜೀವನ್ಸ -ಪ್ರ ೀಮ್ಹ ಮ್ಚರಸ್ 63 ವೀಜ್ ಕ ೊಂಕಣಿ
ಮ್ಚಬೈಲ್ ಟೀನಿ ಮಂಡೀನ್ವ್ ನಿಡಡ ೀಡಿ (ದುಬಾಯ್)
ಟೆಲಫೀನ್ಸ ಶೀಧನ್ಸ ಕೆಲೊಲ ರ್ಗರ ಹಂಬಲ್ ಅವಷ್ಕಕ ರ್ ಕೆಲೊಲ ಮ್ಹರ್ಟಯನ್ಸ ಕೂಪ್ರ್ ಮ್ಚಬೈಲ್ ಬೊಕೆಡ ನ್ಸ ಖಾಯಾ್ ತುಲೊಲ ಆಲೊಪಾಲೊ ನ್ವ ಮ್ಚಬೈಲ್ ನ್ವತ್ಲ ಲಂ ಘರ್ ನ್ವ || ಸಂವಹನ್ಸ ಕಚ್ಚಯ ಯಕ್ ಜರೂರ್ ಜಾಯ್ ಸ್ಪಲ್ಫೀನ್ಸ ಮ್ೀರ್ಟಂಗ, ಶಪ್ಂಗ ಜಾತಾತ್ ಆನ್ಸಲೈನ್ಸ ವಶ್ವವ ವದಾಯ ಮ್ಹನ್ಸ ಲಪೊನ್ಸ ಆಸಾ ಯೂಟ್ಯಯ ಬಾಂತ್ ಕಾರ ಂತಿ ರಚ್ಚಲ ಯ ಮೂಬೈಲಾನ್ಸ ಹಾಯ ಜಾರ್ಗಯ ಂತ್ || ಸಗ್ಳು ಮನಿಸ್ ಹೊರ್ಗಡ ವ್ನ್ ಘೆತಾತ್; ವಾಟ್ಟ್ ಪ್, ಫೀಸ್ಬುಕ್, ರ್ಟವ ಟರ್, ಇನ್ಸಸಾಾ ರ್ಗರ ಮ್ ಥಾವ್ನ್ ಮನ್ವಾ ಸಂಬಂಧ್ ಮ್ಹಯಾಗ ಜಾತಾತ್ ಹಾಯ ವಚಿತ್ರ ಮ್ಹಂತಿರ ಕ್ ಪೆಟುಲಾಥಾವ್ನ್ || ಗೂಗಲ್ ಸಚ್ಯ ನಿಮ್ತ ಂ ಮ್ಹಹೆತ್ ಲ್ಭ್ಯಯ ತಕ್ಷಣ್ ಸಂಸಾರಂತ್ ಜಾಂವೊೊ ಯ -ವೆಚೊಯ ಖಬೊರ -ಲುಕಾ್ ಣ್ ಕ್ಷಣ್ ಕ್ಷಣ್ತನ್ಸ ದಿಸಾಚಿಂ ಚೊವೀಸ್ ವೊರಂಯೀ ಸಾಮ್ಹಜಕ್ ಜಾಲಾತಾಣ್ ಸ್ಪೈಬರ್ ಕೆರ ೈಮ್ ಥಾವ್ನ್ ಪ್ಡಾಡ ಯ ರ್ ಜಾಲಾಂ ದೆೀಶಾಚಂ ವಾತಾವರಣ್ || ಸವಾಯಂಕೀ ಜಾಯ್ ಸ್ಪಲ್ಫೀನ್ಸ ಸಾಂರ್ಗತ್ ಮ್ಚಬೈಲ್ ಮ್ೀತ್ ಮ್ವಾಯಲಲ ಂ ಉಪೊಯ ೀಗ ಜಾಣ್ತಂ ಜಾಲಾಯ ರ್ ಔಚಿತ್ಯ ನ್ವ ತರ್ ಮ್ಚಬೈಲ್ ಥಾವ್ನ್ ಭಾಯ್ರ ವೊಂಕೆೊ ಂ ರೀಡಿಯೆೀಶನ್ಸ ಜೀವ್ನ ಹೊರ್ಗಡ ಂವ್ನಕ ಪಾವಾತ್ ವಾ ಡಾ ಫರಮ್ಹಶೆನ್ಸ || 64 ವೀಜ್ ಕ ೊಂಕಣಿ
ಪೂ ಸುತ ತ್ ಉಡಾತ ಯ , ನಾರ್ಚ್ಕ್ ಯೊೀಗ್ಯ ನವಿ ಕೊಂಕ್ಷಾ ಪದಾಂ ಉಣಿಂ ಆಸ್ಮತ್. ತಂತೊ ಯ ತಂತ್ತಂ ಕೊಂಕ್ಷಾ ನಾಚ್ ಸಪ ಧ್ಲ್ಯ ಸಕ್ ಆನಿ ಕಾಜಾರಾಂ ಸ್ಚಭಾಣ್ಟಂ ತ್ಸಲಯ ಸ್ಮಮಜಕ್ ಕಾಯಾಸಂನಿ ರ್ಹಂ ಉಣಂಪಣ್ ದಸ್ಮತ . ರ್ಹಂ ಭರಿತ ಕರಾೊ ಯ ಖ್ತತರ್ ಆನಿ ನಾರ್ಚ್ಪ ಪದಾಂಚಂ ಭಂಡಾರ್ ವಾಡೊಂವಾೊ ಯ ಖ್ತತರ್ ಮಂಡ್‍ಲ ಸ್ಚಭಾಣ್ ಹ ಯ್ಲವಿ ಣ್ ಘೀರ್ಷತ್ ಕರಾತ . 1. ಖಂರ್ಚ್ಯ ಯ್ ಭಾಶರ್ಚ್ಯ , ಬೊಲಿರ್ಚ್ಯ , ಧ್ಮಸರ್ಚ್ಯ , ಪಂ್ಯ ರ್ಚ್ಯ ಯಾ ಸಂಸ್ಮರಾರ್ಚ್ಯ ಖಂರ್ಚ್ಯ ಯ್ ಪೂ ದೀಶರ್ಚ್ಯ ವೆಕ್ಷತ ಂನಿ ಹ್ಂತ್ತಂ ಭಾಗ್ ಘೆವೆಯ ತ್. 2. ಖಂರ್ಚ್ಯ ಯ್ ಕೊಂಕ್ಷಾ ಬೊಲಿಯ್ಲಂತ್ ಪದ್ ರಚಯ ತ್. 3. ಕೊಂಕ್ಷಾ ಭಾಶಚಂ, ಉಡಾತ ಯ ನಾರ್ಚ್ಕ್ ಯೊೀಗ್ಯ ಜಾಲೊ ಂ ಏಕ್ ನವೆಂಚ್ ಪದ್ ಬರೊವ್ನ್ , ತಳೊ ಬಸ್ಚವ್ನ್ , ಆಡಯೊ ರೆಕೊಡ್‍ಲಸ ಕರ್್ , ಉತೂ ಂಸವೆಂ (lyrics) ಧ್ಲ್ಡುಂಕ್ ಜಾಯ್. 4. ಪದ್ ಬರೊವಿಪ (ಕವಿ), ತಳೊ ಬಸ್ಚವಿಪ (ಪದ್ ರರ್ಚ್ಾ ರ್) ಆನಿ ್ವಿಪ ಎಕ್ಚ್ ವೆಕ್ಷತ ಜಾವೆಯ ತ ವಾ ವಿವಿಂಗಡ್‍ಲ ವೆಕ್ಷತ ಆಸುಂಯ್ಲತ. 5. ಪದ್ ಎಕೊಡ್ಂ, ದಡ್ಂ ವಾ ಜಮಯ ನ್ ್ಂವ್ನೊ ಜಾಂವೆೊ ಪರಿಂ ರಚಯ ತ್. 6. ನಾಚ್ ಸ್ಚಭಾಣ್ ಹ್ಯ ಪದಾಂಕ್ ನಾಚ್ ಸಜಯಾತ . 7. ಮಂಡ್‍ಲ ಸ್ಚಭಾಣ್ ಹ್ಯ ಪದಾಂಕ್ ಸಂಗೀತ್ ಸಂಯೊೀಜನ್ ಕನ್ಸ, ್ವಾಪ ಯ ಂಕ್ ತ್ಭೆಸತ ದೀವ್ನ್ , ನಾರ್ಚ್ಸವೆಂ ಮ್ಹ ಯಾ್ ಯ ಳೆಯ ಮಂಚಯ್ಲರ್ ಪೂ ಸುತ ತ್ ಕಚಸದಾವ ರಿಂ 65 ವೀಜ್ ಕ ೊಂಕಣಿ
ಪದಾಂಕ್ ಜೀವ್ನ ದತ. 8. ಮಂಚಯ್ಲರ್ ಪದಾಂ ್ಂವ್ನೊ ್ವಾಪ ಯ ಚ ಗಜ್ಸ ತ್ರ್ ಸಹಕಾರ್ ಮೆಳತಲ. 9. ಹ್ಯ ಯ್ಲವಿ ಣ ಖ್ತಲ್ ಆಯಿಲೊ ಯ ಪದಾಂ ಪಯಿೊ ಂ ಮಂಡ್‍ಲ ಸ್ಚಭಾಣ್ 10 ಪದಾಂ ವಿಂಚುನ್ ಕಾಡಾತ . ಹಯ್ಲಸಕಾ ಪದಾ ಪಾಟ್ಲ್ೊ ಯ ನ್ - ಬರೊವಾಪ ಯ ಕ್ ರು 1000/-, ತಳೊ ಬಸ್ಚವಾಪ ಯ ಕ್ ರು 1000/- ಆನಿ ್ಯಾನ್ ಕ್ಷಲೊ ಯ ಕ್ ರು. 2000/- (ಅಭಾಯ ಸ್ ಭಾತೆಂ ಧ್ನ್ಸ) ಅಶಂ ಎಕಾ ಪದಾ ಪಾಟ್ಲ್ೊ ಯ ನ್ ರು. 4000/- ಗೌರವ್ನ ಸಂಭಾವನ್ ಪದಾಂ ಘಡಾಾ ರಾಚಯ ಹ್ತಂ ದತ. 10. ಎಕಾೊ ಯ ನ್ ಕ್ಷತೊ ಂಯ್ ಪದಾಂ ಧ್ಲ್ಡುಂಯ್ಲತ. 11. ಪದಾಚ ಆಡಯೊ ಮಂಡ್‍ಲ ಸ್ಚಭಾಣ್ಟಕ್ 15.02.2024 ಭತ್ರ್ mandd.sobhann86@gmail.com ದಾವ ರಿಂ ಪಾವಿತ್ ಕರಿಜ. 12. ಪದಾಚಂ ಉತೂ ಂ ಆನಿ ತಳೊ ಸವ ಂತ್ ಆಸುಂಕ್ ಜಾಯ್. ಹ ಜವಾಬಾದ ರಿ ಪದಾಂ ರರ್ಚ್ಾ ರಾಚ. 13. ಹೊ ಸಪ ಧೊಸ ನಹ ಯ್ ಜಾಲೊ ಯ ನ್ ವಹ ಡ್‍ಲ ಸಂಖ್ತಯ ನ್ ಪಾತ್ೂ ಘೆಂವ್ನೊ ಉಲ ದತಂವ್ನ. ------------------------------------------------------------------------------------------
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Veez English Weekly
Vol:
3
No: 9 January 25, 2024
Puttur: 18th edition of Kavita Fest held with the rich poetic elements
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Puttur: 18th edition of Kavita Fest held with the rich poetic elements •
Mon, Jan 15 2024 09:46:29 PM
Pics: Dayanand Kukkaje Daijiworld Media Network Puttur (SB)
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Puttur, Jan 15: Kavita Fest, a prominent one-day celebration of poetry and a gathering of Konkani poetry enthusiasts from Karnataka, Goa, Kerala, and Maharashtra, unfolded at St Philomena Campus, Puttur on Sunday, January 14. Commercial Tax Officer, Amline D'Souza, and Konkani author, poetess Flavia Albuquerque,
inaugurated the 18th edition of the Kavita Fest by strewing rose petals, accompanied by the trustees of Kavita Trust. In his inaugural speech, Amline stated, "In my college days, I also participated in Kavita Fest as a
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delegate and experienced the fragrance of Konkani poetry and its related literary forms. Kavita Trust has done a commendable job in promoting Konkani poems and training young poets. To my knowledge, Kavita Trust continuously recognizes young
poets and encourages them through various competitions, TV shows, and gatherings. Today, Kavita Trust has reached every major part of the Konkan region with its unique programmes. I wish the entire trustees of Kavita trust all success in their future projects. At
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you gathered here for your interest in poetry and commitment to your mother tongue." Following the inaugural session, the team members of GG100 performed traditional singing of Vovyo and Verse, essential components of Konkani weddings. Raina Sequeira Kulshekar, Neil D'Souza Valencia, Verna D'Souza Kelarai, Hayden Sequeira Kulshekar, Sharon Rodrigues Bejai, accompanied by Sanjay Rodrigues on music, rendered their voices to well-known folklore numbers. Stany Bela provided insights into the background of the songs. The Kavisandhi programme, in collaboration with Kendra Sahitya Academy, featured Noothan Sakhardande as the center of attraction. She shared her poetic journey and interacted with the audience about poetry and its various classifications.
The poetry session, another highlight of Kavita Fest, was presided over by Dimple Fernandes. Poets such as Aradhya S Pai Raiturkar, Saharsh Naik, Ninisha Montheiro, Sidhanth Khadekar, Suveda Palkar, Danica D'Souza, Mukund Malgoankar, Vanitha Vani Crasta, and Neeta Parab presented their poems. During the event, the collection of poems titled 'Utrabitram,' penned by Kashinath Shamba Lolienkar, was released. Additionally, the prize distribution for the winners of the Nelson-Lavina Rodricks - Cha-Fra De Costa memorial all India Konkani poetry recitation competition for children and seniors took place. In the afternoon session, the young and sensational singer Jason Lobo showcased his talent by rendering songs written by known poets such as Melwyn Rodrigues, Kishoo Barkur, and Wilson Kateel. The session was directed by the renowned music director Sanjay Rodrigues. During the closing ceremony, Sandesh Prabhu Desai, Author, and journalist, Prashanthi Talpanakar, translator and actress, Kishore Gonsalves, president, Kavita Trust,
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and Andrew D Cunha, Treasurer, Kavita Trust, were present on the dais. Author and poet Prakash Dattaram Nayak was honored with the Mathias Family Poetry Award 2023. Guests felicitated Prakash with a shawl, memento, citation, and Rs 25,000 award money. Trustee William Pais read the citation, and Trustee Vitori Karkal introduced Prakash Nayak and his literary works to the audience. Expressing gratitude upon receiving the award, Prakash Dattaram Nayak thanked Kavita Trust and all his readers for their support and encouragement towards writing poems. Appreciating the mission of Kavita Trust, Prashanthi Talpanakar said, "Kavita Fest is a unique experience, and Kavita Trust creates an ambiance to feel Konkani poetry. Literature highly influences society and insists people be creative. Today's generation is not much interested in literature, losing the power of imagination. When we imagine ourselves as others, needy, exploited, depressed, we can understand the reality of current society. We should teach our
children how to imagine and become the voice of the voiceless. Literature is the best way to express imaginary things and become the voice of the voiceless. Kavita Trust is very much engaged in the mission of making the generation a literary generation." In his speech, Sandesh Prabhu Desai said, "A poem is a feeling and an experience, but the presentation of a poem is an art. A presenter should know the actual theme of the poem, its message, and the time in which it was written. Kavita Trust is teaching these things to the current generation and bringing them close to the poetic world. This should be continued and requires the support of society and the entire Konkani community." Kishoo Barkur, president, Kavita Trust, welcomed the dignitaries and the gathering, and briefed about the mission and activities of the trust and its various competitions during the inaugural session. Andrew L D Cunha, treasurer, Kavita Trust, spoke during the closing ceremony. Vitori Karkal proposed a vote of thanks, and Floyd Kiran Nirkan compered the event. ---------------------------------------
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73rd Republic Day - Jan 26, 2024..... INDIA, our republic, and independent Nation is celebrating once again January 26, 1952, 72 years of full freedom from slavery to the British rulers and establishment of the REPUBLIC of INDIA! Proud now of our own Constitution and Republic gained in 1952 - have we really come out of our bonded slavery. Or have we just been serving other masters of our own making. Do we just follow a leader - who is for all practical purposes a 'self-styled lofty superior', that we have elected with our hard-earned sweat and vote. The people are the rulers in our democracy that is the largest and most dynamic in the world - but, really, are we? It is not late to come out of this rut - at risk is the whole future for which our ancestors struggled, and future generations have a right. Will we
realize after 7 decades of selfGovernment, that we but achieved not our own freedoms......but, are still deep into a new form of slavery....bonded to and shackled to a shameful system of indolence, ease and greed; the whole machinery and mechanism is a monster that has practically nullified our rights and choices and we stand and walk on the legs of undesirable forces on paths that we are unable to determine. Our total failure and transformation into zombie culture is in rapid progress. Will a God we humbly worship prevent and rescue us - politics and religion seem like two peas in a pod. Strong will and action are the immediate need. Rear view of 'Satyagraha' : In 1906 the father of Indian independence struggle, first considered to resist
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the white colonial oppressors without any force whatsoever in Johannesburg, South Africa. The young Mohandas Karamchand Gandhi evolved into the 'Mahatma' as we know. The term 'Satyagraha' originated in a competition in the news-sheet Indian Opinion in South Africa in 1906. "Satyagraha" is a Sanskrit word Satya ("truth") and Agrapha ("insistence", or "holding firmly to"). For Gandhi, 'Satyagraha' went far beyond mere "passive resistance" and became a strength in practicing non-violent methods. This unique thinking got the name of 'SATYAGRAHA’. It is India's great contribution to the world which has also been included in the English dictionary as 'passive resistance introduced by Mahatma Gandhi as a method of obtaining political and social reforms' and so on - now an urgent tool. The meaning and power of 'Satyagraha' is lost today, it is not at all fasting, rioting, going to jail or such actions. Kanara became a hotbed of the freedom movement and satyagraha, with the prevailing high profile of cultures and education. Many Kanara ancestors were in the forefront during the frequent visits
of leaders like Gandhiji, Nehru, Sarojini Naidu and so on. Though some are accused of siding with the British initially, facts prove that they were in fact the momentum of the freedom effort in Kanara. People of the "Satyagraha”: Tulu Nadu’s indigenous people, every one of them original or settled from old times are an illustrious and intelligent asset. Some from Saraswat origins are noted for their spear heading participation in the ‘Swadeshi Satyagraha’ and other freedom movements that served to send unmistakable messages to the British Raj. Several Kanarites adopted 'Satyagraha' as their policy and ideal. According to history, one of these was a couple from Mangalore settled in Colombo for family tile business - Thomas and Helen Alvares. This pioneer couple was motivated by Gandhiji himself who was once entertained by them to tea. They were so impressed and fervent that they gave all their children Indian names (which was not usual for Christians), Helen herself became known as 'Alva Devi'. In 1932 she served a jail term for her role in the freedom
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struggle. Kanara has many freedom fighters seriously worthy of the name. Not many are named here, as a token to great personalities a few are recalled: Attavar Yellappa, Leela Kamaladevi Chattopadyaya
Attavar Yellappa Chatopdyaya, Desh Bhakta Karnad Sadashiva Rao, Felix Pai, J P Rego, Gulwadi S Shankar Rao, Kudmul ranga Rao, M S Sreshta, U S Mallya, Dr. V Adappa, S M Pinto, E A Pais., C Mascarenhas, Kundapur Uma Bai, A P Serrao, M Shiva Rao, Panje Mangesh Rao, Kundapur Uma Bai, Molahally Shiva Rao, and so on, who
Karnad Sadhashiva Rao
Abbakka Rani
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have sacrificed for freedom. The role of Jesuit priest Fr. Jerome D’Souza who had a role in framing the constitution of India should not be forgotten in this land of
Kanara. Thus, the great saga of freedom fighters in this ancient heroic land of humane agriculture, flowing with milk and honey dew the efforts of our ancestors, must be posterity. Reminiscing : Reproduced below ...Salient observations and memories of a 93 year old Kodiak scholar Dr. Mohan Prabhu in Canada:
Jochim & Violet Alva.... recognized, remembered, deeply valued, and ever preserved for
Freedom at the stroke of August 14, 1947 midnight was the biggest draw on earth, a giant television set erected at Flora Fountain in Bombay beamed live the momentous historical event of the relinquishment and transfer of power by Britain to India, by the handing over of the keys to Rashtrapati Bhavan by Lord Louis Mountbatten, the last Governor General appointed by Britain, signifying the end of British rule, and their acceptance by Pandit Jawaharlal Nehru on behalf of the people of India. India became a sovereign country. During my early days under the
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British Raj, the world was reeling under the Great Depression which lasted ten years and was followed by the Second World War which lasted another five years. Employment prospects were bleak after the War and opportunities were new. The Depression era passed me by. I had no idea of the plight of ordinary families like ours. I heard very little about the War other than the tragic news that my mother’s cousin was killed in the Burmese jungles when the bomber plane he was flying had been blown out of the sky by the Japanese. Every family had been issued ration cards for essential food items and kerosene oil, to conserve them for the war effort. We also had to supplement rice with wheat and use chicory in coffee. Although it is now 75 plus years since I left Mangalore and now
living in Canada, at 93 years, I still have vivid memories of life as I experienced it during that early phase, its topography, and landmarks. I also came to know a few social aspects of the society, the caste and inheritance systems, religious affiliations, and institutions; folklore and cultural life, feasts, and festivals; the languages spoken by the people; and the myriad ways by which each segment of society differentiated itself from the rest. Some of these I had witnessed, but many I had only heard about. Manglurgars generally lived in peace and harmony. Mangalore’s Old Topography: Let’s look at the topography of those times..... Mangalore is a coastal town built on seven or more hills and surrounded by two mighty rivers, the Netravati, and its tributary the Gurpur, also called Phalguni and Kulur. At some point in the Western Ghats, the tributary separated and flowed westwards, and as its flow was blocked by a sandbar created by the Arabian Sea, it turned south parallel to the Sea,
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and met the Netravati which had turned west towards the sea. Together the two emptied into the sea at a point off Mangalore Bundar near Bengre. The sandbar which forced the tributary to change course, shielded the land from encroachment, but it also created the need for ships to anchor at sea itself to unload its cargo on lighters, and passengers on launches, to carry them into town and beyond. Five of the hills on which the town was built were quite familiar to me, All the hills were low, gently inclined, so walking was not a problem. The Netravati River in the east and south, and its tributary, the Gurpur river in the north and west, encircled the town, making it a river island, with just a narrow strip of sandbar between land and sea. The Western Ghats which separated Mangalore from the Deccan plateau, were too far to be visible. My first home was in the Sanyasi GuDDa valley, below road level, where I lived for about four years. The road above bore the same name and branched off Balmatta Road which led to the town center.
The hill got its name from the sanyasis (hermits) who lived in the valley as a community in guDsul or cadjan houses. My home was the only remnant of their habitat, and it was unique because there were no similar houses in town. Our guDsul along with the wood burning oven of Mona Vaz’s iconic Bakery, which was directly across at street level, was a gateway to the posh neighborhoods. There were no houses in the middle tier of the hill as trees had not been cleared. On the top tier was the District Collector’s House. Sanyasi GuDDa road connected Balmatta road and provided access to the centre town. Our guDsul and the adjacent three or four houses were below road level and to gain access to the road, we had to climb several steps. Balmatta Hill which stretched along the opposite side of Balmatta Road as one goes North, and after about a mile of even road, the Light House Hill, were two other hills I used every weekday on my way to school. Balmatta Hill sloped all the way down to Falnir. On its eastern slope facing Balmatta Road, several
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new houses had come up, but at the bottom there was a disgusting pit in which thoTees, who collected human waste from household toilets in open buckets, dumped their precious load. The stench from the pit permeated the whole neighborhoods. Passers-by were forced to hold their nose while walking on that stretch. Further up, after its intersection with Mercara Hill Road which went to Bendore, were Shanti Cathedral, the motherhouse of the Basel Evangelical Mission on the right, and its printing press, hosiery factory and showroom, on the left. The showroom held periodic sales. A little further from that point, at an intersection, the road split into two, the left section went down to the town centre Hampankatta, past the Ladies’ Club and tennis courts, and the right section went up to Light House Hill. The first structure on the top of the Hill was the historic Tipu Sultan’s LightHouse after which the Hill was named. Opposite the LightHouse was the Idgah hall of prayer of Muslims. In a lane next to the LightHouse was St. Aloysius
college. It was founded in 1890, the same year as Fr. Muller’s Kankanady Hospital, and was built on land donated by Lawrence Lobo Prabhu, a prominent philanthropist of Mangalore. People of Mangalore: Of the approximately 73,000 inhabitants recorded in the 1931 Census, sixty percent were Hindus. Mohammedans (or Muslims), who were called Moplahs or Bearys, and Christians, were large minorities together numbering about 25,000 or about a third. Jains and other religious groups were less than 5%. Mahars and other untouchables, such as koragas and thoTees were the lowest castes and small. A small number were locally converted, some by Catholic missionaries and others by the Basel Evangelical Mission which had been founded in the year 1834. Converts from the latter were called Mission Christians. Mangalore society was heterogeneous, multicaste, multicultural and multilingual. Each person and community precisely knew their place in society and lived, as it were, in silos unmindful of the presence of
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others around them. Hindus, Christians, and Mohammedans, the three major communities had their own educational, health care and religious institutions, and even banking, industrial and trading enterprises. They were generally self-dependent. Health Care: Father Muller’s Kankanady Hospital and Leprosy was the premier Catholic hospital. The public, and those who had contracted infectious diseases, were treated at the government’s Wenlock hospital and Lady Goschen Women’s hospital. When I contracted typhoid a couple of months before leaving Mangalore for good, I was hospitalized at Wenlock for two weeks. There were also a few private clinics and maternity hospitals. I remember Dr. Lydia Colaco’s hospital, opposite Bethany Convent, at Lower Bendore. Dr. Lucy Saldanha's maternity home on the eastern slope to Lighthouse Hill, where many old timers made their entry into the world. Education: Many of the schools and colleges were founded and managed by religious orders for the
benefit of their own followers, though a few students from other religious groups were admitted. Government schools and colleges were open to all. Catholic parishes, such as St. Sebastian’s at Bendore, Our Lady of Miracles at Milagres, and the Holy Rosary at Rosario, had Elementary and Higher Elementary schools; the latter two also had high schools. St. Aloysius College for boys had a huge student body. St. Agnes and St. Ann’s Convents admitted only girls. I knew of only two schools where boys of the Hindu community studied: Canara and Ganapati high schools. Hindu girls were probably educated in municipal schools and in the government college. Movies: The only movie houses that I knew were Balaji and Chitra. They were called ‘talkies’ (or talking pictures) as sound was dubbed and synchronized with dialogues. I remember going to two of those talkies with religious motifs with my brother without my father accompanying us, but he would reach us and meet us halfway after the film was over as it was getting
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quite dark. The school also showed a few silent movies with subtitles and sounds from time to time, but often the film in the reel snapped and there was a long wait to fix it, so lights were turned on meanwhile. Major Industries: Tile factories: Tile manufacturing was a major industry which was concentrated in the Bolar area on the banks of the Netravati. It was started by the Basel Mission, and it was not long before other local entrepreneurs were able to copy the patent and start their own factories. While I did not visit any factory, I had met the owner of the Albuquerque Tile factory who was a supplier to Father Muller’s Hospital and my father used to buy tiles from his factory for the Hospital. My father also had told me that before joining Father Muller’s Hospital he had worked in the Morgan tile factory when he was single and lived with his parents in Bolar. Coffee curing and Handloom: Two other industries I remember to have seen on a regular basis while walking by, one was the coffee curing works of Pierce Leslie on Falnir Road on the way to Hampankatta, and the other was
A.R. D’Souza’s handloom weaving near the intersection of Bendore and Balmatta roads, marked by Bendore Well. Main Town: Hampankatta, the commercial, entertainment and tourism centre and the heart of the town, is about three miles from our house in Kankanady. It had prominent hotels and restaurants, cloth and jewellery shops, flower, meat and fish markets, movie houses, important houses of worship, and even a few residences. It was also a railway hub for trains going south to Ernakulam and Trivandrum, and East, to Bangalore, Kadur, Arkonam and Madras. Bombay was not on the southern route but on a different connecting line that originated in Madras. Nearby was the Central Maidan which had a mosque and a radio station. Cricket was also played on it. A few local boys played kuTTi danDo, a game that sometimes I played with Sadashiv, son of Uggappa Bhandary, our neighbour farmer. Further down, on the banks of the Gurpur river, there was Mangalore’s only bandar from where one took a
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boat ride to the seashore. I had taken one such ride with the family. We had also gone to the Ullal beach which is south of town, walking on the iconic Ullal wooden Bridge that was built in the first decade of the last century. Hampankatta, in short, was the life of the town people and was my favourite part of town in the early teen years when I was allowed to go out alone, but those days did not last long. Traffic in town: Very few buses plied within the town as there was no regular service. In any case, I had never needed one, as I walked (barefoot) all over town, especially to school and church, to Hampankatta, and even to the various villages I had visited during holidays. The well-to-do hired a juTka and occasionally our neighbour Ethel Vaz took me on her shopping spree as her two little children did not occupy much space in the juTka and there was room available. For me it was a joyride, and as it was an outing for her family, we were treated to icecream at Marcel D’Cunha’s parlour and sometimes to masala dosa at
the renowned Bhavan.
Udupi
Krishna
There were few cars in town, generally used by top government officials and high-ranking police, senior medical professionals, and businessmen. Walter Saldanha, our neighbour Ethel Vaz’s brother, who was a PWD Engineer, whenever he came to town and stayed with his sister, parked his car in our compound as the lane leading to his sister’s house was not wide enough. His old car used an Lshaped iron rod to start it. There was however an inter-city bus service operated by the Canara Public Conveyance (better known as CPC). I took a bus for the first time with my brother to Chikmagalur and Kadur to board the train coming from Madras to go to Bombay where we began the second phase of our life. The other vehicular traffic consisted of lorries and bullock carts. Lorries carried goods to towns and villages beyond Mangalore urban limits, especially to places in the Western Ghats. Bullock carts drawn by sturdy bulls were the predominant mode of transporting
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goods within the town and to places beyond and to the Western Ghats, but they carried only the smaller and lighter load, unlike the lorries.
wet. Over the last hundred years the World has changed dramatically, and Mangalore has not lagged far behind. All of us have changed with it. I am not the same person I was three quarters of a century ago, or half a century ago, or even quarter century ago. But I still have the “son of the soil” outlook in me and although I have frequently laced the memoirs with anecdotes, I have deliberately avoided touching on it.
The Monsoons: Being on the south-west monsoon trail, Mangalore received heavy rain, especially during July and August. The second half of July received the heaviest downpour. The New Moon of the fortnight was called aTiamas, when Shivaratri was celebrated, Monsoon was, of course, the lifeline of the town and the people. By early June, people got tired of the summer heat and longed for relief, even prayed to the rain god to pierce the clouds and bring down the rain to cool them off. Nature got a new life; farmers -Reminiscences by: Dr. Mohan got busy with planting crops; Prabhu. Canada. people enjoyed the rains though they had to use umbrellas, which often broke down, or raincoats and caps. We were lucky to get raincoats with hood and gumboots from my eldest brother who had a sales agency for that equipment as one of Adapted By Ivan Saldanha-Shet. his private ventures while working full time at the Central Ordnance Depot. It was also a lot of fun to get ----------------------------------------------------------------------------------92 Veez Illustrated Weekly
BILKIS BANO VINDICATED! - *Fr. Cedric Prakash SJ
On 8 January 2024, Bilkis Bano stood vindicated! Her relentless quest for truth and justice met with triumph, as the Supreme Court of India, quashed the Gujarat Government's decision to allow premature release of convicts in the gangrape case where she was the victim; a heinous, brutal crime which took place during the Gujarat carnage of 2002! In a landmark judgment, the bench of Justice B.V. Nagarathna and Justice Ujjal Bhuyan held that the eleven convicts (who were given remission) must report back to the jail authorities within two weeks and must continue to remain in jail. The bench clearly stated that the Gujarat government was not empowered to
pass the remission order, since the appropriate government entitled to pass orders of remission was the government of the State where the trial had taken place; in this case, it was the Government of Maharashtra and not that of Gujarat, which was the competent authority, to even consider remission. The 251-pages judgment is bound to have wide ranging repercussions; the key para states, "On
competence of Gujarat government to pass remission orders, it is apparent that appropriate government had to take permission of the court before passing remission orders. This means that place of occurrence or place of imprisonment of convicts are not relevant for remission. The definition of appropriate government is otherwise. The intention of the government is that the State under whom the convict
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was tried and sentenced was the appropriate government. This places emphasis on the place of trial and rather than where the crime took place," The judges also came down heavily on the Gujarat Government: stating that it was complicit in the crime for not filing a review plea against the May 2022 judgment and instead acting in tandem with the convicts and usurping the Maharashtra government's jurisdiction to grant remission to convicts. “It was the
State of Maharashtra who could have only passed the remission orders respondent no 3 surreptitiously filed the plea before the Supreme Court. Taking advantage of May 13, 2022, order of this Court, other convicts also filed remission applications and the Gujarat government passed remission orders...Gujarat was complicit and acted in tandem with respondent no. 3 in this case. This Court was misled by suppressing facts. Use of power by Gujarat was only a usurpation of power by the State," In detail, the judgement clearly exposed all the fraudulent tactics
the convicts used, as well as how Gujarat’s government acted in tandem with them, in securing their un-merited and premature release from prison via reduction of sentences through a sham process of remission, albeit under the erroneous directions from the Supreme Court itself. The Court also came down strongly on one of the convicts, Radhyesham, for playing fraud upon the Court by suppressing material facts and getting a favourable order from the top court in May 2022 which eventually led to the release of all the eleven convicts. It unequivocally stated that the May 2022 judgment was obtained by fraud and therefore not good in law. To understand a bit of what Bilkis has been going through, it is important to revisit that horrendous tragedy of almost twenty -two years ago. Following the burning of the S6 compartment and tragic death of 59 persons (mainly ‘kar sevaks’) on 27 February 2002, all hell broke loose, the next day, in several parts of Gujarat. Sensing trouble, a group of seventeen persons fled their native village of Randhikpur in
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Dahod district. The group consisted of Bilkis, her three-year-old daughter Saleha, her mother and fourteen others. They took refuge in another village Chhaparvad hoping they would be safe there. On 3 March, however, they were attacked by about 20-30 people armed with sickles, swords, and sticks. Among the attackers were the eleven accused men (those currently on remission). Bilkis, her mother, and three other women were raped and brutally assaulted. Of the seventeen Muslims, eight were found dead, six were missing. Only Bilkis, a man, and a three-year-old child survived the attack. Bilkis was unconscious for at least three hours; after she regained consciousness, she borrowed some clothes from an Adivasi woman made her way to the Limkheda police station to register a complaint. The Head Constable there, according to the CBI,
“suppressed material facts and wrote a distorted and truncated version of Bilkis’ complaint”. Since then, Bilkis has relived the horror of that tragedy several times, as she unwaveringly, but with great pain, narrates the brutality, that she
was subject to. She says, “All the 4
men of my family were killed brutally. The women were stripped naked and raped by many men. They caught me top. My 3-year-old daughter, Saleha, was in my arms. They snatched her and threw her into the air with all their might. My heart broke as her little head shattered on the rocks. Four men caught me by the arms and legs and many others entered me one by one. When satisfying their lust, they kicked me and beat my head with a rod. Assuming that I was dead they threw me into the bushes. Four or five hours later I regained my consciousness. I searched for some rags to cover my body but couldn’t find any. I spent a day and a half on a hilltop without food or water. I longed for death. Finally, I managed to find a tribal colony. Declaring myself as a Hindu I sought shelter there. The men who attacked us used foul language; I can't repeat it ever. In front of me they killed my mother, sister and 12 other relatives. While raping and killing us, they were shouting sexual abuses. I could not even tell them that I was five months pregnant because their feet were on my mouth and neck. I have
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known the men who raped me for many years. We sold them milk. They were our customers. If they had any shame, they would not have done this to me. How can I forgive them?" Any lesser mortal would have given up; but not Bilkis Bano! With her husband Yakub Rasool (who was away from home when home when violence broke out) who has stood by her side, through thick and thin, she has been able to weather all storms! At first, Bilkis could hardly open her mouth. With the help of some concerned citizens, she slowly regained her confidence and realised that she was the key witness in bringing the perpetrators of this heinous crime to book. She plucked up courage and began a painful struggle for truth and justice. She knew who the murderers and the rapists were, and she courageously identified them. The journey all along was fraught with obstacles and hostilities, threats, and intimidation. The Gujarat Government, with Narendra Modi at the helm, was obviously supportive of the criminals who raped her and killed her family members. The FIR
was manipulated; the medical reports and post-mortem of the bodies omitted significant details; evidence was destroyed, since all the dead were buried by the police themselves; the body of her threeyear-old disappeared. The prosecution sided with the accused; the lower court which heard her case upheld all the falsehood and the lies. The case was finally closed! Bilkis however, never gave up; her pursuit for truth and justice was relentless. The then National Human Rights Commission (a far cry from the NHRC of today, which is totally spineless, which blatantly supports the crimes of the regime) received her petition and conducted its own independent inquiry and totally supported her case. She then appealed to the Supreme Court. In 2004, the case was reopened and referred to the CBI. Twelve of the twenty accused were arrested in 2004 and the trial began in Ahmedabad. However, after Bilkis expressed grave apprehensions that witnesses could be harmed and the evidence collected by the CBI tampered with, the Supreme Court transferred the case to Mumbai.
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Bilkis was the only direct eyewitness. She was constantly under threat. For her own safety, she had to move from one place to another. In 2008, the Special Court sentenced eleven accused (one died during the trial) to life imprisonment on the charges of conspiring to rape a pregnant woman, murder, and unlawful assembly under the Indian Penal Code. The police and the doctors who were accused of being complicit in fudging reports were exonerated; but in May 2017, on an appeal from the CBI, the Mumbai High Court upheld the sentencing and found the doctors and police guilty. One of the judges, Judge Salvi termed Bilkis’ “courageous
deposition as the turning point in the case.” In 2019, the Supreme
Court awarded compensation of Rs 50 lakh to Bilkis — the first such order in a case related to the 2002 riots. The bench of the then, Chief Justice of India Ranjan Gogoi, and Justices Deepak Gupta and Sanjiv Khanna stated, “It is very apparent
that what should not have happened has happened and the state has to give compensation.” Sadly, on Independence Day 2022,
the nation was in for a terrible shock when those who were imprisoned were set free by the Gujarat Government! The convicts set free were, Jaswant Nai, Govind Nai, Shailesh Bhatt, Radhyesham Shah, Bipin Chandra Joshi, Kesarbhai Vohania, Pradeep Mordhiya, Bakabhai Vohania, Rajubhai Soni, Mitesh Bhatt and Ramesh Chandana. The moment they came out of prison, the rapists, and the murderers, were felicitated by the ‘hindutva’ brigade with ladoos and garlands. Significantly, the moment their remission order was received, they were out of the gates of the prison. (For human rights defenders and others illegally incarcerated, even after the release or bail order is received by the jail authorities, it takes hours and even several days, for them to come out of prison!) Besides, the convicts, all seemed to have enjoyed their ‘sentence’ – fatted, well-dressed, and groomed. Most prisoners in India are certainly not as privileged as these henchmen of ‘hindutva’. It was back to square one for Bilkis, her kith and kin, for the many victim survivors of the Gujarat Carnage, for human rights defenders and others who
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have given up so much for these victim survivors) and for the many millions of others. The world and all citizens who care for truth and justice, were outraged at the fact that the eleven criminals had their sentences remitted. For such a ghastly crime, this ‘remission’ is just not given! Officialdom tried to justify this act: with flimsy and unacceptable reasons. Social media went viral, with people from all walks of life coming together to express condemnation. Leading newspapers (nationally and internationally) had editorials and op-eds clearly taking a stand against this remission. Interestingly, even some of the ‘godified’ electronic media, named the RSS and the VHP in their reportage. Powerful statements of condemnation came in from eminent citizens, intellectuals, politicians, activists, and others from across the board. The voice of all was loud and clear: this act is a blatant travesty of justice. On 17 August 2022, Bilkis stated, “Two days ago on August 15, 2022,
the trauma of the past 20 years
washed over me again. When I
heard that the 11 convicted men who devastated my family and my life, and took from me my 3-yearold daughter, had walked free, I was bereft of words. I am still numb. Today I can only say this- how can justice for any woman end like this? I trusted the highest courts in our land. I trusted the system, and I was learning slowly to live with my trauma. The release of these convicts has taken from me my peace and shaken my faith in justice. My sorrow and my wavering faith is not for myself alone but for every woman who is struggling for justice in courts. No one enquired about my safety and well-being, before taking such a big and unjust decision. I appeal to the Gujarat Government, please undo this harm. Give me back my right to live without fear and in peace. Please ensure that my family and I are kept safe.”
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Fortunately, women stalwarts like CPI(M) leader and activist Subhashini Ali, former professor Roop Rekha Verma and journalist Revati Laul who took up cudgels on behalf of Bilkis. They jointly filed a petition in the Supreme Court challenging the Gujarat government’s remission and release order; others like TMC leader Mahua Moitra and former IPS officer Meeran Chadha also joined in. Besides there was a whole battery of committed and brilliant lawyers (mainly women) who were convinced that the cause of truth and justice had to triumph for Bilkis, for the women of India and ultimately, for the future of the country! For more than sixteen months, Bilkis waited patiently, till her vindication, with the pathbreaking verdict of 8 January 2024! The convicts must return to jail as per the Court order! That is clear! According to media reports, most of them have ‘vanished into thin air’; if they are not back in jail in two weeks, the Apex Court may have to charge and imprison those responsible for the remission order
(including key people from the Gujarat and Central Governments)! On the question of sending the convicts back to the jail, the Court held that rule of law must prevail over the liberty of the convicts. The Court stated, "Rule of law does not
mean protection to a fortunate few. In ADM Jabalpur, Justice Khanna had said rule of law is the antithesis to arbitrariness. We hold justice cannot be done without adherence to the rule of law,”. Further stating, "We hold that deprivation of liberty to the respondents is justified. They have lost their right to liberty once they were convicted and imprisoned. if they want to seek remission in accordance with law then they must be in jail. Rule law must prevail. Thus, all respondents are directed to report to jail authorities within two weeks," When the judgment was delivered, the Gujarat Government was on the eve of launching its vibrant tamasha at the expense of the taxpayer! MOUs of a mind-boggling amount were signed; the plain truth is that (and everybody knows it!) very little will materialise, as past evidence shows! Instead, the Gujarat
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Government, together with the other criminals in the Central Government, need to hang their heads down in shame! They have reached such abysmal depths that they are unable to stand up for a poor rural woman who has been gang-raped and who has witnessed the rape and murder of her kith and kin! The judgment where the Bilkis Bano case is concerned, is certainly a shot in the arm for all those who believe in truth and justice; it has delivered a body blow to criminals who are part of a fascist regime! Of course, they are certain to make every effort to look for ‘loopholes’ in the judgment, to justify their criminal act and to see how best they can keep their men out of prison!
In a powerful statement on hearing the pathbreaking verdict, Bilkis says,
"today is truly the New Year for me. I have wept tears of relief. I have smiled for the first time in over a year and half. I have hugged my children. It feels like a stone the size of a mountain has been lifted from my chest, and I can breathe again. This is what justice feels like. I thank the honourable Supreme Court of India for giving me, my children, and women everywhere, this vindication and hope in the promise of equal justice for all”. At this moment Bilkis Bano and all who believe in truth and justice, stand vindicated! Hopefully, it is new dawn, for we the people of India!
17 January 2024 *(Fr. Cedric Prakash SJ is a human right, justice, reconciliation & peace activist/writer. Contact: cedricprakash@gmail.com )
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EVOLUTION OF VEENA: THE QUEEN OF MUSICAL INSTRUMENTS FROM ANCIENT TO PRESENT TIMES By: Shri Kala Purna Dr. Jaishree Prasad, PhD. in Music
Music, which is a fine and performing art, plays an important role in the everyday life of both children and adults today. Music is the art of presenting and expressing a pleasing combination of tones. It consists of patterns of sounds created by composers and sung or played on musical instruments. Musicians employ musical instruments for translating the symbolic notation of the composition into corresponding sounds. Since the
means of exciting musical notes are under the control of a musician, they convey their ideas and feelings to the listener through the medium of their musical instrument. Different kinds of musical instruments are used along with singing in songs. These instruments add rhythm and beauty, enriching the final quality of the songs and making us enjoy the music.
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THE EVOLUTION Veena, a South Indian concert, and string instrument can be traced back to Vedic times. Indian music has always had a very strong relation with mythology, religion, and culture. In this article, the evolution of Veena, is explained to trace the development of Veena from its shape as a harp that was used in ancient times to a highly developed modern Veena in the present times. The antiquity of Veena is mentioned in the Rig Veda for the first time. Being a string instrument, the Veena played a very prominent role in vedic rituals, and in social functions during vedic times. Veena also played an important role in formulating musical concepts like consonance, dissonance, gamakas (embellishments added to musical notes) and musical theories. Based on the scientific principles, many of our ancient musicologists like Bharatha, Narada, Sarngadeva and Venkatamakhi have explained in detail the development of Veena along with its form, shape, number
of strings, technique and Veena playing in their great works, which will be explained chronologically. Bharatha’s Natya Shastra, a great work on “Dance, Drama and Music” appears to be written between the fourth and second century B.C. Natya Shastra is one of the earliest works written on the Performing Arts of India. Bharatha says in this text that music adds brilliance (glamor) to the drama and enhances the emotions portrayed in the drama. He also states that some musical notes were played by the musical instruments to reinforce the mood, before starting any play during these times. Orchestras of musical instruments were also present during the time of Bharata. This is evident from the fact that Bharatha mentions Vadya Mela (orchestra of musical instruments) as Kutupa. He also describes the seating arrangements of the Mrudanga (the percussion instrument), the positions of male and female singers and that the veena players were seated next to the female singer (Gayaki). Bharatha also describes the
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qualities of the veena player and says that he/she should be well versed in jathis and laya (talas) rhythms. Following Bharatha, we have many more texts on music. Silappadhikaram is one of the earliest poetic texts in Tamil written in the second century A.D. by Illango of the Chera Dynasty. He mentions different kinds of Yazh (harp) depending upon the number of strings. The yazh very closely resembles the harp, and each of the strings is tuned to a particular note. Later, Sage Matanga in his famous work Brihaddeshi (seventh century A.D.), a treatise on sound and music explains in simple prose the two kinds of music prevalent in his times as Marga and Desi. The Desi music was sung by women, children, kings, and shepherds according to their free will. Someshwara, a Chalukyan king of Badami (Karnataka) who ruled in the twelfth century A.D. in his great work Manasollasa stresses on the importance of using musical instruments. “Vadyena Rajate Gitam Nrityam Vadya Varjitam”
The music is delightful only when it is accompanied by musical instruments, and there could be no dance without them. Someshwara classifies musical instruments into four categories, as Tata (stringed), Vitata (bowed, like the violin), Sushira (wind), and Ghana (symbols). Someshwara also mentions four ways of playing musical instruments, and the combination of all the instruments delighted the listeners. The Veena mentioned by him under the category String Instruments is of different varieties depending on the way of playing and the number of strings. Later by the thirteenth century A.D. Sarangadeva in his greatest and voluminous work, Sangita Ratnakara, deals with music in a very detailed manner. Sarangadeva was in the courts of Yadava Kings of Devagiri in Karnataka. The different categories of musical instruments classified by Sarangadeva are the same four varieties mentioned earlier by Bharatha in the Natya Shastra. He also says Gitam, or music, is born out of the four kinds of musical
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instruments which are used as aids to music. The musical instruments were used on different occasions such as marriages, social, and religious ceremonies. The music of these instruments created happiness and joy in the listener's mind. He explains the construction and playing techniques of different kinds of Veenas, namely “Ekatantri Veena” (one stringed), “Kinnari Veena,” “Alapini Veena,” and so on. The introduction of frets was an important milestone, for it brought in a revolution in the rendering of ragas with sensitive gamakas (embellishments and nuances). Gamakas have played a key role in developing various ragas. A raga derives its personality from the gamakas to a large extent. It is interesting to note that some of the old concepts of gamakas are useful even today. The technical descriptions of various gamakas are described in Natya Shastra, Sangeetha Rathnakara, Manasollasa, and so on. Various techniques of playing the Veena were practically discovered because of the frets. Therefore, the process of Veena
fretting distinguishes itself as an important part of Veena making. Swaramela Kalanidhi is one of the standard works in Karnatic music. The author, Ramamatya, belonged to the Todarmal family and was a native of Kondaveedu in Andhra Pradesh. This work was written around 1550 A.D. to reconcile all the conflicting views prevalent at that time in the theory and practice of music. Ramamatya states the importance of the Veena, which is the embodiment of all Gods and therefore very auspicious. He calls the Veena as the “Rudra Veena,” for Lord Rudra is fond of it. “Sacha Rudrapriyatvena Rudraveeneti Giyate” Like his predecessors, he describes three kinds of Veena as 1) Suddha Mela Veena, 2) Madhya Mela Veena, and 3) Achyuta Rajendra Veena, that were in practice during his times. Ramamatya describes the seven Swaras, or notes, in terms of the Veena. He also describes the twenty Melas (Ragas) that were in vogue in his time. He additionally solves controversies regarding the
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number of Melas, with the help of the Veena. From the above, we may credit Ramamatya with the construction of a Veena with four main playing strings and three Tala (drone) strings, a prototype of the Veena of the present times. Ramamata’s Veena with four main strings and three strings called Shruti strings seems to have laid the foundation for the concept of Veena of today and stood the test of time. Govinda Dikshitar in the sixteenth century carried on the work of Ramamatya and developed the twenty-four fretted Veena on the same lines. After the downfall of Vijayanagar Empire in the fifteenth century, Tanjore in the South became the center of cultural activities of the Hindus. Govinda Dikshitar migrated from Shimoga district in Karnataka to Tanjore. He was very well versed in music, chanting, and singing of vedic hymns. He wrote the book Sangita Sudha on music ascribing the author Shiv to his royal patron Raghunatha Nayaka, who then ruled Tanjore. One of his sons, Venkatamakhi, was well
versed in Vedas, poetry, and music. Venkatamakhi’s royal patron was Vijayaraghava Nayaka, the son and successor of Raghunatha Nayaka. Venakamakhi, under his patronage, wrote Chaturdandi Prakashika, the famous treatise on Karnatic Music. This work written in the middle of the seventeenth century influenced and shaped the future of music for years to come. Venkatamakhi says that the earlier musicologists classified the Veena into three types. They are the following, as mentioned above: 1) Suddha Mela Veena, 2) Madhya Mela Veena, and 3) Achyuta Rajendra Veena. Each of the above Veenas has two varieties. 1) Ekaraga Mela Veena and 2) Sarvaraga Mela Veena. In the Ekaraga Mela Veena, the swaras pertaining to only one raga were to be played in the middle and higher octaves. The Sarvaraga Mela consists of all the swaras in the middle and higher octaves. The tuning of the strings is the same for both Ekaraga and Sarvaraga varieties of Suddha Mela Veena. The main difference between the two Veenas lies in the fixing of frets. The Ekaraga Mela Veena was constructed out of
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mobile frets and the Sarvaraga Mela Veena of fixed frets. Venkatamakhi derives the Swaras (notes) from the Ragas (melodies) giving examples. This requires a thorough knowledge of all the Ragas, thereby pointing out that he is an expert in both practice (Lakshya) and theory (Lakshana) of Sangita (music). Venkatamakhi stands out from his predecessors in many respects. He is credited with the fixing of twelve swarasthanas in an octave. The scheme of the seventy-two Melakarta Ragas propounded by him has found application even today. It is important to note that Venkatamakhi explains the formation of the seventy-two Melakarta Ragas based on the twelve swarasthanas available in the Veena. Venkatamakhi’s original contribution to the theory and practice of Karnatic music is noteworthy. He devised the twelve notes in an octave and for convenience, suggested a slight change in nomenclature, which are meaningful and are in use even today. This procedure is highly commendable from the point of modern scientific method.
CONCLUSION The Veena of the present day played in Karnatic music concerts has been known as the Saraswathi Veena (or the Tanjore Veena). Its present shape and form seem to have arisen somewhere around the turn of the seventeenth century during the reign of Nayaka kings of Tanjore. That was when Venkatamukhi wrote his treatise Chaturdandi Prakashika, particularly dealing with the Veena. VEENA IN THE FUTURE The Veena, having evolved through various stages, has stood the test of time, and has become a complete musical instrument. Being a string instrument, provided with frets and tala strings, and having a span of three and a half octaves, it provides a remarkable facility to the player. They can render various combinations of swaras at different speeds and of varying tone quality. In 1660, Ratnakaravarni in his work Bharatesa Vaibhava, a great work in Kannada language, describes Veena played along with singing as this:
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Edagaiyolamarisi veeneyanantu Megade mettinolu beralade Odane kilgade tanti yolu balagi Beralodarise padidalolidu The description of veena playing mentioned in the above passage indicates that Veena was played in a vertical posture in the seventeenth century. The Veena was held closely with the left hand. The fingers were moved over the frets while the right-hand fingers plucked the strings along with singing. The recognition of Veena as a great solo concert instrument appears to be from the eighteenthcentury A.D. The contributions of the Trinity of Karnatic Music, viz.Tyagaraja, Muthuswamy Dikshiar, and Shamasastry have enriched the repertoire of Karnatic music. Their kritis are rendered on the Veena by using the various techniques and gamakas to bring out the bhava and rasa conveyed in them. The jaru and kampita gamakas highlight the aesthetic pleasure of the compositions. The Veena is a complete instrument with its playing and
drone strings. It can produce any desired effect on the listener’s mind. As a complete concert instrument, the Veena should follow vocal music and simultaneously adopt the various skillful techniques to reveal its beautiful tone and sweet sounds. A Veena with its own electronic amplification can become a leading instrument in an orchestra. This would be a great improvement over its present status as an effective instrument when played in a large orchestra. Because of the improved sound output, the Electrical Veena, fixed with proper amplification, would be very useful in training sizable groups of students in classical music as well as group music. The Saraswathi Veena, an outstanding musical instrument which has evolved over the course of time, is still standing strong today, and will continue to stand out in the future that is to come. ABOUT THE AUTHOR Dr. Jaishree Prasad, disciple of the legendary Veena Maestro Padmabhushan Dr. V. Doreswamy
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Iyengar, is a rare combination of a musician, research scholar, academic advisor, music composer, professor, author, music director, cultural coordinator, AIR graded artist and a Sangeet Natak Academy Scholar. Dr. Jaishree Prasad was awarded the title and citation of Shri Kala Purna by the prestigious organization, Sri Annamacharya Project of North America (SAPNA). This was for her services and contributions in the field of teaching and performing in the SAPNA Veena Festival, conducted in Chicago. She earned her Ph.D. degree in music from Bangalore University. Dr. Jaishree also worked as a Professor of Music at Sri Padmavathi Mahila University, Tirupati. Her publication of the book, Veena in the Theory, Practice and Experiments in Karnatic Music has been recommended by universities and research scholars because of its interdisciplinary nature combining both music and physics. She has composed and directed music for many documentaries, telefilms, short films, and television series in India.
Her music programs are regularly broadcasted on Prasara Bharathi, All India Radio, Karnataka, India. Dr. Prasad imparts her knowledge by teaching music, conducting workshops, giving lectures, doing research, and writing articles. She has presented numerous research papers in conferences and seminars in India and the U.S. Her articles on music have been published in the leading newspapers and journals. At present, she lives in Chicago with her family. Her husband, Srinivas Prasad, is a National Award-Winning Film Director, for his film Kankana in Kannada, created for the International Women's Year. This article is typed and prepared by Dr. Jaishree Prasad’s granddaughter, Navya. BASED ON THE Ph.D. THESIS WORK OF DR. JAISHREE PRASAD FROM HER BESTSELLING BOOK, “VEENA IN THE THEORY, PRACTICE AND EXPERIMENTS IN KARNATAK MUSIC.” (Veez is honored to publish Dr. Jaishree’s article on Music.)
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Rohan D’Souza shines the legacy
of his inspirational father:
Raza Jafar entrepreneur, philanthropist and founder of Global Sustainability Network welcoming inspiring Rohan D’Souza to GSN Conference in Dubai. The greatest achievement in life is to be an inspiration to others. Inspiration compels us to have our own dreams and goals and proves it can happen. Inspiration sets us in motion. It gives us the courage to think big and make it happen. Inspiration changes the course of lives. Inspiration is the spark that lights the fires of purposeful action. Harold Henry D’Souza is a prime
Rohan, Bishop Alastair and Rahul. Rt. Rev. Bishop Alastair Redfern, Bishop in the Church of England honoring Rohan D’Souza EOI Board Director with Rahul Mehta. example of someone being pegged back repeatedly as victim of slavery in life, personal and professional, and yet he fought back. Today, his son Rohan D’Souza is a perfect role model for us all, not only to the ones who want to become successful, but also for the rest of us to extrapolate the learnings and wear the same attitude to fight adversities in our own lives. Rohan spoke to the media from London; As a proud representative of Eyes Open International (EOI) and a Board Member, my experience at
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Hamdan Ambassador of GSN joining hands with Rohan D’Souza in the mission of United Nations Sustainable Development Goals (SDG) Goal 8, which includes Ending Modern Day Slavery. the Global Sustainability Network (GSN) 2024 conference, held at the Palazzo Versace Hotel in Dubai on January 10, 2024, was nothing short of inspiring and enlightening. With a deep focus on equipping vulnerable communities for sustainable employment, GSN brought together global leaders, advocates, and changemakers. The journey commenced with a warm welcome at the pre-conference dinner hosted by Trustee Yogesh Mehta, setting the stage for meaningful connections. The conference day unfolded with impactful sessions aligned with the
Yogesh Mehta Trustee of GSN extending a warm welcome to Game-Changer - Rohan D’Souza EOI Board Director. United Nations Sustainable Development Goal 8 – eradicating modern slavery and ensuring decent work for all. Keynote speakers, including Sheikh Nahyan Bin Mubarak Al Nahyan and Kamran Khozan, shared insights that illuminated the path toward achieving these crucial goals. Distinguished guests and speakers—Raza Jafar, Bishop Alastair, Brahmavihari Swami, Nuseir Yassin, Pir Muhammad Sadiq, Sara Sabry, Daria Rzhavtseva, and Scott Cunningham—captivated the audience with their commitment to Goal 8, urging collective action. Reflecting on the conference, the
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experience was insightful, diverse, and informative. The UN’s Goal 8 to eradicate modern-day slavery by 2030 is ticking away. Raza Jafar, Bishop Alastair, GSN members, NGOs, attendees, business owners, entrepreneurs, political, and religious leaders are unifying in this effort and bringing about effective change. The focus for GSN in 2024, with plans for regional chapters, impactful journeys, and collaboration with governments and international organizations, ensures sustainable and scalable
solutions in the fight against human trafficking and modern slavery. Following the impactful Global Sustainability Network (GSN) conference in Dubai, Eyes Open International (EOI) continued its mission of collaboration by connecting with the inspiring Sanjay Raval in London. The meeting took place at the iconic Lord’s Cricket Grounds and training facility, providing a vibrant backdrop for discussions on upcoming projects. Born on December 7, 1967, in Surat (Gujarat), Sanjay Raval’s journey
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from a young boy in London to an accomplished figure in cricket is a testament to resilience and passion. Initially pursuing cricket, he represented Haringey Cricket College and had trials with renowned county cricket clubs. Transitioning to aviation as his next profession, Sanjay worked his way up from a security officer to an aircraft engineer, achieving success with British Airways and Olympic Airways. Sanjay’s unwavering dedication to
cricket led him to India and then back to London, where he pursues his entrepreneurial calling in sport. His story exemplifies the power of determination, passion, and finding one’s calling. Sr. Joan Krimm, Sisters of Mount Notre Dame De Namur spoke; “Beautiful! Harold and Dancy must be so proud of their boys Rohan and Bradly. Harold and Dancy’s lives’ have been an inspiration to their sons. Thank you for being such wonderful parents. Love and prayers”. Failure is the path to success. Be happy, think positive, never quit, and believe in yourself. Enlightening our kids on the 30 Articles called the Universal Declaration of Human Rights, created in 1948 by the United Nations is important, shared Harold D’Souza. Rohan D’Souza is an inspiration to
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our community members globally, and take action to achieve inspiring us to get off the sofa, find something meaningful. our courage, our greater purpose, ------------------------------------------------------------------------------------
Mangaluru: St Ann’s College of Education (Autonomous), Celebrates its Yearly Accomplishments 17 January 2024, Mangaluru
St Ann’s College of Education (Autonomous), a premiere institution in Teacher Education
management, faculty, alumni, parents of B. Ed and M. Ed students were present on this momentous
celebrated its eventful Annual day with great Pomp and gaiety. The chief guest Fr Dr Praveen Martis SJ, Principal St Aloysius College (Autonomous), Mangaluru, Sr Maria Smitha AC, Joint Secretary St Ann’s
event. The programme began by invoking the peaceful presence of gracious God. A group of students led the audience to the humble tranquility of the Almighty’s grace through an
Institutions, Dr Sr Dorothy D’Souza AC, Principal, St Ann’s College of Education, Sr Zeena Periera AC VicePrincipal, Members of the
invocation. Dr Sr Dorothy D’Souza AC, Principal, welcomed the august gathering and introduced the chief guest to the
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gathering. An annual report was presented by the principal highlighting the diverse range of activities conducted in the year
address acknowledged his admiration on the legacy of the institution and imbibing values along with quality education. He
2022-2023. Fr Dr Praveen Martis S J I n his
highlighted the five important characteristics of a Vidyarthi. He
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concluded with a social and philosophical message from a tree noting its three important parts the root, stem, and fruits/flowers to
from, transforming in the process, and giving back and helping others to grow. His insightful message on the occasion enhanced the vibrant
connect and contribute by acknowledging where we started
atmosphere. Academic highflyers were awarded.
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The best outstanding B. Ed studentteacher of the year to Riyona Candida D’Silva, most deserving student teacher to Shwetha, and Faria Roshiel Ilda, Hardworking student teacher of the year in Arts
to Elfreeda Wilma D’Souza and outstanding student-teacher of Mathematics was awarded to Rosemary Adrian Rodrigues. Luminaries of the occasion bestowed the prizes to the
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victorious students who displayed excellence in ‘Talent Synergy’ 2023 a synergism of co-scholastic activities. The cultural programme was a mesmerizing blend of talent and
creativity. A traditional folk dance, ‘Melam’ a display of culture of Kerala through drama, song and dance were the means of entertainment, enriching the knowledge and values of a region
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were performed by B.Ed. students. The life of Mother Veronica, a valiant and a heroic woman of the 19th century, whom the world
Candida D’Silva the student president proposed the vote of thanks. Dr Sharmila L Mascarenhas,
reveres today as the founder of the Apostolic Carmel Congregation is celebrated the birth bicentenary was performed through a tableau ‘Divya Chethana’. Ms Faria Roshiel Ilda compered the
Assistant professor was the convener of the programme. The resounding success of the College Day exemplified the spirit of cooperation and the diligent efforts of the Management, Principal, staff,
event with grace and Ms Riyona and students. -----------------------------------------------------------------------------------
The feast of Infant Jesus at Alangar Shrine was celebrated on 14th January 2024.
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Most Rev. Dr Aloysius Paul Dsouza, Bishop Emeritus, Diocese of Mangalore being the main
his homily he highlighted the theme " God with us, we with our Neighbours. Very Rev. Fr Onil
celebrant presided over the Eucharistic Celebration. Fr Clifford Fernandes parish priest of Kulshekar parish preached the word of God. In
Dsouza, Vicar Vara of Moodbidri Deanery, and priests from the varado were the concelebrants. ---------------------------------------
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Mangaluru: First ever Christian Premier League Badminton Tournament CPL 2024 Season 1 held Media Release
August 14 at the Fr. Muller’s Indoor Stadium. The inaugural function was graced by Anil Lobo, chairman of MCC Bank and Ronald D’Souza, founder, and executive director of Leksa Lighting Technologies Pvt Ltd, as guests of honour. In his inaugural address, Lobo urged the association to host more events in the coming days to bring community together.
Mangaluru, Jan 16: Christian Sports Association organized the first-ever Christian Badminton Premier League Tournament on
Melvin Peres hosted the programme. Ajay Terrence welcomed the gathering. The convener Arun Baptist briefed about the tournament. President John Pais thanked everyone for their presence, support and wishes. Secretary Lawrence Crasta, members Anil Pinto and Agnel D'Souza were present. Six enthusiastic teams namely Stellar Smashers, Mangalore; Red Indians, Mangalore; Shuttle Blockers, Mangalore; Pais Shuttlers, Karkala; Roy Rockers, Udupi; and Sports Garage, Madanthyar, groups
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sportsmanship and secured 2nd place. The valedictory ceremony was graced by Ivan Patrao, Patrao Caterers, Valencia and Pradeep D'Souza, district skill development officer as chief guests. The winners and runners were felicitated with participated in the tournament and trophies and cash prizes. On this displayed their exceptional talent. occasion, Chris Anjen Baptist, a In an exciting finale, Roy Rockers, national level badminton doubles Udupi emerged victorious, player was felicitated for his showcasing exceptional skills, while exceptional achievements. The Shuttle Blockers, Mangalore event was concluded on a high note demonstrated commendable celebrating the spirit of sportsmanship and camaraderie. ------------------------------------------------------------------------------------
Jubilee Yātra Illuminates Clergy
on a Transformative Path in the Diocese of Mangalore MANGALORE, JANUARY 17: In a significant step towards spiritual rejuvenation and communal unity, an Ongoing Formation for the Clergy of the Diocese of Mangalore was conducted as part of the Jubilee Yātra for the Holy Year 2025 at Shanthi Kiran Pastoral Centre in
Bajjodi, Mangalore. Over two enlightening days from January 17 to 18, 2023, the clergy engaged in a prayerful journey guided by the methods of the Jubilee Yātra. Rev. Dr Yesu Karunanidhi, National Coordinator of the Jubilee 2025, fecilitated the programme. He
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emphasized the transformative nature of the Jubilee Yātra, describing it as a journey of the heart that unites priests, religious, and lay faithful on a shared path of reflection, renewal, and rekindled hope.
“As part of the Jubilee Yātra, a total of 132 Dioceses of the Church in India are slated to be visited, culminating in the grand celebration of the Jubilee in November 2025,” said Rev. Dr Yesu Karunanidhi. The programme, aptly titled “Pilgrims of Hope on the Synodal Journey: Integrated Pathways for Pastoral Ministry,” illuminated key aspects such as the Synodal Journey, Jubilee 2025: Pilgrims of Hope, Celebrating the Synod, and the Jubilee 2025. Participants delved into the study of the four
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Constitutions of the Vatican Council-II, paving the way for enhanced Pastoral Ministry. Guided by the methods of the Jubilee Yātra, the diocesan clergy embarked on a prayerful, reflective, and positive transformative journey. Group discussions, personal reflections, and the sharing of insights on the synodal way of living in pastoral life were integral components. The programme also explored personalised approaches to celebrating Jubilee 2025. Reflecting on the significance of the Jubilee Yātra, Bishop Saldanha said, “The Jubilee Yātra is a preparation for the Jubilee 2025 through study and prayer. What we are reflecting here is not something new but are revising, revisiting what we had learned during formation, and lived in priestly ministry. This Yātra will lead us to celebrate Jesus, Celebrate the Church, and celebrate us, our faith life." A gathering of around 75 priests from the Episcopal City, Mangalore City, Pezar, Surthkal, and Vittal Deaneries actively participated in the enlightening sessions. The remaining priests from Bela, Belthangady, Bantwal, Kirem,
Permannur, Puttur, and Moodbidri are set to join the formation on January 18, 2023. About Jubilee Yātra: The Jubilee Yātra is not a journey on foot, but a pilgrimage of heart; it is not a physical journey, but a spiritual voyage that seeks to connect believers across the Country in a shared pursuit of hope. Renewal, reflection, and consciousness are the milestones of the journey. The objectives of the Jubilee Yātra are: (i) To disseminate the information concerning the Ordinary Jubilee 2025 integrating it with the Synod for a Synodal Church so that more people are brought to ‘synodal-consciousness’ as our Hope Father Pope Francis puts it; (ii) To introduce the Documents of the Second Vatican Council, especially the Four Constitutions, by bringing out the key themes and making them contextual to the life-realities of the people; and (iii) To familiarise the Catholic faithful with different forms and methods of prayer. All these objectives will lead to the goal of the ordinary Jubilee 2025 that we become ‘pilgrims of hope’ in the Church and the world.**************
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Parisarakkagi Navu - the first meeting of the Dakshina Kannada and Udupi units
Climate change has reached a state of emergency because of excessive
district level. The first meeting of the Dakshina
industrialisation, urbanisation and
Kannada
change in lifestyle. Scientists have
Parisarakkagi Navu was jointly held
repeatedly warned us that unless we
on 15th January 2024 in Nekarara
respond to this situation with a
Soudha of the Talipady Weavers'
sense of urgency and collectively
Cooperative Society, Kinnigoli.
solve this problem, a catastrophic
Ashwini Bhat and Bhuvan Devadiga
loss of life on our planet in a matter
from
of decades is certain.
Shreekumar
In this context, people working to
Udupi
save the environment
represent their respective districts in
all over
and
Udupi
Dakshina have
units
of
Kannada
and
Deepthi
from
and
been
chosen
to
Karnataka have come together to
the
form
called
committee. Mamatha Rai, a member
"parisarakkagi navu", meaning "We
of the founding group of the
for the environment". Units of this
statewide
a
coalition
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coalition have been formed at the 127 Veez Illustrated Weekly
level
coalition,
coordination
and several
environmental activists from the
was decided to form teams to work
two districts attended the meeting.
on them.
The
meeting
Shreekumar gathering.
began
with
1. Saving water resources (surface
welcoming
the
water such as rivers, ponds, and the
and
ocean as well as groundwater)
Saroja
Prakash
Ashwini Bhat sang the song, "ellara
2. Waste management
novanu ballavanadare" and others
3. Saving and growing trees and
joined. Impacts of climate change
forests
and
4. Air and noise pollution
several
environmental
problems experienced in the two
5. Study of human impact on
districts were discussed. It was
biodiversity
decided
6. Study of impact of pollution on
to
form
committees
consisting of experts in various
health
areas, to device ways of spreading
7. Sustainable agriculture, lifestyle,
awareness
and livelihoods
and
to
work
in
coordination with the state level
8.
committee. A total of 38 concerned
awareness and vigilance
people from the two districts were
People were invited to join the
present.
team(s) of their choice according to
The
areas
listed
below
were
Education
and
building
of
their interest, experience, and skills.
identified for collective action and it ------------------------------------------------------------------------------------
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Dying to Live -By: Molly Pinto.
Every day with every breath we bravely step into another day With delusional hopes and dreams, plans and schemes In a future where we envision the fruits of our labour How many you know will never return to see the new sunrise again 130 Veez Illustrated Weekly
How ironic life is, we celebrate another day closer to our departure Clueless and mindless we wonder through days and months Never considering yesterday is gone forever and tomorrow is promised to none Every day we go to bed, leaving chores for when the cockcrows If that's not arrogance, then tell me what is this conviction we flaunt It's almost hilarious if it weren't so petrifying for some The Master Maistro of course foresaw the frailty of His creation How ironic life is, we're thrown into the deep, to swim or to sink It "may be" hunky Dory from the other side where the dots all connect It's not funny when, through fires and storms one must trudge, to evolve Cheer up, you're not alone, every living thing is born to die -
-By: Molly Pinto. 131 Veez Illustrated Weekly
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The First Christmas Tree By Henry van Dyke
The Felling of the Tree A swift mountain-flood rolling down its channel; a huge rock tumbling from the hillside and falling in midstream: the baffled waters broken and confused, pausing in their flow, dash high against the rock, foaming and murmuring, with divided impulse, uncertain whether to turn to the right or the left.
IV
Even so Winfried's bold deed fell into the midst of the thoughts and passions of the council. They were at a standstill. Anger and wonder, reverence and joy and confusion surged through the crowd. They knew not which way to move: to resent the intrusion of the stranger as an insult to their gods, or to welcome him as the rescuer of their prince.
Collection by -Urban Dsouza, Moodbidri
The old priest crouched by the altar, silent. Conflicting counsels troubled
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the air. Let the sacrifice go forward; the gods must be appeased. Nay, the boy must not die; bring the chieftain's best horse and slay it in his stead; it will be enough; the holy tree loves the blood of horses. Not so, there is a better counsel yet; seize the stranger whom the gods have led hither as a victim and make his life pay the forfeit of his daring. The withered leaves on the oak rustled and whispered overhead. The fire flared and sank again. The angry voices clashed against each other and fell like opposing waves. Then the chieftain Gundhar struck the earth with his spear and gave his decision. "All have spoken, but none are agreed. There is no voice of the council. Keep silence now, and let the stranger speak. His words shall give us judgment, whether he is to live or to die." Winfried lifted himself high upon the altar, drew a roll of parchment from his bosom, and began to read. "A letter from the great Bishop of Rome, who sits on a golden throne,
to the people of the forest, Hessians and Thuringians, Franks and Saxons. In nomin Domini, sanctae et individuae Trinitatis, amen!" A murmur of awe ran through the crowd. "It is the sacred tongue of the Romans; the tongue that is heard and understood by the wise men of every land. There is magic in it. Listen!" Winfried went on to read the letter, translating it into the speech of the people. "We have sent unto you our Brother Boniface, and appointed him your bishop, that he may teach you the only true faith, and baptise you, and lead you back from the ways of error to the path of salvation. Hearken to him in all things like a father. Bow your hearts to his teaching. He comes not for earthly gain, but for the gain of your souls. Depart from evil works. Worship not the false gods, for they are devils. Offer no more bloody sacrifices, nor eat the flesh of horses, but do as our Brother Boniface commands you. Build a house for him that he may
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dwell among you, and a church where you may offer your prayers to the only living God, the Almighty King of Heaven." It was a splendid message: proud, strong, peaceful, loving. The dignity of the words imposed mightily upon the hearts of the people. They were quieted as men who have listened to a lofty strain of music. "Tell us, then," said Gundhar, "what is the word that thou bringest to us from the Almighty? What is thy counsel for the tribes of the woodland on this night of sacrifice?" "This is the word, and this is the counsel," answered Winfried. "Not a drop of blood shall fall to-night, save that which pity has drawn from the breast of your princess, in love for her child. Not a life shall be blotted out in the darkness to-night; but the great shadow of the tree which hides you from the light of heaven shall be swept away. For this is the birth-night of the white Christ, son of the All-Father, and Saviour of mankind. Fairer is He than Baldur the Beautiful, greater than Odin the
Wise, kinder than Freya the Good. Since He has come to earth the bloody sacrifice must cease. The dark Thor, on whom you vainly call, is dead. Deep in the shades of Niffelheim he is lost forever. His power in the world is broken. Will you serve a helpless god? See, my brothers, you call this tree his oak. Does he dwell here? Does he protect it?" A troubled voice of assent rose from the throng. The people stirred uneasily. Women covered their eyes. Hunrad lifted his head and muttered hoarsely, "Thor! take vengeance! Thor!" Winfried beckoned to Gregor. "Bring the axes, thine and one for me. Now, young woodsman, show thy craft! The king-tree of the forest must fall, and swiftly, or all is lost!" The two men took their places facing each other, one on each side of the oak. Their cloaks were flung aside, their heads bare. Carefully they felt the ground with their feet, seeking a firm grip of the earth.
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Firmly they grasped the axe-helves and swung the shining blades. "Tree-god!" cried Winfried, "art thou angry? Thus, we smite thee!" "Tree-god!" answered Gregor, "art thou mighty? Thus, we fight thee!" Clang! clang! the alternate strokes beat time upon the hard, ringing wood. The axe-heads glittered in their rhythmic flight, like fierce eagles circling about their quarry. The broad flakes of wood flew from the deepening gashes in the sides of the oak. The huge trunk quivered. There was a shuddering in the branches. Then the great wonder of Winfried's life came to pass. Out of the stillness of the winter night, a mighty rushing noise sounded overhead. Was it the ancient gods on their white battlesteeds, with their black hounds of wrath and their arrows of lightning, sweeping through the air to destroy their foes? A strong, whirling wind passed over the treetops. It gripped the oak by
its branches and tore it from the roots. Backward it fell, like a ruined tower, groaning and crashing as it split asunder in four great pieces. Winfried let his axe drop and bowed his head for a moment in the presence of almighty power. Then he turned to the people, "Here is the timber," he cried, "already felled and split for your new building. On this spot shall rise a chapel to the true God and his servant St. Peter. "And here," said he, as his eyes fell on a young fir-tree, standing straight and green, with its top pointing toward the stars, amid the divided ruins of the fallen oak, "here is the living tree, with no stain of blood upon it, that shall be the sign of your new worship. See how it points to the sky. Call it the tree of the Christ-child. Take it up and carry it to the chieftain's hall. You shall go no more into the shadows of the forest to keep your feasts with secret rites of shame. You shall keep them at home, with laughter and songs and rites of love. The
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thunder-oak has fallen, and I think the day is coming when there shall not be a home in all Germany where the children are not gathered around the green fir-tree to rejoice in the birth-night of Christ." So, they took the little fir from its place, and carried it in joyous procession to the edge of the glade and laid it on the sledge. The horses tossed their heads and drew their load bravely, as if the new burden had made it lighter. When they came to the house of Gundhar, he bade them throw open the doors of the hall and set the tree during it. They kindled lights among the branches until it seemed to be tangled full of fireflies. The children encircled it, wondering, and the sweet odour of the balsam filled the house. Then Winfried stood beside the chair of Gundhar, on the dais at the end of the hall, and told the story of Bethlehem, of the babe in the manger, of the shepherds on the hills, of the host of angels and their
midnight song. All the people listened, charmed into stillness. But the boy Bernhard, on Irma's knee, folded in her soft arms, grew restless as the story lengthened, and began to prattle softly at his mother's ear. "Mother," whispered the child, "why did you cry out so loud, when the priest was going to send me to Valhalla?" "Oh, hush, my child," answered the mother, and pressed him closer to her side. "Mother," whispered the boy again, laying his finger on the stains upon her breast, "see, your dress is red! What are these stains? Did someone hurt you?" The mother closed his mouth with a kiss. "Dear, be still, and listen!" The boy obeyed. His eyes were heavy with sleep. But he heard the last words of Winfried as the spoke of the angelic messengers, flying over the hills of Judea and singing as they flew. The child wondered and dreamed and listened.
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Suddenly his face grew bright. He others say that it was only Gregor put his lips close to Irma's cheek and his companions at the lower again. end of the hall, chanting their "Oh, mother!" he whispered very Christmas hymn: All glory be to God on high, low, "do not speak. Do you hear And on the earth be peace! them? Those angels have come Good-will, henceforth, from heaven back again. They are singing now to man, behind the tree." Begin and never cease. And some say that it was true; but ------------------------------------------------------------------------------------
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St Aloysius Institutions hold
MOSCHENI ART FEST
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On birthday of Br. Antonio Moscheni, St Aloysius Institutions organized MOSCHENI ART FEST on January 16, 2024, at 9.30 am in Sahodaya Hall.
The event began with the ribbon cutting of Art exhibition by Mrs. Silvana Rizzi from Italy where the students of Aloysian Institutions and Karavali Chithrakalachavadi artists displayed their art. Mrs. Rizzi
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then unveiled a drawing on the theme “Women of all Shades are Beautiful”. During the Fest, Painting Competition was organized for the Aloysians under various categories.
Students from St Aloysius College (Autonomous), St Aloysius College of ITI, St Aloysius College of B.Ed., St Aloysius PU College, St Aloysius High School, St Aloysius Primary School, and St Aloysius Gonzaga
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Pessani, Mr. Simone Tangorra (Mayor of Stezzano), Mrs. Christina Modolo and Dr Nicolo Biavardi, Staff coordinators Mrs. Vidya Kumari, Ms. Reema Krishna Jalihal and Mr. John Chandran, Members of staff and students. School participated numbers.
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This event was graced by the presence of Rector of St Aloysius Institutions, Rev Fr Melwyn Joseph Pinto, Rev. Dr Leo DSouza, Director of the Laboratory of Applied Biology, Italian guests Mr. Alberto
The “Documentary on Br Antonio Moscheni” was released in the formal function held in LCRI hall at 3.00 pm. This event was graced by all the Italian guests Mrs. Silvana Rizzi, Mr. Alberto Pessani, Mr. Simone Tangorra, Mrs. Christina Modolo and Dr Nicolo Biavardi, Rector of the college, Rev Fr Melwyn
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Joseph Pinto, Principal of the College, Rev Fr Praveen Martis SJ, Finance Officer Rev Fr Vincent Pinto and Rev. Dr Leo DSouza, directors of various blocks, staffs, and students. The program began with prayer, welcome dance and lighting the lamp followed by release which was glimpse of documentary. Mrs. Vidya Kumari gave the welcome speech, Mrs. Silvana Rizzi and Fr Principal addressed the gathering.
Mrs. Silvana Rizzi, Mr. Simone Tangorra and Mrs. Christina Modolo were honored for their immense contribution. Results of the Painting Competition were announced by Mrs. Archana Yashodhar. After the presidential talk by Fr Rector, there was screening of the 40 minutes documentary. The program was compered by Dr Mona Mendonca, Department of History.
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