Kalomer Kalomishak - Issue I: Colour Collateral

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

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2nd Proof 18.09.2013

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Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

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2nd Proof 18.09.2013

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Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

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¸”‰¬– ü¥ó±ðßÂÏûþ-1 ü¥ó±ðßÂÏûþ-2

Î|ûþü üõþß±õþ üÓûÇ õËjɱÂó±ñɱûþ

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Behind The Desk

Sreyash Sarkar & Surya Bandyopadhyay

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Cover Story Monsoon Musings Monsoon Monlater Through The Eyes of Monsoon...

Deep Sarkar Rishav Banerjee Tamanna Ray

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Atri Majumdar Tamanna Roy Rachana Chakraborty Sreyash Sarkar Baibhab Bose Guy Elbert

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Deeplina Banerjee Soham Ganguly Rishav Banerjee Titas Bose

21 24 27 29

Diptaishik Choudhury Sayan Bhattacharjee Anish Dan Sreya Duttachowdhury

30 32 33 35

Debashis Mazumdar Sisir K Sarkar Aniruddha Basu

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Pushpita Sarkar Pramiti Sengupta

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Vidushi Sumitra Guha

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Verses Identity Colours of Dreams Shades Around The Clock The Cage Exhaustion The Precarious Colours Short reads Twin Tale Vanitas The Morning Memoirs Insight A Mathematical Hue Colour Quale A Colour Hueless...

The Bengali Disconnection Colors of Development: Tale of A Different Rainbow Wonders of Colour by Working Small Colour and Life Social Movements—A Colourful Spectrum of Theories.

Philosophy of Colours Tranquil Tunes A Conversational Experience with..

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Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

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√õ∂BÂ û±Âóò-Ûß õø¸Ç± Û¶ü¼ õø¸Çí ±jø¸fl›¶ßÔ¿î տ¢Ÿ¦§±ò Õïõ± ¿õqX ¿õw÷ Õ±Ëõþß¿é Îõèß±Âó ú±Ëûþ¿õþ ‘õþã’-Ûõþ æÏõò óÒ±äÂõþã± åj, õþã Ý ü÷±æ æÏõËòõþ æùõþã ñɱÈËî¿õþ õíÇ ¿õõíÇ õþÑ ¿÷ù±¿™Là Îî±÷±õþ ÷òËß àÒÅËh Âí, æù¿ñ Ý æiœ Õ¿™¦¸Q-¿õõþý æ±áõþí ŒÂ±È¬fl¬Ô± õþ±÷ñòÅõþ õþã ß±Ëù± õþã √õ∂±ıøg¬fl‘õþã ù±á±Ëù....’ ÷Ëò ÷Ëò õþã–ð±úÇ¿òËßÂõþ ðÔ¿©†Ëî ձËù±õþ õíÇõþýüÉ ˙s ø‰¬S±ı˘œ õ¿íÇòÏ Ã›¶ù±Âó Îü±ò±¿ù Îõþ±Ëðõþ ¦¤›Ÿ Ý òÏù ÷ò ¸ºœÀÓ¬ı˛ ¸º ü¼ÏËîÂõþ õíÇò Õ±ù±Âó䱿õþî±ûþ.. ÂóÓæ±õþ õ±î±Ëü ÎÛ¶Ë÷õþ ÎüÌõþö õþ¿õõþ Õ¼Ëò õþã ı˛¸≈˝◊-‚ı˛

üÓûÇ õËjɱÂó±ñɱûþ Î|ûþü üõþß±õþ

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ÕüÏ÷ Îüò&l Îü±÷± ¿õ «±ü Îðõ±ûþÅñ äÂËA±Âó±ñɱûþ ëÂ×ðûþò õËjɱÂó±ñɱûþ Û¶ÏîÂ÷ ßÅÂGÅ ÎüÌ¿îÂß Îâ±ø¸±ù ù±õ¿í Îüò&l ÷j±õþ ÷ÅËà±Âó±ñɱûþ Îü±¿ýòÏ æ±ò± Îðõ ßÅÂ÷±õþ üËý¿ù ÷ÅËà±Âó±ñɱûþ ÆõöÂõ õüÅ ðÏÂó üõþß±õþ Î|ûþü üõþß±õþ

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ü=Á±õþÏ ÷ÅËà±Âó±ñɱûþ ü±÷É ß±ôDZ

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üÅ÷ò öÂA±ä±ûÇÉ õò±òÏ Îâ±ø¸ Õæûþ äÂS õîÇÂÏ

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üÓûÇ õËjɱÂó±ñɱûþ Î|ûþü üõþß±õþ Îü±÷± ¿õ «±ü

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ÎúÌíß äÂËAɱÂó±ñɱûþ ßÂ÷¿ùòÏ ÷ÅËà±Âó±ñɱûþ Îðõ±¼ò± üõþß±õþ üÅË «î± äÂS õîÇÂÏ

108 115 118 119

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Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

ü¥ó±ðò± úsé± Õ±÷±õþ Û¶ï÷ Õ±òÅö¿õß ™¦¸Ëõþ äÂ÷ß ù±á±ûþ, ûàò õÅçÂù±÷ qñÅ÷±S ßÂù÷ ä±ù±Ëùý× äÂùËõ ò±, Ûõþ äÂù÷±òî±Ëß ¦¤ßÂÏûþî± ÎðÝûþ± æòÉ, ÛßÂé± ÂóSÂóÅé ýËùÝ äÂùËõ/ ü¥ó±ðËßÂõþ ß±æ ýù Îùà± ÎòÝûþ±, Îðà±, õ±å±/ Ûõþ ÷ËñÉ Îû üÓ„ ß±æé± üõ±õþ Îä±Ëàõþ Õ±h±Ëù äÂËù û±ûþ Îüé± ýù, Ûý× Îû ß±Ëù± ü±ð± Õ Âõþ Ý Âó±î±õþ ÛßÂé± ¿÷ùò Ûé± ü¥ó±ðËßÂõþ üM±Ëß ÛßÂé± ÕòòÉ Âó¿õþ¿ä¿î Îî± Îðûþý×, î±õþ ü˼ ü˼ âé±ûþ î±õþ Õ™LÃõþëÂ×ðÄû±Âóò/ Alex Marlowe îÂÒ±õþ ‘Talking to the wind’-Û õùËùò, qñÅ ëÂ×ðÄû±ÂóËòý× ÷ýËQõþ ¦¤ÏßÔ¿î Âó±Ýûþ± Û¶±ûþ ÕüyÂõ/ îÂàò õÅçÂù±÷ Õ±üËù Îùà±&Ëù±ý× Õ±ù±ð± ßÂËõþ Âóh±Ëú±ò± ß¿õþËûþ Îòûþ Ûß¿é ü¥ó±ðËßÂõþ ÷òòëÂ×iœÅ¿M ËßÂ/ Õ±÷±õþ üõÇð± ÷Ëò ýîÂ, ü¥ó±ðß ÷±òÅø¸õþ± Îõ±ñýûþ æ±á¿îÂß õdËßÂËfõþ õ±ý×Ëõþ/ ÕüÏ÷ Â÷î± î±Ëðõþ, ౿òßÂé± õþ±æðG ñ±õþËíõþ ÷Ëî±/ Û¶ßÔÂîÂÂóË Â Ûé±ý× Îî± î±õþ õþ±æÉ ÛõÑ Âó¿õþí¿îÂõþ Âó¿õþ¿ñ/ Õ±üËù Ûý× Â÷î±é± Âó±õþ¦ó¿õþßÂ/ ÎùàßÂ-ü¥ó±ðß ü¥óËßÇÂõþ identity/ ¿ßÂåÅé± Âó±êÂßÂõþ±Ý Û Â÷î±-¿õ¿ò÷Ëûþõþ ðÔËúÉ Âó¿õþÂóÓõþßÂ-Ûõþ öÓ¿÷ß± Âó±ùò ßÂËõþò/ ÕËòßÂé± ÞÂó¿òø¸¿ðß ñɱò-ñ±õþí±ûþ ‘‘÷ÅýÓîÇÂîÂ÷ æ;¿ùîÂ÷ Î|ûþÐ ò îÅ ñÓ÷±¿ûþîÂ÷ ÎS ±õþ÷Ä//’’ •ü?ûþËß ¿õðÅù±— Ûà±Ëò ñÓ÷ ýËBåò ÎùàßÂ, ÷ÅýÓËîÇ æ;Ëù Ýê±õþ Û¶Ëõþ±äÂò±é± ýËBåò Âó±êÂßÂ, ÛõÑ Ûý× Ã›¶Ëõþ±äÂò±é±Ëß Î|‡ÂËQõþ Õ±üËò õü±õ±õþ ð±¿ûþQ¿é ¿òËBåò ü¥ó±ðßÂ/ üÅîÂõþ±Ñ Mary Midgley-Ûõþ ¿õ˦£Â±õþß ëÂ׿M ¿é ëÂ׿hÂËûþ ÎðÝûþ± û±ËBå ò± Îû ‘‘An editor is also editing himself!’’ Ûý× ÎùàßÂ-ü¥ó±ðßÂ, ü¥ó±ðßÂ-Âó±êÂßÂ, Âó±êÂßÂ-Îùàß ‘tension’&Ëù± Õ±üËù ÛßÂé±ý× ¿SöÅÂËæõþ Õ¼/ ÛõÑ Ûý× ¿SöÅÂËæõþ ü¥óÓíÇî± ýËBå Âó¿Sß±õþ ëÂ×ÈßÂø¸Ç / ëÂ×ÈßÂø¸Ç üÔ¿©† ßÂõþ± û±ûþ ò±, Ûõþ æiœ-÷ÔîÅÂÉ ðÅËé±ý× Ã›¶¿î¿é ÂËí ÛßÂé± ¿õËúø¸ î±ÈÂóûÇ õýò ßÂËõþ/ üÅîÂõþ±Ñ Îüý× õÔï± Î䩆± Õ±¿÷ ß¿õþ¿ò, Õ±ú± ÎõþËà¿å õþõÏfò±Ëïõþ Ûß¿é á±Ëò– ‘‘Õæ±ò± à¿òõþ òÓîÂò ÷¿íõþ ÎáÒËï¿å ý±õþ, ßv±™LÿõýÏò òõÏò± ÷¿íõþ ÎõÒËñ¿å î±õþ’’–

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Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

6

‘‘õ±ã±ùÏ’’ õùËù Õ±÷±Ëðõþ Îä±Ëàõþ ü±÷Ëò ò±ò±õþßÂ÷ å¿õ ÎöÂËü ÝËêÂ/ Îüý× å¿õËî Û¶Båi§ö±Ëõ ÎöÂËü ÝËê ÕËòß ÎáÌõþõ, ÕËòß ÕËòß ¿õ¦œûþßÂõþ ü±Ñ¦Ô¨¿îÂß ÎäÂîÂò± ëÂ×¾Ëõõþ ý׿îÂßÂï±...û± ü¿îÂÉý× ¿åù, ÛàòÝ Õ±Ëå/ Ûý× ï±ß±é±ý× ÕËòËßÂõþ ß±Ëå ÕËòß ¿ßÂåÅõþ Õ±Ëá, ÕËòËßÂõþ ß±Ëå ÕËòß ¿ßÂåÅõþ ¿ÂóåËò...Õ±õ±õþ ÕËòËßÂõþ ß±Ëå ÕËòß ¿ßÂåÅõþ ¿õ¿ò÷Ëûþ/ ÕïÇ±È ¿ßÂåÅ ÷±òÅø¸ Õ±Ëåò, û±Ëðõþ ß±Ëå Îüý× ëÂ×Â󿦚¿îÂ-é± õæÇòÏûþ òûþ, Õ±õ±õþ Õ±Âóò ßÂËõþ Îòõ±õþ ÷î & QÂóÓíÇ ¿ßÂåÅÝ òûþ/ Õ±Ëõþß Î|íÏõþ ÷±òÅø¸Ý õþËûþËåò, û±õþ± qñÅ÷±S Ûý× ‘õ±ã±ùÏ’ úsé±õþ ¿ßÂåÅé± ß±å±ß±¿å ï±ßÂËõò õËùý× õþËûþËåò/ õþõÏfò±ï, üÅòÏù á˼±Âó±ñɱûþ, æûþ Îᱦ¤±÷Ïõþ ÷î ÷±òÅËø¸õþ± î±Ëðõþ Û¶±Ëí õþËûþËåò/ á±Ëò á±Ëò, ÎäÂîÂò±ûþ, î±Ëðõþ ëÂ×Â󿦚¿îÂ/ Õ±÷±Ëðõþ õ±ãù± ö±ø¸±–Õ±÷±Ëðõþ ÷±îÔÂö±ø¸±-Û Ûß Õ÷ÓùÉ ö±`±õþ/ Õ±÷õþ± õ±ã±ùÏ, î±ý× Õ±÷õþ± ûîÂé± ß±å ÎïËß Ûý× Ûß±™Là ¿ò榤 ö±ø¸±Ëß õÅçÂËî Âó±õþõ, ÎîÂ÷ò àÅõ ßÂ÷ ÷±òÅø¸ý× Âó±õþËõ/ Õ±÷±Ëðõþ ü±Ñ¦Ô¨¿îÂß ܿîÂýÉ ò¿æõþ¿õýÏò ÛõÑ õU ü±¿ý¿îÂÉßÂ, õU ß¿õ, õU ÷±òÅø¸ Õ±÷±Ëðõþ Ûý× Ü¿îÂËýÉõþ ¿öÂîÂËß ձËõþ± ÙæÅ ßÂËõþ îÅÂËùËå/ î±õþý× ÝÂóõþ ðÒ±¿hÂËûþ Õ±÷±Ëðõþ õîÇÂ÷±ò/ Õ±õ±õþ ‘õ±ã±ùÏ’ ÷±Ëòý× Îû ÛËßÂõ±Ëõþ ü¥óÓíÇ Îá±é± õ±Ñù± ü±¿ýîÂÉ, üѦԨ¿îÂõþ ý׿îÂý±ü &Ëù ÎàËûþ Îòõ±õþ ðõþß±õþ Õ±Ëå î± Õ±¿÷ ÷Ëò ß¿õþ ò±/ Ûý× ü±Ñ¦Ô¨¿îÂß æáî ձüËù ÕËòß õhÂ, ÕËòß ¿ðËß î±õþ ú±à±Ã›¶ú±à± å¿hÂËûþ ¿áËûþËå/ ÕËòß Âó±}±îÂÉ Ã›¶ö±Ëõ, õþ±æÍò¿îÂß ZËeõþ é±ò±ËÂó±ËhÂËò î±õþ ÕËòß ¿ðßÂõðù ýËûþËå/ Û÷ò¿ß ö±õþîÂõËø¸Çõþ ÷ËñÉÝ ¿õ¿öÂi§ õþ±ËæÉõþ ü±Ñ¦Ô¨¿îÂß ÎðÝûþ± ÎòÝûþ±õþ ÷±ñÉË÷Ý Ûý× ü±¿ýîÂÉ Õ±Ëõþ± Ü¿îÂýÉú±ùÏ Ý ÎáÌõþËõõþ Õ¿ñß±õþÏ ýËûþËå/ ÕËòßÂß±ù Õ±Ëá ÎïËßÂý× Ûý×õþßÂ÷ ÛßÂé± Õ±ð±ò Û¶ð±Ëòõþ ñ±õþ± Õ±÷õþ± ÎðàËî Âó±ý×/ ¦¤ËðúËäÂîÂò± Ý Âó±}±îÂÉËäÂîÂò±õþ ¿õ¿ò÷Ëûþ Îû ¿úŠ Ý üѦԨ¿îÂõþ ¿öÂîÂ-¦š±Âóò ýËûþ¿åù ö±õþîÂõËø¸Ç–î±Ëß õù± ýûþ ‘‘Mixed Culture’’ õ± ¿÷|üѦԨ¿îÂ/ Âó±õþ¦ó¿õþß ö±õ¿õ¿ò÷Ëûþõþ ßÂùɱËí î± Õ±Ëõþ± ÕËòß Îõ¿ú áèýòËû±áÉ–üõ±õþ ß±Ëå/ Ûý× ¿÷|üѦԨ¿îÂÝ Ûß ¦¤îÂLa üѦԨ¿îÂ/ Ûõþ üË¼Ý ¿òËæËðõþ Î÷ù±Ëî Âó±õþËõò Õ±æËßÂõþ õU õU ÷±òÅø¸/ Ûý× ÎäÂîÂò± ÕòÅû±ûþÏ-ý× î±Ëðõþ ðÔ¿©†ö¼Ï, î±Ëðõþ ÷î ßÂËõþ õþã ¿äÂËò ÎòÝûþ±/ û±õþ± õ±ãù± ü±¿ýîÂÉ ÎÛ¶÷Ï, î±õþ± Âó±}±îÂÉ ü±¿ýËîÂÉõþ ÕòÅõþ±áÏ ýËõò ò±, Û÷ò Îî± Îß±Ëò± ßÂï± Îòý×/ ýûþËî± Âó±}±îÂÉ üѦԨ¿îÂÝ î±Ëðõþ ß±Ëå ÛßÂý×õþßÂ÷ Õ±Ëõðò õþ±Ëà, î±ý× î±õþ± ëÂ×öÂûþËßÂý× ûËï±Âó¿äÂî ü¥œ±ò ¿ðËûþ ï±ËßÂò/ ß± õþ ß±Ëå Âó±}±îÂÉ ü±¿ýîÂÉ ÕîÂÉ™Là ձßÂø¸ÇíÏûþ, ß±õþí î±õþ ö±`±õþ ¿õú±ù, ÕËòß õhÂ Ý ü÷ÔXÂ/ ß± õþ ß±Ëå ¿õù±¿üî± ýËîÂÝ Âó±Ëõþ, Õ±õ±õþ ß± õþ ß±Ëå ÕËäÂò±, æ÷ß±Ëù± ä±ß¿äÂßÂÉ Ý Õ±¿öÂæ±îÂÉÂóÓíÇ Ûß ¦¤›ŸÂóÅõþÏõþ Îü±Âó±í, û± î±õþ± ÎðàËî ä±ûþ, Õ±Ëõþ±ýí ßÂõþËî ä±ûþ, ÕòÅöÂõ ßÂËõþ ÎðàËî ä±ûþ/ Ûý× Îû Keats, Oscar wilde, William Wordsworth-Ûõþ ÷î ý×Ñõþ±æÏ ÎùàßÂËðõþ Õ¿õ¦œõþíÏûþ ü±¿ýîÂÉüÔ¿©† Û&¿ùÝ Ûß ÛßÂé± Û¶¿î‡±òý× õËéÂ/ ¿ò榤 ¿ä™Lññ±õþ± Ý ÎäÂîÂò± ¿ðËûþ Îû üѦԨ¿î ձ÷±Ëðõþ ¿òËæ ÎïËß ß±Ëå ÎéÂËò ÎòËõ, ¦¤ö±õîÂý× î±õþ ¿ðËß ձ÷õþ± Îõ¿ú Õ±ßÔ©† ýõ/ ÕîÂÐÂóõþ Õ±÷±Ëðõþ ü±Ñ¦Ô¨¿îÂß ÎäÂîÂò± Õ±õþÝ üÅjõþ ýËî Âó±õþËõ/ Õ±÷õþ±Ý ßÂù÷ îÅÂùËî Âó±õþõ...¿ùàËî Âó±õþõ/ Îüý× Îùà±õþ ÷ËñÉý× Õ±÷±Ëðõþ ÎäÂîÂò±õþ Û¶¿îÂôÂùò âéÂËõ...Õ±õþ û±õþ± Îüé± ÂóhÂËõ, î±õþ± æ±òËî Âó±õþËõ Õ±÷±Ëðõþ-ÎßÂ/ î±ý× ö±Ëù± Îù౓à±õþ±Âó Îùà±-ÛõþßÂ÷ö±Ëõ Îß±Ëò± Îùà±ËßÂý× ¿õä±õþ ßÂõþ± ¿êÂß ýûþ ò±/ ¿û¿ò ÎùàßÂ, ¿î¿ò Ûß¿é ¿õ «±ü ¿òËûþ ¿ùËàËåò ÛõÑ Ûý× ¿õ «±üý× î±õþ Îùà±õþ ü±õþ ßÂï±/ ÎáÌõþõÝ õËéÂ/ î±ý× ‘ßÂù÷’ ßÂï±é± õ±Ñù± ýËûþÝ Õ±™LÃæDZ¿îÂß õ± üõÇæòÏò/ Îùàõ±õþ æòÉ ús-õþ Âó±ú±Âó±¿ú ÎäÂîÂò± Û¶Ëûþ±æò/ ö±ø¸±õþ ÎïËßÂÝ Îõ¿ú Û¶Ëûþ±æò-æÏõòËõ±Ëñõþ, Û¶Ëûþ±æò-¿ò榤 ¦¤îÂLa ðÔ¿©†ö¼Ï/ Ûý× Õ±R-ÎäÂîÂò±Ëß õþ+Âó Û¶ð±ò ßÂõþ±é±ý× ýù-‘‘ðÉ é±ôÄ Âó±éÇÂ’’ ÕïÇ±È õ±ã±¿ù ïÅ¿h ‘‘õÑ’’Ëðõþ ß±Ëå ýêÂ±È ßÂËõþ ßÂùÄ¿÷ú±ß õþ±i§± ßÂõþõ±õþ ÷îÂý× ðÅ©¨õþ/ î± õËù õþ±i§± ýËõ ò±-Û÷òé± Îî± òûþ/ ýËõ ¿êÂßÂý×–îÂËõ ýËî Âó±Ëõþ òÅò ßÂ÷, ý±Ëî Âó±Ëõþ Îõ¿ú ¿÷¿©†/ ýËî Âó±Ëõþ õ¿h ¿ßÂÑõ± ¿äÂÑ¿h ÷±å ÎðÝûþ± Îõú æË¥óú ÛßÂé± ÂóÒ±äÂË÷ú±ùÏ, Õ±™LÇÃ汿îÂß ™¦¸Ëõþõþ õ±ã±¿ùûþ±ò±,...ýËî Âó±Ëõþ Îòý±îÂ-ý× Âó±òÄËü/ îÂõÅ û± õþ±i§± ýù, î± ¿òËæõþ ÎïËß ýù ÛõÑ üÈö±Ëõ ýù/ ‘‘ßÂùË÷õþ ßÂù¿÷ú±ßÂ’’ Ûý× õþßÂ÷ý× ÛßÂé± õþgÂËòõþ üŦ¤±ðŠÛ¶ûþ±ü/ ü¥ó±ðß ¿ýËüËõ ÷Ëò ß¿õþ Ûý× Ã›¶ûþ±ü ¦¤îÂЦ£ÓÂîÇ ýÝûþ±é±ý× Î|ûþ ÛõÑ ß±÷É/ Õ±¿÷ ¦¤Ïß±õþ ßÂõþ¿å, Îû Ûý× õ±Ñù± ü±¿ýËîÂÉõþ ÕËòßÂé±ý× ÛàËò± Õ±÷±õþ ¿òËæõþ ß±Ëåý× Õñõþ±/ ¿òËæËß ‘‘õ±ã±¿ù’’ õùËù ÛßÂé± & ð±¿ûþQËõ±ñ ÛõÑ î±õþ ÎïËßÂÝ Îõ¿ú ÛßÂé± & ö±õþ ßÒ±Ëñõþ ÝÂóõþ ÕòÅöÂõ ßÂËõþ¿å ÕËòßÂõ±õþ/ ¿õä¿ùî ýËûþ¿å, îÂõÅ Âóõþ±æûþ ¦¤Ïß±õþ ß¿õþ¿ò, ð±¿ûþQ Ûh±ý׿ò/ Î䩆± ßÂËõþ¿å...ûîÂé± æ±òõ, Îðàõ, îÂîÂéÅÂßÅÂý× Õ±Âóò ßÂËõþ Îòõ/ û± ¿úàõ, îÂîÂéÅÂßÅ ¿ðËûþ Îûò ¿ßÂåÅ üÔ¿©† ßÂõþËî Âó±¿õþ/ Âó¿Sß±õþ ü¥ó±ðß ¿ýËüËõ Û¿éÂËß ձ¿÷ Õ±÷±õþ õÉ¿M áî ¿õ «±ü Ý ÎäÂîÂò±õþý× Ûß¿é Û¶¿îÂBå¿õ ßÂËõþ îÅÂùËî Î䩆± ßÂËõþ¿å/ Õü¥óÓíÇ :±ò ÎûËýîÅ üõÇò±ú±, üÅîÂõþ±Ñ ûîÂéÅÂßÅ ÎæËò¿å,ÂóÅËõþ± ¿õúðö±Ëõ ÎæËò¿å/ Ûý× òÓÉòîÂ÷ Û¶Ë䩆±Ý û±õþ± ßÂËõþ õËù Õ±÷õþ± ¿äÂËò¿å õ± ¿äÂËò Îòõ±õþ Û¶ûþ±ü ßÂËõþ üôÂù ýËûþ¿å, î±ËðõþËßÂý× Õ±÷õþ± Âó±õþ¦ó¿õþß ö±õ¿õ¿ò÷Ëûþõþ Õ±ýW±ò 汿òËûþ¿å/ Û¶ï÷ ü¥ó±ðò±ûþ ¿õ¿ò÷Ëûþõþ ÷±ñÉ÷ ¿ýËüËõ ÎõËå ÎòÝûþ± ýËûþËå ‘õþã’.../

6

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

7

Editing... is similar to circumnavigation. A fabulist has a job of his own, in the sense that the spins out fabulous lies. An editor has the prime responsibility of distinguishing an eye beam from an eye glance. Thereby a juvenescent writer gets his due recognition in the hands of an able editor.

An editor seems to be a median between the reader and the writer; he mortises the otherwise precarious power politics between the two sections carefully scavenging out the unnecessities. A predilection in this case is unwanted and ram shackles the editorial capabilities.

Readership is subject to reactivity which, constantly seeks different sedatives for the mind and hence writers are born. Seigniory is often regarded as a usual characteristic of an editor. The capability of an editor for a SauvĂŠ stratification if misunderstood would eventually lead one to realize the true sense of tomfoolery.

His desk boasts of visitant papers, unknown handwritings, a plethora of literary styles, visored with care under the penumbra of sinuous words. The fingers that are quite used to filtering gets respite occasionally.

The viola of literature never stops playing; because... The strings are enough musical, and the editor... deft and adept in the art.

7

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

8

Monsoon Musings Deep Sarkar again,well,I morph into a guitar riff!...I become the cue for the red umbrellas again..Or,maybe it's just the grey ones blushing with new-found love..I love flirting.Casually sweeping my pink dupatta over you in a drizzle...while young mud-caked men play football,and the droplets on the leaves remain there in photogenic beauty..You know something?I overhear everything you say.Everything.Your 'Why isn't it raining?' when it doesn't and your 'Why is it raining so much?' when it does.Who the hell do you think I am?Hypocrites!!-And thus,out flashes my purple rage..I lash on you,days on end...but in the end,it passes..I am human,after all..How long does rage last?Funny thing about young boys-we can never stay angry for long..We will scream,throw things...but that will pass..and when it does,everybody will love us for what we are..and look at the skies the next day:think it'll rain today...

As I fly,wind in my hair...

Flying forward,to lock horns with the offending clouds..

Adrenaline pumping...

Who am I?Where am i now?I-am your salvation from the sweat.I-an now skimming the seven seas.Looming up,are mountains.Tall,dark and morbid from this distance.But you know,they always bring a lot out of me.They make me scream-in pleasure, and terror;they make me dance-in rage, and in jubilation;they make me cry-in joy and in sorrow.They send me crashing to you-the mortals.They make me spill in tiny droplets over the edge of the umbrellas shielding from the world kissing couples,hiding from us-moments...but I,they can never hide from.In the time when I tumble from the rim to the ground,I see it all....you know,I love seeing them.Time and again.Which is why,every year,sometimes even unexpectedly,I come rushing..Rushing down over the red umbrellas,reflecting me.You call me Monsoon.

I hear I'm also a favourite with those who haven't anyone to make them a couple,and those who used to be.They are the ones who carry the grey umbrellas..and sing. The day you come into my arms, the rain will pass..Funny,right?They cry while walking through me all alone,and I suddenly seem like the wail of a violin..And when they find love

About the author: Deep, a Metallurgical Engineering student at Jadavpur University, is actively associated with theatrics, passionately and professionally. Trained from an early age under the famous theatre personality, Kaushik Sen, he takes pride in representing his school and college in various theatre festivals and competitions. An unobtrusive writer, Deep is presently associated with Oikyo, a new-born theatre group.

Also a passionate musician, he is trained in Rabindrasangeet, from Dakshinee.

8

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

9

Monsoon Monlater Rishav Banerjee hear me, because all my windows were rolled up. As the bus left, I saw a girl standing at the bus stop. I knew it was a girl from the white salwar kameez and the distinctly yellow dupatta laced around her - a poor choice of clothes for such an incredibly rainy day. I continued on my usual path and turned into my usual shortcut left - into 4 feet of water.

Congratulations to the municipality for the most abysmal display of maintenance I have ever seen. I knew that if I stopped my car to reverse, the water would immediately kill my engine and I would be stuck, so I pressed on. Dirty greyish water seeped into the car as I kept telling myself that it can only get better. By The Lord God's grace, it never does. No sooner had my engine been flooded and my car stopped, that my boss called and told me that I didn't have to come in to work. Now I was in the middle of an extremely shady neighborhood, walls all plastered with political party posters and slogans, and I did not have a functioning vehicle or a means to get home. I didn't even have an umbrella to protect me from the rain if I decided to abandon my car, which I would never do on principle.

I put my head on the steering wheel and let out a deep sigh collecting my thoughts. Suddenly the passenger side door of my car opened and a girl, wearing a drenched white salwar stepped into the car and sat down next to me, her flowery yellow dupatta laced around her. She closed the door and looked at me as I stared at her in amazement.

"Haven't you ever seen a damsel in distress?", said the intruder in white. I quickly snapped out of my daze. Angry as I was I would never pop off on a woman.

"This is my car. What the fuck are you doing here? What do you mean damsel in distress?"

"Well, I can't walk through all this water and this neighborhood isn't exactly safe. You seemed like a decent guy so I popped into your car to take advantage of your hitherto unquestioned chivalry."

"Well, that's some shit, isn't it? What if I were to deny you asylum? What if I were to violently rape you right here, right now?"

She turned to face me, with a gentle smirk.

Have you ever had your bluff called out on you?

Amplify that feeling times ten by a beautiful woman in a wet salwar.

The monsoons receive a variegated response from different strata of the population. Some people call it a blessing from the gods, an example of religious benevolence - after all the country's economy is singlehandedly controlled by this annual natural event. I had always observed the monsoons from a distance. It was just a minor event that happened every year, and regardless of the rain my life went on uninterrupted. Probably because I always knew what to expect from the rains. A sudden drop in temperature followed by a sudden rise in humidity.

Waterlogged streets. Muddy shoes. Late buses.

Arrogant and opportunistic taxi drivers. I had carefully crafted ways to avoid and prevent all these situations. However, in the monsoons of 2011, events transpired which I was anything but prepared for.

That morning when I woke I felt particularly morose. And if you have ever been in the city during the rains, you know exactly why. Overcast, grey skies. A misty scent in the air. Time seemed to have slowed down. Even the most non-poetic among us would feel the urge to put pen to paper and then subsequently rip the paper up since we have been taught better than to write and enjoy poetry. I knew the rains would fall any moment. So I quickly got dressed, grabbed my backpack and keys and rushed out. I didn't even have time to eat breakfast. Minutes after I pulled out of the parking spot, it started pouring cats and dogs and maybe even a few other domesticated animals. With the windshield wipers on high, I drove through the relatively empty streets carefully. I kept my headlights on to improve my vision and merged into the main road where I was almost happy to find traffic. But this was nothing compared to the usual traffic. Everyone seemed to actually follow the rules. I had my peripheral vision on high. Mostly yellow taxis and autos and big red state buses. I didn't really see too many other cars. No one really seemed to give a damn about going to work. The bus in front of me came to sudden halt. I slammed the brakes hard. Thanks to my new tires I narrowly avoided ramming my perfectly conditioned Hyundai into the back of a rusty old bumper. My mood wasn't already daisies and petunias, now it was definitely akin to that of a rabid dog who had been kicked in the privates. I honked my horn loudly and cursed cathartically at the bus driver who couldn't 9

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

10

bridge, the little drops of rain caused ceaseless disturbances on its surface. I got to the apex of the bridge when she asked me to stop the car.

"I live just down the road here."

"Oh." I was about to say something about staying safe and trying to not catch a cold but I was cut short. Cut short by this nameless girl, who suddenly grabbed my shirt collar, pulled me in and kissed me.

After the longest 10 seconds I have ever experienced, our lips parted. The stupid Coldplay song kept playing.

"What was that f.." - I couldn't even finish my sentence as she got out of the car closed the door behind her and began to walk in the opposite direction.

I took the hint. Clearly she did not want to continue the conversation.

Boyfriend? Husband? Impulsive action? Several theories kept running through my head as I put the car into gear and started coasting down the bridge. I could see her, in her now-not-so-white salwar standing on the bridge.

Standing?

I braked hard. The tires skidded and screeched to a halt.

I saw her standing lonely on the bridge. Looking so out of place, like a flower in a snowstorm. That seemed like the perfect analogy at the time to describe this girl I had just met.

I still regret not taking any action. I only looked on as I saw her throw herself off the bridge.

I wont go into the details of how I called the police or how I frantically searched the river to find her or how the police held me in lockup for suspicion of murder till they found the suicide letter in her apartment.

I just want to end my story with one single overwhelming assertion: I literally hate the monsoons.

"Will you?"

I stared.

"Yeah, didn't think so." she said as she coolly pulled out a small towel from her bag and started drying herself off.

"What's your name?" I asked. I needed information. The more information I had the better I would be able to deal with the situation. This girl clearly wasn't going anywhere and I could hardly let her out of my car into almost certain danger.

"Sofia.", she said. "Yours?"

"Abraham Lincoln."

"At least you could be creative about your fake name."

"You weren't. It's the brand of your shoes. I can tell when someone is lying to me."

"You some kind of a smart guy."

"Yeah, I work in engineering."

"That just means your dad had money or you are good at taking exams."

"Either way, survival of the fittest. Darwin clearly made me superior."

Probably the most narcissistic thing I have ever said but "your daddy has money" comment was one that easily pissed me off.

"Apparently, Darwin makes mistakes too. Listen I don't really care much about you. Thank you for your help. I know a little garage nearby that'll fix up your car. If I take you there and pay to get your car started again, do you promise to take me to River Park?"

River Park was a little out of my way but for a mechanic and a working car, it was well worth it. We let the rain subside a little. We sat in the car and talked. Mostly unimportant stuff. Somehow it seemed like I knew her. She was haughty, complicated, abrasive and way too curious.

Everything I detested in a woman. But somehow she captivated my attention. Maybe because I couldn't really figure her out. Maybe because she was incredibly pretty - the type of pretty that addles the mind. Either way, once the rain stopped she took me to the mechanic and paid to have my engine started.

"So you're going to take me to River Park now, right?" she said brushing her hair behind her ear.

I may not be an honest man. But I am a man of my word.

"Sure. But I'm not going to take you an inch further."

The sky was still pretty grey. It was still drizzling gently. Some stupid Coldplay song was playing on the radio. I got on the bridge that leads upto River Park. The river flowed quite forcefully below the

About the author: Rishav is a Mechanical Engineering Student at the University of Colorado at Boulder in USA and works as a Machine Shop Manager/Machinist. A brilliant mind, indulgent in incessant inquisitions, a maestro of logical reasoning, he is a magnificent strummer of the guitar and takes part in plays reluctantly.

Quoting him, he enjoys skateboarding/longboarding/ snowboarding, hip hop, rap, rock, and a healthy dose of "naughtiness".

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2nd Proof 18.09.2013

Through The Eyes of Monsoon...

Tamanna Roy Washed the streets and the fields.

Kissed the eyes Of the newly sown seeds.

Trickled down the window panes Of the soaring skyscrapers.

Splashed onto the canvas of the painter-In the deep blue oceans, In the violet lavenders, In the yellow autumn fields In the red setting sun.

And a painting was born.

Out of the colours of rain.

Out of the colours of life.

Kaleidoscope.

About the author : Tamanna, an Instrumentation engineering student, is a versatile poet. She encompasses both Bengali and English proficiently and is a trained pianist at The Calcutta School of Music. Also well versed in Rabindrasangeet, she has a natural fetish for Western Classical Music and loves Schubert. An afacianando of the first order aesthetics, she loves history and physics.

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Identity Atri Majumdar I Hallucination An indomitable curiosity, Striving,attaining perfection And again obliteraringA circle of futility A myriad of explosions, Outbursts of passion.

Unreasonable yet still seeking Haunting pleasures undefined Nights lost in carnality, Dizzy days-uncanny,superficial; Intoxicating sleep of nightmares Grasping time in space.

Vast,infinite,yet constricted, Returning to etched pains, Hope burning-flickering stars; Round and round,again and again Visions replayed,hallucinating.

II Who are you?

Where reality ends, our dreams begin, A colourless canvas of myriad possibilities, Explanations of indefinable objects, What are we trying to seek?

Nature, science, religion or ourselves?

Philosophy of life can perhaps satiate us.

But again, what is life?

Can life explain its own existence?

Can your mind show you its devices?

Look at the mirror again-who are you?

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III Eschatology I can't see the end, 'cause I'm standing on the edge, Blurred images, it doesn't make sense.

My dreams have turned grey, I am, but a parenthesis of society.

Life is sneering at me, Tormenting me with its silent criticism, It has been a futile journey, Life is to me-a paradox.

I have been chasing shadows, Lost in a world of selfish dreams.

Still I want to think again, Is it all my fault or society's?

About the author: Atri, a student of English Literature at Asutosh College, Kolkata, is an " artist of disappearance"his poems are conceived as one of the best verses, boasting its soulfulness. His poems have been recognized in various poetry competitions, including the Heart-talk Competition, organized by Oxford Bookstore Kolkata. His publications include a book of verses, "Shadow of Light", the e-book version of which, earned substantial fame. Talking of colours, he says, that hues make up a mind, in the sense of calumnious frivolity. The author can be contacted at atri.cal@gmail.com.

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Colours of Dreams Tamanna Roy I The imprints of monsoon Cursed the secrets of colours, As they seemed to hang Like the strings of a puppet Against the tattered wall.

Black-n-white. My colourful dreams Seemed to ooze out their colours Till they were grey.

Or were they blue?

Electrifying?

II My heart seemed to beat Like the wings of an injured chick, Afraid yet hopeful.

And then I saw those colours, Wonderful, vibrant colours, Smiling in your eyes.

And I lived.

Once again.

About the author: Tamanna, an Instrumentation Engineering student, is a versatile poet. She encompasses both Bengali and English, proficiently and is a trained pianist at The Calcutta School of Music. Also well versed in Rabindrasangeet, she has a natural fetish for Western Classical Music and loves Schubert. An afacianando of the first order aesthetics, she loves history and physics.Quoting her, " Colours define a selfsatisfaction. Even 'colorlessness' defines a colour in itself."

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Shades Around The Clock Rachana Chakraborty The morning mist cloaks the air in matte grey ,As the shepherd boy roves the damp meadows --- his cheerful hum painting the grass greener...

As time crawls,the sun wakes up the world; The hue shifts from grey to the full-of-life yellow ---Streets bustle with cars heading towards frowsty office rooms,offering long hours of drudgery.

THIS IS MUD BROWN. And what do you think is the colour of the gaunt faces of those children laden with heavy schoolbags from dawn to dusk?

The children deprived of the fresh air and play??

The green of their innocence and the pink of their childhoods evaporating at an alarming rate..

And we are very sorry!!

But "Time is running out as well,and they HAVE to run.."

As the sweltering ninth hour of the day clad in Red,drives in; The spright abated by the sweat and the stink around sees the shepherd boy catching a nap under the boughs ---Red merge into purple as dusk dawns; The snug nest awaits the return of its beloved, The rapid fluttering of wings through the sky lit up by the last rays of the setting sun bears the smell of comfort ---So does the damp air hanging amid the snail-pace traffic.

The mellow moonlight heralds the break of night immediately: Night---its dark---but is it black?

NO, guess.Rather its white.

All the colours of the day blend into the night as the river into the sea giving birth to White ...At some place faraway,a poet sitting all day with shapeless thoughts finds his first line; Somewhere else the mother puts her child to sleep with evergreen fairytales and warm pats--The quiet,long 'goodnight' closes the day.....

About the author: Rachana, a student of Heritage Institute of Technology, in Information Technology, is an acclaimed juvenile musician trained extensively in Hindustani Classical Music, in which she finds her heart. A student of Pandit Ajoy Chakraborty and Shri Abhirup GuhaThakurta, she is an administrator at Shrutinandan (Online Class). An occasional writer, she imbibes a symphonic element in her compositions. Quoting her," Colours are flavours. Each colour can represent a particular time,season,incident or period. Also every individual bears resemblance to a particular colour,each differing from the other. Almost everything occurring under the sun has its own shade. Thus,colours are unavoidably important to man and his mind."

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The Cage Sreyash Sarkar It was the day that The bird flew away to a horizon Unknown, beyond reach Incapable of childish marriages and fluid births, Setting out a cry, distinct in its screech, the retaining tone It scratched the earth, untill colourless blood oozed out of it Drop, by drop, and then a flood....

I did not remember anything I was still taking the fragrance of the smothered rice bowl Empty of its contents And striped of its identity But I did ask, and further asked myself in the dark, About the shiver down my spine The shiver had turned into a Stirring Something was being churned in the granary A small grain, a jinx Wafted about in the sick air I did not remember anything I was still taking the fragrance Of the smothered rice bowl Empty of its contents Striped of its identity Something was being cooked Inside me Persistently in frivolous extents That ensnared my instincts Cooked and cooked Till scarlet, Fresh from my blood.

About the author: Sreyash is a poet, a qualified painter, a musician and and an aspiring Electrical Engineer. Educated in Kolkata and Bangalore, he has been a student correspondent at The Statesman, Kolkata from his school, South Point. Has been an active participant in various poetry and essay competitions in both Bengali and English and has won accolades by and far. In 2012, in an international poetry competition organized in memoir of Yeats, his poem was shortlisted among 40 other poets from all over the world. Besides, being a freelance writer for several magazines, he is the editor-in-chief of Kalomer Kalomishak, a bilingual magazine, which he founded in 2013. Poetry, according to him, is similar to the entire process of macramĂŠ- An art of knitting of words. Being trained from an early age, in both classical music and Tagore-songs, he has imbibed in himself, a deep philosophical understanding of the Upanishads, Sufi songs and other forms of folk poetry. Tagore, has always been his raison dĂŠtre and therefore has been an inspiration in his definitive understanding of Lalon Fakir's songs.He had also got himself into painting, very early on, and his works has been particularly influenced by Abanindranath Tagore, Anjolie Ela Menon, Picasso and Ganesh Pyne. An aesthete of a sort, he loves gardening, ikebana, books,home-made Bengali dishes and watching films. He currently divides his time between Kolkata and Bangalore.

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2nd Proof 18.09.2013

Exhaustion Baibhab Bose I Kites You tell me to keep those paper-boats to me Because they're so dearly made But I'll make them float away Though it won't flow forever Maybe won't last an hour a minute.

I know you're concerned Your words are not door slams.

But I'll fly my kites, even in the rain I won't sleep the night Even, when I'm tired.

I may make moves contrary to your concern.

I know you're worried of me.

But don't ask where my paper boat has gone You may ask how I made it fine, how I put it in brook Don't blame me if my kite is cut But even if I don't know the answer You can ask me how this mighty kite Flies in the sky...

II Dahlia of autumn May be I don't want to see the candle extinguished So keep it there for me I know there is enough light out there You may or may not open the windows But nights like this are usually pleasant Everyday I don't take cab for going to work everyday you may take the bus to go to work. even if it is raining, you can bring flowers for me..

I may bring you umbrella.

Never listen to the people around There is no such thing as a closed window.

So if there is no box, no need for a window Don't live in a box.

Even if it comforts you.

Comfort is a close window.

There is no such thing as close window.

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You laugh when I say lets live under a big tree May be I too laugh, Because here it is easy to accept the lie Than to live the truth.

Trees are truth.

We are leaves.

Leaves die in winter.

There is time until the winter comes.

So lets be together.

You may put off the candle I'll gaze the stars.

Lets take a cab together, when its raining hard.

Let our hands sleep together Autumn doesn't last forever There is a thing called spring.

Where we will be when the spring comes?

Leaves fall, trees never die Spring comes, leaves reborn.

We are leaves.

We wish to be reborn We'll gaze the stars.

May be we'll sit Under a big tree For a while.

Let our hands sleep together Because, autumn won't last forever.

About the author: Baibhab, is a student of Scottish Church College.

Physics is his passion. He is an art maestro. A trained painter and sketcher, his works emanate a fresh aroma of impressionism and a generous amount of localized cubism. Not only does art making interests him, he likes capturing them too.

A passionate photographer, he likes landscapes as one of his subjects and the silhouette technique. A writer of existence, he is blessed by renowned poet Shankho Ghosh, in his infanthood on the occasion of his rice-feeding ceremony. Quoting him,"Colours are like leaves of an enormous tree; essential yet so subsidiary."

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The Precarious Colours Guy Elbert

Heist at Midnight 1 Beware the heist at midnight That arrives on silent wings.

Beware the ghosts of thought, The sirens while they sing.

There is a most sacred hour Appointed and ordained In which the clearest thoughts Escape mightily unchained.

The void is filled hastily With chaos and desire.

The truth of angels usurped By the devil’s cleverest liar.

Where’s the blessed lark Heralding the hour?

Where’s the object of temptation, The murderous will to power?

The hope of day has gone, The realization of sin forgot.

The mind inherits what it will And this cannot be fought.

The Highlands 2 I had driven half the night, Seen the light dance and twirl As it hastened into the woods.

Engine hums like a contented child.

Passed the ol’ brewery, Smelled the approaching Half arguments in taverns.

Passed the signs in some forgotten tongue Passed the lochs and foothills Watching wraithlike clouds Drizzle cold sadness flicked off By the windshield wipers.

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Writer’s Block 3 The big man kicks his head back and roars Every little thing cannot be expressed.

All the children in the street curse, Their growth muted by monosyllabic words.

Fuck, the artist loves the cold night air, He pumps the infertile hoping for cries in the darkness, For sex, the man looks in at the mannequin, All the world floating by, he laments the loss of life, If only they could write, but the pen is motionless Already the paper is as empty as Siberian day, white on and on, The massed graves are filled with lives and love that could have been, But instead of faces there are tears and silence.

The characters of the alphabet will not comply, Nor will reason entertain this sadness, Let me remove each block of the pyramid So that I might understand the frustration, fear, anguish Only silent invented gods would understand.

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Twin Tale Deeplina Banerjee

The August Showers

left the woman alone in her bridal attire in a bid to paint my ambition in bright red the color of passion.Yes I was passionately ambitious or rather over ambitious. My thoughts were interrupted by loud thunder clappings.I was taken out of the apparent daze to find myself in front of the house.It had a premature death.I realized I was standing on the relic of thousand hundred dreams that I killed the day I went away.

Somehow there was certain peace in that house which held a certitude of its past and its present and maybe of the future as well.I clumsily kept searching for the key but stopped on hearing steady footsteps from behind the locked dark.

The door opened and I found her standing,looking at me directly.I could barely meet her eyes and kept stammering in a desperate bid to defend myself.A desperate attempt to kill the voices that her silence echoed of my guilt.Her silent gaze was making the air heavy with mounting tension. I stopped abruptly on a soft touch and found myself being taken inside the room.There was no electricity.Only a candle burnt to offer its pale beam.She was wearing a plain blue silk saree. She went and stood near the window not saying a word, neither turning around to face me.

I stood there frozen by her silence. I had expected a shower of explosive remark. But there she was standing silently retaining the same composure of the long lost years.I did not rather could not think of anything.Her detached coolness screamed at me my selfish absurdity and failure.I had to come back to my roots, it was pre- written. I had the long awaited realization.

Slowly I went and stood behind her. I now identified that familiar distant smell.She now turned to face me. There was something in her eyes. A silver tear drop resting at the corner of her eyes reflecting her deep anguish on my betrayal. Yet she said not a word. I sat on my knees with my head bowed down.All I could say was a 'SORRY'. I did not expect

It was sometime in late August. I was walking the dark naked road.

The dim neon lamps could hardly cover the nudity of the lane.

The air hung heavily with a distant familiar smell.

I was way too much pre occupied with my own thoughts. I was caught in a doldrum and was insanely struggling to find a way out.

However, I kept walking with a calm pace. I was not in such a hurry..

The road before me seemed to be a broken frame of black and grey. Only the black being dominant.

The weather was becoming increasingly sultry. I looked up to find dark clouds knitting a thick quilt to spread over the sky.

By this time I noticed the clumsy age old buildings standing behind the street lamps. They were all standing in a queue overlooking me blankly..without saying a word. Yet making sharp stab of silent mockery at the man who walked past them.

Even the aged concrete skeletons had a colour to them. I could not clearly identify them.But all I could see was a myriad of shades of shabby grey , outworn red or faded brown with broken walls and rusty gates. There was something which made me envy these care worn houses. They were poorly clad barely inhabited by its own tenants, but there they were standing with head held high, Unlike Me. I smiled back at them absorbing in the scars that time left on their body and the scars that I incurred in a futile attempt to fight against time.Strangely enough I didnt have any flashback as any depressing failure of the celluloid had!!

I did not know how long I walked. I came to the end of the lane only to turn to another.It was precisely a day in august in the old past when I left the town and all who lived my life with me, when I

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any reply though. But she came close and held me.

There was soft passion in her wet eyes. She rested her soft lips on mine. We closed our eyes and time stopped. I came back to my native land yet found none but the woman whom I abandoned on our wedding night, still waiting for me. Still with the same unconditional love. She did not ask anything

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from me but gave evrything to me that very day. The candle light kindled the light of the unfelt emotion.

And she took my head on her chest.I closed my eyes to the buried past with a hope to build a new tomorrow with her, for her. There was shower of soft emotion in the dark room.

Outside the rain had begun.

Memoir of 1949 The sky was overcast. An uneven shade of dark grey and pale white. Pale and white never really seemed to be two different terms, but the very day it had clasped each other in a ribbon of cloud, overcast with clouds-dark thoughts-unheard screamsunfathomable dialogue that echoed.The land was barren,broken and tormented.It had struggled with its destiny and had given up like many of them.The warriors of the Forbidden Time, forbidden to provide refuge to the buried memories.The air was heavy with the ominous smell of burnt gunpowder,and there was something else.Something which I was unable to rescue from the heap of decayed thoughts.

DECAYED-DECEASED-MURDERED.I was not here alone.I had come with many of them,across the Padma.The ferry rides across the river almost flashed instantly in front of my tired eyes-Abdul Majhi,his honest smile from those broken teeth,the native song of the Majhi while he gave us a ride across without asking for a penny all bore testimony to the longdead childhood.I looked at the distant corner of the alley.There he lay.Old Abdul Rahman-his eyes were wide opened.His body lost to the motion of life.There was a thick red spot circling the lower end of his chest.Blood still oozed out,with flies hovering over the death clad .I wanted to run to him,but my legs gave up.I dragged myself to the dead man.There was now sudden thunder roar.I sat downcollapsed.My voice wanted to come out in fierce screams,the eyes struggling desperately to give way to blood trails.But, I found myself humming the old Majhi's song.The tears now belonged to the ocean of dried emotion.I took my saree,which now barely covered me and cleaned of the trail of fluid that came

off his rough bearded mouth.I looked at him for sometime then turned my eyes to the road which lay before me.It seemed to be an age old relic of dead masses clad in the similar reddish stain-dried of emotion.I saw bodies lying before me.Flies hovering over the decaying flesh.I was stuck in the hollow of time.Captured,powerless -lifeless yet left alive to die a rotten death.The dark curtains loomed large casting a theatrical of the malign abuse of my female body.I shivered.Looking down I found the fresh blood had formed a dark patch on the cloth,covering my being.The bullet had left wounds on the corpses, no dead human bodies and I was unforgivingly bruised of the malign touch.The desert echoed screams of death.I moved,to find a woman lying lifeless on the hollow of dead time.Her eyes closed, arms strtched.Her abdomen was swelled upward.I could hear the silent screams of the unformed foetus.A desperate bid to come out of the womb butchered by the bullets.There was again a thunder roar.The rain now began.I sensed something.Slowly putting my hand on my face,I realized I was crying.At a far distance,as far my eyes could see I saw fields golden awaiting ripe harvest.There was blue sky-the old temple-the broken walls.The sound of conch shell as the women clad in red and white stood,hands folded in prayer to their chest as they saw the idol of the mother godess being immersed in the water.Then there was many of us.,struggling our way in the boats-packed with men and their belonging. They looked blankly at the ancient river bank.There were soft whispers of our new identity.We were the UDBAASTU-THE REFUGEES.I did not know how long I stood there,locked in time.I was silent.I could 22

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hear my name being called from a fading distance.I could not identify the voice from the relic of the dead human bodies.Men and women with broken bodies, exposed ribs and flesh lay still.Their death bearing a testimonial to the starvation of the days and nights.Their ribs and bones screaming out their starved death.There were little boys and girls lying naked one over the other, their bodies giving out the smell of rotten flesh-serving a treat for the hovering flies.The sound was now becoming clear.But it was not my name.It was a feeble cry.The cry of a baby.I frantically looked around.There was a sudden desperation.It was not long before I realized it came

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from an alley.I went there and stood still.It was lying on its mother's lap, uncovered.It helplessly stared at the face which gave away nothing but silence of death.An aweful stench was coming from the opened mouth.I lifted it in my arms and covered it with my wet cloth.I took the small body and covered it in my arms.Suddenly I had found a reason to live in that death mount.May be this was the reason I was left to survive.Not to die a hundred deaths but to mother an orphaned baby.I held it close to me.The chains were broken.I screamed in tears.I held it very close to me.It had stopped crying.I looked up at the sky.The sun had come out.

About the author: Deeplina is a talented writer of her own genre and her prose pieces emanate a Desai-an flavor. A student of English Literature at Gokhale Memorial Girls College, she is an anchor of social functions. She loves photography and books. Quoting her, " Colours are like layers of one's life. You can get on top of them."

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Vanitas Soham Ganguly "Don't you blink, my girl."

But she did. It couldn't be that she couldn't before that bright light, recoiling from what seemed like a sun before her, forcing conduits into the very fabric of her and testing the distal frontiers of her reason until she noticed something of a corona of faintly coruscating venation rimming her very faculty of sense.

When they stopped the light, a film of unfamiliarity had settled before Noorie. No, it wasn't exactly the dusk of dimmed day sensations, which left in a day or two after the eye examination, but a colour.

You couldn't tell what colour it was if you ever saw it. Neither could Noorie. But she saw it, and you didn't, and no one else did except her, and that was the trouble.

The colour belonged to everything that slipped away if you tried to look at it. It was the colour of things as you saw them out of the corner of your eye.

Or perhaps, it was the colour of those specks or floaters which occasionally intrude upon one's vision upon suddenly looking up, or the colour of those inky sight impressions left behind upon the state of void if you shut your eyes after looking at bright things.

Or perhaps it was none of these above. The physicians couldn't tell. Neither could Noorie. They assured her that it would go away, and truly, it didn't.

She had known it long and enough. Only painting seemed to relieve the sight of that thing. She had found that out in the drawing class when she was in the third form. Till then it had hovered about the faces of fallow associations she had endeavoured to make for she always tried to look away from them out of sheer terror of finishing them-hued in that fashion, smeared, especially in the depths of their eyes, with that errant coloration. Indeed her whole procedure of sight on any usual day was that of looking away, of never letting it settle or wait upon any single frame of sight lest the colour begin to commence about the edges like a steady patch of oil fanning out on brittle newspaper.

So it had lingered, upon the underlined participles and the highlighted diagram labels of the fins of a portly river fish, and frittered over the harsher undulations of life and mathematical conundrums.

It was only when she painted, though, it seemed to slow the pace of the colour seeping in, and at length she divined that it was not impossible-it had something to do with the force of all the other colours combined which was able to stave it off for sometime, and as a result, she fell to painting: It was no great passion that aided her path, but at any rate, a lack of dislike for it, just as people may take to sport to escape the inevitable purgatories attendant upon the later stages of a sedentary existence, chiefly involving unwieldy belts and pads of oleaginous insistence.

From this, her doctors developed, as they often do after being told everything, a possible remedy, and it was ordained that the painter, of such nearly vast, chromatic promise, should be treated to the choicest resplendence that nature's bounty could afford, as far as the lusher coastlines were concerned.

It was quite the first time that the sea had beckoned, previously it had only been tiny hamlets meaning visits to tiny , tottering aunts of creaking, wrinkly aspect, who made the child curl up for the night before the day even began. She despised those visits, and the hatred showed, so that there were no more of those to endure, and she was left to the frugal solace of brush and paper.

But landscapes and unplumbed depths completely called up for the canvas she used at present, mounted slightly above the denominations of her line of sight. She always found it convenient having to look up slightly, as it needed a little effort making her keep the slow impinging of that odious colour out of focus for a longer while, like forgetting the first labouring sparks of what would surely be the conflagration of a paltry steamer cabin to send one last message ashore.

The colour mingled with rubicund promise of the sun that set on that third of July, and the shadows lengthened supinely about the figures on the beach 24

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slowly wending their way home. Noorie couldn't see a lot, and exchanged hurried greetings with a few acquaintances shambling past unhurriedly. There was just a little lantern sunken, yet sharp peace on the western water, the kind, likely to stir itself just once along the orb's downward arc, perhaps augmented by clouds.

It may have been, nay, must have been that which brought on the first 'phaseout'. Her head tried to swim in too many ways at once, and made her only sway dimly. The crusts of that colour which would appear in passing incrustations upon the contours of her sapience where she had sewn up all her retrospection, were now undammed , and swept in as lucidly and plainly as blacklight.

There was no knowing what it touched in that brief, brief passage or what it tinctured with the digitends of its thought-lancinating dexterity, but it truncheoned its host-mind in all-pervading immensity to the lowliest floor that she, if she was, could ever be brought to her knees upon.

And then, and thus, she saw. She could not but see the sight that was woven entirely of impressions upon sunlight for her to see. There was but that colour in all the life she had then, apart from the essentially sable fabric which had crafted itself as the tapestry upon which the chimera of by-gone anticipation had thrust Noorie. She felt, ever so keenly, that what she had awaited on this shore in mothers and fathers, had weltered out and left this anguish riddled lightlessness for her to flounder in, and find but the crumbs of. It was this mirage of vision in a sort of negative photographic film largely rendered more in outline, that she found herself waiting with several other beings of various sizes and invertebrate disposition, obstreperously bloating themselves by feeding on each other and losing their features, whatever might be apparent in the murk , and ending up looking distressingly similar until they would waste themselves into amorphousness , looking like nothing in particular and hibernating fitfully over many benighted , gelid antarctications.

Then this unrelieved , most pitiless, sightless of sights segued into a curiosity, and the mortal discovered that she could, after all, do much as a child discovers the principle. She tried to look at herself, touch herself, and found only an anthropoid lacking the very faculty and logic of gender,

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endowed with limbs quite an archetype typical to her species , terminating in digits she was unsure of, whether in terms of numbers or the property of being webbed. What she felt, some concern for was following the river as it flowed sourcewards.

She was soon upon the ascent where the stream cascaded purply over rocks, for the bizarrerie of her blacklight universe permitted only the shade bordering upon violet in the bits where it strove to make a not-so-dark impression, patch, or outline.

And yet it would smoothly dissipate into blackness at touch or change of angle. Flesh resolved into void when touched, as did purls of water, and if ears could see, she thought, or whoever she might've been might've thought in an alternate partition of intelligence detached from tantalizing visitations of chronology and personae that if but ears, or the blind senses could see, such, if aught, would it be.

Sheer walls of unbroken black forced a recourse to water, to stepping upon toeholds of little jutting pedestal-like rocks fording inwards into the mouth of a grotto , considerable , perhaps. She couldn't tell from the faded margins of the sole colour which wove this realm. She strode in with the urgent agility of primates.

In flat blackness that offered no answers, and asked none, she fell hurtlessly. She got to her feet, groping for the wall that somehow hadn't been there when she entered , and finding it surely. And there she found the bison, tattooed into the heart of the cavern as the first of the race had wished it , had seen it, a sight in lurid rendering , single and solitary, yet prognosticating, perhaps, that her tribe had left. They had left without her. A few crusts of colour fell off from the engraving, and she felt a need to leave the place. Something, more than instinct and yet not so much more than it as to be wholly effaced from even the chambers of memory which contained her.

Noorie, denizen of centuries for distant, centuries which had long washed their hands off such matters.

Matters which had arranged those that had left her behind thus in this irremediable strangulation of claustrophobia. They had lived in blessed peace up here for long. Their departure could but mean that something was no longer the same here. Even as she thought, some change had come over the place.

Something had moved, and the first thing it had done was black the way out of here previously etched into 25

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the plate of lesser darkness which stood for an evening outside she could've fled to. But now she could do more. Although she pushed and warred against the black wall of vicious , inexorable , humongous purpose which filled the mouth of the cave with its body and limbs until she passed out ... .

And out in a gasp. Into the heat of rolling flames she rushed trundling down the cobblestone causeway from the cabin by the sea which had long been deserted. It was as if the village had moved away with time from that apostate pile of logs, sitting eremite by the sea. And some occultic penalty that had been prophesied for the desertion had hung upon the little stretch of coast skirting the Downs until the first of the Zeppelius chose to test its wrath upon this sleepy fishing hamlet.

Everything was fairly in cinders, collected into neat little clusters of wastage. It was only an affair of a handful of cottages and an inn, and two, or perhaps four bombs had done the trick. It was towards the central inn, which functioned as the administrative center of the place, that she rushed, with the faintest hopes of finding someone at all, if not her sister, alive.

She went foolishly too close, and more than singed and blackened and choked herself on purpose.

She then stood at a distance and watched as rain set in. Quite a squall which fanned each charring serpent tress that glowered into life, and many, such tributaries coalesced into a nucleus of incendiary menace in a heart of wood, brick and mortar.

Something about the debris' arrangement had suggested that it awaited such a snap , and the blast did come at length, more of a sustained mass of effulgence hurled around ... .

And there was then this property in the colour that

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shimmered in upon her, that a gauze had been lifted from the great tangles of cabalistic black balefires about which undark frames quivered and ululated, some on all fours, with voices of insectoid kindered.

And more and more were they drawn to the flames which cast their darkness over that strip of the earth.

For creatures they were, mothing forth in jubilation that washed over their undarkend creasings which shone into sight intermittently , such as they may in that utter dark banquet, bridging themselves to the prancing hearts of murk by probosces emanating variously, and thus lost in dalliance.

And then one of them saw her. She ran, had to.

There was no way she would be dragged to their fires or their staired alters which wandered on wheels and required ladders to reach the top.

And at length she reckoned the river, and swam thoughtlessly into the colour she had desposed and so shirked. If there lay any hope, it was in those troughing cradlings of undark upon which a moon of marble verdigris looked down, guiding her over the water where the waves communed in many a vorticing tete-a-tete around the square pedestal monolith which alone offered her asylum in that storm rivering the firmaments with greasy, delayed lightning. She lay, and could stay the weary ordinance of her eyelids no more when a keen shaft of incandescence from some distant lighthouse bored into the last kernel of her senses, in the attic-loft of her soul where she had stowed away her past like forlorn lumber ... .

"That will do, child", confided the doctor to someone sandwiched in the tunnels of an immaculate examination device, meant to address the brain.

He nodded twice over remarks written in pencil. " That will do for a week."

About the author : Soham Ganguly, a student of English Literature, Presidency University, is a writer of conviction.

Talking of colours he said, ‘‘Colours comprise the very essence of our existence and are the soul of artforms, from the swish of the brush and the cheery or plaintive palettes of the swirls and eddies of ponderance, to the surges and troughs of sound which hue the mind. It is much, thus, that colours hold for the artist and the author, in all humility, feels at one with the chroma-fraught storeys of this realm unexplored.’’

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The Morning Based on a true story except with a better ending Rishav Banerjee honey blonde hair which had been left intentionally loose by her side. Her eyes were so enchanting that even though he was embarrassed he could not bear to take his eyes away from hers, till Jack pushed him and broke his gaze.

Realizing his transgression, he fixed his gaze on a notch on the mahogany wood countertop of the bar.

His face grew red as the blood rushed up into it out of embarrassment and bewilderment. The bartender poured another whiskey-sour into his empty glass.

The smooth brown liquid in his glass stared at him as a reminder of how straight edge his life was - how ordinary he was. There was no way a girl like that would even be moderately attracted to a guy like him. For a brief moment he caught himself thinking about what exactly it would feel like to kiss those shimmering lips of hers, and out of embarrassment he downed his entire drink in one gulp. Following his lead, Star and Jack downed their drinks too. The night got a little out of hand after that. He remembered walking out of the bar and going to a different bar to get further drunk. Even if he couldn't have the girl, no reason for him to be a drunk asshole in front of her and make her feel uncomfortable. That is where his recollection of the night ended as he proceeded to get so drunk that his memory simply blacked out.

But here he found himself in his bed, with a splitting headache, a deathly hangover - yet that girl was on his mind. He wasn't much of a dater, nor had he ever been. He had had girlfriends before, but they seemed to pale in comparison to this one girl. Even without speaking a word to her, he had been enraptured, trapped in a dizzying haze of emotions he had never felt before.

He looked up at the auburn ceiling fan that had been lazily spinning on for the last few hours. He seemed to be exactly like that fan, spinning around aimlessly. The more he looked at the things around him, the more he realized how plain he was, how plain his life was and exactly how out of his league that girl was.

As the gentle, yellow rays of the sun peeking through the curtains struck his face, he regained consciousness. Maybe he had been tired, maybe he had had a little too much to drink, but he had a splitting headache and the bright light of the sun made his eyes see nothing but red. He shielded his eyes from the sun with his hands as he sat up on his bed, on the white sheets which had long lost their white glistening sheen. He had lived in the apartment alone for years. The burgundy coffee table, the alabaster showpiece, the jade carving on the mantle they had grown all too familiar with him and him to them. As he looked around at these commonplace items in his room, the full intensity of his hangover hit him. He reached for the ibuprofen pills he had kept on his sidetable. Thankfully, it was a Sunday - a day he would spend recovering from the mild to severe alcohol poisoning he had subjected himself to the night before. It wasn't even a special occasion, nor had it been a celebration of anything great. He had simply popped down to the pub with Jack and Star for a quick pint of beer as they discussed work and why their manager sucked. It would have been a routine night. Would have. Had she not shown up.

She walked in the doors in her sun dress - white with little floral patterns on it. The sun dress seemed out of place in the dark little bar with the maroon upholstery on the seats and at the booths, which gave the entire place a sort of Old Town London feel which for the less well-versed is not very cheerful.

But her sheer radiance swept through the bar, and it immediately made him forget about his deadlines, his asshole boss, his rent, his blue Honda Accord which had been double parked and was at risk of being towed and his mom who had asked him to call a week ago. The little flowers on her dress moved gently, as if swaying in a breeze, as she walked by him and sat down at the opposite end of the bar.

He remembered staring awkwardly at her for a couple of seconds till her eyes met his. Livid pools of green which were accented by her long, flowing 27

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So out of his league as a matter of fact, that he would never even be able to get her number. No, he wouldn't even be able to get her name.

Her name. Her name.

Liz. He seemed oddly sure that that was her name. A surity that was founded in something which he could not put a finger on.

He lifted his hand to massage his throbbing temple. That's when he saw it. In bold green marker on his palm was the following message: Liz 383-927-1334 He was utterly confused. The world seemed to shift and swivel around him. For a brief moment, he hoped that it was the number of the girl in the sundress. But then it dawned on him, it couldn't possibly be. He had left the pub before he got seriously drunk. There was no way it was her number.

There was a rustling of the chrome wind chimes at the entrance of the balcony connected to his room.

A rustle that was very distinctive. Not the type that

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comes from the wind. The distinct rustle of somebody walking through the doorway. He snapped his head around. A mixture of fear and desperation grasped his throat. His headache was bad enough but now he must be hallucinating, he thought. There she was, the girl he had been obsessing about. As their eyes met, she smiled. The sundress was lying in a heap on the floor near the balcony and she was wearing one of his shirts. His hangover instantly evaporated. Every normal, average item in his room seemed to glisten like precious treasure. The room seemed to be vibrant all the colors seem to jump out at him as if they were all trying to grab his attention at once. But his attention had long since been taken hostage by the smile. Her smile. A certifiable weapon of his destruction.

The world seemed to stop spinning as she moved across the room and came and gently kissed him. His eyes closed and he saw little flowers like the ones on that sun dress in his mind.

In colors that he couldn't name, all gently swaying and falling.

About the author: Rishav is a Mechanical Engineering Student at the University of Colorado at Boulder in USA and works as a Machine Shop Manager/Machinist. A brilliant mind, indulgent in incessant Inquisitions, a maestro of logical reasoning, he is a magnificent strummer of the guitar and takes part in plays reluctantly.

Quoting him, he enjoys skateboarding/longboarding/ snowboarding, hip hop, rap, rock, and a healthy dose of "naughtiness".

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Memoirs Titas Bose She woke up. Somewhere an alarm was going off.

There will be broken pieces all around her, she knew.

Pieces that would reflect the sudden blossom of a thousand shades and hues that had been in her life for the past two years.

She realised she was crying. Strangely, it did not pain anymore. The tears rolled down her cheeks in a taciturn rhythm and dangled from the end of her ruby red lips. She yearned to be at the beach again, feel the prick of sand beneath her feet, the kiss of wind on her neck and shoulders, and on the sides of her belly where her dress had attained an oval shaped tear. The colours would be lined in unison along the shore, while tiny brown hands curiously pinched them.

The red was pouring out in spasmodic gasps from the catacomb of Krishnachura branches outside her window. Tiny crystal droplets smudged the ink on her page and made it glisten with a surreal pinkish glow. A fleeting familiar wafted in from a distance and captivated her, resonating in harmony with her heaving sighs, but the more she tried to grasp it and hum, the more it eluded her. It was a single silent melancholy tune cascading through her nerves, making them quiver with sudden splashes of blue.

She imagined the colours being sprawled over the prickly sand, with brown fingers tapping them gently to remove the sticking sand grains.

Last year she had gone to Manali with Kiki. A fluffy white dog followed them everywhere they went. While she climbed the creaking steps of their blissful cottage-home, Kiki had scoffed-"You are Mary, and that is your little lamb". The dog did look like a lamb, with puffy flakes arranged haphazardly all over its body. It had a pair of jet black eyes, like

two lumps of coal. In spite of its vibrant enthusiasm all along the meandering trek towards a secluded hamlet nestled in between green peaks, its eyes breathed of an unfathomable grief. She had noticed.

Kiki had not. Kiki was blind to a lot of things. Just like the curved broken half of the moon hanging precariously from the sticky inky darkness one night in June when Kiki passed away in the hospital. She was informed in the morning by a formal disarrayed text message. The glaring spelling mistakes in those few lines had made her laugh out loud innocently.

She was travelling in a caravan of nomadic gypsies then, intensely enjoying the smoke twirling upwards from the lighted ends of their chhilim-s and the intoxicating jingle of their rusty jewellery. It was a unique experience of her life and she had longed to share it with Kiki.

That morning, they left her among the sand dunes of the desert, a mile or two away from the fort city of Jaisalmer. She was tanned most sensuously. Her nails had grown longer and more beautiful. She had dances around with some dark village girls, their sweaty bodies trembling under the sun together.

She spent the night under the open skies, wrapping her pashmina tightly around her herself, and dug her hand into the sand. She dreamt of the beach again-the salty breeze, the curious feel of sand beneath her soles, the ambrosia of coconuts...and of course the colours. The colours that were spread all over the beach this time, giggling gleefully under then playful touch of the brown hands. The colours that soaked in all the suffocating memories and turned them into cooing pigeons. The colours that fused remarkably to create the black inside her.

About the author: Titas, a student of English Literature at Presidency University, is a multifaceted writer in the truest sense. She along with her associates have been running successfully, Muses, a bilingual magazine, of whom she is a co-editor.

Educated in South Point, she loves animals and photography. Colours according to her, are shades of one's philosophy, that keep reframing itself.

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A Mathematical Hue Diptaishik Choudhury "Why are numbers beautiful? It's like asking why is Beethoven's ninth symphony beautiful? If you don't see why, someone can't tell you. I know numbers are beautiful. If they aren't beautiful, nothing is" —Paul Erdos

in the age-old mathematical problem of "Twin prime conjecture" . . . its suppose to be a huge leap in solving it . . .but what does the conjecture state ?

Let's put it like this: suppose you and your friend are playing a game , you will have to choose a prime number ( a number which is only divisible by 1 and itself , ex 7 ) such that there is another prime number two places before and after it in the natural number line . For example , if you choose the pair (41,43) it would be a valid answer where as (2,5) would be not.

This is repeated by your friend and who ever runs out of answer loses.

Now . . the conjecture states that there are infinite such pairs! So you and your friend may have engaged upon an endless game on seeing it's simple structure ! But who knew that there are infinitely many of such "twins" . . surely a gem in itself this result . .simple yet deep.

Another one of this famous puzzle is of course the Goldbach conjecture , which stated that any even number can be written as the sum of two prime numbers. . .want to verify it? Let us take any even number for example 28. Well it can be easily broken into (23+5) both of which are primes. A more than 100 year old problem . . but still no rigorous proof of counter example .

Sometimes the things that leaves us astonished is how easy a statement sounds and instead what deep motivation and ideas it withholds. Like the Pythagorus theorem , which states that the square of the hypotenuse of a right angle triangle equal sum of the squares of the other two sides. This age old problem led to the birth of the famous Fermat's last theorem which baffled mathematicians and thinkers for three centuries. Just a little change to the age old formulae in the standard primary school textbook and the job is done.

One illustration that to me is the most fascinating one is the Sicherman dice. In a 1978 issue of Scientific American , Martin Gardner remarked that if one were to label the six faces of one cube with integrs 1,2,2,3,3,4 and the six faces of the other with integers with the integers 1,3,4,5,6,8, then the

Mathematical beauty to me is perhaps the most ineffable of concepts . It’s perhaps the strongest proof of the age-old proverb ‘‘Beauty is in the eyes of the beholde’’ It’s like any other art form . . . lucid and rhythmic as a poem yet cold and ascetic as a sculpture . . . it is as scintillating as Van Gogh's "Starry Night" yet as transparent as snow-melt water , based on concrete pillars of logic and deductions , nothing else. It provides a mathematician with the feeling of utmost pleasure , thrill and excitement and at the same time teaches him to be patient , dedicated and humble.

I like mathematics because it is a deductive science and whatever we do in mathematics is certain to be true, given the validity of a few axioms (if we leave out some subtle logical issues). Moreover, it provides a structure in which physical laws can be written down. The most wonderful things about mathematics is that we see a particular thing recurring in different forms in a theory, so we just extract that particular portion of the theory and study it as an abstract structure thoroughly whose results can then be applied in mathematics and other branches of science to lead to deep and profound insights.

Godfrey Hardy once said "there is no place in the world for ugly mathematics" But what is beautiful maths?

Obviously a novice or non-mathematical person won't find some landscape drawn in a mathematicians diary amidst all the notations , symbolism and axioms.

But what he might find is the beauty in the result obtained by all these tedious or sometimes graceful manipulations and deductions.

Recently an American mathematician by the name of Yitang Zhang has made some advancement 30

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number of ways of obtaining any particular sum with these dice is the same as that of obtaining with a conventional pair of die. For example if you calculate the number of ways of obtaining a sum of 7 in both the cases , you will find that in both cases it is 6.

Mathematical problems to me are like a dark room . You don't know what it might unravel or what it has on hold .You continue your search innocently . . . tripping yourself on furnitures and hurdles , until

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you get a clear idea of the room. Sometime they unravel some fabulous piece of architecture hiding in some dark corner whereas sometimes you find nothing when the curtain is raised. It’s funny how things work out in mathematics. One stroke of brilliance , one moment of inspiration along with hard -work can get your name recorded in history books. Simple ideas lead to extensive theories. Daydreams lead to wonders.

About the author: Diptaishik is a student of Chennai Mathematical Institute. Sheer brilliance with an indomitable passion for Maths, a trained Rabindrasangeet singer under the tutelage of Maya Sen, he loves solving problems that makes him ponder too much. Just as much he says—‘‘Factorization derives artistry. It brings out so much.’’ Speaking of colour, he declares with pomp, that colours are like digits. Only you have to know, how to arrange them.

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Colour Quale Sayan Bhattacharjee I was asked to speak about the colour 'pink' at an extempore once. After going fearfully blank for about two and a split second, I babbled continuously for two straight minutes about what the colour stood for in my head. Pink was the colour of female empowerment, Sherlock Holmes from the extremely popular recent BBC series solved his first case using "pink" as the primary clue, cotton candy was usually pink, I loved cotton candy‌.you get the drift. But afterwards, as I was banging my head on the desk at the back of the room, I realized something else. You know how the best answer you could have given comes about ten-fifteen minutes after you have had your precious shot? Yeah, that.

Colour. It has no existence outside the domain of human perception. It's just different wavelengths of light that is perceived by us. Can you describe the colour 'red' (or any colour for that matter)? Can you accurately describe how you perceive that particular colour? More importantly, will it necessarily be the same as the 'red' of the person to whom you are telling all these? There is no way of knowing for sure. I mean yes, the colour of the sunset as perceived by A could be different from the colour of the sunset perceived by B-- but it's pointless to debate which one is more beautiful because this again, is entirely a subjective experience.

Certain wavelengths of light have been named so that it is possible for the people of the world to communicate their own experiences of perception of that particular wavelength of light. All good there.

But the funny thing here is that although roughly, we are all perceiving 'red', there is no way one could specify the redness of their red. Sounds confusing?

Philosophers have a term for phenomenon such as these. It is called qualia. Imagine you have a condition where you are unable to feel pain, actually, physically unable to feel pain (which means if I bash you on the head with a heavy object, you'll probably die but probably while still laughing at my joke).Now is there any way in the world where I can actually explain what pain feels like? I cannot, there is absolutely nothing I can do to make someone understand what pain feels like. Daniel Dennett wrote that qualia is "an unfamiliar term for something that could not be more familiar to each of us: the ways things seem to us".

The fact that something as basic as colour perception differs from person to person is as disconcerting as it is fascinating. Moreover, we shall never know different how. All we can do is, however, we can always wonder what it may seem like to our fellow human beings and ask them what their colour is like. It's interesting conversation.

About the author: Sayan Bhattacharjee, is already an acclaimed artmaker in the subtlest sense. He writes with passion, is a reporter and creative consultant at an e-magazine The Calcutta Chronicles and loves travelling. Colours, according to him are actually: different shades of a perspective, that essentially takes the human civilization, forward. He can be reached at sayan@calcuttachronicles.com.

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A Colour Hueless...

Anish Dan That was like another ordinary night. Breaking the regular routine I went out from my house primarily to throw out some trash of my little daughter, while her mother was deep in the world of dream.

Surprisingly, an unknown world opened up before me! The surroundings also played a catalytic role to discover the unknown from the regular known events. A cool breeze was rolling through my uncombed hair in that calm night which already has sent the invitation card to the monsoon. A slim crescent after the new moon was visible through the lazy movement of some branches.

This tranquility suddenly got disturbed by a strong honk and roar of a bike. Oh, how disturbing! A guy and a gal are returning home. Returning, or eloping? God knows. Vice of the society. A don't care attitude, no respect in mind, aimless. Only know how to enjoy, enjoy the life, that too with a myopic focus.

They are still alive, our generation next knows how to laugh, how to extract the life juice from the sugarcane routine of city-life. Vigour is still left in their mind. They are the true eighteen as claimed by Poet Sukanta.

This thought was smoothly sailing in my mind unless I saw a white Honda Accord which struck my eyes. Eyes got restricted at the dark glass of the moving room. May be a director's car, may be an executive's. New ideas are passing by. A film of tomorrow, a strategy of future. Calmness has the spark to ignite creativity, as I was feeling, standing by the roadside. Immediately a weird thought covered my mind. Isn't it an idiocy to spend this lovable night thinking of the business strategy? Is the life only consisting of profit and a balance sheet? The red cup of coffee before going to bed is a sign of relation or a symbol of brand equity?

Upper crust of the society passed out and my nose got snobby when I managed to escape an insane person. Passing by An insane; name useless, gender immaterial, age worthless, address roofless. Boredom was noticed in eyes. No expectation from life, no contribution to life. Stared at me for a while, silent asked if I am a group member. Straight away re-

ceived my stiff-neck reply and understood I am from a civil society. Yes, from that cruel society which failed to show a little mercy to this human being.

May be someone's onetime beloved child, respected parent or darling spouse, now rejected. Rejected from the world, according to Singer Kabir Suman, deleted from the voter list. A little care may have transformed the life from this roughness of road to a rosy family life, but no time to care for this careless fellow in this busy world. That unbalanced mind is carrying the sign of hard-nosed brutality of the world.

Lust and greed for flesh are scattered over there.

The city morning shouts in favour of women empowerment, built up pandals for worship of goddess, organise symposia to fight in favour of the facilities to girl child. In the same city the night waits for the return of a lonely college student, lures a hungry maid behind the garage, bargain with that gorgeously dressed teenager for the two hours of her life. That two lost hours from her rest, from her study, from her family, from her future. Embarrassed by some question from my inner-self, somehow managed to run away from this topic.

A slow moving cab helped me to switchover to another thought. A tired driver and an exhausted sector-five passenger. Clearly I could see the yawning of the person beside the back window. May be he worked for 8-10 hours, may be failed to finalise any deal, may be show-caused the superior. But why I am feeling for him? May be he is the chief of the organisation, may be yielded enough profit. So whether it is joy of yielding revenue or the anger of losing the game, ultimately yawn is returning to home every night.

So far the experience was going well, unless a street dog passed me. I like pet dogs but I can't trust the street dogs, I got scared. The dog was moving in a zigzag manner in search of some opportunity. Opportunity of shelter or opportunity of food. It seemed to be well-versed about the address of the leftovers, yet searching for some additional prospect which may be unknown to his fellow canines. It ignored me while 33

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passing, but from a distance I heard an outcry. Probably a known destiny has refused him. Its den may be under the attack of some intruders. O God, please save its cute puppies. They know to cry, they can't give any outcry, and they are not yet opportunist.

I was standing alone near the crossing of the road, and was getting late to bed. Started moving towards my house. A patrol car was performing its routine duty. Policemen, the target of all levels of society, a burning example of role conflict. Common mass consider them as a remedy to all corruptions, influential groups exploit them as a buffer of their demonic acts. In search of the scope to perform their duty they are moving from one crossing to another. To ensure our sound sleep they have chosen a rigourous life.

Standing all around, alert, away from the warm bed of sweet home, under the temporary shed of the camp discharging the responsibility and getting choked by the conflicting expectation of the different people in this democracy.

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Finally while returning home i could visualise flashes of colours in my mind. Those colours came from opposite directions but tried to converge at a common point. I saw one VIBGYOR under dark cloud of vice, idiocy, brutality, greed, yawn, opportunity and rigour. From the opposite direction another VIBGYOR came out through the silver lining of vigour, idea, boredom, gorgeous, yield, outcry and remedy. I remembered a theory of my schooldays.

Seven colors mixed together on a palette will turn black, but those seven colors on a rotating Newton's wheel will show white. In life too colours remain same; we have to know in what way we have to mix it. On our choice we will either get the cloudy sky or the silver lining. 'Unite' and 'untie' use the same letters, but the meanings turn different on our arrangement of alphabets. So, life is always colourful, if it is only black and white, then also. After all black and white are two colours, isn't it?

About the author: Anish Dan, Professor in Commerce, Bangabasi College,Guest Lecturer in Commerce, University of Calcutta Principal Investigator, UGC Minor Research Project (2013-’14), frequently takes time out of his busy schedule, and takes keen interest in gadgets, décor d`nouve, and keeps himself updated. Schooled at Patha Bhavan, he loves listening to music.Quoting him on colours, he declares that‘‘Have I ever imagined my life without color? I have a fancy in seeing colors and match them. The colour in my life started with the first colour pencil box and colour in my life is still going with my new-born daughter Agomoni. I believe all the shades of my pastel box will help me to draw the sketch of my life. I do not want to keep aside the black and white colors, but I fear from fade out of colours. So I always keep my brush soaked with different colours from the palette of my life and nature.’’ The author can be contacted at: 40/2/1 Gariahat Road (South) Kolkata 700 031/ www.facebook.com/anish.dan.

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The Bengali Disconnection Sreya Duttachowdhury It's an acquired taste really. One has to understand, nurture and uphold the proper sentiments of being born a Bengali. But I daresay this is a singular revelatory confession. I'm pretty sure many others can be counted for such chauvinism, carelessly brushed aside for more important things...

With me the thought bore particular fruit with my infrequent trips to the concrete, real world...The other day my father conferred upon me a coming-ofage important quest and sent me to the bank with a cheque to cash. During those trying moments I came across a most disturbing phenomenon. As a large number of people lined up and patiently waited, we were witness to a complete meltdown of a poor employee at the cash counter as a mental; berserk overseeing manager jumped down her throat and publicly humiliated her for not being competent enough. Atrocious as it is, however what really struck me was that this said South Indian bloke stood his ground at a Jadavpur Branch and voiced his opinion on how abhorrently lazy the entire community of Bengalis are and declared that their mere presence stifles any work experience. While a few onlookers murmured in agitation no one spoke up as the self-assured man stormed out of the room and moments later all was conveniently forgotten.It came as a real shock to me that this man, this horrible man at the wrong end of power could wage such full frontal insults being physically present among a hoard of Bengali customers and staff! While I'm in no position to weigh out faults and make a proper assessment of the situation the audacity of this man baffled me! 'How dare he?' It kept wringing in my head.It called for an invigorating discussion of the matter at the dinner table later that night. Suffice to say since I rarely take up a news paper and not flick right to the cartoons, my parents provided some meaningful insight into the demeaning plight of Bengalis. As one might have, it seems that our community is perpetually becoming prey of such ridicule and abuse, a common bearing outside of West Bengal. People seem to harbour a perspective of the stereotypical oil-slicked, beetle-chewing laid

back Bengali babu with a sloth-like demeanor. The rapid onset of outsiders within the provinces has inflicted us with dire consequences regularly displayed in instances of vicious mocking of apheriwallah's idiosyncrasies or being forced to communicate in Hindi right here in Kolkata, the very hub of Bengali culture! So why is it that in spite of being the dominant majority our cultures and etiquettes are slowly depleting or are being subdued by foreign agents? What has led to this abysmal upsetting of social statics and dynamics??The problem, as I see it, lies in us. We may choose to obstinately blame and curse the outlanders for wrecking havoc in the social fabric but the precursor of doom lies in our misled behaviors. In reality Bengalis simply lack proper faith and confidence in themselves. It started with boot licking of Sahibs and pursuing of a relentless urge to be westernized. And apparently the tendency to imitate and adopt is the only tradition that has been modestly carried over generations.Not one day goes by when you don't come across clusters of ignorant, cavalier youngsters vehemently trying to either disregard or hide their ethnic identities! It is the ongoing trend, the cool quotient to NOT BE Bengali. Heavens forbid it's a demeaning language, our customs are 'old school' and no matter how dimwitted you might sound adopting a fake accent and pretending to be inept in your own mother tongue is most advisable. Simply incomprehensible is that which fuels this need to portray oneself as someone that they are clearly not.

It's not merely about sporting a look or choosing a diet it's the heretic frenzy of completely dismissing the very identity one is born with. If we ourselves uphold a structured denial and hatred for our culture, it is highly unlikely the communal aliens are going to respect us out of the goodness of their hearts.So why this determined denial of culture? Do we represent a circus of freaks? Is it something very covert and shameful? Does it attribute vindictive biases and targeted violence?Many consider it to be a language beneath them. I consider them to be certified fools.

While a decisive argument would be to point out 35

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exactly how dense and ignorant it is to miss out on the opulent treasures of Bengali literature, one should learn to keep up with 'the times' and henceforth speak 'in context'. How many of these triumphant heroes adorning the crown of delusion are actually aware that so many of these Bollywood Blockbusters that they revel are actually adaptations of short stories and classic novels.. Literary products of Bengal artists? Do they realize that by striving to be 'bong' they are benefiting a simultaneous semantic destruction of so many different cultures?

Before they packed their bags and went camping in Snootville did they forget about our rich heritage?

How can one deny the monumental treasures, the intricacy and precision of indigenous art, the legendary zealots of cinematography, the onscreen Gods, the musical maestros, the intellectual inspirations, the dexterity of courtship or even the

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unparalleled splendor of sumptuous cuisines?From Rabindranath to Marx, from Nazrul to Nietzsche we inadvertently chose brains over brawn. The powers of intellect made our pens mightier than their sword.

We dreamt big but it was not a dogged pursuit of profit. We have been striving to make it large yet have been taught to step lightly. Corruption and destruction are omnipotent curses of mankind and it is grossly deceptive to charge blame on any particular community for being an apparent source of all evils. They may mock our beliefs and laugh at our ways but it is our inherent potential that can put a stop to this alarming crisis. While there is no point in brandishing a belief that ours is an aspirational model, a flawless amalgamation of communal virtues it is also imperative for an individual to never deny but accept, embrace and live by his own culture and identity.

About the author: Sreya, a student of St. Xavier's College, Kolkata, is a writer of substance. Scathing prose pieces as well as the ones emanating lyrical heat find ethereal co-existence in her works.She is trained in Hindustani Classical Music, from an early age and fascinates herself in the Shankar Mahadevan compositions. An avid reader, she loves English movies.

Quoting her on colours, she manages to fumble that hues, specifically are manifold, but one has to be suitably aware of it.

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Colors of Development: Tale of A Different Rainbow Debashis Mazumdar developed countries (LDCs) has increased over time.

According to Easterlin (2000), the ratio of income between the richest and the poorest countries of the world in 1820 was approximately 3:1. However, in 1999-2000, this ratio has increased to about 380:1.

There are two aspects to the measurement of income inequality across the world: Inequality between nations (which may be termed as international inequality), and Inequality between people across the world, which also takes account of the distribution of income within countries (which may be termed as global inequality).

The extent of international inequality is also measured by the Gini ratio (this ratio approaches to the value 1 in case of complete inequality). Some recent studies have indicated that if China is excluded from the weighted distribution of world's income (weight being the size of country's population) then the Gini ratio also indicates more unequal distribution of world income among countries since 1980s. A study on global inequality undertaken by Milanovic (2002), covering 91 countries with about 81% of world's population and 93% of world's GDP, shows that the Gini ratio increased from 0.63 in 1988 to 0.66 in 1993.

However, maximum part of this global inequality (about 88%) is the result of between-country inequality rather than within-country inequality.

Thus, the rise in global inequality was largely because of growing income gap between nations over time.

The study made by J. A. Ocampo and R.Vos (2008) shows that between 1820-2001, the per capita GDP of developed countries has increased by about 19-fold, while the countries of Latin America, Asia and Africa have experienced, on an average, an increase of 8.3-fold, 7.1-fold and 3.6-fold respectively in this regard. This study also shows that the ratio of the per capita GDP of India to that of the developed world (measured at constant prices) was about 0.44 in 1820 and it declined to only about 0.09 in 2002. The World Development Report (2012)

Introduction : The word 'development' or 'economic development' seems to be the most catchy term used by a large section of social scientists particularly since late 1970s when, for the first time, attention was diverted from 'growth' towards a 'development' dynamics. The economists made a clear distinction between these two terms. Economic growth which is often measured by an increase in real national income or per capita real national income over time, reflects particularly the quantitative aspects of economic progress of any country. Economic development, on the other hand, reflects the qualitative aspects of economic progress of any country. Economic development not only incorporates a growth in real per capita income, but also a sustainable growth of human capabilities and the quality of living standard. However, till now the mainstream economists have not used the terminology like 'colors of development'. In this paper an attempt has been made to identify the extent of disparity in the process of economic development where some economies have attained more 'colorful' growth while some others lag far behind with a growth pattern tinged with 'grey' sheds.

Traditionally, it was believed that higher economic growth in terms of a growth in Gross Domestic Product (GDP) or per capita GDP of a country would automatically benefit all sections of people through a 'trickle down' effect. However, such 'pinkish' nature of growth had often carried with it some 'fade' ends with signs of inequalities in the distribution of income and wealth. When we review the growth history of several countries of the world during the last few decades, what we observe a 'rainbow' of development path, not in the sense of an unfettered 'development with dignity' for maximum number of countries, but in the sense of an ambivalence in the 'colors of development'.

Extent of Development Gaps Several studies have indicated that the development gap between the developed and less 37

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shows that the average income per capita [measured in terms of Purchasing Power Parity (PPP) dollar] in High-income Countries was about PPP $ 37,183 in 2010 and this figure was about PPP$ 1,216 for the Low-income Countries. Thus, income disparity between countries has not shown any sign of convergence over time. The 'Low-income and lower middle-income countries' contain about 48 per cent of world population and receive only about 7 per cent of world income, while the 'High-income countries' contain about 16 per cent of world population and yet receive about 70 per cent of world income (WDR, 2012). This feature of the world economy has been rightly described by the UNDP as 'gargantuan in its excess and grotesque in its human and economic inequalities' (Thirlwall, 2006).

Such large disparities in income are paralleled by huge gaps in other indicators of well being. The Human Development Report (2013) published by UNDP, shows that the life expectancy at birth for the average people remains much higher in developed countries like Norway (81.3 years), Australia (82 years) or USA (78.7 years) in 2012 compared to the less developed countries such as Democratic Republic of Congo (48.7 years) or Mozambique (50.7 years). Similarly, opportunities in education show huge disparities across nations. Educational attainment, measured in terms of mean years of schooling (i.e. average number of years of education received by people aged 25 years or above), amounted to less than 4 years in countries like Niger (1.4 years) or Democratic Republic of Congo (3.5 years), but this was equal to or more than 12 years in developed countries like Norway (12.6 years) or USA (13.3 years). The quality of living is often measured in terms of the Infant Mortality Rate (IMR) per 1,000 live births and Maternal Mortality Ratio (MMR) per 100,000 live births. The IMR was about 5, on an average, in developed countries during 2010, while this figure remained as high as 71 on an average in less developed countries, and we even find more frustrating figures like 112 in Democratic Republic of Congo, 92 in Mozambique or 73 in Niger. Similarly, the MMR in developed countries was as low as 7 in Norway and Australia or 6 in Netherlands in comparison with a very high figure like 590 in Niger, 540 in Democratic Republic of Congo or 490 in Mozambique (HDR, 2013). It also

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reflects the pattern of gender discrimination in developed and less developed countries. Thus, the growth and development stories across nations are often very unpalatable and signify the extent of divergence in this development path.

Issue of Catching Up Some economists often argue that though some less developed or developing countries lag behind the developed countries in this growth process, there is every possibility of catching up of the higher growth trajectory by the less developed countries (LDCs) in the long-run. So, the growth process across nations would show a tendency to converge over time. Such convergence in the growth process would be made possible through the use of better technology by the LDCs and a shift of resources from the slow-growth sector to the high-growth sector in an economy. Such economic arguments, however, camouflage the hard reality. We can give simple examples. Let us denote the current level of the average per capita income (PCI) of the highincome countries (HICs) by YDt, the current level of the average PCI of the low-income countries (LICs)

by YLDt, the current level of the average annual growth rate of the PCI of the HICs by RD and the current level of the average annual growth rate of the PCI of the LICs by RLD. Let us also assume that YDt = $ 35,000, YLDt = $ 1,800 and RLD = 3% .

Thus, if the PCI of the LICs grows at this rate, then we can find out the number of years (say, n) after which the LIC can catch up the higher PCI of the HIC as follows:

Y  log Dt  n  YLDt  YDt = YLDt (1 + RLD ) , i.e., n = log(1 + RLD )

 35,000  log   1,800  = 99 years (approx). or , n = log(1.03) So, in this case, the LIC would take about 99 years to reach at the current level of living of the average people of the HIC. Let us frame this example in terms of the gap between the growth rates of PIC in HICs and LICs. 38

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Let YDt = $ 35,000, YLDt = $ 1,800, RLD = 5% and RD = 4% (i.e. we have assumed a higher growth rate of PCI in LICs compared to those in HICs since the marginal productivity of a factor might be higher at the initial stages of capital accumulation and technological progress in LICs ). Thus, the gap between the growth rates of PCI in HICs and LICs can be estimated as follows:

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technology and ideas in the era of globalization will allow income distribution across nations to be more equal and make each nation 'equally rich and growing' by the year 2100. We do not know whether this estimation would come true or not but meanwhile, the trend is mostly characterized by abortive and abominable growth with unprecedented widening of income gap between nations. The pattern is one of divergence not only between developed and developing countries, but also between the developing nations that have experienced growth success and some other LDCs that have undergone growth collapse.

YDt (1 + RD ) n − YLDt (1 + RLD ) n Now, the question is how many years would be required to eliminate this gap? If this gap is eliminated then YDt (1 + RD ) n = YLDt (1 + RLD ) n

Possible Reasons for Development Gap

Y  log Dt   YLDt  ∴n = log(1 + RLD ) − log(1 + RD )

The growing gap between the present day developed countries and the LDCs can be explained on the basis of some significant differences in their initial conditions. We can identify such differences at least in the fields such as: (a) Physical and human resource endowments, (b) PCI and levels of national income in relation to the rest of the world, (c) Climate, (d) Population size, distribution and growth, (d) Historical role of international migration, (e) International trade benefits, (f) Basic scientific and technological research and development capabilities, and (g) Stability and flexibility of political and social institutions.

The contemporary less developed or developing nations are often less endowed with natural and human resources compared to the currently developed nations at their early stages of development (e.g. most of the LDCs in Asia where more than 50% of world population resides, are poorly endowed with natural resources). Even if the LDCs had natural resources, they could not be utilized properly due to lack of adequate investment.

At the beginning of the modern growth era, today's developed countries (DCs) were economically more advanced compared to the rest of the world. In contrast, today's LDCs begin their growth process with a very low level of PCI. Further, the extreme climatic conditions of heat and humidity in most LDCs cause a deteriorating soil quality and rapid depreciation of many natural goods. They also result in lower land and labour productivity in LDCs. Again, the LDCs at present experience a relatively higher man-land ratio (due to excessive pressure of

 35,000  log   1,800  = 322.5 years. = log(1.05) − log(1.04) Thus, other things remaining same, even if the PCI of the LICs grows at higher pace compared to that of HICs, it would take about 322 years for the elimination of such a gap in the growth process between these two groups of countries.

The standard growth models in economics focused primarily on the role of savings and investment, and it was believed that with higher investment-income ratio, the rich and poor nations would eventually converge in terms of income levels in the long-run. Later on, that model was extended to accommodate even other factors of growth such as human capital and endogenous technical change to explain the lack of observed convergence. Some economists (like Paul Romer) argue that this development gap between the HICs and LICs can often be explained by a technology gap that can again be divided into two components: (a) physical object gap that refers to a gap in the supply of physical resources such as factories, roads, modern machineries etc. and (b) an idea gap or ingenuity gap which refers to a gap in the ability to apply innovative ideas to solve practical, social and technical problems. The Nobel Laureate Robert Lucas (2000) has estimated that the diffusion of 39

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population) compared to the DCs (in their early stages of growth). Such high man-land ratio also explains the problem of lower agricultural productivity in LDCs. If we review the pattern of labour migration in DCs at their early stages of growth (say, in Australia and North America during 1850 to 1914), it becomes clear that the problem of labour shortages in the DCs could be solved through such international migration. However, at present the immigration laws in the DCs have become very restrictive in nature.

So, it becomes difficult for the unskilled workers of the labour-surplus LDCs to migrate to DCs. It is also observed that mostly the skilled and highly educated persons migrate from LDCs to the DCs. This amounts to a brain drain and implies a loss of valuable human capital for the LDCs. For instance, during 1960-1990, more than a million high-level professional and technical workers migrated from developing countries to USA, Canada and UK. Hence, such migration from the LDCs actually puts a serious constraint on their future growth process.

For most of the today's DCs, the notion of 'free trade' was considered as "the engine of growth" at their initial stages of development. The rapidly expanding export markets provided growing demand for the products produced in DCs and this also helped the DCs in undertaking large-scale production, greater capital accumulation and higher investment. But during 20th century, the situation was quite different since most of the LDCs experienced a deteriorating terms of trade (i.e, amount of importable per unit of exportable) due to low price and income elasticities of demand for their exportables (mainly primary or agricultural goods) and prominence of high-valued manufactured items in their import basket. Despite the WTO (World Trade Organization) negotiations, the LDCs still face various forms of tariff and non-tariff barriers to trade imposed by their trading partners, particularly by the DCs. The growth process of today's DCs has been sustained in most cases by the scientific research and developmental activities in these countries. There has been a rapid increase in the stock of scientific knowledge in these DCs. Their capability of increasing this scientific knowledge through huge investment was far more than today's LDCs. Further,

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the domestic economic, political and social institutions in today's DCs were more stable and flexible compared to those experienced by the LDCs. In most of the LDCs such domestic institutions were influenced by colonial powers of the rich nations of the West. Hence, even during the post-colonial period, the instability in political and social institutions in many LDCs had their roots in imperial and colonial practices.

Some Neo-Marxian economists (like P.A.Baran, A.G.Frank, Dos Santos etc.), in their 'Dependency Theorem' that emerged during mid-1960s, propounded that the development of the 'core' (or the developed capitalist nations) and the underdevelopment of the 'periphery (viz. the less developed colonies) are merely the two sides of the global capitalism. They were of the opinion that when the peripheral countries came in contact with those developed capitalist countries through trade and commerce it ultimately resulted in dependency of the peripheral countries on the DCs. Thus, differences in initial conditions are also exacerbated by the inequitable functioning of world markets dominated particularly by some giant Multi-National Companies with their base in developed capitalist countries.

At the other end, economists who support neoliberalism find the return of globalization in the late 20th century as the road to salvation and manna for all types of maladies which the LDCs have been suffering from. But this globalization process has brought in a new dimension to the exclusion of common people from the 'rainbow' of development.

This exclusion is no longer simply the inability to satisfy basic human needs in terms of food, clothing, shelter, health care and education for large sections of people, it is much more complicated. People everywhere, even the poor and excluded, are now exposed to the intense 'demonstration effect' generated through the tendency to imitate the lifestyle and consumption patterns of the people of DCs. The ever-expanding frontiers of consumers' choice now percolate to every sphere of the society through the electronic media. When this paradise of consumerism is unattainable, which is the case for common people, social evils in several forms erupt and cripple the development path.

The trade and financial liberalization and the 40

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process of fiscal reforms are essential elements of the 'Washington Consensus' (viz. the economic reform policies evolved by the IMF and World Bank) that put greater stress on getting the national policies 'right' to allow the market mechanism to champion the chariot of growth. But such trade liberalization has led to growing wage inequality between skilled and unskilled workers not only in industrialized nations but also in LDCs (Wood, 1994, 1997). As a consequence of privatization and deregulation, capital has gained at the expense of labour almost everywhere, since the shares of wages fell far behind that of profits (Stewart, 2000). The process of financial liberalization has exposed the LDCs more to the volatility of the global capital market. The far reaching impact of the recent financial meltdown in USA and Western Europe is a clear testimony to this fact.

Further, economic power and political power tend to be reinforcing and in this sense also the rules governing the global markets are likely to be less advantageous for LDCs as they often have an insignificant voice and bargaining strength to influence the negotiation process in their favour. In fact, there are severe asymmetries in the policy space for the implementation of macroeconomic policies, e.g., most of the LDCs do not have the option to issue liabilities in their own currencies, and the effectiveness of their monetary policies is more generally limited by the poorly developed money and capital markets in these countries.

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unskilled. This classification is suggestive rather than definitive, for it paints a broad-brush picture of a more nuanced situation.

References: 1. Todaro, Michael P. & Stephen C. Smith (2012)'Economic Development', 10th Edn, Pearson.

2. Thirlwall, A.P (2006)- 'Growth and Development with Special Reference to Developing Economies', 8th Edn, Palgrave Macmillan.

3. Nayyar, Deepak (2003)- 'Globalization and Development' in Ha-Joon Chang (ed) 'Rethinking Development Economics', Anthem Press, London.

4. Stewart, F (2000)- 'Income Distribution and Development', High-level Roundtable on Trade, UNCTAD X, TD(X)/RT.1/3, New York & Geneva, UN. 5. Wood, A (1994)- 'North-South Trade, Employment and Inequality', Oxford, Clarendon Press.

6. Wood, A (1997)- 'Openness and Wage Inequality in Developing Countries: The Latin American Challenge to East Asian Conventional Wisdom', The World Bank Economic Review, Vol. 11, No.1.

7. Ocampo, J.A & Vos, Rob (2008) (ed)- 'Uneven Economic Development', Orient Longman.

8. Human Development Report (2013)- UNDP. 9. World Development Report (2012)- World Bank 10. Easterlin,Res of life, assimilation (2000)- The Worldwide Standard of Living Since 1800',Journal of Economic Perspectives, Winter [referred in A. P. Thirlwall (2006), p-29].

Conclusion Painting the 'colors' of development mainly with the help of a 'flat brush of economics' obviously carries with it the possibility of keeping behind some untouched space that requires some fine touch beyond the scope of that 'flat brush'. However, what becomes clear from this canvas is that the world economy is now saddled with a hiatus between the haves and have-nots, between the developed North and the less developed South, between the winners and the losers. Here, the winners are the assetowners, the profit-earners, the rent-seekers, the educated and skilled, whereas the losers are those who are asset-less, wage-earners, the uneducated and

About the author: Debashis Mazumdar, Professor, of the Dept. of Economics, Bangabasi College, Kolkata, is not only an academic of the superior aesthetics, he is an avid photographer, a painter, an ornithologist in the truest sense. He, an author of a plethora of books, loves travelling, dwindling with colours, interested in cordon bleu and possesses a fine sense of humour. Quoting him, ‘‘To me, colours signify an acceptance of the vicissitudes of life…’’

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Wonders of Colour by Working Small Sisir K Sarkar Color inundates every facet of our lives and provides a vital enhancement to the world in which we live. Nature too presents a kaleidoscope of colours around our lives. But what is and where lies colour? Light is a form of electromagnetic radiation which stretches from radio waves to gamma rays and delivers energy in little packs called photons.

Different colours of light pack different amount of energy in their photons. For example, photon of violet light have almost double the energy of those of red light. In 1666, Sir Isaac Newton discovered that when pure white light is passed through a prism, it separates into all of the visible colors - each color comprising a single wavelength that cannot be further separated. The full range of colors often is depicted in terms of a "color wheel," with color segments arranged around a circle in the same order created by the prism: red, orange, yellow, green, blue, and violet. Color is the perceived wavelengths of the visible electromagnetic spectrum (400-700 nanometers) reflected by an object. Now it is left to the retinal cones of the normal human eye to distinguish among such bands of light and make this world a rainbow for us. So, colour is created in the brain to act as a perceptual tool for our visualcognitive and visual-affective functions. The National Bureau of Standards estimates that the human eye can distinguish more than 10 million colors.

In 1959, the Nobel laureate physicist Richard Feynman discussed the possibilities of changing the world by working at the nanoscale in his famous lecture at the California Institute of Technology, entitled 'There's plenty of room at the bottom'. In it he predicted that one day we could use tools to make smaller tools suitable for making yet smaller tools until researchers had tools that were just the right size for directly manipulating atoms and molecules.

This was a momentous prediction: Feynman was forecasting that we would one day be creating and modifying materials at their fundamental level as opposed to just reworking nature's products. But it's only been in the last decade that science and

technology has given scientists sufficient mastery to enable them to start working directly in this strange world. Part of the excitement of operating in the nanoworld is that things behave differently when you go ultra small. By controlling the manner in which nanometre-scale molecular structures are formed, it is possible to control the fundamental properties of the materials these molecules build: properties such as colour, electrical conductivity, melting temperature, hardness and strength. However, in this article we will concentrate only on wonders of colour by working small.

Medieval artisans unknowingly became nanotechnologists when they made red stained glass by mixing gold chloride into molten glass (Fig 1).

That created tiny gold spheres, which absorbed and reflected sunlight in a way that produces a rich ruby color. For the medieval stained glass, the gold nanoparticles are simple spheres about 25 nanometers in diameter. Ancient stained-glass makers knew that by putting varying, tiny amounts of gold and silver in the glass, they could produce the red and yellow found in stained-glass windows In fact, the decorative pigments contained in the glass of the famous Lycurgus Cup (4th century AD) (Fig 1) kept at the British Museum and possesses the

Fig 1: Medieval red stained glass and Lycurgus Cup

unique feature of changing color depending upon the light in which it is viewed. It appears green when 42

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viewed in reflected light, but looks red when a light is shone from inside and is transmitted through the glass. Analysis of the glass reveals that it contains a very small amount of tiny (~70 nm) metal crystals containing Ag and Au in an approximate molar ratio of 14:1. It is the presence of these nanocrystals that gives the Lycurgus Cup its special color display.

Nanoparticles, nanostructures, nanoscience, nanotechnology and all of the other nano words derive from nanometer, a billionth of a meter, or about one 25-millionth of an inch. That is far smaller than the world of everyday objects described by Newton's laws of motion, but bigger than an atom or a simple molecule, particles ruled by quantum mechanics. A nanoparticle, an object with a width of a few nanometers to a few hundred, contains tens to thousands of atoms and exists in a realm that straddles the quantum and the Newtonian.

This in-between realm gives rise to an unusual physics where the properties of a material change depending on its size. At the quantum level, one gold atom acts like any other gold atom, and a nugget of gold large enough to hold has the same chemical and electrical properties as another nugget. But two nanoparticles, both made of pure gold, can exhibit markedly different properties - if one is larger than the other. At those small sizes, gold no longer glitters gold. Electrons at the surface of the nanoparticles slosh back and forth in unison, absorbing blue and yellow light. But longer-wavelength red light reflects off the particles and passes through the window.

Similarly, nanoparticles of silver in stained glass give a bright yellow hue. With much more sophisticated tools, scientists today can make nanoparticles of many more different shapes and sizes. Larger gold spheres appear green or orange; smaller silver ones are blue.

"That creates a new way to control the properties of materials," said Dr. A. Paul Alivisatos, a professor of chemistry at University of California, Berkeley.

"Instead of changing composition, you can change size." Dr. Alivisatos works with nanoparticles known as quantum dots, made of semiconductors like silicon, cadmium selenide and gallium arsenide. The edges of the small particles influence the motion of electrons in the semiconductor, and the shape and size of quantum dots can be tailored to fluoresce specific colors. Current dyes used for lighting up

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protein and DNA fade quickly, but quantum dots could allow tracking of biological reactions in living cells for days or longer. "They're just little rocks," Dr. Alivisatos said. He is a founding scientist of Quantum Dot Corporation, in Hayward, Calif., which is trying to turn the science into a business.

Fig. 2 exemplifies the difference in the optical properties of metal and semiconductor nanoparticles.

With the CdSe semiconductor nanoparticles, a

Fig 2 : Fluorescence emission of CdSe quantum dots of various sizes and absorption of Gold nanoparticles of various sizes and shapes.

simple change in size alters the optical properties of the nanoparticles. When metal nanoparticles are enlarged, their optical properties change only slightly as observed for the different samples of gold nanospheres. However, when an anisotropy is added to the nanoparticle, such as growth of nanorods, the optical properties of the nanoparticles change dramatically.

White light emission from semiconductor nanocrystals was directly obtained by the in situ control of the size and size distribution of nanocrystals in a one-pot hot-injection synthesis. By

Fig 3: In-situ colour tuning toward white light directing the crystal growth from a thermodynamicsbased regime into a kinetics-based one, nanocrystals with a multimodal size distribution showing two or three primary emission colours were simply obtained 43

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without any post-mixing processes. The colour axis and colour rendering index of the nanocrystals were flexibly adjusted by changing the experimental parameters of the synthetic process. The as-prepared nanocrystals showed a pure white light and a high colour rendering index so they could be directly used as phosphors for near-UV white light emitting diodes (WLEDs). With the capability of direct tuning the colour composition, the manufacturing process has been significantly simplified and is expected to be a general approach for nanocrystals-based WLEDs. One of the hottest areas for nanoparticle use is in biological systems, owing to their potential application in medicine. Many proteins are ~10's of nm in size. Since structures can be accurately designed on the nanometer scale they can be incorporated into biological systems, due to the similar size scales. Biological systems are complex, with synthesis, structure, and function all rarely understood in detail. The ability to rationally design structures on the same size as biological molecules generates the ability to probe and modify biological systems. Furthermore, biological systems are used to build up nanomaterials of specific shape and function. Nanostructures are being used as drug delivery agents, labeling agents, sensors, and to enhance electromagnetic fields.

Researchers have used the surface plasmon resonance from an array of silver nanoparticles created by nanosphere lithography to detect the interaction of amyloid b-derived diffusible ligands (ADDL) and anti-ADDL antibody, believed to be important in Alzheimer's disease. Nanosphere lithrography generates a triangular array of nanoparticles, which has a plasmon resonance whose frequency is very sensitive to the dielectric constant of the surrounding material, due to the sharp edges of the triangular nanoparticles. The gold nanoprisms were functionalized to bind to ADDLs on the exposed surface of the nanoparticles. The substrate is then exposed to varying concentrations of antiADDL and a shift in the plasmon resonance absorption is detected to varying degrees linked to the concentration. The binding constant of the antiADDL and ADDL can be determined with this technique. Thus, the surface plasmon resonance absorption is a powerful detection technique for species of interest. The nanoparticles can be

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functionalized to observe only the molecules of interest30 and the absorption of desired molecules can be observed by a shift in the plasmon resonance absorption (i.e. a change in the color).

Dr. Yi Lu, a chemistry professor at the University of Illinois, takes advantage of the color of nanoparticles for a test for detecting hazardous levels of lead. He attaches DNA molecules to gold nanoparticles, which tangle with other specially designed pieces of DNA into clumps that appear blue. The presence of lead causes the connecting DNA to fall apart. That cuts loose the individual gold nanoparticles and changes the color from blue to red.

Dr. Chad A. Mirkin, a director of Northwestern University's Institute for Nanotechnology, also uses gold nanoparticles as a connecting point, to build sensors of a different sort, for disease. A common technique for a diagnostic test consists of an antibody attached to a fluorescent molecule. When the antibody attaches to a protein associated with the disease, the fluorescent molecule lights up under ultraviolet light.

Instead of a fluorescent molecule, Dr. Mirkin attaches a gold nanoparticle to the antibody. To the nanoparticle, he adds other molecules, typically snippets of DNA that act as bar codes. Because many copies of the antibodies and DNA can be attached to a single nanoparticle, this approach is much more sensitive and accurate than the fluorescent-molecule tests used today, he said. Dr. Mirkin and his colleagues reported that this approach had produced a test to detect the onset of Alzheimer's by measuring minuscule amounts of a protein in spinal fluid associated with the disease. "To me, that's just a beautiful example of the power of small and colour " Dr. Mirkin said. He has started a company, Nanosphere Inc., to bring his techniques to market.

Nanoparticles may help cure disease as well as detect it. Dr. Naomi J. Halas, a professor of electrical and computer engineering at Rice University, invented a type of particle she calls nanoshells hollow gold or silver spheres wrapped around a filling of silica. The hollow shape makes sloshing electrons in the gold particularly efficient at absorbing energy from light, and changing the thickness of the shell changes the frequency of light absorbed. That makes it a promising treatment for killing cancer tumors. Inject nanoshells into a tumor, 44

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shine infrared light on them, and they heat up, killing the tumor. Dr. Halas and a colleague, Dr. Jennifer West, a Rice bioengineering professor, founded Nanospectra Biosciences Inc. Quantum dots can be attached to biomolecules

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and used in many existing immunostaining and in live cell analysis applications. The dramatic benefits of q-dots are long-term photostability, high brightness, multi-target labeling with several colors, and single-source excitation for all colors of q-dots.

About the Author: Sisir K. Sarkar is former Director, Chemistry Group, Bhabha Atomic Research Centre, India. He did his post-doctoral work at Columbia University, New York in the area of chemical dynamics using highresolution semiconductor diode laser. He worked as visiting scientist at the P.N.Lebedev Physical Institute & Institute of Spectroscopy, Russia; Kyoto Institute of Technology, Japan; Institute of Chemical Process Fundamentals, Czech Republic; University of Heidelberg, International University of Bremen, Max Planck institute for Quantum Optics, Germany with various laser systems including Free Electron Laser. He has published more than 350 papers in International journals, symposia and conferences. He is Professor at Homi Bhabha National Institute, Mumbai and Fellow of Maharashtra Academy of Sciences. His research interest includes Radiation and Photochemistry using lasers and accelerators.

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Colour and Life Aniruddha Basu I remember asking my mother once about the story of how I got admission in my school.I was about 3 years old when I took admission and so I did not remember the story.I was about 5-6 years old when I asked my mother as to how I got into school.So,she said that the interviewers had shown me certain colours from a colurbook and asked me to differentiate them from each other and name each of them correctly.The day after I heard the story,I went to school and asked some of my classmates(who would later become some of my dearest and closest friends)as to what they were asked to do in their admission interview.To my surprise,I found out that they had been asked to do the same thing as me.Now,so many years later,it seems really stupid to be thrilled about such trivialities,but back then,in the exaltation of our new-found companionship,we discovered a point of commonality with each other and this was the beginning of a strong bond:friendship.All this started because of colour!

The first thing that comes to mind when talking about colours is variety and diversity.It is the first indication of the presence of colour.Whether its the colour of skin or the t.v service of a household,the first thing which colour will bring with it is variety and diversity.Thus,it is inevitable that colour will bring variations and divisions in any social context.Thus,while colour occasionally unites,it divides more than often in our daily experience.

The biggest example in this regard would be politics and the political systems across the globe.Whether these systems are democratic or authoritarian or communist,their difference of ideologies is not reflected in their one common feature:their fragmentation on the basis of colours.

In most countries(mostly the democratic countries),the political parties use a particular colour or a set of colours to identify and differentiate themselves from the other parties.For example,in the United Kingdom,there are two major parties:the Labour Party and the Conservative Party.Of these,the Labour Party uses red and the Conservative Party uses blue as its official party

colour.Now,traditionally,the labour movements or parties across the world use red as its colour. So, all Leftist parties/movements generally use red or a variant shade of red as their colour.This trend is countered by the equally strong tradition of the Conservative Parties using blue as their colour. Thus, in a social content, red has come to denote revolution and change whereas blue denotes conservatism.

However,in the USA,the poltical parties which dominate the political scenario have other considerations in choosing their party colour.The national flag of the USA has three colours:red,blue and white.The two dominant parties:Democrats and Republicans generally use both red and blue as their party colours in honouring the national sentiment over their general ideological differences. However, since the Presidential election of the USA in 2000,the Democrats have chosen blue whereas the Republicans have chosen red as their party colours. It is interesting to note here that of these two parties,the Democrats are more leftist and liberal whereas the Republicans are more conservative in nature.Yet, they have chosen the colours which usually denote the ideologies opposite to their respective party ideologies.The Democrats being more leftist and liberal,should have chosen red and the Republicans being more conservative should have chosen blue.This reversal of the choice of colours seems to have stemmed from the Americans' general dislike and disregard for the British ways of life:a general sentiment that cuts across party ideologies of both the Democrats and the Republicans.The British counterpart of the Democratic Party of USA is the British Labour Party and that of the Republican Party of the USA is the British Conservative Party.

Sometimes,colour also unites across nations but divides nations from within.Thus,the colour green is used by environmentalist parties and movements across the globe.The agrarian parties of Scandinavia generally use green as their party colour irrespective of the nation in which they operate.Thus,many agrarian parties and movements across the globe use green as their party/movement colour.Here,the use of 46

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the colour is linked to their general ideological committments.

Also,colours are not only chosen on the basis of ideologies but ideologies create colours too.For example,there are two colours which testify to such a phenomena.The colour pink is used by Social Democratic parties/movements in Western Europe such as in France and Portugal.The reason for such a choice is because pink represents a lighter and softer shade of red and the colour red is the party colour of socialist and communist parties.The Social Democrats represent a more centrist,less militant version of marxism and therefore,they have chosen a less deeper version of the colour of marxist parties/ movements.

The colour purple,on the other hand,denotes a certain amalgamation of ideologies and political methods.The colour purple itself is formed by the mixing of red and blue.Therefore,it has been found that parties or movements adopting purple as their colour usually represent a mix of liberalsocialist(denoted by red) and conservative (denoted by blue) ideologies.This was most evident in Belgium and Netherlands,where governments of such an alliance of parties having opposite ideologies were formed.

In the USA,the states which contain both Democratic and Republican supporters at an equal level are usually denoted as "purple" states.

Whereas these examples show a certain level of opposition among parties on the basis of their party colours stemming from their ideological differences,often colours denote unity also.In New Zealand,for example,all the major political parties have agreed to not use the colour orange.This colour is for exclusive use by the Election Commission of New Zealand.It shows the remarkable political unity of the nation and its politicians to show respect and regard for the apex constitutional body of New Zealand's electoral system.Hence,the role of colour is not always divisive,not even in politics. However, the example of New Zealand is more of an exception than the general rule.

Now comes the issue of colour in the area of discrimination.For centuries,the idea of skin colour as the basis for social discrimination has gained currency.However,here too,we find that just as in politics,colour divides more than it can unite.

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In India,from the time of the entry of the Aryans in this country(between 1700-1200BC),there has been a social difference between the fairskinned,light-haired Aryans who came from outside the continent and the dark-skinned,dark-haired nonAryans who had lived in India from before the time of the Aryan invasion.These two groups clashed,interacted and even intermarried in due course of time.However,the way for discrimination was left wide open by the creation of the 'varna' system in ancient India which stratified society on the basis of skin colours and promoted the victorious,fair-skinned Aryans to the three, uppermost layers of the society while relegating the defeated,dark-skinned non-Aryans to the lowermost rungs of society. Later, the 'varna' system gave way to an even more oppressive 'jati' system,known better as the caste system which replaced skin colour with the origin or the family of birth of an individual as the basis for discrimination. Though the caste system has been generally subdued and rejected in India since the 20th century,it still plays some divisive role in Indian society and its politics.

In Africa,the phenomenon of discrimination on the basis of skin colour is widely prevalent and quite rampant in its many societies.Three specific examples show the general trend.In the West African nation of Liberia,the population is made up of descendants of freed African slaves from the USA in the 19th century and some native African people.The descendants of the freed slaves from USA, better known as the African-Americans have much lighter skin tone than the native African populations.Thus, the positions of power and the chances of obtaining wealth are predominantly reserved to the lightskinned part of the population. Most of the early Presidents of Liberia were such light-skinned AfroAmericans such as Joseph J. Roberts, James SpriggsPayne, etc. Even, the parties of the two communities have ideological differences. The party of the lightskinned population was the Republican Party (conservative in nature) and the party of the darkskinned population was the True Whig Party (liberal in nature).

The second example would be South Africa which had an oppressive Apartheid era for about half a century. The country's population,during the Apartheid, had four main groups: Black, White, 47

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Coloured and Indians that were recognised by the laws of the country. Of these, the Blacks and the Indians faced more trouble in comparison to the Coloured. Even, the Coloured were exempted from carrying an identity card (this identity card was intended to limit the movement of the non-white peoples in general) whereas the Blacks had to carry such an identity card.

The third example is Sudan, where people have an idea of beauty which is ranked according to skin tone. The ideal colour of beauty is white. Thus, white-skinned or fair-skinned people are considered more beautiful than everyone else in Sudan. The next in ranking is 'asmar'(light tan), followed by 'dhahabi' (golden), 'gamhi' (wheatish), 'khamri' (the colour of wine), 'akhdar" (light black/green).' Akhdar' is used as a polite alternative to 'black' in describing the skincolour of a person in Sudan. Last and least is 'Azraq',literally meaning 'blue',used interchangably with 'aswad'(meaning black).

The preference for a lighter skin tone has caused many a problem in the past, set off numerous racial or ethnic conflicts and caused untold damage to nations and societies. Yet, it is seen as a means of achieving higher social status and a means of social mobility also. This trend is observed everywhere.

Africa, Asia, Europe, North America, South America:the five continents of the world have bowed down to this idea and now, skin-lightening cosmetic products have become a matter of importance to all nations and their populations. The largest markets for global, multi-national skin-whitening cosmetic products lie in Asia and Africa where about 90% of the total populatioxn is usually "dark-skinned" or of mixed origin(i.e having both "light-skinned" and "dark-skinned" ancestors).

The most well-known strife caused by differences in skin colour is the Civil War of the USA in the 1860's. The war,fought mostly against slavery, was basically an issue of skin colour concerned with providing civil, political rights to the black population of the country. Since then, the USA has tried to make skin colour a non-issue in public life.

However, it is astounding to note that the divide still exists and despite what history suggests, did not end with the racial conflicts in the USA in the 1960's. It is interesting to note that despite the promotion of the idea of black-skinned Americans being equal to the

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white-skinned Americans, it is true that even the dark-skinned African-Americans themselves prefer to have whiter skin colour and in certain fraternities of African-Americans,lighter skin tone is generally preferred by the members.Consequently, skin bleaching is a major source of huge commercial revenue in the USA where many companies make fabulous fortunes by selling skin-whitening products to dark-skinned people, especially AfricanAmericans.The skin colour of people have influenced major social preferrences such as idea of attractiveness and selection of marital partners,etc.Even,the media has,to some extent,become biased in their depiction of the whiteskinned Americans as better and more civilised people in general as opposed to the dark-skinned Afro-Americans. This idea has even permeated their politics.

Moving on from such serious issues,there are certain other aspects of colour which can now be taken up.The colour T.V. for example, shows an improvement over the black-and-white T.V and has, therefore, revolutionised communication and entertainment in general. Thus, colour now stands, in general, for improvement and development. Also, the use of particular colours is an attempt to unite certain people under a banner of that colour shows the strength of colour to create and maintain unity among people in general.Colour,in this sense,stands for unity, identity and integrity.

Also, colour is the essence of various festivals across the world.Of these,the most well-known to us is the Holi, the celebrated festival of colours of the Hindus in India.While the basic story behind Holi is that of the triumph of good over evil, it remains to this day that Holi is actually a celebration of the colourful society of India and its flowering unity in diversity.This essentially strikes a chord with the idea of the basic colours being part of a wide colour spectrum and the diversity which is brought about by colours. All of us have,at some point of time,heard the term VIBGYOR(representing a spectrum of the colours Violet, Indigo, Blue, Green, Yellow, Orange and Red). It is interesting to note here that the mixing of all these colours creates white and taking away all the colours creates black.Hence,the use of colours in media,communication and entertainment signifies human triumph in separating colours from each other 48

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artificially and showing them to the human eye.

Generally,the term 'colourful life' is used to mean the life of a person who has had many diverse and interesting events in his/her life. Thus, colour is the symbol of diversity,variation and symbolises change.However,'change' is not indicated by one colour particularly (usually marxist parties identify themselves with the colour red with which they associate revolution and progress) and therefore 'change' is denoted by the use of colour in contrast to lack of colour which can be associated with dullness and stagnancy.

The science of colour provides an interesting angle. It defines colour as the ability to observe and understand (visual perceptual property) the different spectrums of light.Thus,this capability is something which is shared by all of the human world.Many animals,including cats and dogs,have limited or no power of understanding the difference in colours of

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objects. Hence, human beings,irrespective of their differences in race,ethnicity, faith, creed or ideology have the gift of colours in common.It is a result of thousands of years of evolution of human beings as a species. Blind persons or persons with visual impairment or colour blindness(colour vision deficiency) face tremendous difficulties in their everyday life due to their incapability to see or distinguish colours. I, personally,like to believe that not only is colour a symbol of diversity or variety in life,it is a symbol of human life itself. Colour represents the very nature of human life in all its splendour and vigour.If only our politicians could realise this fact of life and could stop worrying about who holds what coloured banner and treat everyone equally as human beings,the world would have become a much more 'colourful' place to live and our lives would 'have more colour' to it!

About the author : Aniruddha Basu is a student of Political Science who graduated from Bangabasi College, Kolkata in 2013 and is currently set to pursue a Masters degree in the subject from the University of Calcutta. He is an avid reader who also likes music, movies and hanging out with his friends. In his pastime, he likes to travel and learn about new places and things.

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Social Movements—A Colourful Spectrum of Theories.

Pushpita Sarkar Social movement is an incredibly difficult idea, it is integral to any sense of social structure; and it cannot be explained in isolation without resorting to a wide spectrum of ideological differences. The canvas is wide, with contesting theories at loggerheads providing a colourful network of explanations. But the common thread or colour that binds these explanations is that every social movement is a movement for social change. Any analysis of the major work of social movement theory takes us through a colourful pallete of theories—from collective behaviour theory, through resource mobilisation theory to new theories of social movements and also to the very recent micro movements. Clearly there is no one ready approach through which a social movement can be accurately represented but all theoretical explanations recognise the local and embedded nature of each. It is a highly colourful zone which requires careful and explicit analysis, which is what I propose to provide in this article.

it is a part. They are better defined as collective challenges, based on common purposes and social solidarities in sustained interaction with elites, opponents and authorities. This definition gives us four empirical properties : Collective Challenge, Common Purpose, Social Solidarity and Sustained Interaction. Tarrow’s analysis of social movements is based on the idea of contentious politics. According to him movement characteristics mount contentious challenges through disruptive direct action against elites, authorities, other groups or cultural codes.

Although contentions are not the only means by which social movements occur in recent times, interest groups sometimes combine contention with participation in institutions. The most important reason for which people join together in movements is because they always have a common purpose. More specifically it is the group’s recognition or a deep rooted feeling of solidarity and identity for their common purpose or interest which is ultimately crucial in stimulating a movement. A movement becomes a full-fledged social movement when there is a sustained and continuous sense of belonging in the movement.

Sidney Tarrow’s unique contribution in theorizing social movement research is conclusively based on the fact that sustained collective challenges can further be structured or gains further momentum in initiating new phases of contention. The term social movement is of European coinage. The ideological orientations of European scholars are reflected in the various definitions of social movements. The works of Rudolf Heberle, Neil Smelser and John Wilson have each provided us a definition of social movements.

Heberle’s conception of the term gives emphasis on the element of volition. A social movement’s commitment and the raison d’etre of its organization are founded upon the conscious volition, normative commitment to the movement’s aims or beliefs and active participation on the part of the followers or members.

Alain Touraine went a step forward in formulating a theory ‘‘Beyond Social movements’’. The meaning of the term has undergone a transformation as societies

Definining Social Movement Contemporary debates about social movements show little agreement as to the meaning of the term.

Borrowing from Jean Cohen’s inquiry, one can begin with as to just what a movement is what would qualify theoretically as a new type of movement, and what the meaning of a social movement as distinct from a political party or an interest group might be. Although there are several meanings of social movements, the most conceptual efforts include the following : (1) collective or joint action, (2) change oriented goals, (3) some degree of organization, (4) some degree of temporal continuity, (5) some extra constitutional collective action or at least a mixture of extra institutional (protesting in the streets) and institutional (political lobbying) activity. These activities when tied together can offer a valid definition of a social movement as collectivity acting with some degree of organization and continuity outside the institutional channels for the purpose of promoting or resulting change in the group, society or world order of which 50

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change from pre-industrial to post-industrial from traditional to modern and again to post-modern.

Scholars therefore continue to assign new meanings to the term in contemporary societies.

The basic components of movements can be classified into objectives, ideology programmes, leadership and organisation although each one of them is interdependent on the other. The aim of the movement can change from a localized issue to a broader social transformation and it is equally true of the ideological tenet of movements. Values and norms found important at the inception of the movement may get transformed as the perception of the leaders change.

Leadership plays a crucial role in providing a sustained importance to the movement and in articulating the needs of the participants.

These are universal components which are present in all types of movements including the spontaneous rebellions. It is of crucial importance to state that a collective action may begin with a protest movement and may not have an organization or ideology at the beginning and at the same time an agitation may remain as an agitation for some scholars and a movement for others depending on the interpretation of scholars, for research is almost always not valuefree and mostly guided by the values of the scholar.

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class not only have common consciousness regarding their position in society and the common interests but also the aim that they perceive. In Marx’s own works class is the main form of social engagement and control of the means of production, its primary terrain of struggle. Marx dealt summarily with a problem that has worried activists ever since. Why members of a group who should revolt often fail to do so. This was because a majority of the proletariat is shrouded in a veil of false consciousness which was often woven by the capitalist class. The theory failed to analyze whose consciousness was false and whose was real.

As capitalism expanded a series of divisions began to surface and often it happened that workers allied themselves, with the capitalists only suggesting that much more than class conflict was necessary to produce a long-lasting movement. Classical Marxism has been open to severe restriction or interpretations.

One such modification has been offered by Italian Marxist Antonio Gramsci. He argued that social conflict in capitalist mode of production may be countered not only by state force (army, police) but also by an ideological and cultural hegemony operating through traditions, myths, conventional morality and ‘common sense’ all of which are significant terrains of struggle. Materialist changes like resource deprivation or environmental crisis may create transformative changes but ideological and political practices are autonomous and are the decisive causes of change in the materialist conditions. Gramsci believed that capitalism is a range of counter hegemonic movements using new realms of social, political and cultural life.

For Gramsci it would be necessary to develop the worker’s own consciousness and he conceived of the worker’s movement as a collective intellectual, one of whose prime tasks was to create a working class culture. Gramsci had accepted Lenin’s concept of the party and further expanded the organizational solution into two theories : first that a fundamental task of the party was to create a historic bloc of forces around the working class and second that this could only occur if a cadre of ‘‘organic intellectuals’’ were developed from within the the working class. But Gramsci’s answer posed a new question : what would prevent cultural power of the bourgeoisie from transforming the party rather than the party transforming the ‘bourgeoisie’?

Approaches The theoretical approaches of movement studies can be broadly divided into (a) classical and (b) the contemporary or ‘new’ social movement studies.

It is important that we analyze the classical tradition first and then the major theoretical currents of the New Social movements.

Much of the work theorizing social movements begins with Marxism, Historical materialism and a Dialectical theory of social and environmental change. Scholars following a Marxist approach are primarily interested in bringing about revolutionary change. They believe in the theory that the economic structure of the society can bring about social change. Conflictual relations between the propertied class and the landless are rooted in a class based society which in turn generates contradictions. The propertied use the coercive power of the state and its various institutions such as religion, education, mass media to overimpose their ideological basis on the exploited class and on the society at large.

According to Marxism people belonging to the same 51

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Marxist scholars like a group of scholars known as subaltern scholars have studied the historical development of the masses and have given importance to cultural factors and viewed a linear development of class consciousness.

Each of these Marxist scholars emphasized a different element of collective action : Marx focused on the grievances of the exploited that could create a mobilization potential, Lenin emphasized a structural organisation like the Party which would mobilize the resources of the masses (which would later be called the resource mobilization theory by American scholars). Gramsci centred on the need to build consensus among the classes which has come to be called the ‘‘collective identity’’ formation. The subaltern theorists have been accused of viewing consciousness as independent of Marxist viewpoint of structural contradictions.

Like the Marxists, the non-Marxist sociologists took a long time developing a politically connected view of social movements. For a significant period of time social analysts viewed social movements as part of construct which came to be called collective behavior.

In certain variations of the theory society was projected as being disoriented and movements were necessary to recompose it. This finds similarities in Emile Durkheim’s theory of ‘‘anomie’’ in which individuals sought new collective identities through personal reintegration in movements. In another variation of the theory individual deprivation was the center of analysis of movements. The most sophisticated version of the theory of Collective Behaviour has been put forward by Neil Smelser. He interprets movements as arising when various tensions make society conducive to people oranizing for social change. The fundamental category of Smelser’s theory of collective behavior is the concept of ‘‘strain’’. He chooses this term because it implies that neither equilibrium nor disequilibrium are the normal states of the social system. In the case of collective behavior the specific master proposition is that people under strain mobilize to reconstruct social order in the name of a generalized principle belief. The next step is to identify the various kinds of generalized belief (hysteria, wish fulfillment, hostility etc.) and the conditions under which people develop and act on such beliefs. When conditions are conducive to the development of collective behavior are present, it then

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precipitates the conditions for the emergence of the next stage of collective behavior.

Methodological criticisms have been put forward of Smelser’s explanation of social movements. The most important of which is the inappropriate application of the scientific method to the domain of social sciences. The smelserian approach has been further criticized for its bias towards regarding collective behavior as a non-rational or irrational response to change.

The inadequacies of the classical tradition became obvious in the 60’s and 70’s when massive social movement emerged in the USA and Europe. Clearly a new theoretical approach to the analysis of social movements was needed. In the USA the theoretical response involved the emergence of the ‘‘resourcemobilization’’ paradigm in Western Europe the ‘‘identity-oriented’’ paradigm became the dominant approach. Both these paradigms assume that social movement actually is by rational normal human beings as different from Smelser’s concept of irrational behavior of movement activists. The Resourcemobilization and the Identity Oriented Paradigm assumes that organizational networks play an important role in formulating movements. It is clear that the insistence of these approaches on the priori organisation of social actors and on the rationality of collective contestation directly challenges the classical theories of social movements.

Resource mobilization theorists began by rejecting the emphasis on feelings and grievances. They demonstrated that a sophisticated form of organizational network is what is needed to mobilize collective action. Drawing on the work of economist like Olson, resource mobilization theorists stress objective variables like organisation, interests, resource, opportunities, and strategies to account for large-scale mobilization. The earlier concept of crowd is replaced by the rational actor in this paradigm. There are of course various versions of the Resource Mobilization Paradigm ranging from the strictly individualistic utilitarian logic of pure rational-actor approach pioneered by Olson to the organizational entrepreneurial approach by McCarthy/Zald and the political-conflict model of Tilly Oberschall, Gamson and Tarrow.

Resource Mobilisation theorists share certain following assumptions (1) Social movements must be 52

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understood in terms of a conflict. (2) There is no fundamental difference between institutionsl and noninstitutional collective action. (3) Both entail conflicts of interest built into institutionalized power relations.

(4) Collective action involves rational pursuit of interests by groups. (5) Goals and grievences are permanent products of power relations and cannot account for the formation of movements. (6) This depends instead on changes in resources, organisation, and opportunities for collective action. (7) Success is evidenced by the recognition of the group as a political actor or by increased material benefits of mobilization which involves large-scale, special purpose, bureaucratic, formal organizations.

The most influential student of the Resource Mobilization paradigm was the American economist Mancur Olson. Olson’s theory started and finished with the individual. In his book ‘The Logic of Collection’ Action, Olson pointed out that only in a larger group, the most committed members take on the leadership of sufficiently mobilizing its membersnot quite Lenin’s ‘‘vanguard’’ but not far from it. He went to the extent of arguing that rational people guided by individual interest might well avoid taking action when they see that others are willing to take it for them. Olson’s theory was not well received in an age of the 60’s when riots, and demonstrations were coming into the forefront of social actions. Olson had little to say beyond the individual level, although his theory was named ‘‘Collective Action’’.

Two sociologists McCarthy and Mayer Zald focused on the resources available to social actors like financial support, professionalization to organize movements.

This improved on the version given by Olson in that it focused on the means of social actions. Although it lent a refreshing touch to the resource mobilization theory it could not satisfy a major section of sociologists, because McCarthy and Zald mostly used the language of economies (e.g. they wrote about movement ‘‘entrepreneur’’, ‘‘movement industries’’, ‘‘movement sectors’’). Questions about ideology, commitment, values, injustice, went basically unanswered in theory approach.

A significant shift within the resource mobility paradigm offered by Charles Tilly is considered a landmark in social movement theory building. This reconstruction from local to national and then international structures of power takes an important

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step in this direction. A closer look at Tilly’s approach reveals that he retains the thesis that large-scale structural change affects collective action. He shows how societal changes like urbanization, modernization can affect movements. Through a change in the everyday life of the actors the mode of collective action also changes. Tilly’s analysis of types of collective action offers a broad framework within the resource mobilization paradigm. Competitive collective action involves contention existing communal groups on the local level over resources claimed by rival groups while reactive collective actions involve communities threatened by authorities to gain control of the traditional resources of the indigenous population. A proactive collective action on the other hand involves communities that want to gain control of structures of power and resources. Here it is an attempt to control rather than resist structures of power. Accordingly movements have been classified as ‘defensive’ and ‘offensive’ respectively.

Reactive struggles involved defensive mobilizations and offensive mobilizations are typical of proactive groups. Tilly warns about a shift from the competitive/ reactive to the increasingly proactive conflicts because of a shift in the locus of power. The development of electoral politics for example created new means of collective action like demonstration sit-ins, strikes and public meetings. A significant aspect in Tilly’s approach is that it is the terrain of civil society where social actors assemble, organize and their target is the economy and the state. This is very true of the contemporary social movements wherein a public space has heen created for social movement activists to address their grievances against the authority. But Tilly’s approach narrows down into one aspect where he stresses only strategic instrumental consideration in the emergence of collective actions. More specifically, social conflicts in and over civil society and the form of the political public sphere are viewed from only one side-as defensive or offensive reactions to change.

The exclusive focus on strategy in action by Charles Tilly needs a reinterpretation of the narrow framework of the resource mobilization theory and contemporary social theorists were continuously trying to create new identities, new spaces for autonomous action. The theorist who has developed a broad theoretical framework for an Identity Oriented Programme was 53

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Alain Touraine. He provides a new dimension in the creation of new identities or norms, in analyzing social actions while focusing on the space of civil society.

His work moves on two analytical levels : (1) the elaboration of a theory of the structural and cultural dimensions of contemporary society and (2) an action theoretical analysis of the conflictual processes of identity formation of collective actors The social movement is the organized collective behavior of a class actor struggling against his class adversary for the social control of historicity in a concrete community. Touraine’s conception of social movement revolves around ‘‘culturally oriented forms of behaviour’’. He does not conceive the worker’s movement as only a proletarian movement but as a counter force of industrialization and a future wherein the workers would be in command of the society at large. An interesting innovation that Touraine emphasizes is that a social movement is not directed necessarily against the state but against a social adversary. He also claims that a social movement is not the creator of a modernized society against whom the social actors are fighting, it is within a sphere of cultural field they are defending another society.

Touraine reinvents many diversities of collective action which can be differentiated from the classical tradition of collective behavior model. Firstly Touraine rejects all versions of the break-down thesis to account for social movements. Secondly they are not seen as abnormal occurrences. Instead they are part of the social fabric of society. Thirdly the cultural orientations of a particular society produce both social conflict and social dominance. A social movement involves a double reference to cultural orientations and social relations opposed social projects and contested structures, or domination. The contested area of social movement according to Touraine is of course civil society. Henceforth new social movements focusing on environment, human rights justice women’s movement find their locus on shifting boundaries between public, private and social life and involve struggles against old and new forms of domination. But Cohen rightly observes that Touraine never really expands his idea of civil society, never attempts to build a theory of civil society. Touraine’s insistence on discontinuity with the classical model is clearly an overstatement as civil society existed since the 17th century.

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Diverse social groupings independent of traditional trade unions and political parties-women’s associations, human rights committees, youth association, educational and cultural activites-created a new social space which in Evers’s terms ‘‘lies beyond the realm of traditional modes of perception and instruments of interpretation.’’ Contemporary social movements are not particularly interested in theoretical concepts like ‘‘anti Capitalism’’, ‘‘class struggle’’, ‘‘revolution’’. Their idea is not revolutionary overthrow of the existing authority of the state rather they are looking towards new social conditions within the existing systems of Government. The ethos of contemporary social movements are plural which ranges from issues like anti-racism, anti-nuclearism, disarmament, feminism environmentalism, civil rights, human rights, peace movements, to issues of personal freedom and liberty Contemporary social movements therefore reflect a new society in the making. They assume that the all encroaching powers of state, the all embracing influence of the market and economy are diminishing the space, rather the social space of civil society and people’s movements are organized to defend the cultural domain of the community.

Jacque Danzelot’s ‘‘The Policing of Families’’ epitomizes the emerging new consciousness of civil society against the increasing encroachment of the public, in this case the state on the ‘private’ spheres of life of the individuals in society. These movements include struggles as diverse as urban,ecological antiauthoritarian, anti-institutionalist, feminist, anti-racist, ethnic and regional.

New social movements have successfully altered the Marxist conception of class movements and struggle and go beyond terrain of structure and superstructure.

Their area of struggle is a new space, a new terrain wherein human beings are engaged in protecting their cultural and social traditions wherein individuals are struggling to live a life of dignity in tune with nature.

Social conflict now spills over a space that goes beyond the confines of a class and in a sense these movements are transnational and globalized in nature.

Their social concerns and the issues at stake cut across the boundaries of nation and society.

Most of the New Social Movements clearly abandon the Industrial Worker’s Union and the political model of the political parties but with certain exception like 54

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the German Greens. These movements propel a simple grassroot action often issue based and mostly at the micro level. It is of utmost significance to state that these social movements struggling for autonomy and self-defence do not reject the democratic principles of justice, political participation and public representation. In fact most of these movements are fighting for transparency in the decision making structures at the community level.

Unlike their western counterparts, the Third World is becoming increasingly vulnerable to suppression either by their own governments or by various interventions from the west. Modern social movements are now challenging both the established structures of power and dominant class structures. The relationship between civil societies, and the state is now coming in for a reorientation. Social movements in the Third World are increasingly being surveyed, from a Livelihood Approach which may be appropriate to explain resource conflicts. Although, certain protagonists of social movements argue that most movements in the Third World are characterized

by Fragmented Community Action rather than a growing new social movement, it will never be logical to dismiss it in such a way as studies of movements in Latin America, Africa, Asia are making great strides over the past years. Their weapons are provided by intellectuals & creative artists, who are generating a new vocabulary for engaging with documenting and analyzing such movements.

Since contemporary movements have largely focused on issues like justice conservation it would be worthwhile to make a brief review of the current discourses on development including sustainable development.

In the late 1980’s and early 1990’s a number of loosely related theoretical ideas embracing post-Marxist action-research oriented and post-structuralist ideas contributed to a renewed interest in the diversity of development experience. Wide ranging debates have challenged the modernist and Euro centric pattern of development and in fact have compelled one to rethink about the possibilities of ‘‘alternatives to development’’ and a post modern discourse on development Post structuralists view conventional notions of Development as ‘‘uniquely efficient colonizers on behalf of central strategies of power’’the apparent ability to ‘‘make things better’’ is the

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main wasy of achieving power (Dubois).

Contemporary development practices are viewed as nothing but the newer expansion neocolonization, neo-imperialism of the dominance of western reason, knowledge particularly on Third World countries such as hegemonic creation of systems of power on the Third World are carefully planned, with their own creation of societal practices. The new space of the Third World carved out of the vast surface of global societies is a new field of power dominated by development sciences accepted as positive and true.

Political technologies which sought to erase underdevelopment from the face of the earth end up instead multiplying it to infinity. Thus then in modern technologies or in alternative strategies, the concept lies in development. The notion of development as unfolded in the 18th and 19th centuries was viewed as a notion of growth with a close affinity with history, science and progress. Development was conceived as modernity in which the west was the transcendental pivot of analytical reflection.’’

By the 1990s in an altogether different geopolitical setting and economic environment the end of the cold war saw a collapse of socialism.Development came to be conceived as bridging the gap between State, market economy on the one hand and civil society on the other. The resurgence of civil society, organizations,institutions, participatory governance in development thinking was driven by a complex set of political forces. The locus of discourse shifted to people’s power not only in the overthrow of Stalinism also in response to the colonial and hegemonic ambitions of the west, in areas like Latin America, S. Africa, the Philippines, India, and Africa. There has also been a rethinking about the relation between nature and development, people and development and here in this confluence comes the concept of sustainable development. This kind of development can only occur when the people it affects are given the options to participate in the decision making process where policies are framed that corresponds to people’s aspirations. The theory of Sustainable Development gained prominence in 1987 with the report of the World Commission on Environment and Development convened by the United Nations under the chairmanship of Norway’s former Prime Minister Gro Harlem Brundtland.

This new reality is that nature and the earth can be 55

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managed and managed by committee for their own welfare and sustenance. The focus here is that economic development and the preservation of the environment are not age old enemies as they are often made out to be, but complementary to each other. In the sustainable development discourse nature is reinvented as environment so that capital, not nature and culture, may be sustained.

The issue of sustainable development involves concerns like a modification of certain practices like addressing the viability and impact of developmental projects, gathering know-how about alternative strategies in localized conditions. Aspects of the concept of sustainable development have been analysed by Es Cobar. First it involves a reworking of the relationship between nature and society. Second, such developmental processes help one to realize that degrading policies fostered by Euro-centric or rather western vision of development. Third sustainable development involves redistribution and reshuffling of aspects that are associated with classical developmental processes: basic needs, population, resources technology, institutional cooperation.

Sustainable Development also involves a reconciliation of the two enemies of the conventional developmental process-growth and the environment.

Fourth the reconciliation of growth and the environment has added a new dimension to nature; it has become the environment. Nature, as was conceived in the 60’s & 70’s as a separate entity is relegated to a passive role with its resources; that which is living which effects human life is the total environment; Nature is only a part of it.

Sustainable development assumes the scarcity of resources and the need to manage and plan to use these resources in a way so that human survival is ensured.

Social struggles in the Third World need to articulate alternative strategies of development that would sustain nature and the environment. This does not in any way imply that conventional development is the enemy of sustainable development. It simply implies that social movements need simply to reorient the developmental strategies to suit indigenous conditions and local norms and traditions. Thus new social movements in the Third World I argue are not against the idea of development they are part of it.

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A brief review of studies of social movements in the Third World Recent trends in the study of social movements in India by sociologists begin from the seventies of this century. A. R. Desai was supposed to be the pioneer in bringing about a monumental work titled ‘‘Social background of India Nationalism’. But a systematic account of movement studies in India begins with T. K. Oomen’s study of the Gramdan-Bhoodan movement and later on the Agrarian movement in Kerala. The Bhoodan Gramdan movement began in 1951 and was regarded as an alternative approach of social reconstruction in rural India. It was the first study which explored the appeal of charisma in giving direction to the movement.

The Weberian model of social change through the concept of charisma was crucial in gaining an insight into the movement. While the Bhoodan movement was short-lived the agrarian uprising in Kerala was a long and eventful one. Although the Kerala movement had a localized origin, it subsequently ushered in similar movements elsewhere in India. Prof. Rajendra Singh has made a systematic study of the themes that have been incorporated in the study of social movements. If studies of movements can be classified into ‘old’ and ‘new’, the former have been reported extensively than others. Studies of ‘old’ social movements include peasant movements and agrarian struggles; post-history and peasant consciousness, subaltern studies, tribal movements and workers movements. Peasant and agrarian struggles have been a favourite theme of scholars like, Dhanagre.The interplay of the forces of caste, land and power relations, the introduction of new technology and its impact on the process of class formation and class action all constitute the focal point of movement studies in India.

Post-historical subaltern studies of peasant consciousness have added a valuable depth to movement studies. Drawing heavily from Marxist structuralism these studies projected a clear departure from the relatively stable and secure domain of events of the past to the conflictual background of Indian colonialism. A broad and wide ranging research encompassing the work of scholars like, Samir Amin, Yogendra Singh, Rajendra Singh, hve contributed to

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an understanding of important issues in peasant uprisings.

Indian Tribal movements have been classified under ‘old’ social mevements as they do not address new concepts like economy, technology market. Instead their fight had been primarily against the authority of the state in defense of autonomy and social and cultural freedom. Social transformation of Tribal Society has been highlighted by scholars like Gough-, G. Shah.

The central focus in this section has been primarily on important studies of new social movements in India and other parts of Latin America, Asia and Africa.

Radical theorists found in thse movements potentialities for a new kind of direct action of the masses. The new social movements introduced a number of tactical modifications in the themes they chose to address to a a new audience; the concerns for the environment, the sustainability in development.

Much of these studies meticulously examine the genesis of the basic issues involved in the Jharkhand movements in their historical setting. Contemporary tribal movements are characterized by their collective stirrings in defence of culture, revival of dialect, script and style of social life. The central issue in tribal movements is their resistance to encroachment by the authority of the state. Hence the nature of tribal movements tends to be closer to the ‘old’ classical movements.

Studies on worker’s movements remain closely related to the ‘old’ classical classification of movement studies. The contemporary nature of working class movement has shifted from the materialist class content to the non-class site of worker’s local group mobilization. There is a departure in the methods employed by workers; a shift from the gherao, sitins, dharna to mutual dialogue development practices.

In India, the new movments once appeared in the nonviolent values advocated by the Bhoodan Gramdan movement and the Sarvodaya movement. Presently it forms the theme in many of the contemporary social movements with environmental or ecological concerns. The current environmental movements on dams, human displacement and resettlement are a major concern to academicians. The Narmada movement has brought us to the forefront questions like ‘Are mega dams considered to be agencies of progress? What is progress? How can we measure

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progress? Are there any alternatives to Capitalist development? These are burning issues which needs to be answered. This movement is an unique event, it brings together all humans on one platform around a new set of issues, and mobilizes them to struggle for one cause, the defense of all living beings.

The Women’s Movement, the Dalit Movements are now increasingly coming under the banner of new social movements. Both these movements are generally identity-oriented mobilizations seeking equality and social justice. Publications of studies of women’s struggle for rights, social justice and movements against gender oppression form the content of many studies. Gail Omvedt’s Reinventing Revolution is a serious contribution to understanding Marxist interpretation of women’s issues.

The Dalit Movement constitutes another search for identity and self assertion. The study of the movement has been the concern of scholars like Omvedt, Jogendra Singh, Oommen, Rajendra Singh. The central conflict in the Dalit Movement, as highlighted by scholars has been based on the value paradigm of inherent inequalities.

The geographic focus of studies of social movements has shifted towards new social areas in the Third World. After centuries of uninterrupted imperialism, the Third World have become increasingly aware of the inevitability of social movements which are becoming increasingly organized. Unlike their western counterparts they are also becoming increasingly vulnerable to suppression either by their own governments or by various interventions from the west. The relationship between civil society and the state in also coming in for a desperate change.

Timothy Forsyth presents an interesting study of environmentalism in Thailand. Environmentalism in Thailand contains within it the essence of social division, of class conflicts between different economic classes. It argues that environmentalism in Thailand can not be judged by the presumption that environmentalism is a progressive political force that assists the growth of civil society, instead it is necessary to consider the relative stage of societal development in developing countries.

In Latin America the environmental movement has been making great strides over the past thirty years but is still not strong enough to face the challenge of a globalised market economy. Most Latin Americans 57

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hold that most countries were poor only because the industrialized west drained out their economic surplus.

The Zapatista Movement and the MST are two of the most prominent groups in Latin America that enjoy international support and are interested in agrarian reform. In contrast to most non-governmental organizations, both these environmental groups have developed a participatory style of decision making. A review of the Brazilian environmental movement reveals that verious environmental groups went through combination of four important political roles; state transformation, representation of popular interests, cultural politics and action in the informal polity. Indigounism has been the ideological ground on which Mexican anthropologists like Alcide Rita Ramos have based their study of social movements.

According to their analysis indigenism is the mirror by which western hegemonical patterns are seen in conflicatul relation with oppressed patterns in the Third World Orientalism. Although local indigenous movements are being consistently underestimated by certain scholars, yet many others believe that they provide one of the few alternative visions of a just and equitable future.

The Zapatista Movement has indicated once again that indigenous movements symbolise a changed global environment. They do not seek to gain power but ensure the democratic participation of all citizens in the Government. The Brazilian socio-cultural movement has evolved and matured at a remarkably rapid pace and environmental and human rights issues have become prominent in public policies.

Anthropological case studies of human rights are beginning to expand the western concept. Kay Warren and Carol Nagengast are among those who examined the increasing incidence of violence and terror in cross cultural contexts during the 1980’s and 1990’s. The case of the Mayan populations divided by the border between Guatemala and Mexico who were engaged in a civil war is an example of changed relations between the warring groups and the state. The degree to which racial violence is expressed is also related to the greater democracy in Mexico and the changed civil society-state relations in defense of the local population. The notion of human rights as addressed from a Third World perspective extends to the right to adequate nutrition, health care and education.

To assess the prospective on soil erosion and

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sustainable development Karl S. Zimmerer combines a framework from political ecology in the case of the Cochabamba movement. Rural trade unions in Cochabamba resemble a new phase of social movement that seeks to revitalize existing institutions at the grassroots or popular level. This movement once again proves the inadequacy of Governmental policies in countering uneven development. The impact of organized workers in Chile on the development of political consciousness in the peasantry has been explored by James Petras and Maurice Lectlin in McAdam Doug’s analysis of social movements. The efforts at modernization and technological advancement favoured by the Chilean propertied class were directly responsible for the growth of rural radicalism.

The dominant form of theorizing from the Third World perspective has been rooted in the principle of preservation at one extreme and the fact that economic industrialization is the root cause of all evil at the other extreme. This aspect needs a reorientation. It is therefore necessary to traverse a balanced path, a path that does not reject industrialization or economic development but development for the population based on sustenance and social equity. The fundamental question that needs to be addressed when one studies a movement closely is what kind of development? For whom? What is the alternative?

After a careful analysis of old and new social movements there are certain areas of research that have been obviously siphoned off due to constraints of space. The new micro movements against, injustice, gender inequality that have been gathering momentum in India, for example are interesting, issue based, and needs a strong organizational structure to justify its endurance. These movments are slowly and steadily gaining ground and finding a space, even a small one, in its conflict with the authority. This is a field which needs careful and systematic research oriented publications by future academicians.

References 1. Jain, Prakash Chandra, 1991, Social Movements among Tribals : A sociological analysis of Bhils of Rajasthan, Jaipur, Rawat Publication.

2. Oomen, T. K. 1990, Protest and Change : Studies in Social movements, New Delhi, Sage Publication.

3. Cohen, Jean L, 1985, ‘‘strategy or Identity : New 58

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theoretical Paradigms and Contemporary Social Movements’’, Social Research Vol 52 No. 4, 66. (a) Heberle, Rudolf, 1951, Social Movements : An introduction to Political Sociology, New York : Appleton Century Crafts. (b) Heberle, Rudolf, 1968, ‘‘Types and Functions of Social Movements’’, In International Encyclopaedia of the Social Sciences, New York : Collier Macmillan.

Smelster, Neil. 1963, The Theory of collective Behavior, New York : Free Press.

Wilson, John. 1973, Introduction to Social Movements, New York : Basic Books.

Tarrow, Sidney. 1998, Power in Movement : Social Movements and Contentious Politics in United Kingdom, Press Syndicate of the University of Cambridge.

Tourain, Alaine. 1985, ‘‘An Introduction to the Study of Social Movements’’, Social Research, 52, 4, 749-87.

Baviskar, Amita. 1995, In the Belly of the River : Tribal Conflicts over Development in the Narmada Valley, New Delhi, Oxford University of Press.

Marx, 1970 Preface to A Contribution to the Critique of Political Economy, Moscow : Progress Publishers.

Gramsci, Antonio. 1971. Selections from the Prison Notebooks, New York : International Publishers.

Chatterjee, Partha. 1983, ‘‘Peasants, politics and Mistoreography; A Response’’. Social Scientist, 11, 5, May.’ Chatterjee, Partha, 1985 ‘‘Models of Power : Some clarifications’’. Social scientist 13, 3, February.

Guha, Ranajit 1983 Elementary Aspects of Peasant Insurgency in Colonial India, Delhi Oxford University Press.

Dubois, M. 1991 ‘‘The Governance of the Third World : A Foucaultion Perspective on power relations in development,’’ Alternatives 16 : 130.

Rawls, John, 1971. A Theory of Justice.

Schlosberg, David. 2007. Defining Environmental Justice : Theories, Movements and Nature, USA : Oxford University Press.

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18. Singh, Rajendra 2001. Social Movements : Old and New : A post modernist critique, New Delhi, Sage Publications.

19. Dhanagare, D. 1983. Peasant movements in India 1920-50 Delhi Oxford University Press.

20. Gough, Kathleen, 1974. ‘Indian Peasant Uprising’ Economic and Political Weekly, 9 (32-34) Special Number August 1391-1412.

21. Shah, G. 1977. Protest Movements in two Indian States Delhi : Ajanta Publishers.

22. Forsyth Timothy. 2001 Environmental Social Movements in Thailand : How important is class?

Asian Journal of Social Sciences 29 : 2001.

23. Ramos, Alcida. 1998 Indigenism Ethnic Politics in Brazil. Madison : University of Wisconcin Press.

24. Warren Kay B 1993, Death Squads and Wider complicities : Dilemmas for the Anthropology of Violence in The Violence within : Cultural and Political Opposition in Divided Nations Kay B. Warren etd 226-247. Philadelphia : University of Pennsylvania Press.

25. Nagengast, Carol 1994. Violence Terror and the Crisis of the State. Annual Reviews of Anthropology 23 : 109-136 26. Kornhouser, William 1959 The Politics of Mass Society Glencoe 111. Free Press.

27. Gurr. T. R. 1970. Why men Rebel, Princeton NJ Princeton University Press.

28. Anderson, M. L. & Taylor, H. F. 2006 Sociology : Understanding a diverse society, Thomson Wadsworth.

29. Scott, Alan, 1990. Ideology and the New social Movements. London : Unwin, Hyman.

30. Olson, Mancur. 1965. The Logic of Collective Action. Cambridge : Cambridge University Press.

31. Mc Adam D, Mc Carthy D., Zald, Mayer N 1996 Comparative Perspectives on Social Movements : Political Opportunities, Mobilizing Structures, and Cultural Framings. UK. Cambridge University Press, 1996.

32. Tilly, Charles 1978. From Mobilisation to Revolution. Addis-Wesley.

33. Oberschall, A. 1973. Social Conflicts and Social Movements. Englewood Cliffs, NJ Prentice-Hall.

34. Gamson W. 1975. The Strategy of Social Protest Homewood IL : Dorsey.

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35. Evers, Tilman. 1985. ‘‘Identity : the hidden side of new social movements in Latin America,’’ in David Slater (ed) New Social Movements and the State in Latin America. Amstertam : CEDLA, 43-71.

36. Danzelot Jacque. 1980 The Policing of Families.

37. Laclau, Ernesto and Chantal Mouffe. 1985.

Hegemony and Socialist Strategy : Towards a Radical Democratic Politics. London Verso.

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38. Booth, David (ed). 1995. Rethinking Social Development. London ; Metheun.

39. Escobar, A. 1995. Encountering Development.

Princeton NJ : Princeton University Press.

40. Sachs, Wolfgang (ed). 1992. The Development Dictionary London. Zed Books.

41. Slater, David. 1992. ‘‘On the borders of Social Theory,’’ Society and Space 10 : 307-

About the author : Pushpita Sarkar is a Professor of Political Science at Bangabasi College. Her aesthetic capabilities, project her to an arena of ‘Swamibhava Tasbhava’ philosophy which make a person close to a perfectionist of first order raison détre. An exponent of Ikebana, Interior decoration, batik printing, oil painting and an unobtrusive singer of Rabindrasangeet trained under Swapna Ghosal, she took all her diplomas from YWCA. Talking of colour, she said, ‘To me colour is a sociological concept, it is synonymous with true democracy, with democratic principles, with a wide variety of opinion, attitudes and above all a sense of justice and well being. The very existence of a wide variety of colours signifies a wide variety of cultures, tradition language and communities.’

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Philosophy of Colours Pramiti Sengupta Introduction The visual world, the world as we see it, is a world populated by coloured objects. We see the world as having a rich tapestry of colours or coloured forms—fields, mountains, oceans, hairstyles, clothing, fruit, plants, animals, buildings and so on.

Colours are important in both identifying objects, i.e., in locating them in space & in re-indentifying them. So much of our perception of physical things involves our identifying objects by their appearance, and colours are typically essential to an objects appearance, that any account of visual perception contain with some account of colours. Since visual perception is one of the most important species of perception and hence of our acquisition of knowledge of the physical world, and of our environment, including our own bodies, a theory of colour is doubly important.

Aim of philosophy of colours To assess the rival claims about the status of colour, we need to clarify what the aim of a philosophical theory of colour should be Philosophical discussions of colour are sometimes formed in terms of answering such questions as to what is the nature of colour? Sometimes they are framed in terms of answering the question of what kind of understanding a person must have in order to understand colour concepts or to be able to use colour in terms of understanding. Here we are asking a question about colour concepts and it will be important to clarify first, whether the concepts in question are concepts of natural language, or technical concepts introduced for scientific or industrial purposes, then with respect to both, whether they are different kinds of concepts.

On the face of it, there are two different exercises here: identifying the nature of colours, i.e. what colours are essential; and specifying what the concept of colour is. It seems that our exercise requires looking at the world and the other looking at the thinkers. However both exercises would seem to be an integral part of any philosophical theory of colour, for there appears to be two prominent facts

about colours that any theory world need to respect : (1) that colours are properties in the world (i.e., properties of physical objects), to which one’s colour vision is sensitive; (2) that colours are qualities that perceptual experience represent (or presents) objects as having. At least, if any theory denied that these are facts about colours then an extremely good explanation is called for. One theory that comes close to denying that the first is a fact, is the Descrates— Locke tradition. This theory is more subtle, however, than this would suggest. It draws a distinction between two concepts or sensor of colour. In one sense objects do have colours but this is not the sense in which objects are represented as having colours; while in the other sense, objects are represented as having colours, but these are not properties which objects actually have.

Philosophy of colour Colour is a subject of philosophical meditation.

From ancient times colour carried definite information and was widely used in folk arts.

According to legends four cardinal points symbolises colours; the north-white, the south brown, the east yellow, the west blue. Different seasons also have their own colours : Spring : white-pink-green, summer dark green, autumn : yellow-orange-golden and winter : white.

This world is full of colours. Colour in life can give us a new spirit to remain diligent in working, creative, never give up and always smile. In the world of design, colour has always been the main priority in determining the design concept. We all have our favourite colours. Each person has a different personality, preferences and desires. There is a strong influence inside us in determining the favourite colours.

As for abstract conditions of human mind, all nations come to common vision of colour and it’s meaning.

White : symbolizes purity, innocence and cleanliness.

Red : signifies passion intensity and desire to always move forward.

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Yellow : brings joy to users ; symbolizes optimism, hope & represent deep philosophy.

Green : Symbolizes freshness, health, naturalness and renewal.

Silver : Symbolizes intellect and high technology reflects the young spirit to the users.

Brown : Represent the colour of soil and earth, symbolizing faith, maturity and endurance.

Purple : Represents power and splendour Black : Demonstrates strength and Assertiveness Orange : Symbolizes energy, balance and warmth Gold : Symbolizes eternity and loyalty Pink : Symbolizes lone and feminism Blue : Symbolizes trust, security, technology, cleanliness and orderliness.

So, colours are of philosophical interest for a plethora of reasons. One of the reasons is that colour raises serious metaphysical issues, concerning the nature, both of physical reality and of the mind.

Among these issues are questions concerning whether colour is a part of a mind independent reality, and what account we can give of experiences of colour. These issues have been and continue to be, inextricably linked with important epistemological and semantic issues.

1. Red Philosophy : Red is the first fundamental colour, the sensation of red being produced by the longest and slowest of the visible light-rays. This colour always typifies the active use of power. It relates primarily to the physical body, but also has a vitalizing effect on the finer spiritual forces. It also symbolizes the internalization of a thing on any plane. As the first ray of manifested being, it is called the Life-ray, or the life giving principle of creation, and is of a positive and magnetic vibration, projecting life, strength and vitality. The face is, this colour vitalizes all living matter, giving energy, strength, courage and activity. It’s influence is hot and dry; tends to incite to action, for example a principle used in tradition ‘‘waving a red flag before a bull’’. Psychologically, it has much to do with desires and impulses brought from the earlier states and personal unfoldment. Certain of the red vibrations act upon the subconscious mind to arouse primary instincts of desire-nature. The physical power also inspires the more heroic, and the pioneer spirit. As the colour of the blood, it is sometimes connotated with brave and heroic deeds in battle, or

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with sublimation. Such surging and tearing passions as love, hatred, courage or remaking are intensified by this ray and an overbalance of red rouses temper, harshness and a streak of cruelty, of a tendency to allow animal passions and desires to rule the judgement, or to manifest obstinacy and inconsideration. A deficiency in this ray may manifest the opposite tendencies.

2. Orange Philosophy : Orange is the second fundamental colour vibration, a hot and dry colour, but less intense than red. It can be made by a combination of red and yellow; the colour of flames.

The heat rays of orange are therapeutically more powerfully heating than red, as they exclude the cooling rays of the active blue violet end of the spectrum. The orange ray is linked with the vital force that flows into the body from the sum, and is thus highly valuable. It is concerned with the task of absorbing and distributing vital energy. Orange is, in fact the symbol of energy, physically revitalizing, and acts as an attitude to feelings of repression and limitation. It calls forth self-confidence and positive thinking, and thus has value in such fields as salesmanship and display. Orange is a mild stimulant, especially for the nerves, promoting increased vitality, and affording quick recuperation from fatigue produced by mental work. It is warming cheering, non-electric and non-astringent. In normal, will-developed expressions the orange vibration makes for strong vital health conditions. By reflex upon consciousness, it manifests an aspiring, frank, magnanimous, generous, humane, firm & honorable disposition.

3. Yellow Philosophy : Yellow represents the third colour vibration, and is most active in the higher brain, or cerebrum, as its general orange of expression. It is called one of the rays of mind, stimulating the mental faculties in the creation of thought, and giving help in visualization. Generally it arouses optimism, cheerfulness, and a balanced outlook on life, equilibrating in it’s effect. By estimating the higher functions of the brain, yellow aids in developing tact, mental alertness and discrimination, and helps establish emotional balance. It is said to make joyful through greater attainment of the soul of one’s self, and suggests as well the joy, gaiety and merriment, the comfort and cheerfulness of the fireside. Heroes and heroines of 62

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older legends were usually depicted with yellow hair, as it seemed to suggest the lighter, or finer, side of life. Yellow to many of the ancients was the animating principle of life; to the chinese it symbolizes mobility.

4. Green Philosophy : The fourth fundamental colour is the green ray, the central column of the shining spectrum of colour. It occupies the point of balance in the solar spectrum midway between the thermal, or heat end, and the cold or electric end of the spectrum. Thus it becomes the colour of harmony, and the ray of balance and concord green is the colour of nature, and the keynote of our planet Earth Man’s first environment was a garden. The green radiance is essential to our health and happiness. It emits calm, refreshing emanations of peace and harmony. Green inspires harmony and peace on the inner or subjection plane, and attracts success and progress on the outer or objective plane, along with abundance, and generosity. The Life of Christ shows many of the beautiful qualities and emanations of the green ray. Green utilizes and restores the blood and heroes with nature’s magnetism. The green-vibration heals heart disorders, emotional complexes, soothes the nerves of the head. A calm green light is an excellent remedy for headache.

5. Blue Philosophy : Blue is the fifth fundamental colour vibration, and is both symbolically and medically the opposite of red in its effects. It is called the coldest colour. It is the first colour belonging to the cold, non-stimulating or astringent division of the spectrum, its effect being to slow down and steady the energy of the reds and yellows. It is considered as a colour of calmness, courtesy, harmony and happiness. Psychologically, the blue vibration raises the consciousness to the realm of spirit—hence it’s value in spiritual healing, meditation, devotional services, etc. ‘‘Three blue’’ describes the person who is loyal, devoted and sincere, someone to be trusted. In it’s highest brightest sense it is a happy and uplifting colour, like the ‘‘bluebird of happiness’’. It is a colour of virtue, also of illusion and mystery, according to the hue.

Blue is the colour of Spirit, or of the colour from which the highest inspiration is formed. Not for the course or material minded, it is from the ethereal, spiritual natures. The darker hues, when clear,

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especially denote refinement and higher thought.

Where the blue vibration is strongly developed within a person, it inclines to make him sensitive or emotional, with a strong rhythmic sense which may express in fondness for music, dancing, or poetry. It gives a good memory, and some psychic attainment.

6. Indigo Philosophy : Indigo, the sixth fundamental colour, also called Blue-Violet, is a colour denoting intuition and spiritual perception. As symbol of the Mystic Borderland, it has to do with spiritual attainment and self-mastery, wisdom and saintliness. Indigo is stimulating and regenerating to mind and soul, and is one of the rays of the future race-consciousness, extending the inner vision and opening up new fields of comprehension and knowledge. This is the vibration on a parallel to a power in us which knows when and how to put on the brakes. Thus the mental effects of its usual activity are concentration, poise,deliberation, suggested by the expression ‘‘indigo mood’’.

7. Violet Philosophy : The symbol of spirituality, violet is the highest colour vibration of the spectrum, vibrating at 790,000,000 vibrations per second.

Violet is the seventh or final principal colour of the rainbow, spectrum, manifesting in many hues such as heliotrope, amethyst, orchid, royal purple, wisteria, and lavender, each of a different significance. The violet rays vitalizes man’s spiritual nature with lifegiving power, and expands the soul-consciousness. It is of a positive magnetic vibration, but not physical.

The soul which lacked this ray totally would be barren and dry. This is not a colour of the masses, but appeals more to sensitive and soul conscious types who seek spiritual unfoldment and enlightenment.

Cosmic manifestations of the One-Life Principle are sent forth in the form of light-waves, and surround us all in a symphony of colour, as the visible expression of our creator and the Divine Mind. Each of these super-physical rays of Great White Light which emanate forth from Eternal Being holds within itself all the range of colour-vibrations.

These in turn act as streams of vital force of immeasurable and infinite power, each having both a particular and a general function.

Colour is a quality of light, a mode of light vibration, defined as luminous radiant energy, and does not exist apart from light.

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Higher Being are said to dwell within Seven Rays, which break forth from the pure white Light of the Divine Mind made manifest. These are called the seven spirits of Light, and each ray has its subordinate rays. The seven major colour-rays fill space and permeate the soul and being. They are the manifestation of the seven great cosmic periods, corresponding as well to the seven major glandular centers in the body. The rays are forces of infinite power and purpose, emanating from the great white Light of the Supreme source, and guided and directed by all-powerful intelligences. Colour is thus a seven-fold force branching out into numerous channels currents. Colour has seven aspects, seven primary rays, each of which in it’s own way heals, enlightens, inspires, animates, vitalizes andsupplies or fulfills. The first is the red ray which mainly influences the physical body, white at the other end in the spiritual colour violet, and it’s purest ray, amethyst. The three primary colours symbolize : redbody; yellow-souls or mind; blue-spirit of man. The socalled warmth of ‘‘advancing’’ colours-red, orange, yellow— are said to deal with processes of assimilations activity and intensity the second group of blue, indigo and violet are called cold or ‘‘retreating’’ colours, and these correspond with processes of dissimulation, passivity and debilitation. Between the two groups, and spanning then is the intermediate, transitional colour, green.

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Applications and aspects of colour are : 1) in their medical or healing aspect, dealing with colour treatment and ray therapy, 2) their psychological aspect the study of the influence of colour on mind and emotion 3) the esoteric aspect, symbology and attributes of colours, or the colour aspects of the aura colour can truly become a part of living environment.

The artful use of this knowledge contributes a powerful influence upon vital forces. Colour can be used in business to arouse interest, create atmosphere, stimulate action, bring social contrasts, when scientifically applied.

Red, yellow and orange fatigue and irritate sooner then the other colours. They are heat producing and exciting. A quiet, relaxed person will be excited or irritated by bright colours not properly handled.

Blue, green and purple are cool soothing. A nervous, quick moving person is calmed by blues, greens, purples. Blue can be a real emotional sedative. The right shadow of yellow can produce a sensation of sunlight and warmth, but just a slight change in shading can cause a feeling of nausea.

William Blake wrote : ‘‘what is now proven was once only imagined’’. To reach the highest part of the spectrum, the blue, we must transcend the red of physical action, the yellow of mental reasoning, and enter the realm of feeling. Thought and imagination are not the same thing, for the one implies reasoning and the other a degree of emotion.

About the author : Pramiti Sengupta, a student of philosophy at Presidency University, is an author of acclaim. She, endures her knowledge from the books that she reads, with utmost intrigue, like for example, philosophy to Vampirology. She likes Coffee on a very personal level and music that she derives from her training of Rabindrasangeet under the tutelage of Abhiroop Guhathakurata.

Talking of colours she said, ‘‘Colour has a dual function. It fulfill aesthetic requirements, & imparts a certain meaning & tone to a work of art. The significance of colour depends on the cultural & social scenario they are being used in. That is to say, the same colour can stand for different things depending on the situation it is being used in.

Eg. the colour white which is often associated with purity, truth & innocence, is in china, associated with death.’’

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Tranquil Tunes A conversational experience with Vidushi Sumitra Guha with the language in which it is composed?

Ans : Bhajans, are devotional hymns and I do think that devotional temperament has to be inborn.

It doesn’t really matter if a person is a devotee of Goddess Kali, or Vishnu. To understand divinity, swagun nirgun concept is important, even if a person is oblivious of the grammar of music. I would like to coin in a term of ‘‘Outline Music’’.Language is never a barrier. We, as musicians sing in Sanskrit, English, Hindu, Tamil, Telugu, Bangla—what ever be the language, does it cripple any sensation? I don’t think so. Upanishads say, ‘‘Ek Meva Adwitiyam’’ to feel the oneness with the Almighty. your connectivity is very much essential; otherwise it becomes mechanical singing.

3. ‘‘The most perspiring raaga, whose rigidity and monotony at once is beautifully woven into a fragrance is Sarang’’—Allauddin Khan—Your substantiation : Ans : There are two Sarangs really and the one that appeals to me the most is Vrindavani Sarang.

Though both of them bring to me a sensation of divine romance, both Sarangs are generally associated with Rashleela and similar divine concepts. Compositions such as, ‘‘Jhule Brijaraj’’, ‘‘Aye Manarasiya’’, in Vrindavani Sarang are characteristic in devotional aspects and very different from what Allauddin Khan Sab says. With due respect to him, Sarang brings to me an entirely different picture 4. How do you account for, the set time-periods of the raagas of Hindustani Classical Music? How can one explore the respective divinities on similar grounds?

Ans: Nature, at the very onset is influencing us in a constant metaphysical aspect. For example, early morning induces in us, a swastik feel, at a time which we call the ‘‘Brahmamuhurtam’’ and similarly it progresses towards a ‘‘tamashik’’ feel at night.

Nature, which is acting upon us, constantly, is a contributor of ‘‘Panchagun’’-5 elements, which are products of nature. In music for example, we know that the swara ‘‘Ni’’, the sixth note of the

...She is the goddess of her own distinctive style, under the penumbra of her gharana. Gifted with the immeasurable engaging elegance, her voice indulgent in proportioned textured sweetness, she is a maestro in the truest sense—her chiselled renditions, as if drenched in drizzly honey. The finessé of her skilfulness reaching the zenith, have earned astonishing accolades to such an extent, that even the opprobrious ‘‘The Times’’ is quoted to have generously remarked that ‘‘even stones would melt...’’ A Vidushi, of the first order aesthetics, she, a Padmashri recipient, is said to possess indistinguishable features of her guru, the ethereal Malavika Kanan, in her soulfulness.

Among her disciplined listeners, she is the personification of her favourite raag ‘‘Hansadhwani’’.

How one can explore, devotional hues in Hindustani Raagas? What is the nature of sweetness in Dhrupadi renditions?

Vidushi Sumitra Guha, resembles an epitome of philosophical knowledge, as she answers all with unopinionated dignity...

While Kalomer Kalomishak, encounters a wonder in person...

1. What do you think is the essence of ‘‘virtual gayaki’’ in Hindustani Classical Music?

How can it be avoided?

Ans. I believe in the utmost realization of GuruShishya parampara. Gayaki, I would like to say is certainly an interpretation of one’s personality.

Coming to a personal level, my gayaki has been influenced by my guruji, Shri A. T. Kanan and my guruma Shri Malavika Kanan. But it has evolved in a cocoon of personalization. People have started saying—‘‘The Sumitra Guha School of Gayaki’’.

I had been initially trained in Carnatic Classical Music so eventually, my gayaki has that versatility and is mature enough to make a difference. But this does not mean imitation. Artificiality, in any form, is strongly rejected in Hindustani Classical Music. The way that the ever revered Aamir Khan Sab and Bade Gulam Ali Khan have been true to their gayaki, is a matter of admiration and inspiration too. But in recent times, the entire idea of gayaki has broadened and evolved.

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as a beautiful lady dressed in white, who is engrossed in worshipping Lord Krishna. Then there is this composition—‘‘Chanan Baji/Puja Karon Bar’’ which depicts the entire picturization. This raaga is a favourite of mine and my Guruma Shri Malavika Kanan excelled in Chayanat.

8. How do you intellectually differentiate between Ramdasi Malhar and Miya Ki Malhar?

Ans: Ramdas Nayak of Gwalior and Miya Tansen, were the respective creators of Ramdasi Malhar and Miyan Ki Malhar, though there is a strong controversy regarding the fact that Tansen created the raag and some believe that it existed as ‘‘Malhar’’ even before Tansen came to know of it. I would say that Miyan Ki Malhar is comparatively a more complete Malhar.

It brings that romanticized feeling of monsoons, raindrops trickling away to the extent of its severity.

Ramdasi Malhar in the other hand, possesses an extra Gandhar. It, too is beautiful but I find Miyan Ki Malhar more illuminating.

9. What is the most stubborn raagini of all?

What are its characteristics?

Ans: I don’t believe that there is a stubborn raagini at all. When I was young, I remember being choosy in selecting raagas that I would like to sing. I would have a sort of skirmish with my Guruji and I would be reluctant to sing Marwa, Darbari, Todi. I would tell my guruji that these raagas are sung by old men and my voice is not suitable for all these. My guruji would patiently say that once you start learning and accepting them, become mature, you would realize that there is nothing such as ‘‘stubborn’’ or ‘‘boring ’’. Each raaga has its own capability of enrapturing the audience. Of course there is a question of suitability but that too is minute, when one’s voice gets suited to a particular people say that the person has achieved ‘‘siddhi’’ in that particular raag.

10. What is the representative distinction of a gharana?

Ans: Gharana is a sort of institutional difference between regions or areas of practicising music. The distinction depends on what one gharana is emphasizing upon. For example : Sur is important in Agra Gharana., Taal, layapratikala, vistaar is important in Kirana Gharana, which is my gharana, and harkats in taans is a distinguishable feature of

‘‘Saptasura’’, is derived from the neigh of horses. So, we are one with nature. So, set time periods do influence the composition of swaras in Raags such as Malkauns and Bhairavi. But again there are some raagas that can be sung at any time of the day such as—Yaman, Desh, Charukeshi, Kirvani etc.

5. ‘‘To achieve a particular feat, teentaal sets in me a reverberating rhythm, that ensnares a trance on my fingers as if drenched and drunk in divine nectar’’—Zakir Hussain Teentaal is the most commonly known, favoured taal for music-composers. Is it’s popularity, without reason?

Ans. Teental with 16 beats can be divided into 48 matras and 4×4=16 and hence it is easy to remember.

Completion of one circle is effortlessly achieved and it is this easy-going quality that makes teental utterly appealing. Also the bols—Dha Dhin Dhin Dha Dha Dhin Dhin Dha Na Tin Tin Na Tete Dhin Dhin Dha are quite attractive for the ears and so easy to appreciate.

6. The most alluring raaga that enraptures you-except Hansadhwani and the reason for your answer.

Ans: Raaga Hansadhwani derives from the call of a swan and since a swan is associated with Ma’a Saraswati, who I believe is my supreme music-guru, this raag brings to me a sense of profound divinity and thus I have a natural affinity to it. Since a swan has the unique quality of distinguishing milk from water without drinking it, it is also said that this raag dispels all evil effects on the earth. Well, apart from Hansadhwani, there is Desh. A powerful, romantic yet feminine one. Then there is Chayanat, Maru Behag, Kalavati, all delicate raagas. After that it’s Malkauns. The sixth Raaga that had come out from the mouth of goddess Durga and is a favourite of Lord Shiva—I had composed a samll bandish based on Malkauns, Madhya Vilambit, Rupak Taal, which says similar things.

7. ‘‘Chayanat brings with itself, the mixed fragrances of both spring and monsoon, as if a chameli in full bloom....’’—Peter Parkinson, ‘‘The Raagas of the Classy’’, your opinionated substantiation.

Ans: Chayanat, a very delicate raag, appeals to me in entirely different way. As put forward by the ever revered Enayat Khan Sab, I visualize Chayanat 67

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schedule to hear as much renditions as possible.

12. ‘‘Khayals are like gouache, they tend to stick to the mind, even after a long time.’’

Ans : Khayal is a beautiful assimilation of swars in Hindustani Classical Music and it really depends on the calibre of the artist to bring in, to create that aura, that charm that can put a trance on the audience much like a gouache.

13. Your voice has a putative sweetness, which is almost a cornice to your renditions. Do you think that this, quite a contrary to other dhrupadi singers, have placed you in a different arena? And if so how much credential does it deserve?

Ans : First of all, I need to clarify that I do not sing Dhrupad. But yes, so far I haven’s been exposed to any kind of lambastes regarding the sweetness that you are speaking of. I have always found myself emphasizing more on how melodious or ‘‘shrutimadhur’’ my renditions sound and I even tell this to my students too. Huskiness, can be a natural quality in the voice of a particular artist, but if imposed upon artificially, then I’m afraid it sounds too ugly.

14. How much, do you think you have been true the style of your gharana and how much corporeal originality have you been able to incorporate into your renditions?

Ans : I represent Kirana gharana, a putative name in Hindustani Classical Music. It emphasizes more on vistaars and sur unlike Patiala which emphasizes more on laykari. In the current scenario, however nobody does remain stringent in representing their gharanas and does a lot of improvisations. Even Pandit Bhimsen Joshi, used to borrow a lot of other styles in his renditions. I try to remain true to my style of representing my gharana but do take whatever is applicable from other gharanas, in my performances and I don’t think I am being too much disrespectful towards my gharana.

15. Aitareya Brahamana says that, Veena had been created by the devas to lure Saraswati to inflect her place from the abode of Gandharvas to Amaravati. Is it this unfathomable ability to create a swinging sweetness, that had made the art of playing it so difficult, that veena-players are on the verge of extinction?

Ans : Actually it depends on the mindset of the people and also time. There was a time when

Patiala Gharana.

It is the specialization that makes one gharana distinct. But saying which I would also like to say that even maestros like Aamir Khan Sab of the Indore gharana and Bade Gulam Ali Khan Sab have incorporated various styles from other gharanas as well. Bade Gulam Ali Khan have taken the harkats in taans from the Patiala Gharana and this has resulted in an admixture of gharanas and gayakis. The style of singing has undergone a sea change. The rigidity of being true to one’s own gharana have been lost and it has become more flexible.

11. You, yourself have delved deep into the ocean of Hindustani Classical and Carnatic Classical Music : How do both, help indulging you in fascinating instincts, when caught alone?

Ans : Music, in the first place was created to rouse Bhakti ras and in the Samveda it is mentioned that music is worship of God. India, by and large, is influenced by both Hindustani and Carnatic Classical Music. Tyagraj and Anantaraj were the pioneers of Carnatic Classical Music and in the medieval century the Muslim invasion resulted in a juxtaposition of both Indian and Persian cultures.

Indian Classical Music was thus enriched to stupendous extents. I was exclusively trained from an early age in Carnatic Classical Music under the tutelage of my mother and then the revered Shri Janakiram. So it was there within me. Then I came to Shantiniketan for my higher studies, and eventually fell in love with Hindustani Classical Music. I realized and told myself that this is what I need to learn. I heard all the maestros in front of me, like Pandit Nikhil Banerjee, Siddheshwari Devi, Mazakat Ali Khan from Pakistan and felt an inexplicable urge to learn the kind of music and immerse myself into that deep ocean. But initially I had to work very hard.

My Guruji and Guruma instructed me not to hear Carnatic Classical Music for 5 years. At first, I had to face a lot of hurdles-I could effortlessly do all the taans and layakaris but when it came to vistaars, and sticking on a particular note for an hour, I would be in a mess. I would raise hue and cry over Shuddh ‘‘Ni’’, i.e the sixth note of the seven swars, which wouldn’t come out well in my voice, and I did my reyaz for hours to bring in the correct connotation.

Both kinds of Indian Classical Music have their distinct flavour and I devote a part of my busy 68

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years ago. It is a joint initiative by me and Robin, a Grammy award-winner African musician. It was aimed at awakening the universal God, through fundamental human emotions and exposing the eternal brotherhood. It was a melange of endured Kabir compositions, such as ‘‘Moh-Ko Kahe Dhunde Bande’’(where are you searching for me? I am in your heart) and similar compositions of African Music. I an grateful to my son Manoj, for the huge help in this project. The album has undergone a world-wide release on 30th April and its uniqueness lies in its universality. However fusion is a mean to express common ideas through music-unifying our Mother Goddess and temple with Jesus Christ and the church philosophy. But fusion should always refer to conveyance of good music and care should be taken so that it doesn’t appear fatal for the true characteristics of any kind of music. It is not jarring to my senses-as long it is aesthetically pleasing.

19. List out a stupendous rendition of a particular gazal, by your favourite artist of the respected quarter, that has managed to baffle you for long.

Ans : Ghazals were a favourite of mine, when I was young, though I find less time for it nowadays.

All my favourite ghazal singers like Mehedi Hasan, Ismail Abdul Zaffar, Bade Gulam Ali Khan, have managed to baffle me for long. ‘‘Jagta Nahi Hya Ji Mera’’ by Md. Rafi is one of my favourite ghazals.

20. Nidhu-babu’s tap’pas have been able to impress listeners by and large. Have you felt, any difference in the treatment of the genre, at present, than what you are used to hearing? If so, to what extent is its intensity?

Ans : Tappas are actually different forms of physical exercise of the voice. It is enough appealing to the ear. It is a great form of art, and is derived from the Patiala gharana of Punjab. Even Tagore had incorporated Tappas in his music and most of them exist as ‘‘dhaala gan’’ s. It requires great practice to master the form of art and to excell. That is the reason I think that tappas are rarely heard nowadays.

dhrupad was too popular and nowadays people rarely sing dhrupad. Similarly, sitar and sarod became more popular than Veena. Rudraveena players are rare nowadays-maybe it is true it’s too difficult to learn and takes a lot to perform, but saying which I would also say that it is still predominant in South India.

16. You had been profoundly educated in Shantiniketan. How, much do you think Tagore songs have been able to represent a particular or a multitude of raagas and have been true to their natural characters?

Ans : Rabindranath Tagore is one of the finest music composers that India has ever produced and his mastery lies, as you say, in mixing raagas in his songs, which astonishingly have become his own. I have also composed bhajans and songs alike and thus know that it is very difficult to stay in the framework of a particular raaga while composing. I feel emotions are more important in this context and in Tagore songs it is the intellectual content. Still, I tell my students not to deviate too much from the original raaga grammar.

17. Your favourite Rabindrasangeet-singer, pre-Suchitra Mitra and Kanika Bandhopadhayay and a favourite rendition of the acclaimed artist in context.

Ans : It would always be Shantideb Ghosh.

Though I have been taught by Mohordi too, I liked him too much. His ‘‘Sheemar Majhe Asheem Tumi’’ & ‘‘Baje Koruno Sure’’ still reverberates in my ears.

18. You, have recently organized various fusion music sessions with African musicians and have recorded the same with dignity. To what extent, do you think, this fusion concept have devastated as well as enriched the macrocosm of Indian music?

Ans : Well this brings us to a context of great significance. I have organized and been an integral part of huge projects with Korean as well African musicians. The most recent venture is ‘‘Gondwana Dawn’’-which is named after the geographical identity of the undivided land that existed millions of

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’±˜±ı˛ ÊœıÀÚ ı˛„ Œ˘À·À ¤fl¬ı±ı˛˝◊, ‡≈ı ŒÂÀ˘Àı˘±˚˛/ ı±øfl¬ ÊœıÚȬ± Wrong-¤ ˆ¬ı˛±/ flv¬±¸ ŒÙ¬±Àı˛ ¬ÛøhÓ¬‡Ú, ø¸Î¬◊øh¬ÀÓ¬ ıœı˛ˆ”¬˜ ŒÊ˘± ¶≈®À˘/ øıËøȬ˙ ’±˜˘/ ¶≈®À˘ı˛ ¬Ûøı˛Àı˙˝◊ ’±˘±±/ Œ˝Î¬˜±à¬±ı˛ øÔË ø¬Û¸ ¸≈…Èı≈Ȭ Ȭ±˝◊ ¬Ûı˛± ’±·±À·±h¬± ¸±À˝ı/ ’ÀǬı˛ ¸…±ı˛ øÂÀ˘Ú ÒÚ¬ÛøÓ ı±ı≈/ ’±Àı˛ ı±ı±Ø ¤Àfl¬ı±Àı˛ ’±˝◊Ú଱˝◊Ú Œ·ËÀάı˛ ’±øǬfl¬/ ά±Ú ˝±ÀÓ¬ ø¢ ÂȬ± ’±„≈˘/ Œ¸˝◊ Â-’±„≈ø˘ ˜≈ø©Ü ˚‡Ú Ӭʫڜ › ˜Ò…˜±ı˛ ·“±È¬ øÀ˚˛ ˜±Ô±˚˛ ·±A± ˘±·±ÀÓ¬Ú Ó¬‡Ú ˜ÀÚ ˝Ó¬ ’±ı˛ Œfl¬±ÚøÚ Ê˘ ‡±ı Ú±/ ¤fl¬øÚ flv¬±À¸ ¤fl¬È¬± ’Ǭ øÀ˚˛ÀÂÚ/ ŒıËÚ Œ‡±ı±ı˛ ÊÀÚ… ¸ı±ı˛ ’±À· Uh¬˜≈h¬ fl¬Àı˛ ’ǬøȬ fl¬À¯∏ Œ‡±ÀÓ¬ Œ·˘≈˜/ ÒÚ¬ÛøÓ¬ ı±ı≈ ¤fl¬ Œ¸Àfl¬`¬ ‡±Ó¬±øȬı˛ øÀfl¬ Ó¬±øfl¬À˚˛ ı˘À˘Ú ë¤È¬± øfl¬ ˝À˚˛ÀÂ∑ ¤øÀfl¬ ’±˚˛/í ›Ú±ı˛ fl¬Ô±&À˘± ˜≈‡ ŒÔÀfl¬ 33 øάø·Ë ¤ÀºÀ˘ ¤fl¬È≈¬ fl¬±» ˝À˚˛ Œıı˛Ó¬/ ’±ø˜ fl¬±À Œ˚ÀÓ¬˝◊ ά◊øÚ ˘±·±À˘Ú ¤fl¬ ·±A±/ ˚La̱Ȭ± ¤‡Ú ’±ı˛ ˜ÀÚ ŒÚ˝◊/ øfl¬c ˜ÀÚ ’±À ˚La̱ı˛ ı˛„Ȭ±/ ≈ Œ‰¬±À‡ ·±Ï¬ˇ ˝˘≈ ı˛À„ı˛ ’¸—‡… &øh¬ &øh¬ øfl¬ Œ˚Ú ˘é¬ ˘é¬ ŒÊ±Ú±øfl¬ı˛ ˜Óά◊Àh¬ Œıh¬±ÀBÂ/ ˝˘≈ ı˛„ ±h¬± øfl¬Â≈˝◊ Œ‡ÀÓ¬ ¬Û±øB ڱ/ ¤˝◊ˆ¬±Àı˝◊ ’±˜±ı˛ ÊœıÀÚ √õ∂Ô˜ › Œ˙¯∏ı±ı˛ ≈À‰¬±À‡ ˝˘≈ ı˛„ ‚øÚÀ˚˛ ¤À¸ø¢/ ˜±Ô±ı˛ ı“± øfl¬È¬±ñ˜·ÀÊı˛ ˝±Ù¬ ˝◊ø=¡ ”Àı˛ ˜±Ô±È¬± Œ¸˝◊ Œ˚ ø˙„±h¬±ı˛ ˜Ó¬ Ù≈¬À˘ ά◊Àͬø¢, Œ¸ ŒÙ¬±˘± ’±Ê› ’±ÀÂ/ øfl¬c ›˝◊ ˝˘≈ ı˛„Ȭ± øfl¬∑ Â≈øȬı˛ ¬ÛÀı˛ ı±øh¬ ¤À¸ ˜±ÀfløÊÀ:¸ fl¬ı˛˘±˜/ ˜± ¬Û±Ú ‡±øBÂÀ˘Ú/ ≈’±„≈À˘ ¤fl¬ ø‰¬˜ÀȬ Ê«± ˜≈À‡ ŒÙ¬À˘ ıÀ˘Úñ¸À¯∏« Ù≈¬˘/ ˝˘≈˝◊ ˝˚˛/ øıËøȬ˙ ’±˜À˘ √õ∂±˚˛ ¸ı ı±øh¬ÀÓ¬˝◊ ˝±Ù¬ άÊÚ ˆ¬±˝◊Àı±Ú Ô±fl¬Ó¬/ ¤¸ı ŒÂ±È¬‡±È¬ ı…±¬Û±ı˛ øÚÀ˚˛ ı±ı± ı± ˜± øıÀ˙¯∏ ˜±Ô± ‚±˜±ÀÓ¬Ú Ú±/ Œ¸˝◊ ŒÔÀfl¬ ’±˜±ı˛ ÊœıÀÚ ’±ı˛ ı˛„ ˘±·˘ Ú±/ ı±øfl¬ ÊœıÚȬ± Œ˚Ú ı‘ø©ÜÀÓ¬ÛÀh¬ Ô±fl¬± ¤fl¬È¬± Ê˘ı˛À„ı˛ Âøı/ ı˛„ ά◊Àͬ ’±ı± ’±ı± ˝À˚˛ Œ·ÀÂ/ ’ÀÚfl¬ ¬ÛÀı˛ ˚‡Ú Œı±Ò ı≈øX’Ú≈ˆ”¬øÓ¬ ’ÀÚfl¬ Œı±fl¬± ˝À˚˛ Œ·À Ӭ‡Ú ÚÓ≈¬Ú fl¬Àı˛ øÓ¬ÚÀȬ ı˛„ ŒÀ‡øÂ/ ŒÀ‡ø ¸”À˚«ı˛ ˜ÀÒ…/ ¤Ó¬ Œı±fl¬± Œ˚ ¸”À˚«ı˛ ¸±Ó¬øȬ ı˛„ Œ‡ÀÓ¬ ¬Û±˝◊øÚ/ ˜±S øÓ¬ÚøȬ ŒÀ‡ø ¸”À˚«ı˛ ˜ÀÒ… ¸±±, ˘±˘, fl¬±À˘±/ ’ôL√˝œÚ ˜˝±fl¬±À˙ı˛ ¬Ûı˛ÀÓ¬ ¬Ûı˛ÀÓ¬ ’ôL√˝œÚ fl¬±˘ ÒÀı˛ qÒ≈ øıù´¸‘ø©Üı˛ ˜≈˝”ÀÓ«¬ Œfl¬Ú Ó¬±ı˛› ’±À· qÒ≈˜±S ¤˝◊ øÓ¬ÚøÈı˛„ ¸±±, fl¬±À˘±, ˘±˘ñ¸Q, ı˛Ê–, Ó¬˜/ øıù´¸‘ø©Üı˛ ˜”˘ Œ˚ ˙øMê Ó¬±ÀÓ¬± ¤˝◊ øS&ÀÌı˛˝◊ ¬Ûı˛˜ ¸±˜… ø¶öÓ’ı…Mê √õ∂fl‘¬øÓ¬/ ¸”˚«˝◊ ŒÓ¬± ˜”˘ ’ı…Mê √õ∂fl‘¬øÓ¬ (unmanifested nature)/ ’ı…Mê √õ∂fl‘¬øÓ¬ÀÓ¬˝◊ ŒÓ¬± ıËÀpı˛ ı˛„ ı±˝±ı˛/ ¸±±, ˘±˘, fl¬±À˘±ı˛ ’¸—‡… ’±Ú≈¬Û±øÓ¬fl¬ ø˜|Ì › øıøSê˚˛±/

ñ’¸œ˜ Œ¸Ú&l

71

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

72

û±Âóò-Ûß õø¸Ç± Û¶ü¼ üÓûÇ õËjɱÂó±ñɱûþ Îà±ûþ±ý×-Û æËùõþ ÷ËñÉ õÉ?ò õþ±i§± ýËBå Îûò/ Îû÷ò î±õþ ΦڱîÂ, ÎîÂ÷¿ò î±õþ ßÅÂùÅßÅÂùÅ ús/ qòËù ÷Ëò ýûþ ÕËòß î¿õþîÂõþß±¿õþ, ú±ßÂ-ü¿r ý±õÅëÅÂõÅ à±ËBå æËù/ ÎðàËù ÎßÂëÂ× õùËõ Û Îüý× úÏîÂß±Ëùõþ äÂh³Âý×ö±¿îÂõþ æ±ûþá±· ¿òËæ ÕõúÉ Îð¿à¿ò, îÂËõ qËò¿å, Ûà±òß±õþ Õ±|Ë÷õþ ÎåËùË÷Ëûþõþ± úÏËîÂõþ ü÷ûþ ¿òõþ±ÂóËð Îàù± ßÂËõþ Îà±ûþ±ý×-Ûõþ õÅËßÂ/ Îüý× Îà±ûþ±ý× Õ±æ ÷±î±ù/ ù±ùÄËä Îâ±ù±Ëé î±õþ õþã/ Âó±ËhÂõþ ÷±¿éÂé± ÛËßÂõ±Ëõþ òõþ÷, ßÒ±ä±/ î±ý× à±¿òß îÂô±Ëî ÛËü õËü¿å/ Îß±Ëò± ß±æý× Îòý× ý±ËîÂ/ ౿òß ձËá, ¿òæÇò Õ±õþ ¿òõþ±Âóð ÎðËà ÷±çÂð¿õþûþ±ûþ ¿áËûþ ÂóÅõþËò± ú±¿hÂé± ÎåËh ÎôÂùù±÷/ î±õþ û± Õõ¦š± ýËûþ¿åù-Õ±õþ á±Ëûþ ù±¿áËûþ õþ±àõ±õþ ÷î òûþ/ ¿åÒËh ô±ù±ô±ù±, ü±ð± ÕÒ±äÂùé±ûþ üõÄËæ Îå±ÂóÄ-Îå±ÂóÄ ÂóËh ÎáËå...å±î± ñËõþ ÎáËå...Âó±Ëûþõþ ß±å ÎïËß ýÒ±éÅ Õõ¿ñ ß±ð±-÷±¿é ÎùËá ÷ûþù± ýËûþ Îá¿åù/ Û¿ðËß Îû îÂàò Îß±Ëò± ÷±òÅø¸æò Õ±üËõò±, Îü ¿õø¸Ëûþ ¿ò¿}Âî ¿åù±÷/ ú±¿™LÿòËßÂîÂËòõþ ú±¿™Là Û¶±ûþ ßÂËûþß¿ðËòõþ æòÉ Îà±ûþ±ý× æËù ö±¿üËûþ ¿ðËûþ¿å/ Îõù± ÂóËh ÛËüËå...Ûõ±õþ ÛßÂéÅ öÂûþ-öÂûþ ßÂõþËå/ Û¶±ûþ Ûß Û¶ýõþ Õ¿îÂS ÷ ýËûþ ÎáËå, îÂàËò± òîÅÂò Îß±Ëò± ú±¿h ý±Ýûþ±ûþ ëÂ×ËhÂ...õ± æËù ÎöÂËü Õ±Ëü¿ò/ Âó±ËhÂõþ ¿ðËß ðÅðDZ™Là ΦڱîÂ/ Îß±Ëò±ö±Ëõ Ýà±Ëò ¿ðËûþ ÎöÂËü äÂËù û±ûþ¿ò Îî± òæõþ Û¿hÂËûþ...· î±ýËùý× üõÇò±ú/ õþ±ËîÂõþ ÕgÂß±Ëõþ Îî± ¿ßÂåÅý× ÎðàËî Âó±õ ò±/ Îüý× ÛËßÂõþ Âóõþ Ûß ò±õþËßÂù á±Ëåõþ õh õh Âó±î± ÎöÂËü Õ±ü¿åù/ î±õþý× ÛßÂé± ÕÒ±ßÂËh Îß±Ëò±÷Ëî ù#±éÅÂßÅ õþ ± ßÂõþ¿åù±÷/ Îü ù#± ÷±òÅËø¸õþ ß±Ëå òûþ, õh õh ß±Ëù±-ß±Ëù± ÷±å&Ëù±õþ ß±Ëå/ Ûß ÛßÂé±õþ Ûî Îõ¿ú ü±ýü, â±ý× ¿ðËûþ ¿ðËûþ ýÒ±éÅ ÎõËûþ ò±¿öÂËî ëÂ×Ëê üÅhÂüÅ¿h ¿ðËBå/ Õ± Î÷±Ëù± û±¯ Î÷Ëûþ ÷±òÅø¸ ÎðËà¿ò ò±¿ß ձËá...· ÕõúÉ...Û ÎÂó±h± òðÏ Õ±Ëá ßÂàòý×-õ± ôÅÂËù...ÎôÒÂËÂó ÂóÅ ø¸-÷±òÅø¸ ýù, Îû Î÷Ëûþõþ± Ûõþ æËù ¦§±ò ßÂõþËî ձüõ±õþ æòÉ ëÂ×iœÅà ýËõ·Û òðÏ Îî± Õ±õþ Z±õþß± òðÏ òûþ...Õ±õþ Ûà±òß±õþ Î÷Ëûþõþ± ¿õõþ¿ýòÏ ýËùÝ...õþ±ñ± òûþ/ ÷±ËçÂ÷±Ëç õÔ¿©† ï±÷Ëå....Õ±õ±õþ õ±hÂËå/ ügÂɱ îÂàËò± ò±Ë÷¿ò/ ¿ðò Õ±õþ õþ±ËîÂõþ ô±õþ±ß ßÂõþõ±õþ ÷î ձËù±, õ± ÕgÂß±õþ Îß±Ëò±é±ý× Ûà±Ëò Îòý×/ îÂõÅ õþ±î Îî± ÛßÂü÷ûþ ò±÷Ëõ/ Õ±¿÷ îÂàËò± òðÏõþ ÷±çÂà±Ëò æËù äÅ¿õËûþ ÎõþËà¿å ¿òËæËßÂ/ ձ߱Ëúõþ ü±ð± ß±Ëù±õþ ÷Ëò±õþ?òéÅÂßÅÂÝ Îõù± Âóh±õþ ü˼ ü˼ ¿ßÂõþßÂ÷ Îûò ¿ôÂËß ýËûþ ÎûËî ù±áù/ ÷±å&Ëù±õþ

ÂóÅ ø¸ ýõ±õþ úàÝ ¿÷Ëé ÎáËå îÂàò/ Õ±÷±õþ ¿Âóåù Îß±÷õþ ÎõËûþ ÝêÂõ±õþ Î䩆± ßÂõþËî ßÂõþËî î±õþ± ÕËòß Âí ýù ýÒ±¿ÂóËûþ ÂóËhÂËå/ Âó±ËhÂõþ ¿ðËߠßÂËûþ ¿åù±÷ ÛßÂðÔË©†/ æËùõþ ΦڱËî ûî ò±õþËßÂùÂó±î±, ßÂù±Âó±î±....û±ý× ÎöÂËü Õ±üËå... üõéÅÂßÅ ¿ðËûþ úõþÏõþé± æ¿hÂËûþ ¿ò¿Bå/ ý±î ¿ðËûþ Âó±î±&Ëù± ÎäÂËÂó ñõþËùý× Îûò üõÅæ õþM ¿ôÂò¿ß ¿ðËûþ ¿ðËûþ æËù ¿÷Ëú û±ËBå/ ¿ßÂåÅé± ¿áËûþ ¿ßÂùÄ¿õùÄ ßÂõþËå ÷±å&Ëù±õþ ßÅÂäÄÂßÅÂËäÄ ß±Ëù± á±Ëûþ, ¿ßÂåÅé± Φڱî õÒ±¿äÂËûþ ò±÷Ëî ò±÷Ëî ÕËòß áöÂÏËõþ ü™LÃÂóÇËí ¿áËûþ ¿÷úËå òðÏõþ ¿÷¿©† ÷±¿éÂËîÂ/ ý±Ýûþ± Û¶±ûþ ¿åùý×-ò± îÂàò/ ûîÂéÅÂßÅÂÝ õ± ¿åù... îÂ±Ý ò±õþËßÂùá±å&Ëù±õþ ß±Ëå ¿áËûþ ¿áËûþ ÷±à±÷±¿à ßÂõþËå/ Õ±¿ðËàÉî± ÎðàËù á± æ;Ëù û±ûþ/ õD õ±õþ ÎõËhÂËå Ûõþ±...ÛîÂé± ü÷ûþ Õ¿îÂS ±™LÃ, Õïä ձ÷±õþ Âó¿õþñ±òéÅÂßÅÂÝ ð±¿ûþQ üýß±Ëõþ Âó±ê±Ëî Âó±Ëõþ¿ò ÎßÂëÂ×/ ýêÂ±È ÷Ëò ýù... ú±¿hÂé± ëÂ×Ëh ëÂ×Ëh ÛËü á±Ëåõþ ÷±ï±ûþ Õ±éÄÂËß û±ûþ¿ò Îî±· õþ±Ëá ÎöÂæ± úõþÏõþé± Õ±÷±õþ... ïõþï¿õþ ßÂ¥ó÷±ò/ Îà±ûþ±ý× Õ±õ±õþ ëÂ×ï±ù-Âó±î±ù îÂàò/ ßv±™Là Îä±àðÅËé±ûþ ü÷™¦¸ õþ±á Ûß¿Sî ßÂËõþ ձ߱Ëúõþ Û¶¿î Îû ÕïÇýÏò, Õïä îÂÏõè öÂÈüÇò± åÒÅËh ¿ðù±÷, î±õþ ÎæËõþ Õg ügÂɱ ÎßÒÂËÂó ëÂ×êÂù üúËs/ Îüý× òðÏõþ Âó±h ÎðËà¿åù... Õ±÷±õþ Îä±à ðÅ¿é îÂàò õþM ßÂõþõÏ/ Âó¿}Â÷ ¿ðá™LÃËõþà±ûþ Î÷â Õ±õþ Îà±ûþ±ý×òðÏ Õ±¿ù¼ò±õXÂ/ ¿÷Ëù¿÷Ëú Ûî ÎñÒ±ûþ±ú± üÔ¿©† ßÂËõþËå Îû &Ë÷±é ö±õé± õD Îõ¿ú/ ձ߱ú ÎöÂËã õÔ¿©† ò±÷ù Ûõ±õþ.../ õÔ¿©†Ëî ¿öÂæËî ¿öÂæËî ᱠñÅËûþ ñÅËûþ Îû æùé± òðÏËî ¿÷úËå, î±Ëî ùõí Î÷ú±Ëò±/ á±-é± Û÷ò äÂɱéÄÂäÂɱé ßÂõþ¿åù, Îû Ûß àG ò±õþËßÂùÂó±î± ¿ðËûþ ò±¿ö ձõÔî ßÂõþËîÂý× î± úõþÏËõþõþ ü˼ ÎùËá Îáù äÅÂ¥¤ËßÂõþ ÷îÂ/ äÅÂËùõþ ÎàÒ±Âó±&Bå àÅËù ¿ðËûþ Îû ÕgÂß±õþ ò±÷±ù±÷, î±Ëî ™¦¸òûÅáù ì±ß± ÂóËh Îáù/ ¿ÂóËêÂõþ ß±Ëå ý±îÂé± ¿òËûþ ¿áËûþ ÕòÅöÂõ ßÂõþù±÷... à¿h ëÂ×Ëê ÎáËå/ Õ¦¤¿™¦¸ßÂõþ Âó¿õþËõú ÛßÂé±/ Îä±àé± ßÒ±Ëñõþ ß±Ëå Îê¿ßÂËûþ Îðàù±÷... ù±ù ýËûþ ÎáËå ä±÷h±é±/ Õ±÷±õþ Õò±õÔî ¿ÂóêÂé± Îû¿ðßÂé±ûþ ÷Óß ýËûþ ßÂËûþ ¿åù, Îü¿ðËß ¿åù î±ù-îÂ÷±Ëùõþ õò/ ÛÂó±Ëõþý× ÷ò Ûî ¿ò¿õ©† ¿åù, Îû Îß±Ëò± Îù±ùÅÂó ðÔ¿©† û¿ð õÏ¿ïÂóï ÎõËûþ æËù ÎòË÷ Õ±÷±ûþ Õ±S ÷í ßÂËõþ, î± æ±òõ±õþÝ ëÂ×Âó±ûþ ¿åù ò±/ ýêÂ±È çÂÂó±üÄ ßÂËõþ ús qËò äÂ÷ÄËß ëÂ×Ëê ÎÂóåËò î±ß±ù±÷/ Õ±îÂË‚Â... ëÂ×ËMæò±ûþ âò âò ¿òÐ «±ü ëÂ×êÂËå Õ±õþ ÂóhÂËå îÂàò/ ò±... Îß±Ëò± ÎßÂëÂ×-ý× Îòý×/ òðÏõþ Âó±h ÎöÂËã ÂóËhÂËå Îõú ÕËòßÂé±/ æËùõþ ¿ðËߠßÂËûþ Îð¿à ÷±å&Ëù± 72

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

¿ôÂßÄ ¿ôÂßÄ ßÂËõþ ý±üËå/ ¿¦œî ÎýËü î±ß±ù±÷ qñÅ î±Ëðõþ ¿ðËßÂ/ ÛîÂéÅÂßÅ üõ Û¶±íÏ...îÂõÅ ¦óñDZ ßÂî ÛËðõþ/ ÛßÂé± õh ÎìÂëÂ× îÅÂËù ÛËðõþ ¿ú ± Îðõ ÎöÂËõ¿åù±÷...îÂ±Ý ÎåËhÂý× ¿ðù±÷ Îúø¸ Õõ¿ñ/ õþ±î ûî õ±hÂËå... Îà±ûþ±ý×-Ûõþ æù Õ±Ëõþ± ôÅÂËù-ÎôÒÂËÂó ëÂ×êÂËå/ áù± Õõ¿ñ Û¶±ûþ ëÅÂËõ ¿áËûþËå Õ±÷±õþ/ Îä±àðÅ¿é æÅËh տõõþ±÷ õø¸Ç±...ç±ÂóÄü± 䱿õþ¿ðßÂ/ òÏùÄËä ê±G± ê±G± ö±õ-ÛßÂé± ¿úõþÄ¿úõþÄ-¿úõþÄ¿úõþÄ ¿úýõþí, Îûé± ¿êÂß ê±`±ûþ òûþ, æËùõþ ß񱊱 üõþù ÕòÅöÓ¿îÂ-ÎîÂ/ Îüý× ÕòÅöÓ¿î ձ˙¦¸ ձ˙¦¸ Û÷ò ßÂ¥óò æ±á±Ëù± Õ±÷±õþ ü÷™¦¸ ÎðËý...Îû Îà±ûþ±ý×-Ý ö±õËî Âó±Ëõþ¿ò Îû Îü ÛîÂé± ëÂ×M±ù ýËî Âó±Ëõþ/ ßv±™Là Îä±àðÅ¿é ¿ðËûþ Î÷â Ý òðÏõþ ¿÷Ëù¿÷Ëú û±Ýûþ± ¿ðáË™LÃõþ Û¶¿î ձËõþ± ÕËòß ðÏâÇ «±ü åÒÅËh ¿ðù±÷/ î±õþ ÎæËõþ õ±î±ü åÅéÂù ÎüÒ±-ÎüÒ± ßÂËõþ/ æËùõþ Û¶õù âÓ¿íÇËîÂ/ ÷±å&Ëù± îÂàò õÉ™¦¸ ýËûþ ÂóËhÂËå/ Îä±Ëàõþ ÛßÂé± Âóùß ÂóhÂù–ÕÒ±ñ±õþ Îðàù±÷ ò±, îÂÏõè ü±ð± ýËûþ ëÂ×êÂù/ üä¿ßÂËî ÕòÅöÂõ ßÂõþù±÷...ÛßÂé± qw ñõÄñËõ ÕÒ±äÂù Õ±÷±õþ ÷ÅËàõþ ëÂ×Âóõþ ÛËü ÂóhÂù/ Îü±ò±ùÏ î±õþ Âó±hÂ/ ÕËgÂõþ ÷î ý±î õ±¿hÂËûþ ý±Ýûþ±¿éÂËß ñõþËî Îáù±÷ äÅÂËùõþ ÷Å¿ê ñËõþ/ Âó±õþù±÷ ò±...Âó±¿ùËûþ Îáù/ Îà±ûþ±ý×-Ûõþ Âó±hÂ&Ëù± ïõþÄ-ïõþÄ ßÂËõþ ÎßÒÂËÂó ëÂ×êÂù/ õø¸Ç±õþ±ËîÂõþ Îúø¸ áæÇËò/ ÕõËúËø¸ õÔ¿©†õþ Õõü±ò/ Î÷Ëâõþ ðù õþ±îÂËö±õþ æù ç¿õþËûþ ßv±™Là ýËûþ âÅ¿÷Ëûþ ÂóhÂù/ ձ߱úé± Îûò îÂàËò± òÏùÄËä ß±Ëù± ï±ßÂËùý× ö±Ëù± ýîÂ/ ðÅËûDZËáõþ õþ±¿SËúËø¸ âÅ÷éÅÂßÅ Îî± ðõþß±õþ/ Õ±Ëù± Îô±é±õþ Õ±Ëáý× Âó±Ëh ëÂ×Ëê ÛËü Õ±Ëá ú±¿hÂé± ýÒ±éÅÂõþ ß±Ëå &¿éÂËûþ ¿òù±÷ ౿òßÂ/ îÂàò üËõ Îö±Ëõþõþ Âó±¿à&Ëù± ë±ßÂËî q ßÂËõþËå/ òðÏ ÎïËß ëÂ×Ëê Ûù±÷ Âó±ËhÂ/ ÕÒ±äÂËù ßÂËõþ Ûß ÕÒ±æù± ¿÷¿©† æù îÅÂËù Õ±òù±÷...î±Ëî ßÂËûþßÂé± æÒÅý×ôÅÂù ¿÷¿úËûþ ßÂîÂß Âó±ò ßÂõþù±÷...ßÂîÂß ÷±àù±÷ ßÒ±Ëñ ¿ÂóËêÂ/ á±Ëûþõþ ü÷™¦¸ æ;±ù± ¿÷éÂù/ ù±ù ÷±¿éÂõþ Âóï ñËõþ ýÒ±éÂËî ýÒ±éÂËî äÂùù±÷ ౿ù Âó±Ëûþ/ õþ±™¦¸± àÅõ ÛõËh± ÎàõÄËh±...îÂõÅ ÂóËïõþ ñ±Ëõþõþ ðÔúÉ õhÂý× ÷Ëò±ýõþ/ Û¶ö±îÂõþ¿ ¬ Îü±ò±õþ ß±¿êÂõþ ÷î 汿áËûþ îÅÂùù Îüý× ûÓïÏß±òò, Îüý× ßÂð÷ Õ±õþ ÎßÂîÂßÂÏõþ õ±¿áä±&¿ùËßÂ/ ÛßÂé± ÕæÅÇòá±Ëåõþ îÂù±ûþ ¿ßÂåÅé± qßÂËò± ÛßÂé± ÎõðÏ ÎðËà õüù±÷/ Îðý...÷ò...Ûß Õæ±ò± ÂóÅùËß öÂËõþ û±ËBå/ ý±î Îæ±h ßÂËõþ õþ¿õõþ¿ ¬Ëß Û¶í±÷ æ±ò±Ëî æ±ò±Ëî qñÅ ÛßÂé± ßÂï±ý× õ±õþõ±õþ ÷Ëò ýËî ù±áù/ Õ±Bå±...ûàò Ûý× æù-ß±ð±-÷±¿é üõ q¿ßÂËûþ û±Ëõ...îÂàòÝ ¿ß Ûý× õþ±™¦¸±õþ ÷±¿é ù±ùý× ï±ßÂËõ...ÎßÂò· ü±ð± õþãé±ý× Îî± ö±Ëù±...Õ±÷±õþ ü±ð± õþã.../ ù±ù õþãé± ¿ßÂõþßÂ÷ Îûò ÂîÂ-¿õ ÂîÂ/ ú±¿hÂé± ö±Ëù± ßÂËõþ &¿éÂËûþ ¿òù±÷/ ù±ù õþã ò± ÎùËá û±ûþ/ ügÂɱËõù± Õ±õ±õþ ÛßÂéÅ ձ|Ë÷õþ ¿ðËß û±õ.../

2nd Proof 18.09.2013

73

Ûàò âÅ÷ ðõþß±õþ.../ ú±¿™LÿòËßÂîÂËòõþ ù±ù ÷±¿éÂõþ õþ±™¦¸±ûþ...ÕõËúËø¸...ú±¿™LÃõþ Îö±õþ/ Õ±÷±õþ Îä±à-ðÅ౿ò Û¶±ûþ ÎùËá Ûù/ Õïä ‘÷±ù=Á’õþ õ±õþ±j±ûþ îÂàËò± ðÅ’¿é Îä±à æ±á±/ Õ±R۶߱Ëú ¿õ÷Åà î±õþ ðÔ¿©†/ Îðàù±÷ ðÅ-Îä±à æÅËh õÔ¿©† ÎòË÷Ëå/ Îü õÔ¿©†õþ ús qòËî qòËî ձ¿÷ âÅ¿÷Ëûþ ÂóhÂù±÷/ ú±¿™LÿòËßÂîÂò...õþ±ËîÂõþ ðÅËûDZËáõþ Îõþú õþËûþ ¿áËûþËå úõþÏõþ æÅËhÂ, ÷ò æÅËhÂ.../ Îðý õh ßv±™Là Õïä âÅË÷õþ ÎöÂîÂËõþ ÕgÂß±õþ Îòý×/ õg ðÅ’Ëä±Ëàõþ ÎöÂîÂËõþ ß±Ëù± õþã ¿ò¿}ÂË™Là ï±ËßÂ/ ÷±òÅø¸ ü±ð±-ß±Ëù± ¦¤›Ÿ ÎðËà ò±/ õþãÏò ¦¤›Ÿ ÎðËà/ ü±ð± ß±Ëù± ýûþ ¦œÔ¿îÂ/ ß±Ëù±õþ ÝÂóõþ õþã Îô±Ëé ò±/ ß±Ëù±õþ ÝÂóõþ ü±ð±ý× Îô±ËéÂ/ Õ±¿÷ õg Îä±Ëàõþ ÎöÂîÂËõþ Îû ö±㱠áh±õþ å¿õ Îðà¿åù±÷...î± ü±ð± Õ±Ëù±ûþ Õ±õå± Õ±õå± ¦ó©†/ ÷±Ëç ÷±Ëç ձËù±é± ¿ç¿ùß ¿ðËûþ ëÂ×êÂËå...¿õðÅÉËîÂõþ ÷îÂ...î±õþÂóõþ ÕËòßÂé± Õ±Ëù±¿ßÂî ßÂËõþ îÅÂùËå/ ús ß±Ëò Õ±üËå ò± ¿ßÂåÅ/ æù ìÅÂËß ¿áËûþËå ß±Ëòõþ ÷ËñÉ...ü¿ðÇ ÎùËá ò±ßÂ-ß±ò õg ÛËßÂõ±Ëõþ/ qñÅ ç±ÂóÄü± ýËûþ û±Ýûþ± ÷Å¿ðî Îä±Ëàõþ ðÔ¿©† ¿ðËûþ Îðà¿å ÛßÂé± Îà±ù± å±ð/ ýùÅð...÷±çÂà±Ëò ÷±çÂà±Ëò ß±Ëù±, õ±ð±÷Ï õþËãõþ ßÒ±ßÂõþ Îåé±Ëò±...Îß±ï±Ý õ± Îàûþ±ùàÅ¿ú÷î úɱÝù± ÂóËh û±Ýûþ±... ÛßÂé± õh å±ð/ ß񱊱 ý±Ëî Õұ߱...ß񱊱 õþã -òɱh± å±Ëðõþ/ î±õþ ÝÂóõþ ౿ù Âó±Ëûþ ýÒ±éÂËù Âó± ÎßÂËé û±Ëõ...î± Ûî Â, ÛîÂé±ý× Õ÷üÔí/ å±Ëðõþ ÕËòßÂé± Õ±Ëá õÔ¿©† Îúø¸/ ÛßÂé± æ±ûþá±ûþ ÂóËõþ õÔ¿©† Îòý× Õ±õþ/ ÂóðDZõþ ÷î é±ã±Ëò± ö±¿õþ ö±¿õþ õÔ¿©†õþ ÎôÒ±é±&Ëù±/ Îü&Ëù± üõþ±Ëî üõþ±Ëî ÛßÂéÅ ÛßÂéÅ ßÂËõþ ÛËá±ù±÷ Îà±ù± å±ð¿éÂõþ ¿ðËßÂ/ Î±ûþ ÷Ó¿BåÇî Û¶±ûþ å±ð¿éÂ/ áù± Õõ¿ñ q¿ßÂËûþ ß±ê î±õþ/ ÷ÅËàõþ ÷ËñÉ Îß Îûò õ±¿ù &ÒËæ ¿ðËûþËå, ¿ßÂäÄ¿ßÂäÄ ßÂËõþ ¿ä¿õËûþ ¿ä¿õËûþ Õ±õþ ¿áùÄËî Âó±õþËåò±/ ð÷ Õ±éÂËß ÷õþËõ Ûõ±õþ/ Õ±¿÷ öÂûþ ÎÂóËûþ çÒ±¿ÂóËûþ ÂóhÂù±÷ î±õþ ëÂ×Âóõþ/ ñhÂ÷h ßÂËõþ ÛßÂé± ¿õø¸÷ ÎàËûþ ù±¿ôÂËûþ ëÂ×Ëê õüù/ âò âò ¿òÐ «±ü ÎôÂùËå/ Õ±¿÷ üùË# î±ß±ù±÷/ ÕËòß Û¶î±õþí± ßÂËõþ¿å Ûõþ ü˼/ Îõþ±Ëð çÂùÄËü ÎûËî ÎûËî Ûß¿ðò õËù¿åù... ‘‘Îß±ï±ûþ...· Õ±÷±õþ æù ä±ý×...Îá±ù± õþã Îî± ÎàËî Âó±õþõ ò±/ õþãÏò üõþõî ÎàËûþ ú±¿™Là Îòý×/ ù±ù õþã Îò±òÄî±...¿ßÂõþßÂ÷ ÷±òÅø¸ ÷±òÅø¸ ÎàËîÂ.../ Õ±÷±ûþ à±õ±õþ æù ð±Ý...úÏîÂù ¦¤Bå à±õ±õþ æù.../ 1946-Ûõþ Î÷-÷±ü... ðÅÂóÅõþ ü±Ëh ¿îÂòËéÂ.../ õÔý¦ó¿îÂõ±õþ ¿åù... õ±õþËõù±.../ ձ߱úÏ õþËãõþ ü˼ ü±ð±Ëé ýùÅð ¿÷Ëù¿÷Ëú îÂàËò± ÷±òÅø¸Ëß Âóõþ±ñÏËòõþ ÎäÂËûþ Îõ¿ú ßÂËõþ ÎõþËà¿åù ÕgÂ/ Õ±¿÷ Õ±üËî Âó±õþî±÷ ò± îÂàò/ ä±ý×ËùÝ Âó±õþî±÷ ò±... ü÷Ëûþõþ Õ±Ëá Õ±üõ±õþ ÕòÅ÷¿î Îòý× Õ±÷±õþ/ ü±bLò± Îðõ±õþ æòÉ ÛßÂé± õh ß±Ëù± Î÷â Âó±¿êÂËûþ¿åù±÷/ 73

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

Õ÷¼Ëùõþ ðÓîÂ... î±Ëî æù òûþ...qñÅ ÕgÂß±õþ ¿åù/ ý×ËBå ßÂËõþý× ÕgÂß±õþ ßÂËõþ ¿ðËûþ¿åù±÷/ ß±Ëù± ¿ðËûþ üõ ßv±™Là Îä±Ëàý× âÅ÷ Õ±ò± û±ûþ/ Õ±õþ âÅ÷ ÎÂóËù ýûþËî± îÔÂø ± ï±Ëß ò±/ îÂËõ...îÔÂø ±ý× û¿ð ÛîÂé± Û¶õù ýûþ, î±ýËù âÅ÷ Õ±üËõ ¿ß ßÂËõþ· ...ÕgÂß±Ëõþ âÅ÷ Õ±Ëü¿ò/ åùò±ûþ Î± Î÷é±Ëî Âó±¿õþ¿ò, Õ±õþÝ õ±¿hÂËûþ ¿ðËûþ¿å/ Õ±æ Ûù±÷ ÕõËúËø¸/ ú±¿™LÿòËßÂîÂò ýËûþ...âÅË÷õþ ÎöÂîÂËõþ ÎöÂîÂËõþ ÛßÂéÅ ÛßÂéÅ ÎæËá ÎæËá...¿ßÂåÅé± ÎõþËùõþ Âóï ñËõþ, ¿ßÂåÅé± ëÂ×iœÅM ñ±Ëòõþ Î Âî æÅËhÂ...¿ßÂåÅé± Îß±Ëò± Ûß ÕæÂó±h±áÒ±Ëûþõþ á± ÎâÒËø¸ ÎâÒËø¸, Îüý×üõ ßұ䱓Âó±ß± Âóï ñËõþ ñËõþ...Îû&Ëù± üõ±ý× ÎðËàËå, ¿äÂËòËå,...¿ßÂc ýÒ±Ëé¿ò ßÂàËò± Îü ÂóËï/ Ûß¿éÂ÷±S û±S±ÂóËïõþ ßÂîÂõþßÂ÷ Õ¼Ïß±õþ/ ÛßÂé± Îß±ò± ñËõþ õËü¿åù±÷ ÷±ï±é± òÏäÅ ßÂËõþ/ ÎÂóåËò ÕgÂß±õþ ¿äÂËùËß±ê±, î±õþ ëÂ×ÈßÂé ÛßÂé± õ±¿ü, ÎüÒ±ð± ágÂ, Îûò ý׿îÂý±ü ÎêÂËù Îõ¿õþËûþ Õ±üËî ä±ý×Ëå Îüý× áËgÂõþ ü˼/ õh õh Îù±ý±õþ áõþ±ð&Ëù±õþ á±Ëûþ Îô񱎱 Îô񱎱 æù/ Õ±÷±õþ ü±ð± õþËãõþ ÕÒ±äÂùé± ý׿îÂ÷ËñÉ Õ±õ±õþ ÷ûþù± ýËûþ ¿áËûþËå/ ÷±¿éÂËî ùÅËé±Ëî ùÅËé±Ëî î±õþ Õõ¦š± à±õþ±Âó/ ¿òËæý× Îâi§± ßÂËõþ ëÂ×êÂù±÷/ ÕÂó¿õþ©¨±õþ, ÕÂó¿õþBåi§, Õ¿õòÉ™¦¸...¿öÂæËî ¿öÂæËîÂÝ Û ÎÂó±h± á±Ëûþõþ õþã áËù áËù Îü±ò± Õ±õþ ÎõËõþ±ûþ ò±/ ß±ð± ýûþ qñÅ, Ýý× Îû...å±Ëðõþ ÛßÂñ±Ëõþ...Ý&Ëù± ¿ßÂ...· á±Ëåõþ ÷±ï±é± Îûà±Ëò òÅËûþ ÂóËhÂËå...î±õþ îÂù±ûþ...ÝËðõþ ÎðàËùý× á± ¿âòÄ¿âòÄ ßÂËõþ/ ùî±Âó±î±, ÛÒËé± õ±¿ü ö±î Î÷Ëà ß±ßÂËß ÎàËî ÎðÝûþ± ýËûþËå/ ß±Ëß ÎàËûþËå ßÂ÷, å¿hÂËûþËå Îõ¿ú/ Îò±Ñõþ± æËù ¿öÂËæ ¿öÂËæ Õ±Ëõþ± Îò±Ñõþ± ýËBå Îûò.../ úɱÝù± ßÂï±é± ¿òËæý× ¿ßÂõþßÂ÷ ÷ûþù±-÷ûþù±/ å±Ëðõþ õÅßÂé± Õü÷±ò, Õ÷üÔí/ ÛßÂé± õh ü÷ÅË^õþ ÷î å±ðé±...î±õþ Âó±ïÅËõþ Îà±ùËüõþ ÝÂóõþ ßÂî æ±ûþá±ûþ ßÂîÂõþßÂ÷ Õ±ßÔ¿îÂõþ ÎìÂëÂ× Îàù±Ëò±/ Îß±ï±Ý àÒ±æ ß±é±-ß±é± ü÷Å^îÂËéÂõþ ÷îÂ, Îß±ï±Ý õ± ÛßÂð÷ ú±™Là ÷±çÂü÷ÅË^õþ ÷î ü÷±ò/ Õ¿öÂ÷±Ëò ú±™Là î±õþ á¿î¿õ¿ñõþ ñõþí-ñ±õþí, ÎöÂîÂËõþ ÎöÂîÂËõþ ëÂ×Ml î±õþ úõþÏõþ/ õüõ±õþ ÎõðÏé±Ëî ÛßÂé± ý±î ÎõþËà Îðàù±÷... õÔ¿©†-ÎöÂæ± ß񱊱 áËgÂõþ ü˼ ¿ßÂõþßÂ÷ ÛßÂé± áõþ÷ ö±ËÂóõþ ÷î ëÂ×êÂËå, Îûò å±Ëðõþ á±Ëûþ á±Ëûþ ö±ËîÂõþ ÷î éÂáÄõáÄ ßÂËõþ ôÅÂéÂËå õø¸Ç± ›−±¿õî ¿òЦ¤-áèσ/ õÅçÂù±÷ å±Ëðõþ ñÅ÷Ä æ;õþ/ öÂûþ ÎÂóËûþ õÔ¿©† Õ±Ëõþ± õ±¿hÂËûþ ¿ðù±÷/ ßÂËûþß â°I×±õþ ÷ËñÉ å±ð æÅËh æù ðÒ±¿hÂËûþ Îáù/ ÕõËúËø¸ æùÂó¿é ¿ðËûþ ¿ðËûþ...þ å±Ëðõþ æ;õþ ò±÷ù/ ÂóÅËõþ± áèσ-é± Îûò î±õþ úõþÏõþ ÎïËß Î÷±äÂh ¿ðËûþ Îõ¿õþËûþ ÛËü Âó±Ëúõþ Îå±A ò±ù±à±¿ò ¿ðËûþ ö±üËî ö±üËîÂ

2nd Proof 18.09.2013

74

î¿ùËûþ Îáù ‘ìÂßÄ ìÂßÄÂ’ Õ±Ýûþ±æ ßÂËõþ/ çÒ±ËçÂõþ ÷î ü÷™¦¸ úõþÏõþ æÅËh æù q¿ßÂËûþ ¿áËûþ õ±©ó ýËûþ ý±Ýûþ±ûþ ëÂ×Ëê Ûù/ õÅçÂù±÷ õþ±á ÎöÂËãËå õ±õ±æÏõþ/ îÂî ÂËí ÕËòßÂ&Ëù± ýùÄËð-õ±ð±÷Ï ßÒ±ßÂõþ æËù ¿öÂËæ ¿öÂËæ áËù ¿áËûþËå/ õ±¿ù, äÅÂò, üÅh¿ßÂ...üõ ¿÷Ëù¿÷Ëú õh Îå±é úM -úM ëÂɱù± ýËûþ ÂóËh¿åù å±Ëðõþ ëÂ×ÂóËõþ/ î±õþ± üÑàɱûþ ÛßÂõþ±ú...Îûò ü÷ÅË^õþ ÝÂóõþ Îå±éÂ-Îå±é ZÏÂóÂóÅ?/ ¿ßÂåÅ ¿ßÂåÅ àÅõ ñ±õþ±Ëù±...ßÒ±é±-ßÒ±é±...ýÒ±éÂËù Âó± ÎßÂËé û±Ëõ-ÛõþßÂ÷/ ձ˙¦¸ ձ˙¦¸ üõ áËù Îáù.../ ÂóËïõþ ß񱎱 áËù ¿áËûþ ÂóËïý× ¿÷Ëú Îáù ÛËßÂõ±Ëõþ/ Õ±¿÷ ÎõðÏé±õþ ëÂ×Âóõþ ëÂ×Ëê õüù±÷/ ÕÒ±äÂùé± Û¿ùËûþ ¿ðù±÷ æù æË÷ û±Ýûþ± Îà±ù± å±ðé±õþ á±Ëûþ/ î±õþ Âó±ïËõþõþ ÷î á±Ëûþ ¿÷Ëú ÎûËî Û¶±í ä±ý×ù/ ê±G± ÛßÂé± Õ±|ûþ.../ Îä±àé± õg ßÂËõþ ëÅÂßÄÂËõþ ëÂ×êÂù±÷ Õ±õþ±Ë÷../ ßÂîÂé± Âóï ÎÂó¿õþËûþ ÛËü¿å/ Îß±ï±Ý ðÅðG ¿õ|±÷ Âó±ý׿ò/ Ûî¿ðËò Îûò úõþÏõþ-÷ò æÅh±ù/ ßv±™Là Õõüi§ Îä±à ðÅËé± ä±ý×Ëùý× âÅË÷±Ëî Âó±õþîÂ/ îÂËõ î± ¿¦šõþö±Ëõ Õ±éÂËß ձËå ձ߱Ëúõþ á±Ëûþ/ ö±¿õþ ö±¿õþ Îù±ý±ù!ÂËhÂõþ Æî¿õþ ¿ßÂüõ & áyÂÏõþ û™LÃõþ-Âó±¿î üõ Îûò õËûþ ¿òËûþ û±Ýûþ± ýËBå Îß±ò û™LÃõþ ÷™LÃËõþõþ ¿ðËßÂ/ ÛßÂé± Îá±é± ûÅáËß Îûò ëÂ×Ëh ÎûËî Îðàù±÷ Î÷â&Ëù±õþ Õ±h±Ëù/ Îü±æ± Î;ä±Ëàõþ ÷ËñÉ Ã›¶Ëõú ßÂõþù ðÅ-ä±õþ ÎôÂ񱎱 æù/ Îä±à ÎïËß æù ÂóËhÂò± õø¸Ç±õþ...Îä±à æÅËh õÔ¿©† ò±Ë÷ î±õþ/ ¿÷¿©† æù... Îò±òÄî± æù... Îü û±ý× Îý±ßÂ... æù Îî±/ å±ð Õ±õþ Õ±¿÷ ¿ÂóË걿Âó¿ê qËûþ ¿åù±÷ ÕËòß Âí/ Îä±Ëà õÅËæ qËûþ ¿åù±÷ äÅÂÂóä±Âó/ å±ð ýêÂ±È õËù ëÂ×êÂù...‘‘ðÅý×Ëûþõþ ¿ÂóËê ðÅý× õËüËå Îðà¿å...|±õí ÷±ü Ûî ¿ò¿}ÂË™Là ßÒ±Ëð ò±ýËù...· Õ±¿÷ Îä±àé± õÅËæ äÅÂÂó ßÂËõþ ¿åù±÷ ÕËòß Âí/ ßÂï±é± qËò ÎêÒ±ËéÂõþ Îß±Ëí ÛßÂéÅ ý±¿ü ÎéÂËò ÛËò õùù±÷...‘‘Îüý×.../’’ õg Îä±Ëà ÎðàËî ÎÂóù±÷...Õ±æ ú±¿™LÿòËßÂîÂòÝ Õ±÷±õþ ÷îÂý× ú±™LÃ.../ õ±ý×Ëú |±õí.../ Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – üÓûÇ õËjɱÂó±ñɱûþ, Ûß æù±úûþ/ û±õþ Âó±Ëh õËü, æËù ¿òËæõþ Û¶¿î¿õ¥¤à±¿ò Îðà± û±ûþ, Õ-ò-™LÃ/ Œ√õ∂ø¸Àάøk øıù´øı…±˘À˚˛ ı˛±ø˙ øı:±Ú ¿õö±Ëá, ÂóêÂò-Âó±êÂò ýËùÝ ü±¿ýËîÂÉõþ Z±Ëõþ îÒ±õþ Õõ&Fò ÂóÓËíDZËiœ±¿äÂîÂ/ õíÇ ¿òËûþ õM ËõÉ õùËùò, ‘‘õþã ÷±Ëò Õ±÷±õþ ß±Ëå Ûß ÷æ±õþ Îàù±/ ÛËù±Âó±ï±¿hÂ, ÕïÇýÏò... Õïä àÅõ ü±ýËüõþ Îàù±/ õþã Õ±÷±õþ ß±Ëå ÎûÌòî±... õþÑ Õ±÷±õþ ß±Ëå û± ¿ßÂåÅ ¿ò¿ø¸XÂ... î±ý×/ Û÷¿òËî ÛËù±Ë÷Ëù±... îÂ±Ý üõé± ¿÷¿ùËûþ ÎðàËù àÅõ ÕïÇÂóÓíÇ/ õþã ÎðàËùÝ ¿æËö æù äÂËù Õ±Ëü Õ±÷±õþ/ õþã qÒßÂËîÂÝ Âó±¿õþ Õ±¿÷/ õþ±i§±Ý ßÂõþËî Âó±¿õþ... àÅõ üŦ¤±ðÅ/’’

74

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

75

õø¸Çí Î|ûþü üõþß±õþ ‘Îî±õþ Îû Ýé±õþý× õËh± Õö±õ üæòÏ Îù±...’ ß±¿÷òÏõþ &Bå౿ò ò±hÂËîÂ-ò±hÂËî ýêÂ±È ßÂËõþý× õþ±¿ñß± ÛËßÂõ±Ëõþ ¿ò}ÅÂÂó/ õÉ™¦¸ Âó±Ëûþ, Õõá±ýò Õü÷±l ÎõþËàý× ^nî Îü ëÂ×Ëê Îáù/ ¿üM ßÂõõþÏ-àü± äÅÂù ÝõþßÂ÷ Õ¿õòÉ™¦¸ý× ÎïËß Îáù, Õ±ò÷ò± ëÂ×ËÂó ±ûþ ÷Ô¿Mß±Ëß ձ¿ù¼ò ßÂõþËî ßÂõþËî äÂùù Ýõþ õÅËßÂõþ ëÂ×MõþÏûþõþ Û¶±™LÃ/ Õõ±ß üàÏËðõþ ßÂï±õþ ôÅÂù ôÅÂéÂõ±õþ Õ±Ëáý× ¿ò¿õh õòÂóËï õþ±¿ñß± ÕðÔúÉ/ Ýõþ Õߦœ±È Û¶¦š±Ëòõþ ¿äÂý ÎïËß Îáù qñÅ qßÂËò± ñÓ¿ùËî ñÓüõþ Âó±î±Båi§ õËòõþ ÂóËï, é±éÄÂß± äÂõþíËõþà± ýËûþ/

1 õ±¿æËõ üàÏ õÒ±¿ú õ±¿æËõ ý+ðûþõþ±æ-ý+Ëð õþ±¿æËõ õäÂò õþ±¿ú õþ±¿ú ÎßÂ±ï± Îû û±Ëõ ö±¿ü Õñõþ ù±æ ý±¿ü ý±¿üËõ òûþËò ÕÒ±¿àæù ß¿õþËõ åùåù üÅà Îõðò± õÅËß õ±¿æËõ ÷õþË÷ ÷Åõþ¿åûþ± ¿÷ù±Ëî û±Ëõ ¿ýûþ± Îüý× äÂõþíûÅáõþ±æÏËõ// ÎßÂîÂßÂÏ õËò äÂùËå ¦§±Ëòõþ Õ±Ëûþ±æò/ ¿õå±Ëò± õɱßÅÂù õßÅÂËù ÛËß ÛËß Âó± ÎôÂËù äÂËùËå Ûß Âó±ù î íÏ õËò/ õ±ü™LÃÏ ÎÂó±ú±Ëß ձá±Ëá±h± Î÷±h± î íÏËðõþ ù±õËíÉ ü÷áè õò±òÏ äÂ÷¿ßÂîÂ/ ûÓïÏ÷±ù± ßÂõõþÏËß ¿ðËûþËå Âó¿õþÂóÓíÇî±, ß±¿÷òÏõþ òÓÂóÅõþ õ±æËBå ÆòÐúËsõþ î±Ëù î±Ëù/ Ûî ä±ÂóËùÉõþ ÷±ËçÂÝ ÷ñÉõîÇÂÏ î íÏ¿éÂõþ ÷ÅËà ü±¿ñß±õþ ðÔ¿©†-¿ò™¦¸tî±, Ûî ձòËjõþ ÷ËñÉÝ î±õþ Îä±Ëà |±õËíõþ ü=Á±õþ/ æùS Ïh±ûþ ¿ò÷¢Ÿ ýËî ýËîÂý× õ±õþ õ±õþ ÷Ëò ÂóhÂËå Û÷òý× âò òÏù ÛßÂ౿ò ÷Åà±õûþËõõþ ßÂï±/ Û÷òü÷ûþ ðÅ¿é üËõþ±æ æËùõþ ΦڱËî qñÅý× Õáèüõþ ýûþ õþ±ñ±õþ ëÂ×ËVËúÉ/ Îüý× ßÂ÷ùËüÌõþËö ձË÷±¿ðî ýù üæòÏõÔj/ ¿òæÇËò õþ±ñ± ý+ðûþÛß±˙Là ÎðàËî ÎÂóËùò Âó˽õþ õÅËßÂõþ ÷±Ëç Ûß ý±Ëüɱ#;ù ß¿êÂò ûÅõËßÂõþ ¿äÂS/ Û ÎßÂ÷ò ßÂËõþ ýù· ö±õËî ö±õËîÂ, ¦§±ò ü±õþ± ýù ò±, ÷¿ùò ÷Åà ÷¿ùòîÂõþ ýù/ ‘Õ±õ±õþ Îüý× ûÅõß¿é Îî±Ëß ¿õõþM ßÂËõþËå ò±·’ ‘ò±/’ ‘îÂËõ Û÷ò ÕÒ±ñ±õþ Îû–’ ‘Îü ß¿õî±õþ Õߦœ±È åjÂóîÂò ýûþ, î±õþ ß± ËíÉõþ ü˼ Õ±¿÷ ÝîÂËÛ¶±îÂ’, ‘ÂóîÂËòõþ ü˼ Îû ëÂ×O±Ëòõþ üÅõþ¿ö ÎöÂËü Õ±Ëü î±õþ ¿ß ýËõ’· ‘Îû ÂóîÂËòõþ Õ±¿õöDZõ üõÇò±ú±–’ ‘Îý±ß õ± Îü î± ýËùÝ–’ ‘¿Zñ± ¿òËûþ Âó±Lš ýÝûþ± üyÂõÂóõþ òûþ’ ‘îÂËõ Õ¿™¦¸QËß ¿Zà¿GÂî ßÂËõþ± Ûß¿é ÕÑËú ö±õËõ ¿Zñ± ¿òËûþ, Õ±Ëõþß¿é տöÂù±ø¸ ¿òËûþ– ‘Îû ÕÑú¿é տöÂù±ø¸ ¿òËûþ ö±õ±îÅÂõþ ýËõ, î±õþ ƦšûÇ ÎßÂ±ï± ÎïËß ü¿=Áî ýËõ·’

2 ß±ò±ý× âò å±ûþ±ûþ î¿õþõî ßÂËõþ Õ±Ëàõþ ð` üÑý±õþ ßÂõþ¿åù/ áèÏ˃õþ îÂÏõè õþ¿õõþ¿ ¬Ëî î±õþ ÕñÇò¢Ÿ á±à±¿ò ¿äÂßÄ¿äÂßÄ ßÂõþËå/ îÒ±õþ õ¿ù‡Â ÎÂó¿ú, ÷æõÅî Îðý౿ò ¿òËûþ ß±ò±ý×Ëûþõþ áËõÇõþ Îúø¸ Îòý×/ Î÷±é± ß±ÂóËhÂõþ ýùÅð ñÅ¿îÂ౿ò à±Ëé± ßÂËõþ ÎõÒËñ Îü ûàò õgÅÂËðõþ ¿òËûþ Îàù±ñÓù±ûþà Û¶÷M ï±Ëß îÂàò, ¿òËæý× ¿òËæõþ ú¿M ú±ùÏ úõþÏõþ౿òõþ Û¶úÑü± ò± ßÂËõþ Âó±Ëõþ ò±/ ûàò Ûß± Ûß± ï±ß±õþ Õò™Là Õõß±ú Âó±Ýûþ± û±ûþ, äÅÂÂó ßÂËõþ òðÏõþ ¿¦šõþ æËù ¿òËæõþ Û¶¿î¿õ¥¤ ÎðËà ÷±Ëç ÷±Ëç ö±Ëõ, Õ±¿÷ ¿ß îÂËõ üÅjõþ òý×· ß±Ëù± õþã ¿ß ÎüÌjËûÇõþ îÂßÄÂ÷± Âó±Ýûþ±õþ Îû±áÉ òûþ· ò± öÅÂù õù± ýù õÅ¿çÂ, ß±Ëù± Îî± òûþ, î±õþ á±SõËíÇ Îû òÏËùõþ Õ±Âó±î ÕðÔúÉ ëÂ×Â󿦚¿î¯ î±Ëß Îî± Õ±õþ Õ¦¤Ïß±õþ ßÂõþ± û±ûþ ò± Îû û±ý× õùÅß Îü üÅjõþ, ß±Ëù± õþã Îû÷ò üÅjõþ, äÂf±Ëù±¿ßÂî õþ±¿SËîÂ, ÎîÂ÷¿ò ÎüÝ î±ý×/ ß±Ëù±Ëß Îû÷ò ¿õ «±üÉ Õ±õËý ÎõÒËñ ÎôÂù± û±ûþ ò±, î±Ëß ö±Ëù±õ±ü± Îû÷ò ß¿êÂò, î±ËßÂÝ ¿õ «±üÏ ö±Ëù±õ±ü±ûþ õÒ±ñ± ðÅõþ+ý, ß±õþí Îü äÂùî±, õý÷±ò,–Âó±õÇîÂÉ òðÏõþ ÛËßÂß¿é òÏõþ¿õjÅËß Îû÷ò ÂóÔïßÂö±Ëõ ö±Ëù±õ±üËî Âó±Ëõþ ò± Îß±Ëò± ¿õõþýÏ á±å, Îû ÷ÅýÓËîÇÂõþ ö±Ëù±õ±ü± õËûþ û±ËBå ÕòË™LÃõþ ¿ðËßÂ, î±Ëß Îû÷ò ¦óúÇ ßÂõþ± û±ûþ ò±, ÛÝ ¿êÂß ÎîÂ÷¿ò, áîÂÏûþ/ Ûé± ß±ò±ý× æ±Ëò/ æ±Ëò õËùý× ¿õ «±ü ßÂËõþ/ ¿õ «±ü-Ûõþ ÷Óù ÷ýÏ ý¿é ß±ò±ý×, Ûõþ ÷òËò áöÂÏõþîÂõþö±Ëõ ÎÛ¶±¿ïîÂ/ Õ±Ëàõþ ð`Â&¿ù ¿åõÄËh ßÂõþËî ßÂõþËî ÂóÓõÇõþ±ËSõþ ßÂï± ö±õ¿åù ß±ò±ý×, Û÷òü÷ûþ áè±÷Ïí ûÅõßÂõþ± á±ò á±ý×Ëî á±ý×Ëî ß±Ëå äÂËù Ûù– ‘¿òð±â ÛËüËå, üÅËàõþ ¿òð±â .........’

75

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

ß±ò±ý×-Ûõþ ö±õò±éÂ±Ý áèσ îÂÂóòî±ËÂó ðÅõÇù ÷ÔÈ ßÂùüÏõþ ÷Ëî± ÎôÂËé ÎäÂÌ¿äÂõþ ýËûþ Îáù/ ‘Õ±æ ëÂ×Èüõ¯ ß±ò±ý× û±Ëõ ò±·’ ‘ò±, ÷ò ö±Ëù± Îòý×/’ ‘àÅõ õh ëÂ×Èüõ¯ ßÂî õþßÂË÷õþ ÂóüÄõþ± Îüà±Ëò...Îî±÷±õþ Ûý× ÎßÂËê± õÒ±¿úé±õþ Âó¿õþõËîÇ ßÂî ¿ß Âó±Ëõ Îüà±Ëò...Î᱿ÂóòÏËðõþ äÂ÷ÄËß ÎðËõ’, ÎäÂ±à ¿éÂÂóù Õ±¿ðõþËüõþ ßÂï±ûþ ÂóéÅÂ, ú±òÅ/ ‘ÛßÂéÅ äÅÂÂó ßÂõþ± û±ûþ ¿ß· Õ±÷±Ëß ÛßÂéÅ Ûà±Ëò ï±ßÂËî ð±Ý/ Ûß±/’ Îõù± õ±hÂù/ ûÅõËßÂõþ ðù ÕòÅÈü±¿ýî ýËûþ, î±Ëðõþ á±Ëòõþ ß¿ù ñõþËî ñõþËîÂ, Õ±ùÂóËï äÂËù Îáù/ ß±ò±ý× ÷Åà ÕgÂß±õþ ßÂËõþ ö±õËî ù±áù, ¿òð±â üÅËàõþ ¿ß ßÂËõþ· üÅà ¿æ¿òüé± õõþ±õõþý× î±õþ ß±Ëå Îá±ùË÷Ëù õɱÂó±õþ...

2nd Proof 18.09.2013

76

ÛËß ¿ß ¦¤±ö±¿õß õùËõ îÅ¿÷·’ Õߦœ±ð ûËú±ð±õþ Îä±Ëàõþ ü±÷Ëò ßÔÂËø õþ ÷Åàé± ÎöÂËü ëÂ×êÂù, äÂ=Áù w÷õþßÔÂø Îä±à, ý±Ëî Âó±Ëûþ Õ¿¦šõþî±, äÂéÅÂù ý±¿ü-öÂõþ± ÎêÒ±Ëé õ¿ù‡Â Õïä ¿ßÂËú±õþ ÂóÅùËß Âó¿õþÂóÓíÇ Îðý–üõ¿ßÂåÅ ¿÷¿ùËûþý× ¿õÂóõþÏî Î÷ Ëî Õõ¿¦šîÂ, îÂõÅÝ ðÅý× ö±ý×Ëûþõþ ÷ËñÉ Û÷ò õ±ÈüùÉ, Û÷ò ۶ϿîÂ, Û÷ò Û¶ Ÿ±îÂÏî Û¶±Ëíõþ é±ò¯ ÛÝ ¿ß Ûß ÕîÂÉ™Là äÂ÷ßÂÛ¶ð Õ±}ÂËûÇõþ ¿õø¸ûþ òûþ· Îõþ±¿ýíÏõþÝ Îä±Ëàõþ ü±÷Ëò ÕËòß¿ßÂåÅõþ Îàù±/ õËíÇõþ S Ïh± ¿ß¿=ÁÈ ¿õh¿¥¤î ýËî ýËî ßv±™Là ýËûþ Ýõþ Îä±Ëà âò±ù Ûß Î÷â±gÂß±õþ õþ±¿S/ ¿üM äÂ¥óËßÂõþ ÎüÌõþËö ÷-÷ ßÂõþËå ßÅÂ?õò/ ß±ò±ý× Ûß± Ûß± õËü õËü ëÂ×MõþÏûþ Îüù±ý× ßÂõþËå/ ýùÅð õþãé± Ýõþ ý±Ëî ¿ßÂõþßÂ÷ äÂ=Áù ýËûþ áËù áËù ÂóËh Ýõþ ñÅ¿îÂõþ ýùÅðËß á±ìÂÿ Þ#;ËùÉ ¿ä¿ý î ßÂõþËå/ Û÷òü÷ûþ ðõþæ±õþ ß±Ëå ðÏâÇ å±ûþ±/ ÎöÂæ± õùõþ±÷/ õÔ¿©†õþ ÎüÒ±ð± ág î±õþ Õ¿™¦¸QËß ¿ðËûþËå Ûß ÕòÉ Âó¿õþ¿ä¿îÂ/ Ýõþ õÉ¿M ËQõþ ëÂ×Âóõþ Û¶ËùÂó ÂóËhÂËå ÷±ðßÂî±õþ/ ÕñÇò¢Ÿ ÎáÌõþ±¼à±¿ò Û¶ðÏÂó Ý î±õþ Âó¿õþÂó± «Ç-Ûõþ ÕgÂß±õþ ýËûþ ëÂ×ËêÂËå õþýüÉ-ÕËi¤ø¸Ëíõþ õd/ ß±ò±ý× ý±ËîÂõþ ß±æ ÎôÂËù, ™¦¸¿yÂî ýËûþ ¿áËûþ¿åù, Îðà¿åù ðÅÎä±à öÂËõþ/ ¿ß Îðàù ÎßÂòý× õ± Îðàù Õ÷òö±Ëõ, î±õþ Îß±Ëò± õɱàɱ ýûþ ò±, üÑ:±Ý Õ¦ó©†/ ßÔÂËø õþ Âó±Ëûþõþ ß±Ëå Û¶ðÏÂó¿éÂõþ ëÂ×M±Âó ¿òËî Îáù õùõþ±÷/ Ýõþ úõþÏËõþõþ ëÂ×ËZá-Õ¿¦šõþî± ¿ßÂåÅé± ¿¦šî ýù-îÂËõ Îü Îß±ò Õ¿™¦¸ËQõþ ëÂ×M±Âó, î± ¦ó©† ýûþ/ ¦¨Ëg ßÔÂËø õþ ý±ËîÂõþ ¦óËúÇ, äÂ÷Ëß ëÂ×Ëê î±ß±ù Îü/ Îä±à±Ë䱿à ýù ðÅ¿é áöÂÏõþ Îä±Ëàõþ ü˼/ ä±ý¿òõþ ¿ò¿õh ձËõðò Îûò ñÏËõþ ñÏËõþ õÒ±ñòå±h± ýù/ ëÅÂõ ¿ðù ß±æù± ü±áËõþ/ ¿êÂß îÂàòý× Õ±õþÝ ðÅ¿é ß±æù Îä±à, ¿úëÂ×Ëõþ ëÂ×Ëê¿åù ðõþæ±õþ ôÒ±ËßÂ/ îÂËõ ¿ß– ‘¿ß ö±õËå±·’ ‘ò±–¿ßÂåÅ òûþ/ ü™LñËòõþ æòÉ ðÅ¿}™Lñ õÉîÂÏî ձõþ Îß±Ëò± ö±õò± Õ±Ëå ¿ß ÷±ËûþËðõþ·’ ‘î± Îî± ¿êÂßÂý×/ îÂËõ Û ü÷üɱõþ–’ ‘汿ò ü÷±ñ±ò Õæ±ò±/ æ±ò± ï±ßÂËùÝ ðÅË:Çûþ/’ Îõþ±¿ýòÏ äÂËù û±Ëõ, ÎäÂÌß±ËêÂõþ ëÂ×Âóõþ ÝÒõþ òÓÂóÅõþ¿é Îáù Õ±éÂËßÂ/ òÓÂóÅËõþõþ ÅÂ^ ßÅÂGÂù&Bå&¿ù Âó±i§±-äÅ¿òõþ ÷Å¿M õþ Õ¦¤¿™¦¸ËîÂ, Ýõþ± å¿hÂËûþ ÂóhÂù–¿ßÂåÅ áÔËýõþ ÝÂó±ËõþÝ/ ÕÂóõþ±Ëý õþ ¿òö™Là ձËù±ûþ, Ý&¿ù çÂßÄÂ÷ßÄ ßÂõþËî ù±áù ðÅý× õþ÷íÏõþ Îä±Ëà/ ÛßÂæò ÛÂó±Ëõþ, Õ±ËõþßÂæò ÝÂó±Ëõþ/

3 ûËú±ð±õþ Û Îýò ÷ò-ä±=ÁùÉ î±õþ ß±æ&Ëù±Ëß ÂóG ßÂËõþ/ Û÷ò ü÷Ëûþ Îü õËh± ¿Zñ±¿i¤î ýËûþ ÂóËhÂ, ò± Âó±Ëõþ Ãö±õò±õþ ùýõþÏËß X ßÂõþËîÂ, ò± ß±Ëæ Õü÷±¿l õþ±àËîÂ/ î±õþ üM±õþ ¿Z䱿õþî±ûþ, Îü ¿òËæý× ææÇ¿õþîÂ/ Îß±Ëò± ¿ßÂåÅõþý× Õü¥óÓíÇî± î±õþ ÷òÐÂóÅî òûþ, î±õþ Âóåj ¿òà±ð ÕàGÂ, Õ¿õöÂM üõ¿ßÂåÅ/ Ûý× Îû÷ò Ûý× ÷ÅýÓËîÇ î±õþ ö±õò±-Âó±õþ±Âó±Ëõþ ¿ò÷¿#î ï±ßÂËîÂý× ö±Ëù± ù±áËõ, ¿ßÂc î± Âó±õþËå ßÂý×· ý±ËîÂõþ ß±æ&Ëù± Îúø¸ ßÂõþËî ýËõý×, ¿ßÂc Îúø¸ ßÂõþ±õþ áðéÅÂßÅ Îü ÕòÅöÂõ ßÂõþËå ò± ¿ßÂåÅËîÂý×/ âËõþõþ Îß±Ëò Ûö±Ëõý× ÛßÂù± ÎßÂõù ö±õËî ý×ËBå ßÂõþËå î±õþ/ ð¿ñ-÷±à± ý±îÂé± ¿ðËûþ ÕòÉ÷ò¦¨ ýËûþ Îü ÷ÅËà ÛËü Âóh± åù ü¿õþËûþ Îðûþ/ Û÷òü÷ûþ Z±Ëõþ ßÂõþ±â±ËîÂõþ úËs Öø¸È äÂ÷Ëß ÝËê Îü– ‘Îõþ±¿ýíÏ Îû¯ ÎöÂîÂËõþ ÛËü±’/ ‘Îõ¿ú ÂËíõþ æòÉ òûþ/ ÕŠ ¿ßÂåÅ ßÂï± Õ±Ëå/’ Îõþ±¿ýíÏõþ ß±æù-Îä±Ëà õ±ðù Î÷Ëâõþ å±ûþ±/ ÷Åà¿éÂÝ ¥¡±ò/ á±Ëûþõþ õüËòÝ ¦ó©† ÕûËPõþ ¿äÂý / & îÂõþ ¿ßÂåÅ ýËûþËå, ö±õËù± ûËú±ð±/ ‘õùõþ±÷Ëß ¿òËûþ ðÅ¿}™Lñûþ ÂóËh¿å/’ ‘õùõþ±÷Ëß ¿òËûþ· Îü ÎîÂ÷ò Îî± ûÅõß òûþ·’ ‘Ýõþ ¦¤ö±õÍõßÂùÉý× Õ±÷±ûþ ö±õ±ËBå, ûËú±ð±/’ ¦¤±ö±¿õß ÎûÌõËòõþ Îùú÷±S Îòý× Ýõþ ÷òËò/’ ‘Õ¦¤±ö±¿õßÂî±é± ¿ß·’ ‘Ûß ÕîÂɱ}ÂûÇ ü±ñßÂ-ð Âî±, ¿¦šõþ ö±õ±òÅöÂõýÏò Îä±௠76

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

77

›¶ßÔ¿î ÕüÏ÷ Îüò&l ü÷Ëûþõþ äÂù± Îòý×, á¿î û¿î ¿ßÂåÅ Îòý× ü÷ûþ ÕäÂù ¿¦šõþ/ û± äÂËù æÏõòñ±õþ±, âéÂò±õþ, Âóõþ¥óõþ± üð±äÂõþ Âó¿õþõîÇÂ÷±ò/ Îû âËõþ Õ±áù Îòý× áÔýßÂîDZ Ûß± ï±ËßÂ/ Îüà±Ëò Õ±áËù õþ±à± û±ûþ ò± ¿ßÂåÅý×/ üÏ÷±ø¸éÂËßÂõþ ÷±Ëç ձõX ձß±ú ßÂàò Îû ¿÷Ëú û±ûþ ÕÂó±õþ ձ߱Ëú Îû æ±Ëò Îü æ±Ëò/ ÕòÉ æ±ò± üËîÂÉõþ ö±ò/ æÏõßÅÂù õ±ü ßÂËõþ Îå±é Îå±é Õõ¦š±Ëò ¿òËæËß ý±¿õþËûþ ¿õäÂõþí ßÂËõþ î±õþ± ¦¤BåËj Û¶ßÔ¿îÂõþ òjò ß±òËò ü¼ÏîÂËù±ËßÂ/ ü¿õîÔ ñ±õþíñòÉ Ã›¶ßÔ¿î Âóõþ÷ú¿M , ÛßÂ÷±S ¿òûþLa±–Ö «õþ/ î±õþý× Îß±Ëù ü÷ ëÂ×Âó±ð±ò ü±Ëï ¿S&Ëíõþ ¿õø¸÷ ¿÷|í Õ±õþ òõ òõ Æðõ õþü±ûþËò ÕíÅ-Âóõþ÷±íÅ ¿òËûþ üÑá¿êÂî ýËûþ äÂËù òõ òõ ¿õ¿äÂS õþ+Âó, ¿öÂi§ ¿öÂi§ Õ±ñ±õþ ÷ËñÉ ÛßÂý× Ã›¶±ßÔÂî ձR±/ ëÂ×ð±üÏò Õïõ± Õ±üÏò/ Û¶ßÔÂî Û¶Båi§ ßÔ¿î ûî Âí ¿ò¿© Âûþ ÕõÉM ï±ËßÂ/ Âóõþ÷±íÅ õèËpõþ õèpÂóõþ÷±íÅ ¿òËûþ ÕõÉM ï±ËßÂ/ Âóõþ÷±íÅõèËpõþ õèpÂóõþ÷±íÅ ¿òËûþ ÕõÉM ¿õø¸ûþÏ ýËù õþü±ñ±õþ õÉM ýûþ–Û¶ßÔ¿î Û¶¦£ÅÂé ßÔ¿îÂ/ Û¶ßÔ¿î Û¶¿îÂßÔ¿î òûþ/ Û¶ßÔ¿î Û¶ßÔÂîÂÂóË Â õèËpõþ Û¶ßÔ¿îÂ/ æáÈ Õñɱü òûþ õèËpõþ Õ±õ±ü/ á÷ò Îûà±ò ÎïËß ձá÷ò Îûý×à±Ëò î±ý±ý× æáÈ/

ð¿ ÂËíõþ ðõþæ± Îà±ù± Õ±Ëå/ Îà±ù± Îî± ï±ËßÂý×/ äÂîÅÂõþ ¿äÂßÂò õ±ûþÅ ùâÅ ü=Á±Ëõþ ÕðÔúÉ ÎÂó±ß±õþ ÷î ÕËõ±ñÉ áÒÅ¿h ¿ðËûþ ôұ߱ âËõþ üõÇS Îâ±Ëõþ/ áÔý¦¤±÷Ï ëÂ×ð±üÏò Õïõ± üÅø¸Ål ¿ßÂÑõ± Îß±ï±ûþ Îû Õ±Ëå Îß±ò üg±ò Îòý×/ Û Ûß վ³î ΠÂS Î ÂSË:õþ Âó±A± Îòý× Îß±ò/ Ûî ÛßÂé± Îå±é âËõþ ÛîÂéÅÂßÅ ëÂ×Z±ûþÏ Õ±ß±ú ¿ß ßÂËõþ Îü ñËõþ ï±Ëß ÛîÂõh ÕÂó±õþ úÓòÉî± Îû æ±Ëò Îü æ±Ëò, ÕòÉ æ±ò± üËîÂÉõþ ö±ò/ üÔ¿©†õþ Õ±¿ð÷ Âí ÎïËß ß±ý±õþ Õù ÂÉ äÂù± Õ±Ëù±õþ Õ¿ñß û±î±ûþ±Ëî ձß±Ëú Âó±Ëûþõþ å±Âó ÛÒËß ÎõþËà û±ûþ Îß û±ûþ Îß±ï±ûþ û±ûþ Îß ձËü Îß±ï±ûþ Õ±Ëü Îû æ±Ëò Îü æ±Ëò, ÕòÉ æ±ò± üËîÂÉõþ ö±ò/ ûÓïõX ÕíÅ-Âóõþ÷±íÅ õ±d¿öÂé±ûþ ¿¦šõþ îÂﱿÂó áÔýîÂɱáÏ, âõþ ÎåËh üîÂî ü=Áõþ÷±ò ß±Ëå ðÓËõþ ÷ý±ß±Ëú Õ™LÃýÏò ÕòËÂó  ü±ËÂó Âß±Ëù õËõþíÉöÂáÇÂóÓîÂÐ/ ÕõÉM Û¶ßÔ¿îÂËî &Ëíõþ Âóõþ÷ü±÷É ¿ò¿© Âûþ ¿òËõÇá Ù¿îÂýÏò üËîÂÉõþ &Fò/ ü±÷É ¿õ¿â®î ýûþ ëÂ×ðÄËõ¿æî ýËù– îÂàò üÔ¿©†õþ ùÏù± üýäÂõþ ñTÑËüõþ Âó±ù± ¿õõþ±÷¿õýÏò/

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – ÕüÏ÷ Îüò&l, ·º±¬Û≈ı˛œ ά◊B‰¬-øı…±˘À˚˛ı˛ ı±—˘± ˆ¬±¯∏±ı˛ ’ı¸ı˛√õ∂±l ø˙é¬flÂ, ¿ßÂc Õ±ðËî Ûß ÕîÂù îÂù/ √õ∂‡ı˛ ı˛¸Àı±Ò, fi¬ÛøÚ¯∏±øfl¬ :±Ú·ˆ«¬ ÊœıÚÀı±Ò îÒ±õþ Îùà±Ëß ¿ðËûþËå Ûß ñèÂóðÏ îÂÏ ®Âî±/ ¿ßÂc Îüý× ü˼ Îß±÷ù Îß±õþßÂ&¿ù îÒ±õþ Îùà± ÎïËß ÕðÔúÉ ýûþ¿ò, õõþ=Á Ûý× ðÅý×Ëûþõþ üý±õ¦š±ò îÒ±õþ Îùà±Ëß ¿ðËûþËå Ûß ÕòòÉ Âó¿õþ¿ä¿îÂ/ Û¶ßÔÂîÂÂóË Â âè±í-é±ý× ¦¤îÂLa/

77

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

78

Õ¿¢Ÿ¦§±ò Õïõ± ¿õqX ¿õw÷ Îü±÷± ¿õ «±ü îÅ¿÷ õËù¿åËù– Ûß ձß±ú ¦¤›Ÿ Îðõ õËù¿åù±÷– Õ±¿÷ qñÅ â±Ëüõþ ëÂ×Âóõþ ¿ú¿úõþ¿õjÅ ÎðàËî ä±ý×– ü™LÃÂóÇËò Ûß ¿äÂùËî üÓ„ üÅËî±õþ õÒ±ñò ýËùý× ýËõ Îß±Ëò± áÒ±éÂåh± òûþ... òûþ ü¥óËßÇÂõþ ëÂ×Âó±¿ñ

Õ±¿÷ qñÅ Õ±éÂËÂóÌËõþ ýËî ä±ý× ò±.... ä±ý× ò± Û¶¿î¿é ΠÂËS åßÄÂß±é± Âóð±ÂóÇí ßv±¿™LÃßÂõþ ¿õ¥¤îÂù ÎïËß ձ¿÷ ÎåÒh± ôèÂßÂÂóõþ± Î÷Ëûþ¿éÂõþ ÎäÂ±à ¿ðËûþ ÎðàËî ä±ý× Ã›¶¿î¿é ¦¤Ë›Ÿõþ õþ±÷ñòÅ Õ±¿÷ Îû îÂõÅ Õ±÷±õþ ÕËòß ¿ßÂåÅ ÎìÂËß õþ±¿à ä±ðËõþ ß±ò±÷±¿å ÎöÒ± ÎöÒ±.....ÎàËù¿åËù Îî± Ûß¿é Îàù±· ¦¤Ïß±õþ ß¿õþ Õg ýËûþ¿åù±÷ Õ±¿÷ Û¶ïË÷ çÂ÷Äç¿÷Ëûþ...ÂóËõþ ý×ùËú&Ò¿hÂ.... Õ±õþ î±õþÂóõþ àõþ±... ü¥óÓíÇ ¿ò©xö ýËûþ¿å Õ±¿÷ Õ±õþ ö±¿õ ò± ÎßÒÂËäÂáGÅÂø¸ ü¥óßÇ ¿òËûþ Õ±¿÷ Õ±õþ ‘‘Õ¿¢Ÿæù’’-Û ¦§±ò ßÂõþõ ò±/ Õ±÷±õþ ñÅËù±ûþ ÷±ï± &ÒËæ ï±ß± ÎÛ¶÷ ¿÷¿ùËûþ û±Ý Îä±õþ±á¿ùõþ õÒ±Ëß–

¿ßÂc... Õ±õþ ¿ß ýËõ· îÅ¿÷ Îû ¿õËßÂËùõþ ÎäÂîÂò±úÓòÉ Õ±ß±ú ¿òËûþý× õËü Õ±Ë屯 õËùý× äÂËùå– Õ±¿÷ Îß±Ëò± ÎìÂëÂ× &¿ò¿ò Õ±¿÷ Îß±Ëò± Îß±¿ßÂËùõþ ü˼ áù± Î÷ù±ý׿ò ß±õþÝ Îä±Ëàõþ ¿ðËß ÎäÂËûþ õ¿ù¿ò üõ ðÓËõþ û±ßÂ, ÎöÂËü ÎûËî ð±Ý Õ±÷±ûþ/

Õ±¿÷ Ûàò òîÅÂò ßÂËõþ âÅ÷™Là Îö±õþ&Ëù±Ëß æ±á±Ëî ä±ý× ‘Âó±¿à üõ’ Õ±õþ ‘õþõ’ Îî±Ëù ò± î±ý× ús-ÕËi¤ø¸Ï ýËûþ ëÂ׿ê ձ¿÷/ ¿ßÂc úsõþ± Îû üõ ý±¿õþËûþ û±ËBå...... ý±¿õþËûþ û±ËBå ý±¿üõþ ús.... ý±¿õþËûþ û±ËBå ß±i§±õþ ús.... ÛßÂé± Âó±î± á±å ÎïËß ÂóhÂËùý×– ß±ò-à±h± ßÂËõþ õþ±¿à... ¿ßÂc ÎöÂËü Õ±Ëü ¿ò™¦¸tî±õþ üÅõþ ÛËß ßÂÏ õùõ· úsÂóîÂò· úsýõþí· ÕÂóý+î± ügÂɱ-üÏî±õþ Õ±îÇÂò±ð ÎöÂËü Õ±Ëü ßÂý×·

Õ±¿÷ öÂûþ Âó±ý× ü¿îÂÉý× Õ±¿÷ öÂûþ Âó±ý× ðÔ¿©†Âó±Ëî Ûî úÓòÉ Ûî ¿õþM  ý±¿õþËûþ û±ËBå üõ... ý±¿õþËûþ û±ËBå üõ õþ¿ãò Âó±î±.... Ûß ÷Å÷Óø¸ÅÇ æù Îû á±Ëå ëÂ×Ëê¿åù±÷ æ±òËî Âó±õþù±÷-Îü Õ±÷±õþ òûþ/ ñ±õþ ßÂõþ± Ûß Û¶¿î¿õ¥¤ ÷±õþ± Îáù ûÈü±÷±òÉ Õ±á±å± ÛßÂé±ò± ¿õõþ¿M ßÂõþ õÔ¿©†õþ ús õU÷ÅàÏ ÷ò Îû Ûàò Û¶÷±ð &òËå ¿òË™¦¸æ òÏù ðÔ¿©† ßÂàò ÛËü ÂóËhÂ

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓÎü±÷± ¿õ «±ü, ò±÷ ò± æ±ò± ÛõÑ ’À‰¬Ú± fl¬±ı…Ê·ÀÓ¬ı˛ ¤flfl¬øı/ ëÂ×Mõþ±¿ñß±õþ üÓËS õ±Ñù± ö±ø¸±é± ëÂ׿ò ÎÂóËûþËåò Âó¿õþõ±õþ ÎïËßÂý×– Îüý× ö±ø¸±ËîÂý× ö±Ëù±õ±ü±, Îüý× ö±ø¸±ËîÂý× Âóh±Ëú±ò±/ Ö «õþ, Õ±¿÷, ÆäÂîÂòÉ, üi§É±Ëüõþ ëÂ×ÂóËìÂÌßÂò îÒ±õþ ß¿õî±ûþ ÎÂóËûþËå ÕòòÉî±/ Âó{¡ÏæÏõò Ý æÏõò±òj ß±õÉü±¿ýËîÂÉõþ üÑâ±îÂéÂ±Ý ¦¤îÂLa ýËûþËå îÒ±õþ ßÂùË÷/

Õ±¿÷ Îî± Õ¼ÅõþÏ ÷±ù òýׯ õÔËMõþ ¿õjÅ, ò±¿ß õÔËMõþ Îõ©†ò ö±ãÄËî ä±ý× Õ±¿÷· 汿ò ò±...汿ò ò±¯ 78

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

Õ±Ëõþß¿é Îõèß±Âó ú±Ëûþ¿õþ

‘õþã’-Ûõþ æÏõò

Îðõ±ûþÅñ äÂËA±Âó±ñɱûþ

ëÂ×ðûþò õËjɱÂó±ñɱû

äÂËù Îî± ÎûËîÂý× ýûþ ðÅ’÷±Ëüõþ àÅäÂËõþ± Îß±Ëò± ÎÛ¶Ë÷ Õ±æ Õõ¿ñ ÂóÔ¿ïõÏõþ ¿ßÂåÅý× û±ûþ ò± ¿êÂß ÎïË÷ äÂËù Îî± ÎûËîÂý× ýËõ äÂËù û±Ýûþ± ¿òûþ¿î ûàò ¿òË÷Ëø¸ ¿ë¿ùé ß¿õþ öÂõþ± ý×òÄõ'-îÂËõ ÷ò öÅÂËùÝ ò± Îö±Ëù û¿ð Îüý× üõ ö±ã±Ëä±õþ± ¦œÔ¿î ï±ëÇ ¿ë¿áè ÎðËõ± ñËõþ· î±ýËù ÕîÂÏîÂ-ý× Ûî ÕîÂɱä±õþ ßÂËõþ Îö±ù±Ëî Âó±Ëõþ ò± ÎßÂò üõ·

79

æÏõò ò±¿ß ûàò îÂàò æÏõò ÎåËh û±ûþ æÏõò ò±¿ß å±ûþ±õþ ÷Ëî± Îâ±Ëõþ Îî±÷±õþ Âó±Ëûþ· üõ¿ßÂåÅõþý× ¿ýËüõ 汿ò 汿òò± åù, äÅ¿õþ.... Õ±¿÷ ¿ßÂc üÅËû±á ÎÂóËùý× õþËãõþ à±î± ö¿õþ/ æÏõò æÅËh ò±ò± õþËãõþ ÛßÂËú± ý±æ±õþ Îàù± æÏõò îÅ¿÷ ûîÂý× Îâ±Ëõþ± ö±ü±ý× Ã›¶±Ëíõþ ÎöÂù±/

Îõ±Ëç ¿ò ¿ß ö±Ëù±õ±üÄËù üýÉ ßÂõþ± Îòý±î üyÂõ·

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ –

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – ëÂ×ðûþò õËjɱÂó±ñɱûþ ıºı±¸œ fl¬À˘ÀÊı˛ ı˛±©Üòøı:±Ú øıˆ¬±À·ı˛ ’Ò…±¬Ûfl¬–Îüé± ÎÂóú±ûþ, ¿ßÂc ü˼ ü˼ ÛßÂæò ß¿õÝ/ Îû Îß±Ëò± ü±÷±¿æß ¿ßÂÑõ± õþ±æÍò¿îÂß ÂóûDZËù±äÂò± ¿õø¸ûþß ”ı˛˙«ÀÚı˛ øıøˆ¬iß ’Ú≈ᬱÀÚ øÓ¬øÚ ¤fl¬øȬ Œ‰¬Ú± ˜≈‡/ ‘‘...üßÂËùý× ü÷Ëá±S Õ±¿÷ qñÅ ÝËðõþ Õ±h±Ëù Ûß±ßÂÏ ¦œ±õþßÂ...’’ õíÇ ¿òËûþ õM ËõÉ ¿î¿ò õËùËåò, ‘‘õþã Õ±÷±õþ ß±Ëå ò±ò±ö±Ëõ ÷ÓùÉõ±ò...õþ±æòÏ¿îÂõþ õþã, ôÅÂËùõþ õþã, ձ߱Ëúõþ ¿õ¿öÂi§ õþã, Õ±õ±õþ õþãõ±¿æÝ.../’’

Îðõ±ûþÅñ äÂËA±Âó±ñɱûþ, ¤fl¬ ˜ı˛ø˜ fl¬øıı˛ ÂóÅò X±õþ¿õðɱùËûþõþ Î ÂS ÎïËßÂý× û±õþ ¿õß±ú/ õU ¦¤ÏßÔÂîÂ, ÛõÑ Âó¿õþ¿äÂî î±õþ ß¿õî±ûþ ò±á¿õþßÂËQõþ ü˼ ÎÂóùõ òjòîÂËMWõþ Îß±ò üÑâ±î Îòý×, Ûß¿é üÅùö üý±õ¦š±ò/ fl¬øı ¸≈Àı±Ò ¸ı˛fl¬±ı˛ ¸•Û±øÓ¬ ë눬±¯∏±Ú·ı˛íí ¬ÛøSfl¬±ı˛ ü˼ ü¿S ûþö±Ëõ ûÅM Îðõ±ûþÅËñõþ ß¿õî± ëëŒ˙íí-Û Õ±R۶߱ú ßÂËõþ 2012 ü±ù ÎïËßÂ/ Û å±hÂ±Ý õU Âó¿Sß±ûþ ü¥œ±¿òî îÒ±õþ Îùà±, ÂóÓíÇî± ÎÂóù îÒ±õþ Û¶ï÷ ß±õÉáèLš ë댈¬±ı˛ı˛±ÀÓ¬ı˛ 8-øıíí ŒÓ¬/ õíÇ ¿òËûþ õM ËõÉ î±õþ Õ¿öÂ÷îÂÐ ‘‘õíÇ-Ûõþ ¿õõíÇ ýËî ü÷ûþ ù±Ëá ò±, ¿ßÂc ü÷ûþéÅÂßÅ î±õþ ¿òËæõþ/’’

79

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

óÒ±äÂõþ㱠Û¶ÏîÂ÷ ßÅÂGÅ fl¬±À˘± îÅ¿÷ ¿äÂÈß±Ëõþõþ ¿ðËߠßÂÝ ò± Îòù-Âó±¿ùËú ùÅ¿ßÂËûþ ÎôÂËùËå± òà, Îî±÷±õþ ê±G± ÎðËý üîÂßÇÂî± Îæ;Ëù Î÷Ìò ¿÷¿åù, ÎÂó±ûþ±¿î ձËù±õþ Îú±ß¯¯

Úœ˘ üõ Îùà± Îî±÷±õþ æËòÉ òûþ Îû üõ Âó±h±ûþ Õ±Ëô豿ð¿îÂõþ õ±¿hÂ, Îüà±Ëò á±ûþ Âóõþ±áËõþíÅ Î÷Ëà ðÒ±¿hÂËûþ ﱿßÂ, ýɱÑù± õÑúÏñ±õþϯ¯

˘±˘ ö±ùõ±ü¿îÂü, ÂóÒ±æËõþõþ â±÷ æ±Ëò ß±Ëù± ›−±¿ˆÂß õþËM õþ Õ¿öÂ÷±Ëò//

˝˘≈ Îî±÷±õþ ¿ðËß á¿hÂËûþ û±Ýûþ±õþ ÷±Ëò üÒɱîÂüÒɱËî ¦œÔ¿îÂ, æÑñõþ± ëÂ×ÈüËõ, ÕgÂß±õþ æÒ±¿ßÂËûþ õü±õþ Õ±Ëáý× Îß±Ëò±Ý Ûß¿ðò ÂóÅòæÇiœ ýËõ¯¯¯

¸±± òûþ åËûþ ÂóÒ±äÂ, ý±Ëî ¿åËù± ë±ßÂò±÷ ðÅõþ™Là åÅéÂ, üÓûÇ ÎåÒ±ûþ±õþ ¿ðËßÂ, Îû û±õþ ÷î âÅ¿÷Ëûþ ÂóhÂËù± Õ±æ ý×Ëõþæ±Ëõþ ßv±™Là ßv±™Là ¿õËßÂù¯¯

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – Û¶ÏîÂ÷, Œ√õ∂ø¸Àάøk øıù´øı…±˘À˚˛ı˛ ı˛±ø˙øı:±Ú øıˆ¬±À·ı˛ ±S/ á±Ëòý× îÒ±õþ Âó¿õþäÂûþ üõËäÂËûþ Îõ¿ú ûï±ûï ß±õþí ü¼Ïî îÂÒ±õþ ¿ò‡Â±, îÂÒ±õþ Îòú± ÛõÑ îÂÒ±õþ à±÷Ëàûþ±ùÏÂóò±Ý/ ëëά◊¬Ûıvıíí ò±Ë÷õþ Ûß¿é ü¼Ïî ðËùõþ áÏé±õþ õ±ðß ¿î¿ò/ ßÂï±õþ æ±ðÅßÂõþ Û¶ÏîÂ÷ ¿òËæõþ ÷î ßÂËõþ õËùËåò..., ‘‘Õ±¿÷-Õ-Û ÕüöÂÉ Îü Îî± ÕËòß¿ðòý× ¿åù±÷ Õ±-Û Õ± ±ðÏ ¿ßÂåÅ ßÂï± ü˼ qËî± ý×Ë÷æ Îù±é±õþ ßÂù ÎÂóËî ¿åù±÷ Öø¸ðÅø ¿òûþò Îàù±õþ åÅËî±ûþ... á±ò õ±ò±ý× •Îû&Ëù± ÎßÂëÂ× Îú±Ëò ò±—, ß¿õî± ¿ù¿à •Îû&Ëù± ÎßÂëÂ× ÂóËh ò±— õ±gÂõÏËðõþ ü±Ëï çÂáh± ß¿õþ...Õ±õþ àÅõ àÅõ å¿õ Îî±ù±õþ Î䩆± ß¿õþ// Õ±÷±õþ ß±Ëå õþã õùËî ü±ð± Õ±õþ ß±Ëù±...Îõþ±VÅõþ ÎÂóËù Õ±Ëù±ûþ ¿áËûþ ðÒ±h±ý× Õ±õþ ß±i§± ÎÂóËù ß±Ëù±ûþ...’’

80

80

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

81

åj, õþã Ý ü÷±æ ÎüÌ¿îÂß Îâ±ø¸±ù Õ±÷±õþ õíÇ÷ûþ æÏõò õþ¿ãò ßÂɱòö±Ëü îÅ¿ùõþ ÕËá±å±Ëù± é±ò¿÷ËïÉ õ±hÂËå Îõþ±æ îÂõÅ Õ±æÝ Ü ß±õþ±õþ æûþá±ò/

䱿õþ¿ðß ÎïËß U‚±õþ åÅËé ձËü õþM ä ÅÂ, ¿õ™¦¸õþ ú±ü±¿ò Îî±÷±õþ ¿òËø¸ñ±:± ëÂõþ±ý× ò± Îû¿òöÇÂÏß ձ¿÷, ü±ýü Õ±ú÷±¿ò/

Õ±÷±õþ òÏùËä ձß±ú ßÂËõ ÎïËß ëÂ×ñ±Ý ñÅüõþ Î÷Ëâõþ Õõ±ñ Õ±ò±Ëá±ò± ß±õþí ä±ý×Ëù, ÕòÉ ß±ëÂ×Ëß qñ±Ý/

Ûö±Ëõ ßÂî õþã ù±áËå Îä±Ëà æÏõò ü±ð±-ß±Ëù±ý× ¿åù ö±ù îÂÏ ®Â õÅËùé ¿äÂhÂËù õ±ð±¿÷ õÅßÂé±ü÷™¦¸é±ý× Õ÷±¿òú±õþ ÷î ß±Ëù±/

ýùÅð ¿õËßÂù &òËå ÷±qù Îõþ±æ ¿õËø¸õþ õÒ±¿ú õ±¿æËûþ Îáù ß±õþ±· úɱ÷ù± Î÷Ëûþõþ ü¥œ±òà±ò± ÎßÂËh ¿äÂî±õþ Õ±&Ëò ÆòúËö±Ëæõþ ü±h±/

Õ±õþ ÷±S ßÂËûþß¿ðò ÆñûÇ ñõþ ü÷ûþ ÎÂóËù ¿òËæËß Û¶ Ÿ ßÂõþÛý× Îû ß±¿ù÷±¿ùl ýËBå ¿òËæ Õ±÷õþ± û±¿Bå õþËM õþ ð±Ëá ¿öÂËæ Õ±õþ ßÂé± ÷ÔîÅÂÉ ÎðàËõ îÅ¿÷· ßÂæò öÂËûþ å±hÂËõ æiœöÓ¿÷·

ù±ù ¿õ›−õ äÂùËå ßÂËõ ÎïË߯ ¿öÂæËå ÷±¿é õþËM , ÎüÒ±ð± ág ձÂóò÷Ëò ÷±òÅø¸ ý±¿hÂß±Ëê ÷±Ëûþõþ Õ|n Îú±ß±ûþ, ¿õä±õþ ÕgÂ/

Ûý× õþ¿ãò ü÷±Ëæõþ ¿ð¿õÉ ÎàËûþ õù¿åÎðàõ, îÅ¿÷ ßÂî üý×Ëî Âó±õþ//

Î÷Ëý¿ôÂù Õ±æ ÷Åàõþ ßÂùõþËõ, éÅÂÂó éÅÂÂó ßÂËõþ àËü ÂóhÂËå î±õþ± Îü¿ðò ûàò ¿òßÂø¸ ß±Ëù± ÕÒ±ñ±õþ üõÅæ ñõþ± ¿åù Õ±Rý±õþ±/

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – ÎüÌ¿îÂßÂ, Œ√õ∂ø¸Àάøk øıù´øı…±˘À˚˛ı˛ ı˛±ø˙øı:±Ú øıˆ¬±À·ı˛ å±S/ ü¼Ïî îÂÒ±õþ Û¶±í/ ¿î¿ò û±ý× ßÂËõþò, ÕîÂÉ™Là ¿ò‡Â±õþ ü˼ ßÂËõþò, ÛõÑ ¿õ «±ü ¿òËûþ ßÂËõþò/ Ûàò ¿î¿ò Ûß¿é ü¼Ïî ðËùõþ üË¼Ý ûÅM õþËûþËåò û±õþ ò±÷ ëëά◊¬Ûıvıƒíí/ ¿òËæ á±ò ÎùËàò ÛõÑ ðËùõþ ÛßÂæò ëëE±˜íí ı±fl¬› ¿î¿ò/ ¿òËæõþ ß±æ...¿òËæõþ Ûý× ¿úŠËß ¿î¿ò ÕîÂÉ™Là ö±ùõ±Ëüò õËùý× Îõ±ñýûþ ¿î¿ò ¿òËæõþ ðËùõþ Û¶¿î ð±¿ûþQËõ±ñü¥ói§ ÛõÑ î±õþ æ±ûþá±éÂ±Ý ÕËòßÂé± ü¥œ±Ëòõþ/ õþã ü¥¤Ëg îÂÒ±õþ Õ¿öÂ÷î ýù Ûõþ+Âó...õþã&¿ù æÏõËòõþ ëÂ×Âó±ð±ò/ õþã Îî± Õ±÷õþ± üßÂËùý× ¿äÂòËî Âó±¿õþ...îÂËõ î±õþ ÷ÓùÉ, î±õþ ÕïÇ ò± ëÂ×Âóù¿t ßÂõþËî Âó±õþËù æÏõò ÛàËò± ¿ßÂåÅé± æ±ò± õ±¿ßÂ...Îä±à ï±ßÂËîÂÝ, ÛàòÝ Õg Îüý×üõ ÷±òÅËø¸õþ±/

üËôÂð ¿òú±ò á±Ëûþ æ¿hÂËûþ ¿òËûþ ö±õå ì±ßÂËõ á±ìÂÿ Âó±ËÂóõþ Âî Îî±÷±õþ Õ¿öÂòÏî üõþùî±ûþ àÒÅËæ Âó±ý× Õ±¿÷ õþ¼÷=Á ßÂî¯ Û¶ýüò äÅÂÂó ï±ßÂËî Îðûþò± îÂõÅ Îæý±ð ä±ûþ Õ±úß±õþ±, Õ¿õõþî üÓËûÇõþ Û¶ï÷ ßÂ÷ù± Õ±ö±ûþ úÂóï ß¿õþ àõ åjÂóîÂò/

81

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

æÏõËòõþ æùõþã

ñɱÈËî¿õþ

ù±õ¿í Îüò&l

÷j±õþ ÷ÅËà±Âó±ñɱûþ

ðÒ±¿hÂËûþ Õ±¿å Õ±ò÷Ëò ÕËá±äÂËõþ... ü±÷Ëò Õ±Ëå ¿ß 汿ò ¿ðá™LÃõþ ò± äÂõþ±äÂõþ, ÷ò ä±ý×Ëå ÛßÂô±¿ù qwî±õþ ÎåÒ±Ýûþ±, áýò áöÂÏõþ ßÔÂø ß±Ëù± ¿äÂËõþ, Ûß òõÏò üõÅæ æÏõËòõþ ¦óúÇ/

82

ûÅXÂé±ý× ÷ɱhÂË÷Ëh ýËûþ û±ËBå ÎßÂò Îü Û÷ò ý±î ßÂä¿ùËûþ-‘ÎýÒ ÎýÒ’ ÎßÂò Îü Û÷ò-‘¿êÂß õËù¿åü ¿êÂßÂ’ ÎßÂò Îü Û÷ò ßÒ±äÅÂ÷±äÅ Îä±à Ûõþ ÎäÂËûþ ÎìÂõþ ö±Ëù±, Îüý× ¿÷ËïÉ-ð±¿yÂß ¿òÂó±é ö±Ëù± ¿åù, ᱿h ¿òËûþ U U åÅéÂ...¿ò¿ø¸X Î÷Ëûþ¿é Âó±Ëú ö±Ëù± ¿åù, Õ±÷±ËßÂý× ûî Îð±ø¸±Ëõþ±Âó... ðÓõþ ðÓõþ ðÓõþÎßÂòËõþ Û÷ò ÷±ï± ÎýÒéÂ-áð áð Îð±ø¸ ¦¤Ïß±Ëõþõþ Î䩆± ‘ßÂî ö±Ëù±õ±¿ü õËù-’ ¿üÒËñù Îä±Ëõþõþ ÷Ëî± Îì±ß±¯ Õ±¿÷ Õ±õþ ÎàùËõ±ò±... ÷±ê ÎåËh äÂËù Õ±¿ü ñɱÈËî¿õþ õËù...

õþËM õþ ù±ù õþã ¿÷Ëú ¿áËûþ ձ߱Ëúõþ üÓËûÇ, ¿ß Ûß ÕË÷±â Õ±ßÂø¸ÇËí ÎéÂËò ¿òËûþ äÂËù, Û¶±Ëíõþ ëÂ×Èü¦šËù õþ¿íî ýûþ ¿ß Ûß ýõþø¸ ò±ð, Õ¿™¦¸ËQõþ Îß±ò ÕîÂù îÂËù, î¿ùËûþ Õ±Ëå æÏõËòõþ üõ õþã... ¿õ¦œÔîÂÛ¶±ûþ Õ±÷±õþ Õ±¿÷ ÎàÒ±Ëæ, Õ±ú±÷±íÏ Ûß æÏõËòõþ òßÂú±, àÒÅËæ äÂËù æÏËõòõþ æùõþã/

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – ÷j±õþ ÷ÅËà±Âó±ñɱûþ, Ûß Õò™Là ß±õÉ-ßÂ÷Ëùõþ ò±÷- ...ôÅÂËéÂý× äÂËùËåò ÎüÌõþö åh±Ëî åh±ËîÂ/ ùt Û¶¿î¿‡Âî fl¬øı, |œ ø˙鬱˚˛Ó¬Ú ˜˝±øı…±˘À˚˛ ı˛±©Üòøı:±ÀÚı˛ ’Ò…±ø¬Ûfl¬±, ëë’ôL√ı˛±íí ò±÷ß Ûß ˜ø˝˘± ˜Úøıfl¬±ı˛ Œfl¬Àfı˛ Ûß¿ò‡Â ßÂ÷ÇÏ-î±õþ Âó¿õþäÂûþ ¿õ¿õñ/ ¿ßÂc üõ±õþ Õ±Ëá, ÷Ëòõþ ÷±òÅø¸-÷±¿éÂõþ ß±å±ß±¿å Û÷ò ÎßÂëÂ×, û±õþ ÎüÒ±ð± ágÂ, ¿öÂËæ õ±î±ü ÷òé±Ëß ձËõú ö¿õþËûþ Îî±Ëù, û± ÝÒõþ õý× ëëÙ≈¬˘ı˛±ÌœÀÓ¬íí Âó±Ýûþ± û±ûþ/ õíÇ ¿òËûþ õM ËõÉ Îü Ûß ¿õ˦£Â±õþß ëÂ׿M ’’ Ð ¿ß ôÅÂù ç¿õþù ¿õÂóÅù ÕgÂß±Ëõþ-’’

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – ù±õ¿í, õ±Ñù± ö±ø¸±¿é ÎÂóËûþËåò ëÂ×Mõþ±¿ñß±õþ üÓËS/ Îü ¿ß Û¶ß±õþ, î±õþ Æõ¿äÂSÉý× õ± ¿ßÂ, î± ù±õ¿íõþ ÕîÂÉ™Là ÎäÂò±/ ∆˘ø‡fl¬Ûøı˛fl¬äfl¬ ýËùÝ ü±¿ýËîÂÉõþ ü˼ î±õþ Î÷±é± üÅËî±õþ õÒ±ñò-é±ò ÂóhÂËùý× üÔ¿©† õþ±¿ú õþ±¿ú/ õíÇ ¿òËûþ õM ËõÉ õùËùòÐ ‘‘õþã Õ±õþ æÏõò Õ±÷±õþ ß±Ëå Û¶±ûþ ü÷±ïÇßÂ/ æÏõò ÷±Ëò õþËãõþ Õ±ßÂõþ/ òõÏò üõÅæ æÏõËòõþ ÎåÒ±Ýûþ±ûþ ßÔÂø î±÷ü ÎöÂð ßÂËõþ Û¶±Ëíõþ ñ±õþ± õËûþ äÂËù ¿òõþ™LÃõþ/ æÏõËòõþ Û¶¿î¿é ÕòÅöÓ¿î–ðÅÐà, ß©†, ¿õõþý, ö±ùù±á±, ö±ùõ±ü±, Õ±òj, Îõðò±, õÉïÇî±, õþËãõþ Îûò Ûß¿é õþ+Âó/ ü±î õþËãõþ Îû Îß±ò Ûß¿éÂõþ Õö±Ëõ Îû÷ò õþ±÷ñòÅ ÂóÓíÇ ýËî Âó±Ëõþò±, ÎüõþßÂ÷ý× Îû Îß±ò Ûß¿é ÕòÅöÓ¿îÂõþ Õö±Ëõ æÏõòÝ ÕÂóÓíÇ ÎïËß û±ûþ/ Ûß Ûß¿é õþã Îûò æÏõËòõþ Ûß Ûß¿é ÕòÅöÓ¿îÂËî ¿üM ýËûþ, Õ±÷±Ëðõþ ÕõËäÂîÂò ÷òËß ò±¿hÂËûþ üËäÂîÂò Õ¿™¦¸QËß õþ±¿ãËûþ ¿ðËûþ û±ûþ/ Õòõõþî æÏõËòõþ ò±ò± Ýê±Âóh±õþ ü˼ Õ±÷õþ±Ý ÕòÅöÂËõõþ òßÂúÏ ßÒÂ±ï± õÅËò ä¿ù/’’

82

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

õíÇ ¿õõíÇ

õþÑ ¿÷ù±¿™LÃ

Îü±¿ýòÏ æ±ò±

Îðõ ßÅÂ÷±õþ

Îß±÷ù üõÅæ Õ±Ëù± Õ±÷±õþ Îä±Ëà, Îß±÷ù üõÅËæõþ üÔ¿©† üÅËà, æiœ ¿òËûþ¿å Õ±¿÷ ñ¿õþSÏõþ õÅËßÂüõÅæ ÷±¿éÂõþ ág úÒÅËßÂ//

83

¿ß õÔ¿©†, ¿ß õÔ¿©†, Îüý× Îö±õþ ÎïËß ÕËç±õþñ±Ëõþ ձ߱Ëú üÓûÇ Îòý×, qXÂî±õþ ñ±õþí± ÎùËá, Õò™Là âÅ÷ õÅËçÂ, ¦¤Ë›Ÿõþ± ò±Ë÷ äÅ¿Âóü±ËhÂ, îÅ¿÷ Âó±Ëú ÎôÂËõþ± ÕËñ± âÅË÷, Õ±ËñÇß ÎæËá, õ±ý×Ëõþ üß±ù ýù, üß±ù ò± üß±Ëùõþ ñ±õþí± Îõ±ñýûþ, Îî±÷±õþ âÅË÷õþ õþÑ ¿÷Ëù û±ûþ ¦¤Ë›Ÿõþ òÏËù, Õ±¿÷Ý ¦¤Ë›Ÿ qËûþ, ü±õþ±õþ±î âÅ÷±Ëò±õþ ßÂËõþ Õ¿öÂòûþ, ÎöÂËõ Îá¿å, ¿ßÂö±Ëõ ëÂ×ˌ± ý±Ëî õþÑ ÷ÅËå ¿ðËù...

ÆúúËõõþ Îä±Ëà òÏ¿ù÷± Îâ±Ëõþ, òÏù ü±ûþËõþõþ ¦¤›Ÿ Î÷Ëù, òÏù±ß±Ëú û±ûþ Ûý× ÷ò ëÂ×ËhÂúúõÉ™¦¸ æáÈ ÎôÂËù// ÆßÂËú±Ëõþ õþËM õþ ðÔl ù±Ëùù±ù Âóù±Ëúõþ õ¿ý æ;Ëù õþ¿M ÷± ÎÛ¶Ë÷ Îá±ù±Âó Õ±ö±, ý+ðËûþ õûþ îÂl ù±ö±// Õ±æËß üõ ýùÅð ÷¿ùò ðÔ¿©†ú¿M ýËûþ ÎáËå ÂÏí, Ûý× æÏõò Õ±æ õíÇýÏò ÕÒ±ñ±Ëõþ ýËî äÂËù¿å ¿õùÏò// Ûý× ÕÒ±ñ±õþ Ûý× ß±Ëù± ÎðËõ Õ±æ Õ±÷±ûþ òîÅÂò Õ±Ëù±, î±ý× õõþí ßÂËõþ î±Ëß ü±ðËõþ¿÷¿ùËûþ û±õ Õ±æ Ûý× ÕÒ±ñ±Ëõþ// Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – Îü±¿ýòÏ, ¤¸. øı. ’±˝◊ ı…±ÀǬı˛ fl¬˜«-¬Û¶ö ¸˝ ¬Ûøı˛‰¬±˘fl¬/ ¿ßÂc ÝÒõþ ÷òé±, ü±¿ýËîÂÉõþ ÷Ô¿Mß±ûþ Õ±^Ç/ ß¿õî± Îùà±õþ ü÷ûþ Ý Õõß±ú ðÅùÇö ýËùÝ, Î䩆±õþ Õ™Là Îòý×/ Îü±¿ýòÏõþ Õ¿öÂ÷î õíÇ ¿òËûþ ÕòÉ ‘‘Îü Õ±÷±õþ Û¶±Ëíõþ ¿öÂîÂËõþ ÎÛ¶±¿ïîÂ, ÛßÂé± õþËãõþ á±å, Ýõþ ë±ù ÎïËß çÂËõþý× äÂËùËå õËíÇõþ ôÅÂù...’’

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – Îðõ ßÅÂ÷±õþ, √õ∂˚≈øMêøı…±ı˛ ±S-¿äÂõþËQõþ ÛõÑ ¿¦šõþËQõþ Õ±ú±ûþ ÷¢Ÿ ýËùÝ, Îß±ï±ûþ Îûò ‘‘àɱÂó± àÅÒËæ àÅÒËæ ÎôÂËõþ’’/ ÝÒõþ ÕËi¤ø¸±, ¿òõþ™LÃõþö±Ëõ õýî±/ ‘‘Calcutta Chronicles’’ ò±÷ß Ûß¿é ¿õËúø¸ Æõ-Âó¿Sß±õþ Û¶ñ±ò ü¥ó±ðß ÛõÑ îÒ±õþ Û¶±íÝ õËéÂ/ õíÇ ü¥¤Ëg õM ËõÉ õùËùò, ‘‘ý+ðËûþ õþËãõþ ëÂ×Â󿦚¿î õËù Îðûþ, ÎüàËò ÛàòÝ ¿ßÂåÅ ö±Ëù±õ±ü± õ±¿ßÂ/ ö±Ëù±õ±ü±õþ ۶߱ú âËé õþËã/’’

83

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

84

Îî±÷±õþ ÷òËß àÒÅËh üËý¿ù ÷ÅËà±Âó±ñɱûþ Îî±÷±õþ ÷òËß àÒÅËh ÕîÂù áöÂÏËõþ, ¿êÂß àÒÅËæ Âó±Ëõ î±ËßÂ, Û¶¿î¿ðòß±õþ õþ¿ãò ¿öÂËhÂõþ ÷±Ëç úúõÉ™¦¸î±, ýêÂ±È ß¿êÂò ß±Ëæ/ õ±UùÉýÏò ä¿õþËS ¿äÂSí/ õ±ÈüËùÉõþ ¦œÔ¿îÂõþ Îß±ù±æ ÷ÅËå ÎáËù± î±h±î±¿h õþ±î Ûá±Ëõþ±é±/ ü±î±Ëú æ±òÅûþ±¿õþ/ Îúø¸ ýËûþ Îáù õËùõþã á±ìÂÿ ýù ÷Ëòõþ áýò Îß±Ëò/ ß±Ëù± ձ߱Ëúõþ Îß±Ëù ü±ð± äÒ±ð/ Îü Îû Õ±õþÝ ü±ð± ýûþ ÕûþËòõþ Õ±|Ëûþ/ ÷Å* òÏõþõ ðÔ¿©†Ëî Ýý× î±õþ±õþ±, Îî±÷±õþ ÷ÅàËß ձËù±¿ßÂî ßÂËõþ ۶߱úõþ¿ýî ձòËj Õ±Rý±õþ±/ éÅÂßÂËõþ± éÅÂßÂËõþ± ßÂï±/ úÏËîÂõþ ð÷ß± õ±î±Ëü ¿ò™¦¸tî± ÷¢ŸÕ±õþ üi§É±üÏ Âó¿õþËõËú Âó±ÑqËé Ýý× á±å&Ëù± qñÅ ¿ç¿÷Ëûþ ü± ÂÏ ï±ßÂËù± ú±™Là Îä±Ëàõþ Õ¿¦šõþ Õ±ò±Ëá±ò±ûþ/ õþãäÂé± Ýý× ÎðÝûþ±ù&Ëù±ûþ ß±ò ÎÂóËî õþ±Ëà±Îî±÷±Ëðõþý× á±ò Îú±ò±ûþ/

ýêÂ±È îÅ¿÷ý× ö±ãËù òÏõþõî±/ ¿ôÂËõþ±æ± Õ±Ëù±Ëî õ±¿ß ¿åù õþã ûîÂõ±ð±¿÷, Îá±ù±¿Âó, ù±¿ù÷±õþ õÅß åÒËûþ, ñÓüõþ ßÅÂûþ±ú± ¿ö¿™¦¸Ý’ù±õþ ÷îÂ, õþ±™¦¸±Ëß ¿ðù ñÅËûþ/ õþ±¿Sõþ ÎúËø¸ ÷ÅËM ± åh±Ëò± üß±ù Î «îÂqw õþ±æýÑËüõþ ÷îÂ/ ü±÷Ëòõþ Ûý× ðÏâÇ ÎðhÂËú± õåõþ ‘Îù±¿ùé±’õþ ß±Ëå öÂÏø¸í õÉ¿M áîÂ/ òîÅÂò ßÂËõþ Îðà± ýËõ Îß±ò¿ðò üõÅËæËî Î÷±h± Âó±ý±ËhÂõþ ñ±Ëõþ Õïõ± òÏùòËðõþ Âó±Ëh õüËõ õþ±¿S¿ðò/ Îù±¿ùé± ðÒ±h±Ëõ Îî±÷±õþ ü±÷Ëò ÛËü, òõîÂ÷ Âó¿õþäÂËûþ/

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – üËý¿ù, Œ√õ∂ø¸Àάøk øıù´øı…±˘À˚˛ı˛ ˆ”¬À·±˘ ¿õö±Ëáõþ ¿ZîÂÏûþ õËø¸Çõþ å±SÏ/ Îå±éÂËõù± ÎïËßÂý× ¿õ¿öÂi§ ü±Ñ¦Ô¨¿îÂß ¿ðËß îÒ±õþ ÎçұߠõþËûþËå/ á±ò á±ý×Ëî Âó±Ëõþò, ı˛ıœf¸—·œÓ¬ îÒ±õþ Û¶±Ëíõþ àÅõ ß±Ëå/ îÒ±õþ ÷±¿æÇî ¿äÂËõ±ñ ÛõÑ õÉ¿M Q ÕîÂÉ™Là ձßÂø¸ÇíÏûþ/ ÷±¿éÂõþ ÷±òÅø¸ ÛËßÂõ±Ëõþ/ õþã ü¥¤Ëg õùËî ¿áËûþ üËý¿ù õËùËåò Îû, õþã Îõ±ç±Ëî qñÅ÷±S îÅ¿ù, ßÂɱòö±ü, ‘ÂóɱËùéÄÂ’ Îõ±ç±ûþ ò±/ õþËãõþ & Q, î±õþ üÑ:± Ûö±Ëõ Îå±é ßÂõþ± ëÂ׿äÂî òûþ/ Õ±÷±Ëðõþ Îõþ±æß±õþ æÏõò, Õ±÷±Ëðõþ ëÂ×Âóù¿t, Õ±÷±Ëðõþ ä±õþÂó±Ëú û± ¿ßÂåÅ...î±ý× ¿ðËûþ Õ±÷õþ± õþã ¿äÂËò ¿òËî Âó±¿õþ/ üËý¿ù õËùËåò Îû îÂÒ±õþ Îùà±ûþ õþã&¿ù ÛËüËå ¦¤î¦£ÓÂîÇÂö±Ëõ...û±õþ ÷ËñÉ òÏù õþËãõþ ¦óúÇ ¿÷Ëú ûï±ûï ÷±Ëò ðÒ±h±ûþ/

84

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

Âí, æù¿ñ Ý æiœ ÆõöÂõ õüÅ 1

ü÷Å^ Îûò æÏõò ü÷Å^ Îûò Õ¿ùj Îûà±Ëò ò¢Ÿ ýËûþ ðÒ±¿hÂËûþ, ý±õþ±Ëò± ¿ðËòõþ ßÂï± ö±õËõ±, ÎðàËõ± ¿ßÂö±Ëõ, Îå±A Îå±A ÷±òÅø¸, õgÅ õgÅ ÎàùËî ¿áËûþ Ûß¿ðò ÕßÓÂù ÂóÔ¿ïõÏ ÆîÂõþÏ ßÂËõþ ÎôÂËù¿åù ÂÂÂóÔ¿ïõÏ áæDZûþ/ ëÂ×M±ù/ ÎìÂëÂ× Õ±Ëü, ÎìÂëÂ× û±ûþ, Õ±õþ ¿ðá™LÃËõþà±–üÅjõþ Õ¿™¦¸QýÏò, ÕïäÂ, õ±™¦¸õ/ õ±ëÂ×`ÅÂËùõþ ¿úàÏÂóÅBå ðÅæÇûþ Âó±õþ±õ±õþ Õ¿îÂS Ë÷ Õò±õúÉß òûþ/ úM ßÂï±õþ ß¿êÂò ¿äÂõÅËßÂ, ¿üM ¿æËöÂõþ ÎåÒ±ûþ± ù±á±Ëî õ±¿ßÂ/ ýûþî Õæ±ò±, ýûþî ÕËäÂò± Îß±Ëò± äÅÂ¥¤Ëò, àùàËù åjõgÂòÏ ßÂï± ôÅÂéÂËõ/ îÂõÅÝ, ¿õø¸±ð÷ûþ ñ±Ëòõþ Îá±ù±õþ Õ±ËúÂó±Ëú ¿åõËh ¿ßÂåÅ ÂóËh ï±ßÂËõý×/ ¿ðò±™LÃ, ¿òõÅ ¿òõÅ ýɱ¿õþËßÂËòõþ îÂù±¿òËî Âóä± ß±Ëù± ÎîÂù, ý±ËhÂ, ÷#±ûþ ¿÷Ëú, ¿Âóåù ýËûþËå/ ¿ßÂc ò±ò± öÂõâÅËõþõþ ß±Ëå Õ Â÷/ õþæòÏõþÝ Îúø¸ Îòý×/ Õæ¦Ú õåõþ ñËõþ, ¦œÔî ¿õ¦œÔî ü÷Ëûþõþ Î÷±é± ÕñÐ Î ÂÂó¯ ðÅËöÇÂðÉ òûþ, îÂõÅÝ, ÎöÂËðõþ Û¶Ëûþ±æò ýûþ ò±/ ÎöÂËü û±ûþ qñÅ, Õ±h±Ëù ï±Ëß ÂóÔ¿ïõÏ/ ýîÂõ±ß ¿õ¦œËûþ, î±õþ õõþí ë±ù±, q¿ßÂËûþ ÎáËå/

ø·ÀôL√ı˛ Œ‡“±ÀÊ Îå±A Îå±A æù, õgÅ õgÅ ÎàùËî ¿áËûþ Ûß¿ðò ÕßÓÂù ü÷Å^ Æî¿õþ ýËûþ Îá¿åù Õïä ¿ßÂåÅ ß±Ëùõþ ÷ËñÉý×, ÎìÂëÂ× q ýù, Îå±A Îå±A æù&Ëù±, Îå±A Îå±A ðù ÎõÒËñ ÕòÉ ðù&Ëù±Ëß ձåËh ÎôÂùù ßÓÂËù ü÷Å^ áæÇò ßÂËõþ ëÂ×M±ù/ ¿öÂËæ õ±¿ù ê±G± õËùý× ÷Ëò ýËûþ¿åù/ ÷Ôî Îðý ê±G± ýûþ/ õ±¿ù ß¿ôÂò, õ±î±Ëüõþ ÎÂó±ˆÂ÷ËéÇÂ÷ ü÷Å^ ö±¿õþ ò¢Ÿ Îà±ù± ¿ÂóêÂ, äÅÂËùõþ ÎìÂëÂ×/ ÛßÂËä¿éÂûþ± úËsõþ ùh±ý×/ ü÷ÅVÅËõþõþ Îß±Ëò± Õ¿ùj Îòý×/ Îûà±Ëò ò¢ŸËðËý ðÒ±¿hÂËûþ ý±õþ±Ëò± ¿ðËòõþ ßÂï± ö±õËõ, ÎðàËõ, ß±Ëù± Î÷â, Îà±ù± ÷üÔí ¿Âóê ÎìÂËß Îðûþ ÕËç±õþñ±õþ±ûþ, Âó±ïõþ ÎöÂËã õ±¿ù, ÕñÐ Î ÂÂó/ Õ±õ±õþ Îë±õ± ÂóÒ±ËßÂËðõþ Îå±A Îå±A æù, ÷Ëò ýûþ, ÕéÂù õgÅÂËQ üÑâõXÂ/ û¿ðÝ, ðÅáÇËg ᱠ&¿ùËûþ ÝËêÂ/ Âó± ä±ù±Ý ö±ý× Îæ±Ëõþ/ ü÷ÅVÅËõþ Âó±áù ßÂõþ± ý±Ýûþ± ö±¿üËûþ ¿òËûþ û±ûþ/ ÎìÂëÂ× û±ûþ ÎìÂëÂ× Õ±Ëü, Îúø¸ Îðà± û±ûþ ò±/ ¿ðá™LÃËõþà±, üÅjõþ, Õ¿™¦¸QýÏò, Õïä õ±™¦¸õ/ 85

85

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

¿òËö ÎáËå Û¶ðÏÂó õU Û¶±äÂÏò ÎðëÂ×Ëù ¿õáèËýõþ ÂóðîÂËù, ÷¿ùò, æÏíÇ/ ÂóÔ¿ïõÏ î±õþ àõõþ æ±Ëò ò±/ Õ±æ ç±ëÂ×õËòõþ Õ¦£ÅÂé S jò, ü±ïÇß ýù/ ß±õþ Îûò ÂóðñT¿ò ÎîÂ, ÷hÂ÷¿hÂËûþ ëÂ×êÂù õòõÏ¿ï/ ÷ÅäÂËh ëÂ×êÂù qßÂËò± Âó±î±/ ü±áËõþ ÎìÂëÂ× ö±ãù/ õÅß ô±é± Õ±òËjõþ ß±i§±ûþ/ ðÅæÇûþ Âó±õþ±õ±õþ, Õ±Âóò õ  ¿õðÏíÇ ßÂËõþ ý±ý±ß±õþ ßÂËõþ ëÂ×êÂù, ðÅáÇ÷î± ÎïËß ÷ÅM ÎäÂËûþ/ î±õþ Âóð¦óúÇ ÎäÂËûþ± ü÷™¦¸ ձ߱ú õ±î±ü Õ±ßÅÂù ýËûþ Õ±h±ù ôÒÂÅËh Îõ¿õþËûþ Ûù Õ±¿ð÷ ÷ý±Ã›¶±Ëíõþ ÂóÓíÇßÅÂËyÂÂ/ ÂóÔ¿ïõÏ Îðàù, î±õþ Õ™LÃËõþ, Îá±ÂóËò ûî õþã ¿åù, üõ Õ±åËh ÂóhÂËå ¿òçÇ¿õþíÏ ýËûþ/ Õ±õþ î±õþ òÏËäÂ, ÷ûþÓõþ, ò±äÂËå/

2nd Proof 18.09.2013

2 ¸±Ó¬ ¸˜≈^ ŒÓ¬Àı˛± Úœ ÷ÅËà±÷Å¿à ðÅËé± ý±îÂ, ï±Ë÷õþ ÷î ÕËòßÂé±/ ¿öÂîÂËõþ ü±î ü÷Å^ ÎîÂËõþ± òðÏ/ ï±Ë÷õþ á±Ëûþ ô±éÂù, ô±éÂËù ¿ÂóÒÂóËhÂ, ¿ÂóÂóÒËhÂõþ±, õÉæ d¿îÂËîÂ, ô±éÂËùõþ æûþá±ò ßÂËõþ±/ Õ±üËù æÏõËòõþ á±ò/ ¿òçÇÂËõþõþ ñ±õþ±õþ ÷îÂ, òÏËä ÎòË÷ Õ±Ëü üý¦Ú Æü¿òËßÂõþ õúDZõþ ëÂá±ûþ/ Îü±{¡±Ëü Æü¿òßÂõþ± õúDZõþ ëÂá±, ñ¿õþSÏõþ õÅËß ÎáÒËï Îðûþ... ¿üÑýò±ð å±Ëh± Æü¿òËßÂõþ æÏõËò õúDZ ¿÷ïɱ, ¿üÑýò±ð üîÂÉ/ ñ¿õþSÏõþ õÅËß ØõÇõþ æ¿÷/ ¿úõþ±ûþ ¿úõþ±ûþ âÓ¿íÇÂó±ËßÂ, ÂóÒɱä ¿ðËûþ, Îû ü±õþ Æî¿õþ ýù, î±ý× ¿ðËûþý× Õ±õ±õþ úüÉ úɱ÷ù± õüÅgÂõþ±/ î±õþ ôÂÒ±Ëß ôÒ±ËßÂ, ü±î ü÷Å^ ÎîÂËõþ± òðÏ/ ÷ÅËà±÷Å¿à ðÅËé± ý±îÂ/ Õ±Ëõþ± ß±Ëå ¿òËûþ ÛËü± ý±îÂ/ öÂõþü± ¿ð¿Bå, ÛßÂéÂ±Ý ü÷Å^, ÛßÂéÂ±Ý òðÏ, ßÂ÷ ÂóõþËõ ò±/

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – ÆõöÂõ, ¶®øȬ˙ ‰¬±‰«¬ fl¬À˘ÀÊı˛ ±S/ Âóð±ïÇ¿õ:±ò îÒ±õþ ¿Ã›¶ûþ ¿õø¸ûþ/ ÆõöÂõ,.. Ûß Æú¿Šß üM±/ ÝÒõþ, ÷Ëòõþ ß±å±ß±¿å Îû õþã, Îû Õ±ßÅÂù ¿õË «õþ Âó¿õþ÷±¿æÇî ü÷™¦¸é±, î± ÝÒõþ å¿õËî ðÔúÉ÷±ò/ ’ǬÚøı…±˚˛ ¬Û±ı˛˙«œ ýËùÝ, ÝÒõþ æiœ, ÛõÑ ü±¿i§ñÉ ü±¿ýËîÂÉõþ ü˼ ü˼/ Ûý× ðÅý×Ëûþõþ ¿÷ùò, ÝÒõþ Îä±àËß ¿ðËûþËå, ¦¤±îÂLaÉ qñÅ î±ý× òûþ, Îü Ûß ÕòÉ ÂóÓíÇî±õþ ß±¿ýòÏ/ õíÇ ¿òËûþ õM ËõÉ õùËùò, ‘‘Õ±÷±õþ ß±Ëå õíÇ ¿ßÂåÅ Õû±¿äÂî ü÷Ëûþõþ ò¢Ÿî±, û±õþ Õ¿™¦¸Q Õ±÷±Ëðõþ ÷Ëò...’’

86

86

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

87

Õ¿™¦¸Q-¿õõþý ðÏÂó üõþß±õþ æÏõËòõþ ßÂɱòö±Ëü îÅ¿ùõþ Îúø¸ é±ò ¿ðù-å¿õõþ ÷±çÂà±ò ¿ðËûþ ù¥¤± ÛßÂé± ß±Ëù± ð±á... Õ±ú± ¿åù Õұ߱ ÎúËø¸ ðÅ Âó± ¿Âó¿åËûþ ÎðàËõ ¿ßÂõþßÂ÷ ýùî± û±ß Îü ßÂï± ßÂɱòö±Ëü å±Âó ÎôÂù± üõ õþã, îÅ¿ù, îÅ¿ù-æù äÅÂÂó õËü...ÕòÉ Îß±Ëò± ßÂɱòö±Ëü å±Âó ÎôÂù±õþ ÕËÂó ±ûþ“ äÅÂÂó ßÂËõþ õËü, îÂËõ, Ýý×...¿ßÂåÅ Âí... ßÂî ßÂɱòö±ü õþý×ù ÂóËhÂ-î±Ëðõþ á±ûþ Îî± ÕÒ±äÂh ß±éÂËî ýËõ... Ûõ±õþ Ûù ðúÇßÂðù“õ±ýõ±õþ ΦڱîÂ...÷±Ëç ÷±Ëç ðÅ ÛßÂé± Îä±Ëà ÂóhÂËù-‘Ý ¿ßÂåÅ òûþ¯’ Õïõ± ‘Îß±Ëò± ¿ßÂåÅ üõDZ¼üÅjõþ òûþ...ö±Ëù±-÷j ¿÷¿úËûþý× Îî± üõ’... î± õËé“ Û ßÂï± ¿úŠÏõþ ¿òËæõþ Îû ÷Ëò ýûþ¿ò, Û÷ò ò±“ ÕÒ±ßÂËî ÕÒ±ßÂËîÂ...ò±¯ Û õþãé± Ûà±Ëò ò± ÎðÝûþ±ý× ö±Ëù± ¿åù“ ¿ßÂc ÷ÅËå ÎôÂù±õþ ëÂ×Âó±ûþ Îî± Îòýד ò±¿ß ձËå·... ÛßÂõ±õþ Î䩆± ßÂËõþ¿åù-îÂËõ î±Ëî ÎûõþßÂ÷ ÎäÂý±õþ± ýù, Õ±Ëõþ± Îõ¿ú ßÂËõþ äÂË Â Õ±ãÅù ¿ðËûþ dye Îûò õÅ¿çÂËûþ ¿ðî Îü ßÂï±... q ýËûþ¿åù ü±ð± Âó±î±ûþ...Û¶ï÷ ¿ðËßÂõþ ëÂ×#;ù ù±ù ýùÅð õþËãõþ ÂóËõþËå ÕËòß õþã... Õ±æ î±ý× ß±ùËä òÏù å¿õé± ÎðËà Îõ±ç±ý× û±ûþ ò± Îü Û¶ï÷ õþã&Ëù±... õþã&Ëù± Õ¾³îÂ...ÎßÂëÂ× ÕŠ åÒÅý×Ëûþ ÎáËå...ÎßÂëÂ× ÕËòßÂé± æÅËhÂ...ÎßÂëÂ× üÓ„ îÅ¿ùõþ é±ò... ÎßÂëÂ× Î÷±é± ð±Ëáõþ...ÎßÂëÂ× áyÂÏõþ, ß¿êÂò...ÎßÂëÂ× ¿÷qËßÂ-ü±ð±ûþ ù±Ëù ¿÷Ëù Îá±ù±ÂóÏ... û±ß Îü ßÂï± Ý... å¿õõþ ðõþ Îðà± Îáù ÷±ç±¿õþ... Õ±÷±õþ Õұ߱ å¿õõþ ÎåËûþ ð±÷Ï ¿Âóß±Ëü±õþ ÎäÂËûþ ßÂ÷... õɱü“÷ÅùÉ Ýý×éÅÂßÅÂý×... å¿õé± õÒ±¿ñËûþ 鱿ãËûþ õþ±à± ýùÝ ÎðÝûþ±Ëù“ ÂóËõþõþ ¿ðò ü±õ±Ëòõþ ¿õ:±ÂóËòõþ òÏËä Îå±é ßÂËõþ-‘‘¿úŠÏ Î «îÂqw ÎäÂÌñÅõþÏ Ã›¶ûþ±î“ÎõþËà ÎáËùò ¦aÏ õþ¿M ÷± ÎäÂÌñÅõþÏ Ý ÂóÅS ßÂ÷ù ÎäÂÌñÅõþÏ/’’ ß±ù ÛßÂé± òîÅÂò ßÂɱòö±Ëü ß±æ q ýËõ Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – ðÏÂó, ˚±ı¬Û≈ı˛ øıù´øı…±˘À˚˛ √õ∂˚≈øMêøı…±ı˛ ±SÄ ¿ßÂc ÛßÂæò ëÂ×BäÂðËõþõþ ڱȬ…fl¬˜«œ›/ ò±éÂÉ-õÉ¿M Q ÎßÂÌ¿úß ÎüËòõþ ß±Ëå Û¶¿ú¿ Âî ÛõÑ õîÇÂ÷±Ëò ëë‹fl¬…íí, ò±÷±¿‚Âî Ûß¿é òõæ±î ðËùõþ ü˼ ûÅM / ¿õðɱùûþ Ý ÷ý±¿õðɱùËûþõþ Û¶±¿î¿ò¿ñß ò±éÂÉ-ðËùõþ üË¼Ý ðÏÂó ûÅM / ÝÒõþ Æú¿Šß üM±, Õ±Ëõþ± ۶߱ú Âó±ûþ ÝÒõþ á±ûþËò-øé¬Ìœ Îî ı˛ıœf¸ºœÓ¬ ¿ú ± û±Ëî ¿ðËûþËå ÂóÓíÇî±/ õíÇ ü¥¤Ëg õM ËõÉ ÕòÉ Ã›¶¿öÂ÷î ¿ðËûþËåò ðÏÂóÐ ‘‘õþã ýù Û÷ò ¿ßÂåÅ, û± ÷±òÅËø¸õþ æÏõòËß ëÂ×Mõþí Îðà±ûþ û± ౿ù Îä±Ëà ÎðౠÛ¶±ûþ ÕüyÂõ/’’

87

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

æ±áõþí Î|ûþü üõþß±õþ â¿hÂõþ Û¶¿î¿é ¿éÂßÄ¿éÂßÄ úËs ÛßÂõ±õþ ßÂËõþ ÎæËá Ýê± ÕîÂù âÅË÷õþ Õ±Ëá û±ÂóËòõþ Âó±õþ±Âó±õþ æÅËh ü÷ûþ Õò™LÃ, Õò™Là ü÷ûþ.... Îû òðÏ æ±á±ûþ ÎæËá ëÂ×êÂËî Îúà±ûþ î±õþý× ÛËßÂß¿é õ±ùßÂ-õ±¿ùß±õþ ö±ã±-áh±õþ Îàù±ûþ Ûý× Îû õËù Ýê± ûàò-îÂàò ‘÷õþËî ýËõ, ÛßÂõ±õþ ßÂËõþ ÷õþËî ýËõ... ÷Ëõþ± õÒ±Ëä±, Õ±õ±õþ ÷Ëõþ û±Ý–’ Û÷òý× ÷ÔîÅÂÉýÏò õüË™Là ձUî ձ¿÷Ý çÒ±Âó ÷±¿õþ ¿òÐËúø¸ ü™LÃõþËí... Û÷òý× ÕÂóÓõÇ ÛËßÂß¿é Õõá±ýËòõþ Âóõþ, ÂÛ¶¿î¿é ձ¿÷ý× ÎæËá ëÂ׿êÂ, ÷õþËíõþ ÝÂó±õþ ÎïËßÂ...

88

2nd Proof 18.09.2013

88

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

89

õþ±÷ñòÅõþ õþã ß±Ëù± ü=Á±õþÏ ÷ÅËà±Âó±ñɱûþ ßÅÂU õËùËå Ýõþ Õұ߱õþ à±î±ûþ Õ±æ ¿õËßÂËùõþ ÷ËñÉ Îõú õh ßÂËõþ ÛßÂé± õþ±÷ñòÅ ÛÒËß ¿ðËî ýËõ/ î±ý× õU õåõþ õ±Ëð Õ±õ±õþ ü±ð± Âó±î±ûþ Õ±÷±õþ îÅ¿ùõþ Õ±ùËî± é±ò ÂóhÂù–õþ¿ãò, ëÂ×#;ù ýùÅð, üõÅæ, ù±ù...¿ßÂc ß±õþ ÂóËõþ Îûò Îß ձËü· ¿ßÂõþßÂ÷ &¿ùËûþ Îáù üõ ÷±ï±õþ ÎöÂîÂõþ...ûàò ßÅÂU õþ±÷ñòÅ ÕÒ±ßÂËî õËù¿åù îÂàò ÎýËü õËù¿åù±÷, ‘‘Õ±Bå±, ¿ò}Âûþý× ÛÒËß Îðõ’’, ÎöÂËõ¿åù±÷, ‘‘Û Îî± ö±¿õþ üýæ ß±æ/’’ Õïä Ûàò Îüý× Îü±æ± ß±æé± Îûò õD ß¿êÂò ÎêÂßÂËå...ÎßÂ÷ò ÷Ëò ýËBå õÅ¿ç ÎßÂëÂ× õËùËå ‘ý±¿îÂõþ ÷î ÎùæÝûþ±ù± Âó±¿à’ ¿ßÂ¥¤± ‘ü÷ÅË^õþ ÷î ÎðàËî üÓûÇ’ ÕÒ±Ëß±–õD ÕËäÂò±-ÕËðà±–õD Õõ±™¦¸õ ¿ßÂåů úýËõþõþ ëÂ×ÒäÅ ëÂ×ÒäÅ ÕA±¿ùß±, ú¿ÂóÑ ÷Ëùõþ ð±òõ±ßÔ¿îÂõþ Õ±h±Ëù Îî± ßÂËõý× ý±¿õþËûþ ÎáËå Îå±AËõù±õþ ձ߱úé± Âó±ûþõþ±õþ àÅÂó¿õþõþ ÷î âÅÂó¿ä ôvÂɱéÂ&Ëù±õþ æ±òù± ¿ðËûþ õU ëÂ×Ò¿ßÂçÒÂÅ¿ß ÷±õþ±Ý õÔﱖձ߱¿ú òÏù õùËî qñÅ Âó±Ëúõþ õ±¿hÂõþ ÂóðDZ ¿ßÂ¥¤± Îå±A Î÷Ëûþé±õþ ôèÂßÂéÅÂßÅÂý× ^©†õÉ/ ձ߱ú æÅËh õþËãõþ Îàù± î±ý× õU¿ðËòõþ ÕîÂÏîÂ/ ¿ßÂc Õ±æ Õ±÷±õþ Û ßÂÏ ýù· Îß±ò ß±Ëù± Î÷Ëâõþ ÕgÂß±õþ Õ±÷±õþ ÷Ëòõþ ձ߱Ëú ¿æý×Ëûþ õþ±à± õþ±÷ñòÅé±ËßÂÝ ÎìÂËß ¿ðù ÎúËø¸· ÕòÉ÷ò¦¨î±ûþ æËùõþ õ±¿éÂé± ëÂ×ˌ Îáù Îé¿õËù/ î±h±î±¿h ÷ÅåËî û±õ, ýêÂ±È ï÷Ëß Îáù±÷/ ¿öÂËæ ëÂ×ËêÂËå

à±î±õþ Âó±î±, æùõþã&Ëù± å¿hÂËûþ ¿áËûþ ¿÷Ëú û±ËBå Ûõþ-Ýõþ ü±Ëï Õ±õþ ü÷™¦¸ õþã 屿ÂóËûþ òÏù-Îõ&¿òõþ Õ±¿ñÂóËîÂÉ ÎßÂ÷ò Îûò ß±ùËä ýËûþ û±ËBå õþ±÷ñòÅé±...îÂËõ Îû Îüý× ÂóËh¿åù±÷ üõ õþã ¿÷Ëú ÎáËù ü±ð± ýûþ Õ±õþ õþËãõþ ÕõîÇÂ÷±Ëò Õ±÷õþ± Îð¿à ß±Ëù±· ¿ßÂc î± Õ±õþ ýù ßÂý×· üõßÂé± õþã ¿÷ËùÝ Îî± Îüý× ß±Ëù±Ëß Ûh±Ëò± Îáùò±... ÷±òÅËø¸õþ ÷ò õh õþýüÉ÷ûþ, õhÂý× æ¿éÂù/ Ûî¿ðËò ¿õ:±ò æ±òËî ÎÂóËõþËå ÷±òÅËø¸õþ ß±Ëòõþ ÎöÂîÂõþ ßÂßÂùÏûþ± (Cochlea) -ÎîÂý× ÎÂóÌËò-¿îÂò ÂóÒɱä¯ Õ±õþ ÷ò Îî± ÛàËò± ¿õ:±Ëòõþ ñõþ± ÎåÒ±Ýûþ±õþý× õ±ý×Ëõþ–Îüà±Ëò Îû ßÂî ÂóÒɱäÂÂóûþæ±õþ î±õþ ¿êÂß Îòý×/ Õ±õþ Îüý× ÂóÒɱËä ÂóÒɱËä ձæ úýËõþ æ¿éÂùî±, ü±Ñü±¿õþß üÑßÂÏíÇî± Õ±õþ æÏõËòõþ ¿ò‡ÅÂõþî±õþ ú±ò ÂóhÂËå ÂËí ÂËí– ýûþËî± Õ±ò÷Ëò, Õæ±Ë™Là ¿ßÂÑõ± ü:±Ëò¯ Û÷òö±Ëõý× S ÷úÐ Îâ±ù± ýËûþ ÝËê æÏõËòõþ õþã&Ëù±,Îüà±ËòÝ å±¿ÂóËûþ Õ¿ñß ü÷Ëûþ Îüý× ß±Ëù±õþý× ÕË÷±â ý±îÂ屿ò...õ±ý×Ëõþ üÓûDZ˙¦¸õþ ‘ßÂËòÎðà±-Õ±Ëù±’-Û ÎöÂËü Îáù ä±õþÂó±ú/ Õұ߱õþ à±î± ÂóËh õþý×ù Îé¿õËù–õþ±÷ñòÅõþ ü±îÂé± õþã Îûò õg ÷ÅËê±õþ ÎïËß ձãÅËùõþ ôÒ±ßÂËôÒ±ßÂõþ ¿ðËûþ ý±¿õþËûþ Îáù, õÅËßÂõþ ÷±Ëç ÷ÅäÂËh ëÂ×êÂù üÅõþé± ‘‘õþ±¿ãËûþ ¿ðËûþ û±Ý Îá± Ûõ±õþ û±õ±õþ Õ±Ëá’’/

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – ü=Á±õþÏ, øı…±¸±·ı˛ fl¬À˘ÀÊ √õ∂±Ìœøı…±˚˛ ’Ò…˚˛Úı˛Ó¬ ýËùÝ, ÝÒõþ Û¶±Ëíõþ Õ±õþ±÷ ÛõÑ ¿õõþ±÷, ‘‘Îýï± òûþ Îýï± òûþ, Õ±õþ Îß±Ëò±à±Ëò...’’/ õ±ùÉ ÎïËßÂý×, ’ǬÚøı…±˚˛ Û¶¿ú¿ Âî ýËûþËåò ü=Á±õþÏ ÛõÑ ÎÂóùõ ü±¿ýîÂÉäÂäDZõþ ü˼ ü˼ ı˛ıœf¸ºœÓ¬Àfl¬› Õò±ûþ±Ëü ßÂËF îÅÂËù ÎÂóËõþËåò, ·œÓ¬øıÓ¬±Ú ¿ú ±ûþîÂËò/ õíÇ ¿òËûþ õM ËõÉ õùËùò–‘‘Õ±÷±õþ æÏõËò õþã ýù üõ¿ßÂåÅ, Îü õþã û¿ð ýûþ îÅ¿ù-ÎÂó¿kù-ßÂɱòö±Ëüõþ îÂËõ î± Õ±÷±õþ ÷Ëòõþ ö±õ ۶߱Ëúõþ ëÂ×ÂóßÂõþí ÷±S Õ±õþ û¿ð Îü õþã ýûþ ÷Ëòõþ îÂËõ î± Õ±÷±õþ ÎõÒËä ï±ß±õþ õþüð...ðÅÐËà-üÅËà-ü±ôÂËùÉ-ýî±ú±ûþ î±ý× ò±ò± õþËãý× Õ±÷±õþ æÏõò õþ¿ãò...’’

89

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

90

õþã ü±÷É ß±ôDZ õþ±ËîÂõþ ÕgÂß±õþ ÎßÂËé ÎáËå ¿ßÂåÅ Õ±Ëá/ ÷Ëò ýËBå õþõ±õþ ¿ðËûþ ÷ÅËå ÷ÅËå ձ߱úé±Ëß Âó¿õþ©¨±õþ ßÂËõþ ¿ðËûþËå ÎßÂëÂ×/ çÂßÂçÂËßÂ, Õ±õþ î±õþ ÷±Ëç æ;ùæ;ù ßÂõþËå Îõþ±ð/ çÂßÂ÷Ëß Îõþ±ð/ ðÅðDZ™Là Îõþ±ð-Ûý× Îõþ±Ëðõþ áŠý× õùõ Õ±æ/ Îðàõ Õ±æ Îõþ±ðËßÂ/ Õ±÷±õþ Îä±Ëà/ Îõþ±Ëðõþ ÕËÂó ±ûþ ¿åù õéÂá±åé±/ Ûõ±õþ Îü àÅ¿ú/ ë±ùÂó±ù± Î÷Ëù î±õþ Õ±ùÅù-ß±Ëù±-äÅÂù å¿hÂËûþ ëÂ×ð±ü Îä±Ëà ձ߱úé±õþ ¿ðËß ßÂËûþ/ òîÅÂò ¿ðò q õþ Õ±Ëá Îûò Û¶d¿î ¿òËBå ÷Ëò ÷Ëò/ –‘‘õéÂ, ¿ß Ûî ö±Ëõ± õËù± Îî±, ü±õþ±¿ðò·’’ ßÂùß¿ùËûþ õËù ëÂ×êÂù çÂíDZ, Îü Õ±üËå ëÅÂÑõþÏ Âó±ý±ËhÂõþ ÝÂó±õþ ÎïËßÂ.../ ÷ öÓ¿÷Ëß ¿ÂóåËò ÎôÂËù úî Âó±ïõþ ¿ö¿æËûþ Îü åÅéÂËå/ Õ±Âóò á¿îÂËîÂ/ –‘‘ö±¿õ Õ±á±÷Ïõþ ßÂï±/ ÕîÂÏËîÂõþ ßÂï±, Õ±õþ ÕîÂÏîÂ-Õ±õþ-Õ±á±÷Ïõþ ÷±çÂà±Ëò ðÒ±h±Ëò± Õ±÷±õþ ßÂï±/’’ õËéÂõþ Û¶±: ëÂ×MËõþ ýîÂöÂy ýûþ çÂíDZ/ –‘‘Ûî ö±¿õþ ö±¿õþ ßÂï± Îî±÷±õþ/ õÅ¿ç ò±/ Õ±¿÷ qñÅ õÅ¿ç ձüËîÂ...ÎðÌhÂËîÂ...ò±äÂËîÂ/ õÅ¿ç Û¶±Ëíõþ é±Ëò Û¿áËûþ ÎûËîÂ/ Õ±¿÷ Îû ðÅõþ™LÃ/ Õò™LÃ, Õú±™LÃ/’’ õËùý× åÅé ù±á±ù çÂíDZ/ Õ±æ î±õþ ÕËòß ß±æ/ ëÅÂÑ¿õþõþ ÷±Ëê üõÅËæõþ ᱿ùä±ûþ Õ±æ Îû æùü±/ Îüà±Ëòý× ò±äÂËõ Ý/ á±ý×Ëõ Ý/ ¿äÂS¿úŠÏõþ ¿òÂóÅí îÅ¿ùËî ü±¿æËûþ îÅÂùËõ Îá±é± ÷±êÂ/ –‘‘àÅõ üÅjõþ ù±áËå Îî±ËßÂ/ ¿êÂß Îûò Îý÷™Là ÕõþËíÉõþ ¿îÂùß ß±Ë÷±ð/’’ ձ߱Ëúõþ ¿õËúø¸Ëí Îõþ±ð ¿ß ÛßÂéÅ ý±üù· ò±¿ß Ýé± Õ±ß±Ëúõþ w÷/ ÷Ëòõþ w÷/ îÂõÅÝ, ý±üÅß õ± ò±ý× ý±üÅß ձß±ú Õ±æ ÎäÂËéÂÂóÅËé ÎòËõ Îõþ±ðËßÂ/ î±õþ Õ±ãÅù òà÷ÅËàõþ Âóõþú ÎõþËà ÎðËõ/ Õ±õþ Îä±àé± õÅËæ âè±í ÎòËõ/ ձ߱Ëúõþ òÏù Õ±õþ Îõþ±Ëðõþ ýùÄËð ÷±à±÷±¿à ßÂËõþ ÂóËh ձËå ëÅÂÑ¿õþõþ ÷±ËêÂ/ çÂíDZ ¿ ÂÛ¶ á¿îÂËî Ûñ±õþ ÎïËß Ýñ±Ëõþ õËûþ û±ËBå/ ýê±È, îÂÏõè õ±î±Ëüõþ ð±ÂóËé ÷Åà îÅÂùù üõ±ý×/ ýý× ýý× ßÂõþËî ßÂõþËî ÛËü ÎáËå ý±Ýûþ±/ Ûß õþ±ú/ Îû ÎÛ¶¿÷ß õËù¿åù õüË™LÃõþ ð¿ Âí± õ±î±ü ëÂ×Âóý±õþ ÎðËõ î±õþ ÎÛ¶¿÷ß±ËßÂ, Îû ÷±òÅø¸é± õU¿ðò ôÅÂüôÅÂü öÂËõþ ¿ò «±ü Îòûþ¿ò–üõ±õþ Õ±ú± ÂóÓõþí ßÂõþËî ÛËü ÎáËå õ±î±ü/ Õ±÷±Ëðõþ õ±î±ü/ õ±î±üËß ÎðËàý× Îõþ±ð ¿ðËûþËå Âó±¿hÂ/ õ±î±Ëüõþ âËõþ/ ձ߱ú ýËûþ õþý×ù Ûß±/ ëÅÂÑ¿õþõþ ÷±ê 屿hÂËûþ, Âó±ý±h ÎÂó¿õþËûþ å¿hÂËûþ õþËûþËå ձ߱ú/ Ûß± Ûß±/

î±õþ õÅËßÂý× ëÂ×êÂËå Îõþ±ð/ ÎàùËå õ±î±ü/ õËéÂõþ ë±ùÂó±ù± åÒÅËî ä±ý×Ëå î±ËßÂý×/ Îü Ûß±/ Îõþ±Ëðõþ ý±îÂé± ñõþËî ÎáËùý× ÎßÂ÷ò Îûò ¿ÂóåËù/ çÂíDZõþ ü˼ ¿÷Ëú ÎûËî ä±ý×ËùÝ Âó±Ëõþ ò±/ Ûß±¿ßÂËQõþ Õ¿öÂ÷±Ëò ÷Åà ö±õþ ßÂõþù ձ߱ú/ õɱüį Õ÷¿ò Ûß ðù ßv±¿™LÿõýÏò-Î÷Ëâõþ Õ±á÷ò/ æáçÂ¥ó õ±¿æËûþ î±õþ± ÎåËûþ ÎôÂùù ձ߱ú/ ð±÷±ð±÷±/ ¿^÷¿^÷/ ß±h±ò±ß±h±/ ÷±ËêÂõþ Ûß Û¶±™Là ÎïËß ÕòÉ Ã›¶±™LÃ/ Âó±ý±ËhÂõþ ÷±ï± ÎïËß çÂíDZõþ æù Õõ¿ñ/ Îüý× Îß±ùöÂõþ± ¦¤Bå æËù ß±Ëù± õþãé± àÅùËî ù±áù å±ûþ±å¿õõþ ÷îÂ/ Î÷âËß ÎðËàý× Ûß åÅéÄ Îõþ±Ëðõþ/ Âó±ý±ËhÂõþ Ýñ±Ëõþ Îü Âó±¿ùËûþ ÎáËå/ ý±Ýûþ±Ý öÅÂõòå±h± ýËûþ çÂËhÂõþ ձ߱Ëõþ ÷±î±ù ßÂËõþ îÅÂùù 䱿õþ¿ðßÂ/ ձ߱úÏ òÏù ú±¿™Là 屿òËûþ Îß Îûò ëÂ×ÂóÅh ßÂËõþËå ß±Ëù± õþã üõ±ý× ÕÂóåj ßÂõþËùÝ õé ¿ßÂc î±õþ úîÂõåËõþõþ ë±ùÂó±ù± ¿òËûþ ë±ßÂËå,’’ Õ±ûþ Î÷â/ Õ±ûþ/ õÔ¿©† ýËûþ Õ±ûþ/ Õ±÷±õþ Âó±î±ûþ çÂËõþ ÂóhÂ/ ¦óúÇ ßÂõþõ Îî±õþ ý±îÂ/ Îî±õþ ÷Åà/’’ Ûàò âò òÏù ú±¿h ÂóËõþËå õéÂ/ ÛßÂé± Õ±ùËî± ¿éÂÂó/ Îä±Ëàõþ îÂù±ûþ ÕŠ ß±æù/ Âó±î±ûþ Âó±î±ûþ ò±÷Ëå õÔ¿©†/ Õ±üËù ò±÷Ëå Î÷â/ äÅÂ¥¤ò ßÂõþËå çÂíDZËßÂ/ Õ±õþ Îüý× üðɦ§±î çÂíDZ÷±à± õþã å¿hÂËûþ ÂóhÂËå ý±Ýûþ±õþ ü˼/ õò ÎïËß õËò/ ÷±ê ÎïËß ÷±ËêÂ/ úýõþ ÎïËß áè±Ë÷/ ÎûËî ÎûËî õþãé± Ûàò ÛßÂé± ßÂËùËæõþ ôұ߱ ßv±ü Ë÷ ìÅÂËß ÂóËhÂËå/ Îüà±Ëò Õ±D± ÷±õþ¿åù ðÅ’æò/ Ûß æ±òù± Õ¾³î õþã ÎðËà Ýõþ± õ±ßÄÂ-ýÏò/ –¿ß վ³î Îõþ õþãé±/ ü±ð±Ëé ù±ù/ –ò±Ëõþ/ Ɀüûþ± üËrËéÂ/ ðɱà ÎäÂËûþ/ –ñÅü¯ ¿êÂß Îûò Ûß ýùËð çÅ¿ù¯ ¿ßÂc õþãé± Õ±üËå Îß±ËOËß· ÎßÂëÂ× õÅçÂËî Âó±õþù ò± ¿ßÂËüõþ õþã/ õÔ¿©† ò±, ձ߱Ëúõþ ò±/ âÅ÷ ö±㱠¦¤›Ÿ Õ±¿õù Îä±Ëàõþ ò±/ ¿ßÂÑõ± õþ±÷ñòÅõþÝ ò±/ îÂËõ¯ ÎßÂ±ï± ÎïËß ձüËå õþãé±· ...ö±õËî ï±Ëß Ýõþ±/ ö±õËî ö±õËîÂý× áɱù±¿õþõþ ¿üÒ¿h ¿ðËûþ ÎÂóÒÌËå û±ûþ Îà±ù± æ±ò±ù±é±õþ ñ±Ëõþ/ Õ±Ëõþ± ÎðàËîÂ/ õþãé±ËßÂ/ Ûõþý× ÷ËñÉ ðÏl÷±ò ÎåËù¿é ÎýËü õËù, ‘‘Õ±Ëõþ Û Îû õgÅÂËQõþ õþ㯒’ õÔ¿©† ýËûþ Î÷â ûàò õËéÂõþ Âó±î± åÒÅËûþ ¿éÂÂóÄ ¿éÂÂóÄ ßÂËõþ çÂíDZõþ õÅËß ÂóËhÂ, ý±Ýûþ±õþ ü˼ Îõþ±ð ¿÷Ëú îÂàò çÂíDZûþ ëÅÂõ Îðûþ-Õ±õþ ձ߱ú ìÂËù ÂóËh çÂíDZõþ Îß±Ëù Û õþã Îüý× ÷ÅýÓËîÇÂõþ/ çÂíDZ, Î÷â, õ±î±ü, Îõþ±ð, õéÂ, ձ߱Ëúõþ õgÅÂËQ Û õþã á±ìÂÿ/ Îùàß ûàò 90

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

ÕüÑàÉ ús ¿ðËûþ Æî¿õþ ßÂËõþ ÷±ûþ±æ±ù, îÂ±Ý ï±Ëß Û¶±íýÏò– û¿ð ò± ÎßÂëÂ× ÎìÂËù Îðûþ Ûý× ÛßÂõ±¿é õþã/ ÛàËò± æ±òù±é±õþ ñ±Ëõþ õþãé±Ëß ÎðàËå Ýõþ±/ Îä±à õÅËæ/ ÷ò öÂËõþ/ Õ±æ Îúø¸ Îðà± ÝËðõþ/ ÛËðõþ ðÅ’æò ÎßÂëÂ× Õ±ß±ú, ÎßÂëÂ× õéÂ, ÎßÂëÂ× õ± Î÷â-Îõþ±ð-çÂíDZ ¿ßÂÑõ± õ±î±ü/ ßÂËùËæõþ õÅËß ¿÷Ëú Îá¿åù Ýõþ±/ ÛËß ÕÂóËõþ/ Ûß¿ðò/ Ûàò Õ±ù±ð±

2nd Proof 18.09.2013

91

ýÝûþ±õþ Âó±ù±/ õU¿ðò õ±Ëð åÅéÂËî åÅéÂËî ûàò Ýõþ± ýÒ±¿ÂóËûþ û±Ëõ, Û¶¿î¿ðËòõþ ß±ð±ûþ Îò±Ñõþ± ýËõ, ᱿hÂõþ ÎñÒ±ûþ±ûþ õÅËßÂõþ Û¶ËîÂÉßÂé± õþ¿ãò Âó±ùß ûàò Õ±h±ù ÎòËõ-îÂàò ౿òß ðÒ±¿hÂËûþ Ûý× õþãé± Õ±õ±õþ ÎðàËõ Ýõþ±/ Ûß ÂóÔ¿ïõÏ õþã/ îÂàò ýûþËî± Õ±ß±Ëúõþ Îüý× ¿õËúø¸Ëí ÛßÂéÅ ýËùÝ ý±üËõ Îõþ±ð/ îÂõÅ ý±üËõ Î

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – ü±÷É ß±ôDZ, ¶®øȬ˙‰¬±‰«¬ ˜˝±øı…±˘À˚˛ ¶ß±Ó¬Àfl¬±Mı˛ ı˛¸±˚˛Ú ¿õö±Ëáõþ å±S õËé ¿ßÂc ÝÒõþ ÷Ëòõþ õþü±ûþËíõþ ౿ò àÅõ äÂ÷ßÂÛ¶ð/ ÝÒõþ ¿òËæõþ ßÂï±ËîÂý×,’’ ‘‘õþü±ûþò Õ±÷±õþ æÏõòü¼Ï...ÛÝ õþãÏò...õþÑ Õ±÷±õþ æÏõËò üõÇ𱯠î±ý× æÏõòü¼Ï ÎõþËàÝ ÂóõþßÂÏûþ± 䱿ùËûþ û±ý× ‘‘õ±Ñù±õþ’’ ü˼...’’ ıËÓ¬Ó¬œ ıÀj…±¬Û±Ò…±˚˛-Ûõþ ß±Ëå Û¶¿ú¿ Âî Ûß üÅä± Õ±õÔ¿Mß±õþ, ¦¤¿ú¿ Âî ò±éÂÉß±õþ, ¿ò‡Â Îùàß ÛõÑ ëë¸Àj˙íí Âó¿Sß±õþ ëë√õ∂fl‘¬øÓ¬-¬Ûh≥¬˚˛±íí ßv±Ëüõþ ü˼ ðÏâÇ ¿ðò ûÅM ï±ß±, ü÷™¦¸ý× ÝÒõþ Û¶±Ëíõþ ß±å±ß±¿å/ îÂËõ ÝÒõþ ßÂËF ß¿õî± Õ±õÔ¿MËî ¦¤ÏßÔ¿î ÎÂóËùÝ, ßÂùË÷ Îü Âó±ûþ ò±/ Îüà±Ëò qñÅý× õ±Ñù± áËðÉõþ Ûß±¿ñÂóîÂÉ/ õíÇ ¿òËûþ õM ËõÉ õùËùòÐ’’ õþã Õ±÷±õþ ß±Ëå æÏõËòõþ Õ±Ëõþß ò±÷...ü÷±ïÇß ús, Îü ßÂàò ñÅüõþ, ßÂàò ëÂ×#;ù û± àÅ¿ú ýËî Âó±Ëõþ¯ ¿ßÂc Îü äÂù™LÃ...æɱ™Lï õþã-Û¶±í...î±ý× õþã ý±¿õþËûþ û±Ýûþ± ÷±Ëò Û æÏõËòõþ üõ Îúø¸...û¿ðÝ ÛËß ձ¿÷ ÷ÔîÅÂÉ õùõ ò±...ß±õþí...’ ‘òÉ ýòÉËî ýòÉ÷±Ëò úõþÏËõþ’...÷ÔîÅÂÉÝ õþãÏò.../’’

91

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

92

‘õþã ù±á±Ëù....’ ÷Ëò ÷Ëò üÅ÷ò öÂA±ä±ûÇÉ ö±õà±ò± Û÷ò Îûò ¿ßÂåÅý× ýûþ¿ò/ Õ±üËù ÷Ëò õü™LÃ, úõþÏËõþ ò±ò±ò ¿õ¿äÂS ö¿¼÷±, õþËãõþ ýËõþß Âóüõþ±ûþ Îä±à çÂùü±Ëò±õþ Îæ±á±h ýûþ õåËõþõþ ¿êÂß Ûý× ü÷ûþé±ûþ/ ðËù û±õþ± õËûþ±Ëæɇ î±Ëðõþ ß±Ëå Îòý±È-ý× òüÉ ÎòÝûþ±õþ ÷îÂ, ¿ßÂc, û±õþ± ‘òõÏò õþ±æ±’ î±Ëðõþ õɱÂó±õþé± ÛßÂéÅ ýɱËÂó¿òѯ îÂËõ Ûý× ýɱËÂó¿òÑ-é± û±Ëî ýɱÑù±¿÷ ò± ýËûþ û±ûþ î±ý× ü™LÃÂóÇËí ¿ðò Îá±ò±/ ÂóÔ¿ïõÏõþ ëÂ×Mõþ Îá±ù±ËñÇ ü±÷Å¿^ß æËùõþ •ð¿ Âí Õ±Ë÷¿õþß±õþ— ÷±å, ¿îÂò ßÒ±é±Ýûþ±ù± ¿ˆÂßÄÂùõɱßÄ •áɱüËé±Ëõþ±¿©†ûþ±ü ÕɱßÅÂËùé±ü—, û±õþ± Ûß¿é õh ðËù ¿ò¿õÇõ±Ëð ï±Ëß ÛõÑ ü!ÂËùõþ ¦¤ö±õ ÛßÂý×ö±Ëõ åj÷ûþ, î±õþ± õåËõþõþ ÛßÂé± ¿õËúø¸ ü÷Ëûþ ¿Zõþ+Âóî± ÎðàËî Âó±Ëõþ/ ðÏâDZ¿ûþî ¿ðò, ëÂ×ø î±õþ ü±h±ûþ Îå±Ëé± Îå±Ëé± ÷±å&Ëù±õþ úõþÏËõþõþ òîÅÂò Âó¿õþõîÇÂò&Ëù±ËßÂý× ¿õ:±òÏõþ± ÎûÌò ýõþË÷±Ëòõþ Û¶ö±õ õËù ï±ËßÂò/ Îü Îû û±ý× õùÅò, Ûî¿ðò ÛßÂé± õh ðËù ÎïËß ¿ò榤î± öÅÂùËî õü± üðÉûÅõßÂËðõþ úõþÏËõþ ‘òîÅÂò õþËãõþ ÎåÒ±ûþ±’/ î±Ëðõþ ÎÂóËéÂõþ ä±õþÂó±Ëúõþ ëÂ×#;ù õþM ±ö õþã Õ±õþ Îä±à, ¿ÂóËêÂõþ Û¿ðßÂÝ¿ðËßÂõþ òÏù±ö üõÅæ Þ#;ùÉ î±Ëðõþ S ÷ú ÕýÑß±õþÏ ßÂËõþ îÅÂùËå/ ¿òËæõþ ÎÛ¶Ë÷õþ æòÉ ÛõþßÂ÷ ü¥óÓíÇ õþ+Âó±™LÃõþ Õ±÷õþ± õUö±Ëõ áŠßÂï±ûþ ÂóËh¿å, Û¶îÂÉ Â ß¿õþ¿ò ýûþËî±-õ±/ ¿ßÂc, üõ üËý±ðËõþõþ úõþÏËõþ Ûî õíÇ÷ûþî± Îðà± û±ûþ ò±/ ÛßÂý× ðËù Îõú ¿ßÂåÅ ûÅõß ï±Ëß û±Ëðõþ Ýüõ õþËãõþ õ±ù±ý× Îòý×/ Ûõþ ¿ÂóåËòõþ ý±æ±õþ ß±õþí ÕòÅüg±Ëò Û¶±íÏ-Õ±ä±õþí ¿õËúø¸:õþ± Ð ‘‘Îû ûÅõßÂõþ± õÔ¿XÂß±Ëù ûî ßÂɱËõþ¿éÂòËûþë üÑË −Ëø¸ ü Â÷ î±Ëðõþ úõþÏËõþ îÂîÂý× õþËãõþ Õ±¿ñßÂÉ/’’ Ûý× õþ±ü±ûþ¿òß üÑË −Ëø¸õþ ú±õþÏõþõÔM¿éÂÝ Îõú äÂ÷Èß±õþ/ Îû üðÉûÅõß ÷±å&¿ù î±Ëðõþ Æò¿÷¿Mß à±ðÉùß± ÎïËßÂý× ßÂɱËõþ±¿éÂòËûþë üÑË −Ëø¸õþ ëÂ×Âó±ð±ò Îæ±á±ìÂÿ ßÂËõþ ÎôÂËù ÛõÑ û±õþ± ÕîÂÉ™Là ëÂ×Båù Õ±õþ ëÂ×VÏl, î±õþ±ý× Õ±Ëõþ± õíÇ÷ûþ/ Ûý× Õ¿î¿õþM ú±õþÏ¿õþß ëÂ×VÏÂóò± î±Ëðõþ õÑúáî տæÇî Æõ¿ú©†Éõþý× ÕòÅð±ò/ îÅÂùò±ûþ Îû ÷Ïò ûÅõßÂËðõþ úõþÏõþ Ûý× üÑË −Ëø¸ ü±h± Îðûþ ò± î±õþ± ¿ßÂåÅé± ÷ɱhÂÄ÷ɱËhÂ/ ¿õ:±òÏõþ± üg±ò ßÂËõþËåò, û¿ðÝ Ûý× ëÂ×#;ù õþM õíÇ î±Ëðõþ Û¶±æò¿òß ¿òõDZäÂò õ± ¿õþËÛ¶±ë±ßÄ¿éÂö ¿üËùßÂúËò áöÂÏõþö±Ëõ ü±ý±ûÉ ßÂËõþ, îÂõÅÝ Ûý× ëÂ×#;ùî± õU ¿õÂóðÝ ÎëÂËß ձËò, Îû÷ò î±Ëðõþ ¿úß±õþÏ/ ò±ò± ÂóõþÏ Â± ¿òõþÏ Â±ûþ Û¶÷±¿íî Îû õþãÏò ÷±ËåËðõþ ¿úß±õþÏ ÷±Ëåõþ± ëÂ×#;ù Õ±Ëù±Ëî àÅõ üýËæý× àÒÅËæ ÎôÂËù, ¿ßÂc ëÂ×ˌ±é± ßÂàËò±ý× ýûþ

ò±/ î±ý× ëÂ×áè ù±ù õþã± ûÅõßÂõþ± áöÂÏõþ æËùý× ï±ßÂËî ö±Ëù±õ±Ëü Õ±õþ î±Ëðõþ ÕòÉ õgÅÂõþ± ÕáöÂÏõþ æù±úËûþ õ±ü± õ±ò±ûþ, û±Ëî î±Ëðõþ ¿úß±õþÏõþ± ^nî ¿ä¿ý î ßÂõþËî ò± Âó±Ëõþ/ ¿©†ßÄÂùõɱËßÂõþ Ûý× õíÇ÷ûþî± î±õþ Û¶æòò Ý ¿úß±Ëõþõþ ÷ËñÉ Ûß վ³î ¿õõÇî¿òß Â÷î± õþ ± ßÂËõþ äÂËù/ Ûõ±õþ ¿ô¿õþ ÝËðõþ Û¶æòò õþÏ¿îÂËîÂ/ õþ±ü±ûþ¿òß Âó¿õþõîÇÂò ûàò ûÅõß ÷±å&Ëù±Ëß ¿öÂîÂõþ ÎïËß õ±ý×Ëõþ Âó¿õþíî ßÂËõþ Îî±Ëù î±õþ± ¿òËæõþ±ý× ðù ÎïËß ¿õäÅÂÉÈ ýËî îÂÈÂóõþ ýûþ/ ÎûÌò ýõþË÷±ò ÎéÂË©†±ËˆÂõþËòõþ Û¶ö±Ëõ ü±ýüÏ ûÅõßÂõþ± ¿òËæËðõþ ¿ä¿ý î Õ=Áù õ± Îé¿õþË鱿õþõþ ÷±¿ùß±ò± ¿òñDZõþËò üæ±á ýËûþ ÝËêÂ/ î±õþ± ¿õ¿öÂi§ æùæ úɱÝù± Ý òÅ¿h Âó±ïõþ üýËû±Ëá ^nî õ±ü± õ±ò±ûþ, î±õþ± Âó¿õþäÂûDZ ßÂËõþ ÛõÑ Õ¿òË÷ø¸ Û¶ýõþ±ûþ ï±ËßÂ, û±Ëî ÕòÉ Îß±ò Âó¿õþíî ÂóÅ ø¸ î±õþ õ±ü±õþ ÷±¿ùß±ò± ÎäÂËûþ ò± õËü/ Ûà±ËòÝ Ýõþ± ÝËðõþ ÎÂóËéÂõþ ù±ù õþËãõþ ü±ý±ûÉ Îòûþ, ÕòÉ Õ±=Á¿ùß ÂóÅ ø¸ Û¶ñ±íËðõþ üîÂßÇ ßÂõþ± õ± î±õþ õ±ü± ÎïËß ¿õõþî õþ±àËî î±õþ± ‘ÎýÒéÂ÷ÅGÂ-ëÂ×XÇÂËùæ’ ýËûþ ÎÂóËéÂõþ ¿õËúø¸ õíÇ÷ûþ ÕÑúé±Ëß ÕòÉËðõþ ß±Ëå õ±õþ õ±õþ Û¶ðúÇò ßÂËõþ/ Ûý× Ã›¶ðúÇò Ûß¿ðËß Îû÷ò î±Ëðõþ ¿öÂîÂËõþ áöÂÏõþ ÎÂóÌ ø¸ 汿áËûþ Îî±Ëù, ÕòÉ¿ðËß õ±ßÂÏ ÂóÅ ø¸Ëðõþ Ûß Ùí±Rß üîÂßÇÂõ±îDZ ÎÂóÒÌËå Îðûþ/ ûàò Ûüõ üÑâ±î Îúø¸ ýûþ, ûÅõßÂõþ± ÂóÅ ø¸ ýËûþ Ýê±õþ ¿êÂß ձËáõþ ñ±ËÂó úõþÏËõþ Îúø¸õ±Ëõþõþ ÷î òîÅÂò õþËãõþ Õ±ö±ü ù±Ëá/ úõþÏËõþõþ ëÂ×ÂóËõþõþ ¿õõíÇ ¦š±Ëò ÛßÂé± òÏùËä ձö± ëÂ×Ò¿ß Îðûþ/ ù±ù Ý òÏËùõþ ûÅáù üËiœ±ýËò ¦£ÂÏîÂËð±õþÏ ûÅõîÂÏõþ± Õ±ßÔ©† ýûþ/ îÂËõ äÂîÅÂõþ ûÅõîÂÏõþ± qñÅý× ëÂ×#;ù õþã ÎðËà ձ߿ø¸Çî ýûþ ò±, Ûõþ ü˼ý× ûÅõßÂõþ± ÛßÂñõþËòõþ ü¿ÂóÇùÕұ߱õұ߱ òÔîÂÉ ö¿¼÷±Ëî ûÅõîÂÏßÅÂùËß üË¥œ±¿ýî ßÂËõþ/ Î÷±ý±¿õ©† Ý ¿÷ùËò±iœÅà ÷±å&¿ù ûÅõßÂËðõþ ë±Ëß ü±h± Îðûþ Ý î±Ëðõþ ÆîÂõþÏ ßÂõþ± õ±ü±ûþ ¿ëÂ÷ Âó±hÂËî ձËü/ ü¥óÓíÇ Ã›¶æòò õþÏ¿îÂËî Ûý× Îúø¸õ±Ëõþõþ ÷î ûÅõßÂõþ± ¿òËæËðõþ Õ¿ñß±õþ Û¶¿î‡±õþ Û¶ðúÇò ßÂËõþ/ ‘ÎýÒéÂ÷ÅG ëÂ×XÇÂËùæ’ Õõ¦š±ûþ úõþÏõþËß Ûß վ³î îÂÏ ®Â ö¿¼÷±ûþ ßÂÒ±Âó±Ëî ï±ËßÂ, û± ¿ßÂò± Ûß±™LÃý× î±Ëðõþ ÎûÌò Ω†õþËûþËëÂõþ Û¶ö±õ ÛõÑ ÎÂóÌ ø¸ ۶߱Ëúõþ ò±÷±™LÃõþ/ Ûß¿é Âó¿õþíî ¿©†ßÄÂùõɱßÄ ÛßÂõ±Ëõþ Û¶±ûþ 40-300 ¿é ¿ëÂ÷ Âó±hÂËî Âó±Ëõþ û¿ðÝ ÛõþÂóËõþõþ üõ ß±æý× ÂóÅ ø¸õþ± ßÂËõþ ï±ËßÂ/ ¿ëÂ÷ ¿ò¿ø¸M ßÂõþí, ¿ëÂË÷õþ Âó¿õþäÂûDZ-õþ Âí±Ëõ Âí, î±ý× ä±õþ±÷±å õh ýÝûþ± Õõ¿ñ òõÉ õ±õ±õþ± ÕîÂf, ¿òõþ¿õ¿Båi§ üîÂßÇÂî±ûþ ëÅÂËõ ï±ËßÂ/ 92

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

÷±ËåËðõþ አõËù ÷ò Îö±ù±ù±÷ ¿ßÂò± 汿òò±/ Î÷±V± ßÂï± ýËBå Û¶±íÏËðõþ ÷±ûþ ÂóÅËõþ± æÏõæáËîÂý× õþËãõþ Û¶±ñ±òÉ üÔ¿©†õþ Õ±¿ðß±ù ÎïËßÂý× ¿õõ¿îÇÂî ýËûþ äÂËùËå/ Û¶æòò Â÷ á±Ëå Îû÷ò õþ¿ãò ôÅÂù Îô±ËéÂ, î±õþ Âóõþ±á¿÷ùò ýûþ ò±ò±ò ۶߱Ëõþ Û¶ä¿ùî Û¶ï±òÅü±Ëõþ, æiœ ýûþ õþ¿ãò ôÂËùõþ, ÎüÝ Îî±

2nd Proof 18.09.2013

93

Îüý× Ûß ÕË÷±â, ÕßÔ¿S÷ ß±õþËíý×/ Û¶±íÏßÅÂËùÝ ÎîÂ÷¿ò õþËãõþ Õ¿öÂËû±æò Ûß äÂõþ÷ üîÂÉ/ úõþÏËõþ õþ±ü±ûþ¿òß üÑË −ø¸í Îû÷ò òîÅÂò õþËãõþ æiœ Îðûþ ÎîÂ÷¿ò ÙîÅÂáî õþã, Û¶±æò¿òß õþã õ± Õ±òÅßÔ¿îÂß õþã, ¿õõîÇÂËòõþ ñ±õþ± õæ±ûþ ÎõþËà ۶汿îÂßÂõþËíõþ ÕòÉîÂ÷ Û¶ñ±ò ß±õþí ýËûþ ñõþ± Îðûþ/

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – üÅ÷ò öÂA±ä±ûÇÉ, ıºı±¸œ fl¬À˘ÀÊı˛ ¶ß±Ó¬Àfl¬±Mı˛ √õ∂±Ìœøı…± øıˆ¬±À·ı˛ ’Ò…±¬Ûfl¬, ö±Ëù±õ±Ëüò å¿õ îÅÂùËîÂ, ö±Ëù± å¿õ ÎðàËîÂ/ òõõþü õ±ð ¿ðËûþ à±ðÉõþüý× î±õþ ÕîÂÉ™Là ¿Ã›¶ûþ/ ÕñɱÂóò±õþ ü˼ ü˼ ı˛ıœf¸ºœÓ¬ Û¶¿ú ÂËíÝ ¿òËæËß ûÅM ÎõþËàËåò üÅ÷ò ÛõÑ ’øˆ¬ı˛+¬Û &˝Í¬±fl≈¬ı˛Ó¬±ı˛ Õ±Ëûþ±¿æî ¿õ¿öÂi§ ÕòұËò á±ò ÎáËûþËåò/ ı˛„ øÚÀ˚˛ ı˘ÀÓ¬ ø·À˚˛, ø˘À‡ ŒÙ¬À˘ÀÂÚ ŒÂ±A fl¬øıÓ¬± – ‘‘Î÷âù± ðÅÂóÅõþ Õ±õþ òÏù çÂßÄÂçÂËß üß±ù, ¿òËé±ù ß±Ëù± õþ±î ձõþ ßÂËò Îðà± ýùÅð ¿õËßÂù, ÛßÂõþ±ú õÔ¿©†õþ Âóõþ üõÅæ Õ±Ëõþ± üõÅæ ýËûþ ï±ß± æ¼ù Õ±÷±õþ üõý× ¿Ã›¶ûþ/ ðÅáDZÂóÅËæ±õþ Õ?¿ùËî ù±ùÂó±h ü±ð±, ¿õæûþ±õþ Õý‚±õþÏ ¿üÒðÅõþ ù±ù, ÂóÅËõþ±Ëò± õý×Ëûþõþ ¿öÂîÂõþ ýêÂ±È ýùËðËé üõÅæ Õ±ùËá±Ëå ¦œÔ¿î Û&Ëù± üõý× æÏõËòõþ ÂóõþËî ÂóõþËî ö±Ëù± ï±ßÂËî Îúà±ûþ/ üÅËõþõþ Õ±Ëù±õþ áöÂÏõþ õþã ð±á õgÅÂËQõþ àÒ±¿é Îü±ò±õþã õ± ÎÛ¶Ë÷õþ ¿÷¿ý ¿õþòÄ¿õþËò Îá±ù±ÂóÏ ßÅÂûþ±ú±&Ëù±Ý ¿ßÂc öÂÏø¸íö±Ëõ Õ±òj÷ûþ/ Õ±üËù Õ±¿÷ õþËãý× ä¿ù, á±ý×, ßÂï± õ¿ù/’’

93

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

94

õþã–ð±úÇ¿òËßÂõþ ðÔ¿©†Ëî õò±òÏ Îâ±ø¸ Îä±à Î÷Ëù õ±ý×Ëõþõþ æáËîÂõþ ¿ðËß î±ß±Ëùý× ò±ò±ò ðÔúÉ ñõþ± ÂóËhÂ-ðÔúÉ ÷±Ëòý× õþã-Ûõþ Îàù±/ ü±ñ±õþí ÷±òÅËø¸õþ ß±Ëå ‘õþã’ ¿ß·–Ûý× Ã›¶Ë Ÿõþ ò±ò±ò ëÂ×Mõþ Õ±Ëå/ Ûõ±õþ Û¶ Ÿ õþã Õ±÷õþ± ¿ßÂö±Ëõ Îð¿à î±õþ ëÂ×Mõþ Âóð±ïÇ¿õ:±òÏËðõþ ß±Ëå/ õþãÛõþ ¿õ¿öÂi§ ¿ðß ձËå–¿õ:±ò, ¿úŠ, ÎüÌjûÇ å±hÂ±Ý ÛßÂé± ðúÇò (Philosophy)-Ûõþ ¿ðßÂÝ Õ±Ëå/ Õ±÷±õþ Û¶ Ÿ Õ±ËðÌ õþã õùËî ձ÷õþ± û± Îð¿à õ’Ëù ð±¿õ ß¿õþ, ‘ù±ù’ õ± ‘üõÅæ’ õ’Ëù ¿ßÂåÅ Õ±Ëå ¿ß· Õ±÷±Ëðõþ Æðò¿jò æÏõËò Û¶±ûþ üõ õdý× õþÑûÅM / ðúÇËòõþ ß±æ ý’Ëù± Õ±ËðÌ õþã Ûõþ Õ¿™¦¸Qé± Îß±ï±ûþ– î± àÒÅËæ õ±õþ ßÂõþõ±õþ Î䩆± ßÂõþ±–õdËî ò± ¿ß ^©†± •ðúÇß— -õþ ÷Ëò· õþã-Ûõþ Û¶¿î é±ò ÷±òÅËø¸õþ Õ±¿ð÷ß±ù ÎïËßÂ/ ü÷áè ÷±òõü÷±Ëæõþ ß±Ëå õþãÄ qñÅ Õ±ßÂø¸ÇíÏûþ òûþ, Õ±áèýßÂõþ Ý ÎßÂÌîÅÂýù üÔ¿©†ß±õþÏ ¿õø¸ûþ/ ý׿îÂý±Ëü, òÔîÂËMW, Û¶PîÂËMW, ñË÷Ç, ¿úËŠ, ü±¿ýËîÂÉ, Ü¿îÂËýÉ, üѦ¨±õþ–üõÇSý× õþã-Ûõþ ëÂ×Â󿦚¿îÂ/ õþã-Ûõþ Û¶ö±õ õÉ¿M áîÂ, ÷ò™¦¸±¿MWßÂ Ý ü±÷±¿æßÂ/ ð±úÇ¿òßÂ-Ûõþ ÷Ëî õþã ÛßÂý× ü±Ëï Îä±à, õÅ¿X ÷ò Ý Õ±R±õþ ¿õø¸ûþ/ ¿ýjÅú±Ë¦a Õ±&Ëòõþ õþã ù±ù, æù-Ûõþ ü±ð±, ÷±¿éÂõþ ß±Ëù±/ áèÏß ¿ä™Lñ¿õðËðõþ ÷Ëî ÷±¿é òÏù, æù üõÅæ, Õ±&ò ù±ù, õ±î±ü ýùÅð Ý Îðõî± ü±ð±-ÛõþßÂ÷ Õ±õþÝ ¿õ¿öÂi§ ÎðËú õþãÛõþ ò±ò±ò ú±¦aÏûþ õɱàɱ Î÷Ëù/ ‘õþÑ-üÑËõðò’ ü÷ü±÷¿ûþßÂß±Ëù ¿õË −ø¸í÷Óùß ðúÇËò (Analytical Philosophy) & QÂóÓíÇ Õ±Ëù±äÂò±õþ ¿õø¸ûþ ýËûþ ëÂ×ËêÂËå/ õþã üÑS ±™Là ձËù±äÂò± ÎïËß ÕËòß õþßÂ÷ Õ¿ñ¿õðÉß ۶ Ÿ ÝËêÂ/ î±õþ Õ¿™¦¸Q ¿ß ÷ò-ü±ËÂó  ò± ÷ò-¿òõþËÂó · ¿õÑú úî±sÏõþ ÕòÉîÂ÷ Î|‡Â ð±úÇ¿òß õþ±Ëüù-Ûõþ ÷î ÕòÅü±Ëõþ Õ±÷±Ëðõþ üõþ±ü¿õþ Û¶îÂÉË Âõþ Õ¿öÂ:î±õþ ¿õø¸ûþ ýËBå ý׿fûþ ëÂ×Âó±Ý (Sense-data) Îû&Ëù± Âó±¿õþ, î± õdüMW± (Reality) òûþ, î± ý’Ëù± üMW±õþ Õõö±ü (Appearance) û± ý׿fûþ ëÂ×Âó±ËMõþ ÷±ñÉË÷ ۶߱¿úî ýûþ/ Õ±÷õþ± ûàò Îß±Ëò± õdËß ‘ù±ù’ õ¿ù î±õþ ÎïËß ÎûÌ¿M ßÂö±Ëõ, Ûé± ¿òÐüÔî ýûþ ò± Îû õd¿éÂõþ Ûý× ‘ù±ù’ &í¿é ձËå/ ÛßÂé± ß±¿êÂ-Îß û¿ð æËù ÕËñÇß ëÅ¿õËûþ ÎðÝûþ± ýûþ î±ýËù æËù ëÅÂõ™Là ÕÑú¿éÂËß õұ߱ Îðà±ûþ–î±õþ ÕïÇ ¿ß Îû ß±¿êÂé± æËù ÕËñÇß ¿ò÷¿#î ý’Ëûþ ‘õS ’ &íÛ¶±l ý’Ëù±· Ûý× ëÂ×ð±ýõþËíõþ ÷±ñÉË÷ õdüMW± Ý î±õþ Õõö±ü Ûõþ Âó±ïÇßÂÉ ¿ßÂåÅé± Âó¿õþ¦¨±õþ ý’Ëî Âó±Ëõþ/ î±ýËù ûàò õdõþ Îß±Ëò± õþã Õ±÷±õþ Îä±Ëàõþ ü±÷Ëò Õ±üËå Õ±¿÷ ¿ß Îæ±õþ

¿ðËûþ õùËî Âó±¿õþ Îû Îüý× õþãé±ý× Îüý× õdõþ &í· Îß±òÄ õdõþ õþã Û¶ü˼ ¿ß õþßÂ÷ æ¿éÂù ü÷üɱõþ üÔ¿©† ýûþ, îÂ±Ý ð±úÇ¿òß õþ±Ëüù Îð¿àËûþËåò/ ðúÇò ý׿fËûþõþ Û¶ñ±ò Õõù¥¤ò Õ±Ëù±/ áèÏß ð±úÇ¿òß Õɱ¿õþˆÂéÂù õÅËç¿åËùò ‘õþã’ Îðàõ±õþ Î ÂËS Õ±Ëù±ßÂú¿M Ûß ÕÂó¿õþý±ûÇ ëÂ×Âó±ð±ò/ õþ±ËüùÛõþ ÷Ëî ձËù±ËßÂõþ Û¶¿îÂôÂùËòõþ î±õþîÂË÷Éõþ ÕòÅü±Ëõþ õþËãõþ î±õþîÂ÷É âËéÂ/ ¿õ¿öÂi§ îÂõþ¼ ÆðËâÇÉõþ ôÂËù ¿õ¿öÂi§ õþãÄ-Ûõþ üÔ¿©†/ Õ±Ëù±õþ îÂõþ¼ ÆðËâÇÉõþ Û¶ü¼ õ±ð ¿ðËù üõ Õ±Ëù±õþý× ÛßÂý× õþ+Âó/ Õ±÷±Ëðõþ Îä±Ëàõþ áêÂòîÂLa Ûý× îÂõþ¼ÍðËâÇÉõþ ÷±ñÉË÷ ò±ò±ò Õ¾³î Õõ±ß ßÂõþ± Æõ¿äÂËSÉõþ üÔ¿©† ßÂ’Ëõþ Õ±Ëù±Ëß õþãÛ õþ+Âó±™Lÿõþî ßÂËõþ/ õþ±Ëüù-Ûõþ ÷Ëî Ûß Ûß æ±ûþá± ÎïËß õþãÄËß Ûß õþßÂ÷ Îðà±ûþ-üõ±õþ ÂóËï ÛßÂý× õdõþ ÛßÂý× õþßÂ÷ õþã Îðà± üyÂõ òûþ/ ðÔ¿©†Ëß±Ëíõþ Âó±ïÇËßÂÉõþ æòÉ Õ±Ëù±õþ Û¶¿îÂôÂùËòõþ Âó±ïÇßÂÉ ýûþ– ôÂùîÂÐ ðÅæò õÉ¿M õþ ß±Ëå ÛßÂý× õþã ÕòÅöÓÂî ýõ±õþ Âó¿õþõËîÇ ¿öÂi§ ¿öÂi§ õþã ÕòÅöÓÂî ýûþ/ ÛßÂæò ¿äÂSßÂËõþõþ ß±Ëå Ýý× Âó±ïÇßÂÉ ûË渚 & QÂóÓíÇ/ ¿î¿ò ¿ßÂc õþã Ûõþ Õõö±ü (appearance) ÎßÂý× & Q Îðò/ ÛõÑ Îüý×ö±Ëõý× å¿õ ÕÒ±ËßÂò/ ÛßÂý× õþËãõþ ¿õø¸ûþËß ¿õ¿öÂi§ ðÔ¿©†Ëß±í ÎïËß ß±å ÎïËßÂ, ðÓõþ ÎïËß ¿õ¿öÂi§ õþËã ¿ä¿Sî ßÂËõþò/ õþ±ËüËùõþ õM õÉ ÕòÅü±Ëõþ ðúÇËòõþ ü÷üɱ Ûà±Ëòý×–¿äÂSßÂõþ æ±òËî ä±ûþ ¿õø¸ûþ¿é ðÔúÉî ÎßÂ÷ò Îðà±ËBå–ü±ñ±õþí ÷±òÅø¸ Ý ð±úÇ¿òß æ±òËî ä±ûþ ¿õø¸ûþé± Õ±üËù ¿ß· Hilbert-Ûõþ ÷Ëî ‘õþã Îðà±’ ÛßÂé± õÉ¿M áî տöÂ:î± Ûý× ÕËïÇ Îû, Õ±÷±Ëðõþ ÷¿™¦¸©¨ Õ±Ëù±õþ îÂõþ¼ÍðËâÇÉõþ õɱàɱõþ ÷±ñÉË÷ õþã Æî¿õþ ßÂËõþ/ ëÂ×Âóõþc ‘õþã Îðà±’ Îß õdáîÂ-Ý õù± û±ûþ ß±õþí Îû Îß±ò ðÅæò ðúÇßÂ, û±Ëðõþ Õ¿ ÂÂóé (Retina)-Û Õõ¿¦šî ú‚ÅÂËß±ø¸ (cones)-Ûõþ ü±ý±ËûÉ õþãÄ áèýíß±õþÏ Â÷î± ÛßÂõþßÂ÷ î±õþ± õþãÄËß ÛßÂý× ö±Ëõ ÎðËà/ õdËî õþã Îðàõ±õþ Î ÂËS Õ±Ëù±õþ îÂõþ¼ ÆðËâÇÉõþ ÕõúÉý× Õ±Ñ¿úß öÓ¿÷ß± Õ±Ëå/ ¿ßÂc î± å±hÂ±Ý Õ±õþÝ ÕòɱòÉ ëÂ×Âó±ð±òÝ ß±æ ßÂËõþ/ ä±õþÂó±Ëú Õõ¿¦šî ÕòɱòÉ õþã-Ûõþ ëÂ×Â󿦚¿î ձËù±õþ î±õþîÂ÷É, ¦š±òáî Âó±ïÇßÂÉ ý×îÂɱ¿ð Âó±õþ¦ó¿õþß î±õþîÂË÷Éõþ æòÉ ÛõÑ Âó¿õþËõËúõþ õ±d-üÑ¿ýî (Ecology) î±õþîÂË÷Éõþ ß±õþËí Îû üõ õþËãõþ î±õþîÂ÷É âËéÂ, î±õþ Îß±ò Ûß¿éÂËß õdõþ õþã õþ+ËÂó áíÉ ßÂõþ± ÛõÑ ÕòɱòÉ õþã w±™LÃõþ+ËÂó õ±¿îÂù ßÂõþ±õþ Îß±Ëò± ûÅ¿M ü¼î ß±õþí Îòý×/ 94

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

÷Ëò±¿õ:±òÏ S. K. Palmer ÛõÑ cognitive scientist Îðõþ õM õÉ ÕòÅü±Ëõþ ÷±òÅø¸ ü±¿õÇßÂö±Ëõ ¿õ «±ü ßÂËõþ Îû õd õþ¿ãò õ’Ëù Õ±÷õþ± î±Ëß õþ¿ãò Îð¿à/ ¿ßÂc õd ÛõÑ Õ±Ëù± Îß±òé±ý× õþ¿ãò òûþ–û¿ðÝ Õ±÷õþ± Õ¿öÂ:î±ûþ î±ý× Âó±ý×/ ëÂ×Âóõþc õþã ýËBå ä± ÅÂø¸ Õ¿öÂ:î±õþ ÷±ò¿üß Æõ¿ú©†É/ Õ±÷±Ëðõþ Û¶¿î¿é õþãÄ Ûõþ Õ¿öÂ:î± õ± ÎäÂîÂò± ÛßÂé± ‘üõþù üÑËõðò’ õþ+ËÂó Û¶îÂÏî ýûþ/ Õ±÷õþ± ûàò Îß±Ëò± õdõþ ¿ðËß î±ß±ý×, î±Ëî Îû õþã Õ±÷õþ± Îð¿à î±õþ ß±õþí ¿ýËüËõ õdõþ õdáî Æõ¿ú©†É&Ëù± ÛõÑ î±õþ ÷ËñÉ Îû Õ±Ëù±õþ ¿õBåÅõþí î±ËðõþËßÂý× ñõþ± ýûþ/ ¿ßÂc Ûý× Æõ¿ú©†É&Ëù± ‘õþã’ Ûý× ¿õø¸ûþ ÎïËß ü¥óÓíÇ Õ±ù±ð± (Palmer)/ ‘õþã’ ûàò ä± ÅÂø¸ Û¶îÂÉË Âõþ Æõ¿ú©†É, Û ÎïËß ÕòÅ÷±ò ßÂõþ± û±ûþ-õþã ýËù± õdõþ Ùí/ ÛË ÂËS õdËî ‘õþã’-Ûõþ õ±™¦¸õ Õ¿™¦¸Q ßÂîÂé± î± ¿òËûþ ð±úÇ¿òßÂËðõþ ÷ËñÉ Ã›¶ Ÿ ëÂ×ËêÂËå/ Û¶ Ÿ¿é ý’Ëù± õþã ¿ß ձüËù õdáî •õdËî Õõ¦š±ò ßÂËõþ—, ò± õÉ¿M áî •÷±ò¿üß ¿õø¸ûþ—· ‘õdËî õþã Îòý× ÛõÑ õþã õÉ¿M áî ÕòÅöÓ¿îÂ’-Ûý× õM õÉ Î÷Ëò ¿òËî ¿ßÂåÅ ¿ßÂåÅ ð±úÇ¿òß õþ±¿æ òò/ îÒ±Ëðõþ ÷î ÕòÅü±Ëõþ ¿õ¿öÂi§ õdËî Îû ¿õ¿öÂi§ õþãÄ Õ±Ëå î± Îî± Õ±÷õþ± õÅçÂËîÂý× Âó±¿õþ/ ÛßÂæò ¿úqËß ûàò Õ±÷õþ± õþãÄ ¿äÂòËî Îúà±ý×, îÂàò Îß±Ëò± ¿õËúø¸ õþ¿ãò õdËß Îð¿àËûþ Îúà±ý× (Ostensive)/ îÒ±õþ± Õ±õþÝ õËùò ‘õþÑ ýËù± ÷±ò¿üß Æõ¿ú©†É’-Û õM ËõÉõþ ÕïÇ ¿ß· û¿ð ‘õþã’ õËù ¿ßÂåÅ ï±ËßÂ, îÂËõ î± õdËîÂý× Õ±±Ëå/ üÑàɱùâÅ ¿ßÂåÅ ð±úÇ¿òß Îû÷ò õ±ý×õþí, ¿ýùõ±éÇ–ÛËðõþ õM õÉ ÕòÅü±Ëõþ õþãÄ ýËù± õ±¿ýÉß æáËîÂõþ ÕÑú/ C. L. Hardin Õ±Ëù±äÂò±õþ ÷±ñÉË÷ Îð¿àËûþËåò Îû õþã ßÂàËò±ý× õ±ýÉ æáËîÂõþ ÕÑú ý’Ëî Âó±Ëõþ ò±/ Û îÂßÇÂ-¿õîÂßÇ ü±¥x¿îÂßÂß±Ëùõþ / 1688 ¿àèÐ æò ùß îÒ±õþ An Essay Concerning Human Undrestanding-ò±÷ß üÅ¿õàɱî áèËLš Ûý× ¿õø¸Ëûþ Õ±Ëù±äÂò± ßÂËõþËåò/ ùËßÂõþ ÷î ÕòÅü±Ëõþ Õ±÷õþ± Îß±ò õdËß î±õþ &í õ± &íü÷ÓËýõþ ÷±ñÉË÷ æ±òËî Âó±¿õþ/ õdõþ &í Ý &Ëíõþ ñ±õþò±õþ ÷ËñÉ Âó±ïÇßÂÉ Õ±Ëå/ û± ¿ßÂåÅ üõþ±ü¿õþö±Ëõ Õ±÷±Ëðõþ Û¶îÂÉ Â, ¿ä™Lñ õ± :±Ëòõþ ¿õø¸Ëûþ ýûþ î± ý’Ëù± ñ±õþí±, Õ±õþ Îüý× ¿õø¸Ëûþõþ Õ™LÿòÇ¿ýî Îû ú¿M Õ±÷±Ëðõþ ÷Ëò ñ±õþí±Ëß üÔ¿©† ßÂËõþ, Îüý× ú¿M ËßÂý× õËù &í/’’ ‘‘Whatsoever is the

2nd Proof 18.09.2013

95

÷ÅàÉ&í Ý ÎáÌí&í/ ÷ÅàÉ&í ý’Ëù± õdõþ ¿ò榤 &í Îû÷ò ձ߱õþ, Õ±ûþîÂò, á¿î ý×îÂɱ¿ð/ ÕòÉ¿ðËß ÎáÌí&í õdõþ ¿ò榤 &í òûþ/ õd Õ±÷±Ëðõþ ß±Ëå õþ¿ãò õËù Û¶¿îÂö±î ýûþ ¿êÂßÂý× ¿ßÂc õþã, ágÂ, ¦¤±ð ý×îÂɱ¿ð &í ý’Ëù± ÎáÌí&í ÎßÂòò± Ûý× &í&Ëù± Îß±Ëò±é±ý× ÷ò-¿òõþËÂó Âö±Ëõ õdËî ï±Ëß ò±/ ëÂ׿{¡¿àî Îß±ò &íý× õdõþ ü±ñ±õþí ñ÷Ç òûþ, ÛõÑ ¦š±ò, ß±ù, Âó±SËöÂËð ÛËðõþ ÕòÅöÂõÝ ¿öÂi§ ¿öÂi§ ýûþ/ àÅõ ëÂ×#;ù Õ±Ëù±Ëî ‘ù±ù’ õþãËß Îû õþßÂ÷ ù±ù Îðà±ûþ, ÕŠ Õ±Ëù±Ëî ÎüõþßÂ÷ ù±ù Îðà±ûþ ò±/ Îû ÕòÅ-Âóõþ÷±íÅõþ ü±ý±ËûÉ Îß±ò õd üÔ¿©† ýûþ î±Ëðõþ Õ™LÃòÇÏ¿ýî Ûß ÕðÔúÉ Ý Õ:±îÂú¿M õþ ß±õþËí õ±ýÉõd Õ±÷±Ëðõþ ¿õ¿öÂi§ ý׿fûþËß ¿õ¿öÂi§ö±Ëõ •¿õËúø¸ö±Ëõ— ëÂ×VÏ¿Âóî ßÂËõþ û±õþ ôÂËù õþ+Âó, õþü, ágÂ, ¦óúÇ ý×îÂɱ¿ð ÎáÌí&Ëòõþ ñ±õþí±õþ üÔ¿©† ýûþ/ î±ý× ùß õËùò Ûüõ &í Âó±Sáî (subjective)/ ‘‘îÂËõ &Ëíõþ Ûý× Î|íÏ¿õö±á ùËßÂõþ õU Õ±Ëá Û¶±äÂÏò áèÏß ð±úÇ¿òß Âóõþ÷±íÅõ±ðÏ ÎëÂË÷±¿S é±ü (Democretus) Ý ðÅ۶߱õþ õdñË÷Çõþ ëÂ×Ë{¡à ßÂËõþËåò/ ü÷ü±÷¿ûþßÂß±Ëù Îæɱ¿î¿õÇ:±òÏ áɱ¿ù¿ùÝ (Galileo), õÅ¿XÂõ±ðÏ ôÂõþ±üÏ ð±úÇ¿òß Îðß±îÇ (Descartes) ÛßÂý×ö±Ëõ õdõþ ðÅý× Ã›¶ß±õþ &Ëíõþ ëÂ×Ë{¡à ßÂËõþò ëÂ×Âóõþc îÂÈß±ùÏò õþü±ûþò¿õð Ý Âóð±ïÇ¿õð õËûþù (Boyle) ÛõÑ ¿òëÂ×éÂò(Newton)-Ý Ûý× &íáî Âó±ïÇËßÂÉõþ ëÂ×Ë{¡à ßÂËõþò/ îÂËõ áɱ¿ù¿ùÝ, õËûþù, ¿òëÂ×éÂò Û¶÷Åà ¿õ:±òÏáí Æõ:±¿òßÂ-ðÔ¿©†ö¼ÏËî ðŒÛ¶ß±õþ &Ëíõþ ëÂ×Ë{¡à ßÂËõþò, Îüà±Ëò ùß îÒ±õþ îÂMWðúÇËòõþ ౿îÂËõþ Ûý× Õ±Ëù±äÂò± ßÂËõþò/’’ •Âó±}±M— ðúÇËòõþ ý׿îÂý±ü-2ûþ àGÂ-ëÂÐ ü÷Ëõþf öÂA±ä±ûÇ—/ ÎëÂß±éÇ ÷Ëò ßÂËõþò Õ±÷õþ± õ±¿ýÉß õdËî õþã Îð¿à-Ûé± õù±Ý û±, Õ±õ±õþ Õ±÷õþ± õdËî Û÷ò ¿ßÂåÅ Îð¿à û± ü¥óËßÇ ձ÷õþ± :±î òý×-Õïä û± Õ±÷±Ëðõþ ÷Ëòõþ ÷ËñÉ-ÛßÂé± Âó¿õþ©¨±õþ üÑËõðò Îðûþ, î±ËßÂý× Õ±÷õþ± õþã Ûõþ üÑËõðò õ¿ù-ðÅËé±ý× ÛßÂ/ ‘õþã’ û±Ëß õ±¿ýÉß õdõþ ÎáÌí&í õËù ¦¤ÏßÔ¿î ÎðÝûþ±õþ Î䩆± ýËBå, Îß±ò Îß±ò ð±úÇ¿òß Ûý× ÷îÂõ±ðËß ß¿Šî ÷îÂõ±ð õËùò/ ÎëÂß±ËéÇÂõþ ÕòÅüõþíß±õþÏ ¿ßÂåÅ ð±úÇ¿òß Ûý× ÷î ÷±òËî õþ±æÏ òò/ õdËî ‘õþã’ Ûõþ õ±™¦¸õ Õ¿™¦¸Q ßÂîÂé± î± ¿òËûþ S. K. Palmer 1999 -Û Îû ßÂï± õ’ËùËåò Îû ‘‘Nothing is coloured, colour is a psychological property of our visual experience’’ -Ûý× ÷ËîÂõþ ü˼ Eliminativist Îðõþ ¿ßÂåÅé± ¿÷ù Õ±Ëå/ Palmer Ûõþ õM õÉ ÕòÅü±Ëõþ Õ±÷õþ± ûàò Îß±Ëò±

immediate object of perception, thought or understanding, that I call idea; and the power to produce any idea in our mind I call quality of the subject wherein the power is’’ (Essays II page 169, Locke)/

õdËß ¿õËúø¸ö±Ëõ Îð¿à îÂàò î±õþ ÷ËñÉ ¿ßÂåÅ &í ÎðàËî Âó±ý×/ Îüý× &í&Ëù± ÎïËß ‘õþã’ Ûý× &í¿é ü¥óÓíÇ Õ±ù±ð± Îû õdËî Îû õþãÄ Õ±÷õþ± Îð¿à Îüý× õþãÄ Îüý× õd õ± Õ±Ëù± •û±õþ Õ±Ëå õËù õd¿éÂËß ÎðàËî Âó±¿Bå— ß±Ëõþ±õþ ÷ËñÉý× Îòý×/

Ûý× Ã›¶ü˼ ùßÄ õdõþ ðÅý× Ã›¶ß±õþ &Ëíõþ ëÂ×Ë{¡à ßÂËõþËåò– 95

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

ñõþ± û±ß ù±ù õþËãõþ ßÂËûþß¿é õd/ ù±ù ß±ÂóhÂ, ù±ù éÂË÷Ëé±, ù±ù ¿ôÂËî ý×îÂɱ¿ð/ õþã Ûõþ õ±™¦¸õ Õ¿™¦¸ËQ ûÒ±õþ± ¿õ «±ü ßÂËõþò, ûÒ±õþ± ÷Ëò ßÂËõþò õdõþ ÕòɱòÉ &Ëíõþ Âó±ú±Âó±¿ú õþãÝ õdõþ Ûß¿é &íñ÷Ç •û± Õ±÷±Ëðõþ Îä±Ëàõþ ü±÷Ëò Õõö±¿ø¸î ýûþ—, îÒ±õþ± Û¶ Ÿ îÅÂùËåò î±ýËù Ûý× ‘ù±ù’ õd&Ëù±õþ ÷ËñÉ ¿ß Îß±Ëò± ¿õËúø¸ ¦¤±îÂLa üÓäÂß (distinctive) Æõ¿ú©†É Õ±Ëå û±õþ æòÉ õd&Ëù±Ëß ù±ù Îðà¿å/ ÛõÑ û¿ð ï±Ëß î±ýËù ¿ß Îü Æõ¿ú©†É· (Byrne & Hilbert 2003) Û¶ï÷ ¿õîÂßÇ ý’ËBå colour realist •ûÒ±õþ± ¿õ «±ü ßÂËõþò õþã õdËîÂý× Õ±Ëå— ÛõÑ Eliminativist •áèÏß Âóõþ÷±íÅõ±ðÏû±õþ± ÷Ëò ßÂËõþò Îß±Ëò± õdý× õþÑ ÷ÅM òûþ—-Îðõþ ÷ËñÉ/ ¿ZîÂÏûþ ¿õîÂßÇ ý’ËBå Colour realist Îðõþ ÷ËñÉý×/ ¿õîÂßÇ ¿òËûþ Õ±Ëù±äÂò± ßÂõþ± Õ±÷±õþ ëÂ×ËVúÉ òûþ, õõþÑ õþã ü¥óËßÇ ð±úÇ¿òËßÂõþ ¿ä™Lñ ö±õò±, ûîÂé± üyÂõ, ۶߱ú ßÂõþ±ý× Õ±÷±õþ ëÂ×ËVúÉ ‘õþã’ ü¥óËßÇ ò±ò±ò ¿õËõþ±ñÏ ÷îÂõ±ð Õ±Ëå/ õþã õdõ±ðÏ (colour realist) õþ± õþã ¿ß Îß±Ëò± ¿õËúø¸ ñõþËòõþ Æõ¿ú©†É· õd&Ëù±õþ ÷ËñÉ ¿ß Îüý× ¿õËúø¸ Æõ¿ú©†É Õ±Ëå· Primitivist •û± ¿ßÂåÅ Õ±¿ðß±ùÏò î±ý× Î|‡Â— Ûý× ÷îÂõ±ð ÎÂó±ø¸íß±õþÏËðõþ ÷Ëî õþã ýËBå Õ±¿ð÷ Æõ¿ú©†É/ ûàò ÎïËß ÂóÔ¿ïõÏ îÂàò ÎïËßÂý× õþÑ-Ûõþ Õ¿™¦¸Q/ õþã õdõþ &íáî Æõ¿ú©†É/ Reductive Physicalist-Îðõþ õM õÉ ÕòÅü±Ëõþ õþã õdõþ Îß±Ëò± ùÅ!±¿ûþî (hidden), æ¿éÂù, Û¶±ßÔ¿îÂß Æõ¿ú©†É û± õÉ¿M Ëß õdËî ù±ù, òÏù ý×îÂɱ¿ð õþãÄ Îðà±Ëî ëÂ×ðÉî ßÂËõþ/ Dispositionalist Ëðõþ õM õÉ ÕòÅü±Ëõþ õþÑ ý’Ëù± õÉ¿M ü±ËÂó Â/ ÛßÂý× õÉ¿M Ûß¿é õdËßÂý× ¿õ¿öÂi§ ü÷Ëûþ ¿õ¿öÂi§ õþã ÎðàËî Âó±Ëõþ, Õ±õ±õþ ¿õ¿öÂi§ õÉ¿M Ûß¿é õdõþ ÷ËñÉ ¿õ¿öÂi§ õþã ÎðàËî Âó±Ëõþ/ Ûý× ÷îÂõ±ð Û û±õþ± ¿õ «±üÏ ùËßÂõþ ÷îÂõ±Ëðõþ ü˼ îÒ±Ëðõþ ÷îÂõ±Ëðõþ Îß±ï±Ý ÛßÂé± ¿÷ù Õ±Ëå/ Projectivist õþ± ÷’Ëò ßÂËõþò õþã õÉ¿M áî &í û± õ±¿ýÉß õdËîÂ, õÉ¿M Û¶¿ Âl ßÂËõþ/ Subjectivist ùËßÂõþ ÷îÂõ±ð Õ±÷õþ± Õ±Ëáý× Õ±Ëù±äÂò± ßÂËõþ¿å/ õîÇÂ÷±Ëò Ûý× ñõþËòõþ ¿õ¿öÂi§ ÷î±÷î ¿òËûþ ÕËòß áËõø¸í±÷Óùß ձËù±äÂò± äÂùËå-¿õ™¦¸±¿õþî ձËù±äÂò±ûþ û±¿Bå ò±/ ‘õþã’ Îß ¿ßÂö±Ëõ Îð¿à, Îß±òÄ Õõ¦š±ûþ õ± Âó¿õþ¿¦š¿îÂËî õþãËß Îðà¿å •Ûà±Ëò ¿ßÂc Õ±ËõËáõþÝ ÛßÂé± öÓ¿÷ß± Õ±Ëå— , ßÂîÂé± Õ±Ëù±ËîÂ, ¿ß ñõþËòõþ Õ±Ëù±ËîÂ, ßÂîÂé± ðÓõþ ÎïËß õ± ß±å ÎïËß Îß±ò Âó¿õþ¿¦š¿îÂËî–üÑË ÂËÂó Îõ±ç± Îáù

2nd Proof 18.09.2013

96

ÕËòßÂõþßÂ÷ ëÂ×Âó±ð±Ëòõþ ÝÂóõþ õþã Îß Îðà± ¿òöÇÂõþ ßÂËõþ/ ëÂ×ò¿õÑú úî±sÏõþ ÛßÂæò ¿õàɱî ð±úÇ¿òß wittgenstein Ûõþ õM õÉ ÕòÅü±Ëõþ Õ±÷õþ± õþã ü¥ó¿ßÇÂî Îß±Ëò± îÂMW Õ±Ëù±äÂò± ßÂõþËî ä±ý× ò±/ õõþÑ õþã ü¥óËßÇ ձ÷±Ëðõþ Îû ñ±õþí± î±õþ ÎûÌ¿M ßÂî± Îß±ï±ûþ î±ý× Õ±Ëù±äÂò± ßÂõþËî ä±ý×/ Îû÷ò ñõþ± û±ßÄ ýùÅð õþã–Ûý× õþãËß ձ÷õþ± ò±ò±ö±Ëõ Îõ±ç±õ±õþ Î䩆± ß¿õþ/ Îû÷ò ß񱊱 ýùÅËðõþ ÷î õþã, üËø¸Ç ôÅÂËùõþ õþËãõþ ÷î ýùÅð õþã, õ±ü™LÃÏ ýùÅð õþã, ý×îÂɱ¿ð ý×îÂɱ¿ð/ Prof. Johnston ¿õø¸ûþ¿éÂËß ÛßÂö±Ëõ õɱàɱ ßÂõþ±õþ Î䩆± ßÂËõþËåò/ ýùÅð õþËãõþ ¿õ¿öÂi§ õþ+Âó (Shade) Û¶ßÔ¿îÂËî ¿õËúø¸ ¿õËúø¸ æ±ûþá±ûþ ò±ò±ö±Ëõ Õõ¦š±ò ßÂËõþ/ Õïä ÛßÂý× ‘ýùÅð’ õþã-Ûõþ Âó¿õþõ±õþöÅÂM ý’ËûþÝ î±õþ± Âóõþ¦óËõþõþ ÎïËß ձù±ð±/ îÂõÅ ¿õ¿öÂi§ õþ+Âó (Shade) ýËùÝ î±Ëðõþ ÷ËñÉ ÛßÂé± ÜßÂÉ Õ±Ëå/ Õ±÷õþ± ûàò ¿õ¿öÂi§ ýùÅð õþËãõþ õd Îð¿à îÂàò î±Ëß ‘ýùÅð õþã’ õËùý× ¿õ «±ü ß¿õþ/ Îû Îß±Ëò± õþã Ûõþ Î ÂËSý× Ûý× ÛßÂý× õM õÉ Ã›¶Ëû±æÉ/ ü±ñ±õþí Õ¿öÂ:î± ÎïËß ‘õþã Îðà±’ ¿õø¸ûþËß ձ÷õþ± Ûö±Ëõý× õɱàɱ ßÂõþ±õþ Î䩆± ß¿õþ/ Johnston Ûõþ õɱàɱ ÕòÅü±Ëõþ õþã ÛõÑ :±ò Ûý× ñõþËíõþý× ýûþ–î± áèýí ßÂõþ± Õ±Âó±îÂðÔ¿©†Ëî òɱûþü¼îÂ-Îû õÉ¿M õþ ß±Ëå ‘ýùÅð õþã’-Ûõþ ñ±õþí± Õ±Ëå îÒ±õþ ß±Ëå Û õɱàɱ üîÂÉ/ Õ±÷õþ± [õíDZg (colour blind) õÉ¿M å±h±] õþã Ûõþ ò±÷ ü¥óËßÇ Õõáî ÛõÑ õþãÛõþ ñ±õþí± Õ±Ëå õ’Ëùý× õþã üÑS ±™Là ò±ò±õþßÂ÷ Õ±Ëù±äÂò± ßÂõþËî Âó±¿õþ/ îÂËõ ÛßÂï±Ý ¿êÂß Îû, õþã Ûõþ Ûý× Îû ¿õú±ù õɱÂóßÂî±-ûî Âí ÂóûÇ™Là ձ÷õþ± î±õþ ü±Ëï Âó¿õþ¿äÂî ò± ý¿Bå õ± î±õþ ûï±ïÇ ¿õqXÂî± ÛõÑ õþËãõþ S ÷ ÕòÅü±Ëõþ ü±æ±Ëò± ¿õø¸ûþ¿é ü¥óËßÇ ò± æ±òËî Âó±õþ¿å îÂî Âí ‘ÜßÂÉ’ Îß ձ÷õþ± Õ±¿õ©¨±õþ ßÂõþËî Âó±õþËõ± ò±/ ëÂ×ð±ýõþí ¦¤õþ+Âó õù± û±ûþ ձ߱Ëú ûàò Õ±÷õþ± õþ±÷ñòÅ Îð¿à î±õþ ÷ËñÉ üõÇð±ý× ÛßÂé± S ÷ VIBGYOR ï±Ëß ßÂàòÝ î±õþ õÉ¿îÂS ÷ ýûþ ò±/ ëÂ×Âó¿õþëÂ×M Õ±Ëù±äÂò±õþ ü˼ Îù±ß±ûþî ñ±õþí± õ± ¿õ «±üÛõþ Ûß¿é îÅÂùò±÷Óùß ձËù±äÂò± ßÂõþ±ý× û±ûþ-¿ßÂc î± Ûý× Ã›¶õgÂËß ÕÛ¶±ü¿¼ßÂö±Ëõ ðÏâÇ ßÂõþËõ/ îÂËõ Îù±ß±ûþî ñ±õþí±õþ ü˼ ëÂ×Âó¿õþëÂ×M Õ¿ñ¿õðÉß (metaphysical) Õ±Ëù±äÂò±õþ Îß±ï±Ý ÛßÂé± Îû±áüÓS Âó±Ýûþ± ÎûËî Âó±Ëõþ/ Ûý× Îû õþã-Ûõþ ò±ò±ò Û¶Ëûþ±á ձ߱ú òÏù, õþæòÏág± ü±ð±, á±Ëåõþ Âó±î± üõÅæ–Õ±÷õþ± ü±ñ±õþí ÷±òÅø¸ ÛËîÂý× àÅ¿ú/ ¿ßÂc ð±úÇ¿òßÂËðõþ ß±Ëå ù±ù õþã-Ûõþ ÷ËñÉ ¿ß ¦¤îÂLa Æõ¿ú©†É Õ±Ëå û±õþ æòÉ ù±ù õþËãõþ õdËß ÎðËà Õ±÷õþ± õ¿ù–‘ý×ý± ù±ù’–Ûý× üîÂÉ õËù 汿ò–Ûé± ÛßÂé± Õ±Ëù±äÂò±õþ ¿õø¸ûþ/ õþã üÑS ±™Là ձËù±äÂò±õþ Õ±õþ ÛßÂé± ¿ðß ý’Ëù± õþã-Ûõþ 96

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

õdáî ¿ðß (colour objectivism)/ Ûý× ÷î ûÒ±õþ± ÷±Ëòò îÂÒ±Ëðõþ ÷Ëî õþã ýËBå õdáîÂ, ÷ò-¿òõþËÂó Â, õdõþ ¦¤ßÂÏûþ Æõ¿ú©†É ÛõÑ ÛßÂý× õþã ¿õ¿öÂi§ õdËî ï±ËßÂ/ Primitivist Îðõþ õM ËõÉõþ ü±Ëï Ûý× ÷ËîÂõþ ¿ßÂåÅé± ¿÷ù Õ±Ëå/ Ûý× ¿õø¸ûþËß ðÅ’ö±Ëõ õɱàɱ ßÂõþ± û±ûþ/ Û¶ï÷ õɱàɱ ÕòÅü±Ëõþ õþã ý’ËBå õdõþ üõþù, &íáîÂ, ¦¤ßÂÏûþ, ÕÂó¿õþõîÇÂòÏûþ Æõ¿ú©†É/ ÕòÉö±Ëõ õù± û±ûþ õþã ýËBå õdáîÂ, ÷ò-¿òõþËÂó  æh Âóð±ËïÇõþ Æõ¿ú©†É–û± Õ±÷±Ëðõþ ü±ñ±õþËíõþ ß±Ëå Âó¿õþ©¨±õþö±Ëõ ۶߱¿úî òûþ, û± Õ±¿õ©¨±Ëõþõþ ÕËÂó ± õþ±Ëà / Õ©†±ðú úî±sÏõþ ¦¨¿éÂú ð±úÇ¿òß Thomas Reid Ûý× Õ±Ëù±äÂò±õþ ü˼ ÛßÂ÷î òò/ îÒ±õþ ò±ò±ò ÷ËîÂõþ ÷ËñÉ ÛßÂé± ÷î ý’Ëù± õþã ýËBå Û÷ò &í û± Õ:±îÂ,û± ÷Ëò ÛßÂé± ñ±õþí±õþ üÔ¿©† ßÂËõþ/ Ûý× &íé±ËßÂ, ñ±õþí±Ëß òûþ, Õ±÷õþ± ÛßÂé± ò±÷ ¿ðý×–û¿ðÝ ÂóåËjõþ Î ÂËS õÉ¿M Ëî õÉ¿M Ëî Âó±ïÇßÂÉ ï±ËßÂ/ Mc Laughlin -Ûõþ ÷î Reid Ûõþ ÎïËß ÛßÂéÅ ձù±ð±/ îÒ±õþ ÷Ëî õþã ý’Ëù± ¿òõþËÂó Âö±Ëõ Õ±Ëù±äÂò±õþ ¿õø¸ûþ-û±õþ ÕïÇ ý’Ëù± õþã ý’Ëù± ¿ßÂåÅ æ¿éÂù õdáî Æõ¿ú©†É û± ÛßÂ÷±S Æõ:±¿òß áËõø¸í± Z±õþ± ëÂ×Ëiœ¿äÂî ý’Ëî Âó±Ëõþ/ Õïõ± õþã æh õdõþ üõþù, &íáîÂ, ¦¤ßÂÏûþ, ü¥óßÇÂýÏò, ÕÂó¿õþõîÇÂòÏûþ Æõ¿ú©†É–û± Õ±Ëù±äÂò±õþ ÕËÂó ± õþ±Ëà/ Ûî ü÷üɱ÷Óùß ձËù±äÂò±õþ ÷ËñÉ Hardin ÛõÑ Cohen Ûß¿é & QÂóÓíÇ ü÷üɱ îÅÂËù ñËõþËåò/ îÒ±Ëðõþ õM õÉ ÕòÅü±Ëõþ õdõþ ëÂ×Â󿦚¿îÂõþ ÛßÂé± ¿õú±ù õɱÂóßÂî± Õ±Ëå/ Û¶¿î¿é õdËß î±õþ õþã üý ¿õ¿öÂi§ Âó¿õþ¿¦š¿îÂËî ¿õ¿öÂi§ö±Ëõ ÎðàËî Âó±Ýûþ± û±ûþ/ ÛõÑ Õ±÷õþ± û±õþ± õdËî õþã Îðà¿å î±õþ±Ý ¿õ¿öÂi§ Î|íÏõþ ÛõÑ ¿õ¿öÂi§ ÷±ò¿üßÂî±õþ õÉ¿M / Ûî ò±ò±õþ+Âóî± (variety)-õþ

2nd Proof 18.09.2013

97

÷ËñÉ ÛßÂæò õþã õdõ±ðÏ •¿û¿ò õþã Ûõþ õ±™¦¸õ Õ¿™¦¸ËQ, ¿õ «±ü ßÂËõþò— Îß±òÄ Âó¿õþ¿¦š¿î ‘normal’ ÛõÑ Îß±òÄ ðúÇß Standard ðúÇß–î± ëÂ×Ë{¡à ßÂËõþ ¿õËúø¸ö±Ëõ ¿ä¿ý î ßÂõþËî ýËõ/ û¿ð î± üyÂõ ò± ýûþ î±ýËù Îß±ò õdõþ ‘ü¿îÂÉß±Ëõþõþ õþã’ ¿ß î± ¿õËúø¸ö±Ëõ õù±õþ Îß±ò õþ±™¦¸± Îòý×/ îÒ±õþ± Õ±õþÝ õËùò Îû Û÷ò Îß±Ëò± ¿õ¿ñü¥œî ëÂ×Âó±ûþ Îòý× û±õþ ü±ý±ËûÉ Õ±÷õþ± ‘normal’ Âó¿õþ¿¦š¿î ÛõÑ ‘standard’ ðúÇß ¿ä¿ý î ßÂõþËî Âó±¿õþ/ ü÷™¦¸ ¿õø¸ûþé±ý× Õ±ËÂó¿ Âß (Relative) Õ±÷õþ± àÅõ üýËæý× ñ’Ëõþ ¿òËî Âó±¿õþ Îû Õ±÷±Ëðõþ ðÔ¿©† Â÷î±õþÝ Âó¿õþõîÇÂò ýûþ/ ëÂ×Âóõþc ßÂàòÝ ßÂàòÝ Îß±Ëò± üõÅæ õþÑ-Ûõþ õd ù±ù õ± ýùÅð õþËã Âó¿õþõ¿îÇÂî ýûþ–î±ýËù õdõþ Õ±üù õþã Îß±òÄ¿é· Ûý× ñõþËòõþ ëÂ×ð±ýõþí Õ±÷±Ëðõþ æÏõËò Õ±Ëå/ Û ñõþËòõþ ü÷üɱûþ õþã õdõ±ðÏ (Colour realist) -Îðõþ õM õÉËß ÛßÂéÅ Âó¿õþõ¿îÇÂî ßÂ’Ëõþ Ûß¿é ëÂ×Mõþ ÎðÝûþ±õþ Î䩆± ßÂõþ± ÎûËî Âó±Ëõþ Îû, ÛßÂý× õdõþ ¿õ¿öÂi§ ÂËí Ûß±¿ñß õþã ý’Ëî Âó±Ëõþ/ •Ûà±Ëò ÛßÂé± ¿õø¸ûþ ÷Ëò õþ±à± ðõþß±õþ Îû ä± ÅÂø¸ Õñɱü (illusion) ¿ßÂc Õ±Ëù±äÂò± õ¿ýöÓÂÇî ¿õø¸ûþ—/ õþã ü¥óËßÇ ձõþÝ ÕËòß ð±úÇ¿òß îÂMW, îÂßÇÂ-¿õîÂßÇ ձËå û± Ûý× ¦¤Š Âó¿õþüËõþ õɱàɱ ßÂõþ± üyÂõ òûþ/ Õ±¿÷ qñÅ Î䩆± ßÂ’Ëõþ¿å ÷Óù îÂMWËß Âó±êÂßÂËðõþ ß±Ëå îÅÂËù ñõþËîÂ/ Ûý× Õ±Ëù±äÂò± û¿ð Âó±êÂßÂËðõþ ÷Ëò Îß±Ëò± Û¶Ë Ÿõþ ëÂ×Ë^ß ßÂËõþ– îÂËõý× Õ±Ëù±äÂò±õþ ûï±ïÇî±/ õþã ¿òËûþ ð±úÇ¿òßÂõþ± ûî îÂßÇÂ-¿õîÂßÇÂý× ß ò ò± ÎßÂò, Æõ:±¿òßÂõþ± ûî áËõø¸í±ËîÂý× ÷¢Ÿ ï±ßÅÂò, Õ±÷õþ± ü±ñ±õþí ÷±òÅø¸õþ± ¿ßÂc üõ±õþ õþËã õþã ¿÷¿úËûþ Õ±òËj æÏõËòõþ õþËãõþ Æõ¿äÂSÉËß ëÂ×ÂóËö±á ßÂõþËõ±/

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – õò±òÏ Îâ±ø¸, ıºı±¸œ ˜˝±øı…±˘À˚˛ı˛ ˙«Ú øıˆ¬±À·ı˛ ’Ò…±ø¬Ûfl¬±, ˜Ú–¸˜œé¬Ì-Ûõþ ü˼ ûÅM ýËùÝ, ü±¿ýËîÂÉõþ õþü îÒ±Ëß ÂóÅËõþ±ÂóÅ¿õþ Âó¿õþîÂɱá ßÂËõþ¿ò/ Âó¿õþîÂɱá Õ±üËù ÷ñÅõþ Îü ¿ß Û¶ß±õþ î± Îõ±ç± ðÅÐü±ñÉ/ î±ý× Û ýù Õ±÷±Ëðõþ Û¶±Ëíõþ Õ±¿ð ßÂï±/ Îüý× ëÂ×Âóù¿tËîÂý× õò±òÏõþ üÔ¿©†-÷ñÅõþ, Õ±ËÂó¿ ÂßÂ Ý ðÔl/ ¸˜œé¬Ìœõþ ü˼ ü¿S ûþ ö±Ëõ ûÅM , õò±òÏ Ã›¶¿ú¿ Âî ýËûþËåò õþõÏfü¼ÏËî ¬Û”ı«± ±À˜ı˛ ß±Ëå/ õíÇ ¿òËûþ õM ËõÉ õùËùò, ‘‘õíÇ Õ±÷±Ëðõþ Û¶±Ëíõþ ëÂ×Èüõ, Îüà±Ëò Õ±&ò Õ±Ëå, õõþËôÂõþ Âó±ý±hÂÝ/’’

97

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

98

Õ±Ëù±õþ õíÇõþýüÉ Õæûþ äÂS õîÇÂÏ òÅò ò± ï±ßÂËù Îû÷ò õÉ?ò ¿õ¦¤±ð ù±Ëá, õþã ò± ï±ßÂËù ÎîÂ÷¿ò ðÔúÉÂóé ձßÂø¸ÇíýÏò ù±Ëá/ æáËîÂõþ ÎüÌjûÇ õUù±ÑËú õíÇ¿òöÇÂõþ/ æ±÷DZò ð±úÇ¿òß ÎýËáù õËùËåò, ‘ÎüÌjËûÇõþ ÕòÉîÂ÷ & QÂóÓíÇ ëÂ×ÂóßÂõþí ýù õþã/’ Âó¿õþÂó±Ë «Çõþ õíÇÍõ¿äÂSÉý× ðúÇËßÂõþ ÷Ëò ÎüÌjûÇËõ±Ëñõþ üÔ¿©† ßÂËõþ/ ôÅÂËùõþ õ±á±Ëòõþ ÎüÌjûÇ ¿òöÇÂõþ ßÂËõþ î±õþ üõÅæ ÂóS±õùÏõþ ôÂÒ±Ëß ôÂÒ±Ëß õþãÎõõþËãõþ ôÅÂËùõþ ý±¿üõþ ÝÂóõþ/ ÎüÌjËûÇõþ ßÂï± ï±ßÂ/ ÎüÌjûÇîÂMW ¿òËûþ Û¶õg ¿ùàËî õ¿ü ¿ò/ õîÇÂ÷±ò Û¶õËgÂõþ ¿õø¸ûþõd õþã/ õþã ¿òËûþ Õ±Ëù±äÂò± ßÂõþËî ¿áËûþ Û¶ïË÷ ûÒ±õþ ßÂï± ÷Ëò ÂóËh ¿î¿ò ýËùò ý×ÑËõþæ ¿õ:±òÏ Õ±ý×æ±ß ¿òëÂ×éÂò/ Îá±ù±Âó ÎßÂò éÂßÂéÂËß ù±ù, ðÅñ ÎßÂò ñõñËõ ü±ð±, ߱ߠõ± Îß±¿ßÂù ÎßÂò ß±Ëù± ßÅÂäÂßÅÂËä î±õþ õɱàɱ ¿ðËûþËåò ¿òëÂ×éÂò/ ¿î¿ò õËùËåò, üÓËûÇõþ ü±ð± Õ±Ëù±õþ ÷ËñÉ Õ±Ëå æáîÂËß ò±ò±ò õþËã ü±æ±Ëò±õþ ëÂ×ÂóßÂõþí/ ÎßÂõù ÷ÅËà õËùËåò î± òûþ, ¿î¿ò î± ÂóõþÏ Â±õþ ü±ý±ËûÉ Ã›¶÷±í ßÂËõþÝ Îð¿àËûþËåò/ ¿î¿ò Ûß¿é ßÒ±ËäÂõþ ¿Ã›¶æË÷õþ ÷ËñÉ ¿ðËûþ üÓËûÇõþ Õ±Ëù± Âó±¿êÂËûþ Îðà±ò Îû, ü±ð± Õ±Ëù± Î÷±ËéÂý× ü±ð±÷±é± òûþ, Û Õ±Ëù± õíÇËä±õþ±/ ü±ð± Õ±Ëù± Õ±üËù õUõíÇÏ/ ¿Ã›¶æË÷õþ ÷ñÉ ¿ðËûþ ÎáËù ü±ð± Õ±Ëù± ¿õBåÅ¿õþî ýËûþ ü±î õþËãõþ õíDZùÏ áêÂò ßÂËõþ/ Ûý× õþã&¿ù ýù Îõ&¿ò (Violet), òÏù (Indigo), ձ߱¿ú (Blue), üõÅæ (Green), ýùÅð (Yellow), ßÂ÷ù± (Orange), ù±ù (Red)/ Î÷âù± ¿ðËò ձ߱Ëú ü±îÂõþã± ý×fñòÅ Îðà± û±ûþ ÎßÂò î±õþÝ õɱàɱ ¿÷ùËù± ¿òëÂ×éÂËòõþ Ûý× Õ±¿õ©¨±Ëõþõþ ¿ö¿MËîÂ/ õþ¿ãò õd ÎßÂò õþ¿ãò î±õþÝ õɱàɱ Âó±Ýûþ± Îáù/ Îß±Ëò± õdõþ ÝÂóõþ õUõíÇÏ ü±ð± Õ±Ëù± ÂóhÂËù õd¿é û¿ð Îß±Ëò± ¿õËúø¸ õþËãõþ Õ±Ëù± å±h± ÕòÉ üõ õþËãõþ Õ±Ëù± Îú±ø¸í ßÂËõþ Îòûþ îÂËõ õd¿éÂËß Ýý× ¿õËúø¸ õþËã õþ¿ãò Îðà±ûþ/ æõ± ôÅÂù ù±ù ÎßÂò ò± Ýý× ôÅÂËù ü±ð± Õ±Ëù± ÂóhÂËù ù±ù å±h± ÕòÉ üõ õþËãõþ Õ±Ëù± Îú±¿ø¸î ýËûþ û±ûþ/ ÛßÂý×ö±Ëõ üõÅæ Âó±î± üõÅæ å±h± ÕòÉ üõ õþËãõþ Õ±Ëù± Îú±ø¸í ßÂËõþ/ Îû õd üõ õþËãõþ Õ±Ëù±ý× qËø¸ Îòûþ ßÔÂø ß±ûþ ýÝûþ±ý× Îüý× õíÇËù±öÂÏ õþ± ÂËüõþ ¿òûþ¿îÂ/ Õ±õþ Îû õd üõÇîÂɱáÏ üi§É±üÏõþ ÷Ëî± ü÷™¦¸ õþËãõþ ÆòËõðÉ ¿ô¿õþËûþ Îðûþ Îü-õdËß Îð¿à qwß±¿™Là Îæɱ¿îÂ÷Çûþ õþ+ËÂó¯ ¿ßÂc Âó±êÂßÂ, ¿õ:±òÏ ¿òëÂ×éÂËòõþ Ûüõ ßÂï± ¿õ «±ü ßÂõþ±õþ Õ±Ëá ß¿õõþ ßÂï± ÛßÂõ±õþ qËò ò±Ý/ õþõÏfò±ï îÒ±õþ ‘Õ±¿÷’

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98

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

Ûõþ üy±õÉ õɱàɱ Îõ±ñß¿õþ Ûý× Îû, ÆäÂîÂòÉ å±h± Îß±Ëò± ÕòÅöÓ¿îÂý× üyÂõÂóõþ òûþ, ß±Ëæý× üõ õþãý× Ûß ÕËïÇ ÎäÂîÂò±õþ õþã/ ß¿õ ûàò õËùò Ð ‘÷±òÅËø¸õþ û±õ±õþ ¿ðËòõþ ÎäÂ±à ¿õ « ÎïËß ¿ò¿ßÂËûþ ÎòËõ õþã’ îÂàò ¿î¿ò õþËãõþ ÕòÅöÓ¿îÂõþ ÎÂóåËò Îä±Ëàõþ öÓ¿÷ß±õþ ßÂï±Ý ¦¤Ïß±õþ ßÂËõþ Îòò/ Û¶ Ÿ ÝËêÂ, ‘Îä±à ßÂÏö±Ëõ Ûß õþËãõþ ü˼ ÕòÉ õþËãõþ Âó±ïÇßÂÉ õÅçÂËî Âó±Ëõþ·’ Õ±÷±Ëðõþ Îä±Ëà Îû Õ±Ëù±-üÑËõðÏ ÂóðDZ Õ±Ëå î±õþ ò±÷ ‘Îõþ¿éÂò±’/ Îä±Ëàõþ Îùk Îõþ¿éÂò±ûþ õdõþ Îû Û¶¿î¿õ¥¤ Æî¿õþ ßÂËõþ Õ±÷õþ± Îüý× õdËß ÎðàËî Âó±ý×/ Îõþ¿éÂò±õþ ðÅ’ñõþËòõþ ¦§±ûþÅîÂc Õ±Ëå/ ÛËðõþ Ûß¿éÂõþ ò±÷ ðGÂ-¦§±ûþÅîÂc (rods), ÕòÉ¿éÂõþ ò±÷ ú±‚Âõ ¦§±ûþÅîÂc (cones)/ ðGÂ-¦§±ûþÅîÂc&¿ùËî ¿õ¿öÂi§ õþËãõþ Âó±ïÇßÂÉ ñõþ± ÂóËh ò±/ ú±‚Âõ ¦§±ûþÅîÂc&¿ùý× Õ±÷±Ëðõþ õíÇËõ±Ëñõþ æòÉ ð±ûþÏ/ Îä±Ëà Õ±Ëù± Û¶Ëõú ßÂõþËù Îü-õ±îDZ ¦§±ûþÅîÂc&¿ùõþ ÷ñÉ ¿ðËûþ ¿õðÅÉÈüÑËßÂËîÂõþ ձ߱Ëõþ & ÷¿™¦¸Ë©¨õþ ðÔ¿©†Ëõ±ñËßÂËf ¿áËûþ ÎÂóÒÌËå/ Ûà±Ëòý× Õ±÷±Ëðõþ õíDZòÅöÓ¿î æËiœ/ ÕïDZÈ, ÷¿™¦¸©¨ý× Õ±÷±Ëðõþ õíDZòÅöÓ¿îÂõþ ëÂ×Èü/ Õ±õ±õþ, ÷¿™¦¸©¨ý× Õ±÷±Ëðõþ ÎäÂîÂò±õþ ëÂ×Èü/ ß±Ëæý×, ÛßÂï± õùËù üËîÂÉõþ ÕÂóù±Âó ýûþ ò± Îû, ÎäÂîÂò±ý× Õ±÷±Ëðõþ æáÈËß ò±ò±ò õþËã õþ¿?î ßÂËõþ/ ß¿õ ûàò õËùËåò ‘Õ±÷±õþý× ÎäÂîÂò±õþ õþËã Âó±i§± ýù üõÅæ’ îÂàò ¿î¿ò Îõ±ñß¿õþ ÛßÂï±ý× õùËî ÎäÂËûþËåò/ Âóð±ïÇ¿õ:±òÏõþ± ß¿õ òò, î±õþ± ¿öÂi§ ö±ø¸±ûþ ßÂï± õËùò/ î±õþ± õËùò, õþËãõþ ÕòÅöÓ¿î õÉ¿M ¿òöÇÂõþ ýËùÝ Ûõþ ÎÂóåËò Õ±Ëå Õ±Ëù±õþ Ûß¿é õÉ¿M ¿òõþËÂó  õ± ÆòõÇÉ¿M ß ñ÷Ç/ Û ñ÷Ç ü¿êÂß ßÂÏ–Îü-ü¥óËßÇ ö±õò±-¿ä™Lñõþ ý׿îÂý±ü Õ¿î Û¶±äÂÏò/ õîÇÂ÷±ò ¿òõËg ձ÷õþ± Îüý× üÅðÏâÇ ý׿îÂý±Ëü Û¶Ëõú ßÂõþËõ± ò±/ ¿õ:±Ëòõþ ý׿îÂý±ü ÂóûDZËù±äÂò± ßÂõþËù Îðà± û±ûþ Îû, Õ±Ëù±õþ ¦¤õþ+ÂóÝ õþýüÉ÷ûþ/ Õ±Ëù±õþ ñË÷Ç Îû ¦¤¿õËõþ±¿ñî± Õ±Ëå î± ñÏ÷±ò ¿õ:±òÏËðõþ ß±Ëå ðÅËõDZñÉ Ã›¶Ëý¿ùß±¯ ú¿M ðÅ’ö±Ëõ ü=Á±¿õþî ýËî Âó±Ëõþ–ú¿M õ±ýÏ ßÂí± õþ+ËÂó ÛõÑ îÂõþ¼õþ+ËÂó¯ ú¿M õ±ýÏ ßÂí± Îß±Ëò± ÷±ñÉË÷õþ ü±ý±ûÉ å±h±ý× ú¿M õþ ¦š±ò±™LÃõþ âé±Ëî Âó±Ëõþ/ ¿ßÂc ÷±ñÉË÷õþ ü±ý±ûÉ å±h± îÂõþ˼õþ ձ߱Ëõþ ú¿M õþ ü=Á±õþí üyÂõÂóõþ òûþ/ ¿òëÂ×éÂËòõþ Õ±÷Ëù Ûý× ¿åù ¿õ:±òÏËðõþ ñ±õþí±/ æh ÷±ñÉË÷õþ ü±ý±ûÉ å±hÂ±Ý Îû îÂõþ˼õþ ü=Áõþò üyÂõÂóõþ Îü-ü÷ûþ î± ¿õ:±òÏËðõþ æ±ò± ¿åù ò±/ üÓûÇ ÎïËß úÓòɦš±Ëòõþ ÷ñÉ ¿ðËûþ Û¶±ûþ ÂóËòËõþ± Îß±¿é ¿ßÂËù±¿÷é±õþ Õ¿îÂS ÷ ßÂËõþ Õ±Ëù± ÂóÔ¿ïõÏËî ÛËü ÎÂóÒÌËå/ üÅîÂõþ±Ñ, ü¼î ß±õþËíý× ¿òëÂ×éÂò ñËõþ ¿òËûþ¿åËùò Îû, Õ±Ëù± ßÂí±ñ÷ÇÏ/ ¿î¿ò õËù¿åËùò, Õ±Ëù±õþ ëÂ×Èü ÎïËß ÕüÑàÉ Îå±é Îå±é ú¿M ßÂí± ¿òÐüÔî ýËûþ Õ¿î ëÂ×Bä ÎõËá ä±õþ¿ðËßÂ

2nd Proof 18.09.2013

99

ü=Á±¿õþî ýûþ/ ¿õ¿öÂi§ õþËãõþ Õ±Ëù±õþ ÷ËñÉ î±ýËù Âó±ïÇßÂÉ ßÂÏ· ¿òëÂ×éÂò ÕòÅ÷±ò ßÂËõþ¿åËùò, Õ±Ëù±õþ ßÂí±&¿ùõþ ձ߱Ëõþõþ ¿õ¿öÂi§î±ý× õþËãõþ ¿õ¿öÂi§î±õþ æòÉ ð±ûþÏ/ ß¿íß± ÷îÂõ±Ëðõþ ü±ý±ËûÉ ¿òëÂ×éÂò Õ±Ëù±õþ ßÂËûþß¿é ÎöÂÌî ñË÷Çõþ õɱàɱ ßÂõþËî ü Â÷ ýËùÝ Õ±Ëù±õþ Û¶¿îÂüõþËíõþ üÓS±õùÏõþ õɱàɱ ßÂõþËî ü Â÷ ýËùò ò±/ ÎßÂõù Û¶¿îÂüõþíý× òûþ, Õ±Ëù±õþ ¦¤ö±Ëõõþ Õ±õþÝ ßÂËûþß¿é ¿ðßÂÝ ¿òëÂ×éÂËòõþ ß¿íß± ÷îÂõ±Ëðõþ üÏ÷±õXÂî± ¿òËðÇú ßÂõþËù±/ Õ±Ëù±õþ á¿îÂÂóËï Îß±Ëò± Û¶¿îÂõg ï±ßÂËù Õ±Ëù± î±õþ Âó±ú ¿ðËûþ û±õ±õþ ü÷ûþ ౿òßÂé± ÎõÒËß û±ûþ/ Õ±Ëù±õþ Ûý× ¦¤ö±Ëõõþ ò±÷ ‘ÕÂóõîÂÇò’ (diffraction)/ Õ±õþÝ Ûß¿é ձ}ÂûÇ âéÂò± ¿õ:±òÏËðõþ Îá±äÂËõþ Ûù/ îÒ±õþ± ÎðàËùò Îû, ¿õËúø¸ Õõ¦š±ûþ Õ±Ëù±õþ ü˼ Õ±Ëù± ûÅM ýËûþ ÕgÂß±õþ üÔ¿©† ßÂõþËî Âó±Ëõþ¯ Õ±Ëù±õþ ü˼ Õ±Ëù±õþ ¿÷ùËò ÕgÂß±õþ üÔ¿©†õþ Ûý× Õ¿öÂòõ âéÂò±õþ Æõ:±¿òß ò±÷ ‘õÉ¿îÂä±õþ’ (interference)/ ¿òëÂ×éÂËòõþ ß¿íß± ÷îÂõ±Ëð õÉ¿îÂä±Ëõþõþ Îß±Ëò± üË™Lñø¸æòß õɱàɱ Âó±Ýûþ± Îáù ò±/ Û¶÷±¿òî ýù, ¿òëÂ×éÂËòõþ ÷Ëî± ¿õ:±òÏõþ±Ý Û¶ßÔ¿îÂõþ ¦¤õþ+Âó ü¥óËßÇ ‘Îúø¸ ßÂï±’ õùËî Âó±Ëõþ ò±/ ‘Îúø¸ Îòý× Îû, Îúø¸ ßÂï± Îß õùËõ·’ Õ±Ëù±õþ ¦¤õþ+Âó ü¥óËßÇ ¿õߊ ÷îÂõ±ð ¿òËûþ ý±¿æõþ ýËùò ¿S ¿™¦¸ûþ±ò ýûþËák/ ¿î¿ò õËùò, Õ±Ëù± Ûß ñõþËíõþ îÂõþ¼/ Ûý× ÷îÂõ±Ëð Õ±Ëù±õþ Û¶¿îÂüõþí, ÕÂóõîÇÂò ÛõÑ õÉ¿îÂä±Ëõþõþ üŇÅ õɱàɱ Âó±Ýûþ± Îáù/ îÂõþ¼ ÷îÂõ±Ëðõþ û±ï±ËïÇÉõþ üÂóË Â ò±ò±ò ü± ÂÉ ¿÷ùËùÝ Ûý× ÷îÂõ±Ëð ¿õ «±üÏ ¿õ:±òÏËðõþ ÷Ëò Ûß¿é ßÓÂé Û¶ Ÿ ¿òõþ™LÃõþ ëÂ×Mõþ àÒÅËæ Îõh±¿Båù/ Û¶ Ÿé± Ûý× Îû, ‘Õ±Ëù± û¿ð îÂõþ¼ñ÷ÇÏ ýûþ îÂËõ Îß±ò ÷±ñÉË÷õþ ÷ñÉ ¿ðËûþ Ûõþ ¿õ™¦¸±õþ âËé·’ Ûý× ü÷üɱ Ûh±Ëò±õþ æòÉ ¿õ:±òÏõþ± Ûß¿é ÷±ñÉË÷õþ Õ¿™¦¸Q ߊò± ßÂËõþ ¿òËùò/ Ûý× ß¿Šî ÷±ñÉË÷õþ ò±÷ ‘ý×ï±õþ’/ ý×ï±õþ ÷±ñÉË÷õþ ߊò± ßÂËõþ Âóð±ïÇ¿õ:±òÏõþ± ò±ò±ò Õ±òÅø¸¿¼ß ü÷üɱ ÎëÂËß ձòËùò/ Îü-üõ ü÷üɱõþ ü÷±ñ±òßÂËŠ ¿õ:±òÏõþ± Îû-üõ ÂóõþÏ Â±-¿òõþÏ Â± ÛõÑ î±¿MWß áËõø¸í± ßÂËõþò î±õþý× ôÂù|n¿î ձý×òˆÂ±ý×Ëòõþ ÕËÂó Âõ±ð (theory of relativity)/ õîÇÂ÷±Ëò ¿òõËg Îü-Û¶ü˼ Õ±Ëù±äÂò±õþ Õõß±ú Îòý×/ Õ±÷õþ± Õ±÷±Ëðõþ õ ÂÉ÷±ò üjËöÇÂõþ ÷Óù Õ±Ëù±ËäÂÉ ¿ôÂËõþ û±ý×/ îÂõþ¼ ÷îÂõ±Ëð Õ±Ëù±õþ õþËãõþ õɱàɱ ßÂÏ· Õ±Ëù±ßÂîÂõþ˼õþ Îß±ò ÎöÂÌî ñ÷Ç Õ±Ëù±õþ õþã ¿òñDZõþí ßÂËõþ· ¿õ:±òÏõþ± Û¶÷±í ßÂõþËî ü Â÷ ýËûþËåò Îû, Îß±Ëò± Õ±Ëù±õþ õþËãõþ ÎòÂóËïÉ Õ±Ëå Ýý× ÕËù±õþ îÂõþ¼ÍðâÇÉ/ ¿õ¿öÂi§ õþËãõþ Õ±Ëù±õþ îÂõþ˼õ þÍðâÇÉ Î÷ËÂó ¿õ:±òÏõþ± Û¶÷±í ßÂËõþËåò Îû, ðÔúÉ Õ±Ëù±&¿ùõþ ÷ËñÉ ù±ù Õ±Ëù±õþ îÂõþ¼ÍðâÇÉý× üõËäÂËûþ Îõ¿ú ÛõÑ Îõ&¿ò Õ±Ëù±õþ îÂõþ¼ÍðâÇÉý× üõËäÂËûþ ßÂ÷/ ß±Ëæý× ¿üX±˙Là ձü± û±ûþ 99

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

Îû, Õ±÷±Ëðõþ ÎäÂîÂò±ûþ Îû-õþã Û¶¿îÂö±î ýûþ î± õÉ¿M ¿òöÇÂõþ ÛßÂï± Î÷Ëò ¿òËùÝ õù± û±ûþ, Ûý× ^©†±¿òöÇÂõþ üÑËõðò-Ûõþ ÎòÂóËïÉ Õ±Ëå Õ±Ëù±õþ õÉ¿M ¿òõþËÂó  Ûß¿é &í–Ýý× Õ±Ëù±õþ îÂõþ¼ÍðâÇÉ/ ý×ÑËõþæ ¿õ:±òÏ Îæ÷ü ßv±ßÇ ÷ɱ'ÝËûþù Õ±Ëù±õþ ü˼ ÆõðÅÉ¿îÂß ¦ójò ÛõÑ ÎäÂÌ¥¤ß ¦ójËòõþ ü¥óßÇ Û¶¿î‡± ßÂËõþËåò/ õîÇÂ÷±ò ¿òõËgÂõþ Âó¿õþüËõþ ÷ɱ'ÝËûþËùõþ îÂËMWõþ ¿õúð ¿õõõþËí Û¶Ëõú ßÂõþ± üyÂõÂóõþ òûþ/ Ûà±Ëò qñŠÛ¶ü¼î ÛéÅÂßÅÂý× õù± û±ûþ Îû, Õ±Ëù± Ûß ñõþËòõþ î¿hÂBäÅÂ¥¤ßÂÏûþ îÂõþ¼/ ðÔúÉ÷±ò Õ±Ëù± î¿hÂBäÅÂ¥¤ßÂÏûþ îÂõþ¼ ýËùÝ üõ î¿hÂBäÅÂ¥¤ßÂÏûþ îÂõþ¼ ðÔúÉ÷±ò òûþ/ Õ±÷±Ëðõþ Îä±Ëà î¿hÂBäÅÂ¥¤ßÂÏûþ õíDZ¿ùõþ ü±÷±òÉ ÕÑúý× ÷±S ñõþ± ÂóËhÂ/ ù±ù Õ±Ëù±õþ îÂõþ¼ÍðËâÇÉõþ ÎäÂËûþ Îõ¿ú îÂõþ¼ÍðËâÇÉõþ ‘ÕõËù±¿ýî îÂõþ¼’ Õ±÷±Ëðõþ Îä±Ëà ðÔúÉ÷±ò ýûþ ò±/ ÎîÂ÷¿ò Îõ&¿ò Õ±Ëù±õþ îÂõþ¼ÍðËâÇÉõþ ÎäÂËûþ

2nd Proof 18.09.2013

100

ßÂ÷ îÂõþ¼ÍðËâÇÉõþ ‘Õ¿îÂËõ&¿ò îÂõþ¼’-Ý Õ±÷±Ëðõþ ðÔ¿©†Ëá±äÂõþ ýûþ ò±/ î±ÂóÏûþ ¿õ¿ßÂõþí, Û'-õþ¿ ¬, á±÷±-õþ¿ ¬–Ûõþ±Ý î¿hÂBäÅÂ¥¤ßÂÏûþ Âó¿õþõ±Ëõþõþ Õ™LÃöÅÂÇM / Ûõþ± üßÂËùý× Õ±÷±Ëðõþ Îä±Ëà ÕðÔúɯ Ûüõ üðÔúÉ îÂõþ¼ û¿ð Õ±÷±Ëðõþ ðÔ¿©†Ëî ñõþ± ÂóhÂËî± îÂËõ ¿õË «õþ õþ+Âó ÛõÑ õíÇÍõ¿äÂSÉ ¿öÂi§îÂõþ ýîÂ/ õþã Îðà±õþ Î ÂËS Îä±Ëàõþ Æõ¿ú©†É Îõ±ñß¿õþ üõËäÂËûþ & QÂóÓíÇ/ Û¶ü¼î õù± Û¶Ëûþ±æò Îû, Îä±Ëàõþ üÑËõðò õíÇ¿òöÇÂõþ/ üõÅæ Õ±Ëù±õþ Î ÂËSý× Îä±Ëàõþ üÅËõ¿ðî± üõËäÂËûþ Îõ¿ú/ ù±ù ÛõÑ Îõ&¿ò Õ±Ëù±õþ Î ÂËS Îä±Ëàõþ üÑËõðò üõËäÂËûþ ßÂ÷/ Îä±Ëàõþ Ûý× ñË÷Çà Û¶ßÔ¿îÂõþ Ûß¿é ¿õËúø¸ Õ¿öÂÛ¶±ûþ Û¶ßÂé ýËBå/ ÂóÔ¿ïõÏËß ձ÷±Ëðõþ Îä±Ëà ûï±üyÂõ üõÅæ õþ±à±ý× Îõ±ñß¿õþ ¿õ «Ã›¶ßÔ¿îÂõþ Õ¿öÂÛ¶±ûþ/ ÛõþÂóõþÝ ¿ß ձ÷õþ± Û¶ßÔ¿îÂËß üõÅæ ÎïËß üõÅæîÂõþ ßÂõþ±õþ õɱÂó±Ëõþ ëÂ×ËðɱáÏ ýõ ò±·

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – Õæûþ äÂS õîÇÂÏ fl¬˘fl¬±Ó¬± øıù´øı…±˘À˚˛ı˛ Ù¬ø˘Ó¬ ’±À˘±fl¬øı:±Ú ÛõÑ Ù¬ÀȬ±øÚ' ¿õö±Ëáõþ ÕõüõþÛ¶±l ÕñɱÂóßÂ/ fl¬±·ÊÀfl˜¸œø˘l ßÂõþ±ý× î±õþ ÛßÂ÷±S Õõüõþ ¿õËò±ðò, îÒ±õþ Îùà±õþ ¿õø¸ûþ Û¶ñ±òî ¿õ:±ò, ðúÇò ÛõÑ ü±¿ýËîÂÉõþ ßÂßÂËéÂËù õþ¿äÂî õÉ¿M áî Û¶õg ÛõÑ õþ÷É õþäÂò±/

100

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

101

¬Û±˝±Àh¬ı˛ Úœ˘ ‰¬jÚ ·øh¬À˚˛ ¬ÛÀh¬À ¬Û±˝±h¬Ó¬˘œı˛ ı±ø˘˚˛±øh¬ı˛ ı≈Àfl¬, Úœ˘ ’±fl¬±À˙ı˛ ¶§õüÀı˛‡± ı˛‰¬Ú± fl¬Àı˛/ ¤ı˛ ¸Àº ø˜À˘À ·Ó¬ ı¯∏«±ı˛ ˆ¬ı˛± Úœı˛ ı≈Àfl¬ı˛ Ó¬˘±˚˛ ¸˜≈À^ı˛ Œ˚ ¶§õü ˘≈øfl¬À˚˛ ø¢, Ó¬±ı˛˝◊ ¸Ê˘ Úœ˘/ √õ∂Ô˜ ˚≈À·ı˛ Ù≈¬˘À±˘ñά◊Mı˛¬Ûı«ÀÓ¬ Ó¬±ı˛˝◊ ø˝À{°±˘ñ’¬Ûı˛±øÊÓ¬±ı˛ øÚ¶Ûj Úœ˘, ˜±˘Ó¬œ Ù≈¬À˘ı˛ ø˝À˜ Ϭ±˘± Úœ˘, ·ˆ¬œı˛ ÊÀ˘ ±˚˛±¬ÛÀÔı˛ Úœ˘Ø ’±À˘±-fl¬ı˛± ˙ı˛ÀÓ¬ı˛ Œ˜‚ Â≈“À˚˛ Â≈“À˚˛ ıÀfl¬ı˛ ¬Û“±øȬ¬ ά◊Àh¬ ά◊Àh¬ ˚±˚˛ ˜±Àͬı˛ Ò±Àı˛ Ò±Àı˛, ı“±Àfl¬ fl≈¬˚˛±˙±ı˛ Ó¬˘±˚˛ ø˙ø˙ı˛ Œˆ¬Ê± Œù´Ó¬¬ÛÀΩı˛ fl¬±ø˘Ä... Ó¬±ı˛± ø¶öı˛ ˝À˚˛ Ô±Àfl¬ ‚≈˜ôL√ ’±ı˛ ¤fl¬ Á“¬±fl¬ ¬Û±ø‡ı˛ ˜Ó¬/ ñ ’ıÚœfÚ±Ô Í¬±fl≈¬ı˛ ï˝±›˚˛± ı˘ó

101

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

102

õ¿íÇòÏ üÓûÇ õËjɱÂó±ñɱûþ Âó±ý±ËhÂõþ ÷±ç±÷±¿ç Ûß Îå±A æù±úûþ/ î±õþ æù qËß±ûþ ò± ßÂàËò±/ õÅËß î±õþ òÅ¿h Âó±ïõþ....ÕüÑàÉ...õþ±¿ú õþ±¿ú/ ¿õ¿äÂS î±Ëðõþ Õ±ßÔ¿îÂ/ õþã&¿ù ÛËßÂßÂé± ¦ó©†,- î±Ëðõþ ü±ýËü öÂõþÂóÅõþ, ¦¤îÂLa/ îÂõÅ,î±õþ± ¿÷Ëù¿÷Ëú Û߱߱õþ...qñÅ áËù ¿áËûþ æËù ¿÷Ëú ÎûËî õ±¿ßÂ/ Ûý× üËõþ±õõþ¿é ò±¿ß տöÂúl/ Ûõþ æËù ò±¿ß ÷±ËçÂ÷±Ëç ò±ò±õþßÂ÷ ¿õø¸¿S ûþ± âËéÂ/ ÛßÂð± Îß±ò Ûß ÷ûþÓõþ ò±¿ß Ûà±Ëò æù ÎàËî ÛËü¿åù/ Îüý× Õ¿™LÃ÷ õ±õþ...Ûà±Ëò Îß±Ëò± Ûß Û¶±íÏ Õ±Ëõþ± ßÂËûþß ¿õjÅ æÏõò àÒÅæËî ÛËü¿åù.../ Îüý× ¿¦šõþ æËù ÎöÂËü Ýê± ÷ûþÓõþ¿éÂõþ ÎõþúË÷õþ ÷î òõþ÷, ¿òàÒÅî Õïä ¿ò©x±í Îðý¿é Îûò Õü¥óÓíÇ Ûß ¿úŠ, õ±...Õߦœ±È ò©† Îß±Ëò± Ûß ¿õàɱî ¿äÂS/ î±õþ ÎðËýõþ ü÷™¦¸ õþã&¿ù Îûò ÕËùÌ¿ßÂßÂö±Ëõ æ÷±é ÎõÒËñ ÎõÒËñ Ûý× Îå±é Îå±é òÅ¿hÂó±ïõþ...Ûüõ üÔ¿©† ßÂËõþËå/ Ûà±Ëò üÓËûÇõþ Õ±Ëù± üõþ±ü¿õþ ÎÂóÒÌåËî Îðõ±õþ ÕòÅ÷¿î Îòý×/ Ûà±òß±õþ ձ߱Ëú ÎßÂëÂ× ÛßÂæò ¿SöÅÂæ±ßÔ¿î ¿îÂòÂóù± ßÒ±ä õ¿üËûþ ¿ðËûþ ¿áËûþËå Îüý× ßÂËõ Îûò/ î±õþÂóõþ ÎïËß õþãÏò ëÂ×{¨± õÔ¿©† Û¶¿î¿òûþî âËé äÂËùËå/ ¿êÂßÄÂËõþ ÎõËõþ±Ëò± õþã&Ëù± åù±È åù±È ßÂËõþ Îü±æ± æù±úËûþ ÛËü ÂóËh û±ûþ/ Îß±Ëò± Ûß õþ±ü±ûþ¿òß ¿õ¿S ûþ±ûþ Îûò Ûß qw Õ±ö±õþ ›−±õò ÷±ËçÂ÷±Ëç æù ëÂ×ï±ù Âó±î±ù ßÂËõþ ëÂ×Ëê ձËü ñÏËõþ ñÏËõþ/ ÕðÓËõþ Îûà±Ëò à±h± Âó±ý±h ÎõËûþ çÂõþí±õþ æù ÛËü üËõþ±õËõþ ¿÷Ëú û±ûþ, Îüà±Ëò ïßÄÂïËß ü±ð± Î÷â üÔ¿©† ýËûþ û±ûþ/ Ûà±òß±õþ Î÷ËâËðõþ ÂóËh û±Ýûþ±õþ öÂûþ Îòý×, ëÂ×Ëh û±õ±õþ öÂûþ Îòý×, qñÅ Îß±Ëò± Âó±ïõþ û¿ð ýêÂ±È qßÂËò± ýËûþ û±ûþ, îÂàò Ûõþ± ¿áËûþ î±Ëðõþ ¿ö¿æËûþ Îðûþ/ úɱÝù±-Ýê± õh õh Âó±ïõþ&Ëù±õþ á±Ëûþ û¿ð õûþü Îùà± ï±ßÂîÂ, î±ýËù Îõ±ç± Îûî Îû üõÅæ Õ±õþ ñÓüõþ õþËãõþ ÷ËñÉÝ ÕÍõñ ü¥óßÇ ձËå/ ûÅËáõþ Âóõþ ûÅá ñËõþ ßÂî Æúõ±ù Îû Âó±ïËõþõþ á±Ëûþ ¿òËæõþ ù#± ¿õüæÇò ¿ðËûþ î±õþ úõþÏËõþõþ ü±ð± ß±Ëù±ûþ ¿÷Ëú ÎáËå, î±õþ ¿ýËüõ ÎßÂëÂ× õþ±Ëà¿ò/ ÎñÒ±ûþ± ÎñÒ±ûþ± Î÷â&Ëù± Îüý× ¿ò¿ø¸X áŠý× qòËî ä±ûþ Âó±ïËõþõþ á±Ëûþ ß±ò ÎÂóËî ÎÂóËîÂ/ &Ë÷±é òÏù ÕgÂß±õþ-ÂóÅõþÏËî ü±õþ± õþ±î ñËõþ ÛËßÂõþ Âóõþ Ûß ÕòÅËõþ±ñ Õ±üËîÂý× ï±ËßÂ/ Îå±é Îå±é æËùõþ ßÂí±&¿ù ÛËßÂß¿é Âó±ïõþËß ñËõþ çÅÂËù±çÅ¿ù ßÂõþËîÂý× ï±ËßÂ/ çÒ±ËçÂõþ ÷î ús ßÂËõþ ðÏâÇ «±ü ÎôÂËù Âó±ïõþ&¿ùõþ á±Ëûþ ü±ð± ü±ð± ÎôÂòÂóÅ?&¿ù ûàò Î± ÷±¿àËûþ û±ûþ, îÂàò ÕîÂÏËî Îß±Ëò± Ûß ¿õø¸±M õþËãõþ ü˼ Õ±¿ù¼Ëòõþ ¦œÔ¿î Îûò Âó±ïËõþõþ

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Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

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2nd Proof 18.09.2013

103

û±ûþ/ ß±Ëò ÛßÂá±ð± æù ìÅÂËß û±ûþ/ æËùõþ ¿õjÅ&¿ù ¿÷Ëù¿÷Ëú ÛßÂé± õh õÅðÄõÅðÄ üÔ¿©† ßÂËõþËå/ Îü¿é Îû¿ðËßÂý× û±ËBå Õ±Ëõþ± ý±æ±Ëõþ± Û¶¿î¿S ûþ± q ýËûþ û±ËBå/ æËùõþ òÏËä ü÷™¦¸é±ý× Îî± ý±õÅëÅÂõÅ à±ûþ/ õþã&Ëù±õþ ÷ËñÉ òÏù õþãé±õþ ö±¿õþ Îð÷±ßÂ/ ÎðËà ÷Ëò ýûþ Û÷¿òËîÂÝ Õ±Ëå/ üõé± æÅËh ձËå/ î±h±õ±õþ Îß±Ëò± Õõß±úý× Îòý×/ î±ý×...Îàûþ±ùàÅ¿ú ÷î ÕËòßÂé± Âî¿õ Âî ßÂËõþ Õ±Ëå/ Îß±ï±Ý ú± «î ¿õ|±Ë÷õþ Õ¼Ïß±Ëõþ, Îß±ï±Ý õ± ¿òËæõþý× õÅß ¿äÂËõþ/ ÂóÅ ú±ùÏ Îæð, àÅõ âò Õ±õþ ÂóÅ / Îúø¸ Îûõ±õþ üÓûÇ ëÂ×Ëê¿åù Ûà±Ëò, îÂàò Âóï ý±¿õþËûþ Îõú ÕËòßÂé± ýùÅð õþã ìÅÂËß û±ûþ üËõþ±õËõþõþ ú±™Là æËù/ ýùÅð õþã ý±Ýûþ±ûþ ý±Ýûþ±ûþ...Îõþ±Ëð Îõþ±Ëð ö±Ëü/ æËù ÎòË÷ ëÅÂõüÒ±î±õþ ÎðÝûþ±õþ ÕËöÂÉü Îî± î±õþ Îòý×/ öÂûþ ÎÂóËûþ åÅËé±åÅ¿é ßÂõþËî ßÂõþËî òÏËùõþ ü˼ ýùÅð ñ±!± Îàù ÛßÂõ±õþ/ îÅÂ÷Åù ßÂùý õÒ±ñËî û±¿Båù/ Û÷ò ü÷ûþ ÛßÂé± Îä±à ñÒ±ñ±Ëò± ü±ð± Õ±Ëù± ÛËü Û÷ò û±ðÅ ßÂõþù, Îû òÏù ýêÂ±È îÔÂø ±îÇ ýËûþ ëÂ×êÂù/ ýùÅðÝ ñ±!± ÎàËûþ ÎàËûþ öÂûþ±õý îÂl, Õïä ÷ÅýÓËîÇÂõþ ÷ËñÉ âòâò âÓ¿íÇËî Âó±ß ÎàËî ÎàËî ¿ò©xöÂ/ Âóõþ¦óËõþõþ Û¶¿î ÷±õþ÷ÅàÏ ðÅ¿é ¿õÂóõþÏî õíÇ ýêÂ±È æ¿hÂËûþ ñËõþ ÛËß ÕÂóõþËßÂ/ æ÷±é õÒ±ñ± òÏù-é± áËù áËù ¿áËûþ Ûß îÔÂø ±îÇ äÅÂ¥¤ò Îàù ýùÅðËßÂ/ æËùõþ îÂù±õþ æÏõò ï÷ÄËß Îáù ÛßÂ÷ÅýÓËîÇÂ/ ÷±å&Ëù± ¿òËæõþ ÷î âÅËõþ Îõh±¿Båù/ îÂËõ Û÷ò Ûß õþãÏò ðÔúÉ î±Ëðõþ Îä±à Î÷±ËéÂý× Ûh±Ëî Âó±Ëõþ ò±/ ëÂɱõÄëÂɱõÄ ßÂËõþ ßÂËûþ Õ±Ëå– âÅË÷±ËBå ò± ÎæËá Õ±Ëå Îß æ±Ëò/ Û÷ò ÎÛ¶÷ î±õþ± õUûÅËá ÎðËà¿ò/ ðÅý× ¿õÂóõþÏî õþã...ðÅý× ¿õÂóõþÏî æÏõËòõþ à±ËÂó à±ËÂó Û÷òö±Ëõ ¿÷Ëù û±Ýûþ±...ÎðËà¿ò î±õþ±/ æËùõþ îÂù±ûþ îÂàò Îûò ¿ß ÛßÂé± ýÒ±üôÒ±ü ßÂõþËå/ üËõþ±õËõþõþ ÛßÂð÷ îÂùËðú ÎïËß ÛßÂé± Îå±é õÅðÄõÅðÄ ëÂ×êÂËî ëÂ×êÂËîÂ...õh ýËî ýËî ýÒ±ô îÅÂùËî îÅÂùËî ëÂ×Ëê ձËü æËùõþ ëÂ×Âó¿õþö±Ëá/ ý±Ýûþ±ûþ ÷Åàé± qñÅ îÅÂËù éÅÂüÄ ßÂËõþ ÎôÂËé û±ûþ/ ÛßÂé± ðÏâÇ «±ü ÎåËhÂ...ú±¿™LÃõþ ü˼ Îûò õËù ÝËêÂ... ‘‘ÝôÄÂ...’’/

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – üÓûÇ õËjɱÂó±ñɱûþ, Ûß æù±úûþ/ û±õþ Âó±Ëh õËü, æËù ¿òËæõþ Û¶¿î¿õ¥¤à±¿ò Îðà± û±ûþ, Õ-ò-™LÃ/ Œ√õ∂ø¸Àάøk øıù´øı…±˘À˚˛ ı˛±ø˙ øı:±Ú ¿õö±Ëá, ÂóêÂò-Âó±êÂò ýËùÝ ü±¿ýËîÂÉõþ Z±Ëõþ îÒ±õþ Õõ&Fò ÂóÓËíDZËiœ±¿äÂîÂ/ õíÇ ¿òËûþ õM ËõÉ õùËùò, ‘‘õþã ÷±Ëò Õ±÷±õþ ß±Ëå Ûß ÷æ±õþ Îàù±/ ÛËù±Âó±ï±¿hÂ, ÕïÇýÏò... Õïä àÅõ ü±ýËüõþ Îàù±/ õþã Õ±÷±õþ ß±Ëå ÎûÌòî±... õþÑ Õ±÷±õþ ß±Ëå û± ¿ßÂåÅ ¿ò¿ø¸XÂ... î±ý×/ Û÷¿òËî ÛËù±Ë÷Ëù±... îÂ±Ý üõé± ¿÷¿ùËûþ ÎðàËù àÅõ ÕïÇÂóÓíÇ/ õþã ÎðàËùÝ ¿æËö æù äÂËù Õ±Ëü Õ±÷±õþ/ õþã qÒßÂËîÂÝ Âó±¿õþ Õ±¿÷/ õþ±i§±Ý ßÂõþËî Âó±¿õþ... àÅõ üŦ¤±ðÅ/’’

103

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

104

Û¶ù±Âó Î|ûþü üõþß±õþ 1 Õ±¿÷ ö±¿õ Îü ¿ß ¿õhÂ¥¤ò±¯ Ûý× Õò™LÃß±Ëù îÂßÂ÷± ù±á±Ëò± Âó¿õþ¿ñËî ï±ß± Îõ±ñýûþ ÕîÂé± üýæ òûþ/ ÛËßÂõ±Ëõþ ¿õúðö±Ëõ õɱÂó±õþé± ÕõËù±ßÂò ßÂËõþ ÷Ëò ýûþ ûîÂý× õþîÂËòõþ üg±Ëò û±Ýûþ± îÂîÂý× ëÅÂËõ û±Ýûþ±...ÕîÂù æù±¿ñËîÂ/ î± ¿ß qñÅ÷±S Õ¿ö¿oî Îõðò± ÎïËß ëÂ×¾Óî· ò±¿ß î±õþ ÕòÉ ¦¤õþ+Âó Õ±Ëå· Îü ¿ß qñÅ÷±Sý× üÅàðÅËàõþ S Ïh±ûþ ¿òËæËß ¿òËûþ±¿æî ßÂõþËî ëÂ×iœÅà· ¿æâ±Ñü± õh ¦¤ûþÑü¥óÓíÇ/ î±ý× î±õþ ¿ò榤 Îß±Ëò± ð±¿õ Îòý×/ ¿öÂîÂõþ é±Ëß âÅõþÂó±ß à±ý×Ëûþ ü÷áè üM±Ëß ¿òÑËh ñÅËûþ Îõðò±îÇÂ, Õïä  î±õþ ëÂ×Ëiœ±äÂò, ¿òöÇÂÏß î±õþ Õ±R۶߱ú/ ü÷™¦¸ Õ¿îÂS ÷ ßÂËõþ î±Ëðõþ Õ¿òõÇäÂòÏûþ üöÂÉî±õþ Õ±¿öÂæ±îÂÉ ,Îûé± Îù±ßÂä ÅÂõþ Õ±h±Ëù Îõú õþ+Âó±™LÿõþîÂö±Ëõ ¿õðÉ÷±ò¯ Õ±÷±Ëðõþ Õò±ðËõþõþ Îß±Ëò± ¦óúÇý× î±Ëß ¿õä¿ùî ßÂËõþ ò±– õõþÑ î±õþ ÂóÅù¿ßÂî ýÝûþ±õþ ß±õþí¿é Îõú üŦ󩆖ý˜Ëðõþ ¿ßÂò±õþ±¿éÂËî Îû÷ò Îß±Ëò± qßÂËò± ߱꠿ðËûþ ¿ò¿÷Çî Îß±Ëò± áõ± Â-Âóï üŇÂö±Ëõ Âó¿õþ䱿ùî ýËî Âó±Ëõþ ò±/ ÛÝ ¿êÂß ÎîÂ÷¿ò–üßÂù õþËüõþ ñ±õþ± Îß ëÂ×ËÂó ± ßÂËõþ Õò™LÃß±ù ñËõþ õËûþ äÂù± Õ±Âóò åËj Õ±Âóò î±Ëù ¿ò¿õÇËúËø¸õþ Õ±ËðËú“ÎõþúéÅÂßÅ î±õþ ï±ß ÛßÂüÉ ÂóîÂò÷ ýËûþ“û±ý× õùÅò ß¿õ, Õ±òjñT¿ò æ±á±õ±õþ Îù±ß ßÂË÷ ÎáËå–Îüý× áyÂÏõþ¿ò^±á÷Ëòõþ õÉ™¦¸ Îù±ßÂæËòõþ üÑàɱý× Õ¿ñß“汿ò Õ±÷±õþ Ûý× ÕõËúËø¸õþ õþäÂò±Ëß ò± Îõ±ç±õþ ¿òçÇÂËõþ ñÅý×Ëûþ ¿ðËî Îõ¿ú ü÷ûþ Õ¿îÂS ±™Là ýËõ ò± îÂõÅÝ“Û Õ±÷±õþ Û¶±Ëíõþ ÷±òÅËø¸õþ Õ±Âóò ßÂï± î±õþ ¿ò榤 ð±¿õõþ ÕöÂÉ™LÃËõþ ï±ß± Õð÷É ý×Bå±õþ Õ±õõþËí ÷±à± ÛËßÂß¿é òÏõþ¿õjÅõþ ÂóÅËòDZËiœ±äÂËò“Îûé± ßv±™Là ßÂËõþ ò± Õ±÷±ûþ, ÛßÂé± üÅ¿¦šõþ ú±¿™LÃõþ ¿êÂß±ò±ûþ ëÂ×ÂóòÏî ßÂËõþ“Îûà±Ëò ü÷ûþ Õ±õþ Âó¿õþ¿¦š¿îÂõþ ÕË÷±â ÂóðúsÝ ¿ßÂåÅé± ¥¡±ò ýËûþ Õ±Ëü Õ±¿÷ Âó±ý× ¿ðòßÂËõþõþ Õ±Ëù±õþ îÂÏõèî± ÎïËß åÅ¿é“÷Ëòõþ ÷ËñÉ õU

ձ߱¿ºî ÛËßÂß¿é ¿öÂi§ åÅ¿éÂõþ ÕòòÉ õɱàɱ î±Ëðõþ Õ¿õõþ±÷ ¿õõþ±÷ Îß Îê¿ßÂËûþ õþ±à±õþ Â÷Îûé± ÷±Ëç ÷±Ëç ¿äÂõþ™LÃòî±õþ öÂûþ Îð¿àËûþ ùÅ¿ßÂËûþ ÂóËh ձÂóò Õ™LÃõþ±Ëù“ùÅ¿ßÂËûþ õ±æ± Õõþ+ÂóõÏí±õþ ÎüÌjËûÇÉõþ ÷î“ձ¿÷ Îüà±Ëò ëÂ×ËÂó¿ Âî ò± ýËûþ Âó±¿õþ ò±“Îûé± Õ±÷±õþ ¿åù Îüé± ýûþ ÕòÉËù±ËßÂõþ“Îûé± Õ±÷±õþ ¿òî±™Là Âó¿õþ¿äÂî Îüé± Îõ÷±ùÅ÷ ÎßÂ÷ò ý±¿õþËûþ û±ûþ ÕgÂß±Ëõþõþ ÕËäÂîÂò“ûîÂý× ¿òËæËß æ±ò¿å, îÂîÂý× Õ±÷±õþ Õ±òÅö¿õß üM± ü¥óËßÇ ձ÷±õþ ñ±õþí± ßÂõþ±é± ß¿êÂò ýËûþ û±ËBå“ Îû ß±õþËí ýûþî Û¶¿î¿õ¥¤ éÂ±Ý ÎðàËî ß©† ýËBå æËùõþ ùýõþÏËî“ßÂî ßÂî ¿õ¿äÂS õþËãõþ Îàù± Îä±à Û¿hÂËûþ å¿hÂËûþ ÂóËh ÷Ëòõþ õ±ý×Ëõþ“ Îûé± Õ±õ±õþ òîÅÂò ßÂËõþ üÑáèý ßÂËõþ Õ±òËî ýûþ Õ™LÃËõþ ï±ß± Õ™LÃáÇî ¿îÂËù±M÷±õþ ü±ý±ËûÉ“õèp±GÂ÷±Ëç Îüé±ý× Õ±÷±ûþ üõËäÂËûþ Îõ¿ú ¿õ¿¦œî ßÂËõþ ûàò ðG±ûþ÷±ò ýý× î±õþ ü¥œÅËà Ûß±™Là ÷Ëòõþ Û¶îÂÉ™Là ¿æ:±ü± ¿òËûþ Õ±÷±õþ ÷Ëòõþ ÷±Ëç Îû á±ò õ±Ëæ î±õþ üg±ò æ±òËî ÎäÂËûþ î±Ëß ù#± ¿ðý× ò±“Îü Õ±÷±õþý× ÷ËñÉ Õ±Âóò Õ±ù±ËÂó Õ±Âóò ü±ïÇßÂî±ûþ õ±Ëæ, î±õþ Âó¿õþäÂûþ æ±òËî ÎäÂËûþ î±õþ Õõ÷±òò± Õ±¿÷ ß¿õþ ò±“ÕËòß ü÷ûþ ¿î¿÷õþ Õõ&_ò àÅùËî ձùüÉ Õ±Ëü Îûé± ëÂ×ÂóËö±á ßÂËõþ ¿íËßÂõþ óÅùß ÕòÅöÂõ ßÂõþËî Îõ¿ú Îð¿õþ ýûþ ò±“Ûý×üõ ëÂ×Âóù¿t&¿ù ýûþ ¿õæùÏîÂõþ˼õþ ä¿ßÂî ¿ ÂÛ¶î±ûþ“Õ±õþ ÂóËh ï±ß± õ±¿ßÂ&¿ù ÕgÂß±õþ æ±ò±ù±õþ Âó±Ëú ÛîÂéÅÂßÅ äÂf±Ëù±ËßÂõþ Õ±ú±ûþ õÒ±ñò Îåh±õþ ü±ñËò ýûþ ¿òõþ™LÃõþîÂõþ ¿ò÷áò“¿ß ÎÂóù±÷ 汿ò ò± îÂËõ ÷ò öÂËõþ ëÂ×êÂËå ¿òËõðËòõþ ö¿¼Ëî“÷Ëòõþ ÷±òÅËø¸õþ àõõþ Îî± ÎßÂëÂ× æ±òËù ò±–Îü ÎßÂõù Õ±÷±õþ ¿òËæõþ ü¥ó¿M õËù ð±¿õÝ ßÂõþËî Âó±¿õþ ò±“Îü ÎßÂõù Ûý× Õ™LÃýÏò ¿ðáË™LÃõþ ¦¤ûþyÓÂûþî±ûþ õ±æËõ, |±õËíõþ ÛßÂù± ÛßÂ౿ò üÑõ±ð ýËûþ/

104

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

105

2 üÓSé± Û¶ßÔÂîÂÂóË Â Õ±÷±Ëðõþ ý+ðËûþõþ Õ™LÃõþÂóÅËõþ ÎÛ¶±¿ïîÂ/ Îüà±ò ÎïËß ¿öÂi§ ¿öÂi§ üõ õþËãõþ ý±Ýûþ±õþ àõõþ Õ±Ëü, üõ ý±Ýûþ± Ûß õþßÂ÷ òûþ, î±Ëðõþ 䱿ýð±, ¦óúÇÝ ÂóÔïßÂ/ ð±ù±Ëòõþ ß±Ëù±-ü±ð± Î «îÂÂó±ïËõþõþ Î÷ËçÂõþ Û¶ËîÂÉß¿é Û¶™¦¸õþ àGÂý× ¦¤îÂLa Õïä î±õþ± ÛßÂü˼ ¿÷Ëù Îû÷ò Æî¿õþ ßÂËõþ Îüý× ÎüÌßÅÂ÷±ûÇ, ÛÝ î±ý×/ ý±Ýûþ±&¿ù äÂ÷Ëß ¿ðËûþ, ¦óúÇ ßÂËõþý× ÎïË÷ û±ûþ ò±/ î±Ëðõþ Õ¿™¦¸Q ¿òÐËú¿ø¸î ýÝûþ±õþ Õ±Ëá, Õ±÷±Ëðõþ Õ™LÃáÇî åÅ¿éÂ&Ëù±Ëß ç¿õþËûþ ¿ðËûþ û±ûþ, ý+ðËûþõþ ë±ù ÎïËßÂ/ òîÅÂò òîÅÂò åÅ¿éÂõþ Âó±î± áæ±ûþ Îüà±Ëò-Îû÷ò î±Ëðõþ õ±ý±õþ, ÎîÂ÷¿ò î±Ëðõþ ÎüÌõþöÂ/ ÷Ëò ýûþ, éÂáõ¿áËûþ Ýê±, üõÅæ õþã î±Ëðõþ Îõ±ñýûþ, ÎßÂõùý× á¿hÂËûþ ÂóhÂËå, Ûõ±õþ ÷Ëò ýûþ Îü õÅ¿ç Ûß úɱ÷ù ¿òçÂÇõþ, Û¶ËîÂÉß¿é òÏõþ¿õjÅËîÂý× ÛßÂé± Õ±ù±ð± ðÅÉ¿î ձËå/ úõþÏõþé± ¿ßÂËú±õþÏõþ, äÂùò ÂóÅ ø¸±¿ù, äÂ÷ß ÕÍòü¿áÇßÂ/ Õ±¿÷ ö±¿õ, Ûî ðÏ¿l, ðÅÉ¿î ¿òËûþ Õ±¿÷ ßÂõþõé± ¿ß· Îüý× Ã›¶ï÷ Û¶±äÅÂËûÇÉõþ Û¶¿î ÛßÂé± öÂûþ æ±áù/ çÂõþí± îÂàò ü÷Å^Ëß öÅÂËù Î÷Ëâ¸õþ ßÂï± Îú±ò±ËBå Õõòî ç±ëÂ×õòËßÂ, õùËå áðáð, Õ±ËõËá–‘àÅÒæËùÝ Âó±Ëõ ò± î±ËßÂ, õõþø¸±õþ æùñ±Ëõþ...· ü¿îÂÉý× Îî±, àÅÒËæÝ ¿ß ձ¿÷ ÎÂóËûþ¿å Îüý× õþ±¿áòÏ, û±õþ ÎàÒ±æ, ÷±òÅËø¸õþ ü¼ÏîÂú±¦aÝ õþ±Ëà ò±· Îüý× åÅ¿é ¦¤Ë›Ÿõþ ¿÷ùò· û± Î÷âü÷Å^ ÎðËàËå Õ±ù±ð± ßÂËõþ áýòõò ÂóÔïßÂö±Ëõ· Îüý× Îü±ò±õþ ¦¤›Ÿ û±, çÂõþí±õþ ÎûÌõËòõþ

ÝÂóõþ çÒ±¿ÂóËûþ ÂóËhÂËå· ÎæËáËå/ î±õþ± ðÅ’æËòý×/ Øø¸± Õ±õþ äÒ±ð ÛßÂü˼/ äÒ±ð ÎæËáËå âÅË÷±Ëî û±Ëõ õËù, Øø¸± õõþËôÂõþ Âó±ý±Ëh ý±õþ±Ëò± üÓËûÇõþ ñɱò ßÂõþËõ õËù/ ëÂ×ËVúÉ ÂóÔïß ¿ßÂc î±Ëðõþ ÷ò ¿òËûþ Îàù± ï±Ë÷¿ò, ï±÷±Ëò± û±ûþ¿ò, ä±Ë÷¿ùËß ¿òËûþ ÷æ± ßÂõþËî ßÂõþËîÂ, Øø¸± õþ±ã± ýËûþ ëÂ×êÂËù±, üÓûÇËðõÝ ý±üËî ý±üËî äÒ±ðËß Âó±ê±Ëùò âÅË÷±ËîÂ/ Îü âÅ÷ ßÂý× Õ±¿÷ Îî± ÎðàËî ÎÂóù±÷ ò±· ¿òЦ¤±ïÇ Îä±Ëàþ ¿ß Îü Îðà± û±ûþ· Ýé± ÎðàËî õõþËôÂõþ æ±ô¿õþËî ëÂ×Ò¿ß Î÷Ëõþ, õ<¿õðÅÉËîÂõþ ËúßÂù ÂóËhÂ, ûÓïÏ ágÂËõðËò/ îÂËõ ò±· Õ±òjßÂ÷ù ôÅÂËé ëÂ×êÂù õËù/ Îô±é± Õ±ËõþßÂéÅ õ±¿ß Û÷ò ü÷ûþ, î±Ëðõþ Âóõþ¦óõþ±òÅõþ±á ôÅÂËé ëÂ×êÂù 䱿õþ¿ðß ձËù± ßÂËõþ/ Ýõþ± Î÷Ëûþõþ ßÂï± õËù, ßÂ÷Ëùõþ ßÂï± Îî±· Ý Õ±÷±õþ Z±õþ± üyÂõÂóõþ òûþ/ ßÂ÷ù ôÅÂéÂËõ Õ±Âóò ÷Ëò, Õ±Âóò á¿îÂËîÂ, î±h± ¿ðÝ ò± î±ËßÂ/ îÂõþ˼õþ Û¶ï÷ Îð±ù±ûþ ü÷Å^ ûàò Õ±õþ±Ë÷ Îä±à õÅËçÂ, ñɱò÷¢Ÿ, ౿òßÂé± ö¿íî± Û¶ðúÇËò ÂóéÅ ýËûþ ÝËêÂ, ¿êÂß îÂàòý× ýù ëÂ×Ëiœ±äÂò/ ¿ZÛ¶±ý¿õþß ձý±Ëõþõþ õÉõ¦š± ßÂõþ/ ö±ËîÂõþ ÷±çÂà±Ëò Îç±Ëù ¿÷Ëú ÕËòßÂ&Ëù± õþã öÂɱõ±äÂɱß± ÎàËûþ ï÷ÄËß Îáù/

105

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

106

Îü±ò±¿ù Îõþ±Ëðõþ ¦¤›Ÿ Ý òÏù ÷ò Îü±÷± ¿õ «±ü ‘‘Ýý× Îü±ò± Îõþ±Ëðõþ Õ±ãÅù/ Îß±òÄ òÏù ðÓõþ ÎïËß ÎåÒ±ûþ Î÷±õþ äÅÂù/ õþ±ã± Îö±õþ Îá±ù±ËÂóõþ ë±Ëù“ù±ù ýËûþ ëÂ×ËêÂËå üß±Ëù/’’ •Õ¿÷ûþ äÂS õîÇÂÏ— Îü±ò±¿ù Îõþ±Ëðõþ ¦¤›Ÿ Î÷Ëà òÏù ÷ò.. ù±ù ýËûþ Ýê± üß±Ëùõþ Õ¿öÂ÷ÅàÏ ýËî ä±ûþ/ Ûý× ù±ù õþÑ ýûþËî± Õ±÷±õþ ¿Ã›¶ûþ õþÑ&Ëù±õþ ÷ËñÉ ÛßÂé±/ ß±õþí Ûý× õþÑé±õþ ¿öÂîÂËõþ Õ¾³î Ûß õþýüÉ÷ûþî± àÒÅËæ Âó±ý× õ±õþõ±õþ/ õþËM õþ ÷Ëî± ù±ù õþÑ ÎüËî± ö±Ëù±õ±ü±õþÝ ýËî Âó±Ëõþ, Õïõ± ¿ýÑü±... -÷ý±ËðËõõþ ÷Ëî±ý× Îûò Îü Âóõþ÷ ú±™Là ÛõÑ Âóõþ÷ ^/ Ûß¿é õþM õËíÇõþ Õ±ËÂóù õÔ™LÃäÅÂÉî ýËî ÎðËà î± ÎïËß ձ¿õ©Ô¨î ýËî Âó±Ëõþ ÷ý±ßÂËø¸Çõþ üÓS Õïõ± õþ±ã± Õ±ËÂóËùõþ Îù±öÂõúî ձð÷-ý×ËöÂõþ ýËî Âó±Ëõþ äÂõþ÷îÂ÷ Âóð…ùò/ ¿ßÂc Ûý× Âóð…ùò, Ûý× ^î±, Ûý× ¿ýÑü±õþ õU Õ±á±å±õþ ÷ËñÉý× ýûþËî± ùÅ¿ßÂËûþ Õ±Ëå õþ±ã± Îö±Ëõþõþ Îá±ù±Âó–û±õþ âè±í Ý ÎüÌjËûÇ Î÷±¿ýî ýËûþ ëÂ×Ëê ÷ò/ üß±Ëùõþ Ýý× Îü±ò±¿ù ÎõþÌË^õþ Õ±âè±Ëí ÷ò ýËûþ ÝËê äÂõþ÷ ëÂ×Èü±ýÏ/ ÂóÓõ ձ߱Ëú üß±Ëùõþ õþ±ã± ¿éÂÂó Õ±õþ Õ±¿ðá™Là òÏù ձ߱Ëú ÷ò-Âó±¿à ëÂ×Ëh û±ûþ ÷±ËçÂ-÷±Ëç ÎöÂËü Õ±ü± ü±ð± Î÷Ëâõþ ™¦¸ÓÂó Õ¾³î ôÅÂõþôÅÂËõþ Î÷æ±Ëæõþ Õ±õý Æî¿õþ ßÂËõþ/ ßÂàËò± ßÂàËò± õÔ¿©†Ëðõþ ß±Ëù± Î÷Ëâõþ ¿ëÂ¥¤±òÅ ¿âËõþ ñËõþ ¿õÂóÅù ձ߱ú, ¿çÂõþ¿ç¿õþËûþ õÔ¿©† ÂóËhÂ, á±Ëåõþ Âó±î±õþ± åéÂô¿éÂËûþ ë±ò± ç±Âó¿éÂËûþ Îûò ¿òËæËðõþ ÷¿ùòî± ÎñÌî ßÂËõþ/ ßÂËûþ Îð¿à üõ Âó±î±õþý× õþÑ üõÅæ/ ¿ßÂc Û¶¿î¿é üõÅæ Õ±ù±ð±–ßÂÏ Õ¾³î õþËãõþ ¦¤îÂLaî±/ Ûý×ö±Ëõý× Ã›¶¿î¿é õþÑ î±õþ Î÷æ±Ëæ î±õþ ÷Ëî± ßÂËõþ ÎõÒËä ï±Ëß Û¶ËîÂÉËßÂõþ æÏõËò/ úÏîÂ-áèσ-õø¸Ç±õþ ÷Ëî± õþÑ õðù ýûþ æÏõò-ÙîÅÂõþ/ üõÅæ õþËãõþ ¿úqß±ù ¿ðËûþý× ýûþËî± Ûý× æÏõòÂó±ËêÂõþ q / î±õþÂóõþ î± ËíÉõþ ù±ù, ÎÛ¶ÌìÂÿËQõþ ñÓüõþî± Ý üõËúËø¸ òÏõþgªÂ õíÇýÏòî±ûþ ý±¿õþËûþ û±Ýûþ±/ ÛßÂõ±õþ Õ±÷±õþ Ûß ¿äÂS¿úŠÏ õgÅ ձ÷±Ëß õËù¿åù Îû î±õþ Ûß¿é ÎÂ󱿩†Ñ-Û ÛßÂé± æ±ûþá±ûþ Îü ¿ß õþÑ ÎðËõ ¿êÂß ßÂËõþ

ëÂ×êÂËî Âó±õþËå ò±, î±ý× Îüà±òé± ü±ð±ý× ÎõþËà ¿ðËûþËå, Îß±Ëò± õþÑ Îðûþ¿ò/ ¿ß õþÑ ÎðËõ Õ±÷±ûþ ¿æ:±ü± ßÂõþËî ձ¿÷ îÂàò î±Ëß õËù¿åù±÷ ‘ÎßÂò, ü±ð± õþÑéÂ±Ý Îî± ÛßÂé± õþѯ’ ßÂï±é± Îú±ò±õþ Âóõþ Ý Îõú ¿ßÂåÅ Âí äÅÂÂó ßÂËõþ ï±ß±õþ Âóõþ õùù-‘U, îÅÂý× ÛßÂð÷ ¿êÂß õËù¿åü/ ü±ð± Û÷ò ÛßÂé± õþÑ Îûé±õþ ëÂ×Âóõþ ߊò± ßÂËõþ Õ±÷õþ± ßÂî ¿ßÂåÅý× ò± üÔ¿©† ßÂõþËî Âó±¿õþ/’’ ú±¿™LÃõþ Û¶îÂÏßÂõþ+ÂóÏ Ûý× õþËãõþ ß±Ëå ßÂﱿúŠÏ Ý ¿äÂS¿úŠÏõþ± ¿õËúø¸ö±Ëõ ÙíÏ/ ÕõòÏfò±ï ê±ßÅÂõþ õËùËåò–‘‘ü±ð± ß±áæ ౿òËß ûàòý× ¿òËæõþ ü¥œÅËà ¿õ™¦¸Ôî ß¿õþûþ±¿å îÂàòý× Õ±õþ Îü౿ò ü±ð± ß±áæ ò±ý×/ îÂàò Îü Õ±÷±õþ Õ±R±õþ ðÂóÇí/’’ •ö±õþî¿úËŠõþ ø¸h¼ Ð ÕõòÏfò±ï ê±ßÅÂõþ— ü±ð± ß±ú ôÅÂù/ ü±ð± Î÷âÂóÅ? ¿ßÂÑõ± ü±ð± ¿úëÂ׿ùõþ ÷Å¿M õþ ¿òÐ «±Ëü ÷ò-Âó±ûþõþ±õþ ðù ëÂ×Ëh û±ûþ õU÷ÅàÏ ßŠò±Ëù±ËßÂ/ üõËúËø¸ Õ±ü± û±ß ձ÷±õþ Õ±õþ Ûß ¿Ã›¶ûþ õþËãõþ ßÂï±ûþ– ‘‘ï±Ëß qñÅ ÕgÂß±õþ ÷ÅËà±÷Å¿à õ¿üõ±õþ’’–ý±æ±õþ õåõþ Âóï ýÒ±é± ß±¿™Là ÎúËø¸ ðÅ’ðËGÂõþ ú±¿™LÃ/ ÕgÂß±õþ ÕÒ±ñ±õþ ¿î¿÷õþ– ÕËòËß Ûé±Ëß öÂûþ ßÂËõþ, Ùí±Rß Ûß¿é õþÑ õËù ÷Ëò ßÂËõþ/ ¿ßÂc, Ûý× ÕÒ±ñ±õþ Õ±÷±õþ õh ¿Ã›¶ûþ/ ¿î¿÷õþ¿õù±üÏ ÷ò î±õþ ¦¤õþ+Âó õÅçÂËî ä±ûþ, Âó±Ëõþ õùõ ò±, ä±ûþ Ûý× ÕgÂß±Ëõþõþ Îß±Ëù ¦ó¿jî ýËîÂ/ ‘‘ß±ùÏ ¿ß ß±Ëù±· ðÓËõþ î±ý× ß±Ëù±/ ¿äÂòËî Âó±õþËù Õ±õþ ß±Ëù± òûþ’’ •|Ïõþ±÷ßÔÂø —/ ÷ò ûî Âí ß±ùÏ ýý×Ëî ÂóÔïß ձËå, ß±ùÏ îÂî Âí ß±Ëù± ß±¿ù÷±S/ Õ±õþ ÷ò Õ±¿üûþ± Îû÷¿ò ¿÷¿ùûþ±Ëå Õ÷¿ò ß±ùÏ Õ±õþ ß±Ëù± ò±ý×...Õ±Ëù±õþ ¿úàõþ ÷Ëî± æ;¿ùûþ± ëÂ׿êÂûþ±Ëå/ ‘‘•ö±õþî¿úËŠõþ ø¸h¼В’ ÕõòÏfò±ï ê±ßÅÂõþ— òÏùßÂF ÷ò Îù±ëÂËú¿ëÂÑËûþ ÷±Ëûþõþ Îß±Ëù ÷±ï± ÎõþËà ýɱ¿õþËßÂËòõþ ýùÅð Õ±Ëù±ûþ ÷±ûþ±õÏ ÕgÂß±Ëõþ Îä±à Îõ±Ëæ Õ±õþ õËù, ‘‘ÝËá± Õ±÷±õþ õþ±æ±, õþ±¿ãËûþ ¿ðËûþ û±ÝËá± Ûõ±õþ û±õ±õþ Õ±Ëá/’’ •õþõÏfò±ï—

106

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

107

2nd Proof 18.09.2013

107

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

108

ü¼ÏËîÂõþ õíÇò Õ±ù±Âó䱿õþî±ûþ ÎúÌíß äÂËAɱÂó±ñɱûþ Music, in its profound magnamity, has always been his trusted companion, his incorporeal soulmate. His euphonious renditions are similar to a diminuendo in one’s perturbing lonesomeness, like bright-hued drops of rain on one’s black-grey emotions...

How, can one identify the hues of music or what are the colours playing in the operetta of various raags of Hindustani Classical Music?

Vivid in a conversant mood, and providing astonishing answers Sounak Chattopadhyay, enraptures with ease, quite like his music...

While Kalomer Kalomishak prefers to listen to an endless flute...

Õ±÷õþ± õ¿jú õù¿å, û±õþ ÷ËñÉ õþ±áé± õg ï±ßÂËå Îü æòÉý× ‘‘õ¿jú’’/ ðÅËé±ý× ÛËß ÕÂóËõþõþ Âó¿õþÂóÓõþß ¿ßÂc ü¼Ïî Îß±ï±ûþ ÛßÂé± Îûò ¦¤ûþÑü¥óÓíÇ ÛõÑ ¦¤îÂLa/ ßÅÂ÷±õþÛ¶ü±ð ÷ÅËà±Âó±ñɱûþÛõþ ‘‘ßÅÂðõþÈ õþ¼Ï-Îõõþ¼Ï’’ õý×Ëî àÅõ äÂ÷Èß±õþ ÛßÂé± ëÂ×ð±ýõþí õþËûþËå-Îû Õ±¿÷õþ àÒ± ü±Ëýõ û¿ð ß¿õõþ ò±÷ ÎîÂËõþ±õþ æ±ûþá±ûþ ¿÷ûþ± ¿ß ÷ùý±õþ Îé±áõþ± Õ±¿÷õþ ò±Ë÷õþ ÎîÂËõþ± ¿ðËûþÝ û¿ð ÎáËûþ ÎûËîÂò îÂËõ ¿÷ûþÒ± ¿ß ÷ùý±Ëõþõþ ¿ßÂåÅ ÛËü ÎûËî± ò±/ Ûé± ¿òËûþ õþõÏf±òÅõþ±áÏõþ± ýûþËî± ¿ßÂåÅé± Õ±Âó¿M ßÂõþËî Âó±Ëõþò, õ± ò±ß ¿üÒéÂß±Ëî Âó±Ëõþò ¿ßÂc ü¼Ïî Ûà±Ëòý× ¿ßÂåÅé± ¦¤îÂLa/ á±ò å±h± ýûþËî± ü¼Ïî ýËî Âó±Ëõþ ¿ßÂc ü¼Ïî å±h± á±ò ýËõ ò±/ ÛßÂé± ß¿õî±ûþ ûî Âí ò± üÅõþ±Ëõþ±¿Âóî ýËBå, îÂî Âí Îüé± á±ò ýËBå ò±/ Ûý× üÅõþ±Ëõþ±ËÂóõþ æ±ûþá±é±ý× ýËBå ü¼ÏîÂ/ á±ò õùËî ¿ß ձ÷õþ± qñÅ ‘‘lyrical composition’’ õÅ¿ç· î±ýËù Îî± ü÷áè ‘‘Western Classical Instrument’’ Ûõþ section é±ý× ùÅl ýËõ, ÛõÑ Õ±÷±Ëðõþ ÂóÅËõþ± ü±ò±ý× üËõþ±ð Îüî±õþ õÒ±¿úõþ æ±ûþá±é±ý× ¿õh¿¥¤î ýËõ/ Îüà±ËòÝ ¿ßÂc composition õ±æ±Ëò± ýûþ, again, western classical Û îÒ±Ëðõþ ÷Ëî±, Õ±÷±Ëðõþ Ûà±Ëò Õ±÷±Ëðõþ ÷Ëî±/ ¿ßÂc ßÂï± úËsõþ õ±ý×Ëõþ ÛßÂé± ü¼ÏËîÂõþ Õ¿™¦¸Q ï±ßÂËî Âó±Ëõþ ¿ßÂc á±ò õ± lyric can

1/ ¸±±fl¬±À˘± ı˛„Ȭ± ¤fl¬¸Àº Œfl¬±Ú ı˛±· ·±˝◊À˘ √õ∂Ó¬œÓ˝˚˛∑ ά◊– Ûß ßÂï±ûþ õþ±á-ÆöÂõþõÏ/ Ûß¿ðËß Îû÷ò ö±õá±yÂÏûÇ, Õ±õþ Ûß¿ðËß ÎîÂ÷¿ò ä±ÂóùÉ/ Îû÷ò, ‘‘õ±õÅù Î÷±õþ± Æò ý±õþ åÅËé± û±ûþ’’“ ‘‘Âó±áù± ÷òé±Ëõþ îÅÂý× õÒ±ñ’’, ÎîÂ÷¿ò ‘‘õ±æÅ õg àÅùÄ àÅùÄ û±ûþ/’’ Ûà±Ëò Îû Õ±Âó±î ÛßÂé± ÷î±ÍòßÂÉ î± àÅõ üÅ¦ó©† ö±Ëõ Û õþ±á¿éÂËî ÃÂó¿õþ¦£ÅÂé ýËûþ ÝËêÂ/ ýûþËî± ÕòÉ õþ±Ëáõþ ßÂï±Ý Õ±÷±õþ ÷Ëò ÂóhÂî ¿ßÂc îÂ±È Â¿íß ¿õË −ø¸íÏ ðÔ¿©†Ëî ÛîÂéÅÂßÅÂý× Ã›¶îÂÏî ýù/ 2/ ¸ºœÓ¬ ¤ı— ·±Ú-≈øȬ ˙Àsı˛ ˜ÀÒ… Œ˚ ¸”Ñ ¬Û±Ô«fl¬… Ó¬± øfl¬ˆ¬±Àı øÚÀÊı˛ ’Ú≈ı˛±·œÀı˛ Œı±Á¬±›∑ ά◊– ü¼Ïî ýù ÛßÂé± õÔýMõþ ö±ø¸± Õ±õþ á±ò ýù î±õþ ÷ËñÉ Îß±Ëò± ÛßÂé± ¿õËúø¸ ü±¿ýîÂɱÑú/ ÛßÂé± ß¿õî± õ± ÕòÉ ¿ßÂåÅ õ± ü¼ÏîÂËß ÛßÂé± ‘‘total world of creation’’ ¿ýËüËõ Îðà± ÎûËî Âó±Ëõþ Îüà±Ëò äÂf üÓûÇ áèýî±õþ± ÂóqÂó ÂÏ òðÏ ü÷Å^ üõé± ¿òËûþ ÕËòßÂé± õþõÏfò±Ëïõþ ðúÇËò Õ±õþ î±õþ ÛËßÂß¿é element ýù á±ò/ Õ±÷±Ëðõþ ö±õþîÂÏûþ ëÂ×Bä±¼ü¼ÏËîÂõþ ß±õþõ±õþ ¿ßÂåÅé± ü¼ÏîÂËß ¿òËûþ/ Îüà±Ëò Õ±÷±Ëðõþ ü¼Ïî é±ý× ¿úàËî ýûþ á±òé± òûþ/ û¿ðÝ Îüà±Ëò á±Ëòõþ ÛßÂé± ÕòÉ Ûß¿é öÓ¿÷ß± ï±ËßÂ/ Îüý× á±ò¿é Îß ¿âËõþ ü÷™¦¸ ü¼ÏîÂé± õh ýûþ, Õ±ù±ÂóéÂ±Ý ¿áËûþ ÎÂóÒÌËå±ûþ á±Ëò, ¿õù¿¥¤î éÂ±Ý î±ý×/ Õ±÷õþ± Îû õþ±áé±Ëß õ±h±ý×, õþ±Ëáõþ Îî± ÛßÂé± ¿ò榤 üÅËõþõþ Õõûþõ ï±Ëß ¿ßÂc î±õþ Îû ü±¿ýîÂɱÑú Îüé± Îî± basically á±ò, û±ËßÂ

exist as poetry, but it cannot exist as music or song without ‘‘sur’’. Îû á±ò¿éÂõþ û± õM õÉ î±õþ ü˼ ü±÷?üÉ

ÎõþËà ü¼Ïî±Ëûþ±æò ßÂõþ± ýËî Âó±Ëõþ-Îüé± Õ±¿÷ ß¿õþ ò±, Û¶îÅÂÉø¸ð± ßÂËõþò/ Îß±ò á±òËß ¿ßÂö±Ëõ ä±ý׿å, î± Õ±Ëù±äÂò± ßÂËõþ ¿êÂß ß¿õþ/ Îüý× á±ò¿éÂõþ ö±õ Îß õ± õM õÉËß ý×ÑËõþ¿æ ö±ø¸±ûþ û±Ëß õËù ‘‘accentuate’’ ßÂõþ±, Îüé±ý× ßÂõþ±õþ Î䩆± ß¿õþ üõü÷ûþ/ 3/ ˙±Ú≈ ˘±ø˝h¬œı˛ ¤fl¬øȬ Âøı – ¤fl¬øȬ Œ˜À˚˛ ¬Û±Ó¬± ‡±›˚˛±ÀB ¤fl¬øȬ ˝øı˛ÌœÀfl¬...Œ˜À˚˛øȬı˛ Œ¬Û±˙±fl¬ › ˝øı˛ÀÌı˛ ¬Û±Ó¬± ‡±›˚˛±˚˛ › ı˛øM꘱ˆ¬±, ’±fl¬±À˙ı˛ Œfl¬±Ì±˚˛› ˘±À˘ı˛ ’±ˆ¬±¸...¤È¬± ı˛±· ’±ø˝ı˛ ∆ˆ¬ı˛ıœı˛ interpretation ŒÓ¬±˜±ı˛ ıMêı…/ ά◊– Ûé± ÛËßÂõ±Ëõþý× ÝÒõþ ¿úŠÏ÷Ëòõþ õÉ¿M áî տöÂ÷îÂ/ Õ±¿÷ ÕËòß¿ðò Õ±Ëá ¿úŠÏ ¿õËò±ð¿õý±õþÏ ÷ÅËà±Âó±ñɱËûþõþ Îùà±ûþ Ûý×õþßÂ÷ ÛßÂé± õþ¿M ÷±ö±õþ õíÇò± ÂóËh¿åù±÷, Õ±÷±õþ ü¿êÂß ÷Ëò ÂóËhÂËå ò±, îÂËõ õþ¿M ÷±ö± Îî± üÓËûDZðûþ õ± üÓûDZ™¦¸ 108

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

ðÅËé±õþ ý× ýËî Âó±Ëõþ/ Ûé± Îõ±ñýûþ ëÂ׿ò üÓËûDZðûþ ÎöÂËõ ¿åËùò/ Õ±÷±õþ õíÇò±é± ÂóËhÂý× üÓûDZ˙¦¸õþ ßÂï± ÷Ëò ýËûþ¿åù/ Õ±¿÷ î±õþ ü˼ ÂóÅ¿õþûþ± ßÂùɱí õ± qX ßÂùɱíËßÂý× ÝîÂËÛ¶±î ßÂËõþ ÎðàËî Âó±¿õþ, Õ±÷±õþ ß±Ëå Õ±¿ýõþ ÆöÂõþõÏ Îüö±Ëõ ÕîÂé± ñõþ± Îðûþ ò±/ Îüé±õþ ÛßÂé± ß±õþí ýËî Âó±Ëõþ Õ±÷±õþ õÉ¿M áî ß±õþËí Õ±÷±õþ üÓËûDZðûþé± àÅõ ÛßÂé± Îðà± ýËûþ ÝËê ò±, îÂËõ Ûé± õùËî Âó±¿õþ Îû Õ±÷±Ëß û¿ð Îß±Ëò± õþ±á õ±åËî õù± ýûþ û±õþ ÂóßÂhÂé± õ±æ±Ëù õ± á±ý×Ëùý× üß±ùé± ôÅÂËé ëÂ×êÂËõ î±õþ ÷ËñÉ Õ±¿ýõþ ÆöÂõþõÏ Ûß¿é úÏø¸Ç¦š±òÏûþ õþ±á-Îû ß±õþËí äÂù¿BäÂËSõþ Î ÂËS Û¶öÓÂîÂö±Ëõ õÉõý+î ýûþ Ûý× õþ±á/ 4/ ı˛±· fl¬±øÙ¬ı˛ Œé¬ÀS Œfl¬±Ú ’Ú≈ˆ”¬øÓ¬ ŒÓ¬±˜±˚˛ Ú±h¬± Œ˚˛∑ ά◊– õý×-éÂý×Ëî Û¶±äÂÏò ÂóÅÒ¿ïËî ëÂ׿{¡¿àî ձËå Îû Õ÷Åß õþ±á Õ÷Åß õþü,Õ÷Åß õþ±á õÏõþõþü, Õ÷Åß õþ±á úÔ¼±õþõþü, ...¿ßÂc õþ±á õɱÂó±õþ¿éÂËî ¿ßÂc ÛßÂé± ¿ðá™Là ¿õ™¦¸Ôî ö±õ۶߱Ëúõþ Õõß±ú õþËûþ ÎáËå/ Õ±÷±Ëðõþ üõËäÂËûþ üýæËõ±ñÉ ëÂ×ð±ýõþí ýËBåò õþõÏfò±ï–‘‘îÅ¿÷ Õ±å Îß±ò Âó±h± Îî±÷±õþ Âó±ý׿ò ¿ß ü±h±, ÛßÂð± Ûß õ±Ëâõþ áù±ûþ ý±h ôÅ¿éÂûþ±¿åù, Û Âóõþõ±Ëü õþËõ Îß ý±ûþ, ÎßÂò ÎäÂËûþ Õ±å Îá± ÷±, Õ±÷±õþ ÷Ëòõþ Îß±Ëòõþ õ±ý×Ëõþ, û¿ð Õ±÷±õþ ý+ðûþðÅûþ±õþ...’ üÅîÂõþ±Ñ õÉï±, ý±üÉõþü, Õ±òj, ÎÛ¶÷, ¿òËõðò-ß±¿ô õùËî Îõ±ñýûþ üõé±ý× Îõ±ç±ûþ, Õ±÷±Ëðõþ ÛßÂé± ÕËöÂÉü Õ±Ëå Îû ß±¿ô õùËî êÅÂ÷õþÏõþ ßÂï± ÷Ëò ýûþ/ ¿ßÂc ß±¿ôÂËî Îàûþ±ù ýûþ, ß±¿ôÂËî ñènÂóð-ñ±÷±õþ Ý ýûþ, Õ±¿÷ & ¿æõþ ß±Ëå qËò¿å/ ß±¿ôÂËî ÆôÂûþæ àÒ± ü±ËýËõõþ ‘‘õËj òjßÅÂ÷±õþ’’ Ý Õ±Ëå, ¿üËX «õþÏ ÎðõÏõþ êÅÂ÷õþÏÝ Õ±Ëå, üÅîÂõþ±Ñ Ýý×ö±Ëõ Îû Îß±Ëò± Ûß¿é ÕòÅöÓ¿îÂõþ ü˼ ÝîÂËÛ¶±î ßÂõþ±é± û±ûþ ò± Îõ±ñýûþ, Ûõþ ÎïËß Ýý× ¿÷ûþÒ± ¿ß ÷ùý±Ëõþõþ ü˼ õø¸Ç± õ± õüË™LÃõþ ü˼ õü™LÃß±ùËß ÕËòß üýæö±Ëõ ÝîÂËÛ¶±î ßÂõþ± û±ûþ/ stereo-type ýËBå Ýý× ùâÅ úÔ¼±õþõþü õ± êÅÂ÷õþÏõþ õɱÂó±õþé±/ ¿ßÂc áöÂÏËõþ ü÷™¦¸ õþßÂ÷ ÕòÅöÓ¿îÂý× Õ±Ëå/ 5/ Ó¬±ı˛±Ú± øfl¬ √õ∂‰¬ø˘Ó¬ Ò±ı˛Ì±˚˛ ‰¬±¬ÛÀ˘…ı˛ √õ∂Ó¬œfl¬ ø˝À¸Àı˝◊ ’Ú≈ˆ”¬Ó¬ ˝ÀÓ¬ ¬Û±Àı˛∑ ά◊– î±õþ±ò± õùËî ձ¿÷ ¿ßÂc ^nîÂá±÷Ïî±Ëß ÝîÂËÛ¶±î ßÂõþõ, ä±ÂóËùÉõþ ü˼ Õ±¿÷ êÅÂ÷õþÏ-ð±ðõþ± õ± ÆäÂîÂÏ-çÅÂù±ü±Ýûþ±òËß associate ßÂõþõ/ ä±ÂóËùÉõþ ü˼ ÛßÂé± ù±üÉ ÛßÂé± Û¶áùöÂî±õþ æ±ûþá± Õ±Ëå/ ‘‘êÅÂ÷õþÏ’’ ßÂï±é±ý× Îî± êÅÂ÷Ä êÅÂ÷ßÄ ò± ÎïËß ÛËüËå ¿ßÂc î±õþ±ò±Ëß ^nîÂá±÷Ï ¿äÂî±õ±Ëâõþ ü˼, õ± Îâ±h±õþ ü˼ ÝîÂËÛ¶±î ßÂõþ± ÎûËî Âó±Ëõþ/ It is fast. õþõÏfò±Ëïõþ ü¼ÏîÂ-¿ä™Lñûþ ÕõúÉ î±õþ±ò± ü¥óËßÇ ÛßÂéÅ ¿õõþ+Âó ÷™LÃõÉ Õ±Ëå/ ÎûËýîÅ ‘‘ÕïÇýÏò õ±íÏ’’ ÎüËýîÅ ÕËòß âõþ±ò±ûþ î±õþ±ò± á±Ýûþ± ýûþ ò±, Õ±÷±õþ & õþ âõþ±ò±Ëî ý× á±Ýûþ± ýûþ ò±/

2nd Proof 18.09.2013

109

¿ßÂc Õ±÷±õþ õÉ¿M áîÂö±Ëõ î±õþ±ò± àÅõ ö±ù ù±Ëá/ ñènÂóËðõþ Îæ±h Õ˼õþ ü˼ î±õþ±ò±õþ ü±ðÔúÉ Õ±Ëå, ‘‘ç±ù±’’, basically/ î±õþ±ò±õþ ÛßÂé± ÕòÉ aspect Õ±Ëå/ Õ±¿÷õþ àÒ± ü±Ëýõ Persian couplets ÎïËß ëÂ×¾Óî ßÂõþ± î±õþ±ò± á±ý×ËîÂò, û±õþ Îúø¸ ù±ý×ò çÅÂ÷ î±Ëò Îúø¸ ýîÂ/ Îüý× î±õþ±ò± ¿ßÂc Û¶ä¿ùî î±õþ±ò± ÎïËß ¿öÂi§/ Îüà±Ëò î± ÕïÇýÏò õ±íÏ òûþ, Îü&¿ù Û¶ËîÂÉß¿é ÛËßÂß¿é ÕïÇõý úËsõþ ÕÂówÑú/ Õ±¿÷õþ àÒ± ü±ËýËõõþ research Û õù± ýËûþËå, Îû Õ±÷õþ± Îû ‘‘Îõþ Îõþ ò±’’ ëÂ×Bä±õþí ß¿õþ î± ýù Ûß¿é ¿õú±ù ‘‘ý¿õþ ÝÒ÷ Õò™Là ò±õþ±ûþí’’Ûõþ àG¿õËúø¸/ Õ±¿÷ û¿ð Ûý× åS¿éÂËßÂý× elongate ßÂËõþ ëÂ×Bä±õþí ß¿õþ–‘‘ý-Õ-¿õþ¿õþ Ý-Ý-ÝÒ÷ Õ-Õ-Õ-ò-ò-™LÃ-î ò±Õ±-Õ±-õþ±-Õ±-ûþ-Õ±-Õ±-í-Õ±’’ Îüé±ý× ßÂõþËî ßÂõþËî ‘‘ò± ò±Îõþ Îõþ-ò±’’ õɱÂó±õþé± äÂËù Õ±Ëü/ îÂËõ Û¶ Ÿé± û¿ð ýûþ Îû î±õþ±ò± ä±ÂóËùÉõþ Û¶îÂÏß ¿ßÂò±- ò±... î± òûþ/ 6/ ’±˘±Î¬◊øVÚ ‡±Ú ˜˝±˙˚˛ Ó¬±ı˛ ëë’±˜±ı˛ fl¬Ô±íí ŒÓıÀ˘ÀÂÚ Ó¬±Úı˛±ø˙ Ó¬±ı˛ fl¬±À ’ı±Ò… ˝◊¶≈®˘-±h¬± ±SœÀı˛ ’fl¬±ı˛Ì ˝±ø¸ı˛ ˜Ó¬/ ·±ÀÚ ›Àı˛ ’Ú≈√õ∂Àı˙, ’fl¬¶ú±»-Ó≈¬ø˜ ˚‡Ú Œfl¬±ÀÚ± ı˛±· øÚÀıÚ fl¬ı˛, Ó¬‡Ú ¤ı˛ ¸Ó¬…Ó¬± ¸•ÛÀfl«fl¬Ó¬È¬± ¸À‰¬Ó¬Ú Ô±Àfl¬±∑ ά◊– Ûé± ÛßÂé± Õü±÷±òÉ ßÂï±,Ûý× ü÷™¦¸ ßÂï±õþ & Q ßÂË÷ û±ËBå ձ˙¦¸ ձ˙¦¸/ ¿ßÂc ÛßÂé± ü÷ûþ ¿åù ûàò qËò¿åù±÷ ÆôÂûþ±æ àÒ± ü±ËýËõõþ õɱÂó±Ëõþ-ÛßÂæò ÎõþÝûþ±Ëæ î±ò ßÂõþËå, ëÂ׿ò ÎýËü õËù¿åËùò, ‘‘Õ±Ëõþ, äÂùò± Îò¿ý ¿üà±, Õ±¿ö Îü ö±á õþËý Îý±¯ ‘‘îÂàò áù± Æî¿õþ, voice culture-Ûõþ & Q ÕÂó¿õþüÏ÷ ¿åù ÛõÑ Õ±÷±Ëðõþ ÷ËñÉÝ Îüý× Ã›¶õíî±é± ï±ßÂËî±/ Ûý× äÂ÷Èß±õþ ëÂ×Âó÷±ûþ ¦ó©† ýËûþ ÎáËå î±Ëòõþ ä±=ÁËùÉõþ ßÂï±/ ÛËßÂß¿é õþ±Ëáõþ ÛËßÂß¿é õþ+Âó, ÛËßÂß¿é ä¿õþS-üÅîÂõþ±Ñ Îû õþ±Ëáõþ ö±õ áyÂÏõþ, Îû÷ò ðõþõ±õþÏ ß±ò±h±-ú±™Là õþËüõþ õþ±á, ö¿M õþËüõþ õþ±á, Îüà±Ëò î±Ëòõþ öÓ¿÷ß± Îû ÎáÌí ýËõ Îüé±ý× ¦¤±ö±¿õßÂ/ Îüà±Ëò ñènÂóð±Ë¼õþ ÷ÏhÂ-üÅð ß± ß±÷, ð÷ ß± ß±÷, Õ±ù±Âó䱿õþî±, |n¿îÂÝß± ß±÷ ý×îÂɱ¿ð/ Õ±æÎßÂõþ ¿ðËò ü¿îÂÉ ßÂï± õùËî ¿ßÂ, Õ±÷õþ± û±õþ± á±ò-õ±æò± ß¿õþ î±õþ± ßÂîÂé± Û üõ õæ±ûþ ÎõþËà ßÂõþ¿å Îüé± ÛßÂéÅ ö±õ±õþ ¿õø¸ûþ î±õþ ß±õþí-Ûàò ÷ò Îû±á±Ëò±é±ý× ýËûþ ÎáËå ß¿êÂò, î±õþ± ðú ¿÷¿òËéÂõþ äÅÂé¿ß ýËù õ± ¿ôÂëÂ×úËòõþ ü˼ ä±õþ¿é ¿áé±õþ õ±æËù àÅõ àÅ¿ú ýò,- àÅõ Îõ±X± Î|±î±, Õ±ù±ð± ßÂï±/ ¿ßÂc •ñõþ± û±ß— õþ±á ðõþõ±õþÏ ß±ò±h±õþ 40 ¿÷¿òËéÂõþ Õ±ù±Âó ¿õù¿¥¤î Îú±ò±õþ ÷±ò¿üßÂî± ßÂæò Î|±î±õþ Õ±Ëå, õ± û±ËðõþÝ Õ±Ëå, àÅõ ü¿îÂÉ ßÂï± õùËî ÎáËù, Õ±÷±Ëðõþ generation-Û Õ±÷õþ± ßÂæò Îüý× level-Ûõþ Õ±ù±Âó õ± ¿õù¿¥¤î ßÂõþ±õþ Â÷î± õþ±¿à, Îüé± ¿ä™Lñõþ ¿õø¸ûþ/ ß±Ëæý× õ±™¦¸Ëõ 109

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

õùËî ÎáËù, î±ò Îî± ÛßÂé± äÂ÷Èß±õþÏõþ æ±ûþá±,ÛßÂé± skillÛõþ æ±ûþá±, ÛßÂé± Craftsmanship Ûõþ æ±ûþá±, ¿ßÂc õþ±á is always not concerned with skill,... õþ±á skill-Ûõþ ÎïËßÂÝ, ÛßÂé± üÓ„ aesthetic artistry-õþ æ±ûþá±/ Îüà±Ëò ëÂ×Âóù¿t, Õ±ËR±Âóù¿tõþ ¦š±ò õþËûþËå ÛõÑ Îüà±Ëò Ûß¿é õþ±Ëáõþ ü˼ Ûß±R ýÝûþ±õþ æ±ûþá±é± àÅõ æ õþÏ-Ûß¿é õþ±Ëáõþ ß±Ëå ü¥óÓíÇö±Ëõ ü÷ÂóÇËíõþ ¦š±ò¿éÂÝ/ î±Ëòõþ ÷ËñÉ ¿êÂß ÎüõþßÂ÷ õɱÂó±õþé± Îòý×/ ÕËòß¿ðò Õ±Ëá–SRA ÎîÂ, ÛßÂé± seminar Õ±Ëûþ±æò ßÂõþ± ýËûþ¿åù-Îûà±Ëò Ûé± ¿òËûþ Îõú ÷úßÂõþ±ý× ßÂõþ± ýËûþ¿åù–ÂóÅËõþ±Ëò± Õ±÷Ëùõþ õûþ¦¨ Âó¿GÂî õÉ¿M õþ±, õËù¿åËùò î±ò-¿òËûþ ÛõþßÂ÷ ÎåËùËàù± ßÂËõþ ò± ÛßÂæò ¦¨ù±õþ ëÂ×Ëê ¿æ:±ü± ßÂõþù, î± ÛõþßÂ÷ Îß±ò Îß±ò õþ±á û¿ð õËù Îðò, î±ýËù ÛßÂé± list ßÂËõþ¿ò, Îß±ï±ûþ Îß±ï±ûþ î±ò ßÂõþËî Âó±õþõ ò±/ Õ±ËõþßÂæò senior õùËùò, ò±, õ±Bä±õþ± Îî± î±ò ßÂõþËõý×Îüé±ý× Îî± ¦¤±ö±¿õß, ÝËðõþ discourage ßÂõþå ÎßÂò/ Ûüõ Ýý× üMõþ Õ±¿ú õåõþ Õ±Ëá äÂùËî±, Õ±÷±õþ ÷Ëò ýûþ ò± Õ±æËß ձõþ î±õþ Îß±Ëò± relevance Õ±Ëå õËù-Õ±æËßÂõþ ¿ðËò Îüý× ÷±ËÂóõþ á±ý×Ëûþ õ± õ±¿æËûþ ÛõÑ Î|±î±-ðÅË鱿õþ Õö±õ õþËûþËå/ Î÷±é±÷Å¿éÂ, î±òõ±¿æ áî ä¿{¡ú õåõþ ñËõþ á±Ëòõþ ÛßÂé± Õ¿õËBåðÉ Õ¼/ Again, õþ±á ðõþõ±õþÏ ÛõÑ Õ±h±ò± ÛßÂý× scale-Ûõþ ¿öÂi§ Û¶ßÔ¿îÂõþ õþ±á/ ðõþõ±õþÏ ÕüyÂõ ö±õ-áyÂÏõþ, Õ±h±ò± ÕüyÂõ äÂ=Áù/ Õ±h±ò± ëÂ×Mõþ±¼ Û¶ñ±ò ÛõÑ ðõþõ±õþÏ ÂóÓõDZ¼Ã›¶ñ±ò/ Õ±h±ò±Ëî ¿õàɱî Âó±¿éÂûþ±ù± Îðõþý× ‘‘î±ò ß±l±ò, ßÂËý æá Î÷ ôÂËî ձ¿ù à±ò’’–Õ±h±ò± î±Ëòõþ ý× õþ±á/ Õ±õ±õþ ðõþõ±õþÏ ÛËßÂõ±Ëõþý× òûþ/ ¿ßÂc î± õËù ¿ß ¿õù±ËûþÈ àÒ± ü±Ëýõ ðõþõ±õþÏ Îî î±ò õ±æ±ò ¿ò· üÅîÂõþ±Ñ there are rules as well as exceptions. û¿ð ÎüõþßÂ÷ Îß±Ëò± õþ±á ï±Ëß ÛõÑ Õ±÷±õþ ëÂ×Âóõþ Îß±Ëò± Û¶îÂÉûþ ò± ï±Ëß îÂËõ Õ±¿÷ Îüý× õþ±á ¿òËõðò ß¿õþ ò±/ 7/ ·ÊÀ˘ı˛ ’±øºÀfl¬ ŒıÚ±ı˛ ’‘˙… ά◊¬Ûø¶öøÓ¬ñ ά◊– ᱿ùõ Îß û¿ð Õ±÷õþ± áæËùõþ æòß õËù ÷Ëòß¿õþ, îÂËõ Îü áæËùõþ ÷ËñÉ Îõðò±õþ æ±ûþá±é±ý× Ã›¶ñ±ò/ ¿ßÂc &ù±÷ Õ±¿ù-¿æõþ áæËù Îõú ÛßÂé± ÷æ± Õ±Ëå, äÂ÷ß ձËå, ä±ÂóùÉ Õ±Ëå ÛõÑ ÎÛ¶Ë÷ öÂõþÂóÅõþ ÛßÂé± å¿õ Âó±Ýûþ± û±ûþ/ Õ±÷±õþ õÉ¿M áîÂö±Ëõ, ðÅÐà-Îõðò±îÅÂõþ áæù ‘‘ý±æ±Ëõþ± à± ú±Ëûþ¿ü’’ ¿ß ÕòÉ ¿ßÂåÅ, qòËî àÅõ ö±Ëù± ù±Ëá/ ýÒɱ, ÛßÂéÅ Îõðò± ï±ßÂËù ýûþËî± áæùé± qòËî ö±ù ù±Ëá, Õ±÷±Ëðõþ õ±™¦¸õ æÏõËò î±õþ Õõð±ò ò± ï±ßÂËùÝ, as far as áæù is con-

2nd Proof 18.09.2013

110

ά◊– |Ï ¿ßÂc õþ±á/ |Ï Ûß¿é ÕüyÂõ áyÂÏõþ Û¶ßÔ¿îÂõþ õþ±á/ ÎûËýîÅ |Ï ò±÷¿é Ýý× |Ï÷îÂÏ ÎïËß ձËü õËù Îüé± Îû õþ±¿áíÏ ýËõ ÎüõþßÂ÷ Îß±Ëò± õɱÂó±õþ Îòý×/ á±yÂÏËûÇõþ üÑ:± ¿ßÂc Ûý× ‘‘ò±õþÏ-ÂóÅ ø¸’’ ¿õËöÂËðõþ ëÂ×ÂóËõþÝ ¿òöÇÂõþ ßÂËõþ ò±/ î±õþ ÷±Ëò ÛÝ òûþ Îû |Ï-Ûõþ ÷ËñÉ ßÂ÷òÏûþî± Îòý×/ ‘÷± ¿ò ü± Îõþ“ Îõþ ¿ò ü± Îõþ“ ¿ò ñ± ñ± ÷± á± Îõþ....’ Ûý× äÂËù Õ±ü±õþ ÷ËñÉÝ ÛßÂé± ßÂ÷òÏûþî±/ Õ±÷±õþ ÷Ëò ýûþ ÎûËýîÅ õþ±á ÷±òÅø¸ òûþ,ÎüËýîÅ Ûõþ ÷ËñÉ ÛßÂé± abstraction...ÛßÂé± ÕñÇ-ò±õþÏ «õþ aspect Õ±Ëå/ Õ±æËß ðõþõ±õþÏ û¿ð ö±õ-áyÂÏõþ ¿ýËüËõ, ÂóÅ ø¸ ýûþ, Îü î±õþ Îß±÷ù á±g±Ëõþ ¿ßÂc ò±õþÏ/ Ûé± qñÅ |Ïõþ Î ÂËSÝ òûþ, Ûé± üõ õþ±Ëáõþ Î ÂËSý× Ã›¶Ëû±æÉ/ 9/ Bernier, ˙±˝ ʱ˝±Ú-¤ı˛ ’±˜À˘ı˛ ’øÓ¬øÔ ø‰¬øfl¬»¸flÓ¬±ı˛ ¶ú‘øÓ¬‰¬±ı˛Ì-¤ ıÀ˘ÀÂÚ –‘‘Raag Purvi is the sunset raag of Hindustani music.’’ŒÓ¬±˜±ı˛ ıMêı…∑ ά◊– Õ±÷±õþ õÉ¿M áîÂö±Ëõ ÂóÅ¿õþûþ± ßÂùɱí, ÂóÓõÇÏõþ ÎïËß ÕËòß Îõ¿ú sunset õþ±á õËù ÷Ëò ýûþ/ î±õþ ß±õþí ýûþËî± Õ±¿÷ & ¿æõþ ß±Ëå ÂóÓõÇÏõþ ÎïËß ÂóÅ¿õþûþ± ßÂùɱí ÕËòß Îõ¿ú qËò¿å/ Û Ã›¶ü˼ ÷Ëò ÂóhÂËå, Õ±¿÷ ûàò ‘‘Îõù± Îáù Îî±÷±õþ Âóï ÎäÂËûþ’’, á±òé± Û¶ï÷ q¿ò, îÂàò Õ±¿÷ àÅõ Îå±éÂ/ ¿ßÂc á±òé± qËòý× Õ±÷±õþ Îä±Ëàõþ ü±÷Ëò û± ÎðàËî ÎÂóËûþ¿åù±÷, î± ÛàËò± ÷Ëò Õ±Ëå/ ‘‘Ý-Âó±ËõþËî âËõþ âËõþ ügÂɱ-ðÏÂó æ;¿ùù Îõþ’’-Ûý× ù±ý×ò¿é qËò Õ±÷±õþ ÛßÂé± Black and White å¿õ ÎöÂËü Õ±Ëü ÷Ëò/ üîÂÉ¿æî õþ±Ëûþõþ ‘‘ÕÂóõþ±¿æîÂ’’ Îðà±õþ üÅËû±á ýËûþËå îÂàò, Îî± Îüý× ¿ðá™LÃ-¿õ™¦¸Ôî äÂõþ±äÂõþ, Îüý× ß±úÏõþ â±éÂ, ë±ã±Ëî ß±Ëù± õþã....ü±÷±òÉ Õ±Ëù± õþËûþËå ձ߱Ëú-Ûý× å¿õé± ÎðàËî ÎÂóî±÷ Îä±Ëàõþ ü±÷Ëò/ ÂóËõþ æ±òù±÷ á±ò¿é ‘‘ÂóÓõÇÏ-ßÂùɱ풒 õþ±á±¿|îÂ/ Ûé± õþõÏfò±Ëïõþ ‘‘ÂóÓõÇÏ’’ ¿ßÂc/ Îüà±Ëò ÛßÂé± qX Æñõî ß±æ ßÂËõþ/ ‘‘¿õøÅ ÂóÅõþ’’ âõþ±ò±ûþ Û÷ò ÛßÂé± ÂóÓõÇÏ ò±¿ß ¿åù/ Îü æòÉý× Îõ±ñýûþ Õ±÷±õþ ‘‘ÂóÅ¿õþûþ± ßÂùɱ풒 õþ±á¿éÂËß ÷Ëò ýûþ, î±õþ ß±õþí Õ±÷±Ëðõþ æ±ò± ÂóÓõÇÏËîÂ, Îß±÷ù Æñõî ù±Ëá, ÂóÅ¿õþûþ± Îî qXÂ/ Ûý× qX Æñõî Îß±ï±ûþ ÛßÂé± Îûò, ügÂɱ ÛõÑ ¿ðòËúËø¸õþ Ûý× ü¿gÂ- Âí Îß ձËõþ± Îõ¿ú ßÂËõþ ôÅ¿éÂËûþ Îî±Ëù/ 10/ ëë‡È¬íí ı˛±À· Œ˚ ¤fl¬È¬± Ze ’±ÀÂ, Œ¸È¬± øfl¬ˆ¬±Àı ’±øı©®±ı˛ fl¬ı˛∑ ¤ ¸•ÛÀfl«¬ ŒÓ¬±˜±ı˛ &èı˛ ¤fl¬‡±øÚ fl¬±ø˝Úœ qøÚÀ˚˛øÂÀ˘ ’±˜±˚˛, Œ¸È¬± ˚ø ¤‡±ÀÚ› ά◊iú≈Mê fl¬ı˛/ ά◊– & ¿æ ûàò SRA ¦¨ù±õþ, îÂàò upgradation testÛ õËüËåò, ÛõÑ Ûß ¦¤ò±÷ñòÉ Âó½öÓÂø¸í-Û¶±l ü¼Ïî¿úŠÏ î±õþ ÂóõþÏ ÂßÂ/ ÎûËýîÅ ¿î¿ò ¿õä±õþËßÂõþ Õ±üËò õËüËåò ÎüËýîÅÂ, ¿î¿ò & ¿æËß ÛßÂéÅ äÂ÷Ëß ÎðÝûþ±õþ Û¶ûþ±Ëü ¿æ:±ü±

cerned...

8/ ëë|œíí ı˛±· Ú± ı˛±ø·ÌœøıÀ˙¯∏∑ ¤ı˛ ‰¬øı˛S-øıù≠¯∏ÀÌ ·±y¬œ˚« ı…Ó¬œÓ¬ ’±ı˛ øfl¬ øfl¬ ’Ú≈ˆ¬Àıı˛ øfl¬ Ó≈¬À˘ Òı˛ÀÓ¬ ¬Û±ı˛∑ 110

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

ßÂËõþËåò Îû ‘‘àé qò±Ý’’ ÛõÑ & ¿æ î±õþ ëÂ×MËõþ ¿æ:±ü± ßÂËõþËåò- ‘‘ÎßÂÌò ü± Õ¼ ß± àé qò±ëÂ×·’’ õËù î±õþ ò±÷&¿ù õËùËåò/ ¿ßÂc ÂóõþÏ Âß ¿û¿ò, ¿î¿ò Õî ö±ù àé æ±Ëòò ò±/ & ¿æ Õ±÷±Ëðõþ Ûý× áŠé± àÅõ õþ¿üËûþ õùËîÂò ÛõÑ Õ±÷õþ±Ý qòî±÷, àé õþ±Ëáõþ ÕËòß Record qËò¿å/ àÅõ öÂæàé õþ±á, àÅõ àéÂ÷é üõ Notes &Ëù± ù±Ëá-ÛßÂõ±õþ ÆöÂËõþÒ±, ÛßÂõ±õþ ÆöÂõþõÏ, Ûý×õþßÂ÷/ 11/ fl¬˘±-¤˝◊ øıˆ¬±À· ά◊»fl¬¯∏« ¤ı˛ øı‰¬±Àı˛ ¸ºœÀÓ¬ı˛ ¶ö±Ú Œfl¬±Ô±˚˛ ıÀ˘ ŒÓ¬±˜±ı˛ ı…øMê·Ó¬ ’øˆ¬˜Ó¬∑ ά◊– ëÂ×BäÂîÂ÷/ ü¼ÏËîÂõþ ¦š±ò ëÂ×BäÂîÂ÷ î±õþ ß±õþí î±õþ ðÅËé± ¿æ¿òü Õ±Ëå Ð Ûß î±õþ üÅõþ, ðÅý× Ð î±ù, ùûþ/ Ûý× ðÅËé±ý× Îõ±ñýûþ ÎõÒËä ï±ß±õþ Û¶ñ±ò õþüð/ Õ±÷õþ± Îû ßÂï± õ¿ù î±õþ ÷ËñÉ ÛßÂé± ¿õËúø¸ üÅõþ Õ±Ëå/ üõ ¿ßÂåÅý× û¿ð Õ±÷õþ± ÛßÂý× üÅËõþ õùî±÷ îÂËõ Îõ±ñýûþ, Îüé± qòËî ö±ù ù±áî ò±/ Ûý× üÅõþé±ËßÂý× û¿ð Õ±÷õþ± ÛßÂé± ¿õËúø¸ö±Ëõ manipulate ß¿õþ, îÂËõ Îüé± ü¼ÏËîÂõþ ձ߱õþ ñ±õþí ßÂËõþ/ ü÷™¦¸ ÕòÅöÓ¿î û± úËsõþ ÷±ñÉË÷ ÕòÅöÂõËõðÉ-õþ±á, ðÅÐà, Îõðò±, Õ¿öÂ÷±ò, ÎÛ¶÷ ü÷™¦¸ý× ÛËß ÕÂóËõþõþ ÎïËß ¿öÂi§/ Õ±÷±Ëðõþ ÷ËñÉ ¿äÂSßÂù±, ö±¦¨ûÇ õ± äÂù¿BäÂS õþËûþËå ¿ßÂò± 汿òò± ¿ßÂc ü¼Ïî ÛõÑ òÔîÂÉ Õ±Ëå/ Again dance is a part of music/ ü¼Ïî ÷±Ëò qñÅ á±ò òûþ, á±ûþò õ±ðÉ ÛõÑ òÔîÂÉÝ-Õ™LÃîÂÐ ö±õþîÂõËø¸Çõþ üÑ:±ûþ/ î±ý×/ Õ±¿÷ Îû ý±îÂ-Âó± ò±h¿å î± û¿ð üÅ¿ä¿™LÃîÂö±Ëõ ß¿õþ î±ýËùý× ýûþî Îüé± òÔËîÂÉõþ ձ߱õþ ñ±õþí ßÂõþËõ/ åjÝ Õ±÷±Ëðõþ ÷ËñÉ Õ±Ëå/ Õ±÷±Ëðõþ ¿ò «±ü-Û¶ «±ü ù ౿ù Îü±÷-ôÒ±ËßÂõþ ÷î åËj ýûþ/ Õ±÷õþ± ÛßÂé± ¿òý× ÛõÑ ÛßÂé± 屿hÂ/ î±ý× ü¼Ïî ձ÷±Ëðõþ ß±Ëå ÕÂó¿õþý±ûÇ/ ¿ßÂc ü¼ÏËîÂõþ ÷î Û÷ò ¿õ÷ÓîÇ õ± abstract õd Îõ±ñýûþ ¦¤Š/ ¿äÂSßÂù±Ý ¿õ÷ÓîÇ ¿ßÂc ü¼ÏËîÂõþ ß±Ëå òûþ/ Õ±æËß Îû Îß±ò ÛßÂé± abstraction Ûõþ ÷ËñÉ ÎïËß Îß±Ëò± å¿õ Îô±é±Ëò±õþ Î䩆±ûþ û¿ð Õ±¿÷ ¿ßÂåÅ specify ßÂËõþ ¿ð îÂËõ ¿û¿ò ߊò± ßÂõþËåò î±õþ æ±ûþá±ûþ ¿î¿ò õÒ±ñ± õþËûþ û±ò/ Õ±æËß ûàò ¿÷ûþÒ± ¿ß ÷ùý±õþ á±Ýûþ± ýËBå îÂàò á±ý×Ëûþ õ± õ±¿æËûþ ¿ßÂc õËù Îðò¿ò õÔ¿©†õþ õíÇò±õþ ßÂï±, û±õþ ëÂ×Âóù¿t ßÂõþ±õ, ...þ õþ±Ëáõþ äÂùòé± qËò ¿î¿ò î± ßÂËõþý× ¿òËî Âó±Ëõþò/ õþ±Ëáõþ ÂóðDZé± qËò î±õþ Õ™LÃËõþõþ õÏí±ûþ ç‚ÔÂî ßÂËõþ Îû å¿õ ÎöÂËü Õ±Ëü Îüà±Ëòý× Îüý× õþ±á¿éÂõþ ü±ïÇßÂî±, Îüý× å¿õ¿é î±õþ ¿òËæõþ ß±Ëå ÕÂóÓõÇ/ ¿ßÂc Îûý× ÷ÅýÓËîÇ ձ¿÷ î±Ëß õËù ¿ðù±÷ ‘‘ßÔÂø ß¿ù Õ±¿÷ î±Ëõþý× õ¿ù...’’ îÂàò î±õþ ß±Ëå ߊò±õþ ¿ðá™LÃé± üÏ¿÷î ýËûþ Îáù/ Õ±÷±õþ attention é± ÕòÉ¿ðËß focused ýËûþ Îáù/ Õ±÷õþ± ¿òËæËðõþ Îß üõËäÂËûþ Îõ¿ú ü¼Ïî ¿ðËûþ identify ßÂõþËî Âó±¿õþ/

2nd Proof 18.09.2013

111

12/ ’±˜±Àfl¬ ’ÀÚfl¬ ø˙äœı˛± ıÀ˘ÀÂÚ, øÚ}¬˚˛˝◊ ıU|nÓŒ|±Ó¬±ı˛±› qÀÚ Ô±fl¬ÀıÚ, Œ˚ Ê˚˛-Ê˚˛ôL√œ ı˛±· ·±˝◊ı±ı˛ ¬Ûı˛ ’Ú… ı˛±· ·±˝◊ı±ı˛ ’øˆ¬˘±¯∏ Ô±Àfl¬ Ú±/ ¤ ¸•ÛÀfl«¬ ŒÓ¬±˜±ı˛ ıMêı…ñ ά◊– ü÷™¦¸ õþ±Ëáõþ Õ±ËúÂó±Ëú Îî± ÕòÉ Õ±Ëõþ± õþ±á ï±ËßÂ/ æûþæûþ™LÃÏõþ ÷ËñÉ ß±¿ôÂõþ äÂùò Õ±Ëå/ æûþæûþ™LÃÏõþ Ûß á±g±Ëõþõþ-Ý ýûþ/ Õ±üËù Û õþ±á ¿é ౥¤±æ Õ˼õþ/ Õ±üËù ÛßÂé± õþ±á ÎïËß ձõþ Ûß õþ±Ëá û±Ýûþ±õþ õþ±™¦¸± Îî± ÎæËò ¿òËî ýûþ, î±ý× ¿îÂËõþ±ö±Ëõõþ æ±ûþá±é± & QÂóÓíÇ/ æûþæûþ™LÃÏ Õ±÷±õþ àÅõ ¿Ã›¶ûþ õþ±á, Ûý× õþ±Ëá ìÅÂËß ÂóhÂËù ÎõõþËò±é± àÅõ ÷Åú¿ßÂù/ îÂËõ qñÅ æûþæûþ™LÃÏ òûþ, Õ±¿÷ Îî± õùËõ± Î鱿hÂõþ Î ÂËSÝ Ûé± Û¶Ëû±æÉ/ Õ±÷±õþ & æÏõþ âõþ±ò± Îî ÷Óùò, ðõþõ±¿õþ, Ûý×üõ õþ±á&Ëù± á±Ýûþ± ýî Îõ¿ú/ î±ý× Õ±÷±õþ & õþ± Ûý×üõ õþ±á&¿ùËî ÎôÒÂËü ÎûËîÂò, ÎõËõþ±Ëî Âó±õþËîÂò ò±/ æûþæûþ™LÃÏ qñÅ ÝÂóËõþõþ ¦¤õþ&¿ùËîÂÝ & QÂóÓíÇ òûþ, òÏËäÂõþ ¦¤õþ&¿ùËîÂÝ...ÛõÑ Ûõþ ÷ËñÉ Ûß վ³î üË¥œ±ýòÏ ú¿M Õ±Ëå/ 13/ ‘‘Raag Yaman doesn't ever bore a listener’’—Ketaki Kushari Dyson,

--Ó≈¬ø˜ ¤fl¬È¬±Ú± ¤˝◊ ı˛±· Œ·À˚˛ ¤È¬± ’Ú≈ˆ¬ı fl¬Àı˛À±∑ ά◊– õþ±á ý×÷ò ¿òËûþ ÛßÂé± አqËò¿åù±÷ ÆôÂûþæ àÒ± ü±ËýËõõþ ü¥óËßÇ–ß± ¬ÏËõþõþ õþ±æðõþõ±Ëõþ ü±î¿ðò ÂóõþÂóõþ Ýò±õþ Î÷ý¿ôÂËù á±ò ¿åù/ ü±î¿ðò ÂóõþÂóõþ ëÂ׿ò ¿õ¿öÂi§ õþßÂË÷õþ ý×÷ò ÎáËûþ¿åËùò/ ¿ß ¿ß ñõþËòõþ î± Õ±÷±õþ æ±ò± Îòý×, Õ±÷±õþ Îü ù÷ Îòý×...Îüý× Õ™LÃÇðÔ¿©†Ý Îòý×/ âéÂò± é± Ûß î±õþ ß±õþí ý×÷ò bore ßÂËõþò±/ ú±¦aÏûþü¼ÏËîÂõþ ù÷ q ýûþ õþ±á ý×÷ò ¿ðËûþ ÛõÑ Õ±÷±õþ ¦¤Š-:±Ëò Õ±¿÷ ûîÂéÅÂßÅ ձ÷±õþ å±SËðõþ Îúà±ý× î± ý×÷ò ¿ðËûþ q ß¿õþ–î±õþ Û¶ñ±òî ß±õþí ÛßÂé±ý×...ý×÷ò àÅõ üýËæý× á±ý×Ëûþõþ ßÂËF õËü û±ûþ, ý×÷Ëò ¿õ¿ñ¿òËø¸ñ àÅõ ßÂ÷/ ý×÷Ëòõþ Õ±õþ ÛßÂé± ¿ðß ձËå Îû ý×÷ò õþ±á Ûî õh Îû Û¶ïË÷ q ò± ßÂõþËù Îúø¸ ßÂõþ± û±ûþò±/ q ÛõÑ Îúø¸ àÅõ Õ±ËÂó¿ Âß û¿ðÝ/ ý×÷Ëòõþ ÷ËñÉ ÛßÂé± Õ¾³î brightness Õ±Ëå î± Õ±¿÷ ¿õ:±ò õ± Û¶ûÅ¿M ¿ðËûþ Îõ±ç±Ëî Âó±õþõ ò±/ ¿õù±õù ê±éÂËß ðÅËé± ö±Ëá û¿ð ö±á ß¿õþ–ü± Îõþ á± ÷± ÛõÑ .... Âó± ñ± ¿ò ü± Õ±üËù Û¶ËîÂÉß¿é ö±á ÛËß ÕÂóËõþõþ Û¶¿î¿õ¥¤/ ý×÷Ëò ü÷™¦¸ ¦¤õþ qX ýÝûþ±Ëî ÛßÂé± çÂßÂçÂËß úõþÈ Ã›¶ö±ËîÂõþ ÷üÔíî± Õ±Ëå Îûé± ¿õù±õËùõþ ÷ËñÉ Õ±Ëå/ ¿ßÂc î±õþ ÷ËñÉý× Ûý× îÂÏõè Â÷ñÉË÷õþ ëÂ×Â󿦚¿î ÛßÂé± ÕòÉ ÷±S± ÛËò Îðûþ/ îÂËõ Û Ã›¶ü˼ õù± ÎûËî Âó±Ëõþ Îû qñÅ ý×÷òý× ¿ß bore ßÂËõþò± ò±¿ß ÛõþßÂ÷ Õ±Ëõþ± ÕËòß õþ±á Õ±Ëå...· Îðú ÛõÑ ÆöÂõþõÏÝ Îî± ßÂàËò± bore ßÂËõþ ò±/ Õ±¿÷ 111

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

Îî± õùõ à±¥¤±æÝ ßÂàËò± bore ßÂËõþò±/ üÅîÂõþ±Ñ Õ±Ëù±äÂò±é±ý× Õ±ËÂó¿ ÂßÂ/ ¿ßÂc Ûé± õùËî Âó±¿õþ ý×÷Ëòõþ ÷ËñÉ ü÷™¦¸ õþËüõþ ¿÷|í õþËûþËå–õÏõþõþü, úÔ¼±õþõþü, ú±™LÃõþü...üõ ¿÷Ëù¿÷Ëú õþËûþËå/ ÛßÂé± all-encompassing õɱÂó±õþ õþËûþËå/ 14/ ŒÓ¬±˜±ı˛ ø√õ∂˚˛ Í≈¬˜ı˛œ ¤ı— ø√õ∂˚˛ Í≈¬˜ı˛œ-ø˙äœñÍ≈¬˜ı˛œ ·±˝◊ı±ı˛ Œfl¬Ã˙À˘ øfl¬ ¤fl¬È¬± ÒËn¬Ûœ Ó¬œ˚«fl¬ Ó¬œéƬӬ± Ô±fl¬± ’±ıø˙…fl¬∑ ά◊– Õ±üËù Û&Ëù± àÅõý× Õ±ËÂó¿ ÂßÂ/ Õ±sÅù ß¿õþ÷ àÒ± ü±ËýËõõþ êÅÂ÷õþÏ, ¿üËX «õþÏ ÎðõÏõþ êÅÂ÷õþÏ- üõý× ÛËß ÕÂóËõþõþ ÎïËß ÛîÂé±ý× ÂóÔïß Îû î±Ëðõþ ÷ËñÉ Îß±òÝ ¿õö±æò ßÂõþ± üyÂõ òûþ–¿ßÂåÅ rustic ¿ßÂåÅ aristrocratic Îß±òé± ñènÂóð±Ë¼õþ Îß±òé± Îá±ûþ±¿ùûþËõþõþ á±ûþßÂÏ ÎâÒø¸±/ êÅÂ÷õþÏõþ ÷ËñÉ ÛßÂé± ù±üÉ, ÛßÂé± ä±ÂóËùÉõþ æ±ûþá± Õ±Ëå/ êÅÂ÷õþÏ ÷±Ëòý× qñÅ ßÂËûþß¿é ÷Åh¿ß òûþ/ ¿üËX «õþÏ ÎðõÏõþ± Îî± õþÏ¿îÂ÷î Îàûþ±ù, ñènÂóð ñ±÷±õþ ¿úËà á±ý×ËîÂò, Îüý×üõ êÅÂ÷õþÏõþ ÷ËñÉ Îû üõ î±Ëòõþ æ±ûþá± Õ±Ëå î± ÕÂóÓõÇ/ Õ±sÅù ß¿õþ÷ ü±ËýËõõþ êÅÂ÷õþÏ Îî± Îàûþ±Ëùõþý× Õ˼ á±Ýûþ± ÛõÑ òûþò± ÎðõÏõþ êÅÂ÷õþÏÝ ¿öÂi§/ Õ±üËù Û&Ëù± ¿òöÇÂõþ ßÂËõþ Îß ¿ßÂö±Ëõ Ûý× ÂóÅËõþ± ¿úŠé±Ëß ëÂ×Â󦚱Âóò± ßÂõþËå–üõ±ý× üõ±õþ ÷î ßÂËõþ/ Îû Îß±òÝ ¿úËŠý× Îî± ¿òËæõþ õÉ¿M ËQõþ ÛßÂé± å±ûþ± ÂóËhÂ, üÅîÂõþ±Ñ Ûé± î±õþ ÝÂóËõþÝ ¿òöÇÂõþ ßÂËõþ/ 15/ Ó≈¬ø˜ ŒÓ¬±˜±ı˛ øı·Ó¬ ¸ıfl¬øȬ fl¬±ÀÊ, ˜±·«¸ºœÓ¬ ¤ı— ı˛ıœf¸ºœÀÓ¬ı˛ ¤fl¬øȬ ¸≈¯∏˜ ¸˝±ı¶ö±Ú Œø‡À˚˛ÀÂ/ fl¬‡Ú› øfl˜ÀÚ ˝À˚˛ Œ˚ ¤Àı˛ ¬Û±ı˛¶Û±øı˛fl¬ ¸•ÛÀfl«¬ ¤fl¬È¬± ά◊ÀM±˘Ú ¤ı— ά◊Mı˛Ì ’±ÀÂ∑ ά◊– Ûý× ü÷™¦¸ ß±æ¿é ձ¿÷ q ßÂËõþ¿åù±÷ ü¥óÓíÇ ß±ßÂî±ùÏûþö±Ëõ/ Õ±¿÷ îÂàò & æÏõþ ß±Ëå ú±¦aÏûþ ü¼ÏËî Û¶¿ú¿ Âî ý¿Bå ÛõÑ õþõÏfü¼Ïî q¿ò ¿ß¿=Áî ßÂ÷/ õþõÏfò±ï îÒ±õþ á±Ëò Îù±ßÂü¼ÏîÂ, ùâÅüÅËõþõþ õÉõý±õþ Îð¿àËûþËåò, ¿ßÂc ü÷™¦¸ ¿ßÂåŠ屿ÂóËûþ ÎáËå îÒ±õþ õþ±á õþ±¿áíÏõþ ÕòòÉ õÉõý±õþ/ Îàûþ±ù êÅÂ÷õþÏõþ õÉõý±õþÝ Ã›¶öÓÂîÂö±Ëõ õþËûþËå/ õþõÏfò±ï Õ¾³îÂö±Ëõ õþ±áõþ±¿áíÏõþ ¿òûDZüéÅÂßÅ ¿òËûþËåò ÛõÑ õ±¿ßÂéÅÂßÅ ÎôÂËù ¿ðËûþËåò/ He sort of sieved out the necessary elements... ÛõÑ Ûý× ¿æ¿òüé±ý× Õ±÷±õþ ÷ËñÉ ÞÈüÅßÂÉ æ±á±ûþ ÛõÑ Õ±÷±Ëß ëÂ×ËM¿æî ßÂËõþ-Îüý× ý×÷ò, Îüý× ÎáÌõþõ-÷ùý±õþ ¿ß ßÂËõþ Ûî ÕòòÉõþ+ËÂó ñõþ± Îðûþ õþõÏfü¼ÏËî¯ Îüý× æ±ûþá± ÎïËß ձ÷±õþ ÷Ëò ýËûþ¿åù Îû Û&Ëù± ¿òËûþ ß±æ ßÂõþ± û±ûþ/ ÛßÂý× õþ±Ëáõþ ðÅËé± ÛËßÂõ±Ëõþ ÕòÉ ¿ðß õþËûþËå ÛõÑ Ûý× ðÅ¿éÂõþ ÷ËñÉ ÜßÂÉ ÆõÂóõþÏîÂÉ ðÅ¿éÂ-ý× õþËûþËå/ Îüý× õþ±á¿é ձËå-Õïä Îòý×/ Ûý× æ±ûþá± ÎïËß ձ÷±õþ ÕòÅü¿gÂÈü± Æî¿õþ ÛõÑ ÛßÂé± ÕËi¤ø¸í ßÂõþõ±õþ Û¶õíî± æ±Ëá/ Ûý×üõ ß±Ëæ Îî± ÛßÂé± com-

2nd Proof 18.09.2013

112

mercial validity ï±ß± æ õþÏ, Îû Î|±î±õþ Õ±÷±õþ á±ò

ö±Ëù± ù±áù ¿ß ò±· ýÒɱ î±Ëðõþ ö±Ëù± ù±áËù±, î±õþ± ÛßÂé± òîÅÂòQ àÒÅËæ ÎÂóù Ûý× ß±Ëæ ÛõÑ Ûé± î±Ëðõþ ß±Ëå áèýíÏûþ ýù/ Ûà±Ëò Îî± ¿ò¥§÷±Ëòõþ ¿äÂõþ Îß±òÝ õɱÂó±õþ Îòý×, Õ±¿÷ Îß±Ëò±é±ËßÂý× compromise ßÂõþ¿å ò±/ õþõÏfü¼ÏîÂé± õþ±áÛ¶ñ±ò ýËûþ û±ËBå ò± ÛõÑ Îàûþ±ùé± õþ±õÏ¿fß ýËBå ò±/ Îûé± û±õþ æ±ûþá±ûþ, Îüà±Ëòý× õþËûþËå/ 16/ fl¬‡Ú ˜ÀÚ ˝˚˛ ¤‡±ÀÚ ˙±¶aœ˚˛¸ºœÓ¬ ¸˜±l ¤ı— ı˛ıœf¸ºœÀÓ¬ı˛ Œ¸±¬Û±Ú ’±ı˛y¬∑ ά◊– àÅõ õÉï±îÅÂõþ Ûß¿é ÷ÅýÓîÇ Îûà±Ëò Îõðò±ûþ Û¶±ñ±òÉ ÕËòß Îõ¿ú, Îüà±Ëò ÛõþßÂ÷ ÷Ëò ýûþ/ Îüý× æ±ûþá± ÎïËß ûàò ëÂ×B䱿õþî ýûþ, ‘‘æÏõò ûàò qß±Ëûþ û±ûþ...ß í±ñ±õþ±ûþ ÛËü±...’’, îÂàò Îüé± ÷ËLa±Bä±õþËíõþ ÷îÂý× ÙæÅ ÛõÑ ÙXÂ/ Õ±÷õþ± õ±ã±¿ùõþ± àÅõ ûÅ¿M ü¼î ß±õþËí õþõÏfò±ïËß ¿òËûþ ä¿õÇîÂäÂõÇí ßÂËõþ ﱿßÂ/ ¿ßÂc æÏõËòõþ ¿ßÂåÅ Î ÂËS Õ±÷±Ëß ¿ZËæfù±ù, ÕîÅÂùÛ¶ü±ð ÛõÑ õþæòÏß±˙LÃõþ á±ò ò±¿hÂËûþ ¿ðËûþ û±ûþ/ üÅîÂõþ±Ñ qñÅ õþõÏfü¼Ïî õùõ ò±, Ûõþ±Ý Õ±Ëåò/ 17/ Œ¬Û˘ıÓ¬±˚˛ ˙±¶aœ˚˛¸ºœÓ¬ ¤ı˛ ¤fl¬øȬ ˙œ¯∏«¶ö±Úœ˚˛ ı˛±· ¤ı— ŒÓ¬±˜±ı˛ ˜ôL√Àı…ı˛ fl¬±ı˛Ì∑ ά◊– õþ±Ëáõþ ßÂï± õùËî ýËù Õ±¿÷ õùõ à±¥¤±æ, ê±ËéÂõþ ßÂï± õùËî ýËù Õ±¿÷ õùõ à±¥¤±æ ê±éÂ/ ¿ßÂc ý×÷ò ÛõÑ ðõþõ±¿õþÝ ÎÂóùõ ýËî Âó±Ëõþ/ ÛßÂé± õþ±Ëáõþ ÷ËñÉ ÕËòß õþËüõþ ü÷i¤ûþ âËéÂ/ üÅîÂõþ±Ñ Õ÷Åß õþ±á, Õ÷Åß õþü Ûö±Ëõ ¿õö±æò ßÂõþ± ¿êÂß òûþ/ ¿ßÂc ÎÂóùõî±õþ ü˼ Õ±÷õþ± ü±ñ±õþíî ù±¿ùîÂÉ ÛõÑ ù±õíÉËß Îõ±ç±ý×, Îûé± à±¥¤±Ëæõþ Î ÂËSý× Ã›¶Ëû±æÉ/ 18/ ˚‡Ú album-¤ı˛ ÊÚ… ·±Ú ·±› ’±Àı˛± ¸˝ø˙äœÀı˛ ¸Àº Ó¬‡Ú fl¬‡Ú ˜ÀÚ ˝˚˛ "taken for granted"? ¤˝◊ ’Ú≈ˆ”¬øÓ¬ı˛ √õ∂±Ô«øıfl¬ ά◊Àiú±‰¬Ú øfl¬ ŒÓ¬±˜±Àfl¬ øııËÓ¬ fl¬Àı˛ Ú±øflŒ¸È¬± ά◊Mı˛ÀÌı˛ ¸˝±˚˛fl¬ ıÀ˘ ø‰¬ø˝êÓ¬ fl¬Àı˛±∑ ά◊– ûLa±òÅø¸Ë¼ û±õþ± ï±ËßÂò î±Ëðõþ ü˼ ß±æ ßÂõþõ±õþ ÂóX¿îÂé± Õ±æËßÂõþ ûÅËá Âó±ùËé ÎáËå/ Õ±Ëá Îûé± ýî î± ýù áÏ¿îÂß±õþ á±ò õÒ±ñËùò, üÅõþß±õþ üÅõþ ¿ðËùò ÛõÑ î±õþÂóõþ ûLa±òÅø¸Ë¼õþ ¿úŠÏËðõþ ü˼ Û¶äÅÂõþ rehearsal ýîÂ/ Ûý× ü÷áè ÂóX¿îÂé±õþ ÷ËñÉ ÛßÂé± æÏõò ¿åù/ ÛËî á±Ëòõþ ÛßÂé± Û¶±íÛ¶¿î‡± ýîÂ/ ¿ßÂc Ûàò ¿úŠÏõþ± Îû û±õþ ÷î track record ßÂËõþò ÛõÑ ÂóËõþ ûLa±òÅø¸Ë¼õþ ¿úŠÏõþ± î±Ëðõþ ü¼î Îðò/ Õ±÷±õþ Ûý× Õ¿öÂ:î± ýËûþËå õþõÏfü¼ÏËîÂõþ Î ÂËS ß±õþí Îàûþ±Ëù Îî± ÛßÂü˼ õËü á±ý×Ëî ýûþ/ Õ±Ëáõþ ÂóX¿îÂËî á±Ëòõþ &íáî ÷±ò õÔ¿X ÎÂóîÂ/ Ûàò Îüé±Ëî ÛßÂé± û±¿Laß õÉÂó±õþ äÂËù ÛËüËå/ 112

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

113

Îüé± ýù Ûé± Îß±òÝ tuition class-Ûõþ ÷î òûþ Îû Ûù±÷ Îáù±÷ äÂËù Ûù±÷...& Âó¿õþõ±Ëõþõþ ü˼ ÛßÂé± Õ±¿Rß Îû±á±Ëû±á ýÝûþ± ÛõÑ î±Ëðõþ æÏõòû±S±õþ ü˼ ÝîÂËÛ¶±î ßÂËõþ ÎòÝûþ± ÛõÑ ¿òËæËß Îüý×ö±Ëõ áËh Îî±ù± à±òð±¿ò ÂóX¿îÂËîÂ/ Ûõþ ¿ßÂåÅ ö±Ëù± ¿ðßÂ, à±õþ±Âó ¿ðß ðÅËé±ý× Õ±Ëå/ Ûé±ý× Õ±÷±õþ æÏõËòõþ ÛßÂé± õ¿íÇù Õñɱûþ Îûé±Ëß ձ¿÷ àÅõ âéÂò±õUù õùõ ß±õþí Õ±¿÷ îÂàò S.R.A õþ å±S/ üËõDZÂó¿õþ Îüý× ü÷ûþé±Ëî ձ÷±õþ Ûß ü±¼Ï¿îÂß ëÂ×Mõþí âËéÂ/

19/ ˙±¶aœ˚˛¸ºœÓ¬ ø˙鬱˚˛ ŒÓ¬±˜±ı˛ ÊœıÀÚı˛ ¤fl¬øȬ ıøÌ«˘ ’Ò…±˚˛ñ ά◊– Õ±÷±õþ ðú÷ Î|íÏõþ õ±¿ø¸Çß ÂóõþÏ Â±õþ Âóõþ ÎïËßÂý× Õ±¿÷ ÷ò¿¦šõþ ßÂõþËî q ßÂËõþ¿åù±÷ Îû Õ±¿÷ ü¼ÏËî ÷Ëò±¿òËõú ßÂõþõ ÛõÑ Âóh±qò±õþ ¿ðËß û±õ ò±/ îÂàò Õ±÷±õþ ձ˙¦¸ ձ˙¦¸ & æÏõþ ß±Ëå û±Ýûþ± õ±ËhÂ/ ÛõÑ ûàò Õ±÷±õþ school-life Îúø¸ ýù ÛõÑ ßÂËùæ æÏõËò q ýù, îÂàò üß±ù ¿õËßÂù & æÏõþ õ±¿hÂËî û±Ýûþ± q ýù ÛõÑ àÅõ & áyÂÏõþö±Ëõ å-ü±î õåõþ ñËõþ ü¼Ïî äÂäDZ Õ±õþy ýù/ & æÏõþ ü˼ â¿ò‡Âî± ÎõËh Îáù/ Õ±÷±õþ ü±¼Ï¿îÂß ëÂ×Âóù¿tõþ Î ÂËS àÅõ üý±ûþß ýËûþËå/ & æÏ Õ±÷±Ëðõþ Îûé± Îõ±ç±Ëî Î䩆± ßÂõþËîÂò

113

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

114

2nd Proof 18.09.2013

114

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

115

ÂóÓæ±õþ õ±î±Ëü ÎÛ¶Ë÷õþ ÎüÌõþö ßÂ÷¿ùòÏ ÷ÅËà±Âó±ñɱûþ She is the inherent possessor of the distinct ilk of the ‘‘hallucinogenic’’ trance in rendering Tagore songs. Her voice has a far-reaching mellifluous capacity of retaining on a particular note, as well as can exhibit sudden enticing cloudbursts of Rabindrik ‘‘cringes’’— it is this perfect melange that ensconces her ‘‘class’’ and is therefore dogmatically declared by her unopinionated enthusiastic listeners who get eventually enraptured. Her opalescent renditions of different Tappâs of the Tagore subgenre have astounded learned ears, and her voice seems habitué in diminishing ennui of any kind. Her classy presentation of ‘‘Eki Koruna Korunamoyo’’ remains undaunted in the entirety of its prowess, much like a déshabillé that enshrouds the listeners with too many perplexing interpretations.

What exactly is the essence of divinity in Tagore music? How can one explore the identity of ‘‘God’’ in Tagore songs?

Is it essentially encrusted in myriad munificent shades of love? What is its kind then?

Kamalini Mukhopadhayay answers all with dignity in choosy recesses, and the chastity of her answers are decorations themselves...

As Kalomer Kalomishak explores the depths of an infinite hue...

2/ øıÀÀ˙ ˝◊—Àı˛øÊ ¸±ø˝Ó¬… øÚÀ˚˛ ¬Ûh¬±À˙±Ú± fl¬œˆ¬±Àı ŒÓ¬±˜±˚˛ ı˛ıœfÚ±ÀÔı˛ ·±Ú, ’±ı˛› ·ˆ¬œÀı˛ ά◊¬Û˘øt fl¬ı˛ÀÓ¸˝±˚˛fl¬ ˝À˚˛ÀÂ∑ ά◊– ÕËòËßÂý× ÎöÂËõ¿åËùò Õ±¿÷ English Hons.ÂóËh î±õþÂóõþ UK-Ûõþ Cambridge UniversityÎî ëÂ×Bä¿ú ± ßÂËõþ î±õþÂóõþ ¿ò}Âûþý× academic line-Ûý× ï±ßÂËõ±, ÎßÂëÂ× ÎßÂëÂ× Õ±ú±ýîÂÝ ýËûþËåò ÕŠ¿õ™¦¸õþ õËù ÷Ëò ýûþ, Îû Õ±¿÷ Âóh±Ëú±ò± ÎåËh á±òËß ÎõËå ¿òù±÷ Õ±÷±õþ æÏõËòõþ Âó±Ëïûþ ßÂËõþ/ Õ±÷±õþ ÷Ëò ýûþ Õ±÷±õþ ü±¿ýîÂÉ-¿ú ± ¿ßÂåÅ÷±S ò©† Îî± ýûþý׿ò, õõþ=Á Õ±÷±õþ á±ò, Õ±÷±õþ õþõÏfò±Ëïõþ Îùà± õÅçÂËîÂ, appreciate ßÂõþËî ü±ý±ûÉ ßÂËõþËå/ Literature Õ±÷±Ëðõþ ü±ñ±õþí ¿æ¿òüËß Õü±ñ±õþí ßÂËõþ Îðà±õþ Îä±à àÅËù Îðûþ Õ±õþ Îüý× Õü±ñ±õþí ÎüÌjûÇËßÂý× õþõÏfò±ï ÂóÅËæ± ßÂËõþËåò, î±Ëß ¿òËûþý× á±ò-ß¿õî± ¿ùËàËåò/ î±ý× Îüý× ü±¿ýîÂÉ-äÂäDZ ßÂËõþ ï±ß±õþ Îä±à ÎÂóËûþ Õ±÷±õþ Îõ±ñ Õ±õþ Æî¿õþ ýËûþËå õËù Õ±¿÷ ÷Ëò ß¿õþ/ ß±õþí õþ¿õ ê±ßÅÂËõþõþ á±ò üõËäÂËûþ Õ±Ëá ýù àÅõ ëÂ×B䙦¸Ëõþõþ ü±¿ýîÂɯ 3/ ŒÓ¬±˜±ı˛ ¸ºœÓ¬ÊœıÀÚı˛ ¸ıÀ‰¬À˚˛ ø√õ∂˚˛ ¬Û≈ı˛¶®±ı˛ñ ά◊– Õ±æËß ձ¿÷ Îû Âó¿õþ¿ä¿î ÎÂóËûþ¿å, ü±õþ± ÂóÔ¿ïõÏ æÅËh õU æ±ûþá±õþ ÷±òÅø¸ Îû Õ±÷±Ëß ÎäÂËòò Õ±÷±õþ á±Ëòõþ æòÉ, Õ±÷±õþ á±ò ö±Ëù±ËõËü Õ±÷±õþ ü˼ Õ±ù±Âó ßÂõþËî ä±ò– Ûý× ÛßÂæò ¿úŠÏõþ üõËäÂËûþ õh Û¶±¿l/ ßÂàËò± õþ±™¦¸±ûþ Âóï Õ±éÂËß ձ÷ûþ ûàò õËùËåò Îû îÒ±Ëðõþ æÏõËòõþ ðÅÐà-ß©†-ÕüŦšî± ðÓõþ ßÂËõþ Õ±÷±õþ á±ò–Îüý× ýËûþËå Õ±÷±õþ ü¼Ïî æÏõËòõþ üõËäÂËûþ õh ÂóÅõþ¦¨±õþ/ Ûõþ ÷ÓËùÉõþ Îß±òÝ Âó¿õþ÷±Âó ýûþ ò±¯ 4/ ı˛ıœfÚ±ÀÔı˛ ·±ÀÚ ¬Û”ʱ ¤ı— Œ√õ∂˜ ¤˝◊ ≈íøȬ ¬Û˚«±˚˛ñ ¤Àfl¬ ’¬ÛÀı˛ı˛ ¬Ûøı˛¬Û”ı˛fl¬ øfl¬∑ ά◊– ‘ÎÛ¶÷’ Ý ‘ÂóÓæ±’ ÂóûDZËûþõþ á±Ëò ¿õËúø¸ õþßÂË÷õþ overlap õËù Õ±¿÷ ÷Ëò ß¿õþ/ õþõÏfò±Ëïõþ ðúÇËò ¿û¿ò Ö «õþ, ¿î¿òý× ÎÛ¶¿÷ß ¿û¿ò ‘Û¶öÅÂ’, ¿î¿òý× ‘¿Ã›¶ûþ’/ î±ý× Îðõî± ÎæËò ¿î¿ò ðÓËõþ ðÒ±¿hÂËûþ ï±ËßÂò¿ò, õgÅ õËù Îüý× æËòõþ ý±î ñËõþËåò/ îÒ±õþ ü±Ëï Õ±÷±Ëðõþ ü¥óßÇÂé± î±ý× ÛËßÂõ±Ëõþ ß¿êÂò òûþ, õõþÑ üý¿æûþ±¯ Õ±÷±õþ Û¶ï÷ ÛßÂß ÕòұËòõþ ÷Óù õM õÉ Ûé±ý× ¿åù Îû õþõÏf á±Ëòõþ ‘mortal lover’ õ± ÎÛ¶¿÷ßÂËß ձù±ð± ßÂõþ± û±ûþ ò± ‘eternal lover’ õ± ‘Û¶öÅÂ’õþ ÎïËßÂ/ î±ý× Õ±÷±õþ õU ü÷ûþ ¿ßÂåÅ ÎÛ¶Ë÷õþ á±ò Õ±õþ ¿ßÂåÅ ÂóÓæ±õþ á±òËß ÷Ëò ýËûþËå qñÅ ÛËß ÕÂóËõþõþ Âó¿õþÂóÓõþß ò±, Û÷ò¿ß inter-

1/ ŒÓ¬±˜±ı˛ ÚÓ≈¬Ú ·±ÀÚı˛ ¸Ç¬˘Ú ëëøÚ-ı˛ÊÚœíí ¸•ÛÀfl«øfl¬Â≈ ıÀ˘±/ ¤˝◊ ˆ¬±ıÚ± ŒÓ¬±˜±ı˛ ’Ú… ·±ÀÚı˛ ¸Ç¬˘ÀÚı˛ ŒÔÀflfl¬œˆ¬±Àı øˆ¬iß∑ ά◊– ¿ðò-õþæòÏõþ ü‚ÂùËòõþ ÛßÂé± ¿õËúø¸ ¿ä™Lñ Õ±Ëå/ Ûé± ÛßÂé± ù±ý×ö Õòұò ÎïËß æ±îÂ/ Õ±¿÷ ÕËòß ¿ðò ñËõþ Û÷ò ¿ßÂåÅ á±ò ßÂõþËî ä±ý׿åù±÷ û± õþ±á õþ±¿áíÏ¿õËúø¸/ üß±ù ÎïËß õþ±î Õõ¿ñ õɱl ýËõ/ January ÷±Ëü ßÂõþ± Õ±÷±Ëðõþ ßÂõþ± Õòұòé± Ûõþ ÎïËßÂý× q ýûþ/ Îö±õþ ÎïËß áöÂÏõþ õþ±î ÂóûÇ™Là ¿ßÂåÅ õþ±á ÎõËå î±õþ ÝÂóõþ ¿ö¿M ßÂËõþ õþõÏfü¼Ïî ÎõËå Ûý× Õòұòé± ü±¿æËûþ¿åù±÷/ qö±ûþÅ •Îüò ÷æÅ÷ð±õþ— Û¶ËîÂÉß¿é á±Ëòõþ Õ±Ëá î±õþ õþ±Ëáõþ õþ+Âó¿é ÛßÂéÅ õ±¿æËûþ¿åù, î±õþÂóõþ Õ±¿÷ á±ò&¿ù ÎáËûþ¿åù±÷/ î±ý× ‘‘¿ðò-õþæòÏ’’/ Îüý× ÎïËßÂý× Õ±Ëü Ûý× ü‚ÂùËòõþ ¿ä™Lñ/ 115

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

changeable—ÂóÓæ±õþ á±ò¿é ÎÛ¶Ë÷õþ ýËîÂý× Âó±Ëõþ ÛõÑ

2nd Proof 18.09.2013

116

Ý qòËîÂ/ î±ý× Õ±÷±õþ õ¼-üË¥œùËò ÛËùý× ÷Ëò ÂóËh û±ûþ ‘... Îûï±ûþ ﱿß Îû Îûà±Ëò, õÒ±ñò Õ±Ëå Û¶±Ëí Û¶±Ëí“ Îüý× Ã›¶±Ëíõþ é±Ëò ÎéÂËò Õ±Ëò Îüý× Ã›¶±Ëíõþ Îõðò æ±Ëò ò± Î߯’ 8/ ı˛ıœfÚ±ÀÔı˛ ·±ÀÚ ’±ôL√Ê«±øÓ¬fl¬Ó¬±Àfl¬ fl¬œˆ¬±Àı ’±øı©®±ı˛ fl¬Àı˛± Ó≈¬ø˜∑ ά◊– õþõÏfò±Ëïõþ á±Ëò Õ±¿÷ Îûé± Âó±ý× î± æ±îÂÏûþî±õ±ð õ± Õ±™LÃæDZ¿îÂßÂî±õþ, ‘Nationalism’ õ± ‘Internationalism’Ûõþ ØËñTÇ, î± ýù ÛßÂé± áöÂÏõþ ‘Humanism’ ÛõÑ Universalism’/ ü÷™¦¸ ÂóÔ¿ïõÏ, ü÷™¦¸ õèp±ËG îÒ±õþ äÂõþ±äÂõþ/ Ûý× õèp±ËGÂõþ á¿îÂÛ¶ßÔ¿î ÎðËà õ±õþõ±õþ ÷Å* ß¿õ ¿ùËàËåò, ‘¿õ¦œËûþ î±ý× æ±Ëá Õ±÷±õþ Û¶±í¯’ Ûý× ¿õ¦œûþ Õ±õþ ßÔÂîÂ:î±é± ÕËòß á±Ëò– ‘æáËî ձòjûË: Õ±÷±õþ ¿ò÷Laí“ñòÉ ýù, ñòÉ ýù ÷±òõ æÏõò¯’, ‘...Õ±òj Õ±Ëù±ûþ ÷ñÅõþ ö±õ, Îýï± Õ±¿÷ Õ±¿å Û ¿ß Φ§ý îÂõ¯’ îÒ±õþ á±Ëòõþ imageryé±ý× ‘Ûý× Îû ß±Ëù± ÷±¿éÂõþ õ±ü±, úɱ÷ù üÅËàõþ ñõþ±’-õþ ÷Ëî± Îå±A å¿õ ÎïËß ‘÷ý±¿õË « ÷ý±ß±Ëú ÷ý±ß±ù ÷±ËçÂ’ Õõ¿ñ õɱl/ ¿äÂSû±SÏ õþõÏfò±ï w÷í ßÂËõþËåò ü±õþ± æÏõò ÛõÑ ý+ðûþ¼÷ ßÂËõþËåò ü±õþ± ¿õË «õþ ¿õ¿öÂi§ ¿æ¿òü, üõ ¿÷¿ùËûþ üõ ÎúËø¸ û± ۶߱ú ÎÂóËûþËå, î± ýù ÛËßÂõ±Ëõþ ¿ò榤 æÏõò-ðúÇò/ 9/ ŒÓ¬±˜±ı˛ øÚÀÊı˛ ·±›˚˛± ø√õ∂˚˛ ı˛ıœf·±Ú ά◊– Õ±¿÷ Îû á±ò&¿ù á±ý×, ÕòұËò õ± Õɱùõ±Ë÷, Îü&¿ù õ±å±õþ ß±õþí Õ¿ñß±Ñú ü÷ûþý× ýûþ ö±Ëù±õ±ü± õ± Âóåj/ î±ý× ÛõþßÂ÷ ÛßÂé± õ± ßÂËûþß¿é á±ò õùËî Âó±õþõ ò± ‘¿Ã›¶ûþ á±ò’ õËù¯ æÏõËòõþ ¿õ¿öÂi§ ü÷Ëûþ, ¿õ¿öÂi§ Âó¿õþ¿¦š¿îÂËî ¿õ¿öÂi§ á±ò àÅõ Û¶±Ëíõþ ß±Ëå õËù ÷Ëò ýûþ, Ûý×éÅÂßÅÂý× õùËî Âó±¿õþ/ 10/ fl¬Ó¬È¬± øÚÀÊı˛ ÊÚ… ¸˜˚˛ fl¬Àı˛, øÚÀÊÀfl¬ ·±Ú Œ˙±Ú±ÀÓ¬ ¬Û±Àı˛±, ıÓ«¬˜±ÀÚı˛ ı…ô¶∏Ó¬±˚˛∑ ά◊– ûîÂý× ßÂ÷ÇõÉ™¦¸ Îý±ß ձ÷±õþ æÏõò Õ±¿÷ ßÂàËò± öÅ¿ù ò± Îû Õ±÷±õþ ‘æÏõò’ ÛõÑ Õ±÷±õþ ‘ßÂ÷Ç’ ðÅËé±ý× ýù á±ò¯ î±ý× ¿òËæõþ ÷Ëò, ¿òËæõþ Û¶±Ëí á±ò ßÂõþ± õ± á±ò Îú±ò±Ëò± üõü÷ûþý× ýËûþ äÂËùËå/ î±õþ Õ™Là Îòý×, ¿õõþ±÷ Îòý×/

ÎÛ¶Ë÷õþ¿é ÂóÓæ±õþ/ 5/ ŒÓ¬±˜±ı˛ ø√õ∂˚˛ ¬Û”ʱ ¬Û˚«±À˚˛ı˛ ¤fl¬øȬ ·±Ú ά◊– ‘Õ±÷±õþ ÷±ï± òî ßÂËõþ ð±Ý Îý Îî±÷±õþ äÂõþí ñÓù±õþ ÂóËõþ’– Õ±÷±õþ ÷Ëò ýûþ Ûý× á±Ëòõþ õ±íÏ Õ±õþ ö±õ û¿ð Õ±÷±õþ æÏõò ¿ðËûþ ëÂ×Âóù¿t ßÂõþËî Âó±¿õþ î±ýËù ÛßÂæò ûï±ïÇ ÷±òÅø¸ ¿ýËüËõ Õ±÷±õþ æÏõò ü±ïÇßÂ/ 6/ øıÀÀ˙ ˚‡Ú ’Ú≈á¬±Ú fl¬Àı˛±, fl¬˘fl¬±Ó¬±ı˛ Œ|±Ó¬±Àı˛ ŒÔÀfl¬ Ó¬‡Ú Œ¸‡±Úfl¬±ı˛ Œ|±Ó¬±Àı˛ fl¬œˆ¬±Àı ’±˘±± fl¬Àı˛ ŒÀ‡±∑ ά◊– ÎðËú ÛõÑ ¿õËðËú Î|±î±Ëðõþ Õ±¿÷ ÛßÂ÷±S îÂàòý× Õ±ù±ð± ßÂËõþ Îð¿à ûàò îÒ±õþ± ¿õËð¿ú Î|±î± ýò/ õ±ã±¿ùõþ ß±Ëå Õ±÷±õþ ß±æ õþõÏfò±ïËß ÎäÂò±Ëò± òûþ, îÒ±õþ á±ò Îú±ò±Ëò±/ î±ý× Âó¿õþ¿äÂî á±ò, Î|±î±Ëðõþ ÕòÅËõþ±Ëñõþ á±ò Îú±ò±Ëò±ËîÂý× ¦¤±ïÇßÂî±/ ¿õËðËú õ±ã±¿ùõþ, ß¿õõþ á±Ëòõþ ÷ËñÉ ¿ðËûþ àÅÒËæ Âó±ò îÒ±Ëðõþ Îüý× ¿úßÂh û± ýûþËî± Ûý× Ã›¶õ±Ëü õUß±ù õ±ü ßÂËõþ ùÅÃlÛ¶±ûþ/ ¿ßÂc ¿õËð¿ú Î|±î±Ëðõþ ß±Ëå Õ±¿÷ ÷Ëò ß¿õþ Õ±÷±õþ ð±¿ûþQ ÕÂó¿õþüÏ÷– Õ±¿÷ Îüà±Ëò qñŠ᱿ûþß± òý×, õþõÏfò±ï ê±ßÅÂËõþõþ Û¶¿îÂöÓÂ, Õ±÷±Ëðõþ 汿îÂõþ ÛîÂõh ܿîÂËýÉõþ Û¶¿îÂöÓÂ, Õ±¿÷ îÒ±Ëðõþ ý±î ñËõþ ¿òËûþ û±¿Bå îÒ±õþ Õü±÷±òÉ ü¼ÏËîÂõþ æáËîÂ/ î±ý× îÒ±õþ á±Ëòõþ õɱ¿l Ý Ã›¶ü±õþ Îð¿àËûþ ¿ðËî Î䩆± ß¿õþ Õ±÷±õþ òîÅÂò Î|±î±Ëðõþ, ûÒ±Ëðõþ ðÅöDZáÉ Îû îÒ±õþ± õ±Ñù±ö±ø¸±ûþ õþõÏfò±ïËß ÂóhÂËî Âó±õþËå ò±/ Îüý× Î ÂËS Õ±÷±õþ ÕòÅõ±ð ¿ðËûþ Õ±¿÷ Õ±ú± ß¿õþ ÷Óù á±ò¿éÂõþ Õ™LÃî ¿ßÂåÅé± ¦¤±ð û±Ëî îÒ±Ëðõþ ¿ðËî Âó±¿õþ/ 7/ øıÀÀ˙ı˛ ıº-¸À•ú˘ÀÚ ŒÓ¬±˜±ı˛ ’øˆ¬:Ó¬± ά◊– õ±ã±¿ù å±h± Û÷ò Îõ¿ú 汿î ձ¿÷ 汿ò ò± ûÒ±õþ± ¿õËðËú Ûý× ¿õú±ù ձ߱Ëõþ Ûß ձòj-û: õÉõ¦š± ßÂõþËå¯ î± ¿ò}Âûþý× ÎðËúõþ é±Ëò, ö±ø¸±õþ é±Ëò, Õ±õþ ÂóÒ±äÂé± õ¼õ±üÏ ÷±òÅËø¸õþ é±Ëò/ ßÂî ý±æ±õþ ý±æ±õþ ÷±òÅø¸ æ÷±Ëûþî ýËBåò ßÂî ðÓõþ ÎïËß ÛËü ßÂËûþß¿ðò ÛßÂü˼ ï±ßÂËîÂ, á±òõ±æò± ßÂõþËîÂ

116

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

117

2nd Proof 18.09.2013

117

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

118

õþ¿õõþ Õ¼Ëò õþã Îðõ±¼ò± üõþß±õþ The Statesman described her voice to house a lot of excitement, and soulfulness at once. To her, Tagore-songs have always been verses drenched in sanctity, an everlasting association, the very essence of which enriches her audience who unanimously claim that undoubtedly her voice reaches a certified etherealness which trails off to leave behind the beautiful unsaid...

What exactly is the significance of colour in Tagore-songs? What actually is its essence?

Debangana Sarker answers all at once, with poise in an inexplicable sense, and enthralls us, as she does quite often...

While Kalomer Kalomishak is awed...

7. Œfl¬±Ú Œfl¬±Ú ·œøӬڱȬ…&ø˘ÀÓ¬ ëë’±fl¬±„鬱íí ı˛„Ȭ± Œ‡ÀÓ¬ ¬Û±›∑ ά◊– ‘‘÷±ûþ±õþ Îàù±’’–ձ߱㠱 ÎÛ¶÷ òûþ/ áÏ¿îÂò±éÂÉý× õùù±÷ ß±õþí î±ý× ¿æ:±ü± ßÂõþ± ýËûþËå/ 8. ı˛ıœf¸ºœÓ¬ øfl¬ ¬Û«ÀÌı˛ Ú±˜±ôL√ı˛∑ ά◊– ÕõúÉý×–a mirror of my emotions.

9. ëë·±À˚˛ ’±˜±ı˛ ¬Û≈˘fl¬ ˘±À·, Œ‰¬±À‡ ‚Ú±˚˛ Œ‚±ı˛-íí¤È¬± øfl÷ù´ı˛ ¸ºœÓ¬ ˝ÀÓ¬ ¬Û±Àı˛∑ ά◊– ÛßÂð÷–á±ò á±Ýûþ± û¿ð ëÂ×Âó±üò± ýûþ îÂËõ ü¼ÏîÂ Ö «õþ/ 10. ë붧¬ÛÚ˜±ÀÁ¬ ı±øÊÀ˚˛ Œ·˘ ·ˆ¬œı˛ ı˛±ø·Ìœíí-·±ÀÚı˛ Œé¬ÀS ı˛ıœfÚ±ÀÔı˛ ’ı±Ú øfl¬, ıU|nÓ¬ Œ|±Ó¬±ı˛ fl¬±À ¤È¬±˝◊∑ ά◊– qñÅ ¦¤ÂóËò ÎßÂò, úûþËò, æ±áõþËí, üõ ü÷ûþ õþõÏfò±Ëïõþ Õõð±ò/ 11. Thing ¤ı— nothing-¤ı˛ √õ∂Àˆ¬ øfl¬ ı˛ıœf¸ºœÀÓøı¬Ûiß∑ ά◊– öÂÏø¸íö±Ëõ–¿õËúø¸ ßÂËõþ õþõÏfò±éÂËßÂ, ‘Õõþ+ÂóõþîÂò’ ò±éÂß î±õþ Û¶÷±í/ 12. ëëøé¬Ìœíí ŒÓ¬ ·±Ú ø˙À‡, √õ∂±øӬᬱøÚfl¬ ’±ı˝ ŒÔÀflŒıøı˛À˚˛ ¤À¸ ¶§fl¬œ˚˛Ó¬±˚˛ fl¬Ó¬È≈¬fl≈¬ ά◊iߜӬ ˝ÀÓ¬ Œ¬ÛÀı˛Â ıÀ˘ ˜ÀÚ ˝˚˛∑ ά◊– Îüé± Õ±¿÷ õùõ ò±, Õ±÷±õþ Î|±î±õþ± õùËõò/ 13. øÚø˜«Ó¬ ˜À=¡ı˛ ’ʱڱ Œ|±Ó¬±ı˛± Ú± ˙±øôL√øÚÀfl¬Ó¬ÀÚı˛ ¬Ûøı˛ø‰¬Ó¬ ‚Àı˛±˚˛± fl¬±Ú- Œfl¬±ÚȬ± √õ∂±ÀÌı˛ fl¬±Â±fl¬±øÂ∑ ά◊– ðÅËé±ý× ðÅ’õþßÂ÷ö±Ëõ ß±å±ß±¿å/ 14. ı˛ıœf¸ºœÀÓ¬ identity Œfl¬ øfl¬ˆ¬±Àı discover fl¬ı˛∑ ά◊– á±Ëòõþ ßÂï±&¿ùõþ ü˼ Ûß±R ýËûþ/ 15. øÚÀÊı˛ ·±›˚˛± Œfl¬±ÀÚ± ·±Ú ’±ı˛ Œfl¬±ÀÚ± ı˛ıœf¸ºœÓø˙äœı˛ fl¬À_ qÀÚ Ó¬±ı˛ interpretation ¸•§Àg¬ ’±j±Ê fl¬ı˛ÀÓ¬ ¬Û±ı˛∑ ά◊– ýÒɱ Âó±¿õþ, Î䩆± ß¿õþ õÅçÂËîÂ/ 16. ı˛ıœf¸ºœÀÓ¬ ’øˆ¬¸±ı˛, øıı˛˝, ëëı˛+¬Ûı˛˙Úíí ¤˝◊ øı¯∏˚˛&ø˘ fl¬Ô± Ú± ¸≈ı˛, Œfl¬±ÚȬ± øÀ˚˛ Œıø˙ Œ:˚˛∑ ά◊– ÕõúÉý× ßÂï±–‘‘Õ±¿æ Û ¿òõþ±ù± ßÅÂË? Õ±÷±õþ Õ¼ ÷±ËçÂ’’/

1. ë뷜Ӭ±?ø˘ííı˛ fl¬øı ‡≈ı ëë’±ø˜íí Œfl¬ øÚÀ˚˛ øııËÓ¬/ √õ∂¸ºÓ¬ Œ˚ ·±ÚøȬı˛ fl¬Ô± ά◊Àͬ ’±À¸ Ó¬± ˝˘ – ëë’±˜±ı˛ ˜±Ô± ÚÓ¬ fl¬Àı˛ ±› Œ˝ ŒÓ¬±˜±ı˛ ‰¬ı˛ÌÒ”˘±ı˛ ¬ÛÀı˛íí ·±ÚøȬ ˚‡Ú ·±› Ó¬‡Ú øfl¬ ¤˝◊ øÚÀıÀÚı˛ ıÌ«øȬ ŒÓ¬±˜±ı˛ ·±›˚˛±Àfl¬ √õ∂ˆ¬±øıÓfl¬Àı˛∑ ά◊– ¿êÂßÂý×, ß¿õ Ûà±Ëò ‘Õ±¿÷ËßÂý×’ Û¶±ñ±òÉ ¿ðËûþËå... ¿ßÂc Ûý× ‘Õ±¿÷’ ¿ß ‘Õ±¿÷’ ‘îÅ¿÷’ üõ±ý× ò±· 2. ë눬˚˛ííÀfl¬ ı˛ıœfÚ±ÀÔı˛ ·±Ú øÀ˚˛ øfl¬ˆ¬±Àı Œ‡∑ ά◊– ‘¿ß öÂËûþÝ îÂõ ÕöÂûþ ÷±ËçÂ...’

3. fl¬‡Ú› Œfl¬±ÀÚ± ·±Ú ·±˝◊ÀÓ¬ ø·À˚˛ ˜ÀÚ ˝À˚˛À ı˛ıœfÚ±ÀÔı˛ ¤˝◊ ·±ÚȬ± ‡≈ı Œıø˙ ı…øMê·Ó¬∑ ˚ø ˜ÀÚ ˝˚˛ Ó¬Àı, Œfl¬±Ú ·±Ú∑ ά◊– ‘Õ±÷±õþ Û¶±Ëíõþ ÂóËõþ äÂËù Îáù Îß·...’

4. ’|nÓ¬¬Û”ı« ¸ºœÓ¬˝◊ ı˛ıœfÚ±ÀÔı˛ ¸±ÒÚ±ñ ά◊– ò± ßÂàòý× ò±, õU|nî á±Ëòõþ ÷ËñÉÝ õþõÏfò±ïËß ü÷Âó¿õþ÷±Ëí Âó±Ýûþ± û±ûþ/ Õ±÷±õþ àÅõ ¿Ã›¶ûþ Û÷ò Ûß¿é á±ò ‘‘Õ±÷±õþ ¿õä±õþ îÅ¿÷ ßÂõþ/’’ 5. ëëÓ≈¬ø˜íí-¤˝◊ ¸À•§±ÒÚ øfl¬ ı˛ıœf¸ºœÀÓ¬ ’ÚÚ…˜±S± Œ¬ÛÀ˚˛ÀÂ∑ Ú±øfl¬ Œ¸È¬± qÒ≈˜±S ’øÓ¬ı˛?Ú∑ ά◊– ¿ò}Âûþ ÎÂóËûþËå... Ýý× á±ò¿é ö±Ëõ± ‘‘îÅ¿÷ Îß±ò ö±ãËòõþ ÂóËï ÛËù’’/ 6. ëë√õ∂±ÀÌı˛ ı˛ÀÔ ı±ø˝ı˛ ˝ÀÓ¬ ¬Û±ı˛ı fl¬Àı∑íí ı˛ıœf¸ºœÀÓ¬ı˛ Œfl¬±Ú ¬Û˚«±˚˛ ¤˝◊ øı¯∏˚˛øȬ øÚÀ˚˛ ˆ¬±ı±˚˛∑ ά◊– ÂóÓæ±/ 118

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

2nd Proof 18.09.2013

119

õþüÅý×-âõþ üÅË «î± äÂS õîÇÂÏ ÙöÅ õU Û¶¿îÂö±ñõþ Îå±A ÎåËù/ î±õþ Õ±õð±õþ Õ±¿÷ î±õþ Âó¿Sß±õþ æËòÉ ßÂù¿÷ú±ß ¿ðËûþ ÛßÂé± ¦¤Š Âó¿õþ¿äÂî õ± ÕÂó¿õþ¿äÂî õ±ã±ùÏ õþ±i§±õþ Û¶dîÂÛ¶í±ùÏ ¿ðý×/ î±ý× Ûý× Ã›¶ûþ±ü/ âéÂò±é± ÛõþßÂ÷/ Õ±÷±õþ ¿ÂóüîÅÂËî± òòð õUõåõþ ¿õËðËú/ ÛË÷¿õþß±õþ Ýûþ±¿úÑéÂò ¿ë¿ü Îî ï±ËßÂò/ ÝËðõþ õ±¿hÂËî Îõh±Ëî ¿áËûþ ÛßÂõ±õþ Õ±¿÷ îÂÒ±õþ ü˼ õ±æ±Ëõþ û±ý×/ Âó¿õþ¿äÂî æ±ûþá± ÎïËß Ûé± Ýé± ¿ßÂËò, üõ¿æ Ý ÷±å ÎßÂò±õþ æËòÉ ¿ð¿ð Ýà±òß±õþ Ûß¿é ۿúûþ±ò ÷±ËßÇÂËé û±ò/ ÕòÉüõ î¿õþ îÂõþß±¿õþõþ ÷ËñÉ Îû ¿æ¿òü¿é ձ÷±Ëß Õõ±ß ßÂËõþ Îü¿éÂßÂù¿÷ú±ß¯ Õ±÷±õþ տÛ¶ûþ¯ Îü¿éÂõþ Ûß¿é տî üŦ¤±ðÅ õþ±i§± ¿ðù±÷ ÙöÅÂõþ &íáè±ýÏ Âó±êÂßÂËðõþ æËòÉ/ ßÂËõþ, ÎàËûþ, ÷î±÷î ¿ðËù ö±ù ù±áËõ/ fl¬h¬±˝◊ά±˘, fl≈¬À‰¬± ø‰¬—øh¬ ’±ı˛ fl¬˘ø˜˙±Àfl¬ı˛ ˜±‡±˜±ø‡ ά◊¬Ûfl¬ı˛Ì ß¿ä ßÂù¿÷ú±ß 2 ÕÒ±¿é ßÂh±ý× ë±ù 2 õh ÎéÂõùä±÷ä ßÅÂËä± ¿äÂÑ¿h õ± Îå±é ¿äÂÑ¿h 250 áè±÷ Õ±ð± 2 ý׿=Á éÅÂßÂËõþ± ßÒ±ä±ù‚± 8“10¿é ÎÂóÒûþ±æ 2¿é õh ÎîÂæÂó±î± 2¿é ýùÅð Îß±ûþ±éDZõþ ä± ä±÷ä ü±ð± ÎîÂù Âó¿õþ÷±í÷î òÅò Âó¿õþ÷±í÷î ¿ä¿ò Âó¿õþ÷±í÷î ß±Ëù±¿æËõþ Ý ðÅ¿é qßÂËò± ù‚± Îô±hÂËòõþ æËòÉ

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√õ∂̱˘œ ßÂù¿÷ú±ß ö±ù ßÂËõþ ÎõËå, Âó¿õþ©¨±õþ ßÂËõþ ñÅËûþ ßÅ¿ä ßÂËõþ ÎßÂËé ò±Ý/ ¿äÂÑ¿h ÎõËå, ö±Ëù± ßÂËõþ ñÅËûþ òÅò ýùÅð ÷±¿àËûþ õþ±Ëà±/ ßÂh±ý× ë±ù ÎõËå, ö±Ëù± ßÂËõþ ñÅËûþ æËù Õ±ñâ°I×± ¿ö¿æËûþ õþ±à±õþ Âóõþ, ÎÛ¶ú±õþ ßÅÂß±Ëõþ ÎüX ßÂËõþ ò±Ý Û÷ò ßÂËõþ û±Ëî ë±ù òõþ÷ ýûþ ¿ßÂc ÕîÂÉ¿ñß áËù ò± û±ûþ/ ÎÂóÒûþ±æ àÅõ Îå±é ßÂËõþ ßÅ¿ä ßÂËõþ±/ Õ±ð± âËø¸ õþ±Ëà±/ •Îáèé— ßÂh±ý×Ëî Պ ÎîÂù áõþ÷ ßÂËõþ ¿äÂÑ¿h Պ üÒ±îÂËù îÅÂËù õþ±Ëà±/ Ûõ±õþ õ±¿ß ÎîÂù áõþ÷ ßÂËõþ ÎîÂæÂó±î±, ß±Ëù±¿æËõþ Ý qßÂËò±ù‚± Îô±hÂò ð±Ý/ üÅâè±í ÎõËõþ±Ëù ßÅÂËä± ÎÂóÒûþ±æ ¿ðËûþ ¿ìÂË÷ ÕÒ±Ëä ö±Ëæ± õ±ð±¿÷ ßÂËõþ/ ßÂù¿÷ú±ß ð±Ý/ òÅò ¿ðËûþ ÎòËhÂËäÂËh ì±ß± ð±Ý/ ¿ìÂË÷ ÕÒ±Ëä ú±ß ÎüX ýËî ð±Ý/ Ûõ±õþ ë±ù ð±Ý/ Õ±ð± âø¸± ð±Ý/ ö±ù ßÂËõþ Î÷ú±Ý/ ýùÅð ð±Ý/ ¿ä¿ò ð±Ý/ òÅò ¿êÂß ձËå ¿ßÂò± ÎðËà ò±Ý/ ôÅÂËé ëÂ×êÂËù üÒ±îÂù±Ëò± ¿äÂÑ¿h ð±Ý/ ÎäÂõþ± ßÒ±ä±ù‚± ð±Ý/ ÛßÂéÅ Îô±é±Ý/ •Îõ¿ú Îô±é±Ëù ¿äÂÑ¿h úM ýËûþ û±Ëõ/— õþ±i§±é± á± ÷±à± Îç±ù ï±ßÂËõ/ ÕÒ±ä õg ßÂËõþ 57 ¿÷¿òé ì±ß± ¿ðËûþ õþ±Ëà±/ áõþ÷ üÅá¿g ձîÂÂóä±Ëùõþ ö±ËîÂõþ ü˼ Âó¿õþËõúò ßÂËõþ/

Œ˘‡fl¬ ¬Ûøı˛ø‰¬øÓ¬ – üÅË «î± äÂS õîÇÂÏ, ÎõïÅò ÷ý±¿õðɱùËûþ ý×ÑËõþ¿æ ü±¿ýîÂÉ ¿òËûþ Âóh±Ëú±ò± ßÂËõþËåò ÛõÑ Õ±ðËî ¤fl¬ ¸≈ø‰¬øôL√Ó¬ ¸≈‰¬±èÓ¬±ı˛ Ú±˜/ ÝÒõþ Û¶¿îÂö± õU÷ÅàÏ/ õþgÂËòõþ Õ‚Â ÝÒõþ ß±Ëå ñõþ± ¿ðËûþý× ï±Ëß ÂÎð¿ú-¿õËðúÏ õþ±i§±, ı˛±iß±ı˛ ‡“≈øȬڱøȬ, õþgÂò ¿úŠé±ý× Ûß ÕòòÉ ÷±S± Âó±ûþ ÝÒõþ ÕòòÉ õÉ¿M ËQõþ ÷îÂý×/ õ±õ±-÷± Ý ’±ø˙¯∏ ˆ¬A±‰¬±À˚«ı˛ ß±Ëå ÝÒõþ ı˛ıœf¸ºœÓ¬ Û¶¿ú Âí-ÝÒõþ ßÂËF á±ò Îú±ò± Ûß¿é տöÂ:î±/ õíÇ ¿òËûþ õM ËõÉ–‘‘õþã ýù üÑ:±ýÏò Û÷ò ¿ßÂåÅ û± ùáòááò Õ¿îÂS ÷ ßÂËõþ Îá±ñÓ¿ùùáËòõþ õíÇ ¿òËûþ Õ±Ëü/ Îü Õ±÷±Ëðõþ ¿ä™Lñûþ/’’

119

Comp 1 : E:/SDAS/Kalomer Kalomishak/Kalomer Kalomishak-Last Final

120

2nd Proof 18.09.2013

120