Phonetic Transliteration

(This document uses the DV-TTSurekh font)

Users of the Transliterator
This keyboard is meant for three types of users:
1 Those whose mother-tongue is an Indian Language, who can speak it and who do not know
how to write it.
2 Those who have learnt the language orally but have not mastered the written skills.
3 Those who feel comfortable with a QUERTY keyboard and do not want to key in a text
using the INSCRIPT keyboard. We would strongly advise you to learn the use of the
INSCRIPT keyboard as early as possible. For all users this keyboard will allow you not
only to do data-entry using English characters but will also enable you to slowly familiarize
yourself with Indian scripts. Once you feel comfortable with the script, you can shift over
to the INSCRIPT keyboard itself.
The Mapping Table
Below is given a mapping table for the Transliterator where the English Character set is mapped
onto the Indian language set.The mapping is as user-friendly as possible so as to enable a fast,
accurate and speedy data-entry. Against each character its approximate value in English is also
given along with an example.
Consonants
1 SOME HINTS
Indian Scripts with a few language exceptions have a complex system insofar as k ch T t p are
concerned. In each case there is a five way system:
k kh g gh Ng
Eò JÉ MÉ PÉ Ró
ch chh j jh Nj
SÉ Uô VÉ ZÉ \É
T Th D Dh N
]õ `ö b÷ fø hÉ
t th d dh n
iÉ lÉ nù vÉ xÉ
p ph b bh m
{É ¡ò ¤É ¦É ¨É
Each of these is known as a Varga. In each set we have a pair of voiceless consonants first,
followed by their voiced counterparts. Each pair comprises an Unaspirate and an Aspirated sound-
k kh g gh. At the end of each Varga is the corresponding Nasal Consonant.
In the Transliterator we have tried to arrange the phonetic keys as per this pattern. The
UNSHIFT/SHIFT i.e. lowercase/upper-case correspond to the Unaspirate Aspirate pairs. The
Nasals are mapped on to the n/N/m keys. In the case of k and g, the Nasal N is added onto /g/-Ng
and /j/- Nj respectively. The Nasal of the Dravidian family xÉÃ as in ka.n.ru -calf is represented
by .n .
The other consonants are mapped onto their closest corresponding keys in English as you can see
from the mapping table.Quite a few Indian Languages have two to three /l/ sounds. These have
been mapped onto UNSHIFT/SHIFT l to give the two /l/ sounds. The /l/ sound in languages of the
Dravidian family as in Tamil /mozhi/ language is mapped onto /zh/.
Be aware of the Nukta characters. These are used in Punjabi or in Hindi for representing borrowed
sounds in loan-words.The nuktas are represented by their closest possible corresponding
equivalents.
Thus f represents a ¢ò. Fò KÉ NÉ are keyed in by typing q as in /qAtil/ Kh as in Khush or G
as in Gulshan. WÉ is given the value of z.
Finally a few other characters:
The Hindi flap sounds also found in Punjabi such as /{Éäc÷/ peR- tree or /¤ÉÉgø/bADH-
flood are shown by R and DH.
If you are typing in Marathi and want to show the so called quarter R as in vA.ryA,´ÉɪÉÉ use
the .r to show this sound
Try remembering this mnemonics when typing.
2 CONSONANT MAPPING TABLE
Characters as used in Devanagari
k Eò as in kal- tomorrow
kh JÉ as in khAl-skin
g MÉ as in gol-round
gh PÉ as in ghar-house
Ng Ró as in maNggal-felicitious mainly used in words borrowed from Sanskrit.
ch SÉ as in chAr-four
chh Uô as in chhe-six
j VÉ as in jal-water
jh ZÉ as in jharanA-water-fall
Nj \É as in Tamil kaNjji-rice-gruel
T ]õ as in TaTTu-pony
Th `ö as in ThIk-O.K
D b÷ as in DUb-sink
Dh fø as in DhAl-shield.
N hÉ as in gaN-devotees mainly used in words borrowed from Sanskrit.
t iÉ as in tU-you
th lÉ as in thAl-plate
d nù as in do-two
dh vÉ as in dhArA-flow
n xÉ as in nIlA-blue
p {É as in pal-second
ph ¡ò as in phal-fruit
b ¤É as in bol-say
bh ¦É as in bholA-innocent
m ¨É as in mAr-beat
y ªÉ as in yah-this
r ®ú as in rAh-road
l ±É as in lA-bring
L ³ý as in Marathi guL- molasses mainly used in words borrowed from Sanskrit.
v ´É as in vah-that
sh ¶É as in shaMkA-doubt
Sh ¹É as in ShaTakoN-hexagon
s ºÉ as in saMt-saint
h ½þ as in huM- (I) am
All nukta combinations
q Fò as in qAtil-fatal
Kh KÉ as in KhAl-skin
G NÉ as in GarIb-poor
z WÉ as in zaKhamI-wounded
R c÷ as in peR-tree
DH gø as in baDH-grow
f ¢ò as in firoz-Feroz
Characters not encountered in Devanagari
.r also used to generate the so-called quarter r in marathi- su.ryA-knives
F @T as in Tamil-pATar-father
zh g as in Malyalam-kozhikoDE-name of a town
J d, ^ as in Oriya or Bengali saMkhJA- quantity
Commonly used Conjuncts
These can be generated out by typing the individual characters. However the combinations are
given below:
kSh IÉ as in kShamA-forgiveness
shr ¸É as in shrI-Sir
dny YÉ as in dnyAn-knowledge
Vowels
Indian Languages have a considerably rich vowel system reflected in their character set. To map
these Vowels against the a e i o u y and w available in the English alphabet is not easy. We have
tried to make the vowel mapping as easy as possible. The conventions and norms used are
explained below:
Vowels have been divided into four parts:
- Simple Vowels
- Diphthongs
- Visarga
- Nasals
- HRI/HRU
1 SIMPLE VOWELS
In the case of Vowels, a simple convention has been followed. Indian languages have both long
and short vowels. The short vowels have been mainly shown by the lowercase character whereas
uppercase is used for the long vowels. Indian languages have both Matras (strokes) and Full
vowels corresponding to these matras. Thus +ɪÉÉ AyA has a full vowel +É in the Initial and
a Matra for the final yA-ªÉÉ. The normal rule is that when the Vowel is preceded by a
Consonant, it has a Matra Value. Otherwise the vowel has the Full Vowel Value. You do not have
to worry where to use what, since the
engine normally takes care of this combination. However in certain languages like Gujarati or
Hindi a Full Vowel can follow a Consonant as in Gujarati JÉ<Ç:khaI precipice or ±É<Ç:laI
taken. A special combination is provided for this. The Vowel in question is preceded by /a/. Thus
laI will give ±É<Ç. The table below gives all the representations for all Vowels whether Full or
Matras.
SHORT VOWELS
FULL/MATRA CONS+FULL VOWEL
a + a as in akelA- alone aa
i </Ê# i as in ichchhA-wish ai
u =/#Ö u as in urf-alias au
e B/#ä e as in ek-one ae
o +Éä/#Éä o as in or-direction ao
LONG VOWELS
FULL/MATRA CONS+FULL VOWEL
A +É/#É A as in A-come aA
I <Ç/#Ò I as in Ik-sugarcane aI
U >ð/#Ú U as in Upar-u aU
E Bà/#à E as in Tamil ENge-where aE
O +Éà/#Éà O as in Malayalam OppoL-sister aO
The following two are mainly used in words of Foreign origin:
OE +Éì/#Éì OE as in Gujarati OEl-all aOE
AE Bì/#ì AE as in Gujarati AEpal-apple aAE
 2 DIPHTHONGS
In the case of Diphthongs a Two letter combination is given to accomodate the diphthongs. This
combination is closest to the phonetic value of the diphthong.
AW +Éè/#Éè AW as in AWr- and aAW
AY Bä/#è AY as in AYnak-spectacles aAY
3 HRI/HRU
These are of Sanskrit origin and are used to represent words like hrishi or nritya or hrishikesh.
Remaining faithful to Sanskrit convention we have represented this vowel both full and matra as
HRI
HRI @ñ/#Þ HRI as in HRIshI- rishi
4 VISARGA:
The Visarga is shown as
: as in du:kha sorrow (mainly used in Sanskrit derived words)
5 NASAL MARKERS
.M #Ä Chandrabindu as in A.Mkh eye
M #Æ Anuswar as in AMk-number
Some Do's and Don'ts
Before plunging into your phonetic keyboard please note the following :
1. The Transliterator will not work with TAMIL. A special rule file is needed for that.This is
because in the case of Tamil the sounds /t/ /d/ /th/ /dh/ are all represented by the same
character
/t/. The same is the case with quite a few other sounds. For Tamil a special phonetic keyboard
version is under preparation.
2. In certain languages like PUNJABI where there is not a one hundred percent phonetic
correspondence, there might be a few problems. Thus a word like ghoRA horse will be
pronounced as koRA. These problems will be accomodated in the next version. You can still
use this Keyboard for Punjabi. The one thing you have to remember is to replace the spoke
form by its true phonetic value. Thus instead of typing /k/ in /korA/ type /gh/. Similarly
replacing the /T/ of Tol with DH will give you the right Punjabi representation of /DHol/.
3. In the case of H,the following precaution is to be taken. Unless otherwise specified do not
use it in combinations. Thus Sh or sh should not be typed as SH or sH. This might result in
an incorrect combination.
4. You will have to take care of the long and short vowels. Make sure that you key in the right
key for the Long or Short Vowel. When in doubt, spell-check it, if you are working in Hindi,
Marathi or Gujarati to get the right vowel.
Typing with the Keyboard
1 HINTS
Here are a few hints for typing with the phonetic keyboard.
a> Print out the mapping table and keep it before you initially, since it will take some time to
associate the English keyboard characters with the Indian characters.
b> All the consonants in the Indian Script have an implicit /a/ i.e. each consonant is followed
by an /a/. Eò is pronouncd as /ka/ and not /k/. Thus the word Eò¨É±É although written
in Hindi as a chain of three consonants is in fact pronounced as /kamal/. The Phonetic
Keyboard reflects this tendency of the script. You will have to be conscious of the use of /a/
when typing. If you type two consonants together in the Transliterator system, they
constitute a Conjunct i.e. as if these two characters are to be pronounced together without
the /a/. Thus in the case of Ê´ÉGò¨É /vikram/
k and r are joined together without the intervening /a/. This is technically known as Halant i.e. the
implicit /a/ of /k/ is deleted. Be aware of this when typing and do NOT type two consonants
together UNLESS you want them to figure as a Conjunct.
c> For the Nasal sign- Anuswar /#Æ/ or Chandrabindu /#Ä/, type M for the anuswar or .M
for the Chandrabindu. Thus to get ªÉ½þÉÄ type yahA.M
d> /a/ vs /A/ . Our experience has been that you may tend to type /a/ when you want to type
 /A/. Please be careful about the use of the SHIFT key. You may want to type /kamAl/ and
end up as /kamal/ if you forget to SHIFT.
These are the main points to retain when typing with the phonetic keyboard. Let us see now how
to type.
2 TYPING PRACTICE
Let us start in the traditional way by combining the whole set of vowels with a consonant to
generate out the combinations:
ka kA ki kI ku kU ke kAY ko kAW
This will give
Eò EòÉ ÊEò EòÒ EÖò EÚò Eäò Eèò EòÉä EòÉè
Foreign loan sounds:
kOE kAE
EòÉì Eìò
Vowels of other languages:
kE Eàò
kO EòÉà
Try typing out the other consonants + the Vowel sets.
Combine the vowel sets with
g
t
ch
d
T
D
Th
Dh
Now let us try and work with HRI. This is how to set about it. To type the word dance in Hindi,
just key in nHRItya (do NOT forget to type HRI in upper-case) and you will see in the window-
xÉÞiªÉ
Try typing a few conjuncts:
kr Gò
kl C±É
kn CxÉ
pr |É
phr £ò
For conjuncts such as IÉ as in +IÉ®ú akShar you can type a full set of consonants together-
kSh. For YÉ as in YÉÉxÉ type dny. shr will give you ¸É as in ¸ÉÒ shrI.

Now that you are a bit more confident, why don't you try and type a few words: Suppose you have
to type a word like HOUSE in Hindi. You know the word and also how to pronounce it. You start
typing the word: g+h . You see a PÉ. Follow it up by /a/. You have ensured that gh and the
following consoant are separated by the /a/. Now type /r/. You see the full word PÉ®ú ON-
SCREEN. As easy as that
Congratulations! You have just typed your first word using the Transliterator.
Let us take another word, say Khush- happy: Type first K+h. You will see KÉ appear on-screen.
Follow it up with U and you see KÉÖ. Add the s+h and you see the ¶É on the screen. Happy!!
Let us take a toughie. Try the word BIRD in Hindi. Pronounce it mentally and start typing: p
followed by a. Next comes the nasal; so we type .M followed by chh and finally the I. The result
is pa.MchhI-{ÉÄUôÒ
How about some practice. Try keying in the following:
laRkA ±Éc÷EòÉ
bAYl ¤Éè±É
 totA iÉÉäiÉÉ
bhArat ¦ÉÉ®úiÉ
gilaharI ÊMɱɽþ®úÒ
dostI nùÉäºiÉÒ
AmadanI +ɨÉnùxÉÒ
paravAh {É®ú´Éɽþ
Try a few more words from memory. Do NOT forget the /a/'s between two consonants that you
want to keep separate. (If in doubt run a spell-checker on it, if you are working in Hindi, Marathi
or Gujarati).
Once you feel Word confident get down to sentences:
merA bhArat mahAn ¨Éä®úÉ ¦ÉÉ®úiÉ ¨É½þÉxÉ
tum kyA kar rahe ho iÉÖ¨É CªÉÉ Eò®ú ®ú½äþ ½þÉä
And how about a full text. We have entered a full text in Phonetic for you. It is a very famous text
from a very famous Hindi writer: Premchand. The text is called shataraMj ke khilARI. Why don't
you try to read it through. We have also given the original Hindi version.
For added accuracy, if you are working in Marathi or Hindi or Gujarati, try spell-checking the file.
Your text will be character and word perfect.
Sample Phonetic Text
shataraMj ke khilARI
muMshI prem chaMd
vAzid alI shAh kA samay thA lakhanaU vilAsitA ke raMg meM DUbA huA thA chhoTe-baRe,
amir-garIb sabhI vIlAsitA meM DUbe hue the koI nHRItya AWr gAn kI majalIs sajAtA thA, to
koi afIm kI pinak hI meM maze letA thA jIvan ke pratyek vibhAg meM Amod-pramod kA
prAdhAnya thA shAsan vibhAg meM, sAhityakShetra meM, sAmAjik vyavasthA meM, kalA-
koshal meM, udyog-dhandhoM meM, AhAr-vyavahAr meM, sarvatra vilAsitA vayAp rahI thI
rAjakarmachArI viShay-vAsanA me, kavigaN prem AWr vIrah ke varNan meM, kArIgar
kalAbattU AWr chikan banAne meM, vyavasAyI surame, itra, missI AWr ubaTan kA rojagAr
karane meM lipta the sabhI kI AMkho meM vilAsitA kA mad chhAyA huA thA saMsAr meM
kyA ho rahA hAY, isakI kisI ko Khabar na thI baTer laR rahe hAYM tItaroM kI laRAI ke lie
phalI badI jA rahI hAY kahIM chAWsar bichhI huI hAY; pAW-bArah kA shor machA huA hAY
kahIM shataraMj kA ghor sagrAm chhiRA huA hAY rAjA se lekar raMk tak isI dhun meM masta
the yahA.M tak ki phakIro ko pAYse milate to ve roTiyA.M na lekar afIm khAte yA madak pIte
shataraMj, tAsh gaMjIfA khelane se buddhi tIvra hotI hAY, vichAr-shakti kA vikAs hotA hAY,
pechIdA
masaloM ko sulajhAne kI Adat paRatI hAY ye dalIleM zoroM ke sAth pesh kI jAtI thIM (is
sampradAy ke logoM se duniyA ab bhI khAlI nahIM hAY ) isalie agar mirazA sajjAdAAlI AWr
mIr rAWshan alI apanA adhikAMsh samay buddhi tIvra karane meM vyatIt karate the, to kisI
vichArashIl puruSh ko kyA Apatti ho sakatI thI? donoM ke pAs mAWrUsI jAgIreM thI; jIvikA kI
koI chintA na thI; ghar meM bAYThe chakhAWtiyA.M karate the Akhir AWr karate hI kyA?
prAta:kAl donoM mitra nAshtA karake bisAt bichhAkar bAYTh jAte, muhare saj jAte, AWr
laRAI ke dA.Mv-peMch hone lagate phir khabar na hotI thI ki kab dopahar huI, kab tIsarA pahar,
kab shAm! ghar ke bhItar se bAr-bAr bulAvA AtA ki khAnA tAYyAr hAY yahA.M se javAb
milatA chalo, Ate hAY; dastarakhvAn bichhAo yahA.M tak ki bAvarachI vivash hokar kamare hI
meM khAnA rakh jAtA thA, AWr donoM mitra donoM kAm sAth- sAth karate the mirajA
sajjAdAAlI ke ghar meM koI baRA bUDHA na thA, isaliye unhIM ke dIvAnakhAne meM
bAjiyA.M hotI thIM
magar yah bAt na thI ki mirajA ke ghar ke AWr log unake is vyavahAr se khush hoM gharavAloM
kA to kahanA hI kyA, muhallevAle, ghar ke nAWkarachAkar tak nitya dveShapUrNa
TippaNiyA.M kiyA karate the--baRA manahUs khel hAY ghar ko tabAh kar detA hAY khudA na
kare, kisI ko isakI chAT paRe AdamI dIn-duniyA, kisI ke kAm kA nahIM rahatA, na ghar kA na
ghAT kA burA rog hAY yahA.M tak ki mirajA kI begam sAhabA ko isase itanA dveSh thA ki
avasar khoj khojakar pati ko latARatI thIM par unheM isakA avasar mushkil se milatA thA vah
sotI hI rahatI thIM, tab tak idhar bAzI bichh jAtI thI AWr, rAt ko jab so jAtI thIM, tab kahIM
mirajAjI ghar meM Ate the hA.M, nAWkaroM par vah apanA gussA utAratI rahatI thIM -- kyA
pAn mA.Mge hAYM? kah do, Akar le jAy.M khAne kI phurasat nahIM hAY? le jAkar khAnA sir
paTak do, khAy.M, chAhe kutte ko khilAve; par rUbarU vah bhI kuchh na kah sakatI thIM unako
apane pati se utanA malAl na thA, jitanA mIr sAhab se unhoMne unakA nAm mIr bigaRU rakh
chhoRA thA shAyad mirajAjI apanI safAI dene ke lie sArA ilajAm mIr sAhab hI ke sir thop dete
the.
ek din begam sAhabA ke sir meM darda hone lagA unhoMne lAWMDI se kahA -- jAkar mirajA
sAhab ko bulA lA kisI hakIm ke yahA.M se davA lAveM dAWR, jaldI kar lAWMDI gayI, to
mirajAjI ne kahA chal abhI Ate hAYM, begam sAhab kA mijAz garam thA itanI tAb kahA.M ki
unake sir meM darda ho, AWr pati shataraMj khelatA rahe cheharA surkha ho gayA
lAWMDI se kahA -- jAkar kah, abhI chaliye nahIM to vah Ap hI hakIm ke yahA.M chalI
jAya.MgI
mirajAjI baRI dilachaspa bAzI khel rahe the; do hI kishtoM meM mIrasAhab ko mAt huI jAtI thI
jhu.MjhalAkar bole -- kyA AYsA dam laboM par hAY? zarA sA sabra nahIM hotA?
mIr -- are to jAkar sun hI Aiye na AWrateM nAjuk mizAj hotI hI hAYM
mirajA -- jI hA.M, chalA kyoM na jAU.M? do kishtoM ApakI mAt hotI hAY
mIr -- janAb, is bharose na rahiyegA vah chAl sochI hAY ki Apake muhare dhare raheM, AWr
mAt ho jAy par jAiye, sun Aiye kyoM KhAmakhvAh unakA dil dukhAiyegA?
mirajA -- isI bAt par mAt hI karake jAU.MgA
mIr -- mAYM khelU.MgA hI nahIM Ap jAkar sun Aiye
mirajA -- are yAr, jAnA hogA hakIm ke yahA.M sir-darda khAk nahIM hAY; mujhe
pareshAn karane kA bahAnA hAY
mIr -- kuchh bhI ho, unakI khAtir to karanI hI paRegI
mirajA -- achchhA, ek chAl AWr chal lU.M
mIr -- haragiz nahIM, jab tak Ap sun na AveMge, mAYM muhare meM hAth hI na
lagAU.MgA
mirajA sAhab majabUr hokar aMdar gaye, to begam sAhabA ne tyAWriyA.M badalakar
lekinakarAhate hue, kahA -- tumheM nigoRI shataraMj itanI pyArI hAY! chAhe koI mar hI jAy,
par uThane kA nAm nahIM lete! nAWj koI tum jAYsA AdamI ho!
mirajA -- kyA kahU.M, mIr sAhab mAnate hI na the baRI mushkil se pIchhA chhuRAkar AyA
hU.M
begam -- kyA jAYse vah khud nikhaTTU hAYM, vAYse hI sabako samajhate hAYM? unake bhI
to bAl-bachche hAYM; yA sabakA safAyA kar DAlA?
mirajA -- baRA latI AdamI hAY jab A jAtA hAY, tab majabUr hokar mujhe bhI khelanA hI
paRatA hAY
begam -- dutkAr kyoM nahIM dete?
mirajA -- barAbar ke AdamI hAYM, umra meM, darje meM mujhase do aMgul U.Mche
mulAhizA karanA hI paRatA hAY
begam -- to mAYM hI dutkAr detI hU.M nArAj ho jAya.Mge, ho jAy.M kAWn kisI kI roTiyA.M
chalA detA hAY rAnI rUTheMgI, apanA suhAg leMgI --hiriyA, jA bAhar se shataraMj uThA lA
mIrasAhab se kahanA, miyA.M ab na kheleMge, Ap tasharIf le jAiye
mirajA -- hA.M-hA.M kahIM AYsA Gajab bhI na karanA! zalIl karAnA chAhatI ho kyA!--Thahar
hiriyA, kahA.M jAtI hAY?
begam -- jAne kyoM nahIM dete? mere hI khUn piye, jo use roke achchhA, use rokA, mujhe
roko to jAnU.M?
yah kahakar begam sAhabA jhallAI huI dIvAnakhAne kI taraph chalIM? mirajA bechAre kA
raMg uR gayA bIvI kI minnateM karane lage -- khudA ke lie, tumheM hazarat husen kI kasam
hAY merI hI mAYyat dekhe, jo udhar jAy lekin begam ne ek na mAnI? dIvAnakhAne ke dvAr
tak gayI; par ekAek par-puruSh ke sAmane jAte hue pA.Mv ba.Mdh se gaye bhItar jhA.MkA
saMyog se kamarA khAlI thA mIrasAhab ne do-ek muhare idhar-udhar kar diye the; AWr apanI
safAI jatAne ke lie bAhar Tahal rahe the phir kyA thA begam ne andar pahu.Mchakar bAzI ulaT
dI, muhare kuchh takhta ke nIche pheMk diye, kuchh bAhar; AWr kivARe andar se banda karake
kuNaDI lagA dI mIrasAhab daravAje par to the hI, muhare bAhar pheMke jAte dekhe,
chURiyoM kI jhanak bhI kAn meM paRI phir daravAzA banda huA to samajh gaye, begam
sAhabA bigaR gayIM chupake se ghar kI rAh lI.
ORIGINAL HINDI TEXT
¶ÉiÉ®ÆúVÉ Eäò ÊJɱÉÉc÷Ò
¨ÉÖƶÉÒ |Éä¨É SÉÆnù
´ÉÉÊWÉnù +±ÉÒ ¶Éɽþ EòÉ ºÉ¨ÉªÉ lÉÉ* ±ÉJÉxÉ>ð Ê
´É±ÉÉʺÉiÉÉ Eäò ®ÆúMÉ ¨Éå bÚ÷¤ÉÉ ½Öþ+É lÉÉ* UôÉä]äõ-
¤Écä÷,+ʨɮú-MÉ®úÒ¤É ºÉ¦ÉÒ ´ÉÒ±ÉÉʺÉiÉÉ ¨Éå bÚ÷¤Éä
½ÖþªÉä lÉä* EòÉä<Ç xÉÞiªÉ +Éè®ú MÉÉxÉ EòÒ ¨ÉVɱÉÒºÉ
ºÉVÉÉiÉÉ lÉÉ, iÉÉäEòÉä< +¢òÒ¨É EòÒ Ê{ÉxÉEò ½þÒ ¨Éå ¨ÉWÉä
±ÉäiÉÉ lÉÉ* VÉÒ´ÉxÉ Eäò |ÉiªÉäEò ʴɦÉÉMÉ ¨Éå +ɨÉÉänù-|
ɨÉÉänù EòÉ |ÉÉvÉÉxªÉlÉÉ* ¶ÉɺÉxÉ Ê´É¦ÉÉMÉ ¨Éå,
ºÉÉʽþiªÉIÉäjÉ ¨Éå, ºÉɨÉÉÊVÉEò ´ªÉ´ÉºlÉÉ ¨Éå, Eò±ÉÉ-
EòÉä¶É±É ¨Éå, =tÉäMÉ-vÉxvÉÉå ¨Éå,+ɽþÉ®ú-´ªÉ´É½þÉ®ú
¨Éå, ºÉ´ÉÇjÉ Ê´É±ÉÉʺÉiÉÉ ´ÉªÉÉ{É ®ú½þÒ lÉÒ*
®úÉVÉEò¨ÉÇSÉÉ®úÒ Ê´É¹ÉªÉ-´ÉɺÉxÉÉ ¨Éä, EòÊ´ÉMÉhÉ |Éä¨É
+Éè®ú ´ÉÒ®ú½þ Eäò ´ÉhÉÇxÉ ¨Éå, EòÉ®úÒMÉ®ú
Eò±ÉɤÉkÉÚ +Éè®úÊSÉEòxÉ ¤ÉxÉÉxÉä ¨Éå, ´ªÉ´ÉºÉɪÉÒ
ºÉÖ®ú¨Éä, <jÉ, ʨɺºÉÒ +Éè®ú =¤É]õxÉ EòÉ ®úÉäVÉMÉÉ®ú
Eò®úxÉä ¨Éå ʱÉ{iÉ lÉä* ºÉ¦ÉÒ EòÒ+ÉÆJÉÉä ¨Éå ʴɱÉÉʺÉiÉÉ
EòÉ ¨Énù UôɪÉÉ ½Öþ+É lÉÉ* ºÉƺÉÉ®ú ¨Éå CªÉÉ ½þÉä
®ú½þÉ ½èþ, <ºÉEòÒ ÊEòºÉÒ EòÉä Kɤɮú xÉlÉÒ* ¤É]äõ®ú
±Éc÷ ®ú½äþ ½éþ* iÉÒiÉ®úÉå EòÒ ±Éc÷É<Ç Eäò ʱÉB ¡ò±ÉÒ
¤ÉnùÒ VÉÉ ®ú½þÒ ½èþ* Eò½þÓ SÉÉèºÉ®ú ʤÉUôÒ
½Öþ<ǽèþ; {ÉÉè-¤ÉÉ®ú½þ EòÉ ¶ÉÉä®ú ¨ÉSÉÉ ½Öþ+É ½èþ*
Eò½þÓ ¶ÉiÉ®ÆúVÉ EòÉ PÉÉä®ú ºÉOÉÉ¨É ÊUôc÷É ½Öþ+É ½èþ*
®úÉVÉÉ ºÉä ±ÉäEò®ú®ÆúEò iÉEò <ºÉÒ vÉÖxÉ ¨Éå ¨ÉºiÉ lÉä*
ªÉ½þÉÄ iÉEò ÊEò ¡òEòÒ®úÉä EòÉä {ÉèºÉä ʨɱÉiÉä iÉÉä ´Éä
®úÉäÊ]õªÉÉÄ xÉ ±ÉäEò®ú+¢òÒ¨É JÉÉiÉä ªÉÉ ¨ÉnùEò {ÉÒiÉä*
¶ÉiÉ®ÆúVÉ, iÉÉ¶É MÉÆVÉÒ¢òÉ JÉä±ÉxÉä ºÉä ¤ÉÖÊrù iÉÒµÉ
½þÉäiÉÒ ½èþ, Ê´ÉSÉÉ®ú-¶ÉÊHò EòÉ Ê´ÉEòÉºÉ ½þÉäiÉÉ ½èþ,
{ÉäSÉÒnùÉ ¨ÉºÉ±ÉÉå EòÉä ºÉÖ±ÉZÉÉxÉä EòÒ +ÉnùiÉ {Éc÷iÉÒ
½èþ* ªÉä nù±ÉÒ±Éå WÉÉä®úÉå Eäò ºÉÉlÉ {Éä¶É EòÒ VÉÉiÉÒ
lÉÓ* (<ºÉºÉ¨|ÉnùÉªÉ Eäò ±ÉÉäMÉÉå ºÉä nÖùÊxɪÉÉ +¤É ¦ÉÒ
JÉɱÉÒ xɽþÓ ½èþ*) <ºÉʱÉB +MÉ®ú ʨɮúWÉÉ ºÉVVÉÉnù+
±ÉÒ +Éè®ú ¨ÉÒ®ú®úÉè¶ÉxÉ +±ÉÒ +{ÉxÉÉ +ÊvÉEòÉƶÉ
ºÉ¨ÉªÉ ¤ÉÖÊrù iÉÒµÉ Eò®úxÉä ¨Éå ´ªÉiÉÒiÉ Eò®úiÉä lÉä, iÉÉä
ÊEòºÉÒ Ê´ÉSÉÉ®ú¶ÉÒ±É {ÉÖ¯û¹ÉEòÉä CªÉÉ +É{ÉÊkÉ ½þÉä
ºÉEòiÉÒ lÉÒ? nùÉäxÉÉå Eäò {ÉÉºÉ ¨ÉÉè°üºÉÒ VÉÉMÉÒ®åú lÉÒ;
VÉÒÊ´ÉEòÉ EòÒ EòÉä<Ç ÊSÉxiÉÉ xÉ lÉÒ;PÉ®ú ¨Éå ¤Éè`äö
SÉJÉÉèÊiɪÉÉÄ Eò®úiÉä lÉä* +ÉÊJÉ®ú +Éè®ú Eò®úiÉä ½þÒ
CªÉÉ? |ÉÉiÉ&EòÉ±É nùÉäxÉÉå ʨÉjÉ xÉɶiÉÉ Eò®úEäòʤɺÉÉiÉ
ʤÉUôÉEò®ú ¤Éè`ö VÉÉiÉä, ¨ÉÖ½þ®äú ºÉVÉ VÉÉiÉä, +Éè®ú
±Éc÷É<Ç Eäò nùÉÄ´É-{ÉåSÉ ½þÉäxÉä ±ÉMÉiÉä* Ê¡ò®ú Jɤɮú
xɽþÉäiÉÒ lÉÒ ÊEò Eò¤É nùÉä{ɽþ®ú ½Öþ<Ç, Eò¤É iÉҺɮúÉ
{ɽþ®ú, Eò¤É ¶ÉɨÉ! PÉ®ú Eäò ¦ÉÒiÉ®ú ºÉä ¤ÉÉ®ú-¤ÉÉ®ú
¤ÉÖ±ÉÉ´ÉÉ+ÉiÉÉ ÊEò JÉÉxÉÉ iÉèªÉÉ®ú ½èþ* ªÉ½þÉÄ ºÉä VÉ
´ÉÉ¤É Ê¨É±ÉiÉÉ SɱÉÉä, +ÉiÉä ½èþ; nùºiÉ®úJ´ÉÉxÉ
ʤÉUôÉ+Éä* ªÉ½þÉÄ iÉEòÊEò ¤ÉÉ´É®úSÉÒ Ê´É´É¶É ½þÉäEò®ú
Eò¨É®äú ½þÒ ¨Éå JÉÉxÉÉ ®úJÉ VÉÉiÉÉ lÉÉ, +Éè®ú nùÉäxÉÉå
ʨÉjÉ nùÉäxÉÉå EòÉ¨É ºÉÉlÉ-ºÉÉlÉ Eò®úiÉä lÉä* ʨɮúVÉÉ
ºÉVVÉÉnù+±ÉÒ Eäò PÉ®ú ¨Éå EòÉä<Ç ¤Éc÷É ¤ÉÚgøÉ xÉ lÉÉ,
<ºÉʱɪÉä =x½þÓ Eäò nùÒ´ÉÉxÉJÉÉxÉä¨Éå ¤ÉÉÊVɪÉÉÄ
½þÉäiÉÒ lÉÓ*
¨ÉMÉ®ú ªÉ½þ ¤ÉÉiÉ xÉ lÉÒ ÊEò ʨɮúVÉÉ Eäò PÉ®ú Eäò
+Éè®ú ±ÉÉäMÉ =xÉEäò <ºÉ ´ªÉ´É½þÉ®ú ºÉä JÉÖ¶É
½þÉå*PÉ®ú´ÉɱÉÉå EòÉ iÉÉä Eò½þxÉÉ ½þÒ CªÉÉ, ¨ÉÖ½þ±±Éä
´ÉɱÉä, PÉ®ú Eäò xÉÉèEò®úSÉÉEò®ú iÉEò ÊxÉiªÉ
uäù¹É{ÉÚhÉÇ Ê]õ{{ÉÊhɪÉÉÄÊEòªÉÉ Eò®úiÉä lÉä--¤Éc÷É
¨ÉxɽÚþºÉ JÉä±É ½èþ* PÉ®ú EòÉä iɤÉɽþ Eò®ú näùiÉÉ ½èþ*
JÉÖnùÉ xÉ Eò®äú, ÊEòºÉÒ EòÉä<ºÉEòÒ SÉÉ]õ {Écä÷ +Énù¨ÉÒ
nùÒxÉ-nÖùÊxɪÉÉ, ÊEòºÉÒ Eäò EòÉ¨É EòÉ xɽþÓ ®ú½þiÉÉ, xÉ
PÉ®ú EòÉ xÉ PÉÉ]õ EòÉ*¤ÉÖ®úÉ ®úÉäMÉ ½èþ* ªÉ½þÉÄ iÉEò
ÊEò ʨɮúVÉÉ EòÒ ¤ÉäMÉ¨É ºÉɽþ¤ÉÉ EòÉä <ºÉºÉä <iÉxÉÉ
uäù¹É lÉÉ ÊEò +´ÉºÉ®ú JÉÉäVÉJÉÉäVÉEò®ú {ÉÊiÉ EòÉä
±ÉiÉÉc÷iÉÒ lÉÓ* {É®ú =x½åþ <ºÉEòÉ +´ÉºÉ®ú ¨ÉÖζEò±É ºÉä
ʨɱÉiÉÉ lÉÉ* ´É½þ ºÉÉäiÉÒ ½þÒ®ú½þiÉÒ lÉÓ, iÉ¤É iÉEò
<vÉ®ú ¤ÉÉWÉÒ Ê¤ÉUô VÉÉiÉÒ lÉÒ* +Éè®ú, ®úÉiÉ EòÉä VɤÉ
ºÉÉä VÉÉiÉÒ lÉÓ, iÉ¤É Eò½þÓʨɮúVÉÉVÉÒ PÉ®ú ¨Éå +ÉiÉä
lÉä* ½þÉÄ, xÉÉèEò®úÉå {É®ú ´É½þ +{ÉxÉÉ MÉÖººÉÉ
=iÉÉ®úiÉÒ ®ú½þiÉÒ lÉÓ -- CªÉÉ {ÉÉxÉ ¨ÉÉÄMÉä½éþ? Eò½þ
nùÉä, +ÉEò®ú ±Éä VÉɪÉÄ* JÉÉxÉä EòÒ ¡Öò®úºÉiÉ xɽþÓ
½èþ? ±Éä VÉÉEò®ú JÉÉxÉÉ ÊºÉ®ú {É]õEò nùÉä, JÉɪÉÄ,SÉɽäþ
EÖòkÉä EòÉä ÊJɱÉÉ´Éä; {É®ú °ü¤É°ü ´É½þ ¦ÉÒ EÖòUô xÉ
Eò½þ ºÉEòiÉÒ lÉÓ* =xÉEòÉä +{ÉxÉä {ÉÊiÉ ºÉä =iÉxÉɨɱÉɱÉ
xÉ lÉÉ, ÊVÉiÉxÉÉ ¨ÉÒ®ú ºÉɽþ¤É ºÉä* =x½þÉåxÉä =xÉEòÉ
xÉÉ¨É ¨ÉÒ®ú ʤÉMÉcÝ÷ ®úJÉ UôÉäc÷É lÉÉ*
¶ÉɪÉnùʨɮúVÉÉVÉÒ +{ÉxÉÒ ºÉ¢òÉ<Ç näùxÉä Eäò ʱÉB
ºÉÉ®úÉ <±ÉVÉÉ¨É ¨ÉÒ®ú ºÉɽþ¤É ½þÒ Eäò ʺɮú lÉÉä{É
näùiÉä lÉä*
BEò ÊnùxÉ ¤ÉäMÉ¨É ºÉɽþ¤ÉÉ Eäò ʺɮú ¨Éå nùnÇù ½þÉäxÉä
±ÉMÉÉ* =x½þÉåxÉä ±ÉÉéb÷Ò ºÉä Eò½þÉ -- VÉÉEò®ú
ʨɮúVÉÉ ºÉɽþ¤É EòÉä ¤ÉÖ±ÉÉ ±ÉÉ* ÊEòºÉÒ ½þEòÒ¨É Eäò
ªÉ½þÉÄ ºÉä nù´ÉÉ ±ÉÉ´Éå* nùÉèc÷, VɱnùÒ Eò®ú* ±ÉÉéb÷Ò
MɪÉÒ, iÉÉä ʨɮúVÉÉVÉÒ xÉä Eò½þÉ SÉ±É +¦ÉÒ +ÉiÉä ½éþ,
¤ÉäMÉ¨É ºÉɽþ¤É EòÉ Ê¨ÉVÉÉWÉ MÉ®ú¨É lÉÉ* <iÉxÉÒ iÉɤÉ
Eò½þÉÄ ÊEò =xÉEäò ʺɮú ¨Éå nùnÇù ½þÉä, +Éè®ú {ÉÊiÉ
¶ÉiÉ®ÆúVÉ JÉä±ÉiÉÉ ®ú½äþ* SÉä½þ®úÉ ºÉÖJÉÇ ½þÉä MɪÉÉ*
±ÉÉéb÷Ò ºÉä Eò½þÉ -- VÉÉEò®ú Eò½þ, +¦ÉÒ SÉʱɪÉä xɽþÓ
iÉÉä ´É½þ +É{É
½þÒ ½þEòÒ¨É Eäò ªÉ½þÉÄ SɱÉÒ VÉɪÉÄMÉÒ* ʨɮúVÉÉVÉÒ
¤Éc÷Ò Ênù±ÉSɺ{É ¤ÉÉWÉÒ JÉä±É ®ú½äþ lÉä; nùÉä ½þÒ
ÊEò¶iÉÉå ¨Éå ¨ÉÒ®úºÉɽþ¤É EòÉä ¨ÉÉiÉ ½Öþ<Ç VÉÉiÉÒ lÉÒ*
ZÉÖÄZɱÉÉEò®ú ¤ÉÉä±Éä -- CªÉÉ BäºÉÉ nù¨É ±É¤ÉÉå {É®ú
½èþ? WÉ®úÉ ºÉÉ ºÉ¥É xɽþÓ ½þÉäiÉÉ?
¨ÉÒ®ú -- +®äú iÉÉä VÉÉEò®ú ºÉÖxÉ ½þÒ +É<ªÉä xÉ*
+Éè®úiÉå xÉÉVÉÖEò ʨÉWÉÉVÉ ½þÉäiÉÒ ½þÒ ½éþ*
ʨɮúVÉÉ -- VÉÒ ½þÉÄ, SɱÉÉ CªÉÉå xÉ VÉÉ>Äð? nùÉä
ÊEò¶iÉÉå +É{ÉEòÒ ¨ÉÉiÉ ½þÉäiÉÒ ½èþ*
¨ÉÒ®ú -- VÉxÉɤÉ, <ºÉ ¦É®úÉäºÉä xÉ ®úʽþªÉäMÉÉ* ´É½þ
SÉÉ±É ºÉÉäSÉÒ ½èþ ÊEò +É{ÉEäò ¨ÉÖ½þ®äú vÉ®äú ®ú½åþ,
+Éè®ú ¨ÉÉiÉ ½þÉä VÉɪÉ* {É®ú VÉÉ<ªÉä, ºÉÖxÉ +É<ªÉä*
CªÉÉå KÉɨÉJ´Éɽþ =xÉEòÉ Ênù±É nÖùJÉÉ<ªÉäMÉÉ?
ʨɮúVÉÉ -- <ºÉÒ ¤ÉÉiÉ {É®ú ¨ÉÉiÉ ½þÒ Eò®úEäò
VÉÉ>ÄðMÉÉ*
¨ÉÒ®ú -- ¨Éé JÉä±ÉÚÄMÉÉ ½þÒ xɽþÓ* +É{É VÉÉEò®ú ºÉÖxÉ
+É<ªÉä*
ʨɮúVÉÉ -- +®äú ªÉÉ®ú, VÉÉxÉÉ ½þÉäMÉÉ ½þEòÒ¨É Eäò
ªÉ½þÉÄ* ʺɮú-nùnÇù JÉÉEò xɽþÓ ½èþ;
¨ÉÖZÉä{É®äú¶ÉÉxÉ Eò®úxÉä EòÉ ¤É½þÉxÉÉ ½èþ*
¨ÉÒ®ú -- EÖòUô ¦ÉÒ ½þÉä, =xÉEòÒ JÉÉÊiÉ®ú iÉÉä Eò®úxÉÒ
½þÒ {Écä÷MÉÒ*
ʨɮúVÉÉ -- +SUôÉ, BEò SÉÉ±É +Éè®ú SÉ±É ±ÉÚÄ*
¨ÉÒ®ú -- ½þ®úÊMÉWÉ xɽþÓ, VÉ¤É iÉEò +É{É ºÉÖxÉ xÉ
+É´ÉåMÉä, ¨Éé ¨ÉÖ½þ®äú ¨Éå ½þÉlÉ ½þÒ
xɱÉMÉÉ>ÄðMÉÉ*
ʨɮúVÉÉ ºÉɽþ¤É ¨ÉVɤÉÚ®ú ½þÉäEò®ú +Ænù®ú MɪÉä,
iÉÉä ¤ÉäMÉ¨É ºÉɽþ¤ÉÉ xÉä iªÉÉèÊ®úªÉÉÄ ¤Énù±ÉEò®ú
±ÉäÊEòxÉEò®úɽþiÉä½ÖþB, Eò½þÉ -- iÉÖ¨½åþ ÊxÉMÉÉäc÷Ò
¶ÉiÉ®ÆúVÉ <iÉxÉÒ {ªÉÉ®úÒ ½èþ! SÉɽäþ EòÉä<Ç ¨É®ú ½þÒ
VÉɪÉ, {É®ú =`öxÉä EòÉ xÉɨÉxɽþÓ ±ÉäiÉä! xÉÉèVÉ EòÉä<Ç
iÉÖ¨É VÉèºÉÉ +Énù¨ÉÒ ½þÉä! ʨɮúVÉÉ -- CªÉÉ Eò½ÚÄþ,
¨ÉÒ®ú ºÉɽþ¤É ¨ÉÉxÉiÉä ½þÒ xÉ lÉä* ¤Éc÷Ò ¨ÉÖζEò±É ºÉä
{ÉÒUôÉ UÖôc÷ÉEò®ú +ɪÉÉ ½ÚÄþ*
¤ÉäMÉ¨É -- CªÉÉ VÉèºÉä ´É½þ JÉÖnù ÊxÉJÉ]Âõ]Úõ ½éþ, ´ÉèºÉä
½þÒ ºÉ¤ÉEòÉä ºÉ¨ÉZÉiÉä ½éþ? =xÉEäò ¦ÉÒ iÉÉä ¤ÉɱÉ-¤ÉSSÉä
½éþ;ªÉÉ ºÉ¤ÉEòÉ ºÉ¢òɪÉÉ Eò®ú b÷ɱÉÉ?
ʨɮúVÉÉ -- ¤Éc÷É ±ÉiÉÒ +Énù¨ÉÒ ½èþ* VÉ¤É +É VÉÉiÉÉ ½èþ,
iÉ¤É ¨ÉVɤÉÚ®ú ½þÉäEò®ú ¨ÉÖZÉä ¦ÉÒ JÉä±ÉxÉÉ ½þÒ
{Éc÷iÉɽèþ*
¤ÉäMÉ¨É -- nÖùiEòÉ®ú CªÉÉå xɽþÓ näùiÉä?
ʨɮúVÉÉ -- ¤É®úɤɮú Eäò +Énù¨ÉÒ ½éþ, =©É ¨Éå, nùVÉæ
¨Éå ¨ÉÖZɺÉä nùÉä +ÆMÉÖ±É >ÄðSÉä* ¨ÉÖ±ÉÉʽþWÉÉ
Eò®úxÉÉ ½þÒ{Éc÷iÉÉ ½èþ *
¤ÉäMÉ¨É -- iÉÉä ¨Éé ½þÒ nÖùiEòÉ®ú näùiÉÒ ½ÚÄþ* xÉÉ®úÉVÉ
½þÉä VÉɪÉÄMÉä, ½þÉä VÉɪÉÄ* EòÉèxÉ ÊEòºÉÒ EòÒ
®úÉäÊ]õªÉÉÄ SɱÉÉnäùiÉÉ ½èþ* ®úÉxÉÒ °ü`åöMÉÒ, +{ÉxÉÉ
ºÉÖ½þÉMÉ ±ÉåMÉÒ* --ʽþÊ®úªÉÉ, VÉÉ ¤Éɽþ®ú ºÉä
¶ÉiÉ®ÆúVÉ =`öÉ ±ÉÉ* ¨ÉÒ®úºÉɽþ¤ÉºÉä Eò½þxÉÉ, ʨɪÉÉÄ
+¤É xÉ JÉä±ÉåMÉä, +É{É iɶɮúÒ¢ò ±Éä VÉÉ<ªÉä*
ʨɮúVÉÉ -- ½þÉÄ-½þÉÄ Eò½þÓ BäºÉÉ NÉVÉ¤É ¦ÉÒ xÉ
Eò®úxÉÉ! WɱÉÒ±É Eò®úÉxÉÉ SÉɽþiÉÒ ½þÉä
CªÉÉ!--`ö½þ®úʽþÊ®úªÉÉ, Eò½þÉÄ VÉÉiÉÒ ½èþ?
¤ÉäMÉ¨É -- VÉÉxÉä CªÉÉå xɽþÓ näùiÉä? ¨Éä®äú ½þÒ JÉÚxÉ
Ê{ɪÉä, VÉÉä =ºÉä ®úÉäEäò* +SUôÉ, =ºÉä ®úÉäEòÉ, ¨ÉÖZÉä
®úÉäEòÉä iÉÉäVÉÉxÉÚÄ?
ªÉ½þ Eò½þEò®ú ¤ÉäMÉ¨É ºÉɽþ¤ÉÉ Zɱ±ÉÉ<Ç ½Öþ<Ç nùÒ
´ÉÉxÉJÉÉxÉä EòÒ iÉ®ú¡ò SɱÉÓ? ʨɮúVÉÉ ¤ÉäSÉÉ®äú EòÉ
®ÆúMÉ =c÷ MɪÉÉ* ¤ÉÒ´ÉÒ EòÒ Ê¨ÉzÉiÉå Eò®úxÉä ±ÉMÉä --
JÉÖnùÉ Eäò ʱÉB, iÉÖ¨½åþ ½þWÉ®úiÉ ½ÖþºÉäxÉ EòÒ EòºÉ¨É
½èþ* ¨Éä®úÒ ½þÒ ¨ÉèªÉiÉ näùJÉä, VÉÉä =vÉ®ú VÉɪÉ*
±ÉäÊEòxÉ ¤ÉäMÉ¨É xÉä BEò xÉ ¨ÉÉxÉÒ? nùÒ´ÉÉxÉJÉÉxÉä Eäò
uùÉ®ú iÉEò MɪÉÒ; {É®ú BEòÉBEò {É®ú-{ÉÖ¯û¹É Eäò
ºÉɨÉxÉä VÉÉiÉä ½ÖþB {ÉÉÄ´É ¤ÉÄvÉ ºÉä MɪÉä* ¦ÉÒiÉ®ú
ZÉÉÄEòÉ ºÉƪÉÉäMÉ ºÉä Eò¨É®úÉ JÉɱÉÒ lÉÉ* ¨ÉÒ®úºÉɽþ¤É
xÉä nùÉä-BEò ¨ÉÖ½þ®äú <vÉ®ú-=vÉ®ú Eò®ú ÊnùªÉä lÉä;
+Éè®ú +{ÉxÉÒ ºÉ¢òÉ<Ç VÉiÉÉxÉä Eäò ʱÉB ¤Éɽþ®ú ]
õ½þ±É ®ú½äþ lÉä* Ê¡ò®ú CªÉÉ lÉÉ ¤ÉäMÉ¨É xÉä +xnù®ú
{ɽÖÄþSÉEò®ú ¤ÉÉWÉÒ =±É]õ nùÒ, ¨ÉÖ½þ®äú EÖòUô iÉJiÉ
Eäò xÉÒSÉä ¡åòEò ÊnùªÉä, EÖòUô ¤Éɽþ®ú; +Éè®ú ÊEò´ÉÉcä÷
+xnù®ú ºÉä ¤Éxnù Eò®úEäò EÖòhÉb÷Ò ±ÉMÉÉ nùÒ*
¨ÉÒ®úºÉɽþ¤É nù®ú´ÉÉVÉä {É®ú iÉÉä lÉä ½þÒ, ¨ÉÖ½þ®äú
¤Éɽþ®ú ¡åòEäò VÉÉiÉä näùJÉä, SÉÚÊc÷ªÉÉå EòÒ ZÉxÉEò ¦ÉÒ
EòÉxÉ ¨Éå {Éc÷Ò* Ê¡ò®ú nù®ú´ÉÉWÉÉ ¤Éxnù ½Öþ+É iÉÉä
ºÉ¨ÉZÉ MɪÉä, ¤ÉäMÉ¨É ºÉɽþ¤ÉÉ Ê¤ÉMÉc÷ MɪÉÓ* SÉÖ{ÉEäò
ºÉä PÉ®ú EòÒ ®úɽþ ±ÉÒ*