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P. B. Shelley

*** P. B. Shelley ****

P. B. Shelley āϏāĻŽ্āĻĒāϰ্āĻ•ে āĻ•িāĻ›ু āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āϤāĻĨ্āϝ:

i. Shelley āĻšāϞেāύ Romantic āϝুāĻ—েāϰ āĻ…āύ্āϝāϤāĻŽ āĻāĻ•āϜāύ āĻļ্āϰেāώ্āĻ  Romantic āĻ•āĻŦি।

ii. āϤিāύি āύāĻĻীāϤে āĻĄুāĻŦে āĻŽৃāϤ্āϝুāĻŦāϰāĻŖ āĻ•āϰেāĻ›িāϞেāύ। [āϜুāϞাāχ āĻŽাāϏেāϰ ā§Ž āϤাāϰিāĻ–। āĻļেāϞীāϰ āĻŦāύ্āϧু āωāχāϞিāϝ়াāĻŽāĻ•ে āϏāĻ™্āĻ—ে āύিāϝ়ে āύিāϜেāϰ āĻ•্āώুāĻĻ্āϰ āύৌāĻ•াāϟা āφāύাāϰ āϜāύ্āϝে āĻŦেāϰিāϝ়ে āĻ—েāϞেāύ। āϏেāĻĻিāύ āϏāύ্āϧ্āϝাāϝ় āĻļুāϰু āĻšāϞ āĻĒ্āϰāϚāύ্āĻĄ āĻāĻĄ় āĻŦৃāώ্āϟি। āϏেāχ āĻāĻĄ়েāϰ āĻŽুāĻ–ে āĻĒāĻĄ়ে āĻļেāϞীāϰ āύৌāĻ•া āĻ—েāϞ āĻĄুāĻŦে। āĻĒāύেāϰ āĻĻিāύ āϤাঁāĻĻেāϰ āĻŽৃāϤāĻĻেāĻš āĻ­েāϏে āωāĻ āϞ āϏāĻŽুāĻĻ্āϰেāϰ āϤāϟāĻ­ূāĻŽিāϤে। āĻļেāϞীāϰ āĻĒāĻ•েāϟে āϤāĻ–āύ āĻ›িāϞ āϏāĻĢোāĻ•্āϞিāϏ āĻ“ āĻ•ীāϟāϏেāϰ āĻ•āĻŦিāϤাāϰ āĻŦāχ]

iii. āϤিāύি āĻ›িāϞেāύ āĻāĻ•āϜāύ- Revolutionary poet.

iv. Shelley’āϰ The West Wind āĻ•āĻŦিāϤাāϝ় The West Wind āĻ•ে āĻŦāϞেāύ āϧ্āĻŦংāϏāĻ•াāϰী āĻ“ āϰāĻ•্āώাāĻ•াāϰী (Destroyer & Preserver) āĻšিāϏেāĻŦে।

v. P.B. Shelley’āϰ āϏ্āϤ্āϰী Mary Shelley- āϰ āĻŦিāĻļ্āĻŦāĻŦিāĻ–্āϝাāϤ Novel āĻāϰ āύাāĻŽ Frankenstein (āĻĢ্āϰাāĻ™্āĻ•āύāϏ্āϟাāχāύ)āĻŦা The Modern Prometheus.

vi. Shelley āωāϚ্āϚāĻļিāĻ•্āώাāϰ āϜāύ্āϝ Oxford University āϤে āĻ­āϰ্āϤি āĻšāϝ়েāĻ›িāϞেāύ। āĻ•িāύ্āϤু āύাāϏ্āϤিāĻ•āϤাāĻ•ে āϏāĻŽāϰ্āĻĨāύ āĻ•āϰে The Necessity of Atheism āϞেāĻ–াāϰ āϜāύ্āϝ āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ় āĻĨেāĻ•ে āĻŦāĻšিāώ্āĻ•ৃāϤ āĻšāϝ়েāĻ›িāϞেāύ।

vii. āϤাāϰ āϰāϚিāϤ ⧍āϟি āύাāϟāĻ• āĻšāϞো Cenci āĻ“ Prometheus Unbound । āĻĻুāϟি āύাāϟāĻ•āχ tregedy (āĻŦি⧟োāĻ—াāϤ্āĻŽāĻ•)

viii. āϤাāϰ āϏাāĻšিāϤ্āϝ āϏāĻŽাāϞোāϚāύাāĻŽূāϞāĻ• āĻ—্āϰāύ্āĻĨ āĻšāϞো- A Defence of Poetry.

ix. Shelley’āϰ āϏāĻŽāϏাāĻŽāϝ়িāĻ• āĻ…āύ্āϝাāύ্āϝāϰা āĻ…āύুāĻĒ্āϰাāύিāϤ āĻšāϝ়েāĻ›িāϞেāύ- French Revolution āĻĻ্āĻŦাāϰা। āĻ•িāύ্āϤু Shelley āĻ›িāϞেāύ āĻŦ্āϝāϤিāĻ•্āϰāĻŽ।

x. Shelley āĻ›িāϞেāύ āĻāĻ•āϜāύ Optimistic & Pessimistic (āφāĻļাāĻŦাāĻĻী āĻāĻŦং āύিāϰাāĻļাāĻŦাāĻĻী/āύৈāϰাāĻļ্āϝāĻŦাāĻĻী)।

xi. āϤাāϰ āĻĒ্āϰāĻĨāĻŽ āĻĻীāϰ্āϘ āĻ•āĻŦিāϤা- “Queen Mab”।

đŸ”ļđŸ”ļ  Famous works of P. B. Shelley  đŸ”ļđŸ”ļ
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āĻļেāϞীāϰ āĻĒ্āϰāĻĨāĻŽ āϰāϚিāϤ āĻ•াāĻŦ্āϝ āĻšāϞ “āĻ•ুāχāύ āĻŽ্āϝাāĻŦ” (ā§§ā§Žā§§ā§Š)। āĻĒāϰāĻŦāϰ্āϤী āĻ•াāĻŦ্āϝ āĻšāϞ “āĻ…্āϝাāϞাāϏ্āϟাāϰ” (ā§§ā§Žā§§ā§Ģ)। “āĻĻি āϰিāĻ­োāϞ্āϟ āĻ…āĻŦ āχāϏāϞাāĻŽ” (ā§§ā§Žā§§ā§­) āχāϤাāϞিāϤে āĻŦাāϏ āĻ•āϰাāϰ āϏāĻŽāϝ় āĻļেāϞী āϝে āĻ•াāĻŦ্āϝ āĻāĻŦং āύাāϟāĻ•āĻ—ুāϞি āϰāϚāύা āĻ•āϰেāĻ›েāύ āϤা āĻšāϞো, “āĻĒ্āϰāĻŽিāĻĨিāωāϏ āφāύāĻŦাāωāύ্āĻĄ” (ā§§ā§Žā§§ā§Ž-⧧⧝), “āĻĻি āϚেāύāϏি” (ā§§ā§Žā§§ā§¯). “āϜুāϞিāϝ়াāύ āĻ āĻŽ্āϝাāĻĄ়াāϞো” (ā§§ā§Žā§§ā§Ž), “āĻĻি āĻŽাāϏ্āĻ• āĻ…āĻŦ āĻāύাāϰ্āĻ•ি” (ā§§ā§Žā§§ā§¯). “āĻĻি āωāχāϚ āĻ…āĻŦ āĻāϟāϞাāϏ” (ā§§ā§Žā§¨ā§Ļ)।

1. Adonais.

(āĻĒ্āϞেāϟোāϰ āĻĻাāϰ্āĻļāύিāĻ• āĻŽāϤāĻŦাāĻĻেāϰ āĻĒ্āϰāĻ•াāĻļ āϤাঁāϰ “āĻāĻĄোāύিāϏ” āĻ•াāĻŦ্āϝে। āĻ•াāĻŦ্āϝāϟি āĻļোāĻ•āĻ—াāĻĨা। āĻ•āĻŦি āĻ•ীāϟāϏেāϰ āĻŽৃāϤ্āϝু āωāĻĒāϞāĻ•্āώে āϰāϚিāϤ। āĻ•িāύ্āϤু āĻ•াāĻŦ্āϝāϟিāϰ āĻŽāϧ্āϝে āϝে āϏāϤ্āϝেāϰ āĻŽāϰ্āĻŽāĻ•āĻĨা āϤিāύি āĻĒ্āϰāĻ•াāĻļ āĻ•āϰāϞেāύ āϤা āĻšāϞ āĻŽাāύুāώেāϰ āϜীāĻŦāύ āĻ›াāϝ়াāĻŦাāϜিāϰ āĻŽāϤ āϚāĻž্āϚāϞ, āĻ“ āĻ•্āώāĻŖāϏ্āĻĨাāϝ়ী। āĻ•িāύ্āϤু āφāϤ্āĻŽাāχ āĻ…āĻŦিāύাāĻļী। āĻŽৃāϤ্āϝুāĻ“ āϤাāĻ•ে āϧ্āĻŦংāϏ āĻ•āϰāϤে āĻĒাāϰে āύা। āĻŽৃāϤ্āϝু āϤাāĻ•ে āĻŽুāĻ•্āϤ āĻ•āϰে āĻ…āύāϤ্āĻŽেāϰ āϏāĻ™্āĻ—ে āϝুāĻ•্āϤ āĻ•āϰে āĻĻেāϝ়। āĻŽৃāϤ্āϝুāϰ āĻĒāϰ āφāϤ্āĻŽা āĻĒāϰāĻŽাāϤ্āĻŽাāϝ় āĻŦিāϞীāύ āĻšāϝ়ে āϝাāϝ়। āĻāχ āĻĒāϰāĻŽাāϤ্āĻŽা āĻšāϞ āϏ্āĻŦāϝ়ং āψāĻļ্āĻŦāϰ।) 

 2. Ode to the West Wind. (āĻĒāĻļ্āϚিāĻŽা āϏāĻŽীāϰāĻŖেāϰ āĻ—াāύ: āϤিāύি āĻĒāĻļ্āϚিāĻŽা āĻŦাāϝ়ুāĻ•ে destroyer and preserver āĻšিāϏেāĻŦে āφāĻ–্āϝাāϝ়িāϤ āĻ•āϰেāĻ›েāύ )
 [āĻāϟা āϤাāϰ āϏāĻŦāϚেāϝ়ে āĻŦিāĻ–্āϝাāϤ āĻ•āĻŦিāϤা ]

 3. Ode to a Skylark (āĻ­āϰāϤ āĻĒāĻ•্āώীāϰ āĻ—াāύ)

 4. The Cloud

 5. Ozymandias (a famous sonnet) 
[Main theme: All thing of great and small will perish.]

6.The Revolt of Islam (āĻāϟি āĻļেāϞিāϰ āĻŦিāĻ–্āϝাāϤ āĻ•āĻŦিāϤা)

7. A Defense of Poetry (āϤাāϰ āϏাāĻšিāϤ্āϝ āĻŦিāώāϝ়āĻ• āĻĒ্āϰāĻŦāύ্āϧ āĻšāϞো “āĻĻি āĻĄিāĻĢেāύ্āϏ āĻ…āĻŦ āĻĒোāϝ়েāϟ্āϰি” (ā§§ā§Žā§¨ā§§)।

 8. The Necessity Atheism (“āĻĻি āύেāϏেāϏিāϟি āĻ…āĻŦ āĻ্āϝাāĻĨেāχāϜāĻŽ” (āύাāϏ্āϤিāĻ•āϤাāϰ āĻĒ্āϰ⧟োāϜāύীāϝ়āϤা)। 
āφāϤ্āĻŽāĻĒ্āϰāĻ•াāĻļ āĻ•āϰাāϰ āϏāĻ™্āĻ—ে āϏāĻ™্āĻ—ে āĻāĻĄ় āωāĻ āϞ। āĻļেāϞী āĻāĻŦং āϤাāϰ āĻŦāύ্āϧ āϟāĻŽাāϏ āĻšāĻ—āĻ•ে āĻŦিāĻĻাāϝ় āύিāϤে āĻšāϞ āĻŦিāĻļ্āĻŦāĻŦিāĻĻ্āϝাāϞāϝ় āĻĨেāĻ•ে)।

 9. Cenci (āĻāĻ•āϟি Tragedy)

10. Prometheus Unbound (a four act play/tragedy)

{“āĻĒ্āϰāĻŽিāĻĨিāωāϏ āφāύāĻŦাāωāύ্āĻĄে” āϤিāύি āĻĒ্āϰāĻŽিāĻĨিāωāϏāĻ•ে āĻāĻ•āϜāύ āφāĻĒāϏāĻšীāύ āĻŽাāύāĻŦ āĻĒ্āϰেāĻŽিāĻ•āϰূāĻĒে āϚিāϤ্āϰিāϤ āĻ•āϰāĻ›েāύ āĻāĻŦং āĻŦিāĻļ্āĻŦāĻ•ে āĻŽুāĻ•্āϤ āĻ•āϰে āĻĒ্āϰেāĻŽেāϰ āĻĻ্āĻŦাāϰা āĻĒāϰিāĻļোāϧিāϤ āĻ•āϰāϤে āϚেāϝ়েāĻ›েāύ। āχংāϞ্āϝাāύ্āĻĄ āĻ›েāĻĄ়ে āϚāϞে āϝেāϤে āϤিāύি āĻŦাāϧ্āϝ āĻšāϝ়েāĻ›িāϞেāύ। āĻ•িāύ্āϤু āĻļেāϞী āϝে āĻ…āĻ­িāϜ্āĻžāϤা āύিāϝ়ে āĻĻেāĻļ āĻ›েāĻĄ়ে āϚāϞে āĻ—েāϞেāύ āϤাāϤে āϤিāύি āύিāϜেāĻ•ে āĻĒ্āϰāĻŽিāĻĨিāωāϏ-āĻāϰ āĻŽāϤāχ āĻŽāύে āĻ•āϰেāĻ›েāύ। āĻŽাāύāĻŦ-āĻĒ্āϰেāĻŽিāĻ• āĻĒ্āϰāĻŽিāĻĨিāωāϏ āĻŽাāύāĻŦেāϰ āĻ•āϞ্āϝাāĻŖেāϰ āϜāύ্āϝ āĻĻেāĻŦāϤাāĻĻেāϰ āύিāϜāϏ্āĻŦ āϧāύ āφāĻ—ুāύāĻ•ে āφāĻšāϰāĻŖ āĻ•āϰে āĻŽাāύুāώāĻ•ে āϤা āωāĻĒāĻšাāϰ āĻĻি⧟েāĻ›িāϞেāύ। āĻŽাāύāĻŦ āĻŦিāĻĻ্āĻŦেāώী āĻĻেāĻŦāϰাāϜ āϜুāĻĒিāϟাāϰেāϰ āĻ•āĻĄ়া āφāĻĻেāĻļ āĻ›িāϞ āĻŽাāύুāώāĻ•ে āφāĻ—ুāύেāϰ āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰāϤে āĻĻেāĻ“āϝ়া āĻšāĻŦে āύা। āϏে āφāĻĻেāĻļ āĻ…āĻŽাāύ্āϝ āĻ•āϰেāĻ›িāϞেāύ āĻĒ্āϰāĻŽিāĻĨিāωāϏ। āĻĢāϞে āϜুāĻĒিāϟাāϰেāϰ āύিāϰ্āĻĻেāĻļে āĻĒ্āϰāĻŽিāĻĨিāωāϏāĻ•ে āĻŦāύ্āĻĻী āĻ•āϰে āĻšাāϤে-āĻĒাāϝ়ে āĻļিāĻ•āϞ āĻāϟে āĻĒাāĻšাāĻĄ়েāϰ āĻ—াāϝ়ে āĻŦেঁāϧে āϰাāĻ–া āĻšā§Ÿ āĻāĻŦং āĻĒ্āϰāϚāĻŖ্āĻĄ āύিāϰ্āϝাāϤāύ āĻ•āϰা āĻšāϝ়। āĻ•িāύ্āϤু āĻĒ্āϰāĻŽিāĻĨিāωāϏ āĻļāϤ āĻĻুঃāĻ–-āĻ•āώ্āϟ, āĻŦেāĻĻāύা āĻ“ āύিāϰ্āϝাāϤāύ āϏāĻš্āϝ āĻ•āϰেāĻ›েāύ āϤāĻŦু āύāϤāϜাāύু āĻšāϝ়ে āĻĻেāĻŦāϰাāϜেāϰ āĻ•াāĻ›ে āφāϤ্āĻŽāϏāĻŽāϰ্āĻĒāĻŖ āĻ•āϰেāύāύি। āĻŦāϰং āĻŦুāĻ• āĻĒেāϤে āĻĻুঃāĻ–-āĻ•āώ্āϟ āϏāĻš্āϝ āĻ•āϰে āĻŽৃāϤ্āϝুāĻ•ে āĻ…āĻŽৃāϤেāϰ āĻŽāϤ āĻĒাāύ āĻ•āϰে āϤিāύি āĻŽৃāϤ্āϝুāĻž্āϜāϝ়ী āĻšāϝ়ে āĻ—েāϞেāύ। āĻĒ্āϰāĻŽিāĻĨিāωāϏেāϰ āϏংāĻ—্āϰাāĻŽāĻ•ে āϏ্āĻŦেāϚ্āĻ›াāϚাāϰী āϟাāωāϰাāύ্āϟ āĻŦāϞে āĻ…āĻ­িāϝুāĻ•্āϤ āĻ•āϰেāĻ›েāύ। āĻŽাāύāĻŦ-āĻŦিāĻĻ্āĻŦেāώী āĻŦāϞে āϤাāĻ•ে āύিāύ্āĻĻা āĻ•āϰেāĻ›েāύ। āĻĒ্āϰāĻŽিāĻĨিāωāϏেāϰ āĻāχ āĻŦীāϰāϤ্āĻŦāĻĒূāϰ্āĻŖ āϏংāĻ—্āϰাāĻŽেāϰ āĻ•াāĻšিāύীāĻ•ে āĻĒ্āϰāĻĨāĻŽ āϰূāĻĒāĻĻাāύ āĻ•āϰেāύ āĻ—্āϰীāĻ• āύাāϟ্āϝāĻ•াāϰ āχāϏ্āĻ•াāχāϞাāϏ। āĻļেāϞী āĻ—্āϰীāĻ• āύাāϟ্āϝāĻ•াāϰেāϰ āϏেāχ āĻ­াāĻŦāύাāĻ•ে āϝুāĻ—োāĻĒāϝোāĻ—ী āĻ•āϰে āφāϰো āϤীāĻ•্āώ-āϤীāĻŦ্āϰ āĻ•āϰে āύাāϟ্āϝāϰূāĻĒ āĻĻিāϝ়েāĻ›েāύ। āφāĻĒāϏāĻšীāύ āϏংāĻ—্āϰাāĻŽ āĻāĻŦং āϚিāϰāϜāϝ়ী āĻĒ্āϰেāĻŽেāϰ āĻŦাāĻŖী āϘোāώিāϤ āĻšāϝ়েāĻ›ে “āĻĒ্āϰāĻŽিāĻĨিāωāϏ āφāύāĻŦাāωāύ্āĻĄে”।

āĻĒাāϰ্āĻļি āĻŦিāĻļি āĻļেāϞিāϰ āĻ•āϝ়েāĻ•āϟি āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻ•āĻŦিāϤা āĻŽāύে āϰাāĻ–াāϰ āĻļāϰ্āϟ āϟেāĻ•āύিāĻ•:

Ozyamandias āĻ“ Adonis āφāĻ•াāĻļে (sky), āĻŦাāϤাāϏে (wind), āĻŽেāϘেāϰ (cloud) āωāĻĒāϰ āϘুāϰে āĻŦেāĻĄ়াāϚ্āĻ›ে।

Ozyamandias = Ozyamandias

Adonais = Adonais

āφāĻ•াāĻļে (sky) = To a Skylark

āĻŦাāϤাāϏে (wind ) = Ode to the West Wind

āĻŽেāϘেāϰ (cloud ) = The Cloud

Shelly āĻāϰ Quotations āĻŽāύে āϰাāĻ–াāϰ āĻ•ৌāĻļāϞ:

Shelly āĻĨেāĻ•ে Sweet, Song, Spring āĻĒāĻĄ়āϞে āύিāϚেāϰ Quotations āĻŽāύে āϰাāĻ–া āϏāĻšāϜ āĻšāĻŦে।

1. If winter comes, can spring be far behind? āĻļীāϤ āϝāĻĻি āφāϏে, āĻŦāϏāύ্āϤ āĻ•ি āĻĻূāϰে āĻĨাāĻ•ে?
āĻŽেāϘ āĻĻেāĻ–ে āĻ•েāω āĻ•āϰিāϏāύে āĻ­āϝ়, āφāĻĄ়াāϞে āϤাāϰ āϏূāϰ্āϝ āĻšাāϏে।
āĻ­াāĻŦাāϰ্āĻĨ: āĻ…āύ্āϧāĻ•াāϰ āĻ•েāϟে āĻ—িāϝ়ে āφāϞোāϰ āĻĒৃāĻĨিāĻŦী āĻ­āϰে āωāĻ āĻŦেāχ।
             (Ode to the West Wind)

 2. Our sweetest songs are those that tell of saddest thought.
āĻŽোāĻĻেāϰ āĻŽāϧুāϰ āϏāĻ™্āĻ—ীāϤāĻ—ুāϞোāχ āϤা,āϝা āĻŦেāĻĻāύাāϰ āĻ•āĻĨা āĻŦāϞে।/
āĻŦিāϰāĻšেāϰ āĻ—াāύāχ āĻšāϞো āĻŽāϧুāϰ āĻ—াāύ।
                                              (Ode To a Skylark)

3. “We look before and after, And pine for what is not. 
āĻ…āϤীāϤ āĻ“ āĻ­āĻŦিāώ্āĻ¯ā§Ž āĻĻুāĻĻিāĻ•েāχ āĻŽোāϰা āϘোāϰাāχ āϚোāĻ–,
āϝা āĻāĻ–āύāĻ“ āĻĒাāχāύি āϜীāĻŦāύে,āϤাāχ āύিāϝ়ে āĻ•āϰি āĻļোāĻ•।
                                                  (Ode To a Skylark)

4. Poets are the unacknowledged legislators of the world. 
āĻ•āĻŦিāĻ—āĻŖ āĻšāϞেāύ āĻŦিāĻļ্āĻŦেāϰ āĻ…āϏ্āĻŦীāĻ•ৃāϤ āφāχāύ āĻĒ্āϰāĻŖেāϤা।
                                           (A Defense of Poetry )

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ā§§। āϏ্āĻŦāĻĒ্āύ āϝাāĻĻেāϰ āĻŦিāϏিāĻāϏ – āĻ…āĻ­িāϜ্āĻžāĻĻেāϰ āĻĒāϰাāĻŽāϰ্āĻļ


⧍। āĻŦিāϏিāĻāϏ āύি⧟ে āĻĒ্āϰāϚāϞিāϤ ā§§ā§Ļ āĻ­ুāϞ āϧাāϰāĻŖা


ā§Š। āĻŦিāϏিāĻāϏ (āĻĒ্āϰāĻļাāϏāύ)-āĻ•ে āĻ•েāύ āϏāĻ•āϞ āĻ•্āϝাāĻĄাāϰ āĻāϰ āϰাāϜা āĻŦāϞা āĻšā§Ÿ


ā§Ē। āϝāĻĻি āĻ•ূāϟāύীāϤিāĻ• āĻšāϤে āϚাāĻ“


ā§Ģ। āĻŦিāϏিāĻāϏ āĻĒ্āϰিāϞিāĻŽিāύাāϰি - āĻŦাংāϞা


ā§Ŧ। āĻŦাংāϞা āĻ­াāώা āĻ“ āϏাāĻšিāϤ্āϝ āύি⧟ে ⧍ā§Ģ āĻĒāϰাāĻŽāϰ্āĻļ


ā§­। āχংāϰেāϜিāϰ āϭ⧟ āĻ•āϰāϤে āϜ⧟ āϝা āĻŽাāύāϤে āĻšā§Ÿ


ā§Ž। āĻĒ্āϰিāϞিāĻŽিāύাāϰি āĻĒāϰীāĻ•্āώা⧟ āĻ­াāϞ āĻ•āϰাāϰ āĻ•ৌāĻļāϞ: āχংāϰেāϜি āϏাāĻšিāϤ্āϝ


⧝। āĻŦিāϏিāĻāϏ āĻĒāϰীāĻ•্āώা⧟ āĻ­াāϞ āĻ•āϰাāϰ āĻ•ৌāĻļāϞ: āĻ—āĻŖিāϤ


ā§§ā§Ļ। āĻŦিāϏিāĻāϏ āĻĒāϰীāĻ•্āώা⧟ āĻ­াāϞ āĻ•āϰাāϰ āĻ•ৌāĻļāϞ: āϤ্āϰিāĻ•োāĻŖāĻŽিāϤি āĻ“ āĻĒāϰিāĻŽিāϤি


ā§§ā§§। āĻŦিāϏিāĻāϏ āĻĒāϰীāĻ•্āώা⧟ āĻ­াāϞ āĻ•āϰাāϰ āĻ•ৌāĻļāϞ: āĻ•āĻŽ্āĻĒিāωāϟাāϰ āĻ“ āϤāĻĨ্āϝāĻĒ্āϰāϝুāĻ•্āϤি


⧧⧍। āϏাāϧাāϰāĻŖ āϜ্āĻžাāύ, āĻŦিāϜ্āĻžাāύ, āĻ­ূāĻ—োāϞ āĻ“ āĻĒāϰিāĻŦেāĻļ āĻ…ংāĻļে āĻ­াāϞো āĻ•āϰাāϰ āωāĻĒা⧟


ā§§ā§Š। āϏাāϧাāϰāĻŖ āϜ্āĻžাāύে āĻ…āϏাāϧাāϰāĻŖ āĻšāĻ“ā§Ÿাāϰ āĻ•ৌāĻļāϞ


ā§§ā§Ē। āĻĒ্āϰিāϞিāĻŽিāύাāϰি āĻĒāϰীāĻ•্āώা āύি⧟ে āĻ•িāĻ›ু āĻ•āĻĨা


ā§§ā§Ģ। āĻŦিāϏিāĻāϏেāϰ āĻĒ্āϰāϏ্āϤুāϤি: āĻ—াāĻŖিāϤিāĻ• āϝুāĻ•্āϤি, āĻŦিāϜ্āĻžাāύ āĻ“ āĻĒ্āϰāϝুāĻ•্āϤি


ā§§ā§Ŧ। āĻ­ূāĻ—োāϞ āĻ“ āύৈāϤিāĻ•āϤা⧟ āĻ­াāϞো āĻ•āϰāϤে āϚাāχāϞে


ā§§ā§­। āĻŦিāϏিāĻāϏেāϰ āĻŦāχ āĻĒ⧜াāχ āϏāĻŦ āύ⧟


ā§§ā§Ž। āĻĒ্āϰিāϞিāĻŽিāύাāϰি āĻĒāϰীāĻ•্āώাāϰ āĻļেāώ āĻŽুāĻšূāϰ্āϤে



https://english-grammarblog.blogspot.com/2020/08/effective-sentence.html
https://english-grammarblog.blogspot.com/2022/03/all-about-completing-sentences.html
https://english-grammarblog.blogspot.com/2020/12/rules-of-changing-voice-active-to-passive.html
https://www.google.com/search?q=site%3Aenglish-grammarblog.blogspot.com
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#āĻ“āϏāĻŽাāύি #āφāϤ্āĻŽāϏāĻŽāϰ্āĻĒāĻŖ āĻ…āύুāώ্āĻ াāύ #āĻŽিāĻļāϰ #Egypt ā§§. āĻŦাংāϞা āĻ­াāώা āĻ“ āϏাāĻšিāϤ্āϝ ā§§. āĻš্āϝাāύ্āĻĄāύোāϟ āĻāĻŦং āϤāĻĨ্āϝāĻŦāĻšুāϞ āϚিāϤ্āϰ ā§§ā§Ļ. āύৈāϤিāĻ•āϤা āĻŽূāϞ্āϝāĻŦোāϧ āĻ“ āϏুāĻļাāϏāύ ā§§ā§§. āĻŦিāĻ­িāύ্āύ āĻĒāϰীāĻ•্āώাāϰ āĻĒ্āϰāĻļ্āύ āĻ“ āϏāĻŽাāϧাāύ ⧍. āχংāϰেāϜি āĻ­াāώা āĻ“ āϏাāĻšিāϤ্āϝ ā§Š. āĻŦাংāϞাāĻĻেāĻļ āĻŦিāώāϝ়াāĻŦāϞি ā§Ē. āφāύ্āϤāϰ্āϜাāϤিāĻ• āĻŦিāώāϝ়াāĻŦāϞি ā§Ēā§Ļā§Ļāϟি āĻĒ্āϰāĻļ্āύোāϤ্āϤāϰ: āĻ•āĻŽ্āĻĒিāωāϟাāϰ āĻāĻŦং āĻ•āĻŽ্āĻĒিāωāϟাāϰ-āĻĒ্āϰāϝুāĻ•্āϤি 43rd BCS ā§Ģ. āĻ­াāχāĻ­া āĻŦোāϰ্āĻĄ ā§Ģ. āĻ­ূāĻ—োāϞ (āĻŦাংāϞাāĻĻেāĻļ āĻ“ āĻŦিāĻļ্āĻŦ) āĻĒāϰিāĻŦেāĻļ āĻ“ āĻĻুāϰ্āϝোāĻ— āĻŦ্āϝāĻŦāϏ্āĻĨাāĻĒāύা ā§Ģ⧍ āĻĨেāĻ•ে ā§­ā§§ ā§Ŧ. āϏাāϧাāϰāĻŖ āĻŦিāϜ্āĻžাāύ ā§­ āĻŽাāϰ্āϚ ā§­. āĻ•āĻŽ্āĻĒিāωāϟাāϰ āĻ“ āϤāĻĨ্āϝāĻĒ্āϰāϝুāĻ•্āϤি ā§Ž. āĻ—াāĻŖিāϤিāĻ• āϝুāĻ•্āϤি ⧝. āĻŽাāύāϏিāĻ• āĻĻāĻ•্āώāϤা āĻ…āύুāĻĒ্āϰেāϰāĻŖা āĻ…āύুāĻĒ্āϰেāϰāĻŖা - Motivation āφāχāύāĻ•াāύুāύ āφāύ্āϤāϰ্āϜাāϤিāĻ• āφāύ্āϤāϰ্āϜাāϤিāĻ• āϚুāĻ•্āϤি āφāύ্āϤāϰ্āϜাāϤিāĻ• āĻŦিāώ⧟: āϏীāĻŽাāϰেāĻ–া āφāύ্āϤāϰ্āϜাāϤিāĻ• āϏীāĻŽাāϰেāĻ–া āφāĻĒāĻĄেāϟ āφāĻĒāĻĄেāϟ āϤāĻĨ্āϝ āφāĻŦিāώ্āĻ•াāϰ āĻ“ āφāĻŦিāώ্āĻ•াāϰāĻ• āφāϞোāϚিāϤ ā§§ā§§ āϜāύ āĻ•āĻŦি-āϏাāĻšিāϤ্āϝিāĻ• āĻ“ āϤাঁāĻĻেāϰ āϰāϚāύাāĻŦāϞী āχংāϰেāϜি āχংāϰেāϜি āϏাāĻšিāϤ্āϝ āωāĻĒাāϧি āĻ“ āĻ›āĻĻ্āĻŽāύাāĻŽ āĻāϟāϰ্āύি āϜেāύাāϰেāϞ āĻāĻŦাāϰ āϝাāĻĻেāϰ āĻĒ্āϰāĻĨāĻŽ āĻŦিāϏিāĻāϏ āĻ•āĻŽ্āĻĒিāωāϟাāϰ āĻ•āĻŽ্āĻĒিāωāϟাāϰ āĻ“ āϤāĻĨ্āϝ āĻĒ্āϰāϝুāĻ•্āϤি āĻ—āĻŖিāϤ āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻĒ্āϰāĻļ্āύ āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻŦৈāϜ্āĻžাāύিāĻ• āύাāĻŽ āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻļāĻŦ্āĻĻ āĻĒāϰিāϚিāϤি āϚāϰ্āϝাāĻĒāĻĻ āϚāϰ্āϝাāĻĒāĻĻেāϰ āĻ•āĻŦিāĻ—āĻŖ āϜাāϤীāϝ় āϜ্āĻžাāύ-āĻŦিāϜ্āĻžাāύেāϰ āĻļাāĻ–া āĻāĻŦং āϜāύāĻ• āϜ্āϝাāĻŽিāϤিāĻ• āϏূāϤ্āϰ āĻĻেāĻļী āĻŦিāϜ্āĻžাāύীāϰা āύāĻĻ-āύāĻĻী āύāĻŦāĻŽ-āĻĻāĻļāĻŽ āĻļ্āϰেāĻŖিāϰ āĻŦাংāϞা āĻŦ্āϝাāĻ•āϰāĻŖ āĻĒāϤ্āϰিāĻ•া āĻāĻŦং āĻ›āĻĻ্āĻŽāύাāĻŽ āĻĒāĻĻ āĻĒ্āϰāĻ•āϰāĻŖ āĻĒāϰāϰাāώ্āϟ্āϰāύীāϤি āĻĒāϰাāĻŽāϰ্āĻļ āĻĒāϰাāĻŽāϰ্āĻļ V. V. V. I. āĻĒāϰিāĻŦেāĻļ āĻ“ āĻĻুāϰ্āϝোāĻ— āĻŦ্āϝāĻŦāϏ্āĻĨাāĻĒāύা āĻĒāϰিāĻŽিāϤিāϰ (Mensuration) āϏূāϤ্āϰাāĻŦāϞিāϏāĻŽূāĻš āĻĒাঁāϚāĻŽিāĻļাāϞী āϤāĻĨ্āϝ + āϏাāϧাāϰāĻŖ āϜ্āĻžাāύ āĻĒাāϰিāĻ­াāώিāĻ• āĻļāĻŦ্āĻĻ āĻĒুāϰাāϤāύ āĻ“ āύāϤুāύ āύাāĻŽ āĻĒ্āϰāϤিāĻļāĻŦ্āĻĻ āĻĒ্āϰāĻĨāĻŽ āĻĒ্āϰāĻ•াāĻļিāϤ āĻĒ্āϰāϏ্āϤুāϤিāĻšীāύ āĻŦিāϏিāĻāϏ āϝাāϤ্āϰা āĻĢāϞা āĻāĻŦং āϝুāĻ•্āϤাāĻ•্āώāϰ āĻĢাঁāĻĻ āĻĒ্āϰāĻļ্āύ āĻĢিāϞিāϏ্āϤিāύ Palestine āĻĢ্āϰাāύ্āϏেāϰ āχāϏāϞাāĻŽ-āĻŦিāĻĻ্āĻŦেāώ āĻŦāĻ™্āĻ—āĻŦāύ্āϧু āϏ্āϝাāϟেāϞাāχāϟ āĻŦাংāϞা āĻŦাংāϞা āĻ“ āχংāϰেāϜি āϏাāĻšিāϤ্āϝেāϰ āĻŽিāϞāĻŦāύ্āϧāύ āĻŦাংāϞা āĻŦ্āϝাāĻ•āϰāĻŖ āĻŦাংāϞা āĻ­াāώা āĻ“ āϏাāĻšিāϤ্āϝ āĻŦাংāϞা āĻļāĻŦ্āĻĻাāϰ্āĻĨ āĻŦাংāϞা āϏাāĻšিāϤ্āϝ āĻŦাংāϞা āϏাāĻšিāϤ্āϝেāϰ āĻĻুāχ āĻŽāĻšাāϰāĻĨী āĻŦাংāϞাāĻĻেāĻļ āĻŦাংāϞাāĻĻেāĻļ āĻ“ āĻŦিāĻļ্āĻŦāĻĒāϰিāϚāϝ় āĻŦাংāϞাāĻĻেāĻļ āĻŦিāώāϝ়াāĻŦāϞি āĻŦাāĻ—āϧাāϰা āĻŦাāύাāύ āĻļুāĻĻ্āϧিāĻ•āϰāĻŖ āĻŦিāĻ—āϤ āĻĒāϰীāĻ•্āώাāϏāĻŽূāĻš āĻŦিāĻĒ্āϞāĻŦ āĻŦিāĻ­āĻ•্āϤি āĻŦিāϏিāĻāϏ āĻĒāϰাāĻŽāϰ্āĻļ āĻŦিāϏিāĻāϏ āĻ­াāχāĻ­া āĻĒ্āϰāϏ্āϤুāϤি āĻŦুāĻĻ্āϧিāϜীāĻŦী āĻšāϤ্āϝাāĻ•াāĻŖ্āĻĄ āĻ­াāώা āφāύ্āĻĻোāϞāύ āĻ­ূāĻ—োāϞ āĻ­ৌāĻ—োāϞিāĻ• āωāĻĒāύাāĻŽ āĻ­্āϝাāĻ•āϏিāύ āĻ•ূāϟāύীāϤি āĻāĻŦং āĻŦাংāϞাāĻĻেāĻļ āĻŽāĻĄেāϞ āϟেāϏ্āϟ āĻŽāĻĄেāϞāϟেāϏ্āϟ āĻŽāĻšাāĻ•াāĻļ āĻŽুāĻ•্āϤিāϝুāĻĻ্āϧ āĻŽুāĻ•্āϤিāϝুāĻĻ্āϧ āĻ­িāϤ্āϤিāĻ• āϏাāĻšিāϤ্āϝāĻ•āϰ্āĻŽ āĻŽুāĻ•্āϤিāϝুāĻĻ্āϧেāϰ āĻŦীāϰāϤ্āĻŦāĻĒূāϰ্āĻŖ āĻ–েāϤাāĻŦ āĻŽুāĻ•্āϤিāϝুāĻĻ্āϧেāϰ āϏাāĻšিāϤ্āϝāĻ­াāĻŖ্āĻĄাāϰ āϝুāĻ•্āϤ āĻŦāϰ্āĻŖ āϞিāĻ–িāϤ āĻ—াāχāĻĄāϞাāχāύ āϞিāĻ–িāϤ āĻĒāϰীāĻ•্āώা āϞেāĻ–া āĻ“ āϞেāĻ–āĻ• āĻļেāώ āĻŽুāĻšুāϰ্āϤেāϰ āĻĒ্āϰāϏ্āϤুāϤি āĻ“ āĻĒāϰাāĻŽāϰ্āĻļ āĻļ্āϰেāώ্āĻ  āĻŦাāĻ™াāϞি ✏️✏️ āϏংāĻŦিāϧাāύ āϏংāĻŦিāϧাāύ āϏংāĻļোāϧāύী āϏāĻĻāϰ-āĻĻāĻĒ্āϤāϰ āϏāĻ­্āϝāϤা āϏāĻŽাāϏ āϏাāϜেāĻļāύ āϏাāϧাāϰāĻŖ āϜ্āĻžাāύ āϏাāϧাāϰāĻŖ āĻŦিāϜ্āĻžাāύ āϏাāĻŽ্āĻĒ্āϰāϤিāĻ• āϏাāĻšিāϤ্āϝ-āĻ‰ā§ŽāϏāϰ্āĻ— āϏাāĻšিāϤ্āϝিāĻ• āϏাāĻšিāϤ্āϝে āĻ•āύāĻĢিāωāĻļāύ āϏ্āĻĨাāĻĒāϤ্āϝ āĻ“ āϏ্āĻĨāĻĒāϤি āϏ্āĻĒোāĻ•েāύ āχংāϞিāĻļ All Things Review Bangladesh Constitution BCS Preliminary Question Analysis BCS Preparation Special Episodes BCS Questions Earn Money Eat Chew Drink Take Have ? English Grammar English Grammar Exercises with Answers English Grammar Test English Literature Essay Writing General Science ICT Idioms and Phrases International financial institutions Love Stories in Literature Nobel Prize One Word Substitution Preposition Quiz Redundancy āĻŦাāĻšুāϞ্āϝ (āĻĻোāώ) Shortcut to Preposition Spoken English Terrorism Transformation of Sentences 👍 Translation United Nations Vocabulary Warrant of Precedence World Wars

āĻāϟি āĻŦিāϏিāĻāϏ āĻĒāϰীāĻ•্āώাāϰ āϜāύ্āϝ āĻ…āύেāĻ• āĻ—ুāϰুāϤ্āĻŦāĻĒূāϰ্āĻŖ:


Literary Terms 


1. Simile (āωāĻĒāĻŽা):

āĻĻুāϟি āφāϞাāĻĻা āĻŦāϏ্āϤু āĻŦা āĻĻুāχāϜāύ āĻŦ্āϝāĻ•্āϤিāϰ āĻŽāϧ্āϝে as, like, resemble, the same as āχāϤ্āϝাāĻĻি āĻļāĻŦ্āĻĻāĻ—ুāϞােāϰ āωāϞ্āϞেāĻ– āĻ•āϰে āϏāϰাāϏāϰি āϤুāϞāύা āĻ•āϰাāĻ•ে simile āĻŦāϞে। 

Example -

• I wandered lonely as a cloud. 

• Youth (is) like summer morn.

• My heart is like a singing bird. 

• He is as cunning as a fox. 


2. Metaphor (āϰূāĻĒāĻ•):

āĻĻুāϟি āφāϞাāĻĻা āĻŦāϏ্āϤু āĻŦা āĻĻুāχāϜāύ āĻŦ্āϝāĻ•্āϤিāϰ āĻŽāϧ্āϝে comparision āĻāϰ āĻļāĻŦ্āĻĻāϏāĻŽূāĻš (āϝেāĻŽāύ: as, such, like āχāϤ্āϝাāĻĻি) āĻŦ্āϝāĻŦāĻšাāϰ āύা āĻ•āϰেāχ āϤুāϞāύা āĻ•āϰাāĻ•ে metaphor āĻŦāϞে। 

Example -

• Liza is a rose.

• Life is but a walking shadow. 

• Nazrul is fire.

• My brother was boiling mad. 


Note: āĻāĻ•āχ āϜাāϤীāϝ় āĻŦিāώāϝ়āĻŦāϏ্āϤুāϰ āĻŽāϧ্āϝে āϤুāϞāύা āĻšāϞে ......... Read More 


📓 āĻĒুāϰো āφāϰ্āϟিāĻ•েāϞ/āĻĒোāϏ্āϟāϟি āĻĒāĻĄ়ুāύ