Line by line Bengali meaning of Candida

 Line by line Bengali meaning of Candida


 

📖 Candida – Act I (Line by Line Bengali Meaning)

 

Text:

A fine October morning in the north east suburbs of London,

āĻŦাংāϞা:

āϞāύ্āĻĄāύেāϰ āωāϤ্āϤāϰ-āĻĒূāϰ্āĻŦ āωāĻĒāĻļāĻšāϰে āĻāĻ• āϏুāύ্āĻĻāϰ āĻ…āĻ•্āϟোāĻŦāϰেāϰ āϏāĻ•াāϞ,

 

Text:

a vast district many miles away from the London of Mayfair and St. James's,

āĻŦাংāϞা:

āĻāĻ•āϟি āĻŦিāϏ্āϤীāϰ্āĻŖ āĻāϞাāĻ•া, āϝা āĻŽেāĻĢে⧟াāϰ āĻ“ āϏেāύ্āϟ āϜেāĻŽāϏেāϰ āϞāύ্āĻĄāύ āĻĨেāĻ•ে āĻŦāĻšু āĻŽাāχāϞ āĻĻূāϰে,

 

Text:

much less known there than the Paris of the Rue de Rivoli and the Champs ElysÊes,

āĻŦাংāϞা:

āϝাāϰ āĻĒāϰিāϚিāϤি āϰু āĻĻে āϰিāĻ­োāϞি āĻ“ āĻļঁāϜ āĻāϞিāϜেāϰ āĻĒ্āϝাāϰিāϏ āĻĨেāĻ•েāĻ“ āĻ•āĻŽ,

 

Text:

and much less narrow, squalid, fetid and airless in its slums;

āĻŦাংāϞা:

āĻāĻŦং āĻāϰ āĻŦāϏ্āϤিāĻ—ুāϞো āϤুāϞāύা⧟ āĻ•āĻŽ āϏংāĻ•ীāϰ্āĻŖ, āĻ•āĻŽ āύোংāϰা, āĻ•āĻŽ āĻĻুāϰ্āĻ—āύ্āϧāĻŽā§Ÿ āĻ“ āĻ•āĻŽ āĻŦা⧟ুāĻļূāύ্āϝ;

 

Text:

strong in comfortable, prosperous middle class life; wide streeted; myriad-populated;

āĻŦাংāϞা:

āĻŦāϰং āĻāĻ–াāύে āφāĻ›ে āφāϰাāĻŽāĻĻা⧟āĻ• āĻ“ āϏāĻŽৃāĻĻ্āϧ āĻŽāϧ্āϝāĻŦিāϤ্āϤ āϜীāĻŦāύ; āĻĒ্āϰāĻļāϏ্āϤ āϰাāϏ্āϤা; āĻāĻŦং āĻ…āĻ—āĻŖিāϤ āĻŽাāύুāώেāϰ āĻŦāϏāϤি;

 

Text:

well-served with ugly iron urinals, Radical clubs, tram lines, and a perpetual stream of yellow cars,

āĻŦাংāϞা:

āĻāĻ–াāύে āϰ⧟েāĻ›ে āĻ•ুā§ŽāϏিāϤ āϞোāĻšাāϰ āĻĒ্āϰāϏ্āϰাāĻŦāϘāϰ, āϰ‍্āϝাāĻĄিāĻ•াāϞ āĻ•্āϞাāĻŦ, āϟ্āϰাāĻŽ āϞাāχāύ, āφāϰ āĻ…āĻŦিāϰাāĻŽ āϚāϞāϤে āĻĨাāĻ•া āĻšāϞুāĻĻ āĻ—া⧜িāϰ āϏ্āϰোāϤ,

 

Text:

enjoying in its main thoroughfares the luxury of grass-grown "front gardens,"

āĻŦাংāϞা:

āĻĒ্āϰāϧাāύ āϏ⧜āĻ•āĻ—ুāϞো āωāĻĒāĻ­োāĻ— āĻ•āϰāĻ›ে āϘাāϏে āĻĸাāĻ•া āϏাāĻŽāύেāϰ āĻŦাāĻ—াāύেāϰ āĻŦিāϞাāϏিāϤা,

 

Text:

un-trodden by the foot of man save as to the path from the gate to the hall door;

āĻŦাংāϞা:

āϝা āĻŽাāύুāώেāϰ āĻĒা⧟েāϰ āĻ›োঁ⧟া āĻĒা⧟āύি, āĻļুāϧু āĻĢāϟāĻ• āĻĨেāĻ•ে āĻšāϞāϘāϰেāϰ āĻĻāϰāϜা āĻĒāϰ্āϝāύ্āϤ āϏāϰু āĻĒāĻĨ āĻ›া⧜া;

 

Text:

but blighted by an intolerable monotony of miles and miles of graceless, characterless brick houses,

āĻŦাংāϞা:

āĻ•িāύ্āϤু āϤা āύāώ্āϟ āĻšā§Ÿে āĻ—েāĻ›ে āĻŽাāχāϞেāϰ āĻĒāϰ āĻŽাāχāϞ āϜু⧜ে āύিāϰāϏ, āĻŦৈāĻļিāώ্āϟ্āϝāĻšীāύ āχāϟেāϰ āĻŦা⧜িāϰ āĻ…āϏāĻš্āϝ āĻāĻ•āϘে⧟েāĻŽিāϤে;

 

Text:

black iron railings, stony pavements, slaty roofs,

āĻŦাংāϞা:

āĻ•াāϞো āϞোāĻšাāϰ āϰেāϞিং, āĻĒাāĻĨāϰেāϰ āĻŽāϤো āĻļāĻ•্āϤ āĻĢুāϟāĻĒাāϤ, āϏ্āϞেāϟেāϰ āĻ›াāĻĻ,

 

Text:

and respectably ill dressed or disreputably poorly dressed people,

āĻŦাংāϞা:

āĻāĻŦং āĻļাāϞীāύāĻ­াāĻŦে āĻ–াāϰাāĻĒ āĻĒোāĻļাāĻ• āĻĒāϰা āĻŦা āĻ…āĻļাāϞীāύāĻ­াāĻŦে āϜীāϰ্āĻŖ āĻĒোāĻļাāĻ• āĻĒāϰা āĻŽাāύুāώ,

 

Text:

quite accustomed to the place, and mostly plodding about somebody else's work, which they would not do if they themselves could help it.

āĻŦাংāϞা:

āϝাāϰা āĻāχ āϜা⧟āĻ—াāϰ āϏāĻ™্āĻ—ে āĻĒুāϰোāĻĒুāϰি āĻ…āĻ­্āϝāϏ্āϤ, āφāϰ āĻŦেāĻļিāϰāĻ­াāĻ—āχ āĻ…āύ্āϝ āĻ•াāϰāĻ“ āĻ•াāϜ āĻ•āϰে āϝাāϚ্āĻ›ে—āϝা āϤাāϰা āϏāĻŽ্āĻ­āĻŦ āĻšāϞে āĻ•āĻ–āύো āĻ•āϰāϤ āύা।

 

Text:

The little energy and eagerness that crop up shew themselves in cockney cupidity and business push.

āĻŦাংāϞা:

āϝে āϏাāĻŽাāύ্āϝ āωāĻĻ্āϝāĻŽ āφāϰ āĻ‰ā§ŽāϏাāĻš āĻĻেāĻ–া āϝা⧟, āϤা āĻĒ্āϰāĻ•াāĻļ āĻĒা⧟ āĻ•āĻ•āύিāĻĻেāϰ āϞোāĻ­ āφāϰ āĻŦ্āϝāĻŦāϏা⧟িāĻ• āϤা⧜āύা⧟।

 

Text:

Even the policemen and the chapels are not infrequent enough to break the monotony.

āĻŦাংāϞা:

āĻāĻŽāύāĻ•ি āĻĒুāϞিāĻļ āφāϰ āϚ্āϝাāĻĒেāϞāĻ—ুāϞোāĻ“ āĻāϤ āĻŦেāĻļি āĻĻেāĻ–া āϝা⧟ āϝে, āϤা āĻāĻ•āϘে⧟েāĻŽি āĻ­াāĻ™āϤে āĻĒাāϰে āύা।

 

Text:

The sun is shining cheerfully; there is no fog;

āĻŦাংāϞা:

āϏূāϰ্āϝ āωāϜ্āϜ্āĻŦāϞāĻ­াāĻŦে āĻšাāϏāĻ›ে; āĻ•ু⧟াāĻļা āύেāχ;

 

Text:

and though the smoke effectually prevents anything, whether faces and hands or bricks and mortar, from looking fresh and clean,

āĻŦাংāϞা:

āĻāĻŦং āϧোঁ⧟া āϏāĻŦāĻ•িāĻ›ুāĻ•েāχ—āϚেāĻšাāϰা, āĻšাāϤ, āĻ•িংāĻŦা āχāϟ-āĻĒাāĻĨāϰ—āϤাāϜা āφāϰ āĻĒāϰিāώ্āĻ•াāϰ āĻĻেāĻ–াāϤে āĻŦাāϧা āĻĻে⧟,

 

Text:

it is not hanging heavily enough to trouble a Londoner.

āĻŦাংāϞা:

āϤāĻŦু āϧোঁ⧟াāϟা āĻāϤ āĻ­াāϰী āύ⧟ āϝে āĻ•োāύো āϞāύ্āĻĄāύāĻŦাāϏীāĻ•ে āĻ•āώ্āϟ āĻĻেāĻŦে।

 

🏞 Part 2 – Victoria Park

Text:

This desert of unattractiveness has its oasis.

āĻŦাংāϞা:

āĻāχ āĻ…āύাāĻ•āϰ্āώāĻŖী⧟ āĻŽāϰুāĻ­ূāĻŽিāϰ āĻŽাāĻেāĻ“ āφāĻ›ে āĻāĻ• āĻ“āϝ়েāϏিāϏ।

 

Text:

Near the outer end of the Hackney Road is a park of 217 acres,

āĻŦাংāϞা:

āĻš্āϝাāĻ•āύি āϰোāĻĄেāϰ āĻāĻ•েāĻŦাāϰে āĻļেāώ āĻĒ্āϰাāύ্āϤে āφāĻ›ে ⧍⧧⧭ āĻāĻ•āϰ āϜāĻŽিāϰ āĻāĻ• āĻĒাāϰ্āĻ•,

 

Text:

fenced in, not by railings, but by a wooden paling,

āĻŦাংāϞা:

āϝা āϘেāϰা āφāĻ›ে āϞোāĻšাāϰ āϰেāϞিং āĻĻি⧟ে āύ⧟, āĻŦāϰং āĻ•াāĻ েāϰ āĻŦে⧜া āĻĻি⧟ে,

 

Text:

and containing plenty of greensward, trees, a lake for bathers,

āĻŦাংāϞা:

āĻāĻŦং āϝাāϰ āĻŽāϧ্āϝে āφāĻ›ে āĻŦিāϏ্āϤীāϰ্āĻŖ āϏāĻŦুāϜ āϘাāϏ, āĻ—াāĻ›, āφāϰ āϏ্āύাāύাāϰ্āĻĨীāĻĻেāϰ āϜāύ্āϝ āĻāĻ• āĻš্āϰāĻĻ,

 

Text:

flower beds with the flowers arranged carefully in patterns by the admired cockney art of carpet gardening

āĻŦাংāϞা:

āĻĢুāϞেāϰ āĻŦাāĻ—াāύ, āϝেāĻ–াāύে āĻĢুāϞ āϏাāϜাāύো āĻšā§ŸেāĻ›ে āĻ•āĻ•āύিāĻĻেāϰ āϜāύāĻĒ্āϰি⧟ āĻ•াāϰ্āĻĒেāϟ āĻ—াāϰ্āĻĄেāύিং āĻļিāϞ্āĻĒāĻ•ৌāĻļāϞ āĻ…āύুāϏাāϰে,

 

Text:

and a sandpit, imported from the seaside for the delight of the children,

āĻŦাংāϞা:

āĻāĻŦং āĻāĻ•āϟি āĻŦাāϞুāϰ āĻ—āϰ্āϤ, āϝা āĻļিāĻļুāĻĻেāϰ āφāύāύ্āĻĻেāϰ āϜāύ্āϝ āϏāĻŽুāĻĻ্āϰāϤীāϰ āĻĨেāĻ•ে āφāύা āĻšā§ŸেāĻ›ে,

 

Text:

but speedily deserted on its becoming a natural vermin preserve for all the petty fauna of Kingsland, Hackney and Hoxton.

āĻŦাংāϞা:

āĻ•িāύ্āϤু āĻĻ্āϰুāϤāχ āĻĢাঁāĻ•া āĻšā§Ÿে āϝা⧟, āĻ•াāϰāĻŖ āϤা āĻ•িāĻ™āϏ্‌āϞ্āϝাāύ্āĻĄ, āĻš্āϝাāĻ•āύি āφāϰ āĻšāĻ•্āϏāϟāύেāϰ āϏāĻŦ āĻ›োāϟāĻ–াāϟো āĻ•ীāϟāĻĒāϤāĻ™্āĻ—েāϰ āφāĻļ্āϰ⧟āϏ্āĻĨāϞ āĻšā§Ÿে āĻ“āĻ ে।

 


A bandstand, an unfinished forum for religious, anti-religious and political orators, cricket pitches, a gymnasium, and an old fashioned stone kiosk are among its attractions.

👉 āϏেāĻ–াāύে āĻāĻ•āϟি āĻŦ্āϝাāύ্āĻĄāϏ্āϟ্āϝাāύ্āĻĄ, āϧāϰ্āĻŽী⧟, āĻ…āϧāϰ্āĻŽী⧟ āĻāĻŦং āϰাāϜāύৈāϤিāĻ• āĻŦāĻ•্āϤাāĻĻেāϰ āϜāύ্āϝ āĻāĻ•āϟি āĻ…āϏāĻŽ্āĻĒূāϰ্āĻŖ āĻŽāĻž্āϚ, āĻ•্āϰিāĻ•েāϟ āĻ–েāϞাāϰ āĻŽাāĻ , āĻāĻ•āϟি āϜিāĻŽāύেāĻļি⧟াāĻŽ āĻāĻŦং āĻĒুāϰোāύো āĻĸāĻ™েāϰ āĻĒাāĻĨāϰেāϰ āĻ•িāĻ“āϏ্āĻ•—āĻāϏāĻŦāχ āϤাāϰ āφāĻ•āϰ্āώāĻŖেāϰ āĻ…ংāĻļ।

Wherever the prospect is bounded by trees or rising green grounds, it is a pleasant place.

👉 āϝেāĻ–াāύে āĻĻৃāĻļ্āϝ āϚাāϰāĻĒাāĻļে āĻ—াāĻ›āĻĒাāϞা āĻŦা āϏāĻŦুāϜ āωঁāϚু āϜāĻŽি āĻĻি⧟ে āϘেāϰা, āϏেāĻ–াāύে āϜা⧟āĻ—াāϟা āφāύāύ্āĻĻāĻĻা⧟āĻ•।

Where the ground stretches flat to the grey palings, with bricks and mortar, sky signs, crowded chimneys and smoke beyond, the prospect makes desolate and sordid.

👉 āĻ•িāύ্āϤু āϝেāĻ–াāύে āϜāĻŽি āϏোāϜা āϚāϞে āĻ—েāĻ›ে āϧূāϏāϰ āĻŦে⧜া āĻĒāϰ্āϝāύ্āϤ, āφāϰ āϤাāϰ āĻ“āĻĒাāϰে āĻļুāϧু āχāϟ-āĻĒাāĻĨāϰ, āφāĻ•াāĻļāĻ›োঁ⧟া āϏাāχāύāĻŦোāϰ্āĻĄ, āĻ—াāĻĻাāĻ—াāĻĻি āϚিāĻŽāύি āφāϰ āϧোঁ⧟া—āϏে āĻĻৃāĻļ্āϝāϟা āĻāĻ•েāĻŦাāϰে āύিāϰাāύāύ্āĻĻ āĻ“ āĻŽāϞিāύ āϞাāĻ—ে।

The best view of Victoria Park is from the front window of St. Dominic's Parsonage, from which not a single chimney is visible.

👉 āĻ­িāĻ•্āϟোāϰি⧟া āĻĒাāϰ্āĻ•েāϰ āϏāĻŦāϚে⧟ে āϏুāύ্āĻĻāϰ āĻĻৃāĻļ্āϝ āĻĻেāĻ–া āϝা⧟ āϏেāύ্āϟ āĻĄোāĻŽিāύিāĻ• āĻĒাāϰāϏোāύেāϜেāϰ āϏাāĻŽāύেāϰ āϜাāύাāϞা āĻĨেāĻ•ে, āϝেāĻ–াāύ āĻĨেāĻ•ে āĻāĻ•āϟি āϚিāĻŽāύিāĻ“ āĻĻেāĻ–া āϝা⧟ āύা।

The parsonage is a semi-detached villa with a front garden and a porch.

👉 āĻĒাāϰāϏোāύেāϜāϟা āĻšāϞো āĻāĻ•āϟি āφāϧা-āφāϞাāĻĻা āĻ­িāϞা, āϏাāĻŽāύে āĻŦাāĻ—াāύ āφāϰ āĻāĻ•āϟি āĻŦাāϰাāύ্āĻĻা (āĻĒোāϰ্āϚ) āφāĻ›ে।

Visitors go up the flight of steps to the porch: tradespeople and members of the family go down by a door under the steps to the basement, with a breakfast room, used for all meals, in front, and the kitchen at the back.

👉 āĻ…āϤিāĻĨিāϰা āϏিঁ⧜ি āĻŦে⧟ে āĻ“āĻĒāϰে āωāĻ ে āĻŦাāϰাāύ্āĻĻা āĻĻি⧟ে āĻĸোāĻ•ে; āĻ•িāύ্āϤু āĻ•াāϜেāϰ āϞোāĻ•েāϰা āφāϰ āĻŦা⧜িāϰ āϏāĻĻāϏ্āϝāϰা āύিāϚেāϰ āϏিঁ⧜িāϰ āϤāϞা⧟ āĻĨাāĻ•া āĻĻāϰāϜা āĻĻি⧟ে āĻŦেāϏāĻŽেāύ্āϟে āύাāĻŽে। āĻŦেāϏāĻŽেāύ্āϟেāϰ āϏাāĻŽāύেāϰ āĻĻিāĻ•ে āφāĻ›ে āĻāĻ•āϟি āĻĒ্āϰাāϤঃāϰাāĻļ āϘāϰ (āϝেāϟা āϏāĻŦ āĻ–াāĻŦাāϰেāϰ āϜāύ্āϝāχ āĻŦ্āϝāĻŦāĻšাāϰ āĻšā§Ÿ) āĻāĻŦং āĻĒেāĻ›āύে āφāĻ›ে āϰাāύ্āύাāϘāϰ।

Up-stairs, on the level of the hall door, is the drawing-room, with its large plate glass window looking on the park.

👉 āωāĻĒāϰেāϰ āϤāϞা⧟, āĻšāϞ-āĻĻāϰāϜাāϰ āϏāĻŽāϤāϞে āφāĻ›ে āĻĄ্āϰ⧟িংāϰুāĻŽ, āϝাāϰ āĻŦ⧜ āĻ•াঁāϚেāϰ āϜাāύাāϞা āĻĻি⧟ে āĻĒাāϰ্āĻ• āĻĻেāĻ–া āϝা⧟।

In this room, the only sitting-room that can be spared from the children and the family meals, the parson, the Reverend James Mavor Morell does his work.

👉 āĻāχ āϘāϰেāχ, āϝা āĻāĻ•āĻŽাāϤ্āϰ āĻŦāϏāĻŦাāϰ āϘāϰ (āĻļিāĻļু āφāϰ āĻĒাāϰিāĻŦাāϰিāĻ• āĻ–াāĻŦাāϰেāϰ āĻŦাāχāϰে āĻĢাঁāĻ•া āĻĨাāĻ•ে), āĻĒাāϰāϏāύ āĻ…āϰ্āĻĨাā§Ž āϰেāĻ­াāϰেāύ্āĻĄ āϜেāĻŽāϏ āĻŽাāĻ­āϰ āĻŽোāϰেāϞ āϤাāϰ āĻ•াāϜ āĻ•āϰেāύ।

He is sitting in a strong round backed revolving chair at the right hand end of a long table, which stands across the window, so that he can cheer himself with the view of the park at his elbow.

👉 āϤিāύি āĻŦāϏে āφāĻ›েāύ āĻāĻ•āϟি āĻŽāϜāĻŦুāϤ āĻ—োāϞāĻĒিāĻ āĻ“ā§ŸাāϞা āϘূāϰ্āĻŖা⧟āĻŽাāύ āϚে⧟াāϰে, āϞāĻŽ্āĻŦা āϟেāĻŦিāϞেāϰ āĻĄাāύ āĻĻিāĻ•েāϰ āĻŽাāĻĨা⧟। āϟেāĻŦিāϞāϟি āϜাāύাāϞাāϰ āϏাāĻŽāύে āϰাāĻ–া, āϝাāϤে āϤিāύি āĻ•āύুāĻ‡ā§Ÿেāϰ āĻ•াāĻ›ে āĻĒাāϰ্āĻ•েāϰ āĻĻৃāĻļ্āϝ āĻĻেāĻ–ে āύিāϜেāĻ•ে āĻĒ্āϰāĻĢুāϞ্āϞ āϰাāĻ–āϤে āĻĒাāϰেāύ।

At the opposite end of the table, adjoining it, is a little table only half the width of the other, with a typewriter on it.

👉 āϟেāĻŦিāϞāϟিāϰ āĻŦিāĻĒāϰীāϤ āĻĒ্āϰাāύ্āϤে, āϞাāĻ—ো⧟া āφāĻ›ে āφāϰেāĻ•āϟি āĻ›োāϟ āϟেāĻŦিāϞ, āϝা āφāĻ—েāϰ āϟেāĻŦিāϞেāϰ āĻ…āϰ্āϧেāĻ• āϚāĻ“ā§œা, āφāϰ āϤাāϰ āĻ“āĻĒāϰ āĻāĻ•āϟি āϟাāχāĻĒāϰাāχāϟাāϰ āϰাāĻ–া āφāĻ›ে।

His typist is sitting at this machine, with her back to the window.

👉 āϤাāϰ āϟাāχāĻĒিāϏ্āϟ āĻŦāϏে āφāĻ›েāύ āĻ“āχ āĻŽেāĻļিāύে, āϜাāύাāϞাāϰ āĻĻিāĻ•ে āĻĒিāĻ  āĻ•āϰে।


The large table is littered with pamphlets, journals, letters, nests of drawers, an office diary, postage scales and the like.

👉 āĻŦ⧜ āϟেāĻŦিāϞāϟি āύাāύা āϜিāύিāϏāĻĒāϤ্āϰে āĻ­āϰ্āϤি—āĻĒুāϏ্āϤিāĻ•া, āϏাāĻŽā§ŸিāĻ•ী, āϚিāĻ িāĻĒāϤ্āϰ, āĻ›োāϟ āĻ›োāϟ āĻĄ্āϰ⧟াāϰেāϰ āĻŦাāĻ•্āϏ, āĻ…āĻĢিāϏেāϰ āĻĄা⧟েāϰি, āĻĄাāĻ•েāϰ āĻ“āϜāύ āĻŽাāĻĒাāϰ āϝāύ্āϤ্āϰ, āχāϤ্āϝাāĻĻি।

A spare chair for visitors having

👉 āφāĻ—āύ্āϤুāĻ•āĻĻেāϰ āϜāύ্āϝ āĻāĻ•āϟি āĻŦা⧜āϤি āϚে⧟াāϰ āϰাāĻ–া āφāĻ›ে।



business with the parson is in the middle, turned to his end. Within reach of his hand is a stationery case, and a cabinet photograph in a frame.

👉 āĻĒাāĻĻāϰীāϰ āĻ•াāϜেāϰ āϜা⧟āĻ—া āϟেāĻŦিāϞেāϰ āĻŽাāĻāĻ–াāύে, āϤাāϰ āĻĻিāĻ• āϘুāϰাāύো। āĻšাāϤেāϰ āύাāĻ—াāϞেāχ āφāĻ›ে āĻāĻ•āϟি āϏ্āϟেāĻļāύাāϰি āĻŦাāĻ•্āϏ āĻāĻŦং āĻāĻ•āϟি āĻĢ্āϰেāĻŽে āĻŦাঁāϧাāύো āĻĢāϟো।

Behind him the right hand wall, recessed above the fireplace, is fitted with bookshelves, on which an adept eye can measure the parson's divinity and casuistry by a complete set of Browning's poems and Maurice's Theological Essays, and guess at his politics from a yellow backed Progress and Poverty, Fabian Essays, a Dream of John Ball, Marx's Capital, and half a dozen other literary landmarks in Socialism.

👉 āϤাāϰ āĻĒিāĻ›āύে, āĻĄাāύ āĻĻিāĻ•েāϰ āĻĻে⧟াāϞে, āĻ…āĻ—্āύিāĻ•ুāĻŖ্āĻĄেāϰ āωāĻĒāϰে āϰ⧟েāĻ›ে āĻŦāĻ‡ā§Ÿেāϰ āϤাāĻ•। āϤাāĻ•েāϰ āĻŦāχ āĻĻেāĻ–ে āĻāĻ•āϜāύ āĻ…āĻ­িāϜ্āĻž āϞোāĻ• āĻŦুāĻāϤে āĻĒাāϰে āĻĒাāĻĻāϰীāϰ āϧāϰ্āĻŽāϤāϤ্āϤ্āĻŦ āĻ“ āĻĻāϰ্āĻļāύেāϰ āφāĻ—্āϰāĻš—āĻ•াāϰāĻŖ āϏেāĻ–াāύে āφāĻ›ে āĻŦ্āϰাāωāύিং-āĻāϰ āĻ•āĻŦিāϤাāϰ āϏāĻŽ্āĻĒূāϰ্āĻŖ āϏংāĻ•āϞāύ, āĻŽāϰিāϏ-āĻāϰ āϧāϰ্āĻŽāϤাāϤ্āϤ্āĻŦিāĻ• āĻĒ্āϰāĻŦāύ্āϧ। āφāϰ āϰাāϜāύীāϤিāϰ āĻĒ্āϰāϤি āϤাāϰ āĻোঁāĻ• āĻŦোāĻা āϝা⧟ āĻāĻŽāύ āĻŦāχ āĻĨেāĻ•ে—Progress and Poverty (āĻšāϞুāĻĻ āĻŽāϞাāϟে), Fabian Essays, A Dream of John Ball, āĻŽাāϰ্āĻ•āϏ-āĻāϰ Capital, āφāϰ āϏāĻŽাāϜāϤāύ্āϤ্āϰ āϏāĻŽ্āĻĒāϰ্āĻ•িāϤ āφāϰāĻ“ āĻ…āϰ্āϧāĻĄāϜāύ āĻŦāχ।

Opposite him on the left, near the typewriter, is the door. Further down the room, opposite the fireplace, a bookcase stands on a cellaret, with a sofa near it.

👉 āϤাāϰ āĻŦিāĻĒāϰীāϤে, āĻŦাঁ āĻĻিāĻ•ে, āϟাāχāĻĒāϰাāχāϟাāϰেāϰ āĻ•াāĻ›ে āφāĻ›ে āĻĻāϰāϜা। āϘāϰেāϰ āĻ­েāϤāϰে āφāϰāĻ“ āĻĻূāϰে, āĻ…āĻ—্āύিāĻ•ুāĻŖ্āĻĄেāϰ āĻŦিāĻĒāϰীāϤে āĻāĻ•āϟি āĻŦুāĻ•āĻ•েāϏ āφāĻ›ে āϏেāϞাāϰেāϟেāϰ āĻ“āĻĒāϰ āϰাāĻ–া, āφāϰ āϤাāϰ āĻ•াāĻ›ে āĻāĻ•āϟি āϏোāĻĢা।

There is a generous fire burning; and the hearth, with a comfort armchair and a japanned flower painted coal scuttle side, a miniature chair for a boy or girl on the other, a varnished wooden mantelpiece, with neatly moulded shelves, tiny bits of mirror let into the panels, and a travelling clock in a leather case (the inevitable wedding present), and on the wall above a large autotype of the chief figure in Titian's Virgin of the Assumption, is very inviting.

👉 āĻ…āĻ—্āύিāĻ•ুāĻŖ্āĻĄে āĻŦ⧜āϏ⧜ āφāĻ—ুāύ āϜ্āĻŦāϞāĻ›ে। āĻ…āĻ—্āύিāĻ•ুāĻŖ্āĻĄেāϰ āĻĒাāĻļে āφāĻ›ে āφāϰাāĻŽāĻ•েāĻĻাāϰা, āĻāĻ• āĻĒাāĻļে āĻĢুāϞ āφঁāĻ•া āĻ•াāϞো āϰāĻ™েāϰ āĻ•ā§ŸāϞা āϰাāĻ–াāϰ āĻĒাāϤ্āϰ, āφāϰেāĻ• āĻĒাāĻļে āĻāĻ•āϟি āĻ›োāϟ্āϟ āϚে⧟াāϰ (āĻ›েāϞে āĻŦা āĻŽে⧟েāϰ āϜāύ্āϝ), āĻ“āĻĒāϰে āφāĻ›ে āĻĒাāϞিāĻļ āĻ•āϰা āĻ•াāĻ েāϰ āĻŽ্āϝাāύ্āϟেāϞāĻĒিāϏ, āϏুāύ্āĻĻāϰ āĻ›াঁāϚ āĻ•āϰা āϤাāĻ•, āĻ›োāϟ āĻ›োāϟ āĻ†ā§Ÿāύাāϰ āϟুāĻ•āϰো āĻŦāϏাāύো āĻĒ্āϝাāύেāϞ, āφāϰ āϚাāĻŽā§œাāϰ āĻŦাāĻ•্āϏে āϰাāĻ–া āĻ­্āϰāĻŽāĻŖ āϘ⧜ি (āϝা āĻŦি⧟েāϰ āϏāĻŽā§Ÿ āĻĒাāĻ“ā§Ÿা āĻ…āĻŦāϧাāϰিāϤ āωāĻĒāĻšাāϰ)। āĻ…āĻ—্āύিāĻ•ুāĻŖ্āĻĄেāϰ āĻ“āĻĒāϰে āĻĻে⧟াāϞে āĻোāϞাāύো āφāĻ›ে āϟিāĻļি⧟াāύেāϰ āĻŦিāĻ–্āϝাāϤ āϚিāϤ্āϰ Virgin of the Assumption-āĻāϰ āĻĒ্āϰāϧাāύ āϚāϰিāϤ্āϰেāϰ āĻŦ⧜ āĻĒ্āϰāϤিāϞিāĻĒি। āĻĒুāϰো āϜা⧟āĻ—াāϟা āĻ–ুāĻŦāχ āφāĻŽāύ্āϤ্āϰāĻŖāĻŽূāϞāĻ•।

Altogether the room is the room of a good housekeeper, vanquished, as far as the table is concerned, by an untidy man, but elsewhere mistress of the situation.

👉 āϏāĻŦ āĻŽিāϞি⧟ে āϘāϰāϟা āĻāĻ•āϟি āĻ­াāϞো āĻ—ৃāĻšāĻ•āϰ্āϤ্āϰীāϰ āϝāϤ্āύে āϏাāϜাāύো, āϤāĻŦে āϟেāĻŦিāϞেāϰ āĻ•্āώেāϤ্āϰে āĻ…āĻ—োāĻ›াāϞো āĻŽাāύুāώāϟিāϰ āĻ•াāϰāĻŖে āĻ•িāĻ›ুāϟা āĻŦিāĻļৃāĻ™্āĻ–āϞা āφāĻ›ে। āĻŦাāĻ•িāϟা āĻĒুāϰো āύি⧟āύ্āϤ্āϰāĻŖে āφāĻ›ে।

The furniture, in its ornamental aspect, betrays the style of the advertised "drawing-room suite" of the pushing suburban furniture dealer; but there is nothing useless or pretentious in the room.

👉 āφāϏāĻŦাāĻŦāĻĒāϤ্āϰেāϰ āϏাāϜāϏāϜ্āϜা āĻĻেāĻ–ে āĻŦোāĻা āϝা⧟ āĻāĻ—ুāϞো āĻļāĻšāϰāϤāϞিāϰ āφāϏāĻŦাāĻŦāĻĒāϤ্āϰ āĻŦিāĻ•্āϰেāϤাāϰ āĻŦিāϜ্āĻžাāĻĒিāϤ “āĻĄ্āϰ⧟িং-āϰুāĻŽ āϏেāϟ”-āĻāϰ āϧাঁāϚে āĻ•েāύা। āϤāĻŦে āϘāϰে āĻ•োāύো āĻ…āĻĒ্āϰ⧟োāϜāύী⧟ āĻŦা āĻ…āϤিāϰিāĻ•্āϤ āĻĻেāĻ–āύāĻĻাāϰি āϜিāύিāϏ āύেāχ।

The paper and panelling are dark, throwing the big cheery window and the park outside into strong relief.

👉 āĻĻে⧟াāϞেāϰ āĻ•াāĻ—āϜ āφāϰ āĻĒ্āϝাāύেāϞ āĻ—াā§ āϰāĻ™েāϰ, āϝা āĻŦ⧜ āωāϜ্āϜ্āĻŦāϞ āϜাāύাāϞা āφāϰ āϤাāϰ āĻŦাāχāϰেāϰ āĻĒাāϰ্āĻ•āĻ•ে āφāϰāĻ“ āϏ্āĻĒāώ্āϟ āĻ•āϰে āϤুāϞেāĻ›ে।

The Reverend James Mavor Morell is a Christian Socialist clergyman of the Church of England, and an active member of the Guild of St. Matthew and the Christian Social Union.

👉 āϰেāĻ­াāϰেāύ্āĻĄ āϜেāĻŽāϏ āĻŽাāĻ­āϰ āĻŽোāϰেāϞ āĻšāϚ্āĻ›েāύ āχংāϞ্āϝাāύ্āĻĄেāϰ āϚাāϰ্āϚেāϰ āĻāĻ•āϜāύ āĻ–্āϰিāϏ্āϟাāύ āϏāĻŽাāϜāϤাāύ্āϤ্āϰিāĻ• āĻĒাāĻĻ্āϰী। āϤিāύি Guild of St. Matthew āĻāĻŦং Christian Social Union-āĻāϰ āϏāĻ•্āϰি⧟ āϏāĻĻāϏ্āϝ।

A vigorous, genial, popular man of forty, robust and good-looking, full of energy, with pleasant, hearty, considerate manners, and a sound, unaffected voice, which he uses with the clean, athletic articulation of a practised orator, and with a wide range and perfect command of expression.

👉 āϤিāύি āϚāϞ্āϞিāĻļ āĻŦāĻ›āϰেāϰ āĻāĻ•āϜāύ āĻĒ্āϰাāĻŖāĻŦāύ্āϤ, āĻšাāϏিāĻ–ুāĻļি āĻ“ āϜāύāĻĒ্āϰি⧟ āĻŽাāύুāώ। āĻļāĻ•্āϤāϏāĻŽāϰ্āĻĨ āĻ“ āϏুāύ্āĻĻāϰ āϚেāĻšাāϰা, āĻ­āϰāĻĒুāϰ āĻāύাāϰ্āϜি, āĻŽāύোāϰāĻŽ āĻ“ āφāύ্āϤāϰিāĻ• āĻŦ্āϝāĻŦāĻšাāϰ āϤাāϰ āĻŦিāĻļেāώ āĻ—ুāĻŖ। āϤাāϰ āĻ•āĻŖ্āĻ āϏ্āĻŦāϰ āϏুāϏ্āĻĨ āĻ“ āĻĒ্āϰাāĻ•ৃāϤিāĻ•, āϝা āϤিāύি āĻāĻ•āϜāύ āĻ…āĻ­িāϜ্āĻž āĻŦāĻ•্āϤাāϰ āĻŽāϤো āĻĒāϰিāώ্āĻ•াāϰ āĻ“ āĻļāĻ•্āϤিāĻļাāϞী āωāϚ্āϚাāϰāĻŖে āĻŦ্āϝāĻŦāĻšাāϰ āĻ•āϰেāύ, āĻāĻŦং āϤাāϰ āĻĒ্āϰāĻ•াāĻļāĻ­āĻ™্āĻ—ি āĻŦিāϏ্āϤৃāϤ āĻ“ āύিāĻ–ুঁāϤ।

He is a first-rate clergyman, able to say what he likes to whom he likes, to lecture people without setting himself up against them, to impose his authority on them without humiliating them, and to interfere in their business without impertinence.

👉 āϤিāύি āĻĒ্āϰāĻĨāĻŽ āĻļ্āϰেāĻŖিāϰ āĻāĻ• āĻĒাāĻĻ্āϰী। āϝাāĻ•ে āχāϚ্āĻ›ে āϝা āĻŦāϞāϤে āĻĒাāϰেāύ, āĻ•াāωāĻ•ে āĻŦিāϰূāĻĒ āύা āĻ•āϰে āĻŽাāύুāώāĻ•ে āĻļেāĻ–াāϤে āĻĒাāϰেāύ, āĻ•াāωāĻ•ে āĻ…āĻĒāĻŽাāύ āύা āĻ•āϰেāĻ“ āύিāϜেāϰ āĻ•āϰ্āϤৃāϤ্āĻŦ āĻŦāϜা⧟ āϰাāĻ–āϤে āĻĒাāϰেāύ, āφāϰ āĻ…āύ্āϝেāϰ āĻŦ্āϝাāĻĒাāϰে āĻšāϏ্āϤāĻ•্āώেāĻĒ āĻ•āϰāϤে āĻĒাāϰেāύ āĻ…āĻļোāĻ­āύ āύা āĻšā§Ÿে।

His well spring of spiritual enthusiasm and sympathetic emotion has never run dry for a moment: he still eats and sleeps heartily enough to win the daily battle between exhaustion and recuperation triumphantly.

👉 āϤাāϰ āφāϧ্āϝাāϤ্āĻŽিāĻ• āĻ‰ā§ŽāϏাāĻš āĻ“ āϏāĻšাāύুāĻ­ূāϤিāϰ āĻāϰ্āĻŖা āĻ•āĻ–āύো āĻļুāĻ•া⧟āύি। āϤিāύি āĻāĻ–āύো āĻāĻŽāύāĻ­াāĻŦে āĻ–াāĻ“ā§Ÿা-āĻĻাāĻ“ā§Ÿা āĻ“ āϘুāĻŽাāύ āϝে āĻĒ্āϰāϤিāĻĻিāύ āĻ•্āϞাāύ্āϤি āĻ“ āĻĒুāύāϰুāϜ্āϜীāĻŦāύেāϰ āϞ⧜াāĻ‡ā§Ÿে āϤিāύি āϏāĻšāϜেāχ āϜ⧟ী āĻšāύ।

Withal, a great baby, pardonably vain of his powers and unconsciously pleased with himself.

👉 āϏāĻŦ āĻŽিāϞি⧟ে āϤিāύি āĻāĻ• āϧāϰāύেāϰ āĻŦ⧜ āĻļিāĻļু—āύিāϜেāϰ āĻ•্āώāĻŽāϤা āύি⧟ে āĻ–াāύিāĻ•āϟা āĻ…āĻšংāĻ•াāϰ āφāĻ›ে, āϤāĻŦে āϏেāϟা āĻ•্āώāĻŽাāϰ āϝোāĻ—্āϝ। āϤিāύি āύিāϜেāϰ āĻŽāϧ্āϝে āĻ…āϜাāύ্āϤেāχ āϏāύ্āϤুāώ্āϟ āĻĨাāĻ•েāύ।

He has a healthy complexion, a good forehead, with the brows somewhat blunt, and the eyes bright and eager, a mouth resolute, but not particularly well cut, and a substantial nose, with the mobile, spreading nostrils of the dramatic orator, but, like all his features, void of subtlety.

👉 āϤাāϰ āĻ—া⧟েāϰ āϰং āϏ্āĻŦাāϏ্āĻĨ্āϝোāϜ্āϜ্āĻŦāϞ, āĻ•āĻĒাāϞ āĻ­াāϞো, āĻ­্āϰু āĻ•িāĻ›ুāϟা āĻŽোāϟা, āϚোāĻ– āωāϜ্āϜ্āĻŦāϞ āĻ“ āĻ‰ā§ŽāϏুāĻ•। āĻŽুāĻ– āĻĻৃā§āϚেāϤা, āϝāĻĻিāĻ“ āĻ–ুāĻŦ āύিāĻ–ুঁāϤ āύ⧟। āύাāĻ•āϟা āϝāĻĨেāώ্āϟ āĻŦ⧜, āĻ›ā§œি⧟ে āϝাāĻ“ā§Ÿা āύাāϏাāϰāύ্āϧ্āϰ āύাāϟāĻ•ী⧟ āĻŦāĻ•্āϤাāϰ āĻŽāϤো। āϤāĻŦে āϤাāϰ āϏāĻŦ āĻŦৈāĻļিāώ্āϟ্āϝāχ āϏূāĻ•্āώ্āĻŽāϤাāϰ āĻ…āĻ­াāĻŦে āĻ­āϰা।

The typist, Miss Proserpine Garnett, is a brisk little woman of about 30, of the lower middle class, neatly but cheaply dressed in a black merino skirt and a blouse, rather pert and quick of speech, and not very civil in her manner, but sensitive and affectionate.

👉 āϟাāχāĻĒিāϏ্āϟ, āĻŽিāϏ āĻĒ্āϰোāϏাāϰāĻĒাāχāύ āĻ—াāϰāύেāϟ, āĻĒ্āϰা⧟ ā§Šā§Ļ āĻŦāĻ›āϰেāϰ āĻ›োāϟāĻ–াāϟো āĻāĻ• āϤেāϜি āĻŽāĻšিāϞা। āϤিāύি āύিāĻŽ্āύ-āĻŽāϧ্āϝāĻŦিāϤ্āϤ āĻļ্āϰেāĻŖিāϰ, āĻĒāϰিāĻĒাāϟি āĻ•িāύ্āϤু āϏāϏ্āϤা āĻĒোāĻļাāĻ•ে—āĻāĻ•āϟি āĻ•াāϞো āĻŽেāϰিāύো āϏ্āĻ•াāϰ্āϟ āĻ“ āĻŦ্āϞাāωāϜ āĻĒāϰেāύ। āϤাāϰ āĻ•āĻĨা āĻŦāϞাāϰ āϧāϰāύ āϤীāĻ•্āώ্āĻŖ āĻ“ āĻĻ্āϰুāϤ, āĻŦ্āϝāĻŦāĻšাāϰ āĻ–ুāĻŦ āĻ­āĻĻ্āϰ āύ⧟, āϤāĻŦে āϤিāύি āϏংāĻŦেāĻĻāύāĻļীāϞ āĻ“ āϏ্āύেāĻšāĻļীāϞা।

She is clattering away busily at her machine whilst Morell opens the last of his morning's letters. He realizes its contents with a comic groan of despair.

👉 āϤিāύি āĻŦ্āϝāϏ্āϤāĻ­াāĻŦে āϤাāϰ āĻŽেāĻļিāύে āϟāĻ•āϟāĻ• āĻļāĻŦ্āĻĻে āϟাāχāĻĒ āĻ•āϰে āϝাāϚ্āĻ›েāύ, āĻāĻĻিāĻ•ে āĻŽোāϰেāϞ āϤাāϰ āϏāĻ•াāϞেāϰ āĻļেāώ āϚিāĻ িāϟি āĻ–ুāϞāĻ›েāύ। āϚিāĻ িāϰ āĻŦিāώ⧟āĻŦāϏ্āϤু āĻĒ⧜ে āϤিāύি āĻšāϤাāĻļা⧟ āĻŽāϜাāϰ āĻŽāϤো āĻāĻ•āϟি āĻĻীāϰ্āϘāĻļ্āĻŦাāϏ āĻ›া⧜āϞেāύ।

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