Line by line Bengali meaning of Candida
đ Candida – Act I (Line by Line Bengali Meaning)
Text:
A fine October morning in the north east suburbs of London,
āĻŦাংāϞা:
āϞāύ্āĻĄāύেāϰ āĻāϤ্āϤāϰ-āĻĒূāϰ্āĻŦ āĻāĻĒāĻļāĻšāϰে āĻāĻ āϏুāύ্āĻĻāϰ āĻ āĻ্āĻোāĻŦāϰেāϰ āϏāĻাāϞ,
Text:
a vast district many miles away from the London of Mayfair and St. James's,
āĻŦাংāϞা:
āĻāĻāĻি āĻŦিāϏ্āϤীāϰ্āĻŖ āĻāϞাāĻা, āϝা āĻŽেāĻĢেā§াāϰ āĻ āϏেāύ্āĻ āĻেāĻŽāϏেāϰ āϞāύ্āĻĄāύ āĻĨেāĻে āĻŦāĻšু āĻŽাāĻāϞ āĻĻূāϰে,
Text:
much less known there than the Paris of the Rue de Rivoli and the Champs ElysÊes,
āĻŦাংāϞা:
āϝাāϰ āĻĒāϰিāĻিāϤি āϰু āĻĻে āϰিāĻোāϞি āĻ āĻļঁāĻ āĻāϞিāĻেāϰ āĻĒ্āϝাāϰিāϏ āĻĨেāĻেāĻ āĻāĻŽ,
Text:
and much less narrow, squalid, fetid and airless in its slums;
āĻŦাংāϞা:
āĻāĻŦং āĻāϰ āĻŦāϏ্āϤিāĻুāϞো āϤুāϞāύাā§ āĻāĻŽ āϏংāĻীāϰ্āĻŖ, āĻāĻŽ āύোংāϰা, āĻāĻŽ āĻĻুāϰ্āĻāύ্āϧāĻŽā§ āĻ āĻāĻŽ āĻŦাā§ুāĻļূāύ্āϝ;
Text:
strong in comfortable, prosperous middle class life; wide streeted; myriad-populated;
āĻŦাংāϞা:
āĻŦāϰং āĻāĻাāύে āĻāĻে āĻāϰাāĻŽāĻĻাā§āĻ āĻ āϏāĻŽৃāĻĻ্āϧ āĻŽāϧ্āϝāĻŦিāϤ্āϤ āĻীāĻŦāύ; āĻĒ্āϰāĻļāϏ্āϤ āϰাāϏ্āϤা; āĻāĻŦং āĻ āĻāĻŖিāϤ āĻŽাāύুāώেāϰ āĻŦāϏāϤি;
Text:
well-served with ugly iron urinals, Radical clubs, tram lines, and a perpetual stream of yellow cars,
āĻŦাংāϞা:
āĻāĻাāύে āϰā§েāĻে āĻুā§āϏিāϤ āϞোāĻšাāϰ āĻĒ্āϰāϏ্āϰাāĻŦāĻāϰ, āϰ্āϝাāĻĄিāĻাāϞ āĻ্āϞাāĻŦ, āĻ্āϰাāĻŽ āϞাāĻāύ, āĻāϰ āĻ āĻŦিāϰাāĻŽ āĻāϞāϤে āĻĨাāĻা āĻšāϞুāĻĻ āĻাā§িāϰ āϏ্āϰোāϤ,
Text:
enjoying in its main thoroughfares the luxury of grass-grown "front gardens,"
āĻŦাংāϞা:
āĻĒ্āϰāϧাāύ āϏā§āĻāĻুāϞো āĻāĻĒāĻোāĻ āĻāϰāĻে āĻাāϏে āĻĸাāĻা āϏাāĻŽāύেāϰ āĻŦাāĻাāύেāϰ āĻŦিāϞাāϏিāϤা,
Text:
un-trodden by the foot of man save as to the path from the gate to the hall door;
āĻŦাংāϞা:
āϝা āĻŽাāύুāώেāϰ āĻĒাā§েāϰ āĻোঁā§া āĻĒাā§āύি, āĻļুāϧু āĻĢāĻāĻ āĻĨেāĻে āĻšāϞāĻāϰেāϰ āĻĻāϰāĻা āĻĒāϰ্āϝāύ্āϤ āϏāϰু āĻĒāĻĨ āĻাā§া;
Text:
but blighted by an intolerable monotony of miles and miles of graceless, characterless brick houses,
āĻŦাংāϞা:
āĻিāύ্āϤু āϤা āύāώ্āĻ āĻšā§ে āĻেāĻে āĻŽাāĻāϞেāϰ āĻĒāϰ āĻŽাāĻāϞ āĻুā§ে āύিāϰāϏ, āĻŦৈāĻļিāώ্āĻ্āϝāĻšীāύ āĻāĻেāϰ āĻŦাā§িāϰ āĻ āϏāĻš্āϝ āĻāĻāĻেā§েāĻŽিāϤে;
Text:
black iron railings, stony pavements, slaty roofs,
āĻŦাংāϞা:
āĻাāϞো āϞোāĻšাāϰ āϰেāϞিং, āĻĒাāĻĨāϰেāϰ āĻŽāϤো āĻļāĻ্āϤ āĻĢুāĻāĻĒাāϤ, āϏ্āϞেāĻেāϰ āĻাāĻĻ,
Text:
and respectably ill dressed or disreputably poorly dressed people,
āĻŦাংāϞা:
āĻāĻŦং āĻļাāϞীāύāĻাāĻŦে āĻাāϰাāĻĒ āĻĒোāĻļাāĻ āĻĒāϰা āĻŦা āĻ āĻļাāϞীāύāĻাāĻŦে āĻীāϰ্āĻŖ 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 āĻāĻ āĻাā§āĻাāϰ āϏāĻ্āĻে āĻĒুāϰোāĻĒুāϰি āĻ āĻ্āϝāϏ্āϤ, āĻāϰ āĻŦেāĻļিāϰāĻাāĻāĻ āĻ āύ্āϝ āĻাāϰāĻ āĻাāĻ āĻāϰে āϝাāĻ্āĻে—āϝা āϤাāϰা āϏāĻŽ্āĻāĻŦ āĻšāϞে āĻāĻāύো āĻāϰāϤ āύা।
Text:
The little energy and eagerness that crop up shew themselves in cockney cupidity and business push.
āĻŦাংāϞা:
āϝে āϏাāĻŽাāύ্āϝ āĻāĻĻ্āϝāĻŽ āĻāϰ āĻā§āϏাāĻš āĻĻেāĻা āϝাā§, āϤা āĻĒ্āϰāĻাāĻļ āĻĒাā§ āĻāĻāύিāĻĻেāϰ āϞোāĻ āĻāϰ āĻŦ্āϝāĻŦāϏাā§িāĻ āϤাā§āύাā§।
Text:
Even the policemen and the chapels are not infrequent enough to break the monotony.
āĻŦাংāϞা:
āĻāĻŽāύāĻি āĻĒুāϞিāĻļ āĻāϰ āĻ্āϝাāĻĒেāϞāĻুāϞোāĻ āĻāϤ āĻŦেāĻļি āĻĻেāĻা āϝাā§ āϝে, āϤা āĻāĻāĻেā§েāĻŽি āĻাāĻāϤে āĻĒাāϰে āύা।
Text:
The sun is shining cheerfully; there is no fog;
āĻŦাংāϞা:
āϏূāϰ্āϝ āĻāĻ্āĻ্āĻŦāϞāĻাāĻŦে āĻšাāϏāĻে; āĻুā§াāĻļা āύেāĻ;
Text:
and though the smoke effectually prevents anything, whether faces and hands or bricks and mortar, from looking fresh and clean,
āĻŦাংāϞা:
āĻāĻŦং āϧোঁā§া āϏāĻŦāĻিāĻুāĻেāĻ—āĻেāĻšাāϰা, āĻšাāϤ, āĻিংāĻŦা āĻāĻ-āĻĒাāĻĨāϰ—āϤাāĻা āĻāϰ āĻĒāϰিāώ্āĻাāϰ āĻĻেāĻাāϤে āĻŦাāϧা āĻĻেā§,
Text:
it is not hanging heavily enough to trouble a Londoner.
āĻŦাংāϞা:
āϤāĻŦু āϧোঁā§াāĻা āĻāϤ āĻাāϰী āύ⧠āϝে āĻোāύো āϞāύ্āĻĄāύāĻŦাāϏীāĻে āĻāώ্āĻ āĻĻেāĻŦে।
đ Part 2 – Victoria Park
Text:
This desert of unattractiveness has its oasis.
āĻŦাংāϞা:
āĻāĻ āĻ āύাāĻāϰ্āώāĻŖীā§ āĻŽāϰুāĻূāĻŽিāϰ āĻŽাāĻেāĻ āĻāĻে āĻāĻ āĻāϝ়েāϏিāϏ।
Text:
Near the outer end of the Hackney Road is a park of 217 acres,
āĻŦাংāϞা:
āĻš্āϝাāĻāύি āϰোāĻĄেāϰ āĻāĻেāĻŦাāϰে āĻļেāώ āĻĒ্āϰাāύ্āϤে āĻāĻে ⧍⧧⧠āĻāĻāϰ āĻāĻŽিāϰ āĻāĻ āĻĒাāϰ্āĻ,
Text:
fenced in, not by railings, but by a wooden paling,
āĻŦাংāϞা:
āϝা āĻেāϰা āĻāĻে āϞোāĻšাāϰ āϰেāϞিং āĻĻিā§ে āύā§, āĻŦāϰং āĻাāĻ েāϰ āĻŦেā§া āĻĻিā§ে,
Text:
and containing plenty of greensward, trees, a lake for bathers,
āĻŦাংāϞা:
āĻāĻŦং āϝাāϰ āĻŽāϧ্āϝে āĻāĻে āĻŦিāϏ্āϤীāϰ্āĻŖ āϏāĻŦুāĻ āĻাāϏ, āĻাāĻ, āĻāϰ āϏ্āύাāύাāϰ্āĻĨীāĻĻেāϰ āĻāύ্āϝ āĻāĻ āĻš্āϰāĻĻ,
Text:
flower beds with the flowers arranged carefully in patterns by the admired cockney art of carpet gardening
āĻŦাংāϞা:
āĻĢুāϞেāϰ āĻŦাāĻাāύ, āϝেāĻাāύে āĻĢুāϞ āϏাāĻাāύো āĻšā§েāĻে āĻāĻāύিāĻĻেāϰ āĻāύāĻĒ্āϰিā§ āĻাāϰ্āĻĒেāĻ āĻাāϰ্āĻĄেāύিং āĻļিāϞ্āĻĒāĻৌāĻļāϞ āĻ āύুāϏাāϰে,
Text:
and a sandpit, imported from the seaside for the delight of the children,
āĻŦাংāϞা:
āĻāĻŦং āĻāĻāĻি āĻŦাāϞুāϰ āĻāϰ্āϤ, āϝা āĻļিāĻļুāĻĻেāϰ āĻāύāύ্āĻĻেāϰ āĻāύ্āϝ āϏāĻŽুāĻĻ্āϰāϤীāϰ āĻĨেāĻে āĻāύা āĻšā§েāĻে,
Text:
but speedily deserted on its becoming a natural vermin preserve for all the petty fauna of Kingsland, Hackney and Hoxton.
āĻŦাংāϞা:
āĻিāύ্āϤু āĻĻ্āϰুāϤāĻ āĻĢাঁāĻা āĻšā§ে āϝাā§, āĻাāϰāĻŖ āϤা āĻিāĻāϏ্āϞ্āϝাāύ্āĻĄ, āĻš্āϝাāĻāύি āĻāϰ āĻšāĻ্āϏāĻāύেāϰ āϏāĻŦ āĻোāĻāĻাāĻো āĻীāĻāĻĒāϤāĻ্āĻেāϰ āĻāĻļ্āϰā§āϏ্āĻĨāϞ āĻšā§ে āĻāĻ ে।
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.
đ āϏেāĻাāύে āĻāĻāĻি āĻŦ্āϝাāύ্āĻĄāϏ্āĻ্āϝাāύ্āĻĄ, āϧāϰ্āĻŽীā§, āĻ āϧāϰ্āĻŽীā§ āĻāĻŦং āϰাāĻāύৈāϤিāĻ āĻŦāĻ্āϤাāĻĻেāϰ āĻāύ্āϝ āĻāĻāĻি āĻ āϏāĻŽ্āĻĒূāϰ্āĻŖ āĻŽāĻ্āĻ, āĻ্āϰিāĻেāĻ āĻেāϞাāϰ āĻŽাāĻ , āĻāĻāĻি āĻিāĻŽāύেāĻļিā§াāĻŽ āĻāĻŦং āĻĒুāϰোāύো āĻĸāĻেāϰ āĻĒাāĻĨāϰেāϰ āĻিāĻāϏ্āĻ—āĻāϏāĻŦāĻ āϤাāϰ āĻāĻāϰ্āώāĻŖেāϰ āĻ ংāĻļ।
Wherever the prospect is bounded by trees or rising green grounds, it is a pleasant place.
đ āϝেāĻাāύে āĻĻৃāĻļ্āϝ āĻাāϰāĻĒাāĻļে āĻাāĻāĻĒাāϞা āĻŦা āϏāĻŦুāĻ āĻঁāĻু āĻāĻŽি āĻĻিā§ে āĻেāϰা, āϏেāĻাāύে āĻাā§āĻাāĻা āĻāύāύ্āĻĻāĻĻাā§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.
đ āĻিāύ্āϤু āϝেāĻাāύে āĻāĻŽি āϏোāĻা āĻāϞে āĻেāĻে āϧূāϏāϰ āĻŦেā§া āĻĒāϰ্āϝāύ্āϤ, āĻāϰ āϤাāϰ āĻāĻĒাāϰে āĻļুāϧু āĻāĻ-āĻĒাāĻĨāϰ, āĻāĻাāĻļāĻোঁā§া āϏাāĻāύāĻŦোāϰ্āĻĄ, āĻাāĻĻাāĻাāĻĻি āĻিāĻŽāύি āĻāϰ āϧোঁā§া—āϏে āĻĻৃāĻļ্āϝāĻা āĻāĻেāĻŦাāϰে āύিāϰাāύāύ্āĻĻ āĻ āĻŽāϞিāύ āϞাāĻে।
The best view of Victoria Park is from the front window of St. Dominic's Parsonage, from which not a single chimney is visible.
đ āĻিāĻ্āĻোāϰিā§া āĻĒাāϰ্āĻেāϰ āϏāĻŦāĻেā§ে āϏুāύ্āĻĻāϰ āĻĻৃāĻļ্āϝ āĻĻেāĻা āϝাā§ āϏেāύ্āĻ āĻĄোāĻŽিāύিāĻ āĻĒাāϰāϏোāύেāĻেāϰ āϏাāĻŽāύেāϰ āĻাāύাāϞা āĻĨেāĻে, āϝেāĻাāύ āĻĨেāĻে āĻāĻāĻি āĻিāĻŽāύিāĻ āĻĻেāĻা āϝাā§ āύা।
The parsonage is a semi-detached villa with a front garden and a porch.
đ āĻĒাāϰāϏোāύেāĻāĻা āĻšāϞো āĻāĻāĻি āĻāϧা-āĻāϞাāĻĻা āĻিāϞা, āϏাāĻŽāύে āĻŦাāĻাāύ āĻāϰ āĻāĻāĻি āĻŦাāϰাāύ্āĻĻা (āĻĒোāϰ্āĻ) āĻāĻে।
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.
đ āĻ āϤিāĻĨিāϰা āϏিঁā§ি āĻŦেā§ে āĻāĻĒāϰে āĻāĻ ে āĻŦাāϰাāύ্āĻĻা āĻĻিā§ে āĻĸোāĻে; āĻিāύ্āϤু āĻাāĻেāϰ āϞোāĻেāϰা āĻāϰ āĻŦাā§িāϰ āϏāĻĻāϏ্āϝāϰা āύিāĻেāϰ āϏিঁā§িāϰ āϤāϞাā§ āĻĨাāĻা āĻĻāϰāĻা āĻĻিā§ে āĻŦেāϏāĻŽেāύ্āĻে āύাāĻŽে। āĻŦেāϏāĻŽেāύ্āĻেāϰ āϏাāĻŽāύেāϰ āĻĻিāĻে āĻāĻে āĻāĻāĻি āĻĒ্āϰাāϤঃāϰাāĻļ āĻāϰ (āϝেāĻা āϏāĻŦ āĻাāĻŦাāϰেāϰ āĻāύ্āϝāĻ āĻŦ্āϝāĻŦāĻšাāϰ āĻšā§) āĻāĻŦং āĻĒেāĻāύে āĻāĻে āϰাāύ্āύাāĻāϰ।
Up-stairs, on the level of the hall door, is the drawing-room, with its large plate glass window looking on the park.
đ āĻāĻĒāϰেāϰ āϤāϞাā§, āĻšāϞ-āĻĻāϰāĻাāϰ āϏāĻŽāϤāϞে āĻāĻে āĻĄ্āϰā§িংāϰুāĻŽ, āϝাāϰ āĻŦā§ āĻাঁāĻেāϰ āĻাāύাāϞা āĻĻিā§ে āĻĒাāϰ্āĻ āĻĻেāĻা āϝাā§।
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.
đ āĻāĻ āĻāϰেāĻ, āϝা āĻāĻāĻŽাāϤ্āϰ āĻŦāϏāĻŦাāϰ āĻāϰ (āĻļিāĻļু āĻāϰ āĻĒাāϰিāĻŦাāϰিāĻ āĻাāĻŦাāϰেāϰ āĻŦাāĻāϰে āĻĢাঁāĻা āĻĨাāĻে), āĻĒাāϰāϏāύ āĻ āϰ্āĻĨাā§ āϰেāĻাāϰেāύ্āĻĄ āĻেāĻŽāϏ āĻŽাāĻāϰ āĻŽোāϰেāϞ āϤাāϰ āĻাāĻ āĻāϰেāύ।
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.
đ āϤিāύি āĻŦāϏে āĻāĻেāύ āĻāĻāĻি āĻŽāĻāĻŦুāϤ āĻোāϞāĻĒিāĻ āĻā§াāϞা āĻূāϰ্āĻŖাā§āĻŽাāύ āĻেā§াāϰে, āϞāĻŽ্āĻŦা āĻেāĻŦিāϞেāϰ āĻĄাāύ āĻĻিāĻেāϰ āĻŽাāĻĨাā§। āĻেāĻŦিāϞāĻি āĻাāύাāϞাāϰ āϏাāĻŽāύে āϰাāĻা, āϝাāϤে āϤিāύি āĻāύুāĻā§েāϰ āĻাāĻে āĻĒাāϰ্āĻেāϰ āĻĻৃāĻļ্āϝ āĻĻেāĻে āύিāĻেāĻে āĻĒ্āϰāĻĢুāϞ্āϞ āϰাāĻāϤে 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.
đ āĻেāĻŦিāϞāĻিāϰ āĻŦিāĻĒāϰীāϤ āĻĒ্āϰাāύ্āϤে, āϞাāĻোā§া āĻāĻে āĻāϰেāĻāĻি āĻোāĻ āĻেāĻŦিāϞ, āϝা āĻāĻেāϰ āĻেāĻŦিāϞেāϰ āĻ āϰ্āϧেāĻ āĻāĻā§া, āĻāϰ āϤাāϰ āĻāĻĒāϰ āĻāĻāĻি āĻাāĻāĻĒāϰাāĻāĻাāϰ āϰাāĻা āĻāĻে।
His typist is sitting at this machine, with her back to the window.
đ āϤাāϰ āĻাāĻāĻĒিāϏ্āĻ āĻŦāϏে āĻāĻেāύ āĻāĻ āĻŽেāĻļিāύে, āĻাāύাāϞাāϰ āĻĻিāĻে āĻĒিāĻ āĻāϰে।
The large table is littered with pamphlets, journals, letters, nests of drawers, an office diary, postage scales and the like.
đ āĻŦā§ āĻেāĻŦিāϞāĻি āύাāύা āĻিāύিāϏāĻĒāϤ্āϰে āĻāϰ্āϤি—āĻĒুāϏ্āϤিāĻা, āϏাāĻŽā§িāĻী, āĻিāĻ িāĻĒāϤ্āϰ, āĻোāĻ āĻোāĻ āĻĄ্āϰā§াāϰেāϰ āĻŦাāĻ্āϏ, āĻ āĻĢিāϏেāϰ āĻĄাā§েāϰি, āĻĄাāĻেāϰ āĻāĻāύ āĻŽাāĻĒাāϰ āϝāύ্āϤ্āϰ, āĻāϤ্āϝাāĻĻি।
A spare chair for visitors having
đ āĻāĻāύ্āϤুāĻāĻĻেāϰ āĻāύ্āϝ āĻāĻāĻি āĻŦাā§āϤি āĻেā§াāϰ āϰাāĻা āĻāĻে।
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.
đ āĻĒাāĻĻāϰীāϰ āĻাāĻেāϰ āĻাā§āĻা āĻেāĻŦিāϞেāϰ āĻŽাāĻāĻাāύে, āϤাāϰ āĻĻিāĻ āĻুāϰাāύো। āĻšাāϤেāϰ āύাāĻাāϞেāĻ āĻāĻে āĻāĻāĻি āϏ্āĻেāĻļāύাāϰি āĻŦাāĻ্āϏ āĻāĻŦং āĻāĻāĻি āĻĢ্āϰেāĻŽে āĻŦাঁāϧাāύো āĻĢāĻো।
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.
đ āϤাāϰ āĻĒিāĻāύে, āĻĄাāύ āĻĻিāĻেāϰ āĻĻেā§াāϞে, āĻ āĻ্āύিāĻুāĻŖ্āĻĄেāϰ āĻāĻĒāϰে āϰā§েāĻে āĻŦāĻā§েāϰ āϤাāĻ। āϤাāĻেāϰ āĻŦāĻ āĻĻেāĻে āĻāĻāĻāύ āĻ āĻিāĻ্āĻ āϞোāĻ āĻŦুāĻāϤে āĻĒাāϰে āĻĒাāĻĻāϰীāϰ āϧāϰ্āĻŽāϤāϤ্āϤ্āĻŦ āĻ āĻĻāϰ্āĻļāύেāϰ āĻāĻ্āϰāĻš—āĻাāϰāĻŖ āϏেāĻাāύে āĻāĻে āĻŦ্āϰাāĻāύিং-āĻāϰ āĻāĻŦিāϤাāϰ āϏāĻŽ্āĻĒূāϰ্āĻŖ āϏংāĻāϞāύ, āĻŽāϰিāϏ-āĻāϰ āϧāϰ্āĻŽāϤাāϤ্āϤ্āĻŦিāĻ āĻĒ্āϰāĻŦāύ্āϧ। āĻāϰ āϰাāĻāύীāϤিāϰ āĻĒ্āϰāϤি āϤাāϰ āĻোঁāĻ āĻŦোāĻা āϝাā§ āĻāĻŽāύ āĻŦāĻ āĻĨেāĻে—Progress and Poverty (āĻšāϞুāĻĻ āĻŽāϞাāĻে), Fabian Essays, A Dream of John Ball, āĻŽাāϰ্āĻāϏ-āĻāϰ Capital, āĻāϰ āϏāĻŽাāĻāϤāύ্āϤ্āϰ āϏāĻŽ্āĻĒāϰ্āĻিāϤ āĻāϰāĻ āĻ āϰ্āϧāĻĄāĻāύ āĻŦāĻ।
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.
đ āϤাāϰ āĻŦিāĻĒāϰীāϤে, āĻŦাঁ āĻĻিāĻে, āĻাāĻāĻĒāϰাāĻāĻাāϰেāϰ āĻাāĻে āĻāĻে āĻĻāϰāĻা। āĻāϰেāϰ āĻেāϤāϰে āĻāϰāĻ āĻĻূāϰে, āĻ āĻ্āύিāĻুāĻŖ্āĻĄেāϰ āĻŦিāĻĒāϰীāϤে āĻāĻāĻি āĻŦুāĻāĻেāϏ āĻāĻে āϏেāϞাāϰেāĻেāϰ āĻāĻĒāϰ āϰাāĻা, āĻāϰ āϤাāϰ āĻাāĻে āĻāĻāĻি 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.
đ āĻ āĻ্āύিāĻুāĻŖ্āĻĄে āĻŦā§āϏ⧠āĻāĻুāύ āĻ্āĻŦāϞāĻে। āĻ āĻ্āύিāĻুāĻŖ্āĻĄেāϰ āĻĒাāĻļে āĻāĻে āĻāϰাāĻŽāĻেāĻĻাāϰা, āĻāĻ āĻĒাāĻļে āĻĢুāϞ āĻঁāĻা āĻাāϞো āϰāĻেāϰ āĻā§āϞা āϰাāĻাāϰ āĻĒাāϤ্āϰ, āĻāϰেāĻ āĻĒাāĻļে āĻāĻāĻি āĻোāĻ্āĻ āĻেā§াāϰ (āĻেāϞে āĻŦা āĻŽেā§েāϰ āĻāύ্āϝ), āĻāĻĒāϰে āĻāĻে āĻĒাāϞিāĻļ āĻāϰা āĻাāĻ েāϰ āĻŽ্āϝাāύ্āĻেāϞāĻĒিāϏ, āϏুāύ্āĻĻāϰ āĻাঁāĻ āĻāϰা āϤাāĻ, āĻোāĻ āĻোāĻ āĻā§āύাāϰ āĻুāĻāϰো āĻŦāϏাāύো āĻĒ্āϝাāύেāϞ, āĻāϰ āĻাāĻŽā§াāϰ āĻŦাāĻ্āϏে āϰাāĻা āĻ্āϰāĻŽāĻŖ āĻā§ি (āϝা āĻŦিā§েāϰ āϏāĻŽā§ āĻĒাāĻā§া āĻ āĻŦāϧাāϰিāϤ āĻāĻĒāĻšাāϰ)। āĻ āĻ্āύিāĻুāĻŖ্āĻĄেāϰ āĻāĻĒāϰে āĻĻেā§াāϞে āĻোāϞাāύো āĻāĻে āĻিāĻļিā§াāύেāϰ āĻŦিāĻ্āϝাāϤ āĻিāϤ্āϰ Virgin of the Assumption-āĻāϰ āĻĒ্āϰāϧাāύ āĻāϰিāϤ্āϰেāϰ āĻŦā§ āĻĒ্āϰāϤিāϞিāĻĒি। āĻĒুāϰো āĻাā§āĻাāĻা āĻুāĻŦāĻ āĻāĻŽāύ্āϤ্āϰāĻŖāĻŽূāϞāĻ।
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.
đ āϏāĻŦ āĻŽিāϞিā§ে āĻāϰāĻা āĻāĻāĻি āĻাāϞো āĻৃāĻšāĻāϰ্āϤ্āϰীāϰ āϝāϤ্āύে āϏাāĻাāύো, āϤāĻŦে āĻেāĻŦিāϞেāϰ āĻ্āώেāϤ্āϰে āĻ āĻোāĻাāϞো āĻŽাāύুāώāĻিāϰ āĻাāϰāĻŖে āĻিāĻুāĻা āĻŦিāĻļৃāĻ্āĻāϞা āĻāĻে। āĻŦাāĻিāĻা āĻĒুāϰো āύিā§āύ্āϤ্āϰāĻŖে āĻāĻে।
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.
đ āĻāϏāĻŦাāĻŦāĻĒāϤ্āϰেāϰ āϏাāĻāϏāĻ্āĻা āĻĻেāĻে āĻŦোāĻা āϝাā§ āĻāĻুāϞো āĻļāĻšāϰāϤāϞিāϰ āĻāϏāĻŦাāĻŦāĻĒāϤ্āϰ āĻŦিāĻ্āϰেāϤাāϰ āĻŦিāĻ্āĻাāĻĒিāϤ “āĻĄ্āϰā§িং-āϰুāĻŽ āϏেāĻ”-āĻāϰ āϧাঁāĻে āĻেāύা। āϤāĻŦে āĻāϰে āĻোāύো āĻ āĻĒ্āϰā§োāĻāύীā§ āĻŦা āĻ āϤিāϰিāĻ্āϤ āĻĻেāĻāύāĻĻাāϰি āĻিāύিāϏ āύেāĻ।
The paper and panelling are dark, throwing the big cheery window and the park outside into strong relief.
đ āĻĻেā§াāϞেāϰ āĻাāĻāĻ āĻāϰ āĻĒ্āϝাāύেāϞ āĻাā§ āϰāĻেāϰ, āϝা āĻŦā§ āĻāĻ্āĻ্āĻŦāϞ āĻাāύাāϞা āĻāϰ āϤাāϰ āĻŦাāĻāϰেāϰ āĻĒাāϰ্āĻāĻে āĻāϰāĻ āϏ্āĻĒāώ্āĻ āĻāϰে āϤুāϞেāĻে।
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.
đ āϰেāĻাāϰেāύ্āĻĄ āĻেāĻŽāϏ āĻŽাāĻāϰ āĻŽোāϰেāϞ āĻšāĻ্āĻেāύ āĻংāϞ্āϝাāύ্āĻĄেāϰ āĻাāϰ্āĻেāϰ āĻāĻāĻāύ āĻ্āϰিāϏ্āĻাāύ āϏāĻŽাāĻāϤাāύ্āϤ্āϰিāĻ āĻĒাāĻĻ্āϰী। āϤিāύি Guild of St. Matthew āĻāĻŦং Christian Social Union-āĻāϰ āϏāĻ্āϰিā§ 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.
đ āϤিāύি āĻāϞ্āϞিāĻļ āĻŦāĻāϰেāϰ āĻāĻāĻāύ āĻĒ্āϰাāĻŖāĻŦāύ্āϤ, āĻšাāϏিāĻুāĻļি āĻ āĻāύāĻĒ্āϰিā§ āĻŽাāύুāώ। āĻļāĻ্āϤāϏāĻŽāϰ্āĻĨ āĻ āϏুāύ্āĻĻāϰ āĻেāĻšাāϰা, āĻāϰāĻĒুāϰ āĻāύাāϰ্āĻি, āĻŽāύোāϰāĻŽ āĻ āĻāύ্āϤāϰিāĻ āĻŦ্āϝāĻŦāĻšাāϰ āϤাāϰ āĻŦিāĻļেāώ āĻুāĻŖ। āϤাāϰ āĻāĻŖ্āĻ āϏ্āĻŦāϰ āϏুāϏ্āĻĨ āĻ āĻĒ্āϰাāĻৃāϤিāĻ, āϝা āϤিāύি āĻāĻāĻāύ āĻ āĻিāĻ্āĻ āĻŦāĻ্āϤাāϰ āĻŽāϤো āĻĒāϰিāώ্āĻাāϰ āĻ āĻļāĻ্āϤিāĻļাāϞী āĻāĻ্āĻাāϰāĻŖে āĻŦ্āϝāĻŦāĻšাāϰ āĻāϰেāύ, āĻāĻŦং āϤাāϰ āĻĒ্āϰāĻাāĻļāĻāĻ্āĻি āĻŦিāϏ্āϤৃāϤ āĻ āύিāĻুঁāϤ।
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.
đ āϤিāύি āĻĒ্āϰāĻĨāĻŽ āĻļ্āϰেāĻŖিāϰ āĻāĻ āĻĒাāĻĻ্āϰী। āϝাāĻে āĻāĻ্āĻে āϝা āĻŦāϞāϤে āĻĒাāϰেāύ, āĻাāĻāĻে āĻŦিāϰূāĻĒ āύা āĻāϰে āĻŽাāύুāώāĻে āĻļেāĻাāϤে āĻĒাāϰেāύ, āĻাāĻāĻে āĻ āĻĒāĻŽাāύ āύা āĻāϰেāĻ āύিāĻেāϰ āĻāϰ্āϤৃāϤ্āĻŦ āĻŦāĻাā§ āϰাāĻāϤে āĻĒাāϰেāύ, āĻāϰ āĻ āύ্āϝেāϰ āĻŦ্āϝাāĻĒাāϰে āĻšāϏ্āϤāĻ্āώেāĻĒ āĻāϰāϤে āĻĒাāϰেāύ āĻ āĻļোāĻāύ āύা āĻšā§ে।
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.
đ āϤাāϰ āĻāϧ্āϝাāϤ্āĻŽিāĻ āĻā§āϏাāĻš āĻ āϏāĻšাāύুāĻূāϤিāϰ āĻāϰ্āĻŖা āĻāĻāύো āĻļুāĻাā§āύি। āϤিāύি āĻāĻāύো āĻāĻŽāύāĻাāĻŦে āĻাāĻā§া-āĻĻাāĻā§া āĻ āĻুāĻŽাāύ āϝে āĻĒ্āϰāϤিāĻĻিāύ āĻ্āϞাāύ্āϤি āĻ āĻĒুāύāϰুāĻ্āĻীāĻŦāύেāϰ āϞā§াāĻā§ে āϤিāύি āϏāĻšāĻেāĻ āĻā§ী āĻšāύ।
Withal, a great baby, pardonably vain of his powers and unconsciously pleased with himself.
đ āϏāĻŦ āĻŽিāϞিā§ে āϤিāύি āĻāĻ āϧāϰāύেāϰ āĻŦā§ āĻļিāĻļু—āύিāĻেāϰ āĻ্āώāĻŽāϤা āύিā§ে āĻাāύিāĻāĻা āĻ āĻšংāĻাāϰ āĻāĻে, āϤāĻŦে āϏেāĻা āĻ্āώāĻŽাāϰ āϝোāĻ্āϝ। āϤিāύি āύিāĻেāϰ āĻŽāϧ্āϝে āĻ āĻাāύ্āϤেāĻ āϏāύ্āϤুāώ্āĻ āĻĨাāĻেāύ।
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.
đ āϤাāϰ āĻাā§েāϰ āϰং āϏ্āĻŦাāϏ্āĻĨ্āϝোāĻ্āĻ্āĻŦāϞ, āĻāĻĒাāϞ āĻাāϞো, āĻ্āϰু āĻিāĻুāĻা āĻŽোāĻা, āĻোāĻ āĻāĻ্āĻ্āĻŦāϞ āĻ āĻā§āϏুāĻ। āĻŽুāĻ āĻĻৃā§āĻেāϤা, āϝāĻĻিāĻ āĻুāĻŦ āύিāĻুঁāϤ āύā§। āύাāĻāĻা āϝāĻĨেāώ্āĻ āĻŦā§, āĻā§িā§ে āϝাāĻā§া āύাāϏাāϰāύ্āϧ্āϰ āύাāĻāĻীā§ āĻŦāĻ্āϤাāϰ āĻŽāϤো। āϤāĻŦে āϤাāϰ āϏāĻŦ āĻŦৈāĻļিāώ্āĻ্āϝāĻ āϏূāĻ্āώ্āĻŽāϤাāϰ 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.
đ āĻাāĻāĻĒিāϏ্āĻ, āĻŽিāϏ āĻĒ্āϰোāϏাāϰāĻĒাāĻāύ āĻাāϰāύেāĻ, āĻĒ্āϰাā§ ā§Šā§Ļ āĻŦāĻāϰেāϰ āĻোāĻāĻাāĻো āĻāĻ āϤেāĻি āĻŽāĻšিāϞা। āϤিāύি āύিāĻŽ্āύ-āĻŽāϧ্āϝāĻŦিāϤ্āϤ āĻļ্āϰেāĻŖিāϰ, āĻĒāϰিāĻĒাāĻি āĻিāύ্āϤু āϏāϏ্āϤা āĻĒোāĻļাāĻে—āĻāĻāĻি āĻাāϞো āĻŽেāϰিāύো āϏ্āĻাāϰ্āĻ āĻ āĻŦ্āϞাāĻāĻ āĻĒāϰেāύ। āϤাāϰ āĻāĻĨা āĻŦāϞাāϰ āϧāϰāύ āϤীāĻ্āώ্āĻŖ āĻ āĻĻ্āϰুāϤ, āĻŦ্āϝāĻŦāĻšাāϰ āĻুāĻŦ āĻāĻĻ্āϰ āύā§, 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.
đ āϤিāύি āĻŦ্āϝāϏ্āϤāĻাāĻŦে āϤাāϰ āĻŽেāĻļিāύে āĻāĻāĻāĻ āĻļāĻŦ্āĻĻে āĻাāĻāĻĒ āĻāϰে āϝাāĻ্āĻেāύ, āĻāĻĻিāĻে āĻŽোāϰেāϞ āϤাāϰ āϏāĻাāϞেāϰ āĻļেāώ āĻিāĻ িāĻি āĻুāϞāĻেāύ। āĻিāĻ িāϰ āĻŦিāώā§āĻŦāϏ্āϤু āĻĒā§ে āϤিāύি āĻšāϤাāĻļাā§ āĻŽāĻাāϰ āĻŽāϤো āĻāĻāĻি āĻĻীāϰ্āĻāĻļ্āĻŦাāϏ āĻাā§āϞেāύ।
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