DU Admission Question Solution 2012 [B Unit]

Question 1, 2, 3, 4, 5, 6 and 7 are based on the following reading.

The engraver, painter and point William Blake (1757-1827) was one of the most extraordinary figures of the Romantic period. AS child he claimed to have seen a tree filled with angels, ‘bespangling every bough like stars’. Blake went on to develop an intensely person art which drew upon a range of literary, mythical and biblical sources to expound a unique and mysterious vision. Borne  in London, Blake was first apprenticed to an engraver. And next. Blake made studies of London churches before studying briefly at the Royal Academy Schools. Here, however he was not interested  in painting in oil, neither was he concerned with the academic  work of sir Joshu Reynolds or what the academy stood for. A supporter of the French and the American revolutions, Blake turned his back on organized religion, believing that only artists were in touch with divine inspiration. In every Way, Blake was and archetypal Romantic — individualistic, solitary, and out of step with the rational thinking that had become so influential in the second part of the 18th century. Imagination and creative process were & what interested him; his art was  means to express the very intense nature of his revelatory experiences.

  1. Which sentence is most applicable to Black?

Black had a strange way of life

 Black had diverse interest

Black studenties an extrordinary form of art

Black was a solitary man

  1. Black saw angles in tress as a child because

he was often drugged

 he was in love with nature

he was a visionary

angels were in the paintings

  1. How did Black view religion?

He did not believe in God and religion

 For Black religion was a matter of inner feeling

He believed religion was determined by the chruch

Blake was a strict follower of the English chriush

  1. The word”archetypal means”____________.

most typical

 common

extraordianry

out of the way

  1. out of step means______

lag behind

 fed up

devoid of

not conforming

  1. Black’s art was an example of __________experience.

visual

 religious

troubled

highly subjective

  1. The later part of 18th century was characterized by

romnaticism

 intense love for nature

reason and logic

love for religion

  1. The underlined part in She felt it was taking”ahundredyearsa hundred years to complete the exam. is an example of

 a hyperbole

a symbol

an understatement

a simile

  1. The Shakespearean phrase green- eyed monster refers to_____.

ambition

greed

 jealously

lust

  1. Choose the correct sentence

 I like to swim, play tennis and ride.

I like swimming, play tennis and riding

I like swimming, play tennis, and ride

I like to swim, Playing tennis, and ride

  1. The word apparent is a /an__________.

noun

 adjective

adverb

verb

  1. Belief in one God is ______.

atheism

deism

 monotheism

ploytheism

  1. The boys used to like _________and model acroplanes

to making o flying

 making flying

make, fly

to make, to flying

  1. A black leg ‘ is a persom who

 works when his / her colleagues are on strike

is unpopular

is quarrelsome

is black

  1. If somebody is cresfallen, he/she is ____________.

insulted

humilated

injured

 dejected

  1. If I had not intervened at the right moment, Jim —- arrested.

may have been

can have been

 might have been

could have

  1. The antonym of ‘dormant’ is —-.

latent

active

sluggish

 torpid

  1. The synonym of ‘pandemonium’ is —-.

order

calm

 commotion

peace

  1. —- is considered a serious crime.

Shoplift

To shoplifting

Shoplifter

 Shoplifting

  1. —– resigned, we would have been forced to sack him.

 Had he not

He had

Has he

If he has not

  1. The antonym of ‘blasphemous’ is —-.

irreverent

 respectful

rigid

frivolous

  1. Some of my relatives have left —- Canada —- to find job.

to, expectation

for, desire

at, wishing

 for, hopping

  1. I’d —- a blue bedcover —- a green one.

 prefer, to

like, to

prefer, for

buy, in

  1. What do you ______is the ______cause of air_______?

sy, cheif, pollution

consider, primary, scarcity

 think, main, pollution

count, only, filth

  1. My live is like a red, rd rose” is an example of a ________.

metaphor

 simile

metronymy

synecdoche

  1. Jerry said, “I —- the axe —–.”

put down, slow

 brought down, carelessly

took away, now

hit over, powerfully

  1. In “I Wondered Lonely As a Cloud” Wordsworth compares the daffodils with —

 the stars of the milky way

the waves

the trees

the milky way

  1. Choose the eEnglish translation of “āϏ⧌āĻ­āĻžāĻ—ā§āϝāĻ•ā§āϰāĻŽā§‡ āĻĒāϰ⧇āϰ āĻŦāĻžāϏ⧇ āφāĻŽāĻŋ āωāĻ āϤ⧇ āĻĒ⧇āϰ⧇āĻ›āĻŋāϞāĻžāĻŽāĨ¤”

 Fortunately I could get into the next bus.

Fortunately I managed the next bus.

Luckily I entered the next bus.

Luckily I rode the next bus.

  1. The word ‘amenable’ means —-.

moveable

durable

 agreeable

answerable

  1. Frequent —- badly —- academic progress.

closure, effect

closures, effects

closures, affects

 closures, affect

  1. It was so dark that the security guard could not see —-.

nobody

somebody

 anyone

none

  1. Choose the correct sentence.

The children were delighted by thehe monkey’s swinging through th trees.

Swinging of the monkeys through the tree, th children were delighted.

The monkeys swinging through the trees, the children were delighted.

 Because of monkey’s swinging through the trees, the children were delighted.

  1. —– the rain. the cricket match was not cancelled.

Due to

Although

Despite of

 In spite of

  1. The proposal was tentative means, the proposal was —-.

conclusive

 indefinite

definite

timely

  1. —– is it difficult —– dispose —- waste?

Where, to, for

When, for, such

Why, with, in

 Why, to, of

  1. Choose the correct sentence.

Neither the students nor thier teacher were present

Neither the student nor his teacher were present

 Neither the students nor their teacher was present

Neither the students or their teachers were present

  1. I _____a new house last year, But I __________ my old house yet.

have bough, have not sold

bought, did not sell

bought, sold

 bought, have not sold

  1. Choos th ecorrect spelling.

hetarogineous

 heterogeous

hetrogeneous

heterogenious

  1. What is the antonym of evanscent ?

 permanent

transient

relavent

Intelligent

  1. I am a Jew . Hath not a Jew eyes? hath not a Jew hands organs…….? Where is this from?

Volpone

The Jew of malta

 The Merchant of Venice

King lear

  1. Stating someone else’s ideas as one’s own without acknowledge the source can be termed as_________.

pasting

nepotism

aphorism

 plagiarism

  1. The word cartography relates to

the study of carts

the science of carving

the study of drawing cartoons

 the process of making maps

  1. Drama originated in the ancient Greece in the 5th century as a religious rite to worship ________.

Apollo

Gupid

 Dionysus

Zeus

  1. Willaim Wordsworth collaborated with _______to publish The Lyrical Ballads.

Keats

Tennyson

Shelley

 Coleridge

Question 45, 46, 47, 48, 49 and 50 are based on the following reading.

There are some qualities of a sonnet which make it different from other verse forms. Its definite restrictions make it a challenge to the artistry of the poet and call for all the Technic skills at the poet’s command. The more or less set rhyme patterns occurring regularly within the short space of fourteen lines afford a pleasant effect:on the ear of the reader, and can create truly musical effects. The rigidity of the form precludes too great economy or too great prodigality of. words. Emphasis is placed on exactness and perfection of expression. The brevity of form favours concentrated

expression of ideas or passion.

  1. Theauthor’s primary purpose is to.

 identify the characteristic of a sonnet

contract different types of sonnets

criticize the limitations of the sonnet

teach readers to compose proper sonnet

  1. The word afford means’-

exaggerate

charge

able to pay

 provide

  1. The author’s attitude towards the sonnet form can be best described as one of

strong disapprobation

effusive enthusiasm

 scholarly appreciation

amused toleration

  1. he adjective of rigidity is__________.

rigor

 rigid

rigorous

rigidness

  1. The brevity means- ____________.

shrtness

freedome

 conciseness

permanence

  1. What character of a sonnet can create musical effects?

form

 regularity rhyme patterns

suitable words

verse form

 

  1. āĻ…āĻĒāϰāĻžāĻšā§āύ⧇ āĻ—āĻ˛ā§āĻĒ⧇ āĻšā§āĻŽāĻžā§Ÿāύ āφāĻšāĻŽā§‡āĻĻ āĻ—āĻ­ā§€āϰ āϜāϞ⧇ āĻĒ⧜āϞ⧇āύ āϕ⧇āύ?

āĻŽāϜāĻŋāĻĻ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻŽāĻžāύ⧁āώ⧇āϰ āĻ…āĻŽāĻžāύāĻŦāĻŋāĻ• āφāϚāϰāϪ⧇

āĻŽāϜāĻŋāĻĻ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻŽāĻžāύ⧇⧁āώ⧇āϰ āϭ⧁āϞ āϧāĻžāϰāύāĻžā§Ÿ

 āĻāχāĻĄāϏ āĻŦāĻŋāĻˇā§Ÿā§‡ āĻœā§āĻžāĻžāύ āĻļā§‚āĻ¨ā§āϝ⧇āϰ āĻ•āĻžāĻ›āĻžāĻ•āĻžāĻ›āĻŋ

āĻĄāϕ⧁āĻŽā§‡āĻ¨ā§āϟāĻžāϰāĻŋ āϤ⧈āϰāĻŋāϰ āĻĻāĻžā§ŸāĻŋāĻ¤ā§āĻŦ āĻĒ⧜āĻžā§Ÿ

  1. āφāĻŽāĻžāϰ āĻĒā§‚āĻ°ā§āĻŦ⧇ āĻŦāĻžāĻ‚āϞāĻž āĻ•āĻŦāĻŋāϤāĻžā§Ÿ āύāĻŋāϕ⧁āĻžā§āϜ āĻāϰ āϤāĻŽāĻžāϞ āϕ⧀ āĻĻāĻŋā§Ÿā§‡ āĻ˜ā§‡āϰāĻž?

āϏāĻ¨ā§āĻ§ā§āϝāĻžāϰ āωāĻ¨ā§āĻŽā§‡āώ

āĻ…āύ⧇āĻ• āĻĒāĻžāϤāĻž

āϏāĻŋāĻ•ā§āϤ āύ⧀āϞāĻžāĻŽā§āĻŦāϰ⧀

 āĻ•āύāĻ•āϞāϤāĻž

  1. āĻ•āϞāĻŋāĻŽā§āĻĻā§āĻĻāĻŋ āĻĻāĻĢāĻžāĻĻāĻžāϰ āĻ—āĻ˛ā§āĻĒ⧇ āĻ–āĻžāύ āϏ⧇āύāĻžāĻĻ⧇āϰ āĻĒāĻļā§āϚāĻŋāĻŽāĻŽā§āĻ–ā§€ āĻ…āĻŦāĻŋāϝāĻžāύ⧇āϰ āϏāĻŽā§Ÿ āϜāύāĻļā§‚āĻ¨ā§āϝ āĻĒāĻ˛ā§āϞāĻžā§€āϰ āĻ…āĻŦāĻ¸ā§āĻĨāĻž

āϝ⧇āύ āĻļā§āĻŽāĻžāĻļāĻžāύ āĻĒāĻ˛ā§āϞ⧀

 āϝ⧇āύ āĻ•āϞ⧋āϰāĻžāϰ āĻŽāĻšāĻžāĻŽāĻžāϰ⧀

āĻ–āĻžāρ āĻ–āĻžāρ āĻĒā§āϰāĻžāĻ¨ā§āϤāϰ

āĻ­āĻžāĻ™āĻž āĻšāĻžāϟ

  1. āĻĒ⧌āϰ⧁āώāĻšā§€āύ āĻ¸ā§āĻŦāĻžāĻŽā§€āϰ āύāĻŋāĻļā§āĻšā§‡āϟāϟ āĻ…āϏāĻšāĻžā§ŸāϤāĻžāϰ āĻŽā§āϖ⧇ āϏāϰāϞ āĻļ⧁āĻ­ā§āϰ āύāĻŋāĻˇā§āĻ•āϞāĻ™ā§āĻ• āϏāĻ¤ā§āϝāĻŦā§āϰāϤ⧀ āĻšā§ˆāĻŽāĻ¨ā§āϤ⧀āϰ āĻŦ⧇āĻĻāĻžāύāĻžāĻŦāĻŋāϧ⧁āϰ āĻĒāϰāĻŋāĻŖāϤāĻŋ āφāĻŽāĻžāĻĻ⧇āϰ āĻŽāĻ°ā§āĻŽāĻŽā§‚āϞ⧇ āύāĻŋāĻĻāĻžāϰ⧁āϞ āφāϘāĻžāϤ āĻ•āϰ⧇āĨ¤ āĻŦāĻžāĻ•ā§āϝāϟāĻŋāϤ⧇ āĻŦāĻŋāĻļ⧇āĻˇā§āϝ āĻ“ āĻŦāĻŋāĻļ⧇āώāĻŖ āφāϛ⧇ āϝāĻĨāĻžāĻ•ā§āϰāĻŽā§‡-

āϚāĻžāϰāϟāĻŋ āĻ“ āĻĒāĻžāρāϚāϟāĻŋ

āĻĒāĻžāρāϚāϟāĻŋ āĻ“ āĻ›ā§ŸāϟāĻŋ

āĻ›ā§ŸāϟāĻŋ āĻ“ āϏāĻžāϤāϟāĻŋ

 āĻ›ā§ŸāϟāĻŋ āĻ“ āφāϟāϟāĻŋ

  1. āĻāĻ•āϟāĻŋ āĻĢāĻŸā§‹āĻ—ā§āϰāĻžāĻĢ āĻ•āĻŦāĻŋāϤāĻžā§Ÿ āϏāĻŽā§Ÿ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ⧇āϰ āĻĒā§āϰ⧇āĻ•ā§āώāĻžāĻĒāĻŸā§‡ āϕ⧀ āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰ āĻšā§Ÿā§‡āϛ⧇?

 āĻŽāĻžāύ⧁āώ⧇āϰ āĻšā§ƒāĻĻ⧟āĻŦ⧃āĻ¤ā§āϤāĻŋ

āĻŽāĻžāύ⧁āώ⧇āϰ āύāĻŋāĻˇā§āϠ⧁āϤāĻž

āĻŽāĻžāύ⧁āώ⧇āϰ āφāϚāϰāύ

āĻŽāĻžāύ⧁āώ⧇āϰ āĻŦāĻŋāĻ¸ā§āĻŽā§ƒāϤāĻŋ

  1. āĻŦāĻšā§āĻŦā§āϰ⧀āĻšāĻŋ āϏāĻŽāĻžāϏ⧇āϰ āωāĻĻāĻžāĻšāϰāĻŖ

āĻĻāĻžāĻŦāĻžāύāϞ

āĻĻāĻŋāĻ—āĻ­ā§āϰāĻžāĻ¨ā§āϤ

 āĻĻāĻžāĻŽā§‹āĻĻāϰ

āĻĻāĻžā§ŸāĻŦāĻĻā§āϧ

  1. ‘āϏāĻžāρāϕ⧋’ āĻļāĻŦā§āĻĻ⧇āϰ āĻŽā§‚āϞ

āϏāĻžāĻ‚āĻ–ā§āϝ

 āϏāĻ‚āĻ•ā§āϰāĻŽ

āϏ⧇āϤ⧁

āϏāĻžāĻ™ā§āϕ⧋

  1. ‘ āĻœā§āϝ⧇āĻˇā§āϠ⧇āϰ āĻŦāĻ°ā§āϤāĻŽāĻžāύ⧇ āĻ•āύāĻŋāĻˇā§āϠ⧇āϰ āĻŦāĻŋāϝāĻŧ⧇’-āϕ⧇ āĻāĻ• āĻļāĻŦā§āĻĻ⧇ āĻŦāϞ⧇-

 āĻĒāϰāĻŋāĻŦ⧇āĻĻāύ

āĻĒāϰāĻŋāĻŦāĻ¨ā§āϧāύ

āĻĒāϰāĻŋāϚāĻžāϰāĻŖ

āĻĒāϰāĻŋāϪ⧟

  1. ‘āĻšāĻžāϞ āĻŦāĻžā§Ÿ āύāĻž āĻ¤ā§‡ā§œā§‡ āϗ⧁āρāĻ¤ā§‹ā§Ÿ’-āĻŦāĻžāĻ—āϧāĻžāϰāĻžāϟāĻŋāϰ āĻ…āĻ°ā§āĻĨ

āĻ¸ā§āĻŦāĻ˛ā§āĻĒāĻ•āĻžāϞāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻšā§āϜ⧁āĻ—

āϏ⧁āϝ⧋āĻ—āϏāĻ¨ā§āϧāĻžāύ⧀

āϏāĻ‚āĻ•āĻŸā§‡ āĻĒāĻĄāĻŧāĻž

 āϕ⧁āĻ•āĻžāĻœā§‡ āĻĒāϟ⧁āĻ¤ā§āĻŦ

  1. āϕ⧋āύ āĻļāĻŦā§āĻĻ⧇ āϝ-āĻĢāϞāĻž āωāϚāĻŋāϤ āĻŦāĻž āϝ⧋āĻ—ā§āϝ āĻŦā§‹āĻāĻžāϝāĻŧ āύāĻŋ?

āĻ•āĻžāĻŽā§āϝ

 āϏāĻžāĻŽāĻ—ā§āĻ°ā§āϝ

āϧāĻ°ā§āϤāĻŦā§āϝ

āϏāĻšā§āϝ

  1. ‘āĻŦāĻŋāĻĻā§āϝ⧁āϤ’ āĻāϰ āϏāĻŽāĻžāĻ°ā§āĻĨāĻ• āĻļāĻŦā§āĻĻ-

āĻŽāĻ°ā§ā§Ž

 āĻļāĻŽā§āĻĒāĻž

āĻŽā§Ÿā§‚āĻ–

āĻ›āϟāĻž

  1. āϏāĻ¨ā§āϧāĻŋāϘāϟāĻŋāϤ āĻļ⧁āĻĻā§āϧ āĻļāĻŦā§āĻĻ

āĻ…āϤāĻŋ + āĻ…āϧāĻŋāĻ• = āĻ…āĻ¤ā§āϝāĻžāϧāĻŋāĻ•

āĻ…āĻˇā§āϟ + āĻŦāĻŋāĻ‚āĻļ = āĻ…āĻˇā§āϟāĻŦāĻŋāĻ‚āĻļ

 āĻļāĻ°ā§Ž + āϚāĻ¨ā§āĻĻā§āϰ = āĻļāϰāĻšā§āϚāĻ¨ā§āĻĻā§āϰ

āĻĒāϰ + āĻĒāϰ = āĻĒāϰāĻĒāϰ

  1. āϕ⧋āύāϟāĻŋ āĻ°ā§‚ā§āĻŋ āĻļāĻŦā§āĻĻ?

 āĻ—āĻŦ⧇āώāĻŖāĻž

āĻĒāĻ™ā§āĻ•āϜ

āϰāĻžāϜāĻĒ⧁āϤ

āϜāϞāϧāĻŋ

  1. āϕ⧋āύ āĻļāĻŦā§āĻĻāϗ⧁āĻšā§āϛ⧇āϰ āĻŦāĻžāύāĻžāύ āĻ āĻŋāĻ•?

 āĻœā§‹āϤāĻŋāĻˇā§āĻ•, āϰāĻļā§āĻŽāĻŋ, āĻĒā§āϰāϤ⧀āĻ•ā§āώāĻž

āϏāĻšāϝ⧋āĻ—ā§€, āĻ­ā§āϰ⧁āĻŖ, āφāρāĻ–āĻŋ

āĻŽāϰ⧀āϚāĻŋ, āĻĒā§āϰāĻ¤ā§āϝāĻžāĻ­āĻŋāĻŦāĻžāĻĻāύ, āĻĒā§āϰāϤ⧀āĻšā§€

āĻĒā§‹āĻ¸ā§āϟ āĻ…āĻĢāĻŋāϏ, āĻĒā§‹āĻœā§āĻŦāϞ, āĻĒā§āϰāϤāĻŋāϝ⧋āĻ—āĻŋāϤāĻž

  1. ‘āϤāĻžāĻ¨ā§āĻĄāĻŦ’ āĻļāĻŦā§āĻĻāϟāĻŋ āϕ⧀ āĻĻāĻŋā§Ÿā§‡ āĻ—āĻ āĻŋāϤ?

 āĻĒā§āϰāĻ¤ā§āϝ⧟

āϏāĻŽāĻžāϏ

āϏāĻ¨ā§āϧāĻŋ

āωāĻĒāϏāĻ°ā§āĻ—

  1. ‘āύāĻŋāĻ•āϟ āĻāĻŦāĻ‚ āĻĻā§‚āϰ, āĻāχ āĻĻ⧁ āύāĻŋā§Ÿā§‡āχ āφāĻŽāĻžāĻĻ⧇āϰ āϝāϤ- āĻ•āĻŋāϛ⧁ āĻ•āĻžāϰāĻŦāĻžāϰāĨ¤’ āĻŦāĻžāĻ•ā§āϝāϟāĻŋ

āϏāϰāϞ

āϜāϟāĻŋāϞ

 āϝ⧌āĻ—āĻŋāĻ•

āϏāĻ‚āϝ⧁āĻ•ā§āϤāĻŋ

  1. ‘anticipation’ āĻļāĻŦā§āĻĻ⧇āϰ āĻŦāĻžāĻ‚āϞāĻž āĻĒāϰāĻŋāĻ­āĻžāώāĻž

āĻ…āύ⧁āĻŽāĻžāύ

āϏāĻ‚āĻļ⧟

 āĻĒā§āϰāĻžāĻ•āϚāĻŋāĻ¨ā§āϤāύ

āĻ­ā§‚ā§Ÿā§‹āĻĻāĻ°ā§āĻļāύ

  1. āϤāĻĢāĻžāϤ⧇ āĻĨāĻžāĻ•āĻŋ⧟āĻž āĻĻ⧇āĻ–āĻŋāϤ⧇ āϞāĻžāĻ—āĻŋāϞāĻžāĻŽ āϝ⧇, āĻ•āĻžāĻ¨ā§āĻĄāϟāĻž āϕ⧀ āĻšā§‡ā§Ÿ, āϕ⧇ āϤāĻĢāĻžāϤ⧇ āĻĨ⧇āϕ⧇ āĻĻ⧇āĻ–āϤ⧇ āϞāĻžāĻ—āϞ⧇āύ?

āĻ•āĻŽāϞāĻžāĻ•āĻžāĻ¨ā§āϤ

āĻĒā§āϰāϏāĻ¨ā§āύ āĻ—ā§‹ā§ŸāĻžāϞ⧀āύāĻŋ

 āĻ•āĻĨāĻ•āϞ⧇āĻ–āĻ•

āϜāĻžāĻŽāĻŋāύāĻĻāĻžāϰ

  1. āĻ¨ā§āϝāĻžā§œāĻž āϕ⧋āύ āĻŦāĻ™ā§āϗ⧇āϰ āĻ…āύ⧇āĻ• āĻĒāĻ˛ā§āϞ⧀āϤ⧇ āĻ…āύ⧇āĻ•āĻĻāĻŋāύ āϘ⧁āϰ⧇ āĻ—ā§ŒāϰāĻŦ āĻ•āϰāĻŦāĻžāϰ āĻŽāϤ⧋ āĻ…āύ⧇āĻ• āĻŦ⧜ āĻŦ⧜ āĻŦā§āϝāĻžāĻĒāĻžāϰ āĻĒā§āϰāĻ¤ā§āϝāĻ•ā§āώ āĻ•āϰ⧇āϛ⧇?

āĻĒā§‚āĻ°ā§āĻŦāĻŦāĻ™ā§āϗ⧇āϰ

āĻĒāĻļā§āϚāĻŋāĻŽāĻŦāĻ™ā§āϗ⧇āϰ

āωāĻ¤ā§āϤāϰāĻŦāĻ™ā§āϗ⧇āϰ

 āĻĻāĻ•ā§āώāĻŋāĻŖāĻŦāĻ™ā§āϗ⧇āϰ

  1. āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ āĻ•āĻŦāĻŋāϤāĻžā§Ÿ āĻĻ⧁āϰ⧇āϰ āωāĻ˛ā§āϞ⧁āĻ• āĻ•āĻžāϰāĻž?

āĻŽāĻžāύ⧁āώāϰ⧂āĻĒā§€ āϜāĻ¨ā§āϤ⧁āϗ⧁āϞ⧋

āĻ­āĻŋāύāĻĻ⧇āĻļā§€ āĻ…āĻ­āĻŋāϝāĻžāύāĻ•āĻžāϰ⧀

 āĻĒāĻžāĻ•āĻŋāĻ¸ā§āϤāĻžāύāĻŋ āĻšāĻžāύāĻžāĻĻāĻžāϰ āĻŦāĻžāĻšāĻŋāύ⧀

āĻŦ⧁āύ⧋ āĻ¸ā§āĻŦāĻ­āĻžāĻŦ⧇āϰ āĻŽāĻžāύ⧁āώ⧇āϰāĻž

  1. ‘āĻ…āĻ°ā§āĻĨā§€’-āϰ āĻŦāĻŋāĻĒāϰ⧀āϤ āĻļāĻŦā§āĻĻ-

āĻĒā§āϰāĻžāĻ°ā§āĻĨā§€

 āĻĒā§āϰāĻ¤ā§āϝāĻ°ā§āĻĨā§€

āĻĒā§āϰāĻžāĻ°ā§āĻĨāύāĻžāĻ•āĻžāϰ⧀

āϝāĻžāϚāĻ•

  1. āĻĄā§āϝāĻžāϏ āϚāĻŋāĻšā§āύ āĻŦā§āϝāĻŦāĻšā§ƒāϤ āĻšāϝāĻŧ āύāĻž-

āĻ…āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻŦāĻžāĻ•ā§āϝ⧇āϰ āĻļ⧇āώ⧇

 āϏāĻŽā§āĻŦā§‹āϧāύ āĻŦā§‹āĻāĻžāϤ⧇

āύāĻžāϟāϕ⧇āϰ āϏāĻ‚āϞāĻžāĻĒ⧇āϰ āφāϗ⧇

āĻ•āĻĨāĻžāϰ āĻŦāĻŋāĻ¸ā§āϤāĻžāϰ⧇

  1. āϝāĻĨāĻžāĻ•ā§āϰāĻŽā§‡ āφāϰāĻŦāĻŋ, āĻĢāĻžāϰāϏāĻŋ āĻ“ āχāĻ‚āϰ⧇āϜāĻŋ āĻĨ⧇āϕ⧇ āφāĻ—āϤ āĻļāĻŦā§āĻĻ-

 āĻ°ā§‹ā§ŸāĻžāĻ•, āĻŽāĻļāĻ•, āϕ⧇āϤāϞāĻŋ

āϏāϰāĻžā§āϜāĻžāĻŽ, āĻšāĻžāϞ⧁⧟āĻž, āĻĒā§āϝāĻžāĻ¨ā§āĻĄā§‡āϞ

āφāĻ¸ā§āϤāĻžāĻŦāϞ, āϗ⧇āϰ⧋, āĻ•ā§ˆāĻĢāĻŋā§Ÿā§Ž

āĻ•āϏāĻžāχ, āϜāĻžāρāĻĻāϰ⧇āϞ, āĻŽāĻļāĻžāϞ

  1. āϕ⧋āύ āϚāĻžāϰāϟāĻŋ āωāĻĒāϏāĻ°ā§āĻ— āĻ–āĻžāρāϟāĻŋ āĻŦāĻžāĻ‚āϞāĻž āĻ“ āĻ¤ā§ŽāϏāĻŽ (āϏāĻ‚āĻ¸ā§āĻ•ā§ƒāϤ) āωāĻ­āϝāĻŧ āĻ•ā§āώ⧇āĻ¤ā§āϰ⧇ āĻĻ⧇āĻ–āĻž āϝāĻžāϝāĻŧ?

āϏ⧁, āĻŦāĻŋ, āύāĻŋ, āĻ‰ā§Ž

āϏ⧁, āĻ…āĻĒāĻŋ, āύāĻŋ, āφ

 āϏ⧁, āĻŦāĻŋ, āύāĻŋ, āφ

āωāĻĒ, āĻŦāĻŋ, āύāĻŋ, āφ

  1. The girl is prossessed.- er āϝāĻĨāĻžāϝāĻĨ āĻŦāĻžāĻ‚āϞāĻž āĻ…āύ⧁āĻŦāĻžāĻĻ

āĻŽā§‡ā§Ÿā§‡āϟāĻŋ āĻ…āĻ¨ā§āϤāσāϏāĻ¤ā§āĻ¤ā§āĻŦāĻž

āĻŽā§‡ā§Ÿā§‡āϟāĻŋ āϰ⧋āĻ—āĻ—ā§āϰāĻ¸ā§āϤ

āĻŽā§‡ā§Ÿā§‡āϟāĻŋ āĻŦāĻŋāĻĒāĻĻāĻ—ā§āϰāĻ¸ā§āϤ

 āĻŽā§‡ā§Ÿā§‡āϟāĻŋ āĻ­ā§‚āϤāĻžāĻŦāĻŋāĻˇā§āϟ

 

  1. āĻĒāĻŋāĻāϏāϏāĻŋ āĻļāĻŦā§āĻĻāϟāĻŋ āϕ⧀āϏ⧇āϰ āϏāĻ™ā§āϗ⧇ āϝ⧁āĻ•ā§āϤ?

 āĻ—ā§āϝāĻžāϏ āĻ…āύ⧁āϏāĻ¨ā§āϧāĻžāύ

āĻ•ā§ŸāϞāĻž āωāĻ¤ā§āϤ⧋āϞāύ

āĻŦāĻŋāĻĻā§āĻ¯ā§ā§Ž āĻ‰ā§ŽāĻĒāĻžāĻĻāύ

āύāĻĻā§€āϰ āĻĒāĻžāύāĻŋ āĻ­āĻžāĻ—āĻžāĻ­āĻžāĻ—āĻŋ

  1. ‘āύāĻŋāĻŽāĻœā§āϜāύ’ āύāĻžāϟāĻ•āϟāĻŋ āϞāĻŋāϖ⧇āϛ⧇āύ-

āĻšā§āĻŽāĻžā§Ÿā§āύ āφāĻšāĻŽā§‡āĻĻ

āϏāĻžāψāĻĻ āφāĻšāĻŽā§‡āĻĻ

 āϏ⧇āϞāĻŋāĻŽ āφāϞ āĻĻā§€āύ

āφāĻŦāĻĻ⧁āĻ˛ā§āϞāĻžāĻš āφāϞ āĻŽāĻžāĻŽā§āύ

  1. āĻ āĻŦāĻ›āϰ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āϏāĻžāĻ•ā§āώāϰāϤāĻž āĻĻāĻŋāĻŦāϏ⧇āϰ āĻĒā§āϰāϤāĻŋāĻĒāĻžāĻĻā§āϝ āĻŦāĻŋāώāϝāĻŧ-

 āĻļāĻžāĻ¨ā§āϤāĻŋāϰ āϜāĻ¨ā§āϝ āϏāĻžāĻ•ā§āώāϰāϤāĻž

āωāĻ¨ā§āύāϝāĻŧāύ⧇āϰ āϜāĻ¨ā§āϝ āϏāĻžāĻ•ā§āώāϰāϤāĻž

āĻ—āĻŖāϤāĻ¨ā§āĻ¤ā§āϰ⧇āϰ āϜāĻ¨ā§āϝ āϏāĻžāĻ•ā§āώāϰāϤāĻž

āĻŽāĻžāύāĻŦāϤāĻžāϰ āϜāĻ¨ā§āϝ āϏāĻžāĻ•ā§āώāϰāϤāĻž

  1. āχāωāύ⧇āĻ¸ā§āϕ⧋ āĻ•āĻ°ā§āϤ⧃āĻ• ‘āĻ“ā§ŸāĻžāĻ°ā§āĻ˛ā§āĻĄ āĻšā§‡āϰāĻŋāĻŸā§‡āϜ’ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻ˜ā§‹āώāĻŋāϤ

āϜāĻžāĻ¤ā§€ā§Ÿ āϝāĻžāĻĻ⧁āϘāϰ

āĻŦāĻžā§ŸāϤ⧁āϞ āĻŽā§‹āĻ•āĻžāϰāϰāĻŽ

 āώāĻžāϟ āĻ—āĻŽā§āĻŦ⧁āϜ āĻŽāϏāϜāĻŋāĻĻ

āφāĻšāϏāĻžāύ āĻŽāĻžā§āϜāĻŋāϞ

  1. āϏāĻžāĻŽāĻžāϜāĻŋāĻ• āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ⧇āϰ āωāĻĒāĻžāĻĻāĻžāύ āύāϝāĻŧ-

āĻļāĻŋāĻ˛ā§āĻĒāĻžā§Ÿāύ

āĻļāĻŋāĻ•ā§āώāĻž

āύāĻ—āϰāĻžā§Ÿāύ

 āĻŦāĻžāϏāĻ¸ā§āĻĨāĻžāύ

  1. ⧍ā§Ļ⧧⧍ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ• āϗ⧇āĻŽāϏ āĻ…āύ⧁āĻˇā§āĻ āĻžāύ⧇āϰ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļāĻŋ āĻŦāĻ‚āĻļā§‹āĻĻā§āĻ­ā§‚āϤ āϕ⧋āϰāĻŋāĻ“āĻ—ā§āϰāĻžāĻĢāĻžāϰ⧇āϰ āύāĻžāĻŽ-

āϏāĻžāϞāĻŽāĻžāĻŽ āĻ–āĻžāύ

āĻĄā§āϝāĻžāύāĻŋ āĻŦā§Ÿā§‡āϞ

 āφāĻ•āϰāĻžāĻŽ āĻ–āĻžāύ

āĻŽā§‹āĻšāύ āĻ–āĻžāύ

  1. āĻ āĻŦāĻ›āϰ āĻĢā§‹āĻ°ā§āĻŦāϏ āϏāĻžāĻŽāϝāĻŧāĻŋāϕ⧀āϰ āϜāϰāĻŋāĻĒ⧇ āĻŦāĻŋāĻļā§āĻŦ⧇āϰ āĻāĻ• āύāĻŽā§āĻŦāϰ āĻ•ā§āώāĻŽāϤāĻžāĻļāĻžāϞ⧀ āĻŽāĻšāĻŋāϞāĻž-

āĻšāĻŋāϞāĻžāϰāĻŋ āĻ•ā§āϞāĻŋāύāϟāύ

āϏ⧋āύāĻŋ⧟āĻž āĻ—āĻžāĻ¨ā§āϧ⧀

 āĻ…ā§āϝāĻžāĻžā§āĻœā§‡āϞāĻž āĻŽāĻžāϰāϕ⧇āϞ

āĻŽāĻŋāĻļ⧇āϞ āĻ“āĻŦāĻžāĻŽāĻž

  1. ‘āφāϏāĻŽāĻžāύ⧀’ āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋ āϞāĻŋāϖ⧇āϛ⧇āύ-

āφāϞāĻžāωāĻĻā§āĻĻāĻŋāύ āφāϞ-āφāϜāĻžāĻĻ

āĻļāĻžāĻŽāϏ⧁āϰ āϰāĻžāĻšāĻŽāĻžāύ

 āϜāϏ⧀āĻŽāωāĻĻāĻĻā§€āύ

āĻ•āĻžāĻœā§€ āύāϜāϰ⧁āϞ āχāϏāϞāĻžāĻŽ

  1. āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āĻĒā§āϰāĻĨāĻŽ āĻĒāĻžāϰāĻŽāĻžāĻŖāĻŦāĻŋāĻ• āĻŦāĻŋāĻĻā§āĻ¯ā§ā§Ž āϕ⧇āĻ¨ā§āĻĻā§āϰ āĻ¸ā§āĻĨāĻžāĻĒāύ⧇ āϏāĻšāĻžāϝāĻŧāϤāĻž āĻĻ⧇āĻŦ⧇-

āĻ­āĻžāϰāϤ

āĻŽāĻžāĻ˛ā§Ÿā§‡āĻļāĻŋ⧟āĻž

 āϰāĻžāĻļāĻŋ⧟āĻž

āϜāĻžāĻĒāĻžāύ

  1. āĻŽāĻŋāĻļāϰ⧇āϰ āĻĒā§āϰ⧇āϏāĻŋāĻĄā§‡āĻ¨ā§āϟ āĻĄ. āĻŽā§āϰāϏāĻŋāϰ āĻĻāϞ⧇āϰ āύāĻžāĻŽ-

āϜāĻžāĻ¸ā§āϟāĻŋāϏ āĻāĻ¨ā§āĻĄ āĻĄā§‡āϭ⧇āϞāĻĒāĻŽā§‡āĻ¨ā§āϟ āĻĒāĻžāĻ°ā§āϟāĻŋ

āĻ āϕ⧇ āĻĒāĻŋ

 āĻŽā§āϏāϞāĻŋāĻŽ āĻŦā§āϰāĻžāĻĻāĻžāϰāĻšā§āĻĄ

āĻŦāĻžāĻĨ āĻĒāĻžāĻ°ā§āϟāĻŋ

  1. āĻŦāĻžāĻ‚āϞāĻžāϰ āĻŽā§āϏāϞāĻŋāĻŽ āĻļāĻžāϏāύāĻžāĻŽāϞ⧇ ‘āφāĻŦā§āĻ“āϝāĻŧāĻžāĻŦā§’ āĻļāĻŦā§āĻĻāϟāĻŋ āϕ⧋āύ āĻ•ā§āώ⧇āĻ¤ā§āϰ⧇ āĻŦā§āϝāĻŦāĻšā§ƒāϤ āĻšāϤ⧋?

āύāĻĻā§€

āĻĒāĻžāύāĻŋ

 āĻ–āĻžāϜāύāĻž

āϜāĻŽāĻŋ

  1. āĻĄāĻŋāĻāχ (DAE) āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āϏāϰāĻ•āĻžāϰ⧇āϰ āϕ⧀ āĻŦāĻŋāώ⧟āĻ• āϏāĻ‚āĻ¸ā§āĻĨāĻž?

āĻ”āώāϧ

 āĻ•ā§ƒāώāĻŋ

āĻļāĻŋāĻ•ā§āώāĻž

āύāĻžāĻŸā§āϝāĻ•āϞāĻž

  1. āϕ⧋āύ āĻĻ⧇āĻļ⧇ āĻĒā§āϰāĻĨāĻŽ ‘āφāϰāĻŦ āĻŦāϏāĻ¨ā§āϤ’ -āĻāϰ āϏ⧂āϚāύāĻž āĻšāϝāĻŧ?

āφāϞāĻœā§‡āϰāĻŋ⧟āĻž

 āϤāĻŋāωāύ⧇āĻļāĻŋ⧟āĻž

āĻŽāĻŋāϏāϰ

āϞāĻŋāĻŦāĻŋ⧟āĻž

  1. āĻ…āĻ‚ āϏāĻžāύ āϏ⧁āϚāĻŋ āϕ⧇ āϝ⧇ āϏāĻžāϞ⧇ āĻ•āĻ‚āĻ—ā§āϰ⧇āϏāύāĻžāϞ āĻ—ā§‹āĻ˛ā§āĻĄ āĻŽā§‡āĻĄā§‡āϞ āĻĻ⧇āϝāĻŧāĻž āĻšāϝāĻŧ-

⧍ā§Ļā§Ļā§­

Â ā§¨ā§Ļā§Ļā§Ž

⧍ā§Ļā§Ļ⧝

⧍ā§Ļā§§ā§Ļ

  1. OAS āϕ⧋āύ āĻ…āĻžā§āϚāϞ⧇āϰ āϜāĻ¨ā§āϝ āĻ—āĻ āĻŋāϤ āĻœā§‹āϟ?

āĻĻāĻ•ā§āώāĻŋāĻŖ-āĻĒā§‚āĻ°ā§āĻŦ āĻāĻļāĻŋ⧟āĻž

āωāĻ¤ā§āϤāϰ āφāϟāϞāĻžāĻ¨ā§āϟāĻŋāĻ•

āφāĻĢā§āϰāĻŋāĻ•āĻž āĻŽāĻšāĻžāĻĻ⧇āĻļ

 āφāĻŽā§‡āϰāĻŋāĻ•āĻž āĻ…āĻžā§āϚāϞ

  1. āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āĻ¤ā§āϰāĻŋāĻĒ⧁āϰāĻž āφāĻĻāĻŋāĻŦāĻžāϏ⧀ āĻ—ā§‹āĻˇā§āĻ ā§€ āϕ⧋āύ āϧāĻ°ā§āĻŽāĻŦāĻŋāĻļā§āĻŦāĻžāϏ⧇āϰ āĻ…āύ⧁āϏāĻžāϰ⧀?

āĻŦ⧈āĻˇā§āĻŖāĻŦ āϧāĻ°ā§āĻŽ

 āĻšāĻŋāĻ¨ā§āĻĻ⧁ āϧāĻ°ā§āĻŽ

āĻŦ⧌āĻĻā§āϧ āϧāĻ°ā§āĻŽ

āĻ–ā§āϰāĻŋāĻ¸ā§āϟ āϧāĻ°ā§āĻŽ

  1. āϏāĻŽā§āĻĒā§āϰāϤāĻŋ āϜāĻžāϤāĻŋāϏāĻ‚āĻ˜ā§‡āϰ āχāϕ⧁āϝāĻŧ⧇āϟāϰ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āϞāĻžāĻ­ āĻ•āϰ⧇āϛ⧇-

āĻŦāĻ™ā§āĻ—āĻŦāĻ¨ā§āϧ⧁ āϏāĻžāĻĢāĻžāϰāĻŋ āĻĒāĻžāĻ°ā§āĻ•

 āϚ⧁āύāϤāĻŋ āĻ…āĻ­āϝāĻŧāĻžāϰāĻŖā§āϝ

āϏ⧁āĻ¨ā§āĻĻāϰāĻŦāύ

āĻ•āĻ•ā§āϏāĻŦāĻžāϜāĻžāϰ āϏāĻŽā§āĻĻā§āϰ āϏ⧈āĻ•āϤ

  1. āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āϏāĻŽā§āĻĻā§āϰāϏ⧀āĻŽāĻž āύāĻŋāĻ°ā§āϧāĻžāϰāϪ⧇ āϜāĻžāϤāĻŋāϏāĻ‚āϘ āϰāĻžāϝāĻŧ āĻĻāĻŋāϝāĻŧ⧇āϛ⧇-

Â ā§§ā§Ē āĻŽāĻžāĻ°ā§āϚ ⧍ā§Ļ⧧⧍

ā§§ā§Ē āĻŽā§‡ ⧍ā§Ļ⧧⧍

⧧⧍ āĻŽā§‡ ⧍ā§Ļ⧧⧍

ā§§ā§Ē āĻāĻĒā§āϰāĻŋāϞ ⧍ā§Ļ⧧⧍

  1. āϚāĻžāρāĻĻ⧇ āĻ…āĻŦāϤāϰāĻŖāĻ•āĻžāϰ⧀ āĻĒā§āϰāĻĨāĻŽ āύāĻ­ā§‹āϚāĻžāϰ⧀ āύ⧀āϞ āφāĻ°ā§āĻŽāĻ¸ā§āĻŸā§āϰāĻ‚ āĻŽā§ƒāĻ¤ā§āϝ⧁āĻŦāϰāĻŖ āĻ•āϰ⧇āύ-

Â ā§¨ā§Ģ āφāĻ—āĻ¸ā§āϟ ⧍ā§Ļ⧧⧍

⧍ā§Ģ āϜ⧁āϞāĻžāχ ⧍ā§Ļ⧧⧍

⧍ā§Ģ āϜāĻžāύ⧁⧟āĻžāϰāĻŋ ⧍ā§Ļ⧧⧍

⧍ā§Ŧ āϜ⧁āύ ⧍ā§Ļ⧧⧍

  1. āĻ†ā§ŸāϤāύ⧇ āϕ⧋āύāϟāĻŋ āĻŦāĻĄāĻŧ āĻŦāĻŋāĻ­āĻžāĻ—?

āĻĸāĻžāĻ•āĻž

āϰāĻžāϜāĻļāĻžāĻšā§€

 āϚāĻŸā§āϟāĻ—ā§āϰāĻžāĻŽ

āĻŦāϰāĻŋāĻļāĻžāϞ

  1. ‘āϏāĻ‚āϏāĻĻ āĻŦāĻ°ā§āϜāύ āφāχāύ āĻĒā§āϰāĻŖāϝāĻŧāύ āφāĻŦāĻļā§āϝāĻ•’ āĻŽāĻ¨ā§āϤāĻŦā§āϝāϟāĻŋ āϕ⧋āύ āϏāĻ‚āĻ¸ā§āĻĨāĻžāϰ?

āĻ—ā§āϰāĻžāĻŽā§€āύ āĻŦāĻžāĻ‚āĻ•

āĻŽāĻžāύāĻŦāĻžāϧāĻŋāĻ•āĻžāϰ āĻ•āĻŽāĻŋāĻļāύ

āĻĻ⧁āĻĻāĻ•

 āϟāĻŋāφāχāĻŦāĻŋ

  1. āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āĻļāĻŋāĻ•ā§āώāĻ• āĻĻāĻŋāĻŦāϏ āĻĒāĻžāϞāĻŋāϤ āĻšāϝāĻŧ-

ā§Ģ āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ

ā§§ā§Ģ āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ

 ā§Ģ āĻ…āĻ•ā§āĻŸā§‹āĻŦāϰ

ā§§ā§Ģ āĻ…āĻ•ā§āĻŸā§‹āĻŦāϰ

  1. ⧍ā§Ļ⧧⧍ āϏāĻžāϞ⧇ āĻ•āĻžāĻ°ā§āĻŦāύ āĻ•āϰ āϚāĻžāϞ⧁ āĻ•āϰ⧇-

āϝ⧁āĻ•ā§āϤāϰāĻžāĻˇā§āĻŸā§āϰ

āĻŦā§āϰāĻžāϜāĻŋāϞ

 āĻ…āĻ¸ā§āĻŸā§āϰ⧇āϞāĻŋ⧟āĻž

āϜāĻžāĻĒāĻžāύ

  1. ā§§ā§ŦāϤāĻŽ āĻ¨ā§āϝāĻžāĻŽ āϏāĻŽā§āĻŽā§‡āϞāύ āϤ⧇āĻšāϰāĻžāύ⧇ āĻ…āύāĻ…āύ⧁āĻˇā§āĻ āĻŋāϤ āĻšā§Ÿ-

āĻŽā§‡ āĻŽāĻžāϏ⧇

āϜ⧁āϞāĻžāχ āĻŽāĻžāϏ⧇

 āφāĻ—āĻ¸ā§āϟ āĻŽāĻžāϏ⧇

āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ āĻŽāĻžāϏ⧇

  1. āχāĻ¨ā§āϟāĻžāϰāύ⧇āϟ āϏāĻžāĻ°ā§āϚ āχāĻžā§āϜāĻŋāύ āύāϝāĻŧ-

āϗ⧁āĻ—āϞ

āĻĄāĻ—āĻĒāĻžāχāϞ

āφāϞāϟāĻž āĻ­āĻŋāϏāϤāĻž

 āχāĻ¨ā§āϟāĻžāϰāύ⧇ āĻāĻ•ā§āϏāĻĒā§āϞ⧋āϰāĻžāϰ

  1. āφāĻŽā§‡āϰāĻŋāĻ•āĻžāϰ āφāϏāĻ¨ā§āύ āĻĒā§āϰ⧇āϏāĻŋāĻĄā§‡āĻ¨ā§āϟ āύāĻŋāĻ°ā§āĻŦāĻžāϚāύ āĻ…āύ⧁āĻˇā§āĻ āĻŋāϤ āĻšāĻŦ⧇-

ā§Ŧ āύāϭ⧇āĻŽā§āĻŦāϰ ⧍ā§Ļ⧧⧍

ā§§ā§Ļ āύāϭ⧇āĻŽā§āĻŦāϰ ⧍ā§Ļ⧧⧍

⧍ā§Ļ āύāϭ⧇āĻŽā§āĻŦāϰ ⧍ā§Ļ⧧⧍

Â ā§§ā§Ļ āĻĄāĻŋāϏ⧇āĻŽā§āĻŦāϰ

  1. āϤāĻžāϰ āĻŦāĻŋāĻšā§€āύ āĻĻā§āϰ⧁āϤāĻ—āϤāĻŋāϰ āχāĻ¨ā§āϟāĻžāϰāύ⧇āϟ āϏāĻ‚āϝ⧋āϗ⧇āϰ āϜāĻ¨ā§āϝ āωāĻĒāϝ⧋āĻ—ā§€ āϕ⧋āύāϟāĻŋ?

āĻĢ⧇āϏāĻŦ⧁āĻ•

 āĻ“ā§ŸāĻžāχāĻŽā§āϝāĻžāĻ•ā§āϏ

āĻŦā§āϰāĻĄāĻŦā§āϝāĻžāĻ¨ā§āĻĄ

āϟ⧁āχāϟāĻžāϰ

  1. āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āϜāĻŋāĻĄāĻŋāĻĒāĻŋ-āϤ⧇ āĻ•ā§ƒāώāĻŋ āĻ–āĻžāϤ⧇āϰ āĻ…āĻŦāĻĻāĻžāύ-

ā§§ā§Ž%

ā§§ā§Ļ%

ā§§ā§Ŧ%

Â ā§¨ā§§%

  1. āϏāĻŽā§āĻĒā§āϰāϤāĻŋ āĻŦāĻžāĻĒ⧇āĻ•ā§āϏ āĻ•āĻ°ā§āϤ⧃āĻ• āφāĻŦāĻŋāĻˇā§āĻ•ā§ƒāϤ āĻ—ā§āϝāĻžāϏāĻ•ā§āώ⧇āĻ¤ā§āϰ-

 āϏāĻŋāϞ⧇āĻŸā§‡āϰ āĻšāϰāĻŋāĻĒ⧁āϰ āĻ—ā§āϝāĻžāϏāĻ•ā§āώ⧇āĻ¤ā§āϰ

āϚāĻŸā§āϰāĻ—ā§āϰāĻžāĻŽ āϏāĻžāĻ™ā§āϗ⧁ āĻ—ā§āϝāĻžāϏāĻ•ā§āώ⧇āĻ¤ā§āϰ

āĻ¨ā§‹ā§ŸāĻžāĻ–āĻžāϞ⧀ āϏ⧁āĻ¨ā§āĻĻāϰāĻĒ⧁āϰ āĻ—ā§āϝāĻžāϏāĻ•ā§āώ⧇āĻ¤ā§āϰ

āϕ⧁āĻŽāĻŋāĻ˛ā§āϞāĻžāϰ āĻļā§āϰ⧀āĻ•āĻžāχāϞ āĻ—ā§āϝāĻžāϏāĻ•ā§āώ⧇āĻ¤ā§āϰ

  1. āĻ­āĻžāϰāϤ⧇āϰ āύāĻžāϞāĻ¨ā§āĻĻāĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞ⧟ āωāĻĒāĻžāϚāĻžāĻ°ā§āϝ-

 āĻ…āĻŽāĻ°ā§āĻ¤ā§āϝ āϏ⧇āύ

āϏāϤ⧀āĻļāϚāĻ¨ā§āĻĻā§āϰ āĻŦāĻŋāĻĻā§āϝāĻžāĻ­ā§‚āώāĻŖ

āĻļā§āϰ⧀āύāĻŋāĻŦāĻžāϏ

āĻĒāĻŦāĻŋāĻ¤ā§āϰ āϏāϰāĻ•āĻžāϰ

  1. āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ ⧍ā§Ļ⧧⧍-⧍ā§Ļā§§ā§Š āĻ…āĻ°ā§āĻĨāĻŦāĻ›āϰ⧇ āĻļāĻŋāĻ•ā§āώāĻž āĻ“ āĻĒā§āϰāϝ⧁āĻ•ā§āϤāĻŋ āĻ–āĻžāϤ⧇ āĻŦāϰāĻžāĻĻā§āϧ-

ā§¨ā§Šā§¯ā§§ā§Ŧ āϕ⧋āϟāĻŋ

⧍ā§Ļā§Šā§§ā§Ŧ āϕ⧋āϟāĻŋ

⧧⧝⧍⧭⧧ āϕ⧋āϟāĻŋ

Â ā§¨ā§¨ā§§ā§Ēā§Ģ āϕ⧋āϟāĻŋ

  1. āĻĒāϰāĻŋāĻŦā§āϰāĻžāϜāĻ• āĻĢāĻž-āĻšāĻŋāϝāĻŧ⧇āύ āĻ•āĻžāϰ āĻļāĻžāϏāύāĻžāĻŽāϞ⧇ āĻŦāĻžāĻ‚āϞāĻžāϝāĻŧ āφāϏ⧇āύ?

 āĻĻā§āĻŦāĻŋāĻ¤ā§€ā§Ÿ āϚāĻ¨ā§āĻĻā§āϰāϗ⧁āĻĒā§āϤ

āφāϞāĻžāωāĻĻā§āĻĻā§€āύ āĻšā§‹āϏ⧇āύ āĻļāĻžāĻš

āĻĒā§āϰāĻĨāĻŽ āϚāĻ¨ā§āĻĻā§āϰāϗ⧁āĻĒ

āĻšāĻ°ā§āώāĻŦāĻ°ā§āϧāύ

  1. āĻ•āϤ āĻ–ā§āϰāĻŋāĻ¸ā§āϟāĻžāĻŦā§āĻĻ⧇ āĻŦā§āϰāĻŋāϟāĻŋāĻļ āχāĻ¸ā§āϟ āχāĻ¨ā§āĻĄāĻŋāϝāĻŧāĻž āϕ⧋āĻŽā§āĻĒāĻžāύāĻŋ āĻ—āĻ āĻŋāϤ āĻšāϝāĻŧ?

Â ā§§ā§Ŧā§Ļā§Ļ

ā§§ā§Ŧā§Ģā§§

ā§§ā§­ā§Ģā§­

ā§§ā§Ŧā§Ģā§Ž

  1. āĻŦā§āϰāĻŋāϟāĻŋāĻļ āĻ•āϞ⧋āύāĻŋ āĻ›āĻŋāϞ āύāĻž, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻ•āĻŽāύāĻ“āϝāĻŧ⧇āϞāĻĨ āϏāĻĻāĻ¸ā§āϝ-

 āĻŽā§‹āϜāĻžāĻŽā§āĻŦāĻŋāĻ•

āĻĒāĻžāĻ•āĻŋāĻ¸ā§āϤāĻžāύ

āĻŦāĻžāĻšāϰāĻžāχāύ

āĻ•āĻ°ā§āĻĄāĻžāύ

  1. ⧍ā§Ļ⧧⧍ āϏāĻžāϞ⧇ āϕ⧋āύ āĻĻ⧇āĻļ āϖ⧁āĻŦ āĻŦāĻĄāĻŧ āφāĻ•āĻžāϰ⧇āϰ āĻ­ā§‚āĻŽāĻŋāĻ•āĻŽā§āĻĒ⧇ āφāϘāĻžāϤ āĻ•āϰāϤ⧇ āĻšāϝāĻŧ⧇āϛ⧇?

āχāĻ¨ā§āĻĻā§‹āύ⧇āĻļāĻŋ⧟āĻž

 āχāϰāĻžāύ

āφāϜāĻžāϰāĻŦāĻžāχāϜāĻžāύ

āχāϤāĻžāϞāĻŋ

  1. āĻ…āĻ­ā§āϰ āϕ⧀-āĻŦā§‹āĻ°ā§āĻĄ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āύ-

 āĻŽā§‡āĻšā§‡āĻĻā§€ āĻšāĻžāϏāĻžāύ

āĻŽā§āĻšāĻŽā§āĻŽāĻĻ āϜāĻžāĻĢāϰ āχāĻ•āĻŦāĻžāϞ

āĻŽāĻžāĻ•āϏ⧁āĻĻ⧁āϞ āφāϞāĻŽ

āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ āĻ•āĻŽā§āĻĒāĻŋāωāϟāĻžāϰ āĻ—āĻŦ⧇āώāĻŖāĻž āϕ⧇āĻ¨ā§āĻĻā§āϰ

  1. āĻ•āĻĨāĻž-āϏāĻžāĻšāĻŋāĻ¤ā§āϝāĻŋāĻ• āĻšā§āĻŽāĻžāϝāĻŧā§‚āύ āφāĻšāĻŽā§‡āĻĻ⧇āϰ āϏāĻ°ā§āĻŦāĻļ⧇āώ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āύāĻžāĻŽ-

āĻ•āĻŽāύ āĻœā§‡āĻ¨ā§āĻĄāĻžāϰ

āĻļā§āϰāĻžāĻŦāĻŖ āĻŽā§‡āĻ˜ā§‡āϰ āĻĻāĻŋāύ

āύāĻ¨ā§āĻĻāĻŋāϤ āύāϰāϕ⧇

 āĻ˜ā§‡āϟ⧁āĻĒ⧁āĻ¤ā§āϰ āĻ•āĻŽāϞāĻž

  1. āĻŽāϏāĻžāϞāĻĄāĻžāĻ™ā§āĻ—āĻž āĻ›āĻŋāϟāĻŽāĻšāϞ āϕ⧋āύ āĻœā§‡āϞāĻžāϝāĻŧ āĻ…āĻŦāĻ¸ā§āĻĨāĻŋāϤ?

āϞāĻžāϞāĻŽāύāĻŋāϰ āĻšāĻžāϟ

 āĻ•ā§ā§œāĻŋāĻ—ā§āϰāĻžāĻŽ

āĻĻāĻŋāύāĻžāϜāĻĒ⧁āϰ

āĻĒāĻžā§āϚāĻ—ā§œ

  1. āφāĻ•āĻžāύ āϕ⧋āύ āĻĻ⧇āĻļ⧇āϰ āĻ­āĻžāώāĻž?

āĻŦ⧇āύāĻŋāύ

 āϘāĻžāύāĻž

āĻ—āĻŋāύāĻŋ āĻŦāĻŋāϏāĻžāω

āϏāĻŋā§Ÿā§‡āϰāĻž āϞāĻŋ⧟āύ

  1. āϏāĻžāĻ°ā§āĻ• āĻļā§€āĻ°ā§āώ āϏāĻŽā§āĻŽā§‡āϞāύ⧇ āϝ⧇ āĻŦāĻŋāώāϝāĻŧāϟāĻŋ āφāϞ⧋āϚāĻŋāϤ āĻšāϤ⧇ āĻĒāĻžāϰ⧇ āύāĻž-

āĻ•ā§ƒāώāĻŋ āωāĻ¨ā§āύ⧟āύ

 āĻĻā§āĻŦāĻŋāĻĒāĻžāĻ•ā§āώāĻŋāĻ• āϏāĻŽāĻ¸ā§āϝāĻž

āĻ…āĻŦāĻžāϧ āĻŦāĻžāύāĻŋāĻœā§āϝ

āϏāĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāĻ• āĻŦāĻŋāώ⧟

  1. ⧍ā§Ļā§§ā§Ē āϏāĻžāϞ⧇āϰ (⧍ā§Ļ āϤāĻŽ) āĻ“āϝāĻŧāĻžāĻ°ā§āĻ˛ā§āĻĄ āĻ•āĻžāĻĒ āĻĢ⧁āϟāĻŦāϞ āϖ⧇āϞāĻž āϝ⧇ āĻĻ⧇āĻļ⧇ āĻ…āύ⧁āĻˇā§āĻ āĻŋāϤ āĻšāϝāĻŧ-

āφāĻ°ā§āĻœā§‡āĻ¨ā§āϟāĻŋāύāĻž

āχāϤāĻžāϞāĻŋ

āϜāĻžāĻ°ā§āĻŽāĻžāύāĻŋ

 āĻŦā§āϰāĻžāϜāĻŋāϞ

  1. ‘āĻŽā§‡āϏāϤāĻž’ āĻāĻ• āϜāĻžāĻ¤ā§€ā§Ÿ-

āϧāĻžāύ

āϤāĻžāĻŽāĻžāĻ•

āϤ⧁āϞāĻž

 āĻĒāĻžāϟ

  1. āϘāĻžāύāĻžāϰ āĻŽā§āĻĻā§āϰāĻžāϰ āĻŽāĻžāĻŽ-

āχāĻ‰ā§ŸāĻžāύ

 āϏ⧇āĻĄāĻŋ

āϤ⧁⧟āĻžāύ

āĻĒ⧁āϞāĻž

  1. āϚāϤ⧁āĻ°ā§āĻĨ āĻ“āφāχāϏāĻŋ āĻŦāĻŋāĻļ⧇āώ āϏāĻŽā§āĻŽā§‡āϞāύ āĻ•āϤ āϤāĻžāϰāĻŋāϖ⧇ āĻ…āύ⧁āĻˇā§āĻ āĻŋāϤ āĻšāϝāĻŧ⧇āϛ⧇?

Â ā§§ā§Ēā§§ā§Ģ āφāĻ—āĻ¸ā§āϟ ⧍ā§Ļ⧧⧍

ā§§ā§Ļ-ā§§ā§§ āφāĻ—āĻ¸ā§āϟ ⧍ā§Ļ⧧⧧⧍

⧍-ā§Š āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ ⧍ā§Ļ⧧⧍

⧍ā§Ģ-⧍ā§Ŧ āϜ⧁āϞāĻžāχ ⧍ā§Ļ⧧⧍

  1. āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇āϰ āĻĒā§āϰāĻĨāĻŽ āĻ”āώāϧ āĻĒāĻžāĻ°ā§āĻ• āĻ¸ā§āĻĨāĻžāĻĒāĻŋāϤ āĻšāĻšā§āĻ›āĻšā§āϛ⧇ āϝ⧇ āĻ¸ā§āĻĨāĻžāύ⧇-

āϖ⧁āϞāύāĻž

āϏāĻžāĻ­āĻžāϰ

 āĻ—āϜāĻžāϰāĻŋ⧟āĻž

āĻ­āĻžāϞ⧁āĻ•āĻž

  1. āĻĒāĻžāρāϚ āĻŦāĻ›āϰ āĻĒāϰ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ āĻĨ⧇āϕ⧇ āĻļā§āϰāĻŽāĻŋāĻ• āύāĻŋāϤ⧇ āϏāĻŽā§āĻŽāϤāĻŋ āϜāĻžāύāĻŋāϝāĻŧ⧇āϛ⧇-

āϏ⧌āĻĻāĻŋāĻŽ āφāϰāĻŦ

āĻ•ā§ā§Ÿā§‡āϤ

 āĻŽāĻžāĻ˛ā§Ÿā§‡āĻļāĻŋ⧟āĻž

āϏāĻŋāĻ™ā§āĻ—āĻžāĻĒ⧁āϰ

  1. āĻŽā§‹āĻŦāĻžāχāϞ āĻĢā§‹āύ⧇ āĻĒā§āϰāĻĨāĻŽ āĻ¸ā§āϝāĻžāĻŸā§‡āϞāĻžāχāϟ āϟāĻŋāĻ­āĻŋ āϏāĻžāĻ°ā§āĻ­āĻŋāϏ āϚāĻžāϞ⧁ āĻ•āϰ⧇-

āϜāĻžāĻĒāĻžāύ

āϝ⧁āĻ•ā§āϤāϰāĻžāĻˇā§āĻŸā§āϰ

 āĻĻāĻ•ā§āώāĻŋāĻŖ āϕ⧋āϰāĻŋ⧟āĻž

āĻšā§€āύ

  1. āϝ⧇ āĻĻ⧇āĻļ ‘āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ āĻĻāĻŋāĻŦāϏ’ āĻĒāĻžāϞāύ⧇āϰ āωāĻĻā§āϝ⧋āĻ— āĻ—ā§āϰāĻšāĻŖ āĻ•āϰ⧇āϛ⧇-

āĻ­āĻžāϰāϤ

 āύ⧇āĻĻāĻžāϰāĻ˛ā§āϝāĻžāĻ¨ā§āĻĄāϏ

āĻŽāĻžāĻ˛ā§Ÿā§‡āĻļāĻŋ⧟āĻž

āĻĄā§‡āύāĻŽāĻžāĻ°ā§āĻ•

  1. ‘āĻœā§āĻžāĻžāύāχ āĻĒ⧁āĻ¨ā§āϝ – āϕ⧇ āĻŦāϞ⧇āϛ⧇āύ?

āĻĒā§āϞ⧇āĻŸā§‹

āĻ…ā§āϝāĻžāϰāĻŋāĻ¸ā§āϟāϟāϞ

 āϏāĻ•ā§āϰ⧇āϟāĻŋāϏ

āĻšā§‡āϗ⧇āϞ

  1. ‘āĻŦā§āϞ⧁ āĻšāĻžāωāϜ’ āϕ⧀?

āĻ—āĻžāύ⧇āϰ āĻĻāϞ

āĻ…āύāĻžāĻĨ āφāĻļā§āϰāĻŽ

āϚāĻžāϰāĻžāĻ—āĻžāϛ⧇āϰ āĻ•āĻžāρāϚāϘāϰ

 āϕ⧋āϰāĻŋāĻ‰ā§ŸāĻžāϰ āϰāĻžāĻˇā§āĻŸā§āϰāĻĒāϤāĻŋ āĻ­āĻŦāύ

āύāĻŋāĻœā§‡āϰ āϏ⧁āĻŦāĻŋāϧāĻžāĻŽāϤ āĻĒ⧜āĻžāϰ āϜāĻ¨ā§āϝ āϟāĻžāχāĻŽāϞāĻžāχāύ⧇ āĻļā§‡ā§ŸāĻžāϰ āĻ•āϰ⧇ āϰāĻžāϖ⧁āύ

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