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Ans. Indian writing in English is primarily a result of the English colonial rule in India spanning almost two centuries. There is an undeniable relation between the literary work and the historical background out of which it arises. In spite of the western imperialism and colonialism the Indian culture has grown incredibly over the past two hundred years. It is a well known fact that the Englishmen came to India on the pretext of trade and immediately realized that a stable political control would substantially increase their profits. The Industrial Revolution in England could only sustain itself through the capital made in the Indian territories in the form of revenue collection. They then commenced to annex different territories in and around India and set up a colonial empire. The British rule completely ruined the agricultural self- sufficiency of the farmers and the trade of silk cloth saw a downslide due to the English factory produced cloth more easily and cheaply available. The weavers and artisans lost their job and had to sustain themselves by working in cotton plantations. The old existing order underwent a complete and systematic destruction and overhaul bringing misery, poverty and death to millions of Indians.

     After a few years of colonial rule and consolidation, the English empire got embroiled in a hotly debated and discussed issue of introduction of the – English language in educational institutes. In a watershed decision English was introduced in the Indian education system, and was understood to be a different epistemological template in which not only the language but lifestyle and culture was imposed. Many reformers especially Raja Rammohun Roy, the founder of the Brahmo Samaj, vociferously supported the teaching of the move to bring about economic reforms that would provide new employment opportunities in the administration that required the knowledge of the English language. A systematic enterprise detailed by Macaulay, a member of colonial. Indian parliament, than began in which “mimic men” were produced through the education system in India, who were “a class who may be interpreters between us and the millions who we govern; a class of persons, Indian in blood and colour, but English in taste, in opinions, in morals and in intellect.” The old methods of teaching were made redundant and died a slow death as the earlier system of education was insufficient to cope with the changing social, economic and political circumstances. As it is apparent with scorn and despise towards Indian languages, the sole purpose regarding English was to strengthen their rule and brainwash the colonized; and not to empower or produce scholars.

     Moreover, the colonizers only had contempt and disdain for the established languages, knowledge, beliefs, religion and educational institutes, labeling them as being irrational, pagan, barbaric, unscientific and immoral. Macaulay articulated the sense of superiority that the westerners felt regarding their culture and knowledge by making a very derogatory and biased statement that “a single shelf of a good European library was worth the whole native literature India and Arabia”. He believed that an educated minority would gradually educate the others, this concept came to be known as the ‘filtration effect’ but it remained flawed and unsuccessful. With the introduction of the English language the missionaries got a better hold on the country and political the empire established the notions that it is a benevolent authority and has now taken the responsibility of bringing light in the form of knowledge to the ignorant population. As a result of English education a few writers and poets converted to Christianity and imitated a style of writing prose and poetry like the English Romantics and classics.    

The first phase of Indian English literature roughly comprises the half century before the Great Revolt of 1857.

This was a period when English education and Western ideas had begun to act as a great liberating force in a country which had been suffering from political instability for about a century. Henry Derozio’s ‘Poems’ written in 1827, reflect his reformist idealism and iconoclastic zeal and he along with a few other visionary writers, poets and artistes worked for the eradication of social evils and called themselves the ‘young Bengal’. In fact his contemporaries like Michael Madhusudan Dutt had great technical competence and wrote a long poem on the Christian theme of the original sin., ‘Visions of the Past’ (1849). Krishna Mohan Banerjea’s play The Persecuted (1831) showcased the religious orthodoxies plaguing the Hindu society.

        The colonizers were initially largely successful in creating a class’ of interpreters between them and the masses. Education as a tool in the hands of the English proved to a great ideological weapon to legitimize their authority in the colonies. Evidently a hierarchy is created in which the western education model encompasses wisdom and knowledge as against the colonized people who are imbeciles. The education introduced was naturally lopsided and it not only valorized English traditions and way of life, it also provided the newly urban English educated a very limited and constricted space for liberal thought. The Indians began to believe that the colonizers had a moral responsibility to fulfill as the country was depicted to be infected by depravity. bestiality and religious bigotry. The evangelists propagated Christianity in schools indirectly by teaching biblical scriptures rather than English grammar. The “weaving together of morality with a specifically English literature had important ideological consequences”, which would mean that English behaviour leads to a moral behaviour and ultimately the colonizing country ostensibly projected itself as being a guiding light to civilize the colonies. Though the English always had their propaganda and selfish intention intact, a positive consequence was that the “Indians had mastered the coloniser’s language and further, had by the 1820s begun to adopt it as their chosen medium of expression. These pioneering works of poetry, fiction, drama, travel, and belles-lettres are little read today except by specialists, but when they were published they were, by the mere fact of being in English, audacious acts of mimicry and self-assertion. More than this, the themes they touched on and the kinds of social issues they engaged with would only be explored by other Indian literatures several- decades later.”

      The entry of Indian English writing in the English canon is often debated as some of the critics are of the opinion that this genre got an acceptance only in the late 1950’s when the Indian writers decided to establish it as a discipline, while others regard the works initially written by Indians in the English language as the real formation of this literary genre. The first novel by an Indian in English Bankim Chandra Chatterjee’s Rajmohan’s Wife appeared quite late in 1864 and is his only novel in English, the rest fourteen successful novels he wrote in Bengali. KylasChunderDutt’sA Journal of Forty-Eight Hours of the Year 1945 (1835) preceding Bankim’s novel is about an imaginary armed uprising against the British but cannot be classified as the first novel as it came out in a journal. Mehrotra elucidates on KylasChunderDutt’s work that:

Insurrections seems a commonplace idea, until we realise that the idea is being expressed for the first time in Indian literature, and would next find expression only in folk songs inspired by the events of 1857. It is uncanny that the year of the uprising in Dutt’s imagination comes within two years of India’s actual year of independence; uncanny, too, the coincidence that the work should have been published in the same year that Macaulay deliveredhis ‘Minute’. In a double irony, the insurgents are all urbanized middle- class Indians with the best education colonialism could offer, the very class Macaulay had intended as ‘interpreters between us and the millions whom we govern.

      Thus, the language of command’ is stood on its head and turned into the language of subversion, suggests itself as the imaginative beginnings of a nation.’ [6] The revolt of 1857 was a turning point and India became an empire under the British rule, represented by the viceroy. The revolt saw a unification of the warring Indian states against a common enemy. The heroism, valour and courage demonstrated by Indians inspired a lot of folk songs, poems and literature detailing the battle and brutality with which it was suppressed. The possibility of toppling the British rule looked viable but it took a century for Indians, to attain independence. The British formulated numerous rules and regulations to stipulate the authority of Indian princely states and other autonomous bodies and gained complete control over India. Censorship of literature increased many folds as the colonizers strictly monitored any writing that was seditious to the British policies, government or laws. Political themes were now discussed through literature in the guise of historical novels or romances which glorified the past rulers.

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  • āĻšā§āϝāĻžāρ , āĻ…āĻŦāĻļā§āϝāχ āĻĒāĻžāĻļ āĻ•āϰāĻŦ⧇āύ āĨ¤ āϏāĻžāϰāĻžāĻŦāĻ›āϰ āĻĒāĻĄāĻŧā§‹ āύāĻŋ, āϤāĻžāχ āύāĻŋāĻœā§‡āϕ⧇ āĻĻ⧁āĻ°ā§āĻŦāϞ āĻ­āĻžāĻŦāĻžāϰ āĻ•āĻŋāϛ⧁ āύ⧇āχāĨ¤ āĻāĻ–āύāĻ“ āĻšāĻžāϤ⧇ āĻ…āύ⧇āĻ• āϏāĻŽāϝāĻŧ āφāϛ⧇āĨ¤ āφāĻŽāϰāĻž āϤ⧋ āĻāĻ•ā§āϏāĻžāĻŽ āĻāϰ 2 āĻĻāĻŋāύ āφāϗ⧇ āĻĒāĻĄāĻŧāϤāĻžāĻŽ , āϤāĻžāϤ⧇āχ 60% āύāĻŽā§āĻŦāϰ āĻāύ⧇āĻ›āĻŋāϞāĻžāĻŽāĨ¤ āϏ⧇āχ āϏāĻŽāϝāĻŧ āύ⧋āϟāϏ, āϏāĻžāĻœā§‡āĻļāύ āϖ⧁āĻŦ āĻāĻ•āϟāĻž āĻĒāĻžāĻ“āϝāĻŧāĻž āϝ⧇āϤ āύāĻžāĨ¤
  • āϝ⧇āĻ­āĻžāĻŦ⧇ āĻ­āϝāĻŧ āĻĻā§‚āϰ āĻ•āϰāĻŦ⧇āύ?
  • āĻĒā§āϰāĻĨāĻŽāϤ āύāĻŋāĻœā§‡āϰ āĻĒā§āϰāϤāĻŋ āφāĻ¸ā§āĻĨāĻž āϰāĻžāϖ⧁āύ, āύāĻŋāĻœā§‡āϕ⧇ āφāϗ⧇āχ āĻŽāϰāĻžāϰ āφāϗ⧇ āĻŽā§‡āϰ⧇ āĻĢ⧇āϞāĻ›āύ āϕ⧇āύ⧋? āĻœā§‡āύ⧇ āϰāĻžāϖ⧁āύ, āϏāĻžāĻœā§‡āĻ¸ā§āĻŸā§‡āĻĄ āĻ“āϝāĻŧ⧇āϤ⧇ āϏāĻžāĻœā§‡āĻ¸ā§āϟāĻŋāĻ­āϞāĻŋ āĻĒāĻĄāĻŧāĻžāĻļāύāĻž āĻ•āϰāϞ⧇ āĻĒāĻžāĻļ āĻ•āϰāϤ⧇ āĻŦāĻžāĻ§ā§āϝ āĨ¤ āύ⧋āϟāϏ āĻĒāĻĄāĻŧāĻžāϰ āφāϗ⧇ āĻ—āϤ ā§Ģ āĻŦāĻ›āϰ⧇āϰ āĻĒā§āϰāĻļā§āύāĻĒāĻ¤ā§āϰāϗ⧁āϞāĻŋ āĻ˜ā§‡āρāĻŸā§‡ āĻĻ⧇āϖ⧁āύ, āĻŦ⧁āĻā§‡ āϜāĻžāĻŦ⧇āύ āĨ¤
  • āĻŽā§‹āĻŦāĻžāχāϞ āĻ  āϏāĻŽāϝāĻŧ āϟāĻž āϏāĻŦ āύāĻˇā§āϟ āύāĻž āĻ•āϰ⧇, āϏāĻŽāϝāĻŧ āϗ⧁āϞ⧋  āĻāĻ•āϟ⧁ āĻŦāχ āĻĒāϰ⧇, āĻŦāĻž āϏāĻžāĻœā§‡āĻ¸ā§āĻŸā§‡āĻĄ āϏāĻžāĻœā§‡āĻļāύ⧇āϰ āύ⧋āϟāϏāϗ⧁āϞ⧋ āĻāĻ•āϟ⧁ āϰāĻŋāĻĄāĻŋāĻ‚ āĻ•āϰ⧁āύ, āĻ•āĻ¨ā§āϏāĻĒ⧇āϟ āĻ•ā§āϞāĻŋāϝāĻŧāĻžāϰ āĻ•āϰ⧁āύ, āύāĻŋāĻœā§‡āϕ⧇ āϤ⧈āϰ⧀ āϰāĻžāϖ⧁āύāĨ¤
  •  āϏāĻŋāϞ⧇āĻŦāĻžāϏ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āϧāĻžāϰāĻŖāĻž āύāĻŋāϝāĻŧ⧇ āϝāĻžāĻŦ⧇āύ āĨ¤
  • āϝāĻžāĻĻ⧇āϰ āĻŦāχ āύ⧇āχ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āύ⧋āϟāϏ āφāϛ⧇, āύ⧋āϟāϏ āϏāĻžāĻœā§‡āĻļāύ āϗ⧁āϞ⧋, āĻŽā§āĻ–āĻ¸ā§āϤ āĻ•āϰāϤ⧇ āĻšā§‡āĻˇā§āϟāĻž āĻ•āϰ⧁āύ, āϖ⧁āĻŦ āĻŦ⧇āĻļāĻŋ āĻŽā§āĻ–āĻ¸ā§āϤ āύāĻž āĻšāϞ⧇, āĻ–āĻžāϤāĻžāϝāĻŧ āϞāĻŋāϖ⧇ āϞāĻŋāϖ⧇ āĻĒāĻĄāĻŧ⧁āύ, āĻĻ⧇āĻ–āĻŦ⧇āύ, āĻĒāϰ⧀āĻ•ā§āώāĻžāϤ⧇ āĻ•āĻŋāϛ⧁ āĻšāϞ⧇āĻ“ āϞāĻŋāϖ⧇ āφāϏāϤ⧇ āĻĒāĻžāϰāĻŦ⧇āύāĨ¤
  • āĻļ⧁āϧ⧁ āĻĒāϰāϞ⧇āχ āĻšāĻŦ⧇ āύāĻž, āϏāĻžāĻĨ⧇ āĻŽāĻžāĻ°ā§āĻ• āĻ•āϰ⧁āύ  āϕ⧋āύ āϕ⧋āύ āĻĒāϝāĻŧ⧇āĻ¨ā§āϟ āϗ⧁āϞ⧋, āĻŽāύ⧇ āϰāĻžāĻ–āϤ⧇ āĻšāĻŦ⧇āĨ¤
  • āĻāĻ•ā§āϏāĻžāĻŽ āĻšāϞ-āĻ āϏāĻŦāĻžāχ āύāĻžāĻ°ā§āĻ­āĻžāϏ āĻĢāĻŋāϞ āĻ•āϰ⧇āύ, āĻāϟāĻžāχ āϖ⧁āĻŦ āĻ¸ā§āĻŦāĻžāĻ­āĻžāĻŦāĻŋāĻ•, āϕ⧇āωāχ āĻŦāĻŋāĻĻā§āϝāĻžāϏāĻžāĻ—āϰ āύāϝāĻŧ, āĻŽā§āϝāĻ•ā§āϏāĻŋāĻŽāĻžāĻŽ āĻ¸ā§āϟ⧁āĻĄā§‡āĻ¨ā§āϟ āĻ āĻŋāĻ• āφāĻĒāύāĻžāϰ āĻŽāϤāχ āύāĻžāĻ°ā§āĻ­āĻžāϏ āĻĨāĻžāĻ•āĻŦ⧇, āϤāĻžāχ āĻ­āϝāĻŧ āĻĒāĻžāĻ“āϝāĻŧāĻžāϰ āϕ⧋āύ⧋ āĻ•āĻžāϰāύ āύ⧇āχ , āύāĻŋāĻœā§‡āϰ āĻĒā§āϰāϤāĻŋ āĻ­āϰāϏāĻž āϰāĻžāϖ⧁āύ āφāϰ āĻĢāĻžāϟāĻŋāϝāĻŧ⧇ āϞāĻŋāϖ⧇ āφāϏ⧁āύ āĨ¤
  • āϕ⧋āύ⧋ āĻĒā§āϰāĻļā§āύ⧇āϰ āωāĻ¤ā§āϤāϰ āĻĒāĻžāϰāĻŦā§‹ āύāĻž āĻŦāϞ⧇ āϛ⧇āĻĄāĻŧ⧇ āφāϏāĻŦ⧇āύ āύāĻž, āϝ⧇āϟ⧁āϕ⧁ āĻĒāĻžāϰāĻŦ⧇āύ, āϏ⧇āχ āϟ⧁āϕ⧁āχ ⧍-ā§Ē āϞāĻžāχāύ āϞāĻŋāϖ⧇ āφāϏ⧁āύāĨ¤  āĻŽāύ⧇ āϰāĻžāĻ–āĻŦ⧇āύ āĻŦā§āĻ˛ā§āϝāĻ™ā§āĻ• āĻĒ⧇āϜ āϰ⧇āϖ⧇ āφāϏāĻŦ⧇āύ āύāĻžāĨ¤āĨ¤
  • āĻ¸ā§āϝāĻžāϰ āϤ⧋ āϚāĻžāχāĻŦ⧇āύ āφāĻĒāύāĻžāϕ⧇ āύāĻžāĻŽā§āĻŦāϰ āĻĻāĻŋāϤ⧇ āĻ•āĻŋāĻ¨ā§āϤ⧁ āφāĻĒāύāĻŋ āĻ•āĻŋāϛ⧁ āύāĻž āϞāĻŋāϖ⧇ āφāϏāϞ⧇ , āĻ•āĻŋāĻ­āĻžāĻŦ⧇ āφāĻĒāύāĻžāϕ⧇ āύāĻžāĻŽā§āĻŦāϰ āĻĻ⧇āĻŦ⧇āύ āĻŦāϞ⧁āύ ? āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻžāχ āĻŦāϞ⧇, āĻ—āϰ⧁āϰ āϰāϚāύāĻž āϤ⧇ āύāĻĻā§€āϰ āϰāϚāύāĻž āϞāĻŋāϖ⧇ āĻāϞ⧇ āύāĻŋāĻļā§āϚāϝāĻŧ āύāĻŽā§āĻŦāϰ āĻĒāĻžāĻŦ⧇āύ āύāĻžāĨ¤ āϝ⧇ āϟāĻĒāĻŋāĻ• āĻĨāĻžāĻ•āĻŦ⧇, āϏ⧇āχ āϟāĻĒāĻŋāĻ•āĻŋ āĻ•āĻŋāϛ⧁ āϞāĻŋāϖ⧇ āφāϏāĻŦ⧇āύāĨ¤

Example > āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ āύāĻŋāϝāĻŧ⧇ āϝ⧇āϕ⧋āύ⧋ āĻĒā§āϰāĻļā§āύ āĻāϞ⧇, āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ āĻāϰ āĻŽā§‚āϞ āĻ­āĻžāĻŦāϟāĻž āϝāĻž āϜāĻžāύ⧇āύ āϤāĻžāχ āϞāĻŋāϖ⧇ āφāϏāĻŦ⧇āύ,

āĻŦāĻž āϧāϰ⧁āύ = āϏāĻžāĻšāĻŋāĻ¤ā§āϝ āύāĻŋāϝāĻŧ⧇ āϕ⧋āύ⧋ āĻĒā§āϰāĻļā§āύ āĻāϞ⧇, āϏ⧇āχ āϟāĻĒāĻŋāĻ• āĻ…āύ⧁āϝāĻžāϝāĻŧā§€ āϝāĻž āϜāĻžāύ⧇āύ āϤāĻžāχ āϞāĻŋāϖ⧇ āφāϏāĻŦ⧇āύ, āĻŽā§‹āϟ āĻ•āĻĨāĻž āϕ⧋āύ⧋ āĻĒā§āϰāĻļā§āύ āĻāĻ•āϟ⧁āĻ“ āϝāĻĻāĻŋ āφāĻĒāύāĻŋ āĻœā§‡āύ⧇ āĻĨāĻžāϕ⧇āύ , āĻ–āĻžāϞāĻŋ āϰ⧇āϖ⧇ āφāϏāĻŦ⧇āύ āύāĻž āĨ¤ āĻĢāϰ āϏāĻŋāĻ“āϰ āĻĒāĻžāϏ āφāĻĒāύāĻŋ  āĻ•āϰāĻŦ⧇āχ āĻ•āϰāĻŦ⧇āύ āĨ¤

  • āĻĒāϰ⧀āĻ•ā§āώāĻžāϰ āφāϗ⧇, āύāĻŋāĻœā§‡āϕ⧇ āĻāĻ•āϟ⧁ āϏāĻŽāϝāĻŧ āĻĻāĻŋāϤ⧇ āĻšāĻŦ⧇, 2 āĻĻāĻŋāύ āύāĻž āĻšāϞ⧇ āĻāĻ•āĻĻāĻŋāύ, āĻĻ⧇āϖ⧁āύ āϏāĻžāϰāĻžāĻœā§€āĻŦāύ-āχ āϤ⧋ āĻ•āĻžāϜ āφāϰ āĻ•āĻžāϜ āĻĨāĻžāĻ•āĻŦ⧇āχ, āϤāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āφāĻĒāύāĻŋ āϝāĻĻāĻŋ āϏāĻŽāϝāĻŧ āĻŦ⧇āϰ āĻ•āϰāϤ⧇ āύāĻž āĻĒāĻžāϰ⧇āύ, āϤāĻžāĻšāϞ⧇ āϤ⧋ āφāĻĢāϏ⧋āϏ āĻ•āϰāϤ⧇āχ āĻšāĻŦ⧇ āφāĻĒāύāĻžāϕ⧇ āĻāĻ•ā§āϏāĻžāĻŽ āĻšāϞ-āĻ, āϤāĻžāχāύāĻž?  āϏāĻŦāϟāĻž āϏāĻŦāĻžāϰ āωāĻĒāϰ āϛ⧇āĻĄāĻŧ⧇ āĻĻāĻŋāϤ⧇ āύ⧇āχāĨ¤ āύāĻŋāĻœā§‡āĻ“ āĻāĻ•āϟ⧁ āĻĒāĻĄāĻŧāϤ⧇ āĻšāĻŦ⧇āĨ¤
  • āĻļ⧇āώāĻ•āĻĨāĻž, āĻĒā§āϰāĻ¸ā§āϤ⧁āϤāĻŋ āύāĻŋāύ, āύāĻŋāĻœā§‡āϰ āĻĒā§āϰāϤāĻŋ āĻŦāĻŋāĻļā§āĻŦāĻžāϏ āϰāĻžāϖ⧁āύ, āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ āϏāĻžāĻŽāĻžāĻ¨ā§āϝ āĻšāϞ⧇āĻ“ āĻĒāĻĄāĻŧ⧁āύ, āφāϰ  āϏāĻžāĻœā§‡āĻļāύ āϗ⧁āϞ⧋ āĻ­āĻžāϞ⧋ āĻ•āϰ⧇ āĻĢāϞ⧋ āĻ•āϰ⧇ āϝāĻžāύ āĨ¤ āĻĢāϰ āϏāĻŋāĻ“āϰ āĻĒāĻžāϏ āφāĻĒāύāĻŋ  āĻ•āϰāĻŦ⧇āχ āĻ•āϰāĻŦ⧇āύ āĨ¤

āφāĻŽāĻžāĻĻ⧇āϰ āĻāĻ•āϟāĻŋ āĻŦāĻĄā§āĻĄ āĻŦāĻžāĻœā§‡ āĻ…āĻ­ā§āϝāĻžāϏ āϰāϝāĻŧ⧇āϛ⧇, āφāĻŽāϰāĻž āϕ⧀ āĻĒāĻĄāĻŧāϞāĻžāĻŽ āϤāĻžāϰ āĻĨ⧇āϕ⧇ āĻ•āϤāϟ⧁āϕ⧁ āϏāĻŽāϝāĻŧ āĻĒāĻĄāĻŧ⧇āĻ›āĻŋ āϤāĻžāϰ āωāĻĒāϰ āĻŦ⧇āĻļā§€ āĻœā§‹āϰ āĻĻ⧇āχāĨ¤ āϧāϰāĻž āϝāĻžāĻ• āφāϜ āϏāĻ•āĻžāϞ⧇ āωāϠ⧇ āφāĻŽāĻŋ āĻāĻ•āϟāĻžāύāĻž āĻĒāĻžāρāϚ āϘāĻŖā§āϟāĻž āĻĒāĻĄāĻŧ⧇āĻ›āĻŋ āĻ•āĻŋāĻ¨ā§āϤ⧁ āφāϏāϞ⧇āχ āĻ•āĻŋ āϏāĻŽā§āĻ­āĻŦ āĻāĻ•āϟāĻžāύāĻž āĻĒāĻžāρāϚ āϘāĻ¨ā§āϟāĻž āĻĒāĻĄāĻŧāĻž? āϟāĻžāύāĻž āĻĒāĻžāρāϚ āϕ⧇āύ āĻĻ⧁āχ āϘāĻŖā§āϟāĻžāχ āĻŽāύ⧋āϝ⧋āĻ— āϧāϰ⧇ āϰāĻžāĻ–āĻž āĻ•āĻŋāĻ¨ā§āϤ⧁ āϚāĻžāĻŸā§āϟāĻŋāĻ–āĻžāύāĻŋ āĻ•āĻĨāĻž āύāĻž, āĻāĻ•āϟ⧁ āϖ⧇āϝāĻŧāĻžāϞ āĻ•āϰāϞ⧇āχ āĻĻ⧇āĻ–āĻž āϝāĻžāĻŦ⧇ āĻĒāĻžāρāϚ āϘāĻ¨ā§āϟāĻžāϰ āĻŽāĻžāĻā§‡ āĻ•āϤāĻŦāĻžāϰ āφāĻŽāĻžāĻĻ⧇āϰ āĻŽāύ⧋āϝ⧋āϗ⧇ āĻŦā§āϝāĻžāϘāĻžāϤ āϘāĻŸā§‡āϛ⧇āĨ¤ āĻšāϝāĻŧāϤ⧋ āĻĒāĻĄāĻŧāĻžāϰ āĻŽāĻžāĻā§‡āχ āφāĻŽāĻžāĻĻ⧇āϰ āĻĢ⧇āϏāĻŦ⧁āϕ⧇āϰ āύ⧋āϟāĻŋāĻĢāĻŋāϕ⧇āĻļāύ āĻšā§‡āĻ• āĻ•āϰāĻ›āĻŋ, āĻŽā§‡āχāϞ āĻšā§‡āĻ• āĻ•āϰāĻ›āĻŋ, āĻ•āĻŋāĻ‚āĻŦāĻž āχāωāϟāĻŋāωāĻŦ⧇ āĻĸ⧁āϕ⧇ āĻŦāϏ⧇ āφāĻ›āĻŋāĨ¤ āĻāĻ­āĻžāĻŦ⧇ ⧍-ā§Š āϘāĻŖā§āϟāĻž āĻĒāĻĄāĻŧāĻžāϰ āĻĒāϰ āĻ­āĻžāĻŦāĻ›āĻŋ āφāϜ āύāĻž āϜāĻžāύāĻŋ āĻ•āϤ āĻŦ⧇āĻļāĻŋ āĻĒāĻĄāĻŧ⧇ āĻĢ⧇āϞāϞāĻžāĻŽāĨ¤ āĻ…āĻĨāϚ āĻāχ āϏāĻŽāϝāĻŧāϟ⧁āϕ⧁āϤ⧇ āϝāϤ⧋āϟ⧁āϕ⧁ āĻĒāĻĄāĻŧāĻž āϝ⧇āϤ⧋ āϤāĻž āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻšāϝāĻŧ āύāĻŋāĨ¤

āϕ⧋āύ āϟāĻĒāĻŋāĻ• āĻļāĻŋāĻ–āϤ⧇ āĻ•āϤ āϏāĻŽāϝāĻŧ āĻĒāĻĄāĻŧāϞāĻžāĻŽ āϏ⧇āϟāĻž āĻ•āĻ–āύ⧋āχ āĻŽā§āĻ–ā§āϝ āĻŦāĻŋāώāϝāĻŧ āύāϝāĻŧ, āĻŦāϰāĻ‚ āϟāĻĒāĻŋāĻ•āϟāĻŋ āφāĻŽāĻŋ āĻ•āϝāĻŧāĻŦāĻžāϰ āĻ­āĻžāϞ⧋āĻ­āĻžāĻŦ⧇ āĻŦ⧁āĻā§‡ āĻĒāĻĄāĻŧ⧇āĻ›āĻŋ āϏ⧇āϟāĻžāχ āĻŽā§āĻ–ā§āϝ āĻŦāĻŋāώāϝāĻŧāĨ¤

āϏ⧁āϤāϰāĻžāĻ‚, āĻĒāĻĄāĻŧāϤ⧇ āĻŦāϏāĻžāϰ āϏāĻŽāϝāĻŧ āϕ⧋āύ āϟāĻĒāĻŋāĻ• āĻŽā§āĻ–āĻ¸ā§āĻĨ āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ āϕ⧋āύ āύāĻŋāĻ°ā§āϧāĻžāϰāĻŋāϤ āϏāĻŽāϝāĻŧ āĻĢāĻŋāĻ•ā§āϏāĻĄ āύāĻž āĻ•āϰ⧇ āĻŦāϰāĻ‚ āϟāĻĒāĻŋāĻ•āϟāĻŋ āĻĒā§āϰāĻĨāĻŽ āĻĨ⧇āϕ⧇ āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āϞāĻžāχāύ āĻŦāĻžāχ āϞāĻžāχāύ āĻ•āϝāĻŧ⧇āĻ•āĻŦāĻžāϰ āĻĒāĻĄāĻŧāĻžāϟāĻžāχ āĻŦ⧁āĻĻā§āϧāĻŋāĻŽāĻžāύ⧇āϰ āĻ•āĻžāϜ āĻšāĻŦ⧇āĨ¤ āĻāĻ•āϟāĻž āĻĻāĻžāρāϤāĻ­āĻžāĻ™ā§āĻ—āĻž āĻ…āύ⧁āĻšā§āϛ⧇āĻĻ āĻĒā§āϰāĻĨāĻŽāĻŦāĻžāϰ āĻĒ⧁āϰ⧋āϟāĻž āĻĒāĻĄāĻŧāϞ⧇ āϝāϤāϟ⧁āϕ⧁ āĻ•āĻ āĻŋāύ āĻŽāύ⧇ āĻšāĻŦ⧇ āĻĻā§āĻŦāĻŋāϤ⧀āϝāĻŧāĻŦāĻžāϰ āĻĒāĻĄāĻŧāϞ⧇ āϤ⧁āϞāύāĻžāĻŽā§‚āϞāĻ• āĻ•āĻŽ āĻ•āĻ āĻŋāύ āĻŽāύ⧇ āĻšāĻŦ⧇āĨ¤ āϏ⧁āϤāϰāĻžāĻ‚ āϝāϤāĻŦāĻžāϰ āĻĒ⧁āύāϰāĻžāϝāĻŧ āĻĒāĻĄāĻŧāĻž āĻšāĻŦ⧇ āϤāϤ⧋āϟāĻžāχ āϏāĻšāϜ āĻŽāύ⧇ āĻšāĻŦ⧇āĨ¤

āϟāĻĒāĻŋāĻ•āϟāĻŋ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āϞāĻžāχāύ āĻŦāĻžāχ āϞāĻžāχāύ āĻĒāĻĄāĻŧāĻž āĻšāϝāĻŧ⧇ āϗ⧇āϞ⧇ āϝ⧇ āϏāĻ•āϞ āĻŦāĻžāĻ•ā§āϝāϗ⧁āϞ⧋ āĻĻ⧁āĻ°ā§āĻŦā§‹āĻ§ā§āϝ āϏ⧇āϗ⧁āϞ⧋ āφāĻ¨ā§āĻĄāĻžāϰāϞāĻžāχāύ āĻ•āϰ⧇ āĻĢ⧇āϞāϤ⧇ āĻšāĻŦ⧇ āĻāĻŦāĻ‚ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻĒāϝāĻŧ⧇āĻ¨ā§āϟāϗ⧁āϞ⧋ āĻŦ⧇āϰ āĻ•āϰ⧇ āύāĻŋāϝāĻŧ⧇ āφāϏāϤ⧇ āĻšāĻŦ⧇āĨ¤ āĻāϕ⧇āĻ•āϟāĻŋ āĻĒāϝāĻŧ⧇āĻ¨ā§āϟ āĻāĻ•āϟāĻŋ āĻļāĻŦā§āĻĻ āĻ•āĻŋāĻ‚āĻŦāĻž āĻāĻ•āϟāĻŋ āϛ⧋āϟ āĻŦāĻžāĻ•ā§āϝ⧇āϰ āϏāĻŽāĻ¨ā§āĻŦāϝāĻŧ⧇ āϤ⧈āϰāĻŋ āĻšāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āĻĒāϝāĻŧ⧇āĻ¨ā§āϟ āφāωāϟ āĻ•āϰāĻžāϟāĻž āĻ…āĻŦāĻļā§āϝāχ āĻŦ⧁āĻĻā§āϧāĻŋāĻŽāĻ¤ā§āϤāĻžāϰ āϏāĻžāĻĨ⧇ āĻ•āϰāϤ⧇ āĻšāĻŦ⧇ āϝ⧇āύ āĻāĻ•āĻŦāĻžāϰ āĻĒāĻĄāĻŧāĻžāϰ āϏāĻžāĻĨ⧇ āϏāĻžāĻĨ⧇āχ āϟāĻĒāĻŋāĻ•āϟāĻŋāϰ āĻāĻ•āϟāĻŋ āĻŦāĻŋāĻļ⧇āώ āĻ…āĻ‚āĻļ āĻŽāĻžāĻĨāĻžāϝāĻŧ āĻ˜ā§‹āϰāĻž āĻļ⧁āϰ⧁ āĻ•āϰ⧇āĨ¤

āϕ⧇āω āϕ⧇āω āĻāĻ•āĻāϕ⧇ āĻŦāχ āĻ­āĻžāϞāĻŦāĻžāϏ⧇āύ āφāĻŦāĻžāϰ āĻ…āύ⧇āϕ⧇āχ āϞāĻžāϞ āύ⧀āϞ āϰāĻ™ā§āϗ⧇ āĻŦāχ āĻĢ⧁āϟāĻŋāϝāĻŧ⧇ āϤ⧋āϞ⧇āύāĨ¤ āϤāĻŦ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻŦ⧇āĻļāĻŋāϰāĻ­āĻžāĻ—āχ āĻŽāĻžāĻ°ā§āĻ• āĻ•āϰ⧇ āĻŦāĻž āĻĻāĻžāĻ—āĻŋāϝāĻŧ⧇ āĻĒāĻĄāĻŧāϤ⧇ āĻ­āĻžāϞāĻŦāĻžāϏ⧇āύāĨ¤ āĻāϟāĻžāĻ“ āĻĒāĻĄāĻŧāĻž āĻŽāύ⧇ āϰāĻžāĻ–āϤ⧇ āĻŦ⧇āĻļ āĻ•āĻžāĻ°ā§āϝāĻ•āϰāĨ¤ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻ…āĻ‚āĻļāϟ⧁āϕ⧁ āϚāĻŋāĻšā§āύāĻŋāϤ āĻ•āϰāĻžāϰ āĻĢāϞ⧇ āϕ⧋āύ āĻļāĻŦā§āĻĻ āĻŦāĻž āĻŦāĻžāĻ•ā§āϝ⧇āϰ āĻĒā§āϰāϤāĻŋ āφāĻ•āĻ°ā§āώāĻŖ āĻ“ āφāĻ—ā§āϰāĻš āĻŦ⧇āĻĄāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āϏ⧇āχ āϏāĻžāĻĨ⧇ āϐ āĻ…āĻ‚āĻļāϟ⧁āϕ⧁āϰ āωāĻĒāϰ āĻŦā§āϰ⧇āχāϪ⧇āϰ āĻ­āĻŋāĻœā§āϝ⧁āϝāĻŧāĻžāϞāĻŋāϟāĻŋ āχāĻĢ⧇āĻ•ā§āϟāĻ“ āĻŦ⧇āĻĄāĻŧ⧇ āϝāĻžāϝāĻŧ āϝāĻž āĻĒāĻĄāĻŧāĻžāϕ⧇ āĻŽāύ⧇ āϰāĻžāĻ–āϤ⧇ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āϏāĻšāĻžāϝāĻŧāϤāĻž āĻ•āϰ⧇āĨ¤

āĻĒāĻĄāĻŧāĻž āĻŽā§āĻ–āĻ¸ā§āϤ āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ āĻļ⧁āϧ⧁ āĻĒāĻĄāĻŧāϞ⧇āχ āĻšāĻŦ⧇ āύāĻž, āϞāĻŋāĻ–āϤ⧇āĻ“ āĻšāĻŦ⧇ āĻŦāĻžāϰāĻŦāĻžāϰāĨ¤ āĻŽāĻžāύ⧁āώ⧇āϰ āĻŦā§āϰ⧇āχāύ āĻ•ā§āώāĻŖāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻ¸ā§āĻŽā§ƒāϤāĻŋ āϗ⧁āϞ⧋āϕ⧇ āĻ āĻŋāĻ• āϤāĻ–āύāχ āĻĻā§€āĻ°ā§āϘāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻ¸ā§āĻŽā§ƒāϤāĻŋāϤ⧇ āĻĒāϰāĻŋāĻŖāϤ āĻ•āϰ⧇ āϝāĻ–āύ āϏ⧇āϟāĻž āĻŦāĻžāϰ āĻŦāĻžāϰ āχāύāĻĒ⧁āϟ āĻĻ⧇āϝāĻŧāĻž āĻšāϝāĻŧāĨ¤

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āĻ…āĻŦāĻļ⧇āώ⧇ āĻŦāϞāĻŦā§‹ āĻĒāĻĄāĻŧāĻžāĻļāύāĻžāϟāĻž āφāĻĒāύāĻžāϕ⧇āχ āĻ•āϰāϤ⧇ āĻšāĻŦ⧇ āϤāĻžāχ āφāĻĒāύāĻžāϰ āϏāĻŽāϝāĻŧ āĻŽāϤ⧋ āĻĒāĻĄāĻŧāĻžāĻļāύāĻžāϰ āϰ⧁āϟāĻŋāύ āĻŦāĻžāύāĻŋāϝāĻŧ⧇ āĻĒāĻĄāĻŧāĻžāĻļāύāĻž āĻļ⧁āϰ⧁ āĻ•āϰ⧁āύ, āϏāĻŽāϝāĻŧ āϖ⧁āĻŦāχ āĻ•āĻŽ āĨ¤ āϝāϤ āϤāĻžāĻĄāĻŧāĻžāϤāĻžāĻĄāĻŧāĻŋ āφāĻĒāύāĻŋ āĻĒāĻĄāĻŧāĻžāĻļāύāĻž āĻļ⧁āϰ⧁ āĻ•āϰāĻŦ⧇āύ āϤāϤ āĻāĻ—āĻŋāϝāĻŧ⧇ āĻĨāĻžāĻ•āĻŦ⧇āύāĨ¤

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