Read the following passage carefully and answer the questions below.

Zainul Abedin (29 December, 1914-28 May, 1976) was a Bangladeshi painter. He had an extraordinary talent and was internationally recognized for his paintings. He became well known in 1944 through his series of paintings on the great man-made famine in Bengal during British Colonial rule.

He played a vital role in the art movement in Bangladesh and was the founding Principal of the Government Institute of Arts (Now Faculty of Fine Arts) at University of Dhaka. His paintings on Bengal Famine are considered as his most churacteristic works. His homeland honoured him with the title 'Shilpacharya', or the great teacher of arts for his artistic and visionary qualities. He was a pioneer of the modern art movement and was rightly considered as the founding father of Bangladeshi modem arts.

Abedin was born in Kishoregonj on 29 December, 1914. He spent most of his childhood near the scenic banks of the Brahrnaputra river. The river and the open nature inspired him from his early life. The Brahmaputra later appeared in many of his paintings and remained a great source of inspiration throughout his career. As his tribute to the river Brahmaputra, he drew a series of water colour paintings in this regard. This helped him earn Governor's Gold Medal in All India Exhibition in 1938. This was the first time when he came under spotlight and this award gave Abedin the confidence to Create his own visual style.

Abedin got admitted to the Government School of Art in Calcutta (Now Government College of Art and Craft, Kolkata, India). Here he learned European academic style for five years. Later he joined the faculty of the same school after his graduation. He was the first Muslim student to obtain 'First Class' with distinction from the school. In 1951, Zainul went to London to study at Slade School of Art for two years. From the dissatisfaction of oriental style and the limitations of European academic style, he was attracted to realism. After his return from London, he started a new style called 'Bengali Style'. Later he realized the limitations of 'Bengali Style'. Therefore, he went back to nature, rural life and the daily struggles of men to make art that would be realistic but modern in appearance.

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Learning outcomes
After we have studied this unit, we will be able to

  • read and demonstrate the understanding texts through silent reading
  • ask and answer questions
  • listen to an audio text for specific information
  • write a dialogue.

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āωāĻ¤ā§āϤāϰāσ

Ameen is excited about fighting, just like his father. He thinks it would not take long to return. (āφāĻŽāĻŋāύ āϝ⧁āĻĻā§āϧ āĻ•āϰāϤ⧇ āϝ⧇āϤ⧇ āϚāĻžā§Ÿ āĻ•āĻžāϰāĻŖ āϏ⧇ āϞ⧜āĻžāĻ‡ā§Ÿā§‡āϰ āϜāĻ¨ā§āϝ āĻ…āϧ⧀āϰāĨ¤ āϏ⧇ āĻ­āĻžāĻŦ⧇ āĻāϟāĻŋ āϖ⧁āĻŦ āĻŦ⧇āĻļāĻŋ āϏāĻŽā§Ÿ āύ⧇āĻŦ⧇ āύāĻžāĨ¤)

āωāĻ¤ā§āϤāϰāσ

Sonabhan mixes water with rice husks and gives it to her ducks. They eat it quickly. (āϏ⧋āύāĻžāĻ­āĻžāύ āϧāĻžāύ⧇āϰ āϤ⧁āώ⧇āϰ āϏāĻžāĻĨ⧇ āĻĒāĻžāύāĻŋ āĻŽāĻŋāĻļāĻŋā§Ÿā§‡ āĻšāĻžāρāϏāĻĻ⧇āϰ āϖ⧇āϤ⧇ āĻĻā§‡ā§ŸāĨ¤ āϤāĻžāϰāĻž āĻāϟāĻŋ āϤāĻžā§œāĻžāϤāĻžā§œāĻŋ āĻ–ā§‡ā§Ÿā§‡ āĻĢ⧇āϞ⧇āĨ¤)

āωāĻ¤ā§āϤāϰāσ

Ameen takes eggs, areca nuts, and a bottle gourd to sell at the bazar. These are arranged by his mother. (āφāĻŽāĻŋāύ āĻŦāĻžāϜāĻžāϰ⧇ āĻŦāĻŋāĻ•ā§āϰāĻŋ āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ āĻĄāĻŋāĻŽ, āϏ⧁āĻĒāĻžāϰāĻŋ, āĻāĻŦāĻ‚ āϞāĻžāω āύāĻŋā§Ÿā§‡ āϝāĻžā§ŸāĨ¤ āϤāĻžāϰ āĻŽāĻž āĻāϗ⧁āϞ⧋ āϗ⧁āĻ›āĻŋā§Ÿā§‡ āĻĻā§‡ā§ŸāĨ¤)

āωāĻ¤ā§āϤāϰāσ

He wears a half-sleeved floral shirt and a lungi. He looks in the mirror and combs his hair before leaving. (āϏ⧇ āĻšāĻžāĻĢ-āĻšāĻžāϤāĻž āĻĢ⧁āϞ⧇āϰ āĻ›āĻžāĻĒāĻžāϰ āĻļāĻžāĻ°ā§āϟ āφāϰ āϞ⧁āĻ™ā§āĻ—āĻŋ āĻĒāϰ⧇āĨ¤ āĻŦ⧇āϰ āĻšāĻ“ā§ŸāĻžāϰ āφāϗ⧇ āϏ⧇ āĻ†ā§ŸāύāĻžā§Ÿ āϚ⧁āϞ āφāρāϚ⧜āĻžā§ŸāĨ¤)

āωāĻ¤ā§āϤāϰāσ

Sonabhan feels sad because she often has to apologize for Ameen's mischief. She dislikes explaining that she raised him without his father. (āϏ⧋āύāĻžāĻ­āĻžāύ āĻĻ⧁āσāĻ–āĻŋāϤ āĻŦā§‹āϧ āĻ•āϰ⧇ āĻ•āĻžāϰāĻŖ āϤāĻžāϕ⧇ āĻĒā§āϰāĻžā§Ÿāχ āφāĻŽāĻŋāύ⧇āϰ āĻĻ⧁āĻˇā§āϟ⧁āĻŽāĻŋāϰ āϜāĻ¨ā§āϝ āĻ•ā§āώāĻŽāĻž āϚāĻžāχāϤ⧇ āĻšā§ŸāĨ¤ āϤāĻŋāύāĻŋ āĻāχ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻĻāĻŋāϤ⧇ āĻ…āĻĒāĻ›āĻ¨ā§āĻĻ āĻ•āϰ⧇āύ āϝ⧇ āϤāĻŋāύāĻŋ āϤāĻžāϕ⧇ āϤāĻžāϰ āĻŦāĻžāĻŦāĻžāϰ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ›āĻžā§œāĻžāχ āĻŦ⧜ āĻ•āϰ⧇āϛ⧇āύāĨ¤)

131
āωāĻ¤ā§āϤāϰāσ

(a) lungi (b) riverbank (c) father (d) straight (e) grown-up

Today is haat bar, and Ameen prepares to go there with items to sell. He wears a short-sleeved floral shirt over his (a) lungi Sonabhan notices how much he has grown while walking along the (b) riverbank . She realizes that Ameen now resembles his (c) father He has a long neck and (d) straight shoulders, just like his father. For the first time, she sees her son as a (e) grown-up .

516
āωāĻ¤ā§āϤāϰāσ

The listener in the story is the daughter. The mother is giving her advice on how to behave and live properly. (āĻ—āĻ˛ā§āĻĒ⧇ āĻļā§āϰ⧋āϤāĻž āĻšāϞ⧋ āĻŽā§‡ā§Ÿā§‡āĨ¤ āĻŽāĻž āϤāĻžāϕ⧇ āϕ⧀āĻ­āĻžāĻŦ⧇ āϏāĻ āĻŋāĻ•āĻ­āĻžāĻŦ⧇ āϚāϞāϤ⧇ āĻšāĻŦ⧇ āĻāĻŦāĻ‚ āĻœā§€āĻŦāύāϝāĻžāĻĒāύ āĻ•āϰāϤ⧇ āĻšāĻŦ⧇ āϤāĻž āĻļ⧇āĻ–āĻžāĻšā§āϛ⧇āύāĨ¤)

āωāĻ¤ā§āϤāϰāσ

The mother teaches how to sew on buttons and hem clothes. She emphasizes that these skills will help her maintain a neat appearance. (āĻŽāĻž āĻŦā§‹āϤāĻžāĻŽ āϞāĻžāĻ—āĻžāύ⧋ āĻāĻŦāĻ‚ āĻ•āĻžāĻĒā§œā§‡āϰ āĻĒāĻžā§œ āϏ⧇āϞāĻžāχ āĻ•āϰāϤ⧇ āĻļ⧇āĻ–āĻžāύāĨ¤ āϤāĻŋāύāĻŋ āĻŦāϞ⧇āύ, āĻāχ āĻĻāĻ•ā§āώāϤāĻžāϗ⧁āϞ⧋ āϤāĻžāϕ⧇ āĻĒāϰāĻŋāĻˇā§āĻ•āĻžāϰ-āĻĒāϰāĻŋāĻšā§āĻ›āĻ¨ā§āύ āĻĨāĻžāĻ•āϤ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰāĻŦ⧇āĨ¤)

āωāĻ¤ā§āϤāϰāσ

The mother teaches how to sew on buttons and hem clothes. She emphasizes that these skills will help her maintain a neat appearance. (āĻŽāĻž āĻŦā§‹āϤāĻžāĻŽ āϞāĻžāĻ—āĻžāύ⧋ āĻāĻŦāĻ‚ āĻ•āĻžāĻĒā§œā§‡āϰ āĻĒāĻžā§œ āϏ⧇āϞāĻžāχ āĻ•āϰāϤ⧇ āĻļ⧇āĻ–āĻžāύāĨ¤ āϤāĻŋāύāĻŋ āĻŦāϞ⧇āύ, āĻāχ āĻĻāĻ•ā§āώāϤāĻžāϗ⧁āϞ⧋ āϤāĻžāϕ⧇ āĻĒāϰāĻŋāĻˇā§āĻ•āĻžāϰ-āĻĒāϰāĻŋāĻšā§āĻ›āĻ¨ā§āύ āĻĨāĻžāĻ•āϤ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰāĻŦ⧇āĨ¤)

āωāĻ¤ā§āϤāϰāσ

The mother advices soaking salt fish overnight. This process makes it less salty and easier to cook. (āĻŽāĻž āĻŦāϞ⧇āύ, āϰāĻžāĻ¨ā§āύāĻžāϰ āφāϗ⧇ āϞ⧋āύāĻž āĻŽāĻžāĻ› āϏāĻžāϰāĻž āϰāĻžāϤ āĻ­āĻŋāϜāĻŋā§Ÿā§‡ āϰāĻžāĻ–āϤ⧇ āĻšāĻŦ⧇āĨ¤ āĻāϤ⧇ āĻāϟāĻŋ āĻ•āĻŽ āϞāĻŦāĻŖāĻžāĻ•ā§āϤ āĻšā§Ÿ āĻāĻŦāĻ‚ āϰāĻžāĻ¨ā§āύāĻž āĻ•āϰāĻž āϏāĻšāϜāϤāϰ āĻšā§ŸāĨ¤)

āωāĻ¤ā§āϤāϰāσ

The mother warns her not to sing benna in Sunday school. She thinks it is inappropriate for that setting. (āĻŽāĻž āϤāĻžāϕ⧇ āϰāĻŦāĻŋāĻŦāĻžāϰ āĻ¸ā§āϕ⧁āϞ⧇ āĻŦ⧇āύāĻž āĻ—āĻžāύ āύāĻž āĻ—āĻžāĻ“ā§ŸāĻžāϰ āϜāĻ¨ā§āϝ āϏāϤāĻ°ā§āĻ• āĻ•āϰ⧇āύāĨ¤ āϤāĻŋāύāĻŋ āĻŽāύ⧇ āĻ•āϰ⧇āύ, āĻāϟāĻŋ āϏ⧇āχ āĻĒāϰāĻŋāĻŦ⧇āĻļ⧇āϰ āϜāĻ¨ā§āϝ āĻ…āύ⧁āϚāĻŋāϤāĨ¤)

āωāĻ¤ā§āϤāϰāσ

The mother says eating fruit on the street will attract flies. This will make her look dirty and careless. (āĻŽāĻž āĻŦāϞ⧇āύ, āϰāĻžāĻ¸ā§āϤāĻžā§Ÿ āĻĢāϞ āϖ⧇āϞ⧇ āĻŽāĻžāĻ›āĻŋ āφāϏāĻŦ⧇āĨ¤ āĻāϤ⧇ āϤāĻžāϕ⧇ āύ⧋āĻ‚āϰāĻž āĻāĻŦāĻ‚ āĻ…āϏāϤāĻ°ā§āĻ• āĻĻ⧇āĻ–āĻžāĻŦ⧇āĨ¤)

āωāĻ¤ā§āϤāϰāσ

The mother fears that the girl might be seen as a slut. She tries to prevent this teaching her proper behaviour. (āĻŽāĻž āϭ⧟ āĻĒāĻžāύ āϝ⧇ āĻŽā§‡ā§Ÿā§‡āϟāĻŋ āĻ…āϏāĻšā§āϚāϰāĻŋāĻ¤ā§āϰ āĻŦāϞ⧇ āĻŦāĻŋāĻŦ⧇āϚāĻŋāϤ āĻšāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āϤāĻŋāύāĻŋ āϤāĻžāϕ⧇ āϏāĻ āĻŋāĻ• āφāϚāϰāĻŖ āĻļ⧇āĻ–āĻžāύ⧋āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻāϟāĻŋ āĻā§œāĻžāύ⧋āϰ āĻšā§‡āĻ¸ā§āϟāĻž āĻ•āϰ⧇āύāĨ¤)

āωāĻ¤ā§āϤāϰāσ

The mother advises squeezing bread to check its freshness. She wants the daughter to ensure the food she buys is of good quality. (āĻŽāĻž āĻŦāϞ⧇āύ, āϰ⧁āϟāĻŋ āϤāĻžāϜāĻž āĻ•āĻŋāύāĻž āϤāĻž āĻĒāϰ⧀āĻ•ā§āώāĻž āĻ•āϰāϤ⧇ āϚāĻžāĻĒ āĻĻāĻŋāϤ⧇ āĻšāĻŦ⧇āĨ¤ āϤāĻŋāύāĻŋ āϚāĻžāύ āĻŽā§‡ā§Ÿā§‡ āϝ⧇ āĻ–āĻžāĻŦāĻžāϰ āĻ•āĻŋāύāϛ⧇ āϤāĻž āϝ⧇ āĻ­āĻžāϞ⧋ āĻŽāĻžāύ⧇āϰ āϏ⧇ āĻŦā§āϝāĻžāĻĒāĻžāϰ⧇ āύāĻŋāĻļā§āϚāĻŋāϤ āĻšā§‹āĻ•āĨ¤)

āωāĻ¤ā§āϤāϰāσ

The mother teaches that one should smile differently depending on the person. She believes this helps in dealing with people appropriately. (āĻŽāĻž āĻļ⧇āĻ–āĻžāύ āϝ⧇ āĻŦā§āϝāĻ•ā§āϤāĻŋ āĻŦāĻŋāĻļ⧇āώ⧇ āĻ­āĻŋāĻ¨ā§āύāĻ­āĻžāĻŦ⧇ āĻšāĻžāϏāϤ⧇ āĻšāĻŦ⧇āĨ¤ āϤāĻŋāύāĻŋ āĻŽāύ⧇ āĻ•āϰ⧇āύ, āĻāϟāĻŋ āĻŽāĻžāύ⧁āώ⧇āϰ āϏāĻžāĻĨ⧇ āϏāĻ āĻŋāĻ•āĻ­āĻžāĻŦ⧇ āĻŽā§‡āĻļāĻžāϰ āϜāĻ¨ā§āϝ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰāĻŦ⧇āĨ¤)

āωāĻ¤ā§āϤāϰāσ

The story reflects society's strict rules and expectations for women. It shows how gender roles shape a person's identity and behaviour. (āĻ—āĻ˛ā§āĻĒ⧇ āύāĻžāϰ⧀āĻĻ⧇āϰ āϜāĻ¨ā§āϝ āϏāĻŽāĻžāĻœā§‡āϰ āĻ•āĻ ā§‹āϰ āύāĻŋ⧟āĻŽ āĻāĻŦāĻ‚ āĻĒā§āϰāĻ¤ā§āϝāĻžāĻļāĻž āĻĒā§āϰāϤāĻŋāĻĢāϞāĻŋāϤ āĻšā§Ÿā§‡āϛ⧇āĨ¤ āĻāϟāĻŋ āĻĻ⧇āĻ–āĻžā§Ÿ āϕ⧀āĻ­āĻžāĻŦ⧇ āϞāĻŋāĻ™ā§āĻ—āĻ­āĻŋāĻ¤ā§āϤāĻŋāĻ• āĻ­ā§‚āĻŽāĻŋāĻ•āĻž āĻŽāĻžāύ⧁āώ⧇āϰ āĻĒāϰāĻŋāϚ⧟ āĻāĻŦāĻ‚ āφāϚāϰāĻŖ āĻ—āĻ āύ āĻ•āϰ⧇āĨ¤)

99
āωāĻ¤ā§āϤāϰāσ

(a) advice (b) washing (c) slut (d) society (e) gender

The text is about a mother giving (a) advice to her daughter. She teaches tasks like (b) washing clothes and cooking. The mother warns her daughter not to act like a (c) slut . She also emphasizes proper behaviour in (d) society The story shows the impact of (e) gender roles on women.

313
āωāĻ¤ā§āϤāϰāσ

Meherjan had everything. But the erosion of the river Jamuna had snatched all away. Like a greedy person, the Jamuna devours all her dreams and happiness. So, the author calls the Jamuna greedy.

āωāĻ¤ā§āϤāϰāσ

Meherjan lives in a slum on the Town Protection Embankment in Sirajgonj.

āωāĻ¤ā§āϤāϰāσ

Meherjan lives in a slum on the Town Protection Embankment in Sirajgonj.

āωāĻ¤ā§āϤāϰāσ

We can stop river erosion by implementing a combination of strategies, including planting vegetation along riverbanks, constructing barriers like dams, reduce soil disturbance and sediment runoff. These initiatives help stabilize riverbanks, control sediment deposition, and prevent erosion.

āωāĻ¤ā§āϤāϰāσ

Many more villages are in the threat of erosion during each monsoon because of the climate change human beings brought about through their actions.

āωāĻ¤ā§āϤāϰāσ

People living along the river banks are the victims of river erosion and the worst sufferers of climate change.

āωāĻ¤ā§āϤāϰāσ

The greedy Jamuna crushed Meherjan's dream and happiness as it consumed gradually all her landed property: besides it ultimately devoured her last shelter during the last monsoon.

āωāĻ¤ā§āϤāϰāσ

Due to river erosion, she lost her cultivable land, trees, vegetable garden, bamboo bush, cattle and shelter.

āωāĻ¤ā§āϤāϰāσ

If we cannot control river erosion, the number of homeless people may increase day by day, Statistics shows that at least 100,000 people are becoming homeless every year in Bangladesh due to river erosion.

āωāĻ¤ā§āϤāϰāσ

Certainly, we must take prompt action to adapt to climate change. Otherwise gradual rise of river erosion will take the lives of lots of Meherjans every year.

āωāĻ¤ā§āϤāϰāσ

Certainly, we must take prompt action to adapt to climate change. Otherwise gradual rise of river erosion will take the lives of lots of Meherjans every year.

āωāĻ¤ā§āϤāϰāσ

Many more villages are in the threat of erosion during each monsoon because of the climate change human beings brought about through their actions.

āωāĻ¤ā§āϤāϰāσ

Mehorjan lives in a slum on the Sirajganj Town Protection Embankment. She has a polythene roofed living place which looks like a cage.

āωāĻ¤ā§āϤāϰāσ

Then, river erosion makes thousands of people homeless, landless and literally helpless.

āωāĻ¤ā§āϤāϰāσ

We can reduce the increasing number of shelterless people affected by river erosion by taking prompt actions to adapt to climate change.

122
āωāĻ¤ā§āϤāϰāσ

(a) common (b) victim (c) river (d) difficulties/ hardship/ pains (e) know/ learn

Climate change is a (a) common word for today's world. Meherjan is none but a (b) victim , of it. She lost everything because of (c) river erosion. Now, she is running with great (d) difficulties/ hardship/ pains It is sad to (e) know/ learn that every year Meherjan gets new companions.

āωāĻ¤ā§āϤāϰāσ

(a) Bangladeshi (b) due (c) scarcity/ want (d) dweller (e) victims (f) threat (g) along/ near (h) shelterless (i) example (j) affects/threatens/influences

Meherjan is a typical (a) Bangladeshi woman who lives in a slum. She lost her shelter and properties (b) due to the erosion of river Jamuna. She also lost her family. Her husband had died of diseases caused by poverty and (c) scarcity/ want of food. Now, she is only a slum (d) dweller Like Meherjan there are many people who have become the (e) victims of river erosion. River erosion is still posing (f) threat to the lives and properties of thousands of people. People living (g) along/ near the rivers are the most likely victims of river erosion. Each year about one lakh people become (h) shelterless due to river erosion in Bangladesh. Meherjan's life is just one (i) example of how climate change (j) affects/threatens/influences the lives of thousands of people.

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āĻļāĻŋāĻ•ā§āώāĻ•āĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻŦāĻŋāĻļ⧇āώāĻ­āĻžāĻŦ⧇ āϤ⧈āϰāĻŋ

ā§§ āĻ•ā§āϞāĻŋāϕ⧇ āĻĒā§āϰāĻļā§āύ, āĻļā§€āϟ, āϏāĻžāĻœā§‡āĻļāύ āĻ“
āĻ…āύāϞāĻžāχāύ āĻĒāϰ⧀āĻ•ā§āώāĻž āϤ⧈āϰāĻŋāϰ āϏāĻĢāϟāĻ“āϝāĻŧā§āϝāĻžāϰ!

āĻļ⧁āϧ⧁ āĻĒā§āϰāĻļā§āύ āϏāĻŋāϞ⧇āĻ•ā§āϟ āĻ•āϰ⧁āύ — āĻĒā§āϰāĻļā§āύāĻĒāĻ¤ā§āϰ āĻ…āĻŸā§‹āĻŽā§‡āϟāĻŋāĻ• āϤ⧈āϰāĻŋ!

āĻĒā§āϰāĻļā§āύ āĻāĻĄāĻŋāϟ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
āϜāϞāĻ›āĻžāĻĒ āĻĻ⧇āϝāĻŧāĻž āϝāĻžāĻŦ⧇
āĻ āĻŋāĻ•āĻžāύāĻž āϝ⧁āĻ•ā§āϤ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
Logo, Motto āϝ⧁āĻ•ā§āϤ āĻšāĻŦ⧇
āĻ…āĻŸā§‹ āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻžāύ⧇āϰ āύāĻžāĻŽ
āĻ…āĻŸā§‹ āϏāĻŽāϝāĻŧ, āĻĒā§‚āĻ°ā§āĻŖāĻŽāĻžāύ
āĻĒā§āϰāĻļā§āύ āĻāĻĄāĻŋāϟ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
āϜāϞāĻ›āĻžāĻĒ āĻĻ⧇āϝāĻŧāĻž āϝāĻžāĻŦ⧇
āĻ āĻŋāĻ•āĻžāύāĻž āϝ⧁āĻ•ā§āϤ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
Logo, Motto āϝ⧁āĻ•ā§āϤ āĻšāĻŦ⧇
āĻ…āĻŸā§‹ āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻžāύ⧇āϰ āύāĻžāĻŽ
āĻ…āĻŸā§‹ āϏāĻŽāϝāĻŧ, āĻĒā§‚āĻ°ā§āĻŖāĻŽāĻžāύ
āĻ…āĻŸā§‹ āύāĻŋāĻ°ā§āĻĻ⧇āĻļāύāĻž (āĻāĻĄāĻŋāϟāϝ⧋āĻ—ā§āϝ)
āĻ…āĻŸā§‹ āĻŦāĻŋāώāϝāĻŧ āĻ“ āĻ…āĻ§ā§āϝāĻžāϝāĻŧ
OMR āϏāĻ‚āϝ⧁āĻ•ā§āϤ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
āĻĢāĻ¨ā§āϟ, āĻ•āϞāĻžāĻŽ, āĻĄāĻŋāĻ­āĻžāχāĻĄāĻžāϰ
āĻĒā§āϰāĻļā§āύ/āĻ…āĻĒāĻļāύ āĻ¸ā§āϟāĻžāχāϞ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ
āϏ⧇āϟ āϕ⧋āĻĄ, āĻŦāĻŋāώāϝāĻŧ āϕ⧋āĻĄ
āĻ…āĻŸā§‹ āύāĻŋāĻ°ā§āĻĻ⧇āĻļāύāĻž (āĻāĻĄāĻŋāϟāϝ⧋āĻ—ā§āϝ)
āĻ…āĻŸā§‹ āĻŦāĻŋāώāϝāĻŧ āĻ“ āĻ…āĻ§ā§āϝāĻžāϝāĻŧ
OMR āϏāĻ‚āϝ⧁āĻ•ā§āϤ āĻ•āϰāĻž āϝāĻžāĻŦ⧇
āĻĢāĻ¨ā§āϟ, āĻ•āϞāĻžāĻŽ, āĻĄāĻŋāĻ­āĻžāχāĻĄāĻžāϰ
āĻĒā§āϰāĻļā§āύ/āĻ…āĻĒāĻļāύ āĻ¸ā§āϟāĻžāχāϞ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ
āϏ⧇āϟ āϕ⧋āĻĄ, āĻŦāĻŋāώāϝāĻŧ āϕ⧋āĻĄ
āĻāĻ–āύāχ āĻļ⧁āϰ⧁ āĻ•āϰ⧁āύ āĻĄā§‡āĻŽā§‹ āĻĻ⧇āϖ⧁āύ
ā§Ģā§Ļ,ā§Ļā§Ļā§Ļ+
āĻļāĻŋāĻ•ā§āώāĻ•
ā§Šā§Ļ āϞāĻ•ā§āώ+
āĻĒā§āϰāĻļā§āύāĻĒāĻ¤ā§āϰ
āĻŽāĻžāĻ¤ā§āϰ ā§§ā§Ģ āĻĒ⧟āϏāĻžā§Ÿ āĻĒā§āϰāĻļā§āύāĻĒāĻ¤ā§āϰ
ā§§ āĻ•ā§āϞāĻŋāϕ⧇ āĻĒā§āϰāĻļā§āύ, āĻļā§€āϟ, āϏāĻžāĻœā§‡āĻļāύ āϤ⧈āϰāĻŋ āĻ•āϰ⧁āύ āφāϜāχ

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