The Language of Palm



The palm—
soft, inner, flat,
rarely open,
for we close it when we run,
clasp it when we work,
press it against another
in greeting or in need.

In sleep—
one palm rests on the cheek,
the other on the belly or thigh.
In rest—
palms lie quietly on the lap
or touch the ground.

When standing—
palms fold over chest or stomach,
or hide behind the back,
one clasping the other.

But if one resists,
keeps palms always open,
letting them hang—
perhaps the heart trembles,
as blood rushes outwards,
forgetting its return.
Then, in the silence of stillness,
trouble may rise.


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✨ English Analysis

The poem explores the natural gestures of palms in everyday life—running, working, sleeping, sitting, or standing. The palm is rarely left open; it seeks contact, rest, or closure. Symbolically, a closed palm preserves balance, while an open palm exposes vulnerability. Philosophically, the poem hints that the palm is not just a physical part of the body but also a mirror of inner balance. To keep it always open might disturb harmony, just as uncontrolled openness in life may invite unrest.


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🌸 āĻŦাংāϞা āĻ…āύুāĻŦাāĻĻ (Bengali Translation)

āĻļিāϰোāύাāĻŽ: “āϤাāϞুāϰ āĻ­াāώা”

āϤাāϞু—
āύāϰāĻŽ, āĻ­েāϤāϰেāϰ, āϏāĻŽāϤāϞ,
āĻ•āĻĻাāϚিā§Ž āĻ–োāϞা āĻĨাāĻ•ে।
āφāĻŽāϰা āĻĻৌāĻĄ়াāϞে āϤা āĻŽুāĻ ো āĻšāϝ়,
āĻ•াāϜে āϤা āĻ…āύ্āϝেāϰ āϏাāĻĨে āĻŽেāĻļে,
āĻ…āĻ­িāĻŦাāĻĻāύে āĻ•িংāĻŦা āĻĒ্āϰāϝ়োāϜāύে
āĻ…āύ্āϝেāϰ āĻšাāϤāĻ•ে āϏ্āĻĒāϰ্āĻļ āĻ•āϰে।

āϘুāĻŽে—
āĻāĻ•āϟি āĻ—াāϞ āĻŦা āĻ•āĻĒাāϞে,
āĻ…āύ্āϝāϟি āĻĒেāϟ āĻŦা āωāϰুāϤে āĻŦিāĻļ্āϰাāĻŽ āύেāϝ়।
āĻŦāϏাāϰ āϏāĻŽāϝ়—
āϤাāϞু āύীāϰāĻŦে āĻĨাāĻ•ে āωāϰুāϤে,
āĻ•িংāĻŦা āĻ›ুঁāϝ়ে āĻĨাāĻ•ে āĻŽাāϟিāĻ•ে।

āĻĻাঁāĻĄ়াāύোāϰ āϏāĻŽāϝ়—
āϤাāϞু āĻŦুāĻ• āĻŦা āĻĒেāϟে āĻ­āϰ āĻĻেāϝ়,
āĻ•িংāĻŦা āĻĒিāĻ›āύে āϞুāĻ•িāϝ়ে āĻĨাāĻ•ে,
āĻāĻ• āĻšাāϤ āĻ…āύ্āϝ āĻšাāϤāĻ•ে āϜāĻĄ়িāϝ়ে āϧāϰে।

āĻ•িāύ্āϤু āϝāĻĻি āĻ•েāω āĻŦিāϰোāϧ āĻ•āϰে,
āϤাāϞু āϏāĻĻা āĻ–োāϞা āϰাāĻ–ে,
āĻļূāύ্āϝে āĻুāϞāϤে āĻĻেāϝ়—
āϤāĻŦে āĻšৃāĻĻāϝ় āĻ•েঁāĻĒে āĻ“āĻ ে,
āϰāĻ•্āϤ āĻ›ুāϟে āϝাāϝ় āĻŦাāχāϰে,
āĻĢিāϰāϤে āĻ­ুāϞে āϝাāϝ়।
āĻāĻ­াāĻŦেāχ āύিāϏ্āϤāĻŦ্āϧāϤাāϝ়
āωāĻĻ্āĻ­āĻŦ āĻšāϤে āĻĒাāϰে āĻŦিāĻĒāĻĻ।


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📖 āĻŦাংāϞা āĻĻাāϰ্āĻļāύিāĻ• āĻŦিāĻļ্āϞেāώāĻŖ

āϤাāϞু āĻ•েāĻŦāϞ āĻļāϰীāϰেāϰ āĻ…āĻ™্āĻ— āύāϝ়, āĻāϟি āĻāĻ• āĻ…āĻ­্āϝāύ্āϤāϰীāĻŖ āϏুāώāĻŽাāϰ āĻĒ্āϰāϤীāĻ•।
āϜীāĻŦāύেāϰ āϏ্āĻŦাāĻ­াāĻŦিāĻ• āĻĒ্āϰāĻŦাāĻšে āϤাāϞু āĻ•āĻ–āύāĻ“ āĻŦāύ্āϧ, āĻ•āĻ–āύāĻ“ āϏ্āĻĒāϰ্āĻļে, āĻ•āĻ–āύāĻ“ āĻŦিāĻļ্āϰাāĻŽে।
āĻāϟি āύিāϰ্āĻĻেāĻļ āĻ•āϰে—
āĻŽাāύāĻŦāϜীāĻŦāύāĻ“ āĻāĻŽāύāχ:
āĻŽাāĻে āĻŽাāĻে āĻ—্āϰāĻšāĻŖ, āĻŽাāĻে āĻŽাāĻে āϤ্āϝাāĻ—,
āĻŽাāĻে āĻŽাāĻে āĻŦিāĻļ্āϰাāĻŽ, āĻŽাāĻে āĻŽাāĻে āϏāĻŽāϰ্āĻĒāĻŖ।

āϝেāĻŽāύ āϤাāϞু āϏāϰ্āĻŦāĻĻা āĻ–োāϞা āϰাāĻ–া āϝাāϝ় āύা,
āϤেāĻŽāύি āϜীāĻŦāύেāϰ āĻĻ্āĻŦাāϰāĻ“ āϚিāϰāĻ•াāϞ āĻ–োāϞা āϰাāĻ–া āϝাāϝ় āύা।
āĻ…āϤিāϰিāĻ•্āϤ āωāύ্āĻŽুāĻ•্āϤāϤা
āϏāĻŽ্āĻ­াāĻŦ্āϝ āĻŦিāĻĒāĻĻ āĻĄেāĻ•ে āφāύে।
āϤাāχ āϜীāĻŦāύেāϰ āĻĻাāϰ্āĻļāύিāĻ• āĻļিāĻ•্āώা āĻšāϞো—
āϏংāϝāĻŽāχ āϏুāώāĻŽা, āĻ­াāϰāϏাāĻŽ্āϝāχ āĻļাāύ্āϤি।


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