đđŋđđŋThe Empty Hallđđŋđđŋ
Poem: The Empty Hall
If goals are won and peaks are tall,
Why call the crowd to fill your hall?
For victory silent, kept alone,
Turns heavy, colder than a stone.
A flame unshared soon fades away,
A song unsung has no true stay.
The hall is called, the voices blend,
For joy is real when hearts attend.
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Analysis (English)
The poem explores the paradox: if someone has already achieved success, why do they still seek others to witness it? The answer is philosophical:
Achievement without sharing feels empty.
Human beings are social; meaning is not in possession but in recognition and connection.
A hall filled with people symbolizes community, celebration, and legacy.
Thus, one achieves for the self, but calls others to fill the hall for meaning.
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āĻŦাংāϞা āĻ
āύুāĻŦাāĻĻ (Poem in Bengali)
āĻļূāύ্āϝ āĻšāϞ
āϞāĻ্āώ্āϝ āϝāĻĻি āĻšāϝ় āĻāϝ়, āĻĒাāĻšাāĻĄ় āϝāĻĻি āĻĻāĻāϞ,
āϤāĻŦে āĻেāύ āĻāĻŦাāϰ āĻĄাāĻে āĻāύāϤাāϰ āĻĻāϞ?
āύিঃāĻļāĻŦ্āĻĻ āĻāϝ় āϤো āĻাāϰী āĻĒাāĻĨāϰেāϰ āĻŽāϤো,
āĻ
āĻĒাāϰ্āĻĨিāĻŦ āĻ াāύ্āĻĄা, āĻĒ্āϰাāĻŖāĻšীāύ āϝāϤ।
āϝে āĻļিāĻা āĻাāĻ āĻšāϝ় āύা, āϏে āĻĻ্āϰুāϤ āύিāĻে āϝাāϝ়,
āϝে āĻাāύ āĻŦাāĻে āύা, āϏে āĻŦুāĻে āĻুāĻŽাāϝ়।
āϤাāĻ āĻšāϞ āĻĄাāĻা āĻšāϝ়, āĻšৃāĻĻāϝ় āĻŽিāϞে āϝাāϝ়,
āĻāύāύ্āĻĻ āϤāĻāύāĻ āϏāϤ্āϝ āϰূāĻĒ āĻĒাāϝ়।
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āĻŦাংāϞা āĻĻāϰ্āĻļāύ āĻŦিāĻļ্āϞেāώāĻŖ
āĻāĻ āĻĒ্āϰāĻļ্āύেāϰ āĻŽূāϞে āĻāĻে āĻāĻ āĻāĻীāϰ āϏāϤ্āϝ—
āĻাāϰāϤীāϝ় āĻĻāϰ্āĻļāύ āĻŦāϞে—āĻāύāύ্āĻĻ āĻাāĻ āĻāϰāϞেāĻ āĻŦাāĻĄ়ে (āĻāύāύ্āĻĻাāĻĻ্ āϧ্āϝেāĻŦ āĻšি āĻূāϤাāύি... āĻāĻĒāύিāώāĻĻে āĻŦāϞা āĻšāϝ়েāĻে āϝে āĻāύāύ্āĻĻāĻ āϏৃāώ্āĻিāϰ āĻŽূāϞ)। āĻŦ্āϝāĻ্āϤিāĻāϤ āĻ
āϰ্āĻāύ āϤāĻāύāĻ āĻĒূāϰ্āĻŖ āĻšāϝ় āϝāĻāύ āϤা āϏāĻŽাāĻেāϰ āϏাāĻĨে āϝুāĻ্āϤ āĻšāϝ়।
āĻĒাāĻļ্āĻাāϤ্āϝ āĻĻāϰ্āĻļāύেāϰ āĻĻৃāώ্āĻিāϤে—āĻāϰিāϏ্āĻāĻāϞ āĻŦāϞেāĻেāύ āĻŽাāύুāώ āĻšāϞো social animal। āϏাāĻĢāϞ্āϝ āĻŦা āĻুāĻŖাāĻŦāϞি āĻেāĻŦāϞ āĻāĻাāĻীāϤ্āĻŦে āύāϝ়, āĻŦāϰং āϏāĻŽাāĻেāϰ āϏ্āĻŦীāĻৃāϤিāϤেāĻ āĻ
āϰ্āĻĨāĻŦāĻš।
āĻ
āϰ্āĻĨāύীāϤি/āϏাāĻŽাāĻিāĻ āĻĻāϰ্āĻļāύ: āĻোāĻ āĻāĻা āĻāϰāϞে āĻ্āώāĻŖāϏ্āĻĨাāϝ়ী, āĻিāύ্āϤু āĻļেāϝ়াāϰ āĻāϰāϞে āϤা āϏ্āĻĨাāϝ়ী āϏুāĻে āϰূāĻĒাāύ্āϤāϰিāϤ āĻšāϝ়।
āϤাāĻ “āĻšāϞ āĻāϰাāύো” āĻŽাāύে āĻļুāϧু āĻŦাāĻš্āϝিāĻ āĻĒ্āϰāĻĻāϰ্āĻļāύ āύāϝ়, āĻŦāϰং āĻ
āϰ্āĻāύেāϰ āϏাāĻŽাāĻিāĻীāĻāϰāĻŖ। āĻāĻা āĻ
āϰ্āĻāύ āĻāϰāϞে āϤা āϏীāĻŽাāĻŦāĻĻ্āϧ āĻĨাāĻে, āĻিāύ্āϤু āĻ
āύ্āϝāĻে āϏāĻ্āĻী āĻāϰāϞে āϤা āĻšāϝ়ে āĻāĻ ে āĻĒূāϰ্āĻŖāϤ
āĻāĻŽā§āĻাāϰ
Poem: The Hall of Echoes
You climbed the peak, you touched the sky,
You conquered dreams that none deny.
Yet still you call, “Come fill my space,”
For joy needs witness, a human face.
A crown unseen is dust and air,
A song unheard is lost despair.
But shared, it blooms, it multiplies—
A thousand suns in others’ eyes.
So call the hall, let voices blend,
For victory lives when shared, my friend.
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Philosophical Analysis (English)
1. Upanishadic Vision (Indian Philosophy)
The Taittiriya Upanishad says:
“From Bliss all beings are born, by Bliss they live, into Bliss they return.”
Here, bliss (ananda) is not solitary but cosmic. True joy is expansive, it cannot remain locked inside one person. Thus, even after achievement, one longs to share—because sharing is the essence of being.
2. Buddhist Philosophy
Buddhism emphasizes ÅÅĢnyatÄ (emptiness). Achievements, if clung to, become hollow. But when shared with compassion (karuášÄ), they gain meaning. The hall symbolizes sangha (community), without which enlightenment itself feels incomplete.
3. Western Philosophy
Aristotle: Humans are zoon politikon (social animals). No achievement is fully meaningful in isolation; recognition from society completes virtue.
Existentialism (Sartre, Camus): A person’s life is absurd if lived alone; meaning comes through relation with others. To call the hall is to resist absurdity.
4. Modern Psychology
Maslow’s hierarchy: After self-actualization, humans seek esteem and belonging. Achievement is personal, but fulfillment requires community validation.
Positive psychology: Research shows that joy doubles when shared, while unshared success often leads to emptiness.
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āĻŦাংāϞা āĻ
āύুāĻŦাāĻĻ (Poem in Bengali)
āĻĒ্āϰāϤিāϧ্āĻŦāύিāϰ āĻšāϞ
āĻļিāĻāϰে āĻāĻ েāĻ, āĻāĻাāĻļ āĻুঁāϝ়েāĻ,
āϏ্āĻŦāĻĒ্āύেāϰ āĻāϝ় āϤুāĻŽি āĻāĻাāĻ āĻুঁāĻĄ়েāĻ।
āϤāĻŦুāĻ āĻেāύ āĻĄাāĻে āĻāύāϤাāϰ āĻĸāϞ?
āĻাāϰāĻŖ āĻāύāύ্āĻĻ āĻাāϝ় āĻŽাāύুāώেāϰ āĻĻāϞ।
āĻŽুāĻুāĻ āϝāĻĻি āĻ
āĻĻেāĻা, āϤāĻŦে āϏে āϧূāϞি,
āĻাāύ āϝāĻĻি āύা āĻļোāύে āĻেāĻ, āϤāĻŦে āϤা āĻļূāύ্āϝāϤাāϝ় āĻুāϞে।
āĻিāύ্āϤু āĻাāĻ āĻāϰāϞে āϤা āĻĢুāϞেāϰ āĻŽāϤো āĻĢোāĻে,
āĻ
āύ্āϝেāϰ āĻোāĻে āϏূāϰ্āϝেāϰ āĻāϞো āĻ্āĻŦāϞে āĻāĻ ে।
āϤাāĻ āĻšāϞ āĻĄাāĻো, āĻāĻŖ্āĻ āĻŽিāϞুāĻ,
āĻāϝ়েāϰ āϏāϤ্āϝি āϤāĻāύāĻ āĻĢুāĻুāĻ।
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āĻŦাংāϞা āĻĻāϰ্āĻļāύ āĻŦিāĻļ্āϞেāώāĻŖ
ā§§. āĻāĻĒāύিāώāĻĻীā§ āĻĻāϰ্āĻļāύ
āϤৈāϤ্āϤিāϰীā§ āĻāĻĒāύিāώāĻĻে āĻŦāϞা āĻšāϝ়েāĻে—“āĻāύāύ্āĻĻ āĻĨেāĻেāĻ āϏāĻŦ āϏৃāώ্āĻি, āĻāύāύ্āĻĻেāĻ āϏāĻŦ āĻিāĻে āĻāĻে, āĻāύāύ্āĻĻেāĻ āϏāĻŦ āĻĢিāϰে āϝাāϝ়।”
āĻ
āϤāĻāĻŦ, āĻāύāύ্āĻĻেāϰ āĻĒ্āϰāĻৃāϤি āĻāĻা āĻোāĻ āĻāϰা āύāϝ়, āĻŦāϰং āĻāĻĄ়িāϝ়ে āĻĻেāĻāϝ়া। āĻāϝ়েāϰ āĻĒāϰāĻ āϤাāĻ āĻŽাāύুāώ āĻĄাāĻ āĻĻেāϝ়—āĻাāϰāĻŖ āύা āĻাāĻ āĻāϰāϞে āĻ
āϰ্āĻāύ āĻ
āϏāĻŽ্āĻĒূāϰ্āĻŖ।
⧍. āĻŦৌāĻĻ্āϧ āĻĻāϰ্āĻļāύ
āĻŦুāĻĻ্āϧ āĻŦāϞেāĻিāϞেāύ, “āĻ
āύ্āϝāĻে āϏুāĻী āύা āĻāϰে āĻেāĻ āϏāϤ্āϝিāĻাāϰেāϰ āϏুāĻী āĻšāϤে āĻĒাāϰে āύা।” āĻŦ্āϝāĻ্āϤিāĻāϤ āϏাāĻĢāϞ্āϝ āĻļূāύ্āϝ (ÅÅĢnyatÄ) āĻšāϝ়ে āϝাāϝ় āϝāĻĻি āϤা āĻāϰুāĻŖাāϰ āϏাāĻĨে āĻাāĻ āύা āĻāϰা āĻšāϝ়। āϏāĻ্āĻ (āϏāĻŽাāĻ) āĻাāĻĄ়া āĻŦোāϧিāĻ āĻĒূāϰ্āĻŖāϤা āĻĒাāϝ় āύা।
ā§Š. āĻĒাāĻļ্āĻাāϤ্āϝ āĻĻāϰ্āĻļāύ
āĻāϰিāϏ্āĻāĻāϞ āĻŦāϞেāĻিāϞেāύ āĻŽাāύুāώ āĻšāϞো āϏāĻŽাāĻāĻŽুāĻী āĻĒ্āϰাāĻŖী। āϤাāĻ āĻ
āϰ্āĻāύেāϰ āϏ্āĻŦীāĻৃāϤি āύা āĻĒেāϞে āϤা āĻীāĻŦāύে āĻŽূāϞ্āϝāĻšীāύ āϞাāĻে।
āϏাāϰ্āϤ্āϰ āĻ āĻাāĻŽু āĻŦāϞেāĻেāύ āĻāĻা āĻĨাāĻা āĻীāĻŦāύেāϰ āĻ
āϰ্āĻĨāĻšীāύāϤা (absurdity) āĻĒ্āϰāĻাāĻļ āĻāϰে। āĻ
āύ্āϝāĻে āĻĄাāĻা āĻŽাāύে āĻ
āϰ্āĻĨāĻšীāύāϤাāĻে āĻ
āϤিāĻ্āϰāĻŽ āĻāϰা।
ā§Ē. āĻāϧুāύিāĻ āĻŽāύোāĻŦিāĻ্āĻাāύ
āĻŽাāϏāϞো’āϰ āĻĒ্āϰāϝ়োāĻāύেāϰ āϏিঁāĻĄ়ি āĻ
āύুāϝাāϝ়ী, āĻāϤ্āĻŽāϏিāĻĻ্āϧিāϰ āĻĒāϰ āĻŽাāύুāώ āĻোঁāĻে āϏāĻŽ্āĻŽাāύ āĻāϰ āϏাāĻŽাāĻিāĻ āϏāĻŽ্āĻĒāϰ্āĻ।
āĻāϤিāĻŦাāĻāĻ āĻŽāύোāĻŦিāĻ্āĻাāύ āĻĒ্āϰāĻŽাāĻŖ āĻāϰেāĻে—āϏাāĻĢāϞ্āϝ āĻাāĻ āĻāϰāϞে āĻāύāύ্āĻĻ āĻĻ্āĻŦিāĻুāĻŖ āĻšāϝ়, āĻāϰ āύা āĻাāĻ āĻāϰāϞে āĻļূāύ্āϝāϤা āϤৈāϰি āĻšāϝ়।
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✨ āϏাāϰāĻāĻĨা: āϞāĻ্āώ্āϝ āĻ
āϰ্āĻāύ āĻāĻা āĻāϰা āϝাāϝ়, āĻিāύ্āϤু āĻ
āϰ্āĻĨ āĻুঁāĻে āĻĒাāĻāϝ়া āϝাāϝ় āĻļুāϧু āϏāĻŽাāĻে।
“āĻšāϞ āĻāϰাāύো” āĻŽাāύে āĻšāϞো āĻ
āϰ্āĻāύেāϰ āϏাāĻŽাāĻিāĻীāĻāϰāĻŖ, āϝেāĻাāύে āĻŦ্āϝāĻ্āϤি āĻĨেāĻে āĻāĻŽāϰা āϏāĻŽāώ্āĻিāϤে āĻŽিāϞি।
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The Hall of Echoes: A Philosophical Essay on Achievement and Sharing
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Poetic Prelude
You climbed the peak, you touched the sky,
You conquered dreams that none deny.
Yet still you call, “Come fill my space,”
For joy needs witness, a human face.
This short poem raises a paradox: If one has already achieved the ultimate goal, why seek an audience? Why invite people to “fill the hall” if success has already been secured?
The answer lies deep in philosophy—eastern and western traditions, and even modern psychology—where achievement without sharing is seen as incomplete.
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1. The Indian Perspective
Upanishadic Thought
The Taittiriya Upanishad declares:
> “From Bliss all beings are born, by Bliss they live, into Bliss they return.”
Here, Änanda (bliss) is not individual but cosmic. True joy is expansive; it cannot remain locked in the self. Thus, one who achieves greatness feels compelled to call others, for sharing joy is the very essence of being.
The Bhagavad Gita
Krishna in the Gita emphasizes balance—yogaá¸Ĩ karmasu kauÅalam (Yoga is skill in action). Achievement (artha) must be aligned with dharma (righteousness). A victory not shared with society risks becoming mere ego, not service. Thus, the hall symbolizes society, where one’s achievement is transformed into collective well-being.
Buddhist Philosophy
Buddhism teaches ÅÅĢnyatÄ (emptiness). All personal achievements are empty if grasped selfishly. Yet through karuášÄ (compassion), they gain meaning. The sangha (community) is essential; even the Buddha did not keep enlightenment for himself but shared it. Hence, calling the hall is calling the sangha—turning personal realization into universal benefit.
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2. The Western Perspective
Aristotle
Aristotle called humans zoon politikon (social animals). Virtue and achievement gain meaning only within community. To achieve alone is incomplete; recognition from others completes the circle. The hall represents that social validation.
Existentialism
Thinkers like Sartre and Camus saw isolation as absurd. A life lived without others’ acknowledgment loses meaning. To call the hall is to resist absurdity—to seek confirmation of existence through shared experience.
Modern Economics
Adam Smith argued that wealth has value only in circulation. Similarly, achievement has value only when communicated and exchanged. Keynesian thought reminds us: if success is not reinvested into the community, it stagnates.
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3. Modern Psychology
Maslow’s Hierarchy
At the top of Maslow’s pyramid lies self-actualization. Yet, just above that, psychologists now add self-transcendence—the desire to go beyond the self, to connect with others. Thus, even after fulfilling goals, people feel the need to “fill the hall”—to share and transcend.
Positive Psychology
Research shows joy multiplies when shared. Success in isolation often produces emptiness or depression (post-achievement void). Human beings are wired for connection and recognition.
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4. Philosophical Synthesis
From the Upanishads to Aristotle, from Buddhism to modern psychology, one truth emerges:
Achievement is personal, but meaning is social.
We conquer mountains alone, but we celebrate them together.
An empty hall is like an empty heart—silent, heavy, unfulfilled.
Thus, to “call the hall” is not vanity, but necessity. It transforms solitary success into communal joy, private victory into public inspiration, and individual gain into universal meaning.
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Conclusion
The question—“If one achieves the goal, why call to fill the hall?”—leads us to a profound insight: because life is not complete in solitude.
Achievement without witness is like a song never sung, a flame never shared.
By calling the hall, we affirm our nature as social beings, rooted in both ananda and sangha. We live, achieve, and flourish not alone, but together
đŋ
āĻĒ্āϰāϤিāϧ্āĻŦāύিāϰ āĻšāϞ : āĻ
āϰ্āĻāύ āĻ āĻাāĻাāĻাāĻি āύিāϝ়ে āĻĻাāϰ্āĻļāύিāĻ āĻĒ্āϰāĻŦāύ্āϧ
āĻাāĻŦ্āϝিāĻ āϏূāĻāύা
āĻļিāĻāϰে āĻāĻ েāĻ, āĻāĻাāĻļ āĻুঁāϝ়েāĻ,
āϏ্āĻŦāĻĒ্āύেāϰ āĻāϝ় āϤুāĻŽি āĻāĻাāĻ āĻুঁāĻĄ়েāĻ।
āϤāĻŦুāĻ āĻেāύ āĻĄাāĻে āĻāύāϤাāϰ āĻĸāϞ?
āĻাāϰāĻŖ āĻāύāύ্āĻĻ āĻাāϝ় āĻŽাāύুāώেāϰ āĻĻāϞ।
āĻāĻ āĻ্āώুāĻĻ্āϰ āĻāĻŦিāϤাāĻি āĻāĻ āĻĻাāϰ্āĻļāύিāĻ āĻĒ্āϰāĻļ্āύ āϤোāϞে: āϝāĻĻি āĻŽাāύুāώ āĻāϤিāĻŽāϧ্āϝেāĻ āϞāĻ্āώ্āϝ āĻ
āϰ্āĻāύ āĻāϰে āĻĢেāϞে, āϤāĻŦে āĻেāύ āĻāĻŦাāϰ āĻ
āύ্āϝāĻে āĻĄেāĻে āĻāύে? āĻেāύ āĻāĻŦাāϰ "āĻšāϞ āĻāϰāϤে" āĻĄাāĻা āĻšāϝ়?
āĻāϤ্āϤāϰāĻি āύিāĻšিāϤ āĻāĻে āĻĒ্āϰাāĻ্āϝ āĻ āĻĒাāĻļ্āĻাāϤ্āϝ āĻĻāϰ্āĻļāύে, āĻāĻŽāύāĻি āĻāϧুāύিāĻ āĻŽāύোāĻŦিāĻ্āĻাāύেāϰ āĻŽāϧ্āϝেāĻ—āϝেāĻাāύে āĻĻেāĻা āϝাāϝ়, āĻ
āϰ্āĻāύ āĻāĻা āĻāĻāύো āĻĒূāϰ্āĻŖ āĻšāϝ় āύা, āĻাāĻাāĻাāĻি āύা āĻāϰāϞে āϤা āĻ
āϰ্āĻĨāĻšীāύ āĻšāϝ়ে āϝাāϝ়।
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ā§§. āĻাāϰāϤীāϝ় āĻĻৃāώ্āĻিāĻোāĻŖ
āĻāĻĒāύিāώāĻĻীāϝ় āĻাāĻŦāύা
āϤৈāϤ্āϤিāϰীāϝ় āĻāĻĒāύিāώāĻĻ āĻŦāϞāĻে:
> “āĻāύāύ্āĻĻ āĻĨেāĻেāĻ āϏāĻŦ āϏৃāώ্āĻি, āĻāύāύ্āĻĻেāĻ āϏāĻŦ āĻিāĻে āĻāĻে, āĻāύāύ্āĻĻেāĻ āϏāĻŦ āĻĢিāϰে āϝাāϝ়।”
āĻāĻাāύে āĻāύāύ্āĻĻ (āĻāύāύ্āĻĻāĻŽāϝ় āϏāϤ্āϤা) āĻেāĻŦāϞ āĻŦ্āϝāĻ্āϤিāĻāϤ āύāϝ়, āĻŦāϰং āĻŦিāĻļ্āĻŦāĻāύীāύ। āϏāϤ্āϝিāĻাāϰেāϰ āĻāύāύ্āĻĻ āĻāĻা āĻĨাāĻে āύা—āϤা āĻāĻĄ়িāϝ়ে āĻĒāĻĄ়ে। āϤাāĻ āĻāĻāĻāύ āĻ
āϰ্āĻāύāĻাāϰীāĻ āĻĄাāĻে āϏāĻŽাāĻāĻে, āĻাāϰāĻŖ āĻাāĻ āύা āĻāϰāϞে āĻāύāύ্āĻĻ āĻ
āϏāĻŽ্āĻĒূāϰ্āĻŖ।
āĻীāϤা
āĻļ্āϰীāĻŽāĻĻ্āĻāĻāĻŦāĻĻ্āĻীāϤাāϝ় āĻৃāώ্āĻŖ āĻŦāϞেāύ: “āϝোāĻঃ āĻāϰ্āĻŽāϏু āĻৌāĻļāϞāĻŽ্”—āĻ
āϰ্āĻĨাā§ āĻāϰ্āĻŽে āϏāĻŽāϤা āĻ āĻৌāĻļāϞāĻ āϝোāĻ। āĻŦ্āϝāĻ্āϤিāĻāϤ āĻ
āϰ্āĻĨ (āĻ
āϰ্āĻāύ) āĻ
āĻŦāĻļ্āϝāĻ āϧāϰ্āĻŽ (āύীāϤিāϰ) āĻ
āϧীāύ āĻšāϤে āĻšāĻŦে। āĻāĻা āϏাāĻĢāϞ্āϝ āĻ
āϰ্āĻāύ āĻāϰāϞে āϤা āĻ
āĻšংāĻাāϰে āĻĒāϰিāĻŖāϤ āĻšāϝ়; āϏāĻŽাāĻেāϰ āϏাāĻĨে āĻাāĻ āĻāϰāϞে āϤা āĻāϞ্āϝাāĻŖে āϰূāĻĒাāύ্āϤāϰিāϤ āĻšāϝ়। āϤাāĻ "āĻšāϞ āĻāϰাāύো" āĻŽাāύে āύিāĻেāϰ āϏাāĻĢāϞ্āϝāĻে āϏāĻŽাāĻেāϰ āϏাāĻĨে āϝুāĻ্āϤ āĻāϰা।
āĻŦৌāĻĻ্āϧ āĻĻāϰ্āĻļāύ
āĻŦৌāĻĻ্āϧ āĻিāύ্āϤাāϝ় āĻļূāύ্āϝāϤা (ÅÅĢnyatÄ) āĻĒ্āϰāϧাāύ। āϏāĻŦ āĻ
āϰ্āĻāύāĻ āĻļূāύ্āϝ āϝāĻĻি āϤা āĻঁāĻāĻĄ়ে āϧāϰা āĻšāϝ়। āĻিāύ্āϤু āĻāϰুāĻŖাāϰ āĻŽাāϧ্āϝāĻŽে āĻাāĻ āĻāϰāϞে āϤা āĻ
āϰ্āĻĨāĻŦāĻš āĻšāϝ়। āĻāĻāύ্āϝāĻ āĻŦুāĻĻ্āϧ āĻāĻা āĻāϞোāĻāĻĒ্āϰাāĻĒ্āϤ āĻšāϝ়েāĻ āϏāĻ্āĻ āĻāĻĄ়ে āϤুāϞেāĻিāϞেāύ। āϏুāϤāϰাং "āĻšāϞ āĻāϰাāύো" āĻŽাāύে āĻšāϞো āϏāĻ্āĻāĻে āĻĄাāĻ āĻĻেāĻāϝ়া, āϝাāϤে āĻŦ্āϝāĻ্āϤিāĻāϤ āĻ্āĻাāύ āϏাāϰ্āĻŦāĻāύীāύ āĻāϞ্āϝাāĻŖে āϰূāĻĒ āύেāϝ়।
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⧍. āĻĒাāĻļ্āĻাāϤ্āϝ āĻĻৃāώ্āĻিāĻোāĻŖ
āĻāϰিāϏ্āĻāĻāϞ
āĻāϰিāϏ্āĻāĻāϞ āĻŦāϞেāĻিāϞেāύ āĻŽাāύুāώ āĻšāϞো zoon politikon—āĻ
āϰ্āĻĨাā§ āϏāĻŽাāĻāĻŽুāĻী āĻĒ্āϰাāĻŖী। āύৈāϤিāĻāϤা āĻŦা āϏাāĻĢāϞ্āϝ āĻāĻা āύāϝ়, āĻŦāϰং āϏāĻŽাāĻেāϰ āĻŽāϧ্āϝে āĻ
āϰ্āĻĨāĻŦāĻš āĻšāϝ়। āϤাāĻ āĻ
āϰ্āĻāύেāϰ āĻĒāϰ "āĻšāϞ āĻāϰাāύো" āĻŽাāύে āĻšāϞো āϏāĻŽাāĻ āĻĨেāĻে āϏ্āĻŦীāĻৃāϤি āύেāĻāϝ়া।
āĻ
āϏ্āϤিāϤ্āĻŦāĻŦাāĻĻ (Sartre, Camus)
āĻ
āϏ্āϤিāϤ্āĻŦāĻŦাāĻĻীāϰা āĻŦāϞেāύ—āĻāĻাāĻিāϤ্āĻŦ āĻীāĻŦāύেāϰ āĻ
āϰ্āĻĨāĻšীāύāϤা āĻĒ্āϰāĻাāĻļ āĻāϰে। āĻ
āϰ্āĻāύ āĻāĻা āĻāϰāϞে āϤা "absurd" āĻŽāύে āĻšāϝ়। āĻিāύ্āϤু āĻ
āύ্āϝāĻে āĻĄাāĻ āĻĻেāĻāϝ়া āĻŽাāύে āϏেāĻ āĻ
āϰ্āĻĨāĻšীāύāϤাāĻে āĻ
āϤিāĻ্āϰāĻŽ āĻāϰা, āĻীāĻŦāύেāϰ āĻ
āϰ্āĻĨāĻে āĻ
āύ্āϝāĻĻেāϰ āĻোāĻে āĻĒ্āϰāϤিāώ্āĻ া āĻāϰা।
āĻ
āϰ্āĻĨāύীāϤি
āĻ
্āϝাāĻĄাāĻŽ āϏ্āĻŽিāĻĨ āĻŦāϞেāĻেāύ āϏāĻŽ্āĻĒāĻĻেāϰ āĻŽূāϞ্āϝ āϤāĻāύāĻ āĻāύ্āĻŽ āύেāϝ় āϝāĻāύ āϤা āϞেāύāĻĻেāύে āĻāϏে। āĻāĻāĻāĻাāĻŦে āĻ
āϰ্āĻāύāĻ āϤāĻāύāĻ āĻ
āϰ্āĻĨāĻĒূāϰ্āĻŖ āĻšāϝ় āϝāĻāύ āϤা āĻাāĻ āĻāϰা āĻšāϝ়। āĻেāĻāύāϏীāϝ় āĻ
āϰ্āĻĨāύীāϤিāĻ āĻŦāϞে—āϏāĻŽ্āĻĒāĻĻ āϝāĻĻি āϏāĻŽাāĻে āύা āĻāĻĄ়াāϝ় āϤāĻŦে āĻ
āϰ্āĻĨāύীāϤি āϏ্āĻĨāĻŦিāϰ āĻšāϝ়ে āϝাāϝ়।
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ā§Š. āĻāϧুāύিāĻ āĻŽāύোāĻŦিāĻ্āĻাāύ
āĻŽাāϏāϞো’āϰ āĻĒ্āϰāϝ়োāĻāύāϤāϤ্āϤ্āĻŦ
āĻŽাāϏāϞো’āϰ āĻĒ্āϰāϝ়োāĻāύেāϰ āϏিঁāĻĄ়িāϤে āϏāϰ্āĻŦোāĻ্āĻ āϏ্āϤāϰে āĻāĻে āĻāϤ্āĻŽāϏিāĻĻ্āϧি (self-actualization)। āĻিāύ্āϤু āĻāϰāĻ āĻāĻĒāϰে āĻāĻে self-transcendence—āĻ
āϰ্āĻĨাā§ āύিāĻেāϰ āϏীāĻŽাāύা āĻ
āϤিāĻ্āϰāĻŽ āĻāϰে āĻ
āύ্āϝেāϰ āϏাāĻĨে āĻŽিāϞিāϤ āĻšāĻāϝ়া। āϤাāĻ āϞāĻ্āώ্āϝ āĻ
āϰ্āĻāύেāϰ āĻĒāϰāĻ āĻŽাāύুāώ āĻšāϞ āĻāϰāϤে āĻĄাāĻে—āĻাāϰāĻŖ āϤāĻāύāĻ āϏে āĻāϤ্āĻŽোāϰ্āϧ্āĻŦāϤাāϝ় āĻĒৌঁāĻাāϝ়।
āĻāϤিāĻŦাāĻāĻ āĻŽāύোāĻŦিāĻ্āĻাāύ
āĻŽāύোāĻŦিāĻ্āĻাāύেāϰ āĻāĻŦেāώāĻŖাāϝ় āĻĻেāĻা āϝাāϝ়—āĻ
āϰ্āĻāύ āĻাāĻ āĻāϰāϞে āĻāύāύ্āĻĻ āĻĻ্āĻŦিāĻুāĻŖ āĻšāϝ়, āĻāϰ āĻāĻা āĻোāĻ āĻāϰāϞে āϤা āĻļূāύ্āϝāϤাāϝ় āĻĒāϰিāĻŖāϤ āĻšāϝ়। āĻŽাāύুāώেāϰ āĻŽāϏ্āϤিāώ্āĻ āϏাāĻŽাāĻিāĻ āϏ্āĻŦীāĻৃāϤি āĻ āĻাāĻাāĻাāĻিāϰ āĻāύ্āϝ āϤৈāϰি।
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ā§Ē. āĻĻাāϰ্āĻļāύিāĻ āϏাāϰāϏংāĻ্āώেāĻĒ
āĻāĻĒāύিāώāĻĻ āĻĨেāĻে āĻāϰিāϏ্āĻāĻāϞ, āĻŦুāĻĻ্āϧ āĻĨেāĻে āĻāϧুāύিāĻ āĻŽāύোāĻŦিāĻ্āĻাāύ—āϏāĻŦাāĻ āĻāĻ āϏāϤ্āϝে āĻŽিāϞিāϤ:
āĻ
āϰ্āĻāύ āĻŦ্āϝāĻ্āϤিāĻāϤ, āĻিāύ্āϤু āĻ
āϰ্āĻĨ āϏাāĻŽাāĻিāĻ।
āĻŽাāύুāώ āĻāĻা āĻĒাāĻšাāĻĄ় āĻāϝ় āĻāϰে, āĻিāύ্āϤু āĻļিāĻāϰেāϰ āĻāύāύ্āĻĻ āϏāĻŦাāĻāĻে āύিāϝ়ে āĻাāĻ āĻāϰে।
āĻāĻāĻি āĻাāϞি āĻšāϞেāϰ āĻŽāϤো, āĻāĻা āĻ
āϰ্āĻāύāĻ āύিঃāĻļāĻŦ্āĻĻ āĻ āĻাāϰী।
āϤাāĻ "āĻšāϞ āĻāϰাāύো" āĻোāύো āĻ
āĻšংāĻাāϰ āύāϝ়, āĻŦāϰং āĻŽাāύāĻŦ āĻĒ্āϰāĻৃāϤিāϰ āĻ
āĻĒāϰিāĻšাāϰ্āϝ āĻĻাāĻŦি। āĻāĻে āĻŦāϞা āϝাāϝ়—āĻŦ্āϝāĻ্āϤিāĻāϤ āϏাāĻĢāϞ্āϝāĻে āϏাāĻŽাāĻিāĻ āĻ
āϰ্āĻĨে āϰূāĻĒাāύ্āϤāϰেāϰ āĻĒ্āϰāĻ্āϰিāϝ়া।
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āĻāĻĒāϏংāĻšাāϰ
āĻĒ্āϰāĻļ্āύ—“āϝāĻĻি āϞāĻ্āώ্āϝ āĻ
āϰ্āĻিāϤ āĻšāϝ়, āϤāĻŦে āĻেāύ āĻāĻŦাāϰ āĻšāϞ āĻāϰāϤে āĻĄাāĻা āĻšāϝ়?”—āĻāϰ āĻāϤ্āϤāϰ āĻšāϞো: āĻাāϰāĻŖ āĻীāĻŦāύ āĻāĻা āύāϝ়, āĻীāĻŦāύ āĻŽিāϞāύে āĻĒূāϰ্āĻŖ।
āĻ
āϰ্āĻāύ āĻāĻা āĻāϰা āϝাāϝ়, āĻিāύ্āϤু āϤা āĻ
āϰ্āĻĨāĻŦāĻš āĻšāϝ় āĻেāĻŦāϞ āĻ
āύ্āϝেāϰ āϏাāĻĨে āĻাāĻ āĻāϰāϞে।
āϝেāĻŽāύ āĻāĻāĻি āĻাāύ āύা āĻাāĻāϞে āĻŽৃāϤ, āĻāĻāĻি āĻĒ্āϰāĻĻীāĻĒ āύা āĻ্āĻŦাāϞাāϞে āĻ
āύ্āϧāĻাāϰ,
āϤেāĻŽāύি āĻāĻāĻি āϏাāĻĢāϞ্āϝ āĻাāĻ āύা āĻāϰāϞে āĻļূāύ্āϝ।
āϤাāĻ āĻŽাāύুāώ āĻĄাāĻে—
āύিāĻেāϰ āĻāύ্āϝ āύāϝ়, āϏāĻāϞেāϰ āĻāύ্āϝ;
āĻ
āϰ্āĻāύ āύāϝ় āĻļুāϧু, āĻĒূāϰ্āĻŖāϤাāϰ āĻāύ্
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