#Kheyal

[sajid-waseem-u]

میرے دِل کا خیال رکھو کیونکہ تُم اِس میں رہتے ہو

Mere Dill ka kheyal Rakho q k Tum Es main Rehty Ho ♡♡

[kuhuchan]

Ok I think I've been very mean to voiz lately so @melancholically-voiz sorry Bhai tui khub bhalo okay tui khub <blanking out> ..bhalo? Na na, khub bhalo chhele re ey shobar moner dike kheyal rakhe ei post e baje bolbo na ooke shobai ooke akta group hug de *voiz ye lo group hug*

[rap-bull]

THE JOURNEY OF JAUN ELIA.

Jaun Elia: Life History and Famous Poetry

Life History: Syed Sibt-e-Ashgar Naqvi, known by his pen name Jaun Elia, was a renowned Pakistani Urdu-language poet, philosopher, biographer, and scholar. He was born on December 14, 1931, in Amroha, British India. Jaun Elia belonged to a family of scholars and intellectuals; his father, Allama Shafiq Hasan Elia, was a scholar of Persian and Urdu, and his brother, Rais Amrohvi, was a well-known psychoanalyst and philosopher.

Jaun Elia's academic journey took him to various institutions, including the University of Karachi, where he earned his Master's degree in Urdu literature. He later pursued postgraduate studies at the University of London and earned a second Master's degree.

Despite his academic achievements, Jaun Elia led a tumultuous personal life marked by financial difficulties, failed relationships, and struggles with addiction. His unconventional lifestyle and disregard for societal norms were reflected in his poetry, which often explored themes of love, existentialism, and the complexities of human relationships.

Jaun Elia's love for languages and literature extended beyond Urdu. He was well-versed in Persian, Arabic, English, and various regional languages, which enriched the linguistic diversity of his poetry.

Famous Poetry: Jaun Elia's poetry is characterized by its depth, intellectualism, and a unique blend of classical and modern elements. His verses often showcased a fusion of traditional ghazal forms with a modern, free-verse style. Here are some notable aspects of his poetry:

Intellectual Depth: Jaun Elia's poetry reflects a deep engagement with philosophical and existential themes. His verses are marked by intellectual rigor, exploring the complexities of life, love, and the human condition.

Love and Despair: A significant portion of Jaun Elia's poetry revolves around themes of unrequited love, heartbreak, and the melancholy of separation. His verses express the intensity of emotions, blending classical poetic motifs with a contemporary sensibility.

Satire and Wit: Known for his sharp wit and satirical observations, Jaun Elia's poetry often critiqued societal norms, conventions, and hypocrisies. His verses were a medium through which he conveyed social commentary and his own philosophical reflections.

Versatility in Forms: While rooted in the classical tradition of Urdu poetry, Jaun Elia experimented with various forms, including ghazal, nazm, and free verse. His poetry reflects a fusion of traditional and modern styles.

Legacy: Jaun Elia's influence extends far beyond his lifetime. Despite facing challenges during his life, his poetry has gained immense popularity posthumously. His literary contributions continue to be celebrated, and his verses resonate with readers who appreciate the depth and intellectual richness of Urdu poetry.

Jaun Elia passed away on November 8, 2002, leaving behind a legacy of profound and evocative poetry that continues to captivate and inspire lovers of Urdu literature.

Poetry collections of jaun elia

Sukhan Meri Udasee Hai Zakham-e-Umeed Mubada Tumharey Aur Mere Darmiyan Daricha Haye Kheyal Qitaat Inshaye aur Mazaameen Farnood Is Rang Ke Tufaan Shayad firaaq

Elia was not just a poet but was also an editor and a translator, especially of old Sufi, Mutazili and Ismaili treatises.

Masih-i-Baghdad Hallaj, Jometria, Tawasin, usman Isaghoji, Rahaish-o-Kushaish, Hasan bin Sabah Farnod, Tajrid, Masail-i-Tajrid, Rasail Ikhwan al Safa

[friedrich-denker]

Dunkelheit

von Omar Kheyal | Okt 30, 2024 | Lyrik

Dunkelheit legt sich nieder

Das Spüren, das Leben, das Elend setzt sich zuwider

Über den Häusern der Seelen ein Schatten, ein Geist des Unguten

Durch alle Städte zieht ein Wind aus Furcht, Ohnmacht , uns zumuten

Sind wir jetzt Verrückt geworden ? Ist die Wahrheit dahin ?

Wenn wir leiden und nicht wissen wohin ?

Kampf ist eine wunderschöne Sinfonie aus Stimmen, Wirren und des Selbstbeirren

Feuerwerke spenden Licht in der Dunkelheit, dessen Verpuffung uns lassen wieder verirren

Seht die Tempel des Höchsten in den Himmel ragen

Einst ein Bollwerk uns vertrauen mehr zu wagen

Wer Schönheit sucht, versucht die Flucht des Hässlichen

Doch wer die Hässlichkeit akzeptiert, lebt mit der Wahrheit des Unersetzlichen

Täuschung, Fälschung, Ächtung und Verachtung

Mut, Liebe, Achtung und Beachtung

Zuwider mit der Eleganz des Bösen

Nur zu, nehmt mir meinen Verstand , dessen ich werde frönen

Wer sich gegen mich stellen wird, der wird gegen sich selbst stellen

Wer sich zu früh für mich entscheidet, der kennt nicht meinen echten Namen zu nennen

Aber irgendwann wird die Sonne wieder auferstehen

Und wer bis dahin sich in der Dunkelheit verirrt, der wird das Glück nicht verstehen

Brüder und Schwestern , Seelen aller Herren Herzen

Glaubet mir, das Gute siege stets , wie das Leuchten der heiligen Kerzen

[pseudonymouso]

It's a letter to someone I admire but I have nothing for her. I repeat I have nothing for her.

Hello Biva

Ami janina eita porar pore apnar reaction kokhon hobe. Pochondo korben na ba raag o hoite paren. Ami jibone khub kom chithi likhechi tai kono bhul bhranti hole khoma korben. Ei chithir kono uttor ami kokhonoi asha korina. Ami eita likhtesi shudhu matro ektai karone je ami apni ashar pore kotha bolte cheyechilam kintu ekbarer jonno shei shujog painai. Eita niye amar kono complain o nai. Shob shomoy shob kichu mon moto hobe na sheita ami bisshash kori.

Jaihok. Apni jokhon gelen oidin amar kemon jeno lagtesilo sharadin. Hoyto deep down ami feel kortesilam je amar comfortzone ekta haraitese. Apnar hoyto mone ase ba nao thakte pare je ami shobar sathe kotha share korina. Infact karo sathei ekanto bektigoto bepare kotha bolina. Kintu apnar sathe boltam. Keno boltam janina. Jaihok aste aste manaye niyechi. Erpore majhe majhe emon onek kharap lagto. Mone hoito apni thakle shob bolte partam apnake. Prothom jedin 42 din pore online e ashlen ami je kotto beshi khushi hoyechilam ami kaukei bujhaye bolte parbona. Erpore onek week e kotha hoise onek week e hoy nai. 81 din pore ashlen tokhon o expectations onek beshi chilo. Onek maneee onek beshiii. Ami birthday er dine shudhu matro apnar jonnoi ekta time rekhechilam. Kintu ami toh shob shomoy birthday niye jei expectations rakhi ta kokhonoi puron hoyna tai etao shabhabik e dhore niyechi. Apnar sathe dekha holo kotha holo. Duidin. Erpore ami keno jeno proti raatei apnar opekkha kortam ektu kotha hobe hoyto. Ekdino hoy nai. Ami eta likhtesio ei karone je dhorei nisi apnar sathe amar kotha hobena.

Ami jani apnar jibon ekhon onek change hoye gese. Ager moto onek kichui nai. Kintu shotti kotha ami oi biva ke onek miss kori. Hashi khushi jhogra korto eshe daily. Ami Keno onek beshi expectations rakhsilam ami janina. Ar ei expectations bhangar pore ami jei dhakka khaisi sheita ami onekdin lagbe shamlaye uthte. Hoyto amari bhul chilo. Bujhe uthte pari nai apni etto beshi change hoye jaben. Erpor theke abar etto beshi expectations rakhao hoyto bokami e hobe. Jaihok ami chai na apnake ar birokto korte. Ei chithir pore jodi kono kothao nao hoy amar sheitay kono shomossha nai ar sheita khubi shabhabuk e hobe. Ami chotokaal theke bastobbadi howa shikhechi. Ebar ekta bhul hoye gese. Sorry. Apni hoyto janen amar jibon koto beshi complicated. Ami chailei amar ja mon chay tai e korte parina. Ami atkaye jai. Ami abaro antorik bhabe dukkhito jodi apnar kono shomosshar karon hoye uthi. Ar ami kokhonoi jor korte chai na. Na apnake na onno kauke. Bhalo thakben. Nijer kheyal rakhben. Ar ami kono na konodin apnar sathe ei proshoner uttor niboi je apni keno jawar age amake chupchap thakte bole gesen.

Fy. Hate you.

Iti

Hoyto apnar darling.

[freewazifas]

wazaif for marriage-love marriage:

Mohabbat key amliyat mei yeh amal sree-ul-asar hey lekin iskey liay zaroori hey key aap key qalb mei mehboob key liay sachaai ho, zehan wa qalb mei kisi bhi qisam ki aloodgi naa ho mehboob ka kheyal nehayat pukhta ho aur isey apni shareek zindgi bananey ki aarzoo inteha ho, is wazifa ko shuroo karney sey pehle (3) din sey drood shreef ka wird har waqt jaari rakhey kisi bhi waqt ghaafil naa rahen teesrey roz arooj maah ki no’chandi jumerat ya nek sa’at mei is amal ko karen,InshaaAllah kamyaabi hoge, yeh amal kul (7) din ka hey is aayat mubarika ka jab bhi wird shuroo karen awwal wa aakhir (11×11) mrtba drood shreef zaroor parhen lekin aik baat ka kheyaal rahey key naagha bilkul naa honey paaye bila naagha rozana aayat mubarika ba’wuzu halat mei (101) mrtba parhen, bad parhaney Dua mangey aur Dua mei sirf yeh jumley adaa karen,اﻟﻠﱠﮭُﻢﱠ اِﻧﱠﺎ ﻧَﺠْﻌَﻠُﻚَ ﻓِﻲ ﻧُﺤُﻮرِھِﻢْ وَ ﻧَﻌُﻮذُﺑِﻚَ ﻣِﻦْ ﺷُﺮُورِھِﻢْ(Allahumma inna naj’aluka fi nuhuurihim wa na’udhubika min shuruurihim)is amal ki barkat sey InshaAllah aap jin ahbab sey mohabbat chahtey hen hasil ho jaye ge aur log aap sey mohabbat karney lagey gey ya jis key liay aap ney is amal mei tasawwur rakha hey woh aap sey mohabbat karney lagey ga.lovemarriage best wazaif for marriage:بحرمت جبرائیل علیہ السلام  و میکائیل علیہ السلام و اسرافیل علیہ السلام  و عزرائیل علیہ السلام  و توریت موسی  و انجیل عیسی  و قرآن محمد صلی اللہ علیہ و سلم قلب فلاں (مطلوب کا نام) الیAgar Allah pak ki azmat per yaqeen hey jis qadar apni saans per yahan saans band hoye wahan zindgi tamam yehe is amal per yaqeen hona zaroori hey han bad zehan aur buri neyyat walo key liay yeh amal kuch kaam nahi karey ga is liay behter amal naa karen, agar waqaye aap apney mehboob sey sachi mohabbat kartey hen to is amal ko bey’fikr hokar karen,InshaaAllah kamyab hon gey Amal ka tareeqa youn hey, agar aap sey koi naraz hey aur aap issey mohabbat rakhtey hen aur isey raazi karna chahtey hen to (21) din ka amal hey aap Suraj tuloo honey sey pehle (40) mrtba is Ism chahat ko parhen, is wazeefa ko agar aap ney hadayat key mutabiq kiya to InshaaAllah aap ki dil murad pori hoge Allah Quwwat wala azmat wala hey.

Read more

[aftaabmagazine]

A Historic Musical Evening in Kabul Nearly Five Decades Ago as Told by the Kabul Times

PHOTO CAPTION Mahwash watching one of the amateur singers getting his wrist tied up by Ustad Hashim. The young man holding the harmonium is Assef, one of the best tabla players in town and Ustad Hashim's younger brother.

Caption and photo printed in the article "How are Musicians Initiated?" (Kabul Times, July 11, 1973)

- - -

A Historic Musical Evening in Kabul Nearly Five Decades Ago as Told by the Kabul Times

By Farhad Azad 

Let's travel to a night in Kabul in early July 1973. The air is mixed with the scent of نسترن wild roses and هل cardamom. This was no ordinary night in Kabul. This is the night when Mahwash, the celebrated "Female Vocalist of the Year" of Radio Kabul, steps onto a different stage, one steeped in the age-old traditions of classical music.

Golalaye Farida, the woman behind the stage named Mahwash, had already charmed her audiences with her voice, a gift first honed five years ago under Hafizullah Kheyal, a seasoned composer and vocalist of Radio Kabul. 

But tonight, she and a few other aspiring musical students seek a more profound path of learning, the kind found in the famed musician's quarter of Kharabat, where Ustad Mohammad Hashim, a legend with over 50 compositions to his name by this time, holds court with other ustads. 

A symphony of anticipation fills the air in Ustad Mashwash's friend's home. Ustad Hashim's two younger brothers, the dilruba virtuoso Nabi among them, bring life to the room. Among the gathered are vocalists Shah Wali Wali and the "stout" Ahmad Wali, alongside the "ruggedly handsome" composer Nainawaz. Mahwash's husband, a steadfast pillar of support, observes, and their four-year-old daughter absorbs in her play, adding to the unfolding scene.

Dinner, a fragrant feast, was a mere prelude. As Waleh, the Kabul Times' roving eye, later recounts, the air grows thick with a palpable sense of ritual, of history being made. The ceremony begins…

- - -

How are Musicians Initiated?

By Abdul Haq Waleh

Expert from the July 11, 1973 issue of Kabul Times  (written in English) 

Mahwash brought to Ustad Hashim a tray containing suit material [cloth for a suit], some cash and candies. She was asked to present it to another Ustad Mohmmad Nabi who accompanies Ustad Hashim on the dilruba. 

Ustad Nabi asked Ustad Mashwah, as the custom goes, what was there on the tray. She replied with humility that there were a few unworthy gifts she wanted to present to Ustad Hashim. 

He asked again why present these to Ustad Hashim and not to others because there were quite a few ustads in town. She believed Ustad Hashim tops them all as far as his teaching techniques and compositions were concerned. She wanted to be his pupil and learn classical music from him. 

Then came another question from Ustad Nabi from which Mashwash was apparently not prepared. Perhaps they do not rehearse the whole ceremony because they like it spontaneous. Ustad Nabi inquired as to how she would behave after initiation. 

Mahwash looked blank and after a few moments of hesitation, the word was passed to her husband and he whispered it into her ear. She said she would behave as his daughter should. 

Then Ustad Nabi emphasized with enough seriousness the amount of request required by an ustad and the quantity of hard work to be put in by the pupil. Afterwards, he took Mahwash's hand and placed it on the harmonium. Ustad Hashim took a string from the tray and tied it around her wrist. This symbolized that she was his pupil for life, tied up to him through that string.  

Almost all the amateur singers extended their hands to be tied up in a similar manner and the smiling Ustad complied with generosity. But he did not utter a word before or after the ceremonies. Perhaps the traditions require that the Ustad should not say anything. That was why the ceremony was conducted by another ustad. And Mahwash passed the tray, serving each with a few candies which symbolizes a sweet future. 

But the question is that thousands of her admirers want her to sing popular songs which they are in a position to appreciate classical music. But Mahwash is bent on learning classical music so that one day she may be able to answer questions which may reveal whys and wherefores for her.  She believes she has the right to pursue her own interests while her admirers are entitled to their own likes and dislikes. She will sing for them songs that may be hits after mastering the art of singing under an ustad. This sounds quite convincing to me and perhaps her countless admirers will be looking forward to the opportunity. 

- - - Editor's Reflections

By Farhad Azad 

Captured with Candor

Abdul Haq Waleh's prose is a time machine, transporting us to a space in time where tradition and ambition collide. He paints a vivid tableau: the hushed whispers, the scent of instruments, the palpable scene as Kabul's musical elite gather for a pivotal moment. He writes, “Nainawaz was so much carried away by music that the pretty hotels announced a few times that dinner was ready but he did not allow anyone to move.” And this line as well, “Ustad Hashim was playing the ever ready harmonium and the little lady in her black crepe dress was singing one of his compositions.” 

Mixed Classes Learning Music

In this rarified space, social boundaries blurred. Mahwash, the middle-class songbird, sought the wisdom of Ustad Hashim, the maestro of Kharabat's musician class. Alongside her, the aristocratic composer Nainawaz defied societal norms. Both songbird and composer shared passion for music transcended class divisions, a testament to art's unifying power. Yet, this mingling was not without risk. Both had faced familial backlash for pursuing their artistic dreams. As the poet Samy Hamed observed years later, this society loved the music but shunned the musicians, a paradox whose shadow did not hover over this historic night. 

Women's Place in Music

Mahwash, a woman singing openly, not just on the radio but in public concerts, was a radical shift. Just two decades earlier, female vocalists entered Radio Kabul shrouded in burqas, their voices celebrated, their identities concealed. Mahwash and other female arts defiances signaled a shift in the tectonic plates of a conservative society fully supported by Zahir Shah, the gentlemen monarch. Three years after this historic evening, the Ministry of Culture would bestow the title of "Ustad" upon Mahwash.

Ustad Mohammad Hashim's Influence on Popular Music 

Ustad Mohammad Hashim Chishtis (1934-94), the unsung hero of popular music on Radio Kabul, shaped a generation of composers who defined Kabuli pop. He mentored Shah Wali Wali Taranasaz (1927-2007) and Nainawaz (1934-79), whose compositions were the bedrock for vocalists like Ahmad Zahir, Mahwash, Ahmad Wail and many more. A tabla virtuoso from childhood, the elder son of master tabla player Chacha Mahmoud Chishtis, Ustad Hashim’s musical innovations extended beyond tradition, reaching into diverse genres. He famously reimagined a Western guitar, playing it with a river stone, and his legacy extends to the melodies that defined Kabul’s modern sound.

"The Culture of the Coups"

The timing of this musical gathering was eerily prescient. A mere three weeks later, Kabul's fragile peace would shatter, ushering in an era of political upheaval. Daoud Khan’s coup, the first of many to follow, as writer Rahnaward Zaryab noted, would forever alter the course of Kabul’s history. But on that early July night, amidst the scent of wild roses and the promise of music, the future remained unwritten, a melody hanging in the balance.

[kobikolpolota]

Megher kheyal kobita Shukumar Ray মেঘের খেয়াল কবিতা সুকুমার রায়

[banglapath]

সকল নিয়ে ব’সে আছি। বর্ষামঙ্গল ১৪২৬। ড. বাদল প্রামাণিক

সঙ্গীতসন্ধ্যা : সকল নিয়ে ব’সে আছি উপলক্ষ্য : বর্ষামঙ্গল ১৪২৬ কলাকার : ড. বাদল প্রামাণিক ধারা : শাস্ত্রীয় ও আধাশাস্ত্রীয় সঙ্গীত (কণ্ঠ)– খেয়াল, টপ্পা ও ঠুঙরি আয়োজক : বাঙলাপাঠ স্থান : উমেশচন্দ্র পাবলিক লাইব্রেরি মিলনায়তন, খুলনা, বাংলাদেশ

সঙ্গীতসূচি ১। খেয়াল– রাগ দেশ ২। দুটি বাঙলা বন্দেশ– রাগ জয়জয়ন্তী ৩। শোরি মিয়ার টপ্পা ৪। নিধু বাবুর টপ্পা ৫। রবীন্দ্রনাথের টপ্পা ৬। নজরুলের টপ্পা ৭। ঠুঙরি– রাগ পিলু ৮। ঠুঙরি– রাগ খাম্বাজ ৯। ঠুঙরি– ওস্তাদ বড়ে গোলাম আলি খাঁর রচনা

Title of the Soirée : Sakol Niye Bose Achhi Occasion :  Barshamongol (Rain Festival) Genre : Classical and Semiclassical Music (Vocal)– Kheyal, Tappa and Thumri Artiste :  Dr. Badal Pramanik Organiser : Banglapath Venue : Umeshchandra Public Library Auditorium, Khulna, Bangladesh

Rendition Index 1. Kheyal‒ Raaga Desh 00:04:29 2. Two Bangla Bandishes‒ Raaga Joyjoyonti 00:30:43 3. Shori Miya's Tappa 00:38:29 4. Nidhu Babu's Tappa 00:42:16 5. Tagore's Tappa 00:46:18 6. Nazrul's Tappa 00:49:37 7. Thumri‒ Raaga Pilu 00:56:09 8. Thumri‒ Raaga Khamaj 01:01:32 9. Thumri‒ Ustad Bade Ghulam Ali Khan's Composition 01:07:05

[no-idea-where-i-am-lost]

kheyal raakh, get well soon!! 🤗🤗

So I had went to the far lands today, to visit one of the biggest Maa Kali and yeah it was like dora the explorer but real T_T (just kidding i just went to Nayihati)

but eto bhir chhilo bhalo photo e tulte parini, sudhu ei ekta utheche so forgive me for that TvT but here ya go guys @randomx123 @jeahreading @no-idea-where-i-am-lost meet Boro Kali or Boro Maa as people call her

And guess what? I bruised my entire knee while coming back and heh the day went well 👍💀 (I got Sealdah er kochuri so no complain-)

[ybsns-blog]

Follow Us:- @yah_baat_sahi_na_se #love #lovequotes #relationship #relationshipgoals #relationshipquotes #pyar #kheyal #importent #ladhai #loveyou #lover #loves #loved #loveit #loveme #lovers #lovely #loveu #rishta https://www.instagram.com/p/ByKFAU3hXzX/?igshid=1d8jgbfzibafp

[shaonsim]

Sometimes I wonder, if any of my friends become famous enough to warrant a biography, would I feature in it? Have I left an imprint in their life, do I exist in the narrative, if only as a silent spectator. Do they think about me, speculate about me, do they see me? There are so many people I have met who live in my memories, smiles, tears, words. Classmates who were never friends, friends who were never that important. And yet, I carry those memories with me. Am I that person for someone else? Staying inside their heads? Do I deserve a mention, even if it is a fleeting mention? Will a biography ever have my name as someone they had known, will other people read about me and think? And then I wonder, why does this form of far fetched, external validation mean so much to me when I have an amazing support system? Why? 

[friedrich-denker]

Darüber deutsch zu sein

Was bedeutet es deutsch zu sein ?Wer sind wir Deutsche und wie identifizieren wir uns als deutsch ?Auf diese Frage gibt es unzählige Antworten, leider meist von rechter Seite, die offenbar auf diese Frage ein Monopol zu besitzen glauben. Ich bschäftige mich in meiner Arbeit viel mit dieser Frage und kenne nur eine Antwort, hinter der ich zu stehen vermöge. Einst aus kaiserlichen Zeiten galt das Blutrecht uns das Recht, deutsch sein zu können und sich so zu nennen.Aber wir leben nicht mehr in kaiserlichen Zeiten. Wir leben in einer freien westlichen Demokratie.Aber auch in einer Demokratie kann gesunder Patriotismus seinen gerechten und freien Platz einnehmen.Mein Name ist Omar Kheyal. Ich habe polnische und syrische Wurzeln. Ich spreche verschiedene Sprachen. Aber ich nenne mich als zu deutsch gehörig und sich identifizierend. Warum? Erstens weil ich hier geboren, aufgewachsen bin und hier sterben werde.Zweitens weil ich ein deutscher Autor bin.Drittens weil ich die deutsche Sprache als Sprache meiner Zunge und des Geistes nenne.Ich glaube an eine neue Art der Identifizierung, kurz ich möchte den Rechtsextremen in unserem Lande dieses Monopol absprechen und entreißen.In einer Demokratie gibt es freie Wege zu leben und lieben.Doch was uns eint ist die Sprache und die verlebte Vergangenheit und die gemeinsame Zukunft zwischen Oder und Rhein.Doch für unser Land gibt es einen wichtigen Punkt, der uns erst wirklich deutsch macht: Die Aufarbeitung des Holocaust, des zweiten Weltkrieges, der kolonialen Vergangenheit und sämtliche Verbrechen gegen die Menschlichkeit. Zu allen Gruppen die die freie demokratische Grundordnung stören möchten sage ich: Unser Grundgesetz hat eine Ewigkeitsklausel und jeder Deutsche das Recht auf Widerstand gegen Alle, die unser wahres nationales Erbe stehlen möchten. Einigeit,Recht und Freiheit für das deutsche Vaterland und nie wieder ein Deutschland über allen . #deutschland #patriotismus #Demokratie #Grundgesetz

[pseudonymouso]

Hi. Kemon aso? Jani onek raag hoitese eta dekhe. Ei raag kemne komabo sheta ami ekhono janina. Jaihok HSC bhalo moto diyo. Panic koirona. Matha thanda raikho. Panic kheye gele durud shorif porte thaiko. Raat jaigona. HSC te chokka mairo. Amar thekeo bhalo HSC diba ami jani. Ami dowa kori and korbo jeno HSC onek beshi bhalo hoy. HSC er emon just 15 din agei tomake paisilam. Everything was so perfect. Eta tumio deny korte parba na. Tomar presence e amar HSC onek beshi bhalo hoisilo. Onek beshi. Thank you. Jaihok beshi chinta koirona. Din sheshe bhalo manusher sathe shob shomoy bhaloi hoy. Ar tumi shob theke divine manush gular ekjon. Best of luck.

Well. I am sorry that this come down to this. There is so much things that I am missing about you. I swear unless I am fixing every single scar and every single wound that I have done , I am going nowhere. I JUST CAN'T. I hope you are okay. I miss you, babuhabulubu. 

Bye bye. Nijer kheyal raikho. Ektu raag komaile khoti ki? Onekdin toh hoilo, ar chete thaikona, please ammajan.

[bryanlen]

(SadGen)

[banglabooksme]

Kheyal Khushir Chhara - Ardhendu Roy pdf

Kheyal Khushir Chhara – Ardhendu Roy pdf

Kheyal Khushir Chhara by Ardhendu Roy pdfebook name- ‘Kheyal Khushir Chhara’Cover art- Ardhendu RoyBook genre- Rhythm Collection BookFile format- PDFPDF Size-10MbPages- 156Quality- best, without any watermark Some words about the creator- Ardhendu Roy Rhythmic, playwright, Painter- Ardhendu Roy was born in Rangapara, Darang district of Assam. January 24, 1958.From an early age, he was a little…