International Research Journal of Management Sociology & Humanities

ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print)

An Internationally Indexed Peer Reviewed & Refereed Journal

Shri Param Hans Education & Research Foundation Trust

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IRJMSH Vol 10 Issue 7 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

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IRJMSH Vol 10 Issue 7 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) a•h f§hÑ£N£a ¢j¢nËa W¥jÚl£l •L¡e ¢h¢nø e¡j •eC a¡C H•L LM•e¡ LM•e¡ " f§hÑ£u¡ W¥jÚl£" e¡•j B•m¡¢Qa q•a •n¡e¡ k¡uz HC ¢ae l£¢al W¥jÚl£ Ee¢hwn na¡ë£l öl¦ fkÑ¿¹ Af¢lh¢aÑa l©­f fËQ¢ma ¢Rmz E¢en na MË£ø¡­ël j­dÉ clh¡¢l­a eV¥B, L¡’e£ fËi«¢a­cl eaÑL£ h¡D­cl eª­aÉl p­‰ HL fËL¡l i¡h fËL¡nL mO¤ S¡a£u N£aJ HLfËL¡l W¥jÚl£ l©•f Nªq£a q•m¡z HLj•a HC W¥jÚl£ eª•aÉl pq•k¡N£ ¢Rm h•m Hl e¡j q•m¡ "Ms£ W¥jÚl£'z Bh¡l AeÉ ¢c•L fRy¡Ju¡ W¥jÚl£ f•c •LE •LE üÒf f¢lp•l hý në ¢heÉÙ¹ L•l J •N•u HC N£ahå•L "Oe¡rl£ W¥jÚl£' e¡•j fËQ¡l Ll•mez 6

W¥jÚl£ pj•å Xx ¢hjm l¡u h•me - haÑj¡•e •k N£ahå•L W¥jÚl£ hm¡ qu •pV¡ q•m¡ Ee¢hwn na¡ë£l ¢hh¢aÑa W¥jÚl£, •kV¡ Ju¡¢Sc B¢m n¡q J p¡•cL B¢m Lh¡•ml ¢h¢nø Eá¡he£ n¢š²l p¡q¡­kÉ ¢h¢Qœ i¢‰­a ¢hL¢na q­u J­Wz HC ¢hL¡n fË¡ç W¥jÚl£ "Lqe W¥jÚl£ J mQ¡J W¥jÚl£' e¡•j f¢l¢Qaz W¥jÚl£l i¡o¡ Q¢ma hËS i¡o¡, ¢houhÙ¹¥ •fËj,¢hlq,e¡uL e¡¢uL¡ •icz W¥jÚl£l l¡N d¤e S¡a£uz a¥L c¤C h¡ a•a¡¢dL, a¡m - ¢ae a¡m, ¢pa¡lM¡¢e,f¡”¡h£ ­WL¡z flhaÑ£L¡­m f¡”¡h£ ­WL¡l f¢lh­aÑ 16 j¡œ¡l kv a¡­ml hÉhq¡l fËQ¢ma q­a ­cM¡ k¡uz Qfm h¡ mO¤ fËL«¢al h¡ â¥a mu k¤š² W¥jÚl£­a LM­e¡ LM­e¡ Lh¡m£ a¡m hÉhq©a q•u b¡•Lz Lh¡mN£¢a h•m W¥jÚl£•a HC lLj mO¤ a¡m J d¤e S¡a£u l¡•Nl fË•u¡N pñh q•u•Rz'6 fË•gpl ¢X ¢V •k¡n£'l j•a ""The fragile and ornate piece of melodic filigree called Thumri is one of the most delicate forms of music which needs to be handled with extreme care. Thumri, a relatively recent genre, seems to have gone one better and borders too precariously on the erotic. Its emergence as a popular style about 150 years ago, took music lovers by strom. Yet it had to struggle hard to establish its identity. Even today some puritans refuse to accept Thumri as a styllised form of Hindustani Music. They would rather classify it under the "Light" category. To them, it may appear to be a revolt against the orthodox order and an attempt at jettisoning all traditional values so essential for classical arts. Such a generalisation is hardly fair, for Thumri is as much a product of Indian tradition and history as any other form of Hindustani music. Thumri has not lost its traditional mooring, it may not have much use for some of the more serious ragas, yet Thumri is basically Raga-oriented, However, the Ragas it is concerned with are of the most popular

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IRJMSH Vol 10 Issue 7 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) variety, such as Khamach, Piloo, Bhairavi and the like. True, it enjoys greater latitude than Khayal, but its scope of innovation is restricted within the periphery of recognised and accepted cannons which invest it with a kind of classical disicipline. Thumri is undoubtedly steeped in tradition and yet it has an infinite capacity to deflect from it. In its effort to break fresh ground, Thumri may not always strictly follow the rules of musical solecism, but any expressionistic art- form which thrives on the free play of imagination enjoys this freedom.

Basically,Thumri is Shringar-Pradhan. The pranks and frolics of Sri Krishna with his divine consort, Sri Radha and the maidens of Braja constitute the main burden of Thumri compositions. In the absence of any recorded history, different theories are advanced regarding the origin of Thumri. One of the most naive explanations for the "Thumri" is attributed to Gwalior's Raja Mansingh Tomar or Tanwar, a pioneer in the field of Dhrupad. According to another theory, more convincing and less fanciful, the name "Thumri" is supposedly derived from the word " Thumak" which means a lilting gait or a rhythmic movement. Thumri freely draws upon the rich wealth of folk music of Uttar Pradesh, Kajri, Chaiti, Birha, Sawan to name only a few, can be regarded as precursors of Thumri, which are only stylised versions of these simple folk songs. In this process of transition from the crude to the refined, the original songs have, no doubt, lost much of their native character, so much so that apart from the dialect and a vague suggestion of the tune, the urbanised versions of the songs which are actually the modern Thumri compositions, have nothing of the original in them. The excellence of Thumri performance lies in the intelligible and distinct enunciation of each word and syllable and thus protray effectively the emotional content of the song. Thumri permits the use of certain graces and musical idioms by way of embellishments. Sometimes notes which do not belong to the raga are used. But this liberty should not be taken with impunity and has to be artistically satisfying so that the general mood of the theme remains undisturbed.

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IRJMSH Vol 10 Issue 7 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

The tala in which Thumri is generally sung is known as Jat, Chachar or Deepchandi consisting of 15 or 16 or 14 matras, although it is not unusual to hear compositions in addha or sitarkhani and even in Trital. When the artiste has successfully delineated the different nuances consistent with the meaning of the text, it is usual to double the original rhythm of the opening lines. At this point, the Tabla player, taking cue from the singer, starts playing a variety of bols called " Laggi" which is in the nature of dialogue between singer and the player. This technique which is peculiar to a Thumri performance is known as "Takrar". These days one hears of two styles or Angas in which the Thumri is sung - the Poorab Anga and the Punjabi Anga. The former is more restrained and placid while the latter excels in the use of a variety of intricate note-combinations. Personally, I am not enamourned of the latter style which derives insporation from some popular folk songs of Punjab, like Mahia and Pahari. Even the late Ustad Bade Ghulam Ali Khan in an interview recorded by the Sangeet Natak Akademi in my presence, admitted that there was only one authentic style of Thumri, i.e., the Poorba Anga originating from Lucknow and Varanasi. The Late Ustad Hafiz Ali Khan spoke on much the same lines during a radio interview at Delhi. The Poorab Anga Thumri is roughly classified under what is known Bol Banao Ki Thumri or Dhun and Dhanakshari Thumri. The former is more supple, more contemplative and lends itself to all the graces associated with Thumri, Sanad, Lalan, Kunwar Shyam are some of the well known composers of Bol Baat or Laya Bol ki Thumri. These compositions are usually aung in a quicker tempo with verses interwoven in the body of the song. The compositions are also rich in rhythmici variations. Dadra which can be described as an analogue of Thumri, is generally sung in Dadra tala of 6 matras although we do come across some compositions in Kaharwa tala of 8 mataras. Like Thumri its texture is delicate and fragile but unlike Thumri, it is rendered in a relatively faster tempo. The basic differcence between Thumri and Dadra is that while the former lends itself to a detailed delineation, the latter is concerned mainly with rhythmic elaboration within the framework of the song. Dadra always follows Thumri, never precedes it. It is perhaps a measure of the popularity of these types that some of our greatest exponents of the more fancied Khayal style, usually wind up their recitals with a

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IRJMSH Vol 10 Issue 7 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

Thumri or Dadra which can be described as a fitting finale to a successful performance.

In all parts, there are classical and romantic forms. In Hindustani Music, Dhruvapada is purely classical; Thumri and Tappa are purely romantic, Khayala is classico-romantic, and this is the secret of its appeal, for it caters to both tastes - classical and romantic."7 Xx fËc£f ­O¡o pw­r­f W¥jl£l œ²j¢hhaÑe ¢ejÀ¢m¢Ma i¡­h hZÑe¡ L­l­Re - ­c¡u¡h A’­ml ­m¡LN£a ( Ešl fË­c­nl N‰¡ - kj¤e¡l jdÉhaÑ£ ÙÛ¡e) ______z z z z z z °Qa£ L¡Sl£ hl¦u¡ p¡Je£ ¢hlÚq¡ AeÉ¡eÉ z (h¡•ly¡u¡) z W¥jl£ ______z z fyRJu¡ f§hÑ£u¡ z z ______z z z z Mu¡m-i¢‰j Vè¡-i¢‰j 17n na¡ë£l öl¦ 18n na¡ë£l jdÉi¡N (f¡”¡h£ W¥jl£) z z ______z z z z z plm Ms£ Oe¡rl£ Lqe mQ¡J W¥jl£ W¥jl£ W¥jl£ W¥jl£ W¥jl£

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IRJMSH Vol 10 Issue 7 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

¢a¢e B•l¡ h•me ""HLV¡ I¢aq¡¢pL paÉ Bj¡•cl ü£L¡l L•l ¢e•a q•h •k, W¥jl£l jae (17n na¡ë£l W¥jl£) Hje mO¤ fËL«¢al N£a•L phÑfËbj ÙÛ¡e ¢c•u¢R•me eh¡h Ju¡¢Sc Bm£ n¡qz g•m, W¥jl£ eh¡•hl clh¡•ll LJu¡m•cl •eLeS•l f•s e¡e¡ l¡N l¡¢Ne£•a p¢‹a q­u Mu¡m i¢‰j W¥jl£­a l©f¡¿¹¢la quz Ju¡¢Sc Bm£ n¡q-l B•lL clh¡l£ Mu¡m-N¡uL p¡¢cL Bm£ LJu¡m, ¢hm¢ða m•ul Mu¡mÚ N£•al Ae¤pl•Z pªø£ L•le "mQ¡J W¥jl£'z ¢L¿¹¥ mu ¢hm¢ða q•mJ AmwL¡l fË•u¡N, ül- fË•rfZ CaÉ¡¢c hÉ¡f¡•l "d¤e' h¡ •m¡Lp¤¤•ll fËi¡h k•bø f¢lj¡•e mrÉ Ll¡ •k•a¡z H L¡l•e HC °nm£•L f§hÑ£u¡ W¥jl£l A¿¹Ñi¥š² Ll¡ q­u­Rz HC °nm£l ­h¡m-he¡e¡ h¡ ¢h•no ¢h•no i¡h-hÉ”L në­L e¡e¡ i¢‰­a jd¤l AmwL¡lpq hÉš² Ll¡ CaÉ¡¢c ¢h­no EfS£hÉz a•h Bd¤¢eL-L¡•ml A¢a ¢hm¢ða "mQ¡J W¥jl£' ¢Ll¡Z¡ Ol¡e¡l c¡ez Ju¡¢Sc Bm£ n¡q-l ¢eSü pª¢ø q•m¡ "Lqe W¥jl£' k¡ ay¡l N£¢ae¡•VÉ p¤¤•lm¡ pwm¡f ¢qp¡•h Hhw eªaÉe¡•VÉ hÉhq©a q•a¡z W¥jl£•a l¡N ¢qp¡•h L¡g£, Mj¡S, ¢fm¤, h¡•ly¡u¡, N¡l¡ ¢hq¡N, •cn, ¢Ty¢TV, ¢a•m¡L-L¡­j¡c CaÉ¡¢c Hhw a¡m ¢qp¡­h kv, f¡”¡h£, ¢œa¡m, c¡cl¡, L¡q¡lh¡, jdÉj¡e, c£fQ¾c£ fËi«¢a hÉ¡hq©a quz''8 mr£e¡l¡ue •O¡o W¥jÚl£ pj•å h•m•Re -"Bp•m W¥jÚl£ q•m¡ •p¡e¡l L¡W£, Jl fl•n q¡S¡l c¤u¡l k¡u M¤•mz a¡•ll V¡•e j£•sl •j¡•q e¡e¡ lP •jn¡•e¡ p¤¤•ll S¡•m J l•Q p¤¤l ü•NÑl C¾cÊS¡mz fË¡­el j¡­T SÆ¡m¡u lP jn¡­ml lP£e B…ez ¢h¢Qœa¡u il¡ ­kj¢e jd¤l ­aje m¡heÉju£ J q­m¡ p¤¤¾cl£ ¢a­m¡šj¡, ¢am ¢am •p±¾ckÑ Afqle L•l J•L i¢l•u •a¡m¡ quz W¥jÚl£ q­m¡ dË¥f­cl ­c±¢qœ£, a¡l p­‰ lš² lp pj­å S¢sa b¡L­mJ Jl eh£e ¢hL¡n d¡l¡ pÇf¨ZÑ ¢eSüz Jl ¢fa«•ch •Mu¡m BNË¡qÉ Ll•a f¡•l ¢e, Jl •h¡e Vè¡J H hÉ¡f¡•l q¡l •j•e•Rz ¢L¿¹¥ W¥jÚl£ p¤¤l pª¢øl Q¡a¥l£•a •f•u •Nm pÇf¨ZÑ ü¡d£ea¡ l¡Nj¤¢š²z J AphZÑ¡ a¡C l¡­Nl S¡a j¡•ee¡, kMe •kje M¤n£ ¢j¢n•u Q•m e¡e¡ l¡•Nl •p±¾ckÑ•Lz J S•s¡u¡l •eL•m•n h¢p•u •cu j¤š²¡l f¡­n Q¥e£ J f¡æ¡, Bh¡l q£l¡l cÉ¥¢al TmLJ ­cM¡ k¡u Jl Ny¡b¤e£­az J fy¡Q g¥•ml p¡¢S, •kM¡•e l•u•R lSe£Nå¡l f¡•n •N¡m¡f, Bh¡l a¡¢l f¡•n •cM¡ k¡u üZÑQÇf¡ j¡­T j­T ­R¡V ¢hq¡l£ f¡a¡, HL Af§hÑ ¢jnËZ,Ag¥l¿¹ EµRma¡ fË¡Zn¢š²­a jq£un£ HC W¥jÚl£'z9 ¢hnÄi¡la£l fË¡š²e AdÉ¡fL J Bj¡l ¢nrL nË£ p¤¤¢eÑjm i–¡Q¡kÑ jq¡n•ul pwNªq£a abÉ¡¢c •b•L a¥•m dl¢R- The reatises of the midle ages like " Bharat" Sangeet",'Raag

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IRJMSH Vol 10 Issue 7 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

Dorpan' and Tuhfaatul Hind' gives us many important facts about Thumri. According to the 'Bharat Sangeet',Raga 'Shree' had five Raaginees of which Thumri was one. Thus we find Thumri as a Raagine in 15th Century A.D.Mirza Khan,the author of 'Tunfaatul Hind' in 17th century was the first man to mention the 'Bharat mat'of Raga classification in details and described Thumri,the Raaginee of Shreeraag,as one very popular in the 'Doaab'region between Ganga and Yamuna rivers (Allahabad and surrounding regions). He also mentioned the tune produced by Thumri,which according to him was a contribution of 'Shankarabharan'and 'maru' Ragas.According to Fauquirulla,the author of 'Rag Darpan'(1666 AD),'Baron', a melody type and tune was known otherwise a Thumri, it is interesting to observe that even in the 19th century A.D.,musical compositions of Thumri type were found making abundant use of 'Baroan','Piloo-Baroan' and "Piloo' tunes. Thus we may conclude that Thumri, as a melody-type,and as a tune of Raaginee was being sung in and around Allahabad,even before the reign of Shahjahaan." ¢a¢e HL hÉ¢š²Na p¡r¡vL¡­l h­me - hª¾c¡h­e ­q¡m£ Evp­h ­k ­q¡l£ A­‰l d¡j¡l N¡e N¡Ju¡ ­q¡a a¡l f¢lh¢aÑa l©f flhaÑ£L¡­ml c£fQ¾c£ h¡ Qy¡Ql a¡­m N£a W¥jÚl£ A­‰l N¡e Hl©f j•e Ll¡ ­j¡­VC ApwNa euz ­q¡l£ A­‰l d¡j¡l N¡­e ­k Afl©f p¤¤¢jø N¡uL£ k¡l j¡dÉ­j l¡d¡L«o· J ­N¡¢fe£­cl ­q¡m£ ­Mm¡l hZÑe¡ f¡Ju¡ k¡u a¡ haÑj¡e L¡­ml ­q¡l£ A­‰l W¥jÚl£ N¡­el M¤hC L¡R¡L¡¢Rz L¡­SC ­q¡l£ d¡j¡l ­k W¥jÚl£ fËhaÑ­el ­r­œ HL¢V …l¦aÆf§ZÑ fc•rf a¡ i¡h¡ •k•aC f¡•lz10 W¥jÚl£•a Ef•Sl L¡S M¤h •hn£ quz •k •L¡e l¡•N W¥jÚl£ qu e¡z ¢e¢cÑø L•uL¢V l¡•N W¥jÚl£ N¡Ju¡ quz p¡d¡lea ¢fm¤,M¡ð¡S,°ilh£,f¡q¡s£,j¡ä,¢hq¡l£,¢Ty¢TV CaÉ¡c£ l¡•N W¥jÚl£ M¤h i¡•m¡ quz fË•aÉL¢V l¡•N W¥jÚl£ e¡ qJu¡l L¡le m•ul hÉhq¡lz W¥jÚl£ •k m•u N¡Ju¡ qu •pV¡ ph l¡•N hÉhq¡l Ll¡ k¡u e¡z 11 f§hÑ£ A­‰l W¥jÚl£­a ¢hq¡­ll f¢ÕQj¡’m h¡l¡ep£, m­r±, A­k¡dÉ¡ J p¢æ¢qa Hm¡L¡l ­m¡Lp‰£­al pw¢jnËZ q­u ¢Rmz ­pC SeÉ n¡Je, L¡Sl£, m¡Je£, °Qa£, T¥me fËi«¢a W¥jÚl£ e¡­j fËQ¢maz B­l¡ ¢h­no ­m±¢LL l£¢al A¢ihÉ¢š² q­u­R ¢h­no dl­el q¡mL¡ N¡•e k¡•L hm¡ qu c¡cl¡z öd¤j¡œ c¡cl¡ a¡­m N¡Ju¡ N¡e eu, L¡gÑ¡ a¡­m Be¡eÉ pqS R­¾c N¡Ju¡ N¡eJ "c¡cl¡"z ­q¡¢l d¡j¡l ­b­L W¥jÚl£l l©f¡¿¹l q­u­Rz ­q¡¢l Efm­r HC N¡e …­m¡ Qy¡Ql

International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 174 www.irjmsh.com

IRJMSH Vol 10 Issue 7 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) a¡­ml Ae¤l©f 14 j¡œ¡l kv, c£fQ¾c£ a¡­m N¡Ju¡ q­a¡z f­l AhnÉ Hl plm fËLle Q¡m¤ quz12 ¢q¾c¥ÙÛ¡e£ n¡Ù»£u p‰£­al SN­a ¢h¢iæ …e£ ¢nÒf£­cl e¡­j Abh¡ a¡­cl Bh¡pÙÛ­ml e¡­j hý Ol¡e¡ h¡ N¡ue J h¡ce°nm£ ¢hcÉj¡e z p¤¤al¡w W¥jÚl£ N¡•elJ •pC lLj ¢LR¥ Ol¡e¡ B­R z W¥jÚl£ N¡­el fËbj fËL¡nÙÛm ­k­qa¥ Ešl fË­cn h­m ¢h­hQe¡ Ll¡ q­u b¡­L •pCSeÉ •cM¡ k¡u A¢dL¡wn W¥jÚl£ Ol¡e¡ Ešl i¡l­aC ¢hL¡n m¡i L­l b¡­L z flhšÑ£L¡­m AhnÉ W¥jl£ i¡lah­oÑl ¢h¢iæ Aw­nJ ¢hÙ¹¡¢la q­u ¢Rmz p¡d¡lZax m­r± Ol¡e¡, ­he¡lp Ol¡e¡, h¡wm¡ Ol¡e¡, jq¡l¡øÊ Ol¡e¡ Hhw f¡”¡h Ol¡e¡ HC fy¡Q¢V fËd¡e W¥jÚl£ Ol¡e¡l e¡j S¡e¡ k¡uz H…¢m R¡s¡J L­uL¢V W¥jÚl£ Ol¡e¡l e¡j S¡e¡ k¡u z •kje - ¢Ll¡e¡, BNË¡, g¡l¦M¡h¡c, ¢cõ£ J f¡Ve¡ fËi«¢a z a­h HC ph Ol¡e¡ …¢ml üL£u °h¢nøÉ b¡L­mJ a¡l¡ A¢dL¡wn ­r­œC j§m fy¡Q¢V Ol¡e¡l ­L¡e e¡ ­L¡e¢Vl °h¢nø­LC Ae¤plZ L­l b¡­L z k¢cJ SeÈm­NÀ W¥jÚl£ N¡e j¡­œC ­Mu¡m A­‰ N¡Ju¡ ­q¡a, f•l Ol¡e¡l l©f Ae¤p¡•l ¢iæ ¢iæ B¢‰­Ll Ae¤fË­hn OV­a b¡­L z ­kje - AÒf Bm¡f, •R¡V •R¡V a¡e, j¤lL£, j£l, p§ya,LZ, TVL¡, MVL¡ J SjSj¡ CaÉ¡¢cl hÉhq¡l z pLm Ol¡e¡l N¡ue fÜ¢a HL lLj eu z haÑj¡•e A¢dL¡wn N¡uLC Ol¡e¡ ¢e¢hÑ•n•o ¢e•S•cl l£¢al h¢qÑi¥a Afl Ol¡e¡l nË¥¢ajd¤l ¢hou hÙ¹¥…¢m fË¡unx Bfe W¥jÚl£ N¡­e fË­u¡N L­l b¡­Le z Hl g­m W¥jÚl£ N¡e¢Vl j­e¡j¤‡L¡l£ rja¡ fËQ¥l f¢lj¡­e hª¢Ü ­f­u­R z13 abÉ ¢e•cÑn (W¥jl£)

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IRJMSH Vol 10 Issue 7 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

7) Thumri and its Variants- Prof. D.T.Joshi; Indian Music and Ustad Mushtaq Ali Khan - Prof.Debu Chowdhury. 8) p‰£an¡Ù» pj£r¡ (¢àa£u fhÑ);Xx fË£cf L¥j¡l •O¡o, fËL¡nL x- f¢ÕQjh‰ l¡SÉ p‰£a BL¡­c¢j, abÉ J pwú«¢a ¢hi¡N, f¢ÕQjh‰ plL¡l; 36,¢f˾p B­e¡u¡l n¡qÚ ­l¡X, LmL¡a¡-33z 9) N£a h¡cÉj (1j Mä); mr£e¡l¡ue •O¡o, fËL¡nL x- fËa¡f e¡l¡ue •O¡o, j¡¢eLam¡ ØVÊ£V, L¢mL¡a¡- 700006z fª ew - 133z 10) nË£ p¤¤¢eÑjm i–¡Q¡kÑ jq¡n­ul ¢eLV hÉ¡¢š²Na p¡r¡vL¡l ­b­L fË¡ç; 29/12/2006z 11) l¡Np‰£­a W¥jl£, ¢ja¡ ­O¡o, fª ew- 34z 12) i¡la£u p‰£a C¢aq¡p J fÜ¢a, p¤¤L¥j¡l l¡u, fËL¡nL x- •L Hm j¤•M¡f¡dÉ¡u, 257¢h, ¢h ¢h N¡‰¥m£ ØVÊ£V, L¢mL¡a¡ - 12, fª ew:- 125 13) W¥jl£ mql£, 1j, 2u, 3u Mä, f¢äa e¾c•N¡f¡m ¢hnÄ¡p, fËL¡nL x- c£f¡ue, 20 •Lnh Q¾cÊ •pe ØVÊ£V,L¢mL¡a¡- 9z fª ew:- 9 - 11

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