ᱥᱟᱱᱛᱟᱲᱤ ᱞᱟᱠᱪᱟᱨ ᱥᱮᱨᱮᱧ ᱨᱮᱭᱟᱜ ᱦᱟ.ᱴᱤᱧ ᱠᱚ
Santali Cultural Song Type &
Definition
Introduction Santali cultural songs form an integral part of the rich heritage of the Santali community, an indigenous tribe primarily inhabiting the eastern states of India, such as Jharkhand, West Bengal, Odisha, and Bihar. These songs are deeply rooted in the community’s traditions, customs, and daily lives, serving as a means of preserving their unique identity and passing down ancestral wisdom through generations. Santali cultural songs have not only been a source of entertainment but also a way to express emotions, celebrate festivities, and narrate historical events. In this essay, we will explore the essence of Santali cultural songs, their significance, and how they have managed to remain relevant in the modern world.
The Significance of Santali Cultural Songs
Santali cultural songs are an integral part of the community’s social fabric and have been passed down orally from one generation to another. These songs touch upon various aspects of Santali life, including agriculture, nature, love, harvest, festivals, birth, marriage, and death. Each song holds a unique significance and offers insights into the Santali worldview, values, and belief systems.
Historically, Santali songs have played a crucial role in transmitting knowledge about their cultural heritage, myths, and legends. They have served as a form of education, teaching young members of the tribe about their ancestors’ experiences, struggles, and triumphs. In this way, Santali cultural songs have acted as a vehicle for cultural preservation and continuity.
The Melody and Structure of Santali Cultural Songs
Santali cultural songs are known for their captivating melodies, rhythmic patterns, and lyrical depth. Typically, these songs are accompanied by traditional instruments such as the Banam, Tumdak, and Tamak, which add a distinct charm to the performances. The lyrics are usually written in the Ol Chiki script, a writing system invented by Pandit Raghunath Murmu in the early 20th century to preserve Santali language and culture.
Santali Cultural songs are structured in various forms, some research says that there 72 types of Santali Cultural songs exists including
Baha/Magmore: The song for the guardian gods of Santals, and for showing gratitude to the mother nature.
Lagre: A song genre for enjoyment and a prayer for rain.
Sohrai: Sung during the Sohrai festival, these songs celebrate the harvest season and express gratitude to nature for its bountiful gifts.
Dasai: Performed during the Dasai festival, these songs commemorate the courage and valor of ancestors who fought for justice and freedom.
Chadar Badar: A song genre that revolves around love and romance, Chadar Badar captures the emotions and feelings of young Santali individuals.
Jadur: Focused on mythological tales and folklore, Jadur songs depict the adventures of gods and goddesses and offer moral lessons.
Preserving Tradition in the Modern Era
In the face of rapid globalization and urbanization, Santali cultural songs face challenges in maintaining their relevance among the younger generation. However, concerted efforts have been made to preserve and promote this valuable heritage.
Many cultural organization, educational institutions, and government bodies have taken initiatives to record and digitize Santali songs, making them accessible on digital platforms. This not only helps in preserving the songs but also exposes a wider audience to the richness of Santali culture.
Additionally, cultural events, festivals, and competitions focusing on Santali songs are organized regularly, encouraging young talent to participate and carry forward the legacy of their ancestors. Such events foster a sense of pride and appreciation for their cultural roots.
Santali cultural songs embody the soul of the Santali community, reflecting their emotions, beliefs, and traditions. These songs have not only survived the test of time but continue to thrive, adapting to the changing world while staying true to their cultural essence. By cherishing and promoting Santali cultural songs, we can ensure that this unique musical heritage remains a source of inspiration and pride for generations to come. As a powerful symbol of cultural identity, these songs remind us of the importance of preserving and celebrating the diverse cultural tapestry of our world
✓ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱢᱤᱫ ᱢᱟᱨᱟᱝ ᱦᱤᱥ ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ ᱥᱟᱱᱛᱟᱲᱤ ᱞᱟᱠᱪᱟᱨ ᱥᱮᱨᱮᱧ ᱾ ᱱᱚᱣᱟ ᱞᱟᱠᱪᱟᱨ ᱥᱮᱨᱮᱧ ᱠᱚ
ᱛᱟᱞᱟ ᱛᱮ ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ ᱨᱮᱭᱟᱜ ᱥᱟᱱᱟᱢ ᱞᱮᱠᱟᱱ ᱠᱟᱛᱷᱟ, ᱟ.ᱱ ᱟ.ᱨᱤ
ᱪᱟ.ᱞᱤ , ᱵᱤᱱᱛᱤ ᱠᱟᱛᱷᱟ ᱠᱚᱦᱚ ᱵᱟᱰᱟᱭ ᱧᱟᱢᱚᱜ ᱜᱮᱭᱟ᱾ ᱥᱮᱨᱮᱧ ᱨᱮᱭᱟᱜ ᱴᱷᱟᱶ ᱟᱨ
ᱚᱠᱛᱚ ᱞᱮᱠᱟᱛᱮ ᱱᱚᱣᱟ ᱥᱮᱨᱮᱧ ᱠᱚ ᱨᱮᱭᱟᱜ ᱦᱚ ᱦᱟ.ᱴᱤᱧ
ᱢᱮᱱᱟᱜ-ᱟ ᱾
ᱡᱮᱞᱮᱠᱟ ᱯᱟᱛᱟ, ᱞᱟᱜᱽᱲᱮ , ᱥᱚᱦᱨᱟᱭ, ᱫᱚᱝ , ᱵᱚᱸᱜᱟ ᱥᱮᱨᱮᱧ, ᱥᱮᱸᱫᱽᱨᱟ ᱥᱮᱨᱮᱧ ᱮᱢᱟᱱ ᱮᱢᱟᱱᱟᱜ ᱠᱚ᱾
ᱯᱟᱛᱟ ᱥᱮᱨᱮᱧ ᱺ ᱱᱟᱱᱟ ᱦᱩᱱᱟ.ᱨ ᱯᱚᱨᱚᱵ ᱯᱟ.ᱞ ᱨᱮ
ᱡᱟᱦᱟ ᱠᱚ ᱥᱮᱨᱮᱧ-ᱟ, ᱚᱱᱟ ᱥᱮᱨᱮᱧ ᱠᱚᱜᱮ ᱯᱟᱛᱟ ᱥᱮᱨᱮᱧ ᱠᱚ
ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱱᱚᱣᱟ ᱥᱮᱨᱮᱧ ᱨᱮᱱᱟᱜ ᱫᱟᱨᱟᱢ ᱫᱚ ᱡᱤᱵ ᱦᱤᱭᱟ.ᱞᱤ, ᱫᱷᱤᱨᱤ ᱫᱟᱨᱮ, ᱥᱮᱨᱢᱟ ᱨᱤᱢᱤᱞ, ᱤᱯᱤᱞ ᱮᱸᱜᱮᱸᱞ ᱡᱟᱦᱟᱱᱟᱜ ᱜᱮᱠᱚ ᱦᱩᱭ ᱫᱟᱲᱮᱭᱟᱜ-ᱟ᱾
ᱡᱮᱞᱮᱠᱟ —
“ᱚᱠᱟ ᱜᱟᱲ
ᱨᱮ ᱛᱤᱨᱭᱚ ᱥᱟᱰᱮ ᱠᱟᱱ
ᱚᱠᱟ
ᱜᱟᱲ ᱨᱮ ᱵᱟᱱᱟᱢ ᱨᱟᱣᱟᱜ -ᱟ
ᱚᱠᱟᱨᱮᱫᱚ ᱛᱩᱢᱫᱟᱜ ᱴᱟᱢᱟᱠ ᱫᱩᱞ
ᱫᱩᱞᱟ.ᱜᱼ ᱟ
ᱪᱟ.ᱭ ᱜᱟᱲ ᱨᱮ
ᱛᱤᱨᱭᱚ ᱥᱟᱰᱮ ᱠᱟᱱ
ᱪᱟᱢᱯᱟ ᱜᱟᱲ ᱨᱮ ᱵᱟᱱᱟᱢ ᱨᱟᱣᱟᱜ- ᱟ
ᱟᱠᱷᱲᱟ ᱨᱮ ᱛᱩᱢᱫᱟᱜ ᱴᱟᱢᱟᱠ ᱫᱩᱞ ᱫᱩᱞᱟ.ᱜ ᱠᱟᱱ᱾”
ᱞᱟᱜᱽᱲᱮ ᱥᱮᱨᱮᱧ ᱺ ᱯᱟ.ᱦᱤᱞ ᱥᱟᱨᱟ ᱥᱤᱧ
ᱠᱟ.ᱢᱤ ᱞᱟᱸᱜᱟ ᱠᱟᱛᱮᱜ ᱡᱚᱠᱷᱚᱡ ᱦᱚᱲ
ᱠᱚ ᱨᱩᱣᱟ.ᱲ ᱦᱤᱡᱩᱜ ᱛᱟᱦᱮᱡ ᱛᱩᱠᱟ. ᱛᱮ, ᱩᱱ ᱫᱚ
ᱚᱱᱟ ᱠᱟ.ᱢᱤ
ᱞᱟᱸᱜᱟ ᱞᱟᱲᱮᱡ ᱞᱟ.ᱜᱤᱫ ᱥᱮ ᱥᱟᱦᱟᱭ ᱞᱟ.ᱜᱤᱫ ᱢᱤᱫ
ᱮᱱᱮᱪ ᱥᱮᱨᱮᱧ ᱟᱠᱷᱲᱟ ᱠᱚ ᱵᱮᱱᱟᱣ ᱛᱟᱦᱮᱡ ᱡᱟᱦᱟ ᱞᱟᱜᱽᱲᱮ ᱟᱠᱷᱲᱟ ᱠᱚ ᱢᱮᱛᱟᱜ ᱛᱟᱦᱮᱡ᱾ ᱟᱨ ᱱᱚᱣᱟ ᱞᱟᱜᱽᱲᱮ ᱟᱠᱷᱲᱟ ᱨᱮ ᱡᱟᱦᱟ ᱠᱚ ᱥᱮᱨᱮᱧ ᱛᱟᱦᱮᱡ ᱚᱱᱟ ᱜᱮ ᱞᱟᱜᱽᱲᱮ ᱥᱮᱨᱮᱧ ᱫᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱯᱩᱭᱞᱩ ᱛᱮ
ᱫᱚ ᱞᱟᱜᱽᱲᱮ ᱫᱚ
ᱵᱟᱨ ᱞᱮᱠᱟᱱᱟᱜ ᱛᱮ
ᱦᱟ.ᱴᱤᱧ ᱟᱠᱟᱱᱟ᱾ ᱢᱤᱫ ᱨᱮᱫᱟ ᱨᱟ.ᱥᱠᱟ. ᱨᱚᱢᱚᱡᱽ ᱞᱟ.ᱜᱤᱫ ᱞᱟᱜᱽᱲᱮ, ᱟᱨ
ᱫᱚᱥᱟᱨ ᱨᱟᱭᱟᱜ ᱫᱚ
ᱱᱮᱭᱟᱢ ᱫᱷᱚᱨᱚᱢ ᱞᱟᱜᱽᱲᱮ, ᱢᱮᱱ ᱫᱚ ᱚᱠᱟ
ᱡᱚᱦᱚᱜ ᱵᱟᱭ ᱫᱟᱜᱽ ᱟ , ᱩᱱ ᱵᱚᱝ
ᱵᱩᱨᱩ ᱠᱚ ᱨᱟ.ᱥᱠᱟ ᱦᱚᱪᱚ ᱠᱚ
ᱞᱟ.ᱜᱤᱫ ᱡᱟᱦᱟ ᱞᱟᱜᱽᱲᱮ ᱟᱠᱷᱲᱟ ᱠᱚ
ᱛᱮᱭᱟᱨᱟ ᱚᱱᱟ ᱜᱮ
ᱱᱮᱭᱟᱢ ᱫᱷᱚᱨᱚᱢ ᱨᱮᱭᱟᱜ ᱞᱟᱜᱽᱲᱮ ᱫᱚ᱾ ᱟᱨ ᱱᱚᱣᱟ ᱨᱟ.ᱥᱠᱟ.ᱨᱚᱢᱚᱡᱽ ᱨᱮᱭᱟᱜ ᱞᱟᱜᱽᱲᱮ ᱨᱩ
ᱟᱨ ᱥᱮᱨᱮᱧ ᱨᱟᱦᱟ ᱛᱮ ᱟᱨᱦᱚ ᱤᱨᱟ.ᱞ ᱦᱟ.ᱴᱤᱧ
ᱛᱮ ᱦᱟ.ᱴᱤᱧ
ᱟᱠᱟᱱᱟ᱾ ᱦᱟ.ᱴᱤᱧ ᱛᱮ
ᱦᱟ.ᱴᱤᱧ ᱟᱠᱟᱱᱟ ᱾ ᱚᱱᱟ ᱠᱚᱫᱚ ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ— ᱥᱮᱫᱟᱭ ᱞᱟᱜᱽᱲᱮ,ᱱᱟᱦᱟᱜ ᱞᱟᱜᱽᱲᱮ,ᱴᱩᱦᱩᱨ ᱞᱟᱜᱽᱲᱮ, ᱴᱷᱤᱠᱟ. ᱞᱟᱜᱽᱲᱮ, ᱫᱚᱝ ᱞᱟᱜᱽᱲᱮ, ᱥᱚᱡᱷᱮ ᱞᱟᱜᱽᱲᱮ ,ᱥᱤᱠᱟ.ᱨᱤᱭᱟ. ᱞᱟᱜᱽᱲᱮ,ᱯᱟᱛᱟ ᱞᱟᱜᱽᱲᱮ᱾
ᱥᱮᱫᱟᱭ ᱞᱟᱜᱽᱲᱮ ᱺᱫᱚ ᱚᱱᱟ
ᱞᱟᱜᱽᱲᱮ ᱥᱮᱨᱮᱧ ᱠᱚ
ᱠᱟᱱᱟ ᱡᱟᱦᱟ ᱫᱚ
ᱥᱮᱫᱟᱭ ᱠᱷᱚᱱ ᱠᱚ
ᱥᱮᱨᱮᱧ ᱟ.ᱜᱩᱭᱮᱫᱟ᱾ ᱡᱮᱞᱮᱠᱟ —
“ᱛᱟᱦᱟ ᱨᱮᱛᱟ ᱱᱟ-ᱱᱟ ᱛᱟᱨᱱᱟ ᱛᱟᱦᱟ ᱨᱮᱛᱟ ᱱᱟ-ᱱᱟ
ᱛᱟᱦᱟ ᱨᱮᱛᱟ ᱱᱟ ᱱᱟ
ᱡᱮ
ᱛᱚᱠᱟ ᱨᱮᱫᱚᱢ ᱡᱟᱱᱟᱢ ᱞᱮᱱᱟ ᱞᱟᱸᱜᱟ ᱮᱲᱮ ᱞᱟᱜᱽᱲᱮ ᱫᱚ?
ᱛᱚᱠᱟ ᱨᱮᱫᱚᱢ ᱵᱷᱩᱥᱟ.ᱲ ᱞᱮᱱᱟ ᱞᱟᱸᱜᱟ ᱮᱲᱮ
ᱞᱟᱜᱽᱲᱮ ᱫᱚ
ᱦᱤᱦᱤᱲᱤ ᱨᱤᱧ ᱡᱟᱱᱟᱢ ᱞᱮᱱᱟ ᱞᱟᱸᱜᱟ ᱮᱲᱮ ᱞᱟᱜᱽᱲᱮ ᱫᱚ,
ᱯᱤᱯᱤᱲᱤ ᱨᱤᱧ ᱵᱷᱩᱥᱟ.ᱲ ᱞᱮᱱᱟ ᱞᱟᱸᱜᱟ ᱮᱲᱮ
ᱞᱟᱜᱽᱲᱮ ᱫᱚ ᱾”
ᱱᱟᱦᱟᱜ ᱞᱟᱜᱽᱲᱮᱺ ᱱᱮᱛᱟᱨ ᱡᱩᱜᱽ ᱥᱮ ᱱᱟᱦᱟᱜ ᱱᱟᱣᱟ ᱠᱟᱨᱰ ᱛᱮ
ᱡᱟᱦᱟ ᱥᱮᱨᱮᱧ ᱠᱚ
ᱛᱚᱞ ᱠᱟᱛᱮᱜ ᱞᱟᱜᱽᱲᱮ ᱠᱚ ᱥᱮᱨᱮᱧ-ᱟ ᱚᱱᱟ ᱜᱮ ᱱᱟᱦᱟᱜ ᱞᱟᱜᱽᱲᱮ ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱢᱮᱞᱮᱠᱟ—
“ᱱᱚᱛᱮ ᱢᱟ
ᱯᱩᱨᱩᱞᱤᱭᱟ., ᱱᱚᱛᱮ ᱢᱟ ᱴᱟᱴᱟ ᱵᱟᱡᱟᱨ
ᱵᱟ.ᱛᱤ ᱫᱚ ᱟ.ᱲᱤᱡ
ᱮᱱᱟ ᱦᱤᱨᱟ.ᱢᱟ.ᱭ ᱜᱟ.ᱰᱤ
ᱫᱚ ᱛᱤᱸᱜᱩᱭᱮᱱ
ᱱᱩᱢᱤᱱ ᱢᱟᱨᱟᱝ ᱨᱮᱞ ᱜᱟ.ᱰᱤ ᱫᱟᱜ.ᱲᱟᱭ
ᱞᱮᱜᱮᱢ ᱞᱮᱜᱮᱢ
ᱜᱟᱲ
ᱥᱟᱦᱮᱵ ᱥᱤᱜᱽᱱᱮᱞ ᱟᱠᱟᱫ ᱜᱟᱱ.ᱰᱤ ᱛᱤᱸᱜᱩᱭ ᱞᱟ.ᱜᱤᱫ
ᱨ.ᱥᱤ ᱟᱛᱳ ᱨᱮᱱ
ᱡᱩᱨᱤ ᱠᱩᱲᱤ ᱢᱤᱫ
ᱛᱮᱠᱤᱱ ᱫᱟᱲᱟᱱᱟ
ᱛᱟᱨᱟ ᱟᱧᱪᱟᱨ ᱠᱤᱱ ᱥᱤᱜᱽᱱᱮᱞ ᱟᱠᱟᱫ ᱥᱤᱸᱜᱟ.ᱲ ᱞᱟᱜᱽᱲᱮ ᱮᱱᱮᱪ᱾
ᱯᱟᱛᱟ ᱞᱟᱜᱽᱲᱮᱺ ᱯᱟᱛᱟ ᱯᱚᱨᱚᱵ ᱠᱚᱨᱮᱜ ᱡᱟᱦᱟ ᱞᱮᱠᱟᱱ ᱞᱟᱜᱽᱲᱮ ᱠᱚ ᱥᱮᱨᱮᱧᱼᱟ, ᱚᱱᱟ ᱜᱮ ᱯᱟᱛᱟ ᱞᱟᱜᱽᱲᱮ ᱥᱮᱨᱮᱧ ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱡᱮᱞᱮᱠᱟ—
“ᱨᱟ.ᱥᱤ
ᱟᱛᱳ ᱡᱮᱞᱮᱧ ᱠᱩᱞᱦᱤ
ᱩᱥᱩᱞ ᱯᱤᱸᱰᱟ. ᱵᱷᱤᱛ ᱨᱮ
ᱚᱠᱚᱭ ᱱᱟ ᱯᱮ ᱯᱚᱛᱟᱣ ᱟᱠᱟᱫ
ᱵᱟᱦᱟ ᱞᱮᱠᱟᱱ ᱯᱟ.ᱛᱱᱤ?
ᱧᱩᱛᱩᱢ ᱛᱟᱭ ᱫᱚ ᱧᱟᱪᱷᱢᱩᱱᱤ
ᱯᱟ.ᱨᱤᱥ ᱛᱟᱭ ᱫᱚ
ᱢᱟ.ᱱᱰᱤ
ᱩᱱᱤ
ᱜᱮᱭ ᱯᱚᱛᱟᱣ ᱟᱠᱟᱫ
ᱵᱟᱦᱟ ᱞᱮᱠᱟᱱ ᱯᱟ.ᱛᱱᱤ᱾”
ᱡᱷᱤᱠᱟ. ᱞᱟᱜᱽᱲᱮᱺ ᱡᱟᱦᱟ ᱞᱟᱜᱽᱲᱮ
ᱥᱮᱨᱮᱧ ᱠᱚ ᱨᱮᱭᱟᱜ
ᱨᱟᱦᱟ ᱫᱚ ᱮᱛᱚᱦᱚ ᱥᱮᱫ ᱫᱚ
ᱴᱟ.ᱦᱨᱤ ᱜᱮᱭᱟ
ᱢᱮᱱ ᱠᱷᱟᱱ ᱢᱩᱪᱟ.ᱫ
ᱥᱮᱫ ᱫᱚ ᱪᱳᱜᱳᱲ
ᱜᱮᱭᱟ, ᱚᱱᱟ ᱠᱟᱱ
ᱞᱟᱜᱽᱲᱮ ᱥᱮᱨᱮᱧ ᱠᱚᱫᱚ
ᱡᱷᱤᱠᱟ. ᱞᱟᱜᱽᱲᱮ ᱠᱚ
ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱡᱮᱞᱮᱠᱟ—
“ ᱛᱟᱦᱟ ᱨᱮᱛᱟ
ᱱᱟ ᱱᱟ ᱛᱟᱨᱱᱟ ᱛᱟᱦᱟ
ᱨᱮᱛᱟ ᱨᱮ
ᱛᱟᱦᱟ ᱨᱮᱛᱟ
ᱱᱟᱱᱟ ᱛᱟᱨᱱᱟ ᱱᱟ
ᱱᱟ ᱡᱮ
ᱵᱩᱨᱩ ᱪᱮᱛᱟᱱ
ᱠᱟᱥᱠᱚᱢ ᱵᱟᱲᱜᱮ
ᱜᱚᱞ ᱜᱚᱞ
ᱛᱮ ᱮᱴᱮᱫ ᱢᱮ
ᱜᱚᱞ ᱜᱚᱞ
ᱛᱮ ᱮᱴᱮᱫ ᱯᱩᱨᱟ.ᱣ
ᱢᱮ᱾
ᱱᱮᱥ ᱵᱟᱵᱩᱧ
ᱫᱷᱩᱛᱤ ᱢᱮᱭᱟ
ᱠᱟᱞᱚᱢ ᱵᱟᱵᱩᱧ
ᱫᱟ.ᱲᱦᱤ ᱢᱮᱭᱟ
ᱥᱟᱛᱚᱢ ᱵᱟᱦᱩᱧ
ᱟ.ᱜᱩ ᱟᱢᱟ᱾”
ᱴᱩᱦᱩᱨ ᱞᱟᱜᱽᱲᱮᱺ ᱡᱟᱦᱟ ᱞᱟᱜᱽᱲᱮ ᱥᱮᱨᱮᱧ ᱠᱚ
ᱨᱮᱭᱟᱜ ᱮᱛᱚᱦᱚᱵ ᱠᱷᱚᱱ ᱢᱩᱪᱟ.ᱫ ᱥᱮᱫ
ᱦᱟᱵᱤᱡ ᱨᱟᱦᱟ ᱴᱟ.ᱦᱨᱤ ᱜᱮᱭᱟ, ᱚᱱ
ᱠᱟᱱ ᱞᱟᱜᱽᱲᱮ ᱥᱮᱨᱮᱧ ᱠᱚ ᱜᱮ ᱴᱩᱦᱩᱨ ᱞᱟᱜᱽᱲᱮ ᱵᱚᱱ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱡᱮᱞᱮᱮᱠᱟ—
“ᱟᱥᱟᱲ ᱵᱚᱸᱜᱟ ᱱᱟᱣᱟ ᱫᱟᱜ
ᱤᱧ
ᱢᱟ ᱛᱚᱞᱟᱧ ᱛᱳᱛᱳᱫ ᱠᱟᱱ
ᱢᱟ.ᱱᱰᱤ ᱠᱚᱲᱟ ᱛᱤᱨᱭᱚᱭ ᱚᱨᱚᱝ
ᱠᱟᱫᱟᱢ ᱵᱩᱴᱟ. ᱨᱮ᱾
ᱫᱟᱜ
ᱠᱮᱫᱟᱭ ᱡᱷᱚᱢ ᱡᱷᱚᱢ
ᱛᱤᱨᱭᱚ ᱵᱟᱱᱟᱢ ᱥᱟᱰᱮ ᱠᱟᱱᱟ
ᱤᱧ
ᱫᱩᱧ ᱨᱟᱠᱟᱵ ᱠᱟᱫᱟᱢ ᱩᱢᱩᱞ
ᱡᱤᱣᱤᱧ ᱞᱟᱲᱮᱡᱟ᱾”
ᱫᱚᱝ ᱞᱟᱜᱽᱲᱮᱺ ᱪᱷᱟᱴᱭᱟ.ᱨ ᱫᱚᱝ ᱟᱨ
ᱵᱟᱝ ᱠᱷᱟᱱ ᱵᱟᱯᱞᱟ ᱫᱚᱝ ᱨᱮ ᱟᱠᱷᱲᱟ ᱮᱛᱚᱦᱚ ᱢᱟᱲᱟᱝ ᱡᱟᱦᱟ ᱞᱟᱜᱽᱲᱮ ᱠᱚ ᱥᱮᱨᱮᱧ-ᱟ , ᱚᱱᱟ ᱥᱮᱨᱮᱧ ᱜᱮ ᱫᱚᱝ ᱞᱟᱜᱽᱲᱮ ᱫᱚ ᱵᱚᱱ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱡᱮᱞᱮᱠᱟ—
“ᱟᱠᱷᱲᱟ ᱫᱷᱟ.ᱱᱤ ᱜᱮᱡᱽ ᱢᱮ
ᱟᱠᱷᱲᱟ ᱫᱷᱟ.ᱱᱤ ᱜᱩᱨᱤᱡᱽ ᱢᱮ
ᱟᱠᱷᱲᱟ ᱫᱚ ᱫᱷᱟ.ᱱᱤ
ᱜᱮᱡ ᱜᱩᱨᱤᱡᱽ ᱢᱮ᱾"
ᱥᱚᱡᱷᱮ ᱞᱟᱜᱽᱲᱮᱺ ᱡᱟᱦᱟ ᱞᱟᱜᱽᱲᱮ ᱥᱮᱨᱮᱧ ᱠᱚᱫᱚ ᱡᱟᱦᱟ ᱢᱟᱱᱮ ᱛᱟᱦᱟ ᱨᱮ ᱨᱟ.ᱥᱠᱟ.
ᱨᱚᱢᱚᱡᱽ ᱞᱟ.ᱜᱤᱫ
ᱥᱮᱨᱮᱧ ᱜᱟᱱᱚᱜ-ᱟ,
ᱚᱱ ᱠᱟᱱ ᱥᱮᱨᱮᱧ ᱠᱚᱫᱚ ᱥᱚᱡᱷᱮ ᱞᱟᱜᱽᱲᱮ ᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱡᱮᱞᱮᱠᱟ—
“ᱦᱤᱦᱤᱲᱤ ᱨᱮ
ᱡᱟᱱᱟᱢ, ᱯᱤᱯᱤᱲᱤ ᱨᱮ
ᱡᱟᱱᱟᱢ
ᱡᱟ.ᱛ ᱵᱷᱟᱭ ᱨᱮ
ᱥᱟᱥᱟᱝ ᱵᱮᱲᱟ ᱨᱮ
ᱡᱟ.ᱛ ᱢᱟᱱᱣᱟ ᱦᱳ
ᱢᱟ.ᱛ ᱥᱟᱱᱛᱟᱲ
ᱡᱟᱱᱟᱢ ᱫᱤᱥᱚᱢ ᱵᱟᱪᱚᱢ ᱫᱤᱥᱟ.ᱭ᱾
ᱦᱤᱦᱤᱲᱤ ᱯᱤᱯᱤᱲᱤ, ᱪᱟ.ᱭ,
ᱪᱟᱢᱯᱟ ᱜᱟᱲ
ᱵᱩᱨᱩ ᱫᱚᱞᱟᱱ ᱜᱟᱲ ᱫᱚ
ᱟᱵᱚᱣᱟᱜ ᱜᱮ᱾"
ᱥᱤᱠᱟ.ᱨᱤᱭᱟ. ᱞᱟᱜᱽᱲᱮᱺ ᱨᱩᱥᱤᱠᱟ ᱨᱩᱥᱤᱠᱤᱭᱟ. ᱠᱚ
ᱞᱟᱜᱽᱲᱮ ᱟᱠᱷᱲᱟ ᱯᱟᱱᱛᱮ ᱡᱚᱦᱚᱜ ᱡᱟᱦᱟ ᱡᱟᱦᱟ ᱠᱚ ᱮᱱᱮᱪ ᱥᱮᱨᱮᱧ-ᱟ, ᱚᱱᱟ ᱞᱟᱜᱽᱲᱮ ᱥᱮᱨᱮᱧ ᱫᱚ ᱥᱤᱠᱟ.ᱨᱤᱭᱟ. ᱞᱟᱜᱽᱲᱮ ᱥᱮᱨᱮᱧ ᱠᱚ ᱢᱮᱛᱟᱣᱟᱜ ᱠᱟᱱᱟ᱾ ᱡᱮᱞᱮᱠᱟ—
“ ᱠᱚᱪᱟ ᱠᱩᱞᱦᱤ ᱟᱠᱷᱲᱟ ᱢᱚᱱᱮ ᱡᱤᱣᱤ ᱟᱸᱫᱳᱲᱟ
ᱨᱟᱱ.ᱥᱠᱟ. ᱢᱚᱱᱮ ᱨᱩᱥᱤᱠᱟ ᱪᱟᱞᱟᱜ ᱥᱟ.ᱱᱟ.ᱧᱟ
ᱪᱟᱞᱟᱜ ᱢᱟᱛᱚ ᱥᱟ.ᱱᱟ.ᱧᱟ ᱟᱭᱳ ᱜᱮᱛᱚᱭ ᱢᱟᱱᱟᱣᱟ
ᱤᱧ
ᱫᱩᱧ ᱚᱸᱰᱚᱜ ᱪᱟᱞᱟᱜ ᱨᱮᱫᱚ ᱵᱟᱵᱟᱭ ᱢᱟᱱᱟᱧᱟ᱾”
ᱫᱚᱝ ᱥᱮᱨᱮᱧ ᱺ ᱫᱚᱝ ᱥᱮᱨᱮᱧ ᱢᱮᱱ
ᱛᱮᱫᱚ ᱡᱟᱱᱟᱢ ᱠᱷᱚᱱ ᱜᱚᱡᱩᱜ ᱫᱷᱟ.ᱨᱤᱡ
ᱢᱟᱱᱣᱟ ᱡᱤᱭᱚᱱ ᱨᱮᱭᱟᱜ ᱱᱟᱱᱟ ᱦᱩᱱᱟᱨ ᱠᱟ.ᱢᱤ ᱥᱩᱥᱟ.ᱨ ᱚᱠᱛᱚ ᱡᱟᱦᱟ ᱠᱚ
ᱥᱮᱨᱮᱧᱟ ᱚᱱᱟ ᱜᱮ
ᱫᱚᱝ ᱥᱮᱨᱮᱧ ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱫᱚᱝ
ᱥᱮᱨᱮᱧ ᱫᱚ ᱯᱩᱭᱞᱩ ᱫᱚ ᱢᱩᱲᱩᱫ ᱯᱮ
ᱞᱮᱠᱟᱛᱮ ᱦᱟ.ᱴᱤᱧ
ᱟᱠᱟᱱᱟ᱾ ᱢᱤᱫ ᱨᱮᱫᱚ ᱪᱷᱟ.ᱴᱭᱟ.ᱨ ᱫᱚ, ᱫᱚᱥᱟᱨ ᱫᱚ
ᱵᱟᱯᱞᱟ ᱫᱚᱝ, ᱟᱨ
ᱛᱮᱥᱟᱨ ᱨᱮᱫᱚ ᱵᱷᱟᱰᱟᱱ ᱫᱚᱝ᱾ ᱚᱱᱟ ᱛᱟᱭᱚᱢ ᱵᱟᱯᱞᱟ ᱫᱚᱝ ᱫᱚ
ᱟᱨ ᱦᱚ ᱛᱩᱨᱩᱭ ᱦᱟ.ᱴᱤᱧ ᱨᱮ
ᱦᱟ.ᱴᱤᱧ ᱟᱠᱟᱱᱟ᱾
ᱪᱷᱟ.ᱴᱭᱟ.ᱨ ᱫᱚᱝᱺ ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ ᱡᱚᱠᱷᱚᱡ ᱢᱤᱫ
ᱱᱟᱣᱟ ᱜᱤᱫᱽᱨᱟ.ᱭ ᱡᱟᱱᱟᱢᱚᱜ-ᱟ,
ᱩᱱ ᱡᱚᱦᱚᱜ ᱩᱱᱤ
ᱥᱟᱶᱛᱟ ᱛᱟᱞᱟᱭᱮ ᱞᱟ.ᱜᱤᱫ ᱟᱨ ᱧᱩᱢ
ᱦᱟᱞᱟᱝ ᱞᱟ.ᱜᱤᱫ
ᱡᱟᱦᱟ ᱟᱠᱷᱲᱟ ᱠᱚ
ᱵᱮᱱᱟᱣ-ᱟ ᱚᱱᱟ
ᱜᱮ ᱪᱷᱟᱴᱭᱟ.ᱨ ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱟᱨ ᱱᱚᱣᱟ ᱪᱷᱟᱴᱭᱟ.ᱨ ᱨᱮ ᱡᱟᱦᱟ ᱠᱚ ᱥᱮᱨᱮᱧ-ᱟ ᱚᱱᱟ ᱜᱮ ᱪᱷᱟ.ᱴᱭᱟ.ᱨ ᱫᱚᱝ
ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱡᱮᱞᱮᱠᱟ —
“ᱚᱠᱚᱭᱟᱜ ᱨᱟᱪᱟᱨᱮ ᱫᱟᱜ ᱵᱷᱩᱵᱩᱠ ᱮᱱ
ᱫᱟᱜ
ᱵᱷᱩᱵᱩᱠ ᱮᱱ ᱢᱟᱱᱟ ᱪᱟᱣᱞᱮ ᱵᱳᱦᱮᱞ ᱮᱱ?
ᱯᱷᱟᱨᱱᱟ ᱟᱜ ᱨᱟᱪᱟᱨᱮ ᱫᱚᱜ
ᱵᱷᱩᱵᱩᱠ ᱮᱱ
ᱫᱟᱜ
ᱵᱷᱩᱵᱩᱠ ᱮᱱ ᱢᱟᱱᱟ ᱪᱟᱣᱞᱮ ᱵᱳᱦᱮᱞ ᱮᱱ᱾”
ᱵᱟᱯᱞᱟ ᱫᱚᱝᱺ ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ ᱨᱮ ᱠᱚᱲᱟ ᱠᱩᱲᱤ ᱠᱚ ᱦᱟᱨᱟ ᱡᱩᱣᱟ.ᱱ ᱞᱮᱱ
ᱠᱷᱟᱱ ᱟᱫᱚ ᱥᱚᱱᱚᱛ ᱡᱩᱨᱤ ᱥᱤᱠᱲᱤ ᱛᱚᱞ
ᱨᱮᱭᱟᱜ ᱠᱚ ᱠᱩᱨᱩ ᱢᱩᱴᱩᱭᱟ᱾ ᱵᱟᱨᱭᱟ ᱡᱩᱣᱟ.ᱱ ᱠᱚᱲᱟ ᱠᱩᱲᱤ ᱡᱩᱨᱤ ᱥᱤᱠᱲᱤ ᱛᱚᱞ ᱞᱟ.ᱜᱤᱫ
ᱡᱟᱦᱟ ᱠᱟ.ᱢᱤ
ᱦᱚᱨᱟ ᱠᱚ ᱥᱩᱥᱟ.ᱨᱟ ᱚᱱᱟ ᱜᱮ
ᱵᱟᱯᱞᱟ ᱞᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱟᱨ ᱱᱚᱣᱟ ᱠᱟ.ᱢᱤ ᱦᱚᱨᱟ ᱚᱠᱛᱚ ᱡᱟᱦᱟ ᱠᱚ
ᱥᱮᱨᱮᱧᱟ ᱚᱱᱟ ᱜᱮ
ᱵᱟᱯᱞᱟ ᱫᱚᱝ ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱡᱮᱞᱮᱠᱟ—
“ᱜᱟᱛᱮ ᱫᱩᱞᱟ.ᱲ ᱵᱤᱴᱤ ᱥᱮᱛᱟᱜ ᱛᱤᱠᱤᱱ ᱩᱢᱩᱞ
ᱵᱚᱨᱢᱮ ᱵᱚᱨᱢᱮ ᱛᱮ ᱠᱷᱟᱴᱚ ᱤᱫᱤᱜ
ᱛᱤᱨᱤ ᱫᱩᱞᱟ.ᱲ ᱵᱤᱴᱤ ᱛᱤᱠᱤᱱ ᱟ.ᱭᱩᱵ
ᱩᱢᱩᱞ
ᱵᱚᱨᱢᱮ ᱵᱚᱨᱢᱮ ᱛᱮ ᱦᱟᱨᱟ ᱤᱫᱤᱜ᱾”
ᱵᱟᱯᱞᱟ ᱫᱚᱝ ᱥᱮᱨᱮᱧ ᱠᱚᱫᱚ ᱟᱨ ᱦᱚ ᱛᱩᱨᱩᱭ ᱜᱚᱴᱟᱝ ᱦᱟ.ᱴᱤᱧ
ᱛᱮ ᱦᱟ.ᱴᱤᱧ
ᱟᱠᱟᱱᱟ᱾ᱚᱱᱟ ᱠᱚᱫᱚ ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ—ᱥᱚᱡᱷᱮ ᱫᱚᱝ,
ᱵᱟᱨ
ᱛᱟᱲᱟᱢ ᱫᱚᱝ,ᱯᱮ
ᱛᱟᱲᱟᱢ ᱫᱚᱝᱵ,ᱨᱟᱢᱲᱟ ᱨᱤᱫ ᱫᱚᱝ ,ᱵᱟᱞᱟᱭᱟ ᱫᱚᱝ,ᱵᱩᱰᱦᱤ ᱫᱚᱝ
᱾
ᱵᱷᱟᱰᱟᱱ ᱫᱚᱝᱺ ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ ᱨᱮ ᱡᱚᱞᱷᱚ ᱢᱤᱫ ᱦᱚ ᱮ ᱵᱚᱸᱜᱟ ᱛᱟᱞᱟᱜ-ᱟ,
ᱩᱱ ᱡᱚᱦᱚᱜ ᱩᱱᱠᱩ ᱫᱩᱠᱷ ᱟᱠᱟᱱ ᱚᱲᱟᱜ ᱦᱚᱲ ᱠᱚ ᱚᱱᱟ
ᱫᱩᱠᱷ ᱠᱷᱚᱱ ᱚᱣᱟᱨ ᱠᱚ ᱞᱟ.ᱜᱤᱫ
ᱟᱨ ᱵᱚᱸᱜᱟ ᱛᱟᱞᱟ ᱟᱠᱟᱱ ᱦᱚᱲᱤᱡ ᱟᱛᱛᱟ ᱥᱟᱱᱛᱤ ᱞᱟ.ᱜᱤᱫ
ᱡᱟᱦᱟ ᱢᱟᱸᱰᱣᱟ ᱥᱮ
ᱟᱠᱷᱲᱟ ᱠᱚ ᱛᱮᱭᱟᱨᱟ, ᱚᱱᱟ ᱜᱮ ᱵᱷᱟᱰᱟᱱ ᱫᱚᱵᱚᱱ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱟᱨ ᱱᱚᱣᱟ ᱠᱟ.ᱢᱤ ᱦᱚᱨᱟ ᱥᱩᱥᱟ.ᱨ ᱚᱠᱛᱚ ᱡᱟᱦᱟ ᱠᱚ ᱥᱮᱨᱮᱧᱟ ᱚᱱᱟᱜᱮ ᱵᱷᱟᱰᱟᱱ ᱫᱚᱝ ᱥᱮᱨᱮᱧ ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱡᱮᱞᱮᱠᱟ—
ᱦᱟᱭ
ᱨᱮ ᱪᱟᱸᱫᱳ ᱵᱚᱸᱜᱟ
ᱨᱟ.ᱯᱩᱫ ᱢᱚᱞᱚᱝ ᱛᱤᱧ
ᱚᱠᱟ
ᱥᱮᱫ ᱤᱧ ᱠᱚᱭᱚᱜ ᱞᱮᱨᱮ
ᱪᱷᱟᱛᱟ ᱫᱟᱨᱮ ᱫᱩᱧ ᱧᱮᱞ
ᱧᱟᱢᱮᱭᱟ?
ᱢᱚᱱᱮ ᱡᱤᱣᱤ ᱫᱚᱭ ᱞᱟᱲᱮᱡ ᱠᱤᱛᱤᱧᱟ᱾
ᱨᱟᱱ
ᱢᱩᱨᱜᱟ.ᱱ ᱦᱚ
ᱪᱟᱵᱟᱭᱮᱱ
ᱜᱩᱲᱜᱩ ᱫᱷᱤᱨᱤ ᱦᱚ ᱨᱟᱱ.ᱯᱩᱫ ᱮᱱ
ᱮᱱ
ᱦᱚ ᱵᱟᱪᱷᱟ ᱨᱮ
ᱡᱩᱨᱤ ᱛᱤᱧ ᱫᱚ
ᱡᱩᱨᱤ ᱛᱤᱧ ᱫᱚ ᱵᱟᱪᱚᱭ ᱵᱮᱨᱮᱫ ᱞᱮᱱ᱾
ᱥᱚᱦᱨᱟᱭ ᱥᱮᱨᱮᱧ ᱺ ᱥᱚᱦᱨᱟᱭ ᱵᱚᱸᱜᱟ ᱥᱚᱦᱨᱟᱭ ᱯᱚᱨᱚᱵᱚᱜ ᱚᱠᱛᱚ ᱡᱟᱦᱟ ᱥᱮᱨᱮᱧ ᱠᱚ
ᱥᱮᱨᱮᱧᱟ ᱚᱱᱟ ᱠᱚ
ᱥᱮᱨᱮᱧ ᱜᱮ ᱥᱚᱦᱨᱟᱭ ᱥᱮᱨᱮᱧ ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱱᱚᱣᱟ ᱥᱚᱦᱨᱟᱭ ᱥᱮᱨᱮᱧ ᱠᱚᱦᱚ ᱨᱮᱭᱟᱜ ᱦᱚ ᱦᱟᱴᱤᱧ ᱢᱮᱱᱟᱜ-ᱟ ᱾ ᱡᱮᱞᱮᱠᱟ— ᱰᱟᱺᱝᱨᱤ ᱞᱟᱜᱟᱣ ᱟᱨ
ᱪᱩᱢᱟ.ᱲᱟ ᱥᱮᱨᱮᱧ ᱰᱟᱱᱴᱟ ,ᱨᱤᱧᱡᱷᱟ.,ᱞᱩᱦᱨᱤ,ᱜᱩᱸᱡᱟ.ᱨ, ᱟᱨ ᱥᱟᱲᱯᱟ᱾ ᱱᱚᱣᱟ ᱠᱚ ᱢᱩᱫᱽᱨᱮ ᱥᱟᱲᱯᱟ ᱮᱱᱮᱪ ᱥᱮᱨᱮᱧ ᱨᱮ ᱴᱩᱠᱩ ᱥᱩᱢᱩᱝ ᱛᱤᱨᱞᱟ. ᱠᱚᱜᱮ ᱠᱚ
ᱥᱩᱥᱟ.ᱨᱟ᱾
ᱫᱟᱥᱟᱭ ᱥᱮᱨᱮᱧ ᱺ ᱫᱟᱥᱟᱭ ᱥᱮᱨᱮᱧ ᱠᱚᱫᱚ ᱫᱟᱥᱟᱭ ᱵᱚᱸᱜᱟ ᱡᱚᱠᱷᱚᱡ ᱫᱟᱥᱟᱭ ᱫᱟᱲᱟᱱ ᱠᱚ ᱪᱟᱞᱟᱜ-ᱟ᱾
ᱩᱱ ᱡᱚᱦᱚᱜ ᱱᱚᱣᱟ ᱫᱟᱥᱟᱭ ᱫᱚᱠᱚ ᱥᱮᱨᱮᱧᱟ᱾
ᱥᱮᱸᱫᱽᱨᱟ ᱥᱮᱨᱮᱧ ᱺ ᱥᱮᱸᱫᱽᱨᱟ ᱪᱟᱞᱟᱜ ᱚᱠᱛᱚ ᱥᱮ ᱥᱮᱸᱫᱽᱨᱟ ᱚᱠᱛᱚ ᱡᱟᱦᱟ ᱠᱚ
ᱥᱮᱨᱮᱧ-ᱟ ᱚᱱᱟᱜᱮ ᱥᱮᱸᱫᱽᱨᱟ ᱥᱮᱨᱮᱧ ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱥᱮᱸᱫᱽᱨᱟ ᱥᱮᱨᱮᱧ ᱫᱚ ᱵᱟᱨ ᱦᱟ.ᱴᱤᱧ ᱛᱮᱠᱚ ᱦᱟ.ᱴᱤᱧ ᱟᱠᱟᱫᱟ ᱢᱤᱫ
ᱫᱚ ᱥᱤᱧ ᱥᱤᱝᱨᱟ.ᱭ ,ᱟᱨ ᱫᱚᱥᱟᱨ ᱟᱜ ᱫᱚ ᱠᱩᱸᱲᱭᱟ.ᱥᱮᱨᱮᱧ᱾
ᱠᱩᱸᱲᱭᱟ. ᱥᱮᱨᱮᱧ ᱨᱮᱫᱚ ᱟᱰᱤ
ᱵᱟᱲᱤᱡ ᱠᱟᱛᱷᱟ ᱠᱚ
ᱨᱮᱭᱟᱜ ᱵᱮᱣᱦᱟᱨ ᱧᱮᱞ
ᱧᱟᱢᱚᱜ-ᱟ᱾
ᱠᱟᱨᱟᱢ ᱥᱮᱨᱮᱧᱺ ᱠᱟᱨᱟᱢ ᱵᱚᱱ ᱵᱚᱸᱜᱟᱜ ᱡᱚᱦᱚᱜ ᱡᱟᱦᱟ ᱥᱮᱨᱮᱧ ᱛᱟᱞᱟ ᱛᱮ ᱠᱟᱨᱟᱢ ᱜᱚᱥᱟᱭ ᱵᱚᱱ ᱨᱟ.ᱥᱠᱟ.
ᱦᱚᱪᱚᱭ ᱞᱟ.ᱜᱤᱫ
ᱡᱟᱦᱟ ᱥᱮᱨᱮᱧ ᱵᱚᱱ
ᱥᱮᱨᱮᱧᱼᱟ ᱚᱱᱟᱜᱮ ᱠᱟᱨᱟᱢ ᱥᱮᱨᱮᱧ ᱫᱚ
᱾
ᱵᱟᱦᱟ ᱥᱮᱨᱮᱧ ᱺ ᱵᱟᱦᱟ ᱥᱮ ᱢᱟᱜ ᱢᱚᱬᱮ ᱚᱠᱛᱚ ᱵᱚᱸᱜᱟ ᱵᱩᱨᱩ ᱠᱚ ᱵᱚᱫᱷᱟᱣ ᱞᱟ.ᱜᱤᱫ ᱡᱟᱦᱟ ᱥᱮᱨᱮᱧ ᱡᱟᱦᱮᱨ ᱟᱨ ᱱᱟᱭᱠᱮ ᱚᱲᱟᱜ ᱨᱮᱠᱚ ᱥᱮᱨᱮᱧ-ᱟ ᱚᱱᱟ ᱜᱮ
ᱵᱟᱦᱟ ᱥᱮᱨᱮᱧ ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ-ᱟ᱾ ᱱᱚᱣᱟ ᱵᱟᱦᱟ ᱥᱮᱨᱮᱧ ᱫᱚ
ᱵᱟᱨ ᱦᱟ.ᱴᱤᱧ
ᱛᱮ ᱦᱟ.ᱴᱤᱧ
ᱟᱠᱟᱱᱟ᱾ ᱢᱤᱫ ᱨᱮᱫᱚ ᱵᱚᱸᱜᱟ ᱥᱮᱨᱮᱧ ᱟᱨ
ᱫᱚᱥᱟᱨ ᱫᱚ ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ ᱵᱟᱦᱟᱨ ᱥᱮᱨᱮᱧ᱾
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