Santali literature is a treasure
trove of the cultural heritage of the Santal people, one of the largest tribal
communities in India, predominantly inhabiting the states of Jharkhand, West
Bengal, Odisha, and Bihar. It encompasses a wide range of literary forms,
including oral traditions, folk songs, poetry, prose, and modern literary
works. The Santal people, with their distinct language and unique way of life,
have fostered a rich literary tradition that reflects their traditions,
beliefs, and struggles.
The Santali language, an
Austroasiatic language belonging to the Munda subgroup, is the key medium of
expression in Santali literature. This language has a rich oral tradition,
where storytelling, folklore, and songs have been passed down through
generations, preserving the essence of their culture. These oral traditions
play a vital role in keeping their history and customs alive, and they are
integral to their festivals, rituals, and social gatherings.
One of the most prominent forms of
Santali literature is the Parganas, which are long narrative poems sung during
various festive occasions or social events. These poetic compositions have a
musical quality and are accompanied by traditional musical instruments like the
flute, mandar, and dhamsa. Parganas often revolve around themes of love,
nature, mythology, and social issues, acting as a form of entertainment as well
as a medium of moral education for the community.
Apart from Parganas, the Santali
people have a rich collection of folk songs known as “Dong” and “Tusu Geet.” Dong
are occasional songs related t santali traditions , while Tusu Geet are sung
during the Tusu festival, celebrated in honor of Tusu, the deity of fertility.
These songs provide insights into the agrarian lifestyle and spiritual beliefs
of the Santal people, capturing the essence of their close bond with nature.
With the advent of written
literature, Santali poetry and prose began to emerge. The literary works in the
Santali language started to gain recognition in the early 20th
century when writers like Pandit Raghunath Murmu and Pandit Raghunath Chaudhary
contributed significantly to the development of modern Santali literature.
Raghunath Murmu’s “Ol Chiki” script, developed in 1925, provided a script for
the Santali language, giving it a written form and facilitating the growth of
written literature.
The themes in modern Santali
literature have expanded beyond traditional boundaries, addressing issues like
social justice, cultural identity, and the challenges faced by tribal
communities in contemporary society. Authors like Bina Gopal Murmu, Mangal
Murmu, and others have contributed to the diversification of Santali
literature, bringing attention to the struggles and aspirations of their
people.
Notably, the struggle for land,
identity, and social recognition is a recurring motif in Santali literature.
Through their writings, Santali authors have eloquently depicted the
difficulties faced by tribal communities due to land dispossession,
exploitation, and marginalization. This literature not only serves as a
reflection of their own experiences but also as a medium to create awareness
about their issues on a larger platform.
In recent years, Santali literature
has gained recognition beyond regional boundaries. Works translated into
mainstream Indian languages have helped in disseminating the cultural richness
of Santal society to a broader audience. Additionally, the proliferation of
digital platforms and social media has facilitated the reach and visibility of
Santali literature, allowing more people to access and appreciate this unique
literary heritage.
Santali literature stands as a
vibrant testimony to the cultural and linguistic diversity of India. It serves
as a mirror to the Santal community’s traditions, beliefs, and struggles,
showcasing their intimate connection with nature and their rich oral
traditions. From ancient oral epics to modern written works, Santali literature
has evolved, adapting to changing times while preserving the essence of the
Santal identity. It is a valuable literary heritage that deserves to be celebrated
and cherished, not only for its artistic expression but also for the insights
it provides into the lives and aspirations of one of India’s most vibrant
tribal communities.
»Oral Tradition: One of the most striking features
of Santali literature is its strong foundation in oral tradition. For
centuries, Santal culture relied on storytelling, folk songs, and poetry as a
means of preserving their history, customs, and beliefs. The oral transmission
of knowledge and cultural values has been a vital part of their social fabric,
and it continues to influence contemporary Santali literary expressions.
»Connection with Nature: Santali literature beautifully
reflects the profound connection that the Santal community shares with nature.
The rhythms, metaphors, and imageries employed in their literary works are
often drawn from the natural world. Nature is revered, celebrated, and
personified in their poetry and songs, reflecting their agrarian background and
belief in the divine presence in all living beings.
»Spirituality and Mythology: Santali literature is imbued with
spiritual elements and mythological narratives. Their stories often feature
deities, spirits, and mythical creatures. These narratives serve not only as a
form of entertainment but also as a way to convey their spiritual beliefs and
the significance of rituals and customs in their lives.
»Moral Lessons and Social Values: Many of the literary forms in
Santali literature, such as Parganas and folk songs, carry moral lessons and
social values. Through these compositions, the community imparts ethical
teachings and reinforces the importance of virtues like honesty, courage, and
respect for elders. Santali literature thus acts as an agent of cultural
transmission and social cohesion within the community.
»Evolution of Modern Written
Literature: With the
development of written literature, Santali authors have explored new literary
forms like poetry, short stories, and novels. Notable writers like Pandit
Raghunath Murmu and Pandit Raghunath Chaudhary played pivotal roles in shaping
modern Santali literature. The adoption of the “Ol Chiki” script, invented by
Raghunath Murmu, facilitated the growth of written literature and allowed
Santali authors to reach a broader audience.
»Social Issues and Identity: Modern Santali literature delves into
contemporary social issues faced by tribal communities, such as land rights,
cultural identity, and social marginalization. Through their writings, Santali
authors eloquently depict the struggles and aspirations of their people,
shedding light on the challenges that need attention and advocacy.
»Cultural Revival and Pride: Santali literature serves as a
potent tool for cultural revival and preservation of tribal identity. As
Santali authors express their experiences, heritage, and dreams through
literature, it fosters a sense of pride among the Santal community, reaffirming
their unique cultural heritage.
»ᱥᱟᱱᱛᱟᱲᱤᱥᱟᱶᱦᱮᱫ [For Santali
Readers Only]
ᱥᱮᱫᱟᱭ ᱠᱷᱚᱱ ᱦᱮᱡ ᱟ.ᱜᱩ ᱟᱠᱟᱱ ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ
ᱛᱟᱞᱟ ᱨᱮᱭᱟᱜ ᱨᱟᱭ ᱨᱤᱛ, ᱟᱨᱤ ᱪᱟᱞᱤ, ᱞᱟᱠᱪᱟᱨ ᱨᱮᱭᱟᱜ ᱠᱟ.ᱢᱤ ᱦᱚᱨᱟ ᱠᱚ ᱨᱮᱭᱟᱜ ᱛᱮᱛᱮᱫ, ᱞᱟ.ᱜᱽᱛᱤ
ᱟᱨ ᱱᱮᱭᱟᱢ ᱠᱚ ᱡᱚᱠᱷᱚᱢ ᱢᱚᱪᱟ ᱛᱮ ᱥᱮ ᱚᱞ ᱠᱟᱛᱮᱜ ᱵᱚᱱ ᱪᱟᱞ ᱟᱠᱚᱣᱟ ᱚᱱᱟᱜᱮ ᱥᱟᱶᱦᱮᱫ ᱢᱮᱱ ᱛᱮ ᱵᱚᱱ ᱢᱮᱱ
ᱫᱟᱲᱮᱭᱟᱜ- ᱟ᱾ ᱥᱟᱱᱛᱟᱲ ᱠᱚᱫᱚ ᱯᱟ.ᱦᱤᱞ ᱠᱷᱚᱱ ᱜᱮ ᱵᱤᱨ ᱵᱩᱨᱩ , ᱫᱷᱤᱨᱤ ᱠᱷᱩᱸᱫᱽᱲᱤ ᱨᱮᱠᱚ ᱵᱟᱥ ᱟ.ᱜᱩ
ᱟᱠᱟᱫᱟ, ᱵᱤᱨ ᱠᱟᱪᱷᱟᱲ ᱨᱮᱭᱟᱜ ᱡᱚ ᱵᱮᱞᱮ, ᱥᱟ.ᱞ ᱥᱟᱨᱟᱢ ᱠᱚ ᱥᱮᱸᱫᱽᱨᱟ ᱠᱟᱛᱮᱜ ᱡᱤᱭᱚᱱ ᱠᱚ ᱥᱟᱸᱜᱷᱟᱨ
ᱟ.ᱜᱩ ᱟᱠᱟᱫᱟ᱾ ᱚᱱᱟ ᱥᱮᱸᱫᱽᱨᱟ ᱠᱷᱚᱱ ᱨᱩᱣᱟ.ᱲ ᱠᱟᱛᱮᱜ, ᱪᱮᱫ ᱠᱚᱠᱚ ᱪᱤᱠᱟ. ᱠᱮᱫᱟ, ᱪᱮᱞᱮ ᱠᱚᱠᱚ
ᱥᱮᱸᱫᱽᱨᱟ ᱠᱮᱫ ᱠᱚᱣᱟ, ᱚᱠᱟ ᱞᱮᱠᱟ ᱛᱮᱠᱚ ᱥᱮᱸᱫᱽᱨᱟ ᱠᱮᱫᱟ ᱥᱟᱱᱟᱢᱟᱜ ᱠᱚ ᱞᱮᱭ ᱥᱟᱢᱟᱝ ᱛᱟᱦᱮᱡ᱾ ᱟᱨ
ᱚᱸᱰᱮ ᱠᱷᱚᱱ ᱜᱮ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱡᱟᱱᱟᱢ ᱫᱚ ᱦᱩᱭ ᱞᱮᱱᱟ᱾ ᱡᱟᱦᱟ ᱫᱚ ᱨᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱠᱚ
ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ, ᱟᱨ ᱱᱚᱣᱟ ᱠᱚ ᱨᱚᱲ ᱥᱟ.ᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱚᱞ ᱵᱮᱞ ᱠᱚ ᱮᱛᱚᱦᱚᱵ ᱮᱱ ᱛᱟᱭᱚᱢ ᱜᱮ ᱚᱱᱟ ᱚᱞ
ᱵᱮᱞ ᱨᱮᱭᱟᱜ ᱥᱟᱶᱦᱮᱫ ᱜᱮ ᱚᱞ ᱥᱟᱶᱦᱮᱫ ᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾
» ᱦᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱥᱟᱛᱟᱢ ᱠᱚ
ᱥᱟᱱᱛᱟᱲ ᱠᱚᱫᱚ ᱯᱟ.ᱦᱤᱞ ᱠᱷᱚᱱ ᱜᱮ ᱫᱷᱤᱨᱤ, ᱫᱟᱨᱮ, ᱵᱤᱨ ᱵᱩᱨᱩ ᱥᱟᱶ ᱡᱚᱲᱟᱣ
ᱛᱟᱦᱮ ᱠᱷᱟᱱ.ᱛᱤᱨ , ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱫᱚ ᱚᱱᱟ ᱠᱚ ᱨᱮᱭᱟᱜ ᱠᱟᱛᱷᱟ ᱥᱮ ᱥᱟᱦᱟᱨ ᱱᱟᱜᱟᱨ ᱨᱮᱭᱟᱜ
ᱠᱟᱛᱷᱟ ᱠᱚᱫᱚ ᱩᱱᱟ.ᱜ ᱵᱟᱝ ᱧᱟᱢᱚᱜ-ᱟ᱾ ᱠᱟ.ᱦᱱᱤ ᱠᱚᱨᱮᱜ, ᱚᱱᱚᱬᱦᱮ ᱠᱚᱨᱮᱜ , ᱥᱮ ᱥᱮᱨᱮᱧ ᱠᱚᱨᱮᱜ ᱦᱚ
ᱵᱤᱨ ᱵᱩᱨᱩ ᱫᱟᱨᱮ ᱱᱟ.ᱲᱤ ᱠᱚᱣᱟᱜ ᱠᱟᱛᱷᱟ ᱥᱮ ᱚᱱᱟ ᱥᱟᱶ ᱛᱮ ᱛᱩᱞᱩᱡ ᱠᱟᱛᱮᱜ ᱜᱮ ᱡᱟ.ᱥᱛᱤ ᱚᱞᱚᱜᱚᱜᱼᱟ ᱥᱮ
, ᱠᱟᱛᱷᱟ ᱠᱚᱦᱚ ᱞᱮᱭᱚᱜᱚᱜᱼ ᱟ᱾
ᱚᱱᱟ ᱵᱮᱜᱚᱨ ᱥᱟᱱᱛᱟᱲ ᱠᱚᱫᱚ ᱯᱟ.ᱦᱤᱞ ᱠᱷᱚᱱ ᱜᱮ
ᱯᱷᱩᱨᱜᱟᱹᱞ ᱦᱟ.ᱨᱭᱟ.ᱲ ᱫᱷᱟ.ᱨᱛᱤ ᱪᱟᱥ ᱵᱟᱥ ᱠᱟᱛᱮᱜ
ᱛᱟᱦᱮ ᱠᱚ ᱥᱮᱲᱟ ᱞᱮᱫ ᱛᱟᱦᱮ ᱠᱟᱱᱟ᱾ ᱵᱤᱨ ᱵᱩᱨᱩ ᱨᱮ ᱛᱟᱦᱮᱱ ᱚᱠᱛᱚ ᱥᱩᱢᱩᱝ ᱦᱚᱲᱢᱚ ᱫᱟᱲᱮ ᱫᱚ ᱵᱟᱝ ,
ᱫᱤᱞ ᱫᱟᱲᱮ ᱦᱚ ᱨᱮᱭᱟᱜ ᱦᱚ ᱞᱟ.ᱜᱽ ᱢᱮᱱᱟᱜ-ᱟ ᱾ ᱚᱱᱟ
ᱛᱮ ᱵᱚᱸᱜᱟ ᱵᱩᱨᱩ ᱠᱚ ᱫᱮᱵᱟ ᱥᱮᱵᱟ ᱠᱚ ᱛᱟᱦᱮ ᱱᱟ᱾ ᱚᱱᱟ ᱠᱚ ᱥᱟᱱᱟᱢᱟᱜ ᱠᱚ ᱦᱚ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟ.ᱶᱮᱫ ᱴᱷᱟᱶ
ᱦᱟᱢᱮᱴ ᱠᱟᱛᱮᱜ ᱢᱮᱱᱟᱜ ᱟᱠᱟᱫᱮᱭᱟ᱾
ᱟᱨ ᱠᱚ ᱡᱟ.ᱛᱤ ᱞᱮᱠᱟ ᱥᱟᱱᱛᱟᱲ ᱠᱚᱣᱟᱜ ᱦᱚ ᱜᱮᱞ
ᱵᱟᱨ ᱪᱟᱸᱫᱳ ᱨᱮ ᱜᱮᱞᱵᱟᱨ ᱞᱮᱠᱟᱱ ᱯᱚᱨᱚᱵ ᱯᱟ.ᱞ ᱠᱚ ᱢᱮᱱᱟᱜ ᱟᱠᱟᱫᱟ᱾ ᱚᱱᱟ ᱯᱚᱨᱚᱵ ᱯᱟ.ᱞ ᱠᱚ ᱨᱮᱭᱟᱜ ᱠᱟ.ᱢᱤ
ᱦᱚᱨᱟ ᱟᱨ ᱞᱟᱠᱪᱟᱨ ᱟ.ᱨᱤ ᱪᱟ.ᱞᱤ ᱠᱚ ᱦᱟ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱢᱤᱫ ᱥᱟᱛᱟᱢ ᱜᱮ ᱠᱟᱱᱟ᱾ ᱥᱟᱶᱛᱮ
ᱱᱟᱱᱟ ᱦᱩᱜᱟ.ᱨ ᱥᱟᱶᱛᱟ ᱨᱮᱭᱟᱜ ᱠᱟ.ᱢᱤ ᱦᱚᱨᱟ ᱠᱚ, ᱡᱮᱞᱮᱠᱟ— ᱵᱟᱯᱞᱟ, ᱵᱷᱟᱰᱟᱱ , ᱪᱷᱟᱴᱭᱟ.ᱨ ᱮᱢᱟᱱᱟᱜ
ᱠᱚ ᱨᱮᱭᱟᱜ ᱟ.ᱱ ᱟ.ᱨᱤ ᱠᱚᱦᱚ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱢᱤᱫ ᱥᱟᱛᱟᱢ ᱠᱟᱱᱟ᱾ ᱡᱮᱞᱮᱠᱟ — ᱵᱟᱦᱟ, ᱢᱟᱜ ᱢᱚᱬᱮ, ᱯᱟᱛᱟ, ᱫᱚᱝ, ᱞᱟᱜᱽᱲᱮ
ᱮᱢᱟᱱ ᱠᱚᱨᱮᱭᱟᱜ ᱛᱮᱛᱮᱫ ᱠᱟᱛᱷᱟ, ᱥᱮᱨᱮᱧ, ᱱᱟᱜᱟᱢ ᱥᱟᱱᱟᱢᱟᱜ ᱜᱮ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱨᱮ ᱭᱟᱜ ᱜᱮ
ᱥᱟᱛᱟᱢ ᱠᱟᱱᱟ᱾
ᱥᱟᱱᱛᱟᱲ ᱠᱚ ᱯᱟ.ᱦᱤᱞ ᱠᱷᱚᱱ ᱚᱠᱟ ᱞᱮᱠᱟᱱ ᱟᱱᱟᱴ,
ᱟᱠᱟᱞ ᱠᱚ ᱨᱮ ᱠᱚ ᱧᱩᱨᱦᱟ. ᱞᱮᱱᱟ, ᱚᱱᱟ ᱠᱷᱟ.ᱛᱤᱨ ᱪᱮᱫ ᱠᱚ ᱦᱩᱭ ᱞᱮᱱᱟ ᱚᱱᱟ ᱥᱟᱱᱟᱢᱟᱜ ᱠᱚᱦᱚ ᱥᱟᱱᱛᱟᱲᱤ
ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱥᱟᱛᱟᱢ ᱠᱟᱱᱟ᱾ ᱡᱟᱦᱟ ᱫᱟᱨᱟᱭ ᱛᱮ ᱟᱵᱚ ᱥᱟᱱᱛᱟᱲ ᱠᱚ ᱨᱮᱱ ᱯᱟ.ᱦᱤᱞ ᱦᱟᱯᱲᱟᱢ ᱠᱚᱣᱟᱜ
ᱠᱟᱛᱷᱟ ᱟᱨ ᱥᱮᱫᱟᱭ ᱡᱩᱜ ᱨᱮ ᱜᱷᱚᱴᱟᱣ ᱟᱠᱟᱱ ᱜᱷᱚᱴᱚᱱ ᱠᱚ ᱨᱮᱭᱟᱜ ᱠᱟᱛᱷᱟ ᱵᱚᱱ ᱵᱟᱰᱟᱭ ᱫᱟᱲᱮᱭᱟᱜ-ᱟ᱾
ᱱᱟᱦᱟᱜ ᱫᱚ ᱟᱨ ᱦᱚ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱫᱟᱲ
ᱢᱟᱠᱟᱲ ᱠᱮᱴᱮᱡ ᱟᱠᱟᱱᱟ᱾ ᱜᱩᱨᱩ ᱜᱚᱢᱠᱮ ᱯᱚᱱᱰᱤᱛ ᱨᱚᱜᱷᱩᱱᱟᱛᱷ ᱢᱩᱨᱢᱩ ᱜᱚᱢᱠᱮᱭᱟᱜ ᱥᱤᱨᱡᱚᱱ “ᱚᱞ ᱪᱤᱠᱤ”
ᱠᱷᱟ.ᱛᱤᱨ ᱱᱟᱦᱟᱜ ᱟᱵᱚ ᱟᱵᱚᱣᱟᱜ ᱯᱟ.ᱨᱥᱤ ᱛᱮ ᱵᱚᱱ ᱚᱞ ᱯᱟᱲᱦᱟᱣ ᱫᱟᱲᱮᱭᱟᱜ ᱠᱟᱱᱟ᱾ ᱚᱞᱚᱜ ᱯᱟᱲᱦᱟᱣ ᱥᱮᱲᱟ
ᱠᱟᱛᱮᱜ ᱟᱨ ᱪᱮᱛᱟᱱ ᱪᱟᱱᱟᱪ ᱥᱮᱫ ᱵᱚᱱ ᱞᱟᱦᱟ ᱪᱟᱞᱟᱜ ᱠᱟᱱᱟ᱾ ᱱᱟᱣᱟ ᱠᱟᱛᱷᱟ ᱵᱚᱱ ᱵᱟᱲᱟᱭ ᱮᱫᱟ, ᱱᱟᱣᱟ
ᱡᱤᱱᱤᱥ ᱵᱚᱱ ᱥᱮᱲᱟᱭᱮᱫᱟ᱾ ᱚᱱᱟ ᱞᱮᱠᱟᱛᱮ ᱫᱮᱥ ᱫᱩᱱᱤᱭᱟᱹ ᱨᱮᱭᱟᱜ ᱠᱟᱛᱷᱟ ᱠᱚᱦᱚ ᱟᱯᱟᱱ ᱟ.ᱯᱤᱱ ᱴᱷᱮᱱ ᱵᱚᱱ
ᱪᱟᱯᱟᱞ ᱠᱟᱱᱟ᱾ ᱚᱱᱟ ᱞᱮᱠᱟᱛᱮ ᱨᱟᱡᱽᱟ.ᱨᱤ ᱠᱚᱦᱚ ᱱᱤᱛ ᱟᱵᱚᱣᱟᱜ ᱥᱟᱶᱦᱮᱫ ᱨᱮ ᱥᱚᱲᱚ ᱵᱚᱞᱚ ᱟᱠᱟᱱᱟ᱾
ᱥᱟᱶᱛᱮ ᱮᱴᱟᱜ ᱡᱟ.ᱛ ᱠᱚᱣᱟᱜ ᱟ.ᱱ ᱟ.ᱨᱤ ᱵᱟᱨᱮ ᱛᱮᱦᱚ ᱵᱚᱱ ᱠᱷᱚᱸᱫᱽᱨᱚᱱ ᱮᱫᱟ᱾ ᱚᱱᱟ ᱞᱮᱠᱟᱛᱮ ᱮᱴᱟᱜ
ᱢᱟ.ᱛᱤ ᱠᱟᱣᱟᱜ ᱟ.ᱱ ᱟ.ᱨᱤ ᱠᱚᱦᱚ ᱱᱤᱛ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱢᱤᱫ ᱥᱟᱛᱟᱢ ᱞᱮᱠᱟᱛᱮ ᱵᱚᱱ ᱥᱟᱵ
ᱫᱟᱲᱮᱭᱟᱜ-ᱟ᱾
» ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱜᱩᱱᱩᱱ
ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱥᱟᱱᱛᱟᱲ ᱠᱚᱣᱟᱜ ᱟ.ᱱ
ᱟ.ᱨᱤ ᱠᱚ ᱥᱟᱶᱛᱮ ᱡᱚᱲᱟᱣ ᱛᱟᱦᱮᱱ ᱠᱷᱟᱱ.ᱛᱤᱨ, ᱥᱟᱱᱛᱟᱲᱤ ᱠᱟ.ᱦᱱᱤ, ᱚᱱᱚᱬᱦᱮ, ᱟᱨ ᱜᱟᱢᱟᱢ ᱚᱱᱚᱞ ᱠᱚ
ᱛᱟᱞᱟ ᱛᱮ ᱥᱟᱱᱛᱟᱲ ᱠᱚᱣᱟᱜ ᱟ.ᱱ ᱟ.ᱨᱤ ᱠᱚ ᱵᱟᱰᱟᱭ ᱧᱟᱢᱚᱜᱼᱟ᱾
ᱥᱟᱱᱛᱟᱲ ᱠᱚᱣᱟᱜ ᱯᱟ.ᱦᱤᱞ ᱨᱮᱭᱟᱜ ᱡᱤᱭᱚᱱ, ᱢᱮᱱ
ᱫᱚ ᱚᱠᱟ ᱞᱮᱠᱟᱛᱮ ᱱᱤᱛ ᱫᱷᱟ.ᱨᱤᱡ ᱛᱤᱸᱜᱩ ᱠᱮᱴᱮᱡ ᱢᱮᱱᱟᱜ ᱟᱠᱟᱫ ᱠᱚᱣᱟ ᱚᱱᱟ ᱨᱮᱭᱟᱜ ᱱᱟᱜᱟᱢ ᱠᱟᱛᱷᱟ
ᱠᱚᱦᱚ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱞᱮᱠᱟᱛᱮ ᱵᱟᱰᱟᱭ ᱧᱟᱢᱚᱜ-ᱟ᱾
ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱥᱟᱱᱟᱢ ᱠᱟ.ᱦᱱᱤ ,
ᱚᱱᱚᱬᱦᱮ , ᱜᱟᱢᱟᱢ ᱠᱚ ᱠᱷᱚᱱ ᱟ.ᱰᱤ ᱛᱮᱛᱮᱫ ᱟᱱᱟᱜ ᱠᱟᱛᱷᱟ ᱠᱚᱦᱚ ᱵᱟᱰᱟᱭ ᱧᱟᱢᱚᱜ-ᱟ᱾ ᱪᱮᱫᱟᱜ ᱥᱟᱱᱛᱟᱲᱤ
ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱡᱟ.ᱥᱛᱤ ᱠᱟᱛᱷᱟ ᱠᱚᱜᱮ ᱥᱟ.ᱨᱤ ᱜᱷᱚᱴᱚᱱ ᱠᱷᱚᱱᱟᱜ ᱟ.ᱠᱤᱞ ᱦᱟᱛᱟᱣ ᱠᱟᱛᱮᱜ ᱟᱯᱱᱟᱨᱟᱜ
ᱵᱷᱟᱵᱱᱟ ᱛᱟᱞᱟ ᱛᱮ ᱚᱞ ᱟᱠᱟᱫᱟ ᱥᱮ ᱞᱮᱭ ᱟᱠᱟᱫ ᱠᱟᱛᱷᱟ ᱠᱚ ᱧᱟᱢᱚᱜ-ᱟ᱾ ᱡᱟᱦᱟ ᱠᱚᱫᱚ ᱡᱤᱭᱚᱱ ᱰᱟᱦᱟᱨ ᱨᱮ
ᱛᱟᱲᱟᱢ ᱞᱟᱜᱤᱫ ᱟ.ᱰᱤ ᱜᱟᱱ ᱜᱚᱲᱚᱭ ᱮᱢᱚᱜ-ᱟ᱾
ᱱᱟᱦᱟᱜ ᱨᱮᱭᱟᱜ ᱚᱞ ᱵᱮᱞ ᱠᱚᱨᱮᱜ ᱫᱚ ᱫᱩᱱᱭᱟ. ᱫᱤᱥᱚᱢ
ᱨᱮᱭᱟᱜ ᱥᱟᱱᱟᱢ ᱞᱮᱠᱟᱱ ᱠᱟᱛᱷᱟ ᱠᱚ ᱥᱟᱵ ᱨᱟᱠᱟᱵᱚᱜ ᱠᱟᱱᱟ᱾ ᱚᱱᱟ ᱛᱮ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱛᱟᱞᱟ ᱛᱮ ᱟᱵᱚ ᱫᱮᱥ
ᱫᱤᱥᱚᱢ ᱨᱮᱭᱟᱜ ᱠᱟᱛᱷᱟ ᱠᱚᱦᱚ ᱵᱚᱱ ᱵᱟᱰᱟᱭ ᱫᱟᱲᱮᱭᱟᱜ-ᱟ᱾
ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱥᱮᱫᱟᱭ ᱠᱷᱚᱱ ᱜᱮ ᱢᱚᱪᱟ ᱢᱚᱪᱟ
ᱛᱮ ᱦᱮᱡ ᱟ.ᱜᱩ ᱟᱠᱟᱱᱟ᱾ ᱚᱱᱟ ᱛᱟᱭᱚᱢ ᱚᱱᱟ ᱠᱚᱜᱮ ᱚᱞ ᱛᱚᱞ ᱠᱟᱛᱮᱜ ᱱᱟᱦᱟᱜ ᱟᱜ ᱚᱞ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱵᱮᱱᱟᱣ ᱟᱠᱟᱱᱟ᱾
ᱚᱱᱟ ᱞᱮᱠᱟᱛᱮ ᱢᱮᱱ ᱜᱟᱱᱚᱜ-ᱟ ,ᱡᱮ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱛᱟᱞᱟ ᱥᱮᱫᱟᱭ ᱡᱟᱦᱟ ᱟ.ᱲᱟ. ᱠᱚ ᱥᱮ ᱠᱟᱛᱷᱟ ᱠᱚ ᱠᱚ
ᱵᱮᱣᱦᱟᱨ ᱛᱟᱦᱮᱡ ᱚᱱᱟ ᱠᱚ ᱨᱮᱭᱟᱜ ᱠᱟᱛᱷᱟ ᱠᱚᱦᱚ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱛᱟᱞᱟ ᱛᱮᱜᱮ ᱵᱟᱰᱟᱭ ᱜᱚᱱᱚᱜᱼᱟ᱾
ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱥᱟᱛᱟᱢ ᱠᱚ ᱞᱮᱠᱟᱛᱮ ᱥᱟᱱᱛᱟᱲᱤ
ᱥᱟᱶᱦᱮᱫ ᱨᱮᱭᱟᱜ ᱫᱚ ᱟᱭᱢᱟ ᱦᱟ.ᱴᱤᱧ ᱢᱮᱱᱟᱜᱼᱟ ᱾ ᱡᱮᱞᱮᱠᱟ — ᱠᱩᱫᱩᱢ , ᱠᱟ.ᱦᱱᱤ, ᱢᱮᱱ ᱠᱟᱛᱷᱟ, ᱵᱷᱮᱱᱛᱟ
ᱠᱟᱛᱷᱟ, ᱮᱢᱟᱱᱟᱜ ᱠᱚ᱾
ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱛᱟᱞᱟ ᱛᱮ ᱟᱵᱚ ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ
ᱨᱮᱭᱟᱜ ᱞᱮᱭ ᱞᱟᱠ ᱪᱟᱨ ᱟ.ᱨᱤ ᱪᱟ.ᱞᱤ ᱠᱚ ᱨᱮᱭᱟᱜ ᱛᱮᱛᱮᱫ ᱠᱟᱛᱷᱟ ᱠᱚᱦᱚ ᱵᱚᱱ ᱵᱟᱰᱟᱭ ᱫᱟᱲᱮᱭᱟᱜ-ᱟ ᱾
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