The American Scholar by R. W. Emerson Bangla - English Summary and Critical Review - PDF
M.A Final YearDepartment of EnglishCourse Name: ProseEnclouded Life and Literary WorkTopics: The American Scholar by R. W. EmersonBangla & English Summary And Critical Review also Characters
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The American Scholar by R. W. Emerson Bangla - English Summary and Critical Review - PDF
M.A Final Year
Department of English
Course Name: Prose
Enclouded Life and Literary Work
Topics: The American Scholar by R. W. Emerson
Bangla & English Summary And Critical Review also Characters

The American Scholar by R. W. Emerson
The American Scholar by R. W. Emerson āĻāĻŽেāϰিāĻাāύ āϏ্āĻāϞাāϰ
āĻীāĻŦāύ āĻ āĻāϰ্āĻŽ: Life and Work of the Writer
āĻāύ্āĻŽ: Ralph Waldo Emerson ⧍ā§ĢāĻļে āĻŽে ā§§ā§Žā§Ļā§Š āϏাāϞে āĻāĻŽেāϰিāĻাāϰ āĻŽ্āϝাāϏাāĻুāϏেāĻāϏ āĻāϰ āĻŦāϏ্āĻāύে āĻāύ্āĻŽāĻ্āϰāĻšāĻŖ āĻāϰেāύ।
āĻĒāϰিāĻāϝ়: Ralph Waldo Emerson āĻāĻāĻāύ āĻāĻŽেāϰিāĻাāύ āĻĒ্āϰাāĻŦāύ্āϧিāĻ, āĻĒ্āϰāĻাāώāĻ, āĻĻাāϰ্āĻļāύিāĻ āĻāĻŦং āĻāĻŦি āϝিāύি āĻāύিāĻļ āĻļāϤāĻেāϰ āĻŽাāĻাāĻŽাāĻি āĻ্āϰাāύ্āϏāϏিāĻĄেāύ্āĻাāϞিāϏ্āĻ āĻāύ্āĻĻোāϞāύেāϰ āύেāϤৃāϤ্āĻŦ āĻĻিāϝ়েāĻিāϞেāύ। āϤাāĻে āĻŦ্āϝāĻ্āϤিāϤ্āĻŦāĻŦাāĻĻেāϰ āĻ্āϝাāĻŽ্āĻĒিāϝ়āύ āĻāĻŦং āϏāĻŽাāĻেāϰ āĻĒ্āϰāϤিāϰোāϧāĻŽূāϞāĻ āĻাāĻĒেāϰ āĻāĻāĻāύ āĻĒ্āϰাāĻ্āϤāύ āϏāĻŽাāϞোāĻāĻ āĻšিāϏেāĻŦে āĻĻেāĻা āĻিāϝ়েāĻিāϞ āĻāĻŦং āϤিāύি āĻāϝ়েāĻ āĻšাāĻাāϰ āĻĒ্āϰāĻাāĻļিāϤ āĻĒ্āϰāĻŦāύ্āϧ āĻāĻŦং āĻāĻŽেāϰিāĻা āϝুāĻ্āϤāϰাāώ্āĻ্āϰ āĻুāĻĄ়ে ā§§ā§Ģā§Ļā§Ļ āĻāϰāĻ āĻŦেāĻļী āĻĒাāĻŦāϞিāĻ āϞেāĻāĻাāϰেāϰ āĻŽাāϧ্āϝāĻŽে āϤাāϰ āĻিāύ্āϤাāĻাāĻŦāύা āĻāĻĄ়িāϝ়ে āĻĻিāϝ়েāĻিāϞেāύ। āϤিāύি āĻāĻŽেāϰিāĻাāύ āϰোāĻŽাāύ্āĻিāĻ āĻāύ্āĻĻোāϞāύেāϰ āϞāĻ্āĻāĻĒিāύāĻুāϞোāϰ āĻŽāϧ্āϝে āϰāϝ়েāĻেāύ। āϤাāϰ āϰāĻāύা āϤাāϰ āĻ
āύুāϏāϰāĻŖāĻাāϰী āĻিāύ্āϤাāĻŦিāĻĻ āϞেāĻāĻ āĻāĻŦং āĻāĻŦিāĻĻেāϰ āĻŦ্āϝাāĻĒāĻ āĻĒ্āϰāĻাāĻŦিāϤ āĻāϰেāĻে। āϤিāύি āϞিāĻেāĻিāϞেāύ, 'āĻāĻŽি āĻেāĻি āĻŽāϤāĻŦাāĻĻ āĻļিāĻিāϝ়েāĻি, āϝা āĻĒ্āϰাāĻāĻেāĻ āϞোāĻেāϰ āĻ
āϏāĻŽ্āĻĒূāϰ্āĻŖāϤা'। āĻāĻŽেāϰāϏāύ āĻšেāϞāϰি āĻĄেāĻিāĻĄ āĻোāϰিāĻāϰ āĻāĻāĻāύ āϏāĻšāϝোāĻী āĻ্āϰাāύ্āϏāĻĄেāύ্āĻাāϞাāϞিāϏ্āĻেāϰ āĻĒāϰাāĻŽāϰ্āĻļāĻĻাāϤা āĻāĻŦং āĻŦāύ্āϧু āĻšিāϏেāĻŦেāĻ āϏুāĻĒāϰিāĻিāϤ।
āĻļিāĻ্āώা: āϤিāύি BLS (Boston Latin School), Harvard Divinity School, Harvard College āĻ āĻĒāĻĄ়াāĻļোāύা āĻāϰেāύ।
āϏাāĻšিāϤ্āϝāĻāϰ্āĻŽ: Literary Work
āĻāĻŦিāϤা :
- āĻŦ্āϰāĻš্āĻŽা
- āĻāύāĻāϰ্āĻĄ āϏ্āϤোāϤ্āϰ
- āϰোāĻĄোāϰা
- āĻŦোāϏ্āĻāύ āϏ্āϤāĻŦāĻ
- āĻāĻāύিāϝ়েāϞ
- āĻাāϰ্āĻŽিāύাāϏ
āĻŽৃāϤ্āϝু: āϤিāύি ⧍ā§āĻļে āĻāĻĒ্āϰিāϞ ā§§ā§Žā§Žā§¨ āϏাāϞে āĻāĻŽেāϰিāĻাāϰ āĻŽাāϏাāĻুāϏেāĻāϏ āĻāϰ āĻāύāĻāϰ্āĻĄে āĻŽৃāϤ্āϝুāĻŦāϰāĻŖ āĻāϰেāύ।
The American Scholar
Characters
Christopher Newman
Christopher Newman is a wealthy American businessman; he is thirty-six the novel begins. Having made his fortune, he is traveling in Europe to expose himself to beauty and culture, and hopefully find a wife. Newman is a complex character in that he is often frank, open, and kind-hearted, but can also be self-absorbed and has difficulties understanding perspectives different from his own.
Noemie Nioche
Noemie Nioche is a young Parisian woman from a lower-class background. She is, however, well-educated and ambitious about her future, believing that her beauty and sex appeal will allow to achieve a higher social position for herself. She is unashamed about her motives, and very good at charming and flirting with men.
Monsieur Nioche
Monsieur Nioche is the father of Noemie, and develops a friendly relationship with Newman. He is trapped between moral principles, which lead him to disapprove of his daughter's behavior, and a need to earn income even if it involves lying to and tricking people.
Mr. Tom Tristram
Tom Tristram is a wealthy American who made friends with Newman when they fought in the Civil War together. He now lives in Paris with his wife, and reignites the friendship after running into Newman at the Louvre.
Mrs. Tristram
Mrs. Tristram is an American ex-pat living in Paris, and the wife of Newman's old friend. She and Newman become very close and he often confides in her. She is the one to introduce Newman to Madame de Cintre, although she also seems to be able to anticipate the difficulties the match will face.
Claire Bellegarde de Cintre (Madame de Cintre)
Claire is a widow; she married her first husband at eighteen, and is twenty- five when she is introduced to Newman at the beginning of the novel. She comes from a very proud aristocratic family, but does. not actually have much money. Claire is very beautiful and refined, but also often aloof and mysterious. At times she seems to be attracted to Newman, but she also feels a deep obligation to her family, and is not willing to disobey them.
Count Valentin Bellegarde
Valentin is the younger of the two Bellegarde sons; he is the brother of Claire and Urbain, and the son of old Madame Bellegarde. He is much more open-minded and liberal than the rest of his family, and enjoys living a somewhat reckless life. He becomes good friends with Newman, and shortly before his death, he tells Newman to seek out the family secret that the Bellegardes have been hiding.
Urbain, the Marquis Bellegarde
Urbain is the eldest of the Bellegarde children, brother of Valentin and Claire. He inherited his father's title after his death, and is therefore now the Marquis Bellegarde. He is married to young Madame Bellegarde and has several young children with her. Urbain is very proud, cold, and protective of the family image. He feels entitled to make decisions about his sister's future, and generally shares the same perspective as his mother.
Old Madame Bellegarde
Madame de Bellegarde is an English aristocrat from a very old family who married into the Bellegarde family and has lived in France for many years. She is very haughty, cold, and maintains complete control over her children. She sees distinct differences between nationalities and social classes, and does not want her family lineage to be sullied. At the same time, she is very pragmatic and calculating, and interested in increasing the wealth of her family.
Young Madame Bellegarde
Young Madame Bellegarde is the wife of Urbain Bellegarde, and the mother of his children. She comes from an ancient and noble family, but finds her life in the Bellegarde household confined and restricted. She would like to socialize and mingle more with the world, but is prevented from doing so.
She is sometimes an ally to Newman, but only because she hopes that he will take her side and help her to secure greater personal freedom.
Benjamin Babcock
A young American minister traveling in Europe, he meets Newman when he is touring around Europe, and the two do some traveling together. Babcock, however, is much more serious than Newman, and eventually rejects him as a traveling companion since he thinks that Newman is ruining his focus on art and aesthetics.
Henri-Urbain Bellegarde, the Old Marquis de Bellegarde
The old Marquis is dead when the novel opens. It is later revealed that he had sided with his daughter when she objected to marrying for money, and as a result was murdered by his wife and son.
Lord Deepmere
Lord Deepmere is a wealthy English aristocrat distantly related to the Bellegarde family. He visits them while he is in Paris, and Madame Bellegarde and her son the Marquis hope that he will marry Claire. Lord Deepmere ends up beginning an affair with Noemie Nioche, and bringing her to England with him.
Mrs. Bread
Mrs. Bread is the housekeeper and domestic servant of the Bellegarde family. She is English, and worked for old Madame Bellegarde prior to her marriage. After Madame Bellegarde married, she traveled to France with her. Over time, she has lost respect for her mistress, but remains very loving towards Valentin and Claire, who she cared for as children. Her knowledge of the Bellegarde family secrets allows her to reveal important information to Newman.
The Duchess d'Outreville
A wealthy woman who is very important in aristocratic Parisian social circles. Newman initially thinks that he will reveal the crime of Madame Bellegarde and her son to the Duchess in order to ruin the family's reputation, but finds himself curiously unable to do so.
English Summary (āĻংāϰেāĻি āϏাāĻŽাāϰি)
The American Scholar was a speech given by Ralph Waldo Emerson on August 31, 1837, to the "Phi Beta Kappa Society" at Cambridge, Massachusetts. He was invited to speak in recognition of his work "Nature", in which he established a new way for America's fledgling society to regard the world. American culture is highly influenced by the European culture Emerson by this speech tries to determine the real American culture and ask his citizen to preserve the essence of the real American culture.
According to an American Fable, the world began with a single man and that man was divided into several other men so that a work can be completed effectively. This is how a society was born, but this society was divided further. Man no longer worked effectively with each other to produced great work because of the increase in division among man.
Emerson hopes to bring back the lost efficiency among men by educating his audience about the qualification and duty of a true scholar. According to Emerson a true scholar must have great knowledge of nature, because it helps in increase self-awareness.
Nature has a great impact on our minds. It helps individual to find new innovative ways to live life. Many times man is unable to change anything around his life because of the age old ideas and tradition. Emerson wants a true scholar to get rid of the past ideas that is degrading the life of the society.
According to Emerson, books can be harmful for the society as books are the one preserving the age old degrading ideas. These ideas are not doing any good to the human and a man is too scared to speak or go against them. He feels books can kill a man's creative thought process but he has also mentioned a book should be considered as a tool of information not a means to determine one's thinking. He also talked about the necessity of reading books and also the pleasure attached with reading. He asks to get rid of age old rotten ideas and become a "Man Thinking" i.e. person exploring new ideas.
He feels there is a need to change in the current education system which has resulted in students relying on notes and memorizing it. Education system needs to give important to nature that highly influence human mind, and give students the freedom to discover and explore new ideas. He wants man not to blindly follow anything, first understand the logic and emerge as a thinking man.
We should see the world clearly without the influence and tradition or history. We all human beings are same elements. We should realize this oneness and broaden our understanding of the world. It is important to mention that one should not completely ignore the rather learn about ideas and values from the actions history and develop our society.
Therefore the task of changing world is totally depended on the future generation; they can either be a thinking man or blindly follow past rules and regulations
Themes
Class
Class is a major theme in the novel; the social classes of different characters make a major difference in the options they have available, and how they operate in the world. For working-class characters like the Nioche family, a lack of choices and a desire to rise in the world pushes them to become greedy and grasping. Class is even more determining than actual income; the Bellegarde family lacks income, especially in order to maintain their lifestyle, but occupies a prestigious class position. At the same time, this high-ranking social class also limits their options: neither Claire nor Valentin can pursue the romantic partners they might wish to. Because Newman is relatively innocent about how much class can determine someone's life, his discovery of the European class system simultaneously reveals it to readers.
Travel and Tourism Newman's decision to travel to Europe for pleasure and to experience culture and history marks him as a tourist, a category that had only developed fairly recently when James wrote his novel. Traveling between Europe and America had to take place via boat, and this remained expensive, time- consuming, and slightly dangerous. However, for many wealthy Americans, Europe remained a highly desirable location to visit. The experience of a greater number of travelers entering Europe also led to the development of modern tourist culture: expectations around which sites to see, a sense of obligation about getting the most out of the experience, and an often disorienting disconnect between expectation and reality.
Parenting
Parents, and the control or lack of control they exert over their children's lives, is a major theme in the novel. Madame Bellegarde strongly dominates the lives of her children, especially her daughter. Claire expresses repeatedly that her loyalty and deference to her mother requires her to do whatever she is told, regardless of whether it makes her unhappy. On the other hand, the relationship between Noemie and her father reveals that parents can also lose control of their children and actually be dominated by them: Monsieur Nioche is uncomfortable and ashamed of his daughter's behavior, but cannot do anything to change it. In both cases, the European characters maintain close relationships with their parents, suggesting strong ties to family and history, while Newman, tellingly, is an orphan who has largely been responsible for his own well-being and upbringing.
Consumerism
A strong desire to purchase objects, and to treat other individuals as if they are also objects, can be detected in Newman's character and behavior. Rather than simply appreciating the aesthetic experience of Paris, he wants to own things that he believes will give him an aura of sophistication. In the novel's opening scene, he is more interested in purchasing unskilled copies of paintings rather than appreciating the actual masterpieces surrounding him. Newman's attitude towards obtaining a wife also suggests that he sees women largely as beautiful, decorative objects that he can obtain in exchange for a portion of his wealth.
Art The novel opens in the Louvre museum where Newman is surrounded by famous paintings, revealing that art is a major theme in the novel. While Americans were often mistrustful of Europe, seeing it as decadent and outdated, they could not deny that most of Western art history had its roots there, and visiting museums, churches, and other cultural sites to view famous artworks usually formed a large part of the expected itinerary for a trip to Europe. Newman goes through the motions of looking at and learning about art, but he never really develops a true aesthetic sensibility. When Babcock rebukes him for not taking art seriously enough, Newman is merely amused, preferring to focus on pleasure.
Modernity
One of the tensions surrounding cultural perceptions of the differences between Europeans and Americans was the idea that Europe remained trapped by outdated customs and beliefs, while America was celebrated (by Americans) for more modern approaches. Newman reacts with horror to ideas such as arranged marriages, duels, and an obsession with titles and inherited wealth; he sees these as signposts of a much older time which should by now have become completely irrelevant. However, many of the things Newman sees as being marks of a superior modernity which exists in America, such as a greater equality between men and women, and the possibility of earning wealth rather than having to be born into it, are revealed to be illusions or idealizations of reality.
Reputation
In the small and select world of Parisian high society, reputation is the greatest source of power and influence. Even though the Bellegarde family is not wealthy, they have an ancient and well-established reputation which makes them socially important. By the same token, Newman's wealth does not guarantee him any particular social position because he is perceived as an unsophisticated, American upstart. This reliance on reputation is what makes the secret surrounding the death of the old Marquis so dangerous; the threat is never legal consequences, but rather social ostracism if their secret is ever discovered.
āĻāĻŽেāϰিāĻাāύ āϏ্āĻāϞাāϰ āĻļিāϰোāύাāĻŽ āϏāĻŽ্āĻĒāϰ্āĻে: About The Title
āĻāĻŽাāϰāϏāύেāϰ 'āĻĻ্āϝা āĻāĻŽেāϰিāĻাāύ āϏ্āĻāϞাāϰ' āĻšাāϰ্āĻাāϰ্āĻĄে āϤাāϰ āĻļ্āϰোāϤা āĻāĻŦং āϤাāϰ āĻāϞ্āĻĒিāϤ āĻāĻāĻāύ āĻŦুāĻĻ্āϧিāĻীāĻŦিāϰ āĻে āĻোāĻĨাāϝ় āϝāĻāύ āϤিāύি āϤা āĻĒ্āϰāĻĻাāύ āĻāϰেāύ। āϤিāύি āĻŦিāĻļ্āĻŦাāϏ āĻāϰেāύ āϝে, āϤাāϰ āϏāĻŽāϝ়āĻাāϰ āĻāĻŽেāϰিāĻা āĻšāĻ্āĻে। āĻāĻāĻি āϏ্āĻŦāϤāύ্āϤ্āϰ āĻāĻŖāϤাāύ্āϤ্āϰিāĻ āĻĻেāĻļ āϝেāĻাāύে āĻĒ্āϰāϤ্āϝেāĻেāĻ āύিāĻেāĻে āϤাāϰ āϏāϰ্āĻŦোāϤ্āϤāĻŽ āĻŦুāĻĻ্āϧিāĻীāĻŦি āĻšিāϏেāĻŦে āϤৈāϰি āĻāϰāϤে āĻĒাāϰে। āĻāĻŽাāϰāϏāύ āĻāĻে āĻāϤিāĻš্āϝেāϰ āϏুāϰāĻ্āώাāϰ āĻāύ্āϝ āĻ
āĻŦāύāϤ āĻšāĻāϝ়া āĻŦাāĻ্āĻāύীāϝ় āĻŦāϞে āĻŽāύে āĻāϰেāύ āĻ
āĻĨāĻŦা āĻ
āϤিāϰিāĻ্āϤ āĻļ্āϰেāĻŖীāĻŦিāύ্āϝাāϏ āϝা āĻিāύা āĻিāĻু āϏংāĻ্āϝāĻ āĻŽাāύুāώāĻে āĻĒāĻĻāύ্āύোāϤি āĻĻিāϝ়েāĻে āĻāĻŦং āĻŦেāĻļিāϰ āĻাāĻāĻে āĻাāĻĒিāϝ়ে āϰেāĻেāĻে।
āĻāĻŽেāϰিāĻাāύ āϏ্āĻāϞাāϰ āϏāĻŽ্āĻĒāϰ্āĻে: About The American Scholar
āĻĒ্āϰāĻৃāϤ āĻĒāĻ্āώে "An oration delivered before the Phibeta kappa society, at Cambridge [Massachuetts] 1 August 31, 1837 āĻļিāϰোāύাāĻŽ āĻ āĻāĻŽাāϰāϏāύ āĻŦāĻ্āϤৃāϤা āĻĒ্āϰāĻĻাāύ āĻāϰেāύ āϝা āĻŦāϰ্āϤāĻŽাāύে The american Scholar” āϰāĻāύা āĻšিāϏেāĻŦে āĻĒāϰিāĻিāϤ āϝা āĻিāύা āĻāĻāĻি āĻŦāĻ্āϤৃāϤা āĻšিāϏেāĻŦে āĻšাāϰ্āĻাāĻĄেāϰ āĻĒাāĻ “āĻŦেāĻা āĻাāĻĒ্āĻĒা āϏāĻŽাāĻ āϝা āĻিāύা āĻāϞেāĻ āĻাāϤ্āϰāĻĻেāϰ āĻāύ্āϝ āϏāĻŽ্āĻŽাāύāϏূāĻāĻ āĻāĻāĻি āϏāĻŽ্āĻĒ্āϰāĻĻাāϝ় āϏেāĻাāύে āĻāĻ āĻাāώāĻŖ āĻĻেāϝ়া āĻšāϝ়। āĻ āϏāĻŽāϝ়ে āĻŽāĻšিāϞাāĻĻেāϰ āĻāύ্āϝ āĻāĻ্āĻ āĻļিāĻ্āώা āĻĻুāϰ্āϞāĻ āĻিāϞ āĻāĻŦং āϏāĻŦ āϧāϰāύেāϰ āϏ্āĻāϞাāϰāĻļীāĻĒ āĻĒুāϰুāώāĻĻেāϰ āĻāύ্āϝ āĻŦāϰাāĻĻ্āĻĻ āĻĨাāĻāϤ।
āĻĒ্āϰাāĻĨāĻŽিāĻāĻাāĻŦে āĻāĻŽাāϰāϏāύ āĻāĻāĻি āĻোāĻ āĻĒুāϏ্āϤিāĻা āĻšিāϏেāĻŦে āĻāĻ āĻŦāĻ্āϤৃāϤাāĻি āĻĒ্āϰāĻাāĻļিāϤ āĻāϰে āĻĒāϰāĻŦāϰ্āϤীāϤে āĻ āĻŦāĻāϰāĻ ā§§ā§Žā§Šā§Ž āϏাāϞে āĻāĻা āĻĒুāύঃāĻĒ্āϰāĻাāĻļিāϤ āĻāϰেāύ। ā§§ā§Žā§Ēā§§ āϏাāϞে āϤিāύি āϤাāϰ āϰāĻāύাāϰ āĻŦāĻāϝ়ে āϤা āĻ
āύ্āϤāϰ্āĻুāĻ্āϤ āĻāϰেāύ āϤāĻŦে āĻļিāϰোāύাāĻŽ 'The American Scholar āĻ āϰূāĻĒাāύ্āϤāϰ āĻāϰে āĻĒ্āϰāĻাāĻļিāϤ āĻāϰেāύ। āϰāĻāύাāĻি āĻāĻāĻি āĻĒ্āϰাāϰāĻŽ্āĻিāĻাāϰ āĻŽাāϧ্āϝāĻŽে āĻļুāϰু āĻšāϝ় āϝেāĻাāύে āϤিāύি āϏāĻāϞ āĻŦিāĻĻ্āĻŦাāύāĻে āĻāĻāĻি āϏāĻŽ্āĻĒূāϰ্āĻŖ āĻŽাāύুāώ āĻšিāϏেāĻŦে āĻĒāϰ্āϝāĻŦেāĻ্āώāĻŖ āĻāϰাāϰ āĻ
āĻিāĻĒ্āϰাāϝ় āĻŦ্āϝāĻ্āϤ āĻāϰেāύ। āĻŦিāĻļ্āĻŦাāύ āĻŽাāύুāώāĻি āĻিāύ্āϤāύāĻļীāϞ।
āĻŦাংāϞা āϏাāĻŽাāϰি āĻŦা āϏাāϰাংāĻļ (Bangla Summary)
'The American Scholar" āĻšāĻ্āĻে āĻāĻŽাāϰāϏāύেāϰ āĻĻেāĻāϝ়া āĻāĻāĻি āĻŦāĻ্āϤৃāϤা āϝা āϤিāύি āĻŽ্āϝাāϏাāĻুāϏেāĻāϏ āĻāϰ āĻ্āϝাāĻŽāĻŦ্āϰিāĻে āĻ
āĻŦāϏ্āĻĨিāϤ āĻĒাāĻšি āĻেāĻা āĻাāĻĒ্āĻĒা āϏোāϏাāĻāĻিāϤে ā§§ā§Žā§Šā§ āϏাāϞেāϰ ā§Šā§§ āĻāĻāϏ্āĻ āĻĒ্āϰāĻĻাāύ āĻāϰেāύ। āϤাāϰ āĻাāĻ “Nature/āĻĒāϰিāĻŦেāĻļ” āĻāϰ āϏ্āĻŦীāĻৃāϤিāϏ্āĻŦāϰূāĻĒ āϤাāĻে āĻāĻĨা āĻŦāϞাāϰ āĻāύ্āϝ āĻāĻŽāύ্āϤ্āϰāĻŖ āĻাāύাāύো āĻšāϝ় āϝেāĻাāύে āϤিāύি āĻ
āύāĻিāĻ্āĻ āĻāĻŽেāϰিāĻা āĻŦিāĻļ্āĻŦ āϏāĻŽ্āĻĒāϰ্āĻে āĻāĻāĻি āύāϤুāύ āĻĒāύ্āĻĨা āϏ্āĻĨাāĻĒāύ āĻāϰে āĻĻেāύ। āĻāĻŽেāϰিāĻাāύ āϏংāϏ্āĻৃāϤি āĻāĻāϰোāĻĒিāϝ়াāύ āϏংāϏ্āĻৃāϤিāϰ āĻĻ্āĻŦাāϰা āĻĒ্āϰāĻŦāϞāĻাāĻŦে āĻĒ্āϰāĻাāĻŦিāϤ āĻšāϝ়েāĻে āϝে āĻāύ্āϝ āĻāĻŽাāϰāϏāύ āϤাāϰ āĻŦāĻ্āϤৃāϤাāϰ āĻŽাāϧ্āϝāĻŽে āĻāĻŽেāϰিāĻাāĻে āϤাāĻĻেāϰ āĻĒ্āϰāĻৃāϤ āύিāĻেāĻĻেāϰ āϏংāϏ্āĻৃāϤি āύিāϰ্āϧাāϰāĻŖ āĻāϰে āĻĻেāĻāϝ়াāϰ āĻেāώ্āĻা āĻāϰেāύ āĻāĻŦং āϤাāϰ āύাāĻāϰিāĻāĻĻেāϰāĻে āĻŦāϞেāύ āϤাāϰা āϝেāύ āĻāĻŽেāϰিāĻাāϰ āύিāĻāϏ্āĻŦ āϏংāϏ্āĻৃāϤিāϰ āύিāϰ্āϝাāϏāĻে āĻিāĻিāϝ়ে āϰাāĻে।
āĻāĻŽেāϰিāĻাāύ āĻāĻāĻি āĻāĻĒāĻāĻĨা āĻ
āύুāϝাāϝ়ী āϏāĻŽāĻ্āϰ āĻŦিāĻļ্āĻŦ āĻāĻāĻāύ āĻŽাāύুāώ āĻšāϤে āĻļুāϰু āĻšāϝ় āĻāĻŦং āϏেāĻ āĻŽাāύুāώāĻি āĻāϰো āĻĒৃāĻĨāĻ āĻĒৃāĻĨāĻ āĻŽাāύুāώে āĻাāĻ āĻšāϝ়ে āϝাāϝ় āϝেāύ āύিāϰ্āĻুāϞāĻাāĻŦে āĻাāĻ āϏāĻŽ্āĻĒাāĻĻāύ āĻāϰা āϝাāϝ়। āĻāĻāĻাāĻŦে āĻāĻāĻি āϏāĻŽাāĻ āĻāϰ āĻāύ্āĻŽ āĻšāϝ় āĻিāύ্āϤু āĻāĻ āϏāĻŽাāĻ āĻāĻŦাāϰ āĻŦিāĻāĻ্āϤ āĻšāϝ়। āĻŽাāύুāώেāϰ āĻŽāϧ্āϝে āĻāϤ āĻŦেāĻļি āĻাāĻ āĻšāĻāϝ়াāϰ āĻāύ্āϝ āĻŽাāύুāώ āĻ
āĻĒāϰ āĻোāύ āĻাāĻ āύিāϰ্āĻুāϞāĻাāĻŦে āĻāϰাāϰ āĻāύ্āϝ āĻāĻেāϰ āĻŽāϤ āĻাāĻ āĻāϰে āύা।
āĻāĻŽাāϰāϏāύ āĻāĻļাāĻŦাāĻĻী āĻāĻāĻāύ āĻĒ্āϰāĻৃāϤ āĻŦিāĻĻ্āĻŦাāύেāϰ āĻāϰāĻŖীāϝ় āĻি āĻāĻŦং āϤাāĻĻেāϰ āϝোāĻ্āϝāϤা āϏāĻŽ্āĻĒāϰ্āĻে āĻļিāĻ্āώাāĻĻাāύেāϰ āĻŽাāϧ্āϝāĻŽে āϤিāύি āĻļুāύি āϤাāϰিāϝ়ে āϝাāĻāϝ়া āĻāϰ্āĻŽāĻ্āώāĻŽāϤা, āĻĻāĻ্āώāϤা āĻĢিāϰিāϝ়ে āĻāύāϤে āĻĒাāϰāĻŦেāύ। āĻāĻŽাāϰāϏāύেāϰ āĻŽāϤে āĻāĻāĻāύ āĻĒ্āϰāĻৃāϤ āĻŦিāϧাāύেāϰ āĻĒāϰিāĻŦেāĻļ āϏāĻŽ্āĻĒāϰ্āĻে āĻĒāϰ্āϝাāĻĒ্āϤ āĻ্āĻাāύ āϰāϝ়েāĻে āĻেāύāύা āĻĒāϰিāĻŦেāĻļ āĻāϤ্āĻŽ-āϏāĻেāϤāύা āĻŦৃāĻĻ্āϧিāϤে āϏাāĻšাāϝ্āϝ āĻāϰে।
āĻāĻŽাāĻĻেāϰ āĻŽāύেāϰ āĻāĻĒāϰ āĻĒāϰিāĻŦেāĻļেāϰ āĻāĻāĻা āĻŦিāĻļাāϞ āĻĒ্āϰāĻাāĻŦ āϰāϝ়েāĻে। āĻāĻা āĻĒ্āϰāϤ্āϝেāĻে āĻŦাঁāĻাāϰ āĻāύ্āϝ āύāϤুāύ āύāϤুāύ āϏৃāĻāύāĻļীāϞ āĻāĻĒাāϝ় āĻুঁāĻে āĻĒেāϤে āϏাāĻšাāϝ্āϝ āĻāϰে। āĻ
āύেāĻ āϏāĻŽāϝ় āĻŽাāύুāώ āϤাāϰ āĻĒুāϰāύো āĻিāύ্āϤাāϧাāϰা āĻāĻŦং āĻāϤিāĻš্āϝেāϰ āĻāύ্āϝ āϤাāϰ āĻাāϰāĻĒাāĻļেāϰ āĻ
āύেāĻ āĻিāĻু āĻĒāϰিāĻŦāϰ্āϤāύ āĻāϰāϤে āĻĒাāϰে āύা। āĻāĻŽাāϰāϏāύ āĻাāύ āĻāĻāĻāύ āĻĒ্āϰāĻৃāϤ āĻŦিāĻĻ্āĻŦাāύ āĻ
āϤীāϤেāϰ āϧাāϰāĻŖা āĻšāϤে āĻŦেāϰ āĻšāϝ়ে āĻāϏāĻŦে āϝা āĻিāύা āĻāĻāĻা āϏāĻŽাāĻেāϰ āĻীāĻŦāύ āĻĒ্āϰāĻŖাāϞী āĻাāϰাāĻĒেāϰ āĻĻিāĻেāĻ āĻļুāϧু āϧাāĻŦিāϤ āĻāϰে।
āϤাāϰ āĻŽāϤে, āϏāĻŽাāĻেāϰ āĻāύ্āϝ āĻŦāĻ āĻāĻāĻি āĻ্āώāϤিāĻāϰ āĻŦিāώāϝ় āĻšāϤে āĻĒাāϰে āĻেāύāύা āĻŦāĻ āĻ
āϧঃāĻĒāϤিāϤ āĻĒুāϰāύো āĻিāύ্āϤা-āĻেāϤāύা āϧাāϰāĻŖ āĻāϰে āϰাāĻে। āĻāĻ āĻিāύ্āϤা āϧাāϰা āĻিংāĻŦা āϧাāϰāĻŖাāĻুāϞো āĻŽাāύুāώেāϰ āĻোāύ āĻāĻĒāĻাāϰ āĻāϰে āύা āĻāĻŦং āĻŽাāύুāώ āĻāϝ়ে āĻāϏāĻŦ āĻিāύ্āϤা-āϧাāϰাāϰ āĻŦিāĻĒāϰীāϤে āϝেāϤে āĻĒাāϰে āύা। āϤিāύি āĻŽāύে āĻāϰেāύ āĻŦāĻ āĻāĻāĻāύ āĻŽাāύুāώেāϰ āϏৃāώ্āĻিāĻļীāϞ āĻিāύ্āϤা-āĻাāĻŦāύাāϰ āϧাāϰাāĻে āĻšāϤ্āϝা āĻāϰāϤে āĻĒাāϰে āĻĒাāĻļাāĻĒাāĻļি āϤিāύি āĻāϞ্āϞেāĻ āĻāϰেāύ āϝে, āĻāĻāĻি āĻŦāĻ āϤāĻĨ্āϝেāϰ āĻā§āϏ āĻিংāĻŦা āĻāĻĒāĻāϰāĻŖ āĻšিāϏেāĻŦে āĻিāύ্āϤা āĻāϰাāϰ āĻāύ্āϝ āĻিāύ্āϤু āĻাāϰো āĻিāύ্āϤাāϰ āĻāĻĒাāϝ় āĻšিāϏাāĻŦে āύāϝ়।
āϏেāĻ āϏাāĻĨে āĻŦāĻ āĻĒāĻĄ়াāϰ āĻĒ্āϰāϝ়োāĻāύীāϝ়āϤা āϏāĻŽ্āĻĒāϰ্āĻে āĻāĻŦং āĻŦāĻ āĻĒāĻĄ়াāϝ় āϝে āĻāύāύ্āĻĻ āĻĒাāĻāϝ়া āϝাāϝ় āϤা āύিāϝ়ে āϤিāύি āĻāϞোāĻāύা āĻāϰেāύ। āϤিāύি āĻŦāϞেāύ āĻĒুāϰāύো āĻĒঁāĻা āϧাāϰāĻŖা āĻšāϤে āĻŦেāϰ āĻšāϝ়ে āĻāϏাāϰ āĻāύ্āϝ āĻāĻŦং āĻāĻāĻāύ āĻিāύ্āϤাāĻļীāϞ āĻŽাāύুāώ" āĻšāĻāϝ়াāϰ āĻāĻĨা āĻŦāϞেāύ āϝেāĻাāύে āĻāĻāĻāύ āĻŽাāύুāώ āύāϤুāύāϤ্āĻŦেāϰ āĻĒিāĻāύে āĻĻৌāĻĄ়াāĻŦে, āύāϤুāύāĻে āĻাāύাāĻŦে। āϤিāύি āĻāϞāĻŽাāύ āĻļিāĻ্āώা āĻŦ্āϝāĻŦāϏ্āĻĨাāϰ āĻāĻāĻা āĻĒāϰিāĻŦāϰ্āϤāύেāϰ āĻĻāϰāĻাāϰ āĻ
āύুāĻāĻŦ āĻāϰেāύ āϝা āĻিāύা āĻাāϤ্āϰ-āĻাāϤ্āϰীāĻĻেāϰāĻে āĻļুāϧুāĻŽাāϤ্āϰ āύোāĻেāϰ āĻāĻĒāϰ āύিāϰ্āĻāϰ āĻāϰে āĻĨাāĻা āĻāĻŦং āĻŽুāĻāϏ্āĻĨ āĻāϰাāϰ āĻļিāĻ্āώা āĻĻেāϝ়। āĻāĻŽāύ āĻļিāĻ্āώা āĻŦ্āϝāĻŦāϏ্āĻĨাāϰ āĻāĻĒāϰ āĻুāϰুāϤ্āĻŦ āĻāϰোāĻĒ āĻāϰা āĻĻāϰāĻাāϰ, āϝা āĻŽাāύুāώেāϰ āĻŽāύেāϰ āĻāĻĒāϰ āĻĒ্āϰāĻাāĻŦ āĻŦিāϏ্āϤাāϰ āĻāϰāĻŦে āĻāĻŦং āϝা āĻাāϤ্āϰāĻĻেāϰāĻে āĻāĻŦিāώ্āĻাāϰেāϰ āĻāĻŦং āύāϤুāύ āύāϤুāύ āϧাāϰāĻŖা āĻ āĻĒāϰ্āϝāĻŦেāĻ্āώāĻŖে āĻĒূāϰ্āĻŖ āϏ্āĻŦাāϧীāύāϤা āĻĒ্āϰāĻĻাāύ
āĻāϰāĻŦে। āϤিāύি āĻাāύ āϝেāύ āĻŽাāύুāώ āĻ
āύ্āϧāĻাāĻŦে āϏāĻŦāĻিāĻু āĻ
āύুāϏāϰāĻŖ āύা āĻāϰে। āϤাāϰ āĻāĻĨা āĻšāĻ্āĻে āĻŽাāύুāώ āϝেāύ āĻĒ্āϰāĻĨāĻŽে āϝুāĻ্āϤিāĻা āĻŦুāĻāϤে āĻĒাāϰে āĻāĻŦং āĻĒāϰāĻŦāϰ্āϤীāϤে āĻāĻāĻāύ āĻিāύ্āϤাāĻļীāϞ āĻŽাāύুāώ āĻšিāϏেāĻŦে āĻেāĻে āĻāĻ ে। āĻāĻŽাāĻĻেāϰ āĻāĻিāϤ āĻĻুāύিāϝ়াāĻাāĻে āĻāϤিāĻšাāϏ āĻিংāĻŦা āĻāϤিāĻš্āϝেāϰ āĻĒ্āϰāĻাāĻŦāĻŽুāĻ্āϤ āĻšāϝ়ে āĻĒāϰিāώ্āĻাāϰāĻাāĻŦে āĻĒ্āϰāϤ্āϝāĻ্āώ āĻāϰা। āĻāĻŽāϰা āĻĒ্āϰāϤ্āϝেāĻāĻি āĻŽাāύুāώ-āĻ āĻāĻāĻ āĻāĻĒাāĻĻাāύে āϤৈāϰি। āĻāĻ āĻāĻāĻেāϤ্āĻŦেāϰ āĻāĻĨা āĻāĻŽাāĻĻেāϰ āĻāĻĒāϞāĻŦ্āϧি āĻāϰা āĻāĻিāϤ āĻāĻŦং āĻĻুāύিāϝ়াāϰ āĻĒ্āϰāϤি āĻāĻŽাāĻĻেāϰ āĻĻৃāώ্āĻিāĻāĻ্āĻি āĻĒ্āϰāϏাāϰ āĻāϰা āĻāĻিāϤ। āĻāĻা āĻāϞ্āϞেāĻ āĻāϰা āĻŦাāϧ্āϝāϤাāĻŽূāϞāĻ āϝে, āĻ
āϤীāϤāĻে āϏāĻŽ্āĻĒূāϰ্āĻŖ āĻ
āĻŦāĻ্āĻা āĻāϰা āĻাāϰো āĻāĻিāϤ āύāϝ় āĻŦāϰং āϧাāϰāĻŖা āϏāĻŽ্āĻĒāϰ্āĻে āĻাāύো āĻāĻŦং āĻāϤিāĻšাāϏেāϰ āĻাāĻ। āĻšāϤে āĻŽূāϞ্āϝাāϝ়āύ āĻāϰ āϤাāϰāĻĒāϰ āĻāĻŽাāĻĻেāϰ āϏāĻŽাāĻāĻে āĻāύ্āύāϤ āĻāϰ। āĻ
āϤāĻāĻŦ, āĻĒৃāĻĨিāĻŦীāĻে āĻĒāϰিāĻŦāϰ্āϤāύ āĻāϰাāϰ āĻাāĻ āϏāĻŽ্āĻĒূāϰ্āĻŖ āĻāĻŦিāώ্āϝ⧠āĻĒ্āϰāĻāύ্āĻŽেāϰ āĻāĻĒāϰ āύিāϰ্āĻāϰāĻļীāϞ। āϤাāϰা āĻাāĻāϞে āĻāĻāĻāύ āĻিāύ্āϤāύāĻļীāϞ āĻŽাāύুāώ āĻšāϤে āĻĒাāϰে āĻāĻŦাāϰ āĻ
āύ্āϧāĻাāĻŦে āĻ
āϤীāϤেāϰ āύিāϝ়āĻŽ-āύীāϤিāĻে āĻ
āύুāϏāϰāĻŖ āĻāϰāϤে āĻĒাāϰে, āϤাāĻĻেāϰ āĻāύ্āϝ āĻĻুāĻো āϰাāϏ্āϤাāĻ āĻোāϞা।
āĻāĻ āĻĒāϞāĻে: At a Glance of The American Scholar
ā§§ā§Žā§Šā§ āϏাāϞে āĻāĻŽাāϰāϏāύ āĻāĻāĻāύ āϏāĻŽাāĻŦāϰ্āϤāύ āĻŦāĻ্āϤা āĻšিāϏেāĻŦে āĻšাāϰ্āĻাāĻĄেāϰ āĻĒāĻšি āĻŦেāĻা āĻাāĻĒ্āĻĒা āϏোāϏাāĻāĻিāϤে āĻāĻ āĻŦāĻ্āϤৃāϤা āĻĒ্āϰāĻĻাāύ āĻāϰেāύ । āĻāĻ āĻŦāĻ্āϤৃāϤাāϝ় āϤিāύি āĻāϤিāĻšাāϏেāϰ āĻ āύিāϰ্āĻĻিāώ্āĻ āϏāĻŽāϝ়āĻাāϤে āĻāĻāĻāύ āĻŦুāĻĻ্āϧিāĻীāĻŦিāϰ āĻāϰ্āϤāĻŦ্āϝ āĻি āĻšāĻāϝ়া āĻāĻিāϤ āϤা āύিāϝ়ে āĻāĻĨা āĻŦāϞেāύ। āĻāĻŽাāϰāϏāύ āĻšāĻ্āĻেāύ āĻāĻŽেāϰিāĻাāϰ āĻāĻāĻāύ āĻŦিāĻ্āϝাāϤ āĻĻাāϰ্āĻļāύিāĻ āϝিāύি āĻিāύা āĻ
āϤি āĻāύ্āĻĻ্āϰিāϝ়āĻŦাāĻĻেāϰ āĻĒ্āϰāϤিāώ্āĻ াāĻাāϞীāύ āĻ
āύ্āϝāϤāĻŽ āĻāĻāĻāύ āĻāĻ্āĻ্āĻŦāϞ āύāĻ্āώāϤ্āϰ। āĻāĻা āĻšাāϰ্āĻাāĻĄে āĻāĻāĻি āĻ্āϞাāϏে āĻĒ্āϰāĻĨāĻŽ āĻāĻĒāϏ্āĻĨাāĻĒāύ āĻāϰা āĻšāϝ় āϝা āĻিāύা "America's Intellectual Declaration of Independance" āύাāĻŽে āĻĒāϰিāĻিāϤ āϝা āϏāϰ্āĻŦāĻĒ্āϰāĻĨāĻŽ āĻāĻŽেāϰিāĻাāύ āĻিāĻিā§āϏাāĻŦিāĻĻ āĻāĻŦং āϞেāĻāĻ āĻ
āϞিāĻাāϰ āĻāϝ়েāĻāĻāϝ়েāϞ āĻšোāĻŽāϏ āĻāĻ্āĻাāϰāĻŖ āĻāϰেāύ।
