Tuesday, July 13, 2021

Psychology game behind TikTok


 đŸ¤Š Psychology game behind
TikTok


TikTok has become the most popular mobile app in the world this year. The Chinese-born TikTok is number one, surpassing all other Western giants in the IT world. Now you see what TikTok is all about in the Psychology Group. TikTok is a purely psychology game. Technically, this is not a very sophisticated app, but it can be said that the popularity here is entirely due to the Psychology tricks here. Let us inquire about that. My real goal is to go beyond the depression, relationship issues, etc. that we often talk about, and focus your attention on interesting events in psychology.

TikTok is simply an addiction. If you have used this app at least once, you know how quickly you become addicted to it. Let's see how TikTok causes this addiction.

đŸŽŦTiny little video clips

Did you know that TikTok has small video clips that can be played for as little as 15 seconds? There is a concept in psychology called Attention Span. The focus range is the time during which a person can continue to focus on something. It really takes about 10-12 seconds on average. Then most likely our focus range is exactly the time of a Tiktok video. In other words, the TikTok video captures our attention effortlessly.

💝It shows us what we love

Like Youtube and Facebook, they suggest a few videos for us to watch. But TikTok goes beyond that and observes the user's behavior in a very complex way and shows us the video we want to watch next. As soon as we open the TikTok app, we go to the "For you" page. All the videos shown there are videos that suggest us to study our information and behavior in the app with Artificial Intelligence. One complex calculation (Algorithm). We watch videos, they study us to make us use the app. 

For example, as soon as we install the app, they know that we are from Sri Lanka. Then they show us the most watched videos in Sri Lanka. From that, if we watch a video of a bird, the app knows that we love animals. Then we are shown videos of animals. This way we can see more and more of what we love to see.

🏭TikTok is a dopamine factory

Dopamine is simply the hormone that carries the message of happiness. The dopamine hormone is secreted into our brain when we approach something that makes us happy. The brain likes to keep dopamine levels high. So the brain prompts us to do the same thing over and over again. When we taste something, the dopamine level rises and gives us pleasure to eat and that food makes us want to eat again. This is a natural process, which in psychology is called the Reward system. Drug use replaces this natural process by artificially injecting dopamine into our brain. That's what makes a terrible addiction. The same thing happens with TikTok. TikTok has beautiful lyrics, beautiful things, funny jokes, and beautiful women's dances that make us happy. When we watch one or two videos, the dopamine hormone is secreted and we want to watch more videos. We don't even understand the passage of time because of the short videos. As we select and show us all the things we like from the app, this automatically becomes addictive and the app becomes a constant stream of dopamine.

đŸŽĨ We also want to make a video🎞️

A TikTok video shows us a lot more beautiful than we are. The beauty filters in that app give us a beauty we don't have. Another concept in psychology is self-esteem. Self-esteem is our own appreciation of our worth. It would be nice if we could keep this on a high but realistic level. And our minds like it together. When we look beautiful with the TikTok app, our Self-Esteem goes up a lot. And the more self-esteem they get after posting them, the higher their self-esteem will be. Then we will be tempted to do more TikTok videos.

🧐The app controls us for a while, rather than we control the app😱

There are very limited things to do on TikTok. Often there is nothing to do except go to the next video, leave a like, leave a comment. There is no such thing as fast-forwarding videos. Anyway for a few seconds we show something we don't like but we are tempted to watch it. On the other hand the video does not show the time. Therefore, I do not understand the passage of time. That is, after a while we get to the point where we want to see the app. Anyway, the TikTok arithmetic that suggests videos to us shows the cracks among the videos we don't like. That's another tactic that keeps us with the app. Because we will watch the next video until the one we like comes. Together in psychology it is called the Intermittent Reinforcement Theory. This theory is also the reason why people become addicted to gambling.


💭However, the TikTok app has improved people's creativity. TikTok has become a good place for people's acting skills and many creative ideas. It is also used as a tactic to relieve human stress in the event of a global epidemic. The purpose of my article, however, is not to say that TikTok is good or bad. It gives you the psychological understanding you need to use this for better or worse. So use it wisely. đŸ¤ŗ Thank you..! 

Saturday, July 10, 2021

Bheegi bheegi raaton mein

 Bheegi bheegi raaton mein

Meethi meethi baaton mein
Aisi barsaton mein
Kaisa lagta hain?

Aisa lagta hain tum banke badal
Mere badan ko bhigo ke mujhe
Ched rahe ho, chhed rahe ho
Aisa lagta hain tum banke badal
Mere badan ko bhigo ke mujhe
Chhed rahe ho, chhed rahe ho

Ambar khele holi, ui maa
Bheegi mori choli, hamjoli hamjoli
Ambar khele holi, ui maa
Bheegi mori choli, hamjoli hamjoli

O paani ke is rele mein
Sawan ke is mele mein
Chhat pe akele mein
Kaisa lagta hain?

Aisa lagta hain tum banke ghata
Apne sajan ko bhigo ke khel
Khel rahi ho, khel rahi ho

Aisa lagta hain tum banke badal
Mere badan ko bhigo ke mujhe
Chhed rahe ho, O chhed rahe ho

Barakha se bacha loon
Tujhe seene se laga loon
Aa chupa loon, aa chupa lonn
Barakha se bacha loon
Tujhe seene se laga loon
Aa chupa loon, aa chupa lonn

Dil ne pukara dekho
Rutt ka ishara dekho
Uff yeh nazara dekho
Kaisa lagta hain, bolo?

Aisa lagta hain kuch ho jayega
Mast pawan ke yeh jhoke saiyaan
Dekh rahe ho, dekh rahe ho

Aisa lagta hain tum banke badal
Mere badan ko bhigo ke mujhe
Chhed rahe ho, chhed rahe ho


āļģුāļ°ිāļģāļœāļ­ āˇƒීāļąි āļ¸āļ§්āļ§āļ¸ āļ´āˇ„āļ­ āˇ„ෙāļŊāļą, āļ†āļ­āļģāļēිāļ§ි⎃්, āļ…āļģ්⎁⎃් āļģෝāļœ āˇ€āˇ…āļšāļą "⎃ේāļ´ාāļŊිāļšා" "Night Jasmine"

āļģුāļ°ිāļģāļœāļ­ āˇƒීāļąි āļ¸āļ§්āļ§āļ¸ āļ´āˇ„āļ­ āˇ„ෙāļŊāļą, āļ†āļ­āļģāļēිāļ§ි⎃්, āļ…āļģ්⎁⎃් āļģෝāļœ āˇ€āˇ…āļšāļą āˇƒේāļ´ාāļŊිāļšා

1 āļŊිāļ´ිāļē
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āļ‘āļē āļ´ාāļģිāļĸාāļ­ āļšුāļŊāļēāļ§ āļ…āļēāļ­්.⎀āļą්āļąāļš්. āļąි⎁ි āļ´ු⎂්āļ´ිāļšා āļ´ාāļģිāļĸාāļąි , āļ¸āļą්āļ¯ාāļģ, ⎃ු⎀ා ,⎃ීāļ­ āļ¸ංāļĸāļģී āļģාāļœ āļ´ු⎂්āļ´ි āļ´āļ§āļŊāļ¸āļŊ්āļŊි āļ¸ංāļĸුāļ´ු night jasmine coral jasmine āļ†āļ¯ි āļąāļ¸් āļœāļĢāļąා⎀āļšිāļą් ⎀ි⎀ිāļ° āļˇා⎂ා⎀āļŊිāļą් ⎄ැāļŗිāļą්⎀ෙāļąāˇ€ා. ⎁්‍āļģීāļŊංāļšා⎀ āļ‰āļą්āļ¯ිāļēා⎀ āļļුāļģුāļ¸āļē āļ¸ැāļŊේ⎃ිāļēා⎀ ⎄ා ⎀ෙāļąāļ­් āļ¯āļšුāļĢු āļ†āˇƒිāļēාāļ­ිāļš āļģāļ§āˇ€āļŊ āļ¯ āļļ⎄ුāļŊ⎀ āļ¯āļš්āļąāļ§ āļŊැāļļෙāļą්āļąāļš්. āļļāļ§āˇ„ිāļģ āļļෙංāļœාāļŊāļēේ āļĸාāļ­ිāļš āļ´ු⎂්āļ´āļēāļ­් ⎃ේāļ´ාāļŊිāļšා āļ¸āļŊāļēි. ⎃ු⎁ෘāļ­ āˇƒං⎄ිāļ­ා, āļ…⎂්āļ§ාංāļœ āˇ„āļģ්āļ¯āļē ⎄ා ⎀ෙāļąāļ­් āļąිāļāļą්āļŠු ⎁ාāļšāļē āļœැāļą āˇƒāļŗāˇ„āļą් āļšāļģāļąāˇ€ා.

āļ…āļŠි 10 āļš් 15 āļš් āļ‹āˇƒāļ§ āˇ€ැāļŠෙāļą āˇාāļšāļēේ āļģ⎅ු ⎃්⎀āļˇා⎀āļēāļš් āļ‡āļ­ි ⎃āļ¸්āļ¸ුāļ› āļ´āļ­්‍āļģ Nyctanthes ⎃ාāļģ āļ´āļ¯ාāļģ්āļŽ āˇƒāˇ„ිāļ­āļēි .⎁ාāļšāļē āļģ⎃āļēෙāļą් āļ­ිāļ­්āļ­āļēි. ⎃ෙāļ¸ āˇ„ා ⎀ාāļ­ āļąāˇƒāļą āļœුāļĢ āˇƒāˇ„ිāļ­āļēි. āļšු⎃āļœිāļąි ⎀āļģ්āļ°āļšāļēāļš් āļģāļš්āļ­ ,⎁ෝāļ°āļšāļēāļš් ⎀ි⎂ āļąා⎁āļšāļēāļš් āļšෘāļ¸් āļąා⎁āļšāļēāļš් ⎃ේ ⎃ිāļģුāļģේ āļš්‍āļģිāļēාāļ­්āļ¸āļš āˇ€āļąāˇ€ා. ⎁ාāļšāļēේ āļ¸āļŊ් āļšො⎅ āļ‡āļ§ āļ´ොāļ­ු āļ¸ුāļŊ් āļ†āļ¯ි ⎃ිāļēāļŊු āļšොāļ§āˇƒ් āļ”āˇƒු āļœුāļĢāļēෙāļą් āļēුāļ­ු⎀āļą āļ…āļ­āļģ, ⎀ි⎀ිāļ° āļģෝāļœ āļ´ාāļŊāļąāļēāļ§ āļēොāļ¯ාāļœāļąු āļŊāļļāļąāˇ€ා . āļ‘āļē ⎃āļ¸ං⎁ාāļ¯ි āļ­ෛāļŊāļē , āļŊāļĸ්āļĸාāļŊ āļģ⎃ාāļēāļąāļē , āļ āļą්āļ¯āļąාāļ¯ි āļ ූāļģ්āļĢāļē, āļ¸ෘāļ­ āˇƒංāļĸී⎀āļąී ⎃ුāļģා⎀, āļ´ිāļēු⎂āļ¸āļŊ්āļŊි āļģ⎃āļē, āļ‹āˇිāļģාāļ¯ි āļš්⎀ාāļŽāļē āļ†āļ¯ි āļ–⎂āļ° āˇƒංāļēෝāļœ āˇƒāļŗāˇ„ා āļ‹āļ´āļēෝāļœී āļšāļģāļœāļąු āļŊāļļāļą්āļąāļš්.

⎃ේāļ´ාāļŊිāļšා āļ…āļ­ීāļ­āļēේ ⎃ිāļ§ āˇ€āļŠා āļ´්‍āļģāļšāļ§āˇ€ āļ‡āļ­්āļ­ේ āļ¯ිāļē⎀ැāļŠිāļēා⎀ āļ´ාāļŊāļąāļē āļšāļģāļą්āļąāļš් āļŊෙ⎃āļēි. āļ’ āˇƒāļŗāˇ„ා ⎀ිāļē⎅ි āļ¸āļŊ් āļ­āļ¸්āļļා āļļොāļąāˇ€ා. āļ¸āļŊ් āļ¯āˇ„āļēāļš් āļ´āˇ„āļŊො⎀āļš් āļ¸āļŗ āļ‹āļĢු⎃ුāļ¸් āļĸāļŊāļē āļ¸ිāļŊි 200āļš āļļ⎄ා ⎀ිāļąාāļŠි 10 -15 āļšිāļą් āļ´āļ¸āļĢ āļ´ෙāļģා ⎄ි⎃්āļļāļŠ āļ´ාāļąāļē āļšිāļģීāļ¸āļ­් āļ¯ිāļē⎀ැāļŠිāļēා āļ´āļŊāļąāļēāļ§ āļ´්‍āļģāļ­්‍āļēāļš්⎂ āļ–⎂āļ°āļēāļš් āļļ⎀ ⎃āļŗāˇ„āļą්. āļ‘āļē ⎃āļ­ිāļēāļšāļ§ āļ¯ිāļą āļ­ුāļąāļš් ⎀āļ­් āļ´ාāļąāļē āļšāˇ…āļēුāļ­ුāļēි.

2014 āļĸාāļ­්‍āļēāļą්āļ­āļģ āļ´ාāļģි⎃āļģිāļš āˇ„ා āļĸෛ⎀ීāļē ⎀ිāļ¯්‍āļēා ⎃āļ¸ු⎅ු⎀āļ§ āļ‰āļ¯ිāļģිāļ´āļ­් āļšෙāļģුāļĢු āļąිāļļāļą්āļ°āļąāļēāļš āļ¯ැāļš්⎀ෙāļą āļ´āļģිāļ¯ි,, āļĸāļē⎀āļģ්āļ°āļąāļ´ුāļģ ⎃āļģāˇƒāˇ€ිāļēේ ⎃āļ­්āļ­්⎀ ⎀ිāļ¯්‍āļēා āļ…ං⎁āļē, āļ¸ීāļēāļą් 36 āļ¯ෙāļąāļšු āļēොāļ¯ා āļ¯ිāļą 30āļš් āļ­ි⎃්⎃ේ ,āļšāˇ… āļ´āļģ්‍āļēේ⎂āļĢāļēāļšāļ¯ී ⎃ේāļ´ාāļŊිāļšා āļ¸āļŊ් ⎃ාāļģāļē āļģුāļ°ිāļģāļœāļ­ āˇƒීāļąි āļ¸āļ§්āļ§āļ¸් āļ´āļ¸āļĢāļš් āļąො⎀ āļŊිāļ´ිāļŠ āļ¸āļ§්āļ§āļ¸්āļ¯ āļ´ාāļŊāļąāļēāļ§ āļ‹āļ´āļšාāļģි⎀āļą āļļ⎀ ⎃ොāļēා āļœැāļąුāļĢා. āļ‰āļą් ⎃ිāļģුāļģāļ§ āˇ„ිāļ­āļšāļģ āļšොāļŊෙ⎃්āļ§āļģෝāļŊ් āļŊෙ⎃ ⎃ැ⎅āļšෙāļą H D L āļ¸āļ§්āļ§āļ¸ āļ‰āˇ„āļŊ āļœො⎃් āļ…⎄ිāļ­āļšāļģ āļŊෙ⎃ ⎃ැ⎅āļšෙāļą triglyceride ,āļ¸āļ§්āļ§āļ¸ āļ´āˇ„āļŊ āļļ⎃ිāļą āļļ⎀ āļ­āˇ„⎀ුāļģු āļšෙāļģුāļĢා .

⎃ේāļ´ාāļŊිāļšා āļ āļģ්āļ¸ āļģෝāļœ āļ´ාāļŊāļąāļēāļ§ āļ¯ āļ‹āļ´āļšාāļģි⎀āļą්āļąāļš්. ⎃āļ¸ේ āļšැ⎃ීāļ¸් ⎄ොāļģි āļ¯āļ¯ āļ†āļ¯ිāļēේ āļ¯ී āļšො⎅ āļšොāļ§ා āļ†āļŊේāļ´ āļšිāļģීāļ¸ āˇƒිāļ¯ු āļšෙāļģෙāļąāˇ€ා. āļšො⎅ āļēු⎂ āļ­āļŊ āļ­ෙāļŊ් ⎃āļ¸āļœ āļģāļ­්āļšāļģ, āļ¸āļŗāļš් āļąි⎀ෙāļą්āļąāļ§ āˇ„ැāļģ āļ‹āļ¯āļē āˇƒāˇ€āˇƒ āļœෑāļ¸āļ­් āˇƒāˇ„āļą āļ¯ාāļēāļšāļēි. āļ´ොāļ­ු āļ ූāļģ්āļĢāļē āļ¯ෙ⎄ි āļ‡āļšුāļŊෙāļą් āļ…āļąා āļ†āļŊේāļ´ āļšිāļģීāļ¸ āļ¯ āļœුāļĢ āļ¯ෙāļą āļ´්‍āļģāļ­ිāļšාāļģāļēāļš්. ⎃ේāļ´ාāļŊිāļšා āļ‡āļ§ āļĸāļŊāļēෙāļą් āļ…āļšāļģා ⎄ි⎃ āļœැāļŊ්⎀ීāļ¸ෙāļą් ⎄ි⎃ේ āļ‡āļ­ි⎀āļą āˇ„ි⎃්⎃ොāļģි āļšොāļģāļ´ොāļ­ු āļ†āļ¯ි āļģෝāļœ āļ¯ුāļģු⎀ෙāļąāˇ€ා. āļ‹āļšුāļĢāļą් ⎀āļŗāˇ€ෙāļąāˇ€ා. ⎄ි⎃āļšෙ⎃් ⎀ැāļ§ීāļ¸āļ­් āļąැ⎀āļ­ී āļąිāļģෝāļœී āļšෙ⎃් āļšāˇ…āļšāļš් ⎀ැ⎀ෙāļąāˇ€ා. āļ‡āļ§ āļ­ැāļ¸්āļļූ āļ¯ිāļēෙāļą් ⎃ේāļ¯ීāļ¸ෙāļą්āļ¯ āˇ„ි⎃ෙāļœි ⎃āļ¸ āļąිāļģෝāļœී āļšāļģāļœāļ­ āˇ„ැāļšිāļēි.

⎁්āˇ€āˇƒāļą āļ´āļ¯්āļ°āļ­ිāļē āļ†āˇ්‍āļģිāļ­ āļšැ⎃්⎃ āļ‡āļ¯ුāļ¸ āļš්⎂āļē āļģෝāļœāļē āļ†āļ¯ි āļģෝāļœāˇ€āļŊāļ§ āļ‘āļģෙ⎄ි⎀āļ¯ āˇාāļšāļē āļ´්‍āļģāļ­ිāļ ාāļģ āļ¯āļš්⎀āļąāˇ€ා. āļšāļŊ් āļœāļ­ āļšැ⎃්⎃, ⎃āļŗāˇ„ා,⎃ේāļ´ාāļŊිāļšා āļšො⎅ āļēු⎂ āļ­ේ ⎄ැāļą්āļ¯āļšāļ§ āļ¸ීāļ´ැāļĢි āļ¯āļ¸ා āļ¯ිāļąāļ´āļ­ා āļ‹āļ¯ෑ⎃āļą āļļීāļ¸ෙāļą් āˇƒāˇ„āļą āļ…āļ­්⎀ෙāļąāˇ€ා. āļ¸ුāļŊේ āļ´ොāļ­ු āļ ූāļģ්āļĢāļē āļ¸ංāļ ාāļŠි āļ¯ෙāļšāļš් āļļුāļŊāļ­් āļšො⎅ āļēු⎂ ⎃āļ¸āļœ āļ¯ීāļ¸ෙāļą් āļāļąāˇ€ූ ⎃ෙāļ¸ āļļුāļģුāļŊ්⎀ී āˇƒāˇ„āļą āˇƒැāˇ…āˇƒෙāļą āļļ⎀ ⎃āļŗāˇ„āļą් ⎀ෙāļąāˇ€ා. ⎀ෛāļ¯්‍āļē āļ‹āļ´āļ¯ෙ⎃āļšිāļą් āļ­ොāļģ⎀ āļšො⎅ āļēු⎂ āļ­ේ ⎄ැāļą්āļ¯āļšāļ§ āˇ€āļŠා āļļීāļ¸ āˇƒුāļ¯ු⎃ු āļąැāļ­ි āļļ⎀ ⎃āļŗāˇ„āļą්.

āļ†āļ­āļģāļēිāļ§ි⎃් āļģෝāļœāļēේāļ¯ී āļšො⎅ āļ…āļšāļģා āļ´ැāļŊැ⎃්āļ­āļģ āļēොāļ¯āļąāˇ€ා. ⎄āļą්āļ¯ි āļ‰āļ¯ිāļ¸ුāļ¸් āļšැāļš්āļšුāļ¸් āļ†āļ¯ිāļē්āļ¯ී āļšො⎅ āļšොāļ§ා āļ­āļŊāļ´āļēāļš් ⎃ේ āļ†āļŊේāļ´ āļšāļģāļąු āļŊāļļāļąāˇ€ා. ⎄āļą්āļ¯ි āļ¸ෙāļą්āļ¸ āļšොāļą්āļ¯ āˇ€ේāļ¯āļąා⎀āļŊāļ¯ී āļ¯ āļšො⎅ āļēු⎂ āļ­āļŊ āļ­ෙāļŊ් ⎃āļ¸āļœ āˇƒිāļŗු⎀ා āļ…āˇƒුāļģා āļ­āļļාāļœෙāļą āļœැāļŊ්⎀ීāļ¸ āˇƒුāļ¯ු⎃ු ⎃ේ āļ¯ැāļš්⎀ෙāļąāˇ€ා. ⎃āļą්āļ°ි ⎁ෝāļŽ – āļ†āļ¸āˇ€ාāļ­ āļ‹āļ¯āļģාāļļාāļ° āˇƒāļŗāˇ„ා āļšො⎅ āļēු⎂ āļ…⎀ුāļą්⎃āļēāļš් āļ¸ීāļ´ැāļĢි ⎃āļ¸āļœ āļŊāļļාāļ¯ීāļ¸ āˇƒුāļ¯ු⎃ු āļļ⎀ ⎀ෛāļ¯්‍āļē, āļŊේāļ›āļąāˇ€āļŊ ⎃āļŗāˇ„āļą්. ⎃ේāļ´ාāļŊිāļšා āļ¸āļŊ් āļšāˇ‚ාāļēāļ­් ⎃āļą්āļ°ි āļ‰āļ¯ිāļ¸ුāļ¸් ⎀ේāļ¯āļąා⎀āļŊāļ§ āļœුāļĢ āļ¯ෙāļąāˇ€ා.

⎁ාāļšāļē āļ´āļĢු āļģෝāļœ āˇƒāļ¸āļąāļēāļ§āļ­්, āļ¯ාāļēāļš āˇ€āļą්āļąāļš්. āļšො⎅ āļēු⎂ ⎀āļŊāļ§ āļ¸ී āļ´ැāļĢි āļ‘āļš්āļšāļģ āļŊුāļĢු ⎄ෝ āˇƒāˇ„ිāļŗ āļŊුāļĢු ⎃්⎀āļŊ්āļ´āļēāļš් āļēොāļ¯ා āļ´ාāļąāļē āļšිāļģීāļ¸ෙāļą් ⎀āļ§ āļ´āļĢු⎀āļą් ⎄ා āļšිāļģි āļ´āļĢු⎀āļą් āļ¸āļģ්āļ¯āļąāļē āļšāļģāļœāļ­ āˇ„ැāļšිāļēි. āļ´āļĢු āļģෝāļœ āļ´ාāļŊāļąāļēāļ§ āļšො⎅ āļšāļŊං āļ¯ො⎅⎄ේ āļšāˇ‚ාāļē āļ¯ āˇƒුāļ¯ු⎃ුāļēි. āļ‘āļē āļ´āļ­ āļ…āļ§ āļ‘āļšāļ§ āˇƒිāļŗු⎀ා āļ‹āļ¯āļē ⎄⎀ා āļ´āļ­ āļļාāļœāļē āļļැāļœිāļą් āļļීāļ¸ෙāļą් ⎃ිāļģුāļģේ āļ…āļ´්‍āļģාāļĢිāļš āļļ⎀ āļ¯ුāļģු⎀āļą āļ…āļ­āļģ āļ•āļąෑāļ¸ āļ‹āļĢāļš් āļ¯ āļļ⎃්⎀ාāļœāļ­ āˇ„ැāļšි āļļ⎀ ⎃āļŗāˇ„āļą්⎀ෙāļąāˇ€ා. āļ‘āˇƒේāļ¸ āļ•āļąෑāļ¸ āļ‹āļĢāļš් āļšො⎅ āļēු⎂ āļ¸ීāļ´ැāļĢි ⎃āļ¸āļœ āļŊāļļාāļ¯ීāļ¸ෙāļą් āļ¯ āˇƒāļ¸āļąāļē āļšāļģāļœāļ­ āˇ„ැāļšි āļļ⎀ ⎃āļŗāˇ„āļą්.

⎃ේāļ´ාāļŊිāļšා āļ¸āļŊ් āļšāˇ‚ාāļē āļ´්‍āļģāļĸāļąāļą āļ´āļ¯්āļ°āļ­ි āļģෝāļœāˇ€āļŊāļ§ āļœුāļĢ āļŊāļļා āļ¯ෙāļąāˇ€ා. āļ…āļģ්⎁⎃් āļģෝāļœāļēේāļ¯ී ⎁ාāļšāļēේ āļ‡āļ§ āļ…āļšāļģා āļ¯ිāļąāļšāļ§ āļ¯ෙ⎀āļģāļš් āļœෙāļŠි⎀āļŊ āļœැāļŊ්⎀ිāļ¸ āˇƒුāļ¯ු⎃ු āļļ⎀ ⎃āļŗāˇ„āļą්. āļąා⎃āļēෙāļą් āļŊේ āļēාāļ¸ේāļ¯ී āļ´්‍āļģāļ­ිāļšාāļģ ⎃āļŗāˇ„ා āļąāˇƒ්āļąāļēāļš් āļŊෙ⎃ ⎁ාāļšāļēේ āļ¸ුāļŊෙ⎄ි āļēු⎂ āļēොāļ¯ා āļœāļą්āļąāˇ€ා. ⎀ි⎂ ⎄āļģāļĢāļē ,āļšිāļģීāļ¸ේ ⎄ැāļšිāļēා⎀āļ¯ āˇාāļšāļē ⎃āļ­ුāļēි āļ¸ීāļ¸ැ⎃ි āļļāļ¸āļģ āļ¯āˇ‚්āļ§ āˇ€ි⎂āļ§ āļ‘⎄ි āļšො⎅ āļ…āļšāļģා āļœාāļąāˇ€ා. ⎃āļģ්āļ´ āˇ€ි⎃ āļ§ āļ´ොāļ­ු āļ ූāļģ්āļĢāļē āļ…āļģāļ­්āļ­ āļ…āļŊ āļēු⎂ ⎃āļ¸āļœ āļŊāļļා āļ¯ෙāļąāˇ€ා. āļ…āļą්āļ­්‍āļģ āļģෝāļœ āˇ„ා āļ¸ාං⎁ āļ´ේ⎁ි⎀āļŊ āļ¯ැāļŠි āļļ⎀ āļ‡āļ­ි⎀ිāļ§āļ­් ⎃ේāļ´ාāļŊිāļšා āļ–⎂āļ° āļŊෙ⎃ āļēොāļ¯ා āļœāļą්āļąāˇ€ා.

āļļො⎄ෝ āļģෝāļœ āˇƒු⎀āļšිāļģීāļ¸āļ§ āļ¯ාāļēāļš āˇ€āļą āˇƒේāļ´ාāļŊිāļšා ⎁ාāļšāļē ⎃ැāļ´āˇ€āļ­් āļąිāļą්āļ¯āļš් āļŊāļļා āļ¯ීāļ¸āļ§āļ­් āļ‹āļ´āļšාāļģී⎀āļą්āļąāļš්. āļ¸āļŊ්, āļ¸āļŗ āļ´āˇ€āļąේ ⎀ිāļē⎅ා āļšුāļŠුāļšāļģ āļ‰āļą් ⎃්⎀āļŊ්āļ´āļē āļļැāļœිāļą් āļēොāļ¯ා ⎃āļšāˇƒාāļœāļ­් āļ­ේ āļ´ාāļąāļē āļšිāļģීāļ¸ෙāļą් āļąිāļą්āļ¯ āļąොāļēාāļ¸ේ āļ…āļ´āˇ„āˇƒුāļ­ා⎀ෙāļą් āļ¸ිāļ¯ී ⎃ු⎀ āļąිāļą්āļ¯āļš් āļŊāļļාāļœāļ­ āˇ„ැāļšිāļēි.

āļ­ොāļģāļ­ුāļģු āļŊāļļා āļœāļ­්āļ­ේ....
āļŊිāļ´ිāļē ⎃ැāļšැ⎃ුāļ¸ Indra Kumari Rathnayake
(āļ¸ූāļŊා⎁්‍āļģ ⎄ා ⎃ේāļēා āļģූ-āļ…āļą්āļ­āļģ්āļĸාāļŊāļē āļ…āļ´ේ āļ”āˇƒු āļ´ැ⎅ ⎄ා ⎀ෛāļ¯්‍āļē āļŊේāļ›āļą āļ‡āˇƒුāļģිāļąි)....✍️✍️✍️