Muhammed Nasır Güler
@muteeddi
𝐁𝐢𝐫 𝐝𝐚𝐦𝐥𝐚 𝐦𝐮̃𝐫𝐞𝐤𝐤𝐞𝐩 𝐛𝐢𝐫 𝐦𝐢𝐥𝐲𝐨𝐧 𝐤𝐢𝐬̣𝐢𝐲𝐢 𝐝𝐮̃𝐬̣𝐮̃𝐧𝐝𝐮̃𝐫𝐞𝐛𝐢𝐥𝐢𝐫
{ʟᴏʀᴅ ʙʏʀᴏɴ}
Medrese eğitimi
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𝐒𝐚𝐡𝐭𝐞 𝐊𝐚𝐡𝐫𝐚𝐦𝐚𝐧𝐥𝐚𝐫
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𝐇𝐞𝐫 𝐤𝐨𝐧𝐟𝐞𝐫𝐚𝐧𝐬, 𝐟𝐚𝐫𝐤𝐥ı 𝐭𝐚𝐫𝐢𝐡 𝐯𝐞 𝐬̧𝐞𝐡𝐢𝐫𝐥𝐞𝐫𝐝𝐞 𝐜̧𝐞𝐬̧𝐢𝐭𝐥𝐢 𝐝𝐞𝐟𝐚𝐥𝐚𝐫 𝐛𝐢𝐧𝐥𝐞𝐫𝐜𝐞 𝐝𝐢𝐧𝐥𝐞𝐲𝐢𝐜𝐢𝐲𝐞 𝐡𝐢𝐭𝐚𝐛𝐞𝐧 𝐯𝐞𝐫𝐢𝐥𝐦𝐢𝐬̧ 𝐨𝐥𝐮𝐩 𝐛𝐮̈𝐲𝐮̈𝐤 𝐢𝐥𝐠𝐢 𝐝𝐨𝐠̆𝐮𝐫𝐦𝐮𝐬̧𝐭𝐮𝐫. 1949'𝐝𝐚 𝐁𝐮̈𝐲𝐮̈𝐤 𝐃𝐨𝐠̆𝐮 𝐂𝐞𝐦𝐢𝐲𝐞𝐭𝐢𝐧𝐢𝐧 𝐤𝐮𝐫𝐮𝐥𝐮𝐬̧𝐮𝐧𝐝𝐚𝐧 𝐢𝐭𝐢𝐛𝐚𝐫𝐞𝐧 𝐀𝐧𝐚𝐝𝐨𝐥𝐮'𝐲𝐮 𝐛𝐢𝐫 𝐮𝐜̧𝐭𝐚𝐧 𝐨̈𝐛𝐮̈𝐫 𝐮𝐜𝐚 𝐬𝐚𝐫𝐬𝐚𝐧 𝐍𝐞𝐜𝐢𝐩 𝐅𝐚𝐳ı𝐥 𝐢𝐜̧𝐢𝐧, 𝐦𝐞𝐯𝐳𝐮𝐮 𝐧𝐞 𝐨𝐥𝐮𝐫𝐬𝐚 𝐨𝐥𝐬𝐮𝐧 𝐯𝐞𝐫𝐝𝐢𝐠̆𝐢 𝐡𝐞𝐫 𝐤𝐨𝐧𝐟𝐞𝐫𝐚𝐧𝐬, "𝐓𝐚𝐧𝐳𝐢𝐦𝐚𝐭𝐭𝐚𝐧 𝐛𝐞𝐫𝐢 𝐠𝐞𝐥𝐞𝐧 𝐬𝐚𝐡𝐭𝐞 𝐢𝐧𝐤ı𝐥𝐚𝐩𝐥𝐚𝐫ı𝐧 𝐜̧𝐮̈𝐫𝐮̈𝐭𝐭𝐮̈𝐠̆𝐮̈ 𝐫𝐮𝐡 𝐤𝐨̈𝐤𝐮̈𝐦𝐮̈𝐳𝐮̈ 𝐤𝐮𝐫𝐭𝐚𝐫𝐦𝐚, 𝐤𝐚𝐢𝐧𝐚𝐭 𝐜̧𝐚𝐩ı𝐧𝐝𝐚 𝐡𝐞𝐬𝐚𝐛𝐚 𝐯𝐮𝐫𝐦𝐚, 𝐓𝐮̈𝐫𝐤𝐮̈𝐧 𝐫𝐮𝐡 𝐯𝐞 𝐦𝐚𝐝𝐝𝐞 𝐝𝐮̈𝐧𝐲𝐚𝐬ı𝐧ı 𝐁𝐚𝐭ı𝐧ı𝐧 𝐝𝐚 𝐡𝐚𝐲𝐫𝐚𝐧 𝐨𝐥𝐚𝐜𝐚𝐠̆ı 𝐯𝐞 𝐢𝐜̧𝐢𝐧𝐝𝐞 𝐡𝐞𝐫 𝐝𝐞𝐫𝐝𝐞 𝐝𝐞𝐯𝐚 𝐛𝐮𝐥𝐚𝐜𝐚𝐠̆ı 𝐛𝐢𝐫 𝐢𝐝𝐞𝐨𝐥𝐨𝐜𝐲𝐚 𝐩𝐥𝐚𝐧ı𝐧𝐝𝐚 𝐤𝐮𝐫𝐦𝐚 𝐢𝐝𝐞𝐚𝐥𝐢"𝐧𝐞 𝐛𝐚𝐠̆𝐥ı𝐝ı𝐫.
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مساء الخير
𝚁𝚘𝚖𝚊𝚗 𝚒𝚌𝚊𝚝𝚌̧ı 𝚋𝚒𝚛 𝚑𝚊𝚢𝚊𝚝 𝚝𝚊𝚔𝚕𝚒𝚍𝚒𝚍𝚒𝚛.
𝙾𝚕𝚞𝚛𝚕𝚊𝚛ı𝚗, 𝚘𝚕𝚊𝚋𝚒𝚕𝚒𝚛𝚕𝚎𝚛𝚒𝚗, 𝚘𝚕𝚊𝚖𝚊𝚣𝚕𝚊𝚛ı𝚗, 𝚘𝚕𝚖𝚊𝚜ı 𝚘̈𝚣𝚕𝚎𝚗𝚎𝚗𝚕𝚎𝚛𝚒𝚗, 𝚑𝚊𝚝𝚝𝚊 𝚘𝚕𝚖𝚞𝚜̧ 𝚘𝚕𝚊𝚗𝚕𝚊𝚛ı𝚗, 𝚖𝚞𝚝𝚕𝚊𝚔𝚊 (𝚍𝚒𝚗𝚊𝚖𝚒𝚔) 𝚟𝚊̂𝚔ı𝚊𝚕𝚊𝚛 𝚣𝚒𝚗𝚌𝚒𝚛𝚒 𝚒𝚌̧𝚒𝚗𝚍𝚎 𝚍𝚎𝚖𝚎𝚝𝚒, 𝚍𝚒𝚣𝚒𝚜𝚒, 𝚜𝚎𝚛𝚐𝚒𝚜𝚒 𝚛𝚘𝚖𝚊𝚗...
𝙱𝚘̈𝚢𝚕𝚎 𝚘𝚕𝚞𝚗𝚌𝚊, 𝚛𝚘𝚖𝚊𝚗, 𝚊𝚜𝚕𝚒̂ 𝚖𝚊𝚑𝚒𝚢𝚎𝚝𝚒 𝚋𝚊𝚔ı𝚖ı𝚗𝚍𝚊𝚗 𝚋𝚒𝚛 𝚘𝚕𝚍𝚞𝚛𝚖𝚊, 𝚘𝚕𝚞𝚜̧𝚝𝚞𝚛𝚖𝚊, 𝚋𝚒𝚌̧𝚒𝚖𝚕𝚎𝚖𝚎, 𝚢𝚊𝚔ı𝚜̧𝚝ı𝚛𝚖𝚊, 𝚝𝚊𝚜𝚊𝚛𝚕𝚊𝚖𝚊 𝚒𝚜̧𝚒 𝚑𝚊𝚕𝚒𝚗𝚍𝚎 𝚖𝚎𝚢𝚍𝚊𝚗𝚊 𝚌̧ı𝚔ı𝚢𝚘𝚛 𝚟𝚎 𝚒𝚗𝚜𝚊𝚗𝚍𝚊𝚔𝚒 𝚎𝚜̧𝚢𝚊 𝚟𝚎 𝚑𝚊𝚍𝚒𝚜𝚎𝚕𝚎𝚛𝚒 𝚖𝚞𝚛𝚊𝚔𝚎𝚋𝚎 𝚟𝚎 𝚘̈𝚝𝚎𝚕𝚎𝚛𝚒 𝚔𝚘𝚟𝚊𝚕𝚊𝚢ı𝚌ı 𝚑𝚊𝚢𝚊𝚕 𝚐𝚞̈𝚌𝚞̈𝚗𝚎 𝚍𝚊𝚢𝚊𝚗ı𝚢𝚘𝚛.
𝙷𝚊𝚢𝚊𝚝 𝚑𝚒𝚔𝚊̂𝚢𝚎𝚜𝚒𝚗𝚒 𝚋𝚊𝚣ı 𝚎𝚜𝚎𝚛𝚕𝚎𝚛𝚒𝚗𝚍𝚎 𝚐𝚎𝚛𝚎𝚐̆𝚒𝚗𝚌𝚎 𝚢𝚊𝚣𝚖ı𝚜̧ 𝚘𝚕𝚍𝚞𝚐̆𝚞𝚗𝚞, 𝚊𝚗𝚌𝚊𝚔 𝚊𝚜ı𝚕 𝚛𝚞𝚑 𝚑𝚊𝚢𝚊𝚝ı𝚗ı, 𝚛𝚞𝚑𝚞𝚗𝚞𝚗 𝚔𝚊𝚏𝚊 𝚔𝚊̂𝚐̆ı𝚍ı𝚗ı 𝚛𝚎𝚜𝚒𝚖𝚕𝚎𝚗𝚍𝚒𝚛𝚖𝚎𝚔 𝚒𝚜𝚝𝚎𝚍𝚒𝚐̆𝚒𝚗𝚒 𝚍𝚒𝚕𝚎 𝚐𝚎𝚝𝚒𝚛𝚒𝚛𝚔𝚎𝚗, 𝚋𝚞 𝚎𝚜𝚎𝚛𝚒𝚢𝚕𝚎 𝚐𝚎𝚌̧𝚖𝚒𝚜̧, 𝚘̈𝚣𝚎𝚕𝚕𝚒𝚔𝚕𝚎 𝚌̧𝚘𝚌𝚞𝚔𝚕𝚞𝚔 𝚐𝚞̈𝚗𝚕𝚎𝚛𝚒𝚗𝚒𝚗 𝚙𝚎𝚛𝚍𝚎𝚜𝚒𝚗𝚒 𝚋𝚒𝚛 𝚍𝚊𝚑𝚊 𝚊𝚛𝚊𝚕𝚊𝚛.
𝙺𝚊𝚏𝚊 𝙺𝚊̂𝚐̆ı𝚍ı, 𝚘𝚕𝚊𝚢𝚕𝚊𝚛ı𝚗 𝚍ı𝚜̧ 𝚝𝚎𝚣𝚊𝚑𝚞̈𝚛 𝚌̧𝚒𝚣𝚐𝚒𝚕𝚎𝚛𝚒𝚗𝚍𝚎𝚗 𝚣𝚒𝚢𝚊̂𝚍𝚎, 𝚘𝚗𝚕𝚊𝚛ı 𝚍𝚘𝚐̆𝚞𝚛𝚊𝚗 𝚛𝚞𝚑𝚒̂ 𝚘𝚕𝚞𝚜̧𝚕𝚊𝚛ı 𝚝𝚎𝚜𝚋𝚒𝚝𝚎 𝚢𝚘̈𝚗𝚎𝚕𝚒𝚔 𝚋𝚒𝚛 𝚘𝚝𝚘𝚋𝚒𝚢𝚘𝚐𝚛𝚊𝚏𝚒𝚍𝚒𝚛. 
Kafa Kağıdı
Kafa KağıdıÇile (Hayırlı Akşamlar)1000Kitap
𝚂̧𝚊𝚒𝚛𝚕𝚒𝚐̆𝚒𝚖 𝚘𝚗 𝚒𝚔𝚒 𝚢𝚊𝚜̧ı𝚖𝚍𝚊 𝚋𝚊𝚜̧𝚕𝚊𝚍ı.
𝙱𝚊𝚑𝚊𝚗𝚎𝚜𝚒 𝚝𝚞𝚑𝚊𝚏𝚝ı𝚛:
𝙰𝚗𝚗𝚎𝚖 𝚑𝚊𝚜𝚝𝚊𝚑𝚊𝚗𝚎𝚍𝚎𝚢𝚍𝚒. 𝚉𝚒𝚢𝚊𝚛𝚎𝚝𝚒𝚗𝚎 𝚐𝚒𝚝𝚖𝚒𝚜̧𝚝𝚒𝚖... 𝙱𝚎𝚢𝚊𝚣 𝚢𝚊𝚝𝚊𝚔 𝚘̈𝚛𝚝𝚞̈𝚜𝚞̈𝚗𝚍𝚎, 𝚜𝚒𝚢𝚊𝚑 𝚔𝚊𝚙𝚕ı, 𝚔𝚞̈𝚌̧𝚞̈𝚔 𝚟𝚎 𝚎𝚜𝚔𝚒 𝚋𝚒𝚛 𝚍𝚎𝚏𝚝𝚎𝚛.. 𝙱𝚒𝚝𝚒𝚜̧𝚒𝚔𝚝𝚎 𝚢𝚊𝚝𝚊𝚗 𝚟𝚎𝚛𝚎𝚖𝚕𝚒 𝚐𝚎𝚗𝚌̧ 𝚔ı𝚣ı𝚗 𝚜̧𝚒𝚒𝚛𝚕𝚎𝚛𝚒 𝚟𝚊𝚛𝚖ı𝚜̧ 𝚍𝚎𝚏𝚝𝚎𝚛𝚍𝚎.. 𝙷𝚊𝚋𝚎𝚛𝚒 𝚟𝚎𝚛𝚎𝚗 𝚊𝚗𝚗𝚎𝚖, 𝚋𝚒𝚛 𝚊𝚗 𝚐𝚘̈𝚣𝚕𝚎𝚛𝚒𝚖𝚒𝚗 𝚒𝚌̧𝚒𝚗𝚒 𝚝𝚊𝚛𝚊𝚢ı𝚙:
- 𝚂𝚎𝚗𝚒𝚗 𝚍𝚎𝚍𝚒; 𝚜̧𝚊𝚒𝚛 𝚘𝚕𝚖𝚊𝚗ı 𝚗𝚎 𝚔𝚊𝚍𝚊𝚛 𝚒𝚜𝚝𝚎𝚛𝚍𝚒𝚖!
𝙰𝚗𝚗𝚎𝚖𝚒𝚗 𝚍𝚒𝚕𝚎𝚐̆𝚒 𝚋𝚊𝚗𝚊, 𝚒𝚌̧𝚒𝚖𝚍𝚎 𝚋𝚎𝚜𝚕𝚎𝚢𝚒𝚙 𝚍𝚎 𝚘𝚗 𝚒𝚔𝚒 𝚢𝚊𝚜̧ı𝚖𝚊 𝚔𝚊𝚍𝚊𝚛 𝚏𝚊𝚛𝚔ı𝚗𝚍𝚊 𝚘𝚕𝚖𝚊𝚍ı𝚐̆ı𝚖 𝚋𝚒𝚛 𝚜̧𝚎𝚢 𝚐𝚒𝚋𝚒 𝚐𝚘̈𝚛𝚞̈𝚗𝚍𝚞̈. 𝚅𝚊𝚛𝚕ı𝚔 𝚑𝚒𝚔𝚖𝚎𝚝𝚒𝚖𝚒𝚗 𝚝𝚊 𝚔𝚎𝚗𝚍𝚒𝚜𝚒... 𝙶𝚘̈𝚣𝚕𝚎𝚛𝚒𝚖, 𝚑𝚊𝚜𝚝𝚊𝚑𝚊𝚗𝚎 𝚘𝚍𝚊𝚜ı𝚗ı𝚗 𝚙𝚎𝚗𝚌𝚎𝚛𝚎𝚜𝚒𝚗𝚍𝚎, 𝚜𝚊𝚟𝚛𝚞𝚕𝚊𝚗 𝚔𝚊𝚛 𝚟𝚎 𝚞𝚕𝚞𝚢𝚊𝚗 𝚛𝚞̈𝚣𝚐𝚊𝚛𝚊 𝚔𝚊𝚛𝚜̧ı, 𝚒𝚌̧𝚒𝚖𝚍𝚎𝚗 𝚔𝚊𝚛𝚊𝚛ı𝚖ı 𝚟𝚎𝚛𝚍𝚒𝚖:
- 𝚂̧𝚊𝚒𝚛 𝚘𝚕𝚊𝚌𝚊𝚐̆ı𝚖!
𝚅𝚎 𝚘𝚕𝚍𝚞𝚖.
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مساء الخير
𝚁𝚎𝚒𝚜 𝙱𝚎𝚢: (3 𝙿𝚎𝚛𝚍𝚎) 1948'𝚍𝚎𝚗 1960 𝚢ı𝚕ı𝚗𝚊 𝚔𝚊𝚍𝚊𝚛 𝚐𝚎𝚌̧𝚎𝚗 𝚜𝚞̈𝚛𝚎𝚍𝚎 𝚝𝚒𝚢𝚊𝚝𝚛𝚘 𝚎𝚜𝚎𝚛𝚒 𝚔𝚊𝚕𝚎𝚖𝚎 𝚊𝚕𝚖𝚊𝚢𝚊𝚗 𝙽𝚎𝚌𝚒𝚙 𝙵𝚊𝚣ı𝚕, 1960 𝚒𝚑𝚝𝚒𝚕𝚊𝚕𝚒𝚢𝚕𝚎 𝚐𝚒𝚛𝚍𝚒𝚐̆𝚒 𝚑𝚊𝚙𝚒𝚜𝚝𝚎, 𝚞̈𝚌̧ 𝚙𝚒𝚢𝚎𝚜 𝚢𝚊𝚣𝚖ı𝚜̧𝚝ı𝚛: 𝙰𝚑𝚜̧𝚊𝚙 𝙺𝚘𝚗𝚊𝚔, 𝙺𝚞𝚖𝚊𝚗𝚍𝚊𝚗 𝚟𝚎 𝚁𝚎𝚒𝚜 𝙱𝚎𝚢.
𝙿𝚒𝚢𝚎𝚜𝚒𝚗 𝚊𝚗𝚊 𝚔𝚊𝚛𝚊𝚔𝚝𝚎𝚛𝚒 𝚁𝚎𝚒𝚜 𝙱𝚎𝚢, 𝚋𝚒𝚛 𝚊𝚐̆ı𝚛 𝚌𝚎𝚣𝚊 𝚛𝚎𝚒𝚜𝚒𝚍𝚒𝚛. 𝙾̈𝚖𝚛𝚞̈ 𝚘𝚝𝚎𝚕 𝚘𝚍𝚊𝚕𝚊𝚛ı𝚗𝚍𝚊 𝚐𝚎𝚌̧𝚖𝚒𝚜̧, 𝚢𝚊𝚙𝚢𝚊𝚕𝚗ı𝚣 𝚟𝚎 𝚝𝚞𝚑𝚊𝚏 𝚋𝚒𝚛 𝚊𝚍𝚊𝚖. 𝚃𝚊𝚜̧ 𝚔𝚊𝚕𝚙𝚕𝚒 𝚋𝚒𝚛 𝚔𝚊𝚗𝚞𝚗 𝚝𝚊𝚝𝚋𝚒𝚔𝚌̧𝚒𝚜𝚒... 𝙾𝚗𝚞𝚗 𝚗𝚊𝚣𝚊𝚛ı𝚗𝚍𝚊 𝚖𝚎𝚛𝚑𝚊𝚖𝚎𝚝, 𝚒𝚍𝚊𝚖𝚕ı𝚔 𝚋𝚒𝚛 𝚜𝚞𝚌̧𝚝𝚞𝚛 𝚟𝚎 "𝚌𝚎𝚖𝚒𝚢𝚎𝚝𝚝𝚎 𝚋𝚒𝚛 𝚏𝚎𝚛𝚍𝚒 𝚔𝚘𝚛𝚞𝚖𝚊𝚔 𝚒𝚌̧𝚒𝚗 𝚋𝚒𝚗 𝚔𝚒𝚜̧𝚒𝚢𝚎 𝚒𝚍𝚊𝚖 𝚐𝚘̈𝚖𝚕𝚎𝚐̆𝚒 𝚐𝚒𝚢𝚍𝚒𝚛𝚖𝚎𝚔𝚝𝚎𝚗 𝚔𝚊𝚌̧ı𝚗𝚖𝚊𝚖𝚊𝚕ı𝚍ı𝚛." 𝙶𝚞̈𝚗𝚞̈𝚗 𝚋𝚒𝚛𝚒𝚗𝚍𝚎, 𝚊𝚗𝚗𝚎𝚜𝚒𝚗𝚒 𝚘̈𝚕𝚍𝚞̈𝚛𝚍𝚞̈𝚐̆𝚞̈ 𝚒𝚍𝚍𝚒𝚊𝚜ı𝚢𝚕𝚊 𝚑𝚞𝚣𝚞𝚛𝚞𝚗𝚊 𝚌̧ı𝚔𝚊𝚛ı𝚕𝚊𝚗 𝚋𝚒𝚛 𝚐𝚎𝚗𝚌𝚒𝚗 𝚒𝚍𝚊𝚖ı𝚗𝚊 𝚔𝚊𝚛𝚊𝚛 𝚟𝚎𝚛𝚒𝚛. 𝙰𝚛𝚝ı𝚔 𝚘𝚕𝚊𝚢𝚕𝚊𝚛 𝚌̧𝚘𝚔 𝚏𝚊𝚛𝚔𝚕ı 𝚐𝚎𝚕𝚒𝚜̧𝚎𝚌𝚎𝚔 𝚟𝚎 𝚁𝚎𝚒𝚜 𝙱𝚎𝚢'𝚒𝚗 𝚋𝚞𝚣 𝚐𝚒𝚋𝚒 𝚒𝚌̧ 𝚍𝚞̈𝚗𝚢𝚊𝚜ı 𝚖𝚞̈𝚝𝚑𝚒𝚜̧ 𝚋𝚒𝚛 𝚜𝚊𝚛𝚜ı𝚗𝚝𝚒𝚢𝚕𝚎 𝚢𝚎𝚛𝚕𝚎 𝚋𝚒𝚛 𝚘𝚕𝚊𝚌𝚊𝚔𝚝ı𝚛.
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صباح الخير
𝚄𝚣𝚞𝚗 𝙷𝚒𝚔𝚊𝚢𝚎”, 𝚋𝚒𝚣𝚕𝚎𝚛𝚒 𝚞𝚣𝚞𝚗 𝚋𝚒𝚛 𝚑𝚒𝚔𝚊𝚢𝚎 𝚜𝚎𝚛𝚞̈𝚟𝚎𝚗𝚒𝚗𝚎 𝚍𝚘𝚐̆𝚛𝚞 𝚜𝚞̈𝚛𝚞̈𝚔𝚕𝚎𝚛𝚔𝚎𝚗, 𝚍𝚊𝚑𝚊 𝚘̈𝚗𝚌𝚎 𝚢𝚊𝚜̧𝚊𝚗𝚖ı𝚜̧𝚕ı𝚔𝚕𝚊𝚛ı𝚗 𝚋𝚒𝚛 𝚍𝚊𝚑𝚊 𝚊𝚜𝚕𝚊 𝚟𝚎 𝚊𝚜𝚕𝚊 𝚝𝚎𝚔𝚛𝚊𝚛 𝚎𝚝𝚖𝚎𝚢𝚎𝚌𝚎𝚐̆𝚒𝚗𝚒 𝚑𝚊𝚝ı𝚛𝚕𝚊𝚝ı𝚢𝚘𝚛. 𝙺𝚎𝚕𝚒𝚖𝚎𝚕𝚎𝚛𝚍𝚎𝚗 𝚑𝚞̈𝚣𝚞̈𝚗𝚕𝚎𝚛 𝚍𝚘̈𝚔𝚞̈𝚕𝚞̈𝚛𝚔𝚎𝚗, 𝚐𝚞̈𝚗𝚞̈𝚖𝚞̈𝚣𝚍𝚎 𝚢𝚊𝚐̆ 𝚝𝚎𝚗𝚎𝚔𝚎𝚕𝚎𝚛𝚒𝚗𝚎 𝚌̧𝚒𝚌̧𝚎𝚔 𝚍𝚒𝚔𝚖𝚎 𝚒𝚑𝚝𝚒𝚖𝚊𝚕𝚒𝚗𝚒𝚗 𝚘𝚛𝚝𝚊𝚍𝚊𝚗 𝚔𝚊𝚕𝚔𝚝ı𝚐̆ı𝚗𝚊 𝚍𝚊 𝚒𝚜̧𝚊𝚛𝚎𝚝 𝚎𝚍𝚎𝚛. 𝚂𝚘𝚜𝚢𝚊𝚕𝚒𝚣𝚖𝚒𝚗 𝚗𝚎 𝚘𝚕𝚍𝚞𝚐̆𝚞𝚗𝚞 𝚋𝚒𝚕𝚖𝚎𝚍𝚎𝚗 𝚜𝚘𝚜𝚢𝚊𝚕𝚒𝚜𝚝𝚌̧𝚎 𝚢𝚊𝚜̧𝚊𝚢𝚊𝚗 𝚟𝚎 𝚊𝚍ı 𝚋𝚞 𝚢𝚞̈𝚣𝚍𝚎𝚗 𝚂𝚘𝚜𝚢𝚊𝚕𝚒𝚜𝚝 𝙰𝚕𝚒’𝚢𝚎 𝚌̧ı𝚔𝚊𝚗 𝚋𝚒𝚛 𝚋𝚊𝚋𝚊 𝚒𝚕𝚎 𝚘𝚐̆𝚞𝚕𝚞𝚗 𝚑𝚒𝚔𝚊𝚢𝚎𝚜𝚒𝚍𝚒𝚛 𝚔𝚊𝚛𝚜̧ı𝚖ı𝚣𝚍𝚊 𝚍𝚞𝚛𝚊𝚗. 𝙰𝚕𝚒’𝚗𝚒𝚗 𝚐𝚞̈𝚗𝚞̈𝚖𝚞̈𝚣𝚍𝚎 𝚋𝚒𝚕𝚒𝚗𝚎𝚗 𝚖𝚊𝚗𝚊𝚜ı𝚢𝚕𝚊 𝚜𝚘𝚜𝚢𝚊𝚕𝚒𝚜𝚝 𝚘𝚕𝚖𝚊𝚍ı𝚐̆ı𝚗ı 𝚍𝚊 𝚋𝚎𝚕𝚒𝚛𝚝𝚎𝚕𝚒𝚖. 𝚈𝚊𝚣𝚊𝚛 𝚋𝚞 𝚎𝚜𝚎𝚛𝚒𝚗𝚍𝚎 𝚜𝚘𝚜𝚢𝚊𝚕 𝚊𝚍𝚊𝚕𝚎𝚝𝚎 𝚍𝚎 𝚍𝚒𝚔𝚔𝚊𝚝 𝚌̧𝚎𝚔𝚖𝚎𝚔𝚝𝚎𝚍𝚒𝚛. 𝙷𝚊𝚔𝚜ı𝚣𝚕ı𝚐̆𝚊 𝚟𝚎 𝚣𝚞𝚕𝚖𝚎 𝚔𝚊𝚛𝚜̧ı 𝚍𝚒𝚛𝚎𝚗𝚎𝚗 𝙰𝚕𝚒 𝚒𝚕𝚎 𝚊𝚜ı𝚕 𝚖𝚎𝚖𝚕𝚎𝚔𝚎𝚝𝚒𝚗𝚒𝚗 𝚗𝚎𝚛𝚎𝚜𝚒 𝚘𝚕𝚍𝚞𝚐̆𝚞𝚗𝚞, 𝚑𝚊𝚗𝚐𝚒 𝚜̧𝚎𝚑𝚒𝚛𝚍𝚎𝚗, 𝚑𝚊𝚗𝚐𝚒 𝚔𝚊𝚜𝚊𝚋𝚊𝚍𝚊𝚗, 𝚑𝚊𝚗𝚐𝚒 𝚔𝚘̈𝚢𝚍𝚎𝚗 𝚘𝚕𝚍𝚞𝚐̆𝚞𝚗𝚞 𝚌̧𝚘𝚌𝚞𝚔𝚕𝚞𝚐̆𝚞𝚗𝚍𝚊𝚗 𝚒𝚝𝚒𝚋𝚊𝚛𝚎𝚗 𝚜𝚘𝚛𝚐𝚞𝚕𝚊𝚢𝚊𝚗 𝚘𝚐̆𝚕𝚞𝚗𝚞𝚗 𝚊𝚗𝚕𝚊𝚝ı𝚕𝚍ı𝚐̆ı 𝚑𝚒𝚔𝚊𝚢𝚎𝚍𝚎 𝚖𝚊𝚜𝚞𝚖 𝚋𝚒𝚛 𝚊𝚜̧𝚔ı 𝚘𝚔𝚞𝚛𝚔𝚎𝚗 𝚊𝚒𝚕𝚎 𝚔𝚊𝚟𝚛𝚊𝚖ı𝚗ı𝚗 𝚗𝚎 𝚔𝚊𝚍𝚊𝚛 𝚔ı𝚢𝚖𝚎𝚝𝚕𝚒 𝚘𝚕𝚍𝚞𝚐̆𝚞 𝚘𝚔𝚞𝚛𝚊 𝚜𝚞𝚗𝚞𝚕𝚖𝚊𝚔𝚝𝚊𝚍ı𝚛.