lavigne

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𝐄𝐬𝐭𝐢𝐥𝐨 𝐦𝐮𝐬𝐢𝐜𝐚𝐥 𝐞 𝐥𝐞𝐭𝐫𝐚𝐬

ㅤ𝖰𝗎𝖺𝗇𝖽𝗈 𝖾𝗌𝗍𝗋𝖾𝗈𝗎 𝗇𝖺 𝗂𝗇𝖽𝗎́𝗌𝗍𝗋𝗂𝖺 𝗆𝗎𝗌𝗂𝖼𝖺𝗅 𝖼𝗈𝗆 𝖫𝖾𝗍 𝖦𝗈, 𝖫𝖺𝗏𝗂𝗀𝗇𝖾 𝖿𝗈𝗂 𝖼𝗈𝗇𝗍𝗂𝗇𝗎𝖺𝗆𝖾𝗇𝗍𝖾 𝖽𝖾𝗌𝖼𝗋𝗂𝗍𝖺 𝖼𝗈𝗆𝗈 "𝗊𝗎𝖺𝗌𝖾 𝗉𝗎𝗇𝗄". 𝖠𝗉𝖾𝗌𝖺𝗋 𝖽𝗂𝗌𝗌𝗈, 𝖠𝗅𝖾𝗑 𝖮𝗍𝗋𝗂𝗓, 𝖽𝗈 𝗉𝗈𝗋𝗍𝖺𝗅 𝖨𝖦𝖭, 𝗇𝗈𝗍𝗈𝗎 𝗊𝗎𝖾 𝖺 𝗎́𝗇𝗂𝖼𝖺 𝖼𝖺𝗇𝖼̧𝖺̃𝗈 𝖽𝗈 𝖺́𝗅𝖻𝗎𝗆 𝗋𝖾𝖺𝗅𝗆𝖾𝗇𝗍𝖾 𝗏𝗈𝗅𝗍𝖺𝖽𝖺 𝗉𝖺𝗋𝖺 𝗈 𝗉𝗎𝗇𝗄 𝖾́ "𝖲𝗄𝟪𝖾𝗋 𝖡𝗈𝗂". 𝖮 𝗌𝖾𝗎 𝖽𝖾𝖻𝗎𝗍𝖾 𝖿𝗈𝗂 𝖼𝗅𝖺𝗌𝗌𝗂𝖿𝗂𝖼𝖺𝖽𝗈 𝖼𝗈𝗆𝗈 𝗉𝖾𝗋𝗍𝖾𝗇𝖼𝖾𝗇𝗍𝖾 𝖺𝗈𝗌 𝗀𝖾̂𝗇𝖾𝗋𝗈𝗌 𝗍𝖾𝖾𝗇 𝗉𝗈𝗉, 𝗉𝗈𝗉 𝗋𝗈𝖼𝗄 𝖾 𝗋𝗈𝖼𝗄 𝖺𝗅𝗍𝖾𝗋𝗇𝖺𝗍𝗂𝗏𝗈 𝖾 𝗂𝗇𝖿𝗅𝗎𝖾𝗇𝖼𝗂𝖺𝖽𝗈 𝗅𝖾𝗏𝖾𝗆𝖾𝗇𝗍𝖾 𝗉𝖾𝗅𝖺 𝗆𝗎́𝗌𝗂𝖼𝖺 𝗀𝗋𝗎𝗇𝗀𝖾. 𝖤𝗇𝗊𝗎𝖺𝗇𝗍𝗈 𝗂𝗌𝗌𝗈, 𝖺 𝖼𝖺𝗇𝗍𝗈𝗋𝖺 𝖿𝗈𝗂 𝖼𝗈𝗆𝗉𝖺𝗋𝖺𝖽𝖺 𝖺 𝗈𝗎𝗍𝗋𝖺𝗌 𝖺𝗋𝗍𝗂𝗌𝗍𝖺𝗌 𝖿𝖾𝗆𝗂𝗇𝗂𝗇𝖺𝗌 𝖽𝗈 𝗋𝗈𝖼𝗄, 𝖼𝗈𝗆𝗈 𝖬𝗂𝖼𝗁𝖾𝗅𝗅𝖾 𝖡𝗋𝖺𝗇𝖼𝗁 𝖾 𝖯𝗂𝗇𝗄, 𝗆𝖺𝗌 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗅𝗆𝖾𝗇𝗍𝖾 𝖺 𝖠𝗅𝖺𝗇𝗂𝗌 𝖬𝗈𝗋𝗂𝗌𝗌𝖾𝗍𝗍𝖾, 𝖽𝖾𝗏𝗂𝖽𝗈 𝖺 𝖺𝗆𝖻𝖺𝗌 𝗍𝖾𝗋𝖾𝗆 𝗆𝗈𝗌𝗍𝗋𝖺𝖽𝗈 𝗎𝗆𝖺 𝖺𝗍𝗆𝗈𝗌𝖿𝖾𝗋𝖺 "𝗋𝖺𝗂𝗏𝗈𝗌𝖺" 𝖾𝗆 𝗌𝗎𝖺𝗌 𝗆𝗎́𝗌𝗂𝖼𝖺𝗌. 𝖯𝖺𝗋𝖺 𝗈 𝗉𝗈𝗋𝗍𝖺𝗅 𝖾𝗇𝗍𝖾𝗋𝗍𝖺𝗂𝗇𝗆𝖾𝗇𝗍.𝗂𝖾, 𝗈 𝗆𝗈𝗍𝗂𝗏𝗈 𝖽𝖾𝗌𝗌𝖺𝗌 𝖼𝗈𝗆𝗉𝖺𝗋𝖺𝖼̧𝗈̃𝖾𝗌 𝖿𝗈𝗂 "𝖺 𝖺𝖻𝗈𝗋𝖽𝖺𝗀𝖾𝗆 𝖽𝖾𝗌𝗅𝖾𝗂𝗑𝖺𝖽𝖺 𝖽𝖾 𝖫𝖺𝗏𝗂𝗀𝗇𝖾 𝗇𝗈 𝗋𝗈𝖼𝗄 𝖼𝗁𝖾𝗂𝗈 𝖽𝖾 𝖺𝗇𝗀𝗎́𝗌𝗍𝗂𝖺 (...) 𝖾 𝗌𝗎𝖺𝗌 𝗅𝖾𝗍𝗋𝖺𝗌 𝖺𝗍𝗋𝖾𝗏𝗂𝖽𝖺𝗆𝖾𝗇𝗍𝖾 𝗈𝖽𝗂𝗈𝗌𝖺𝗌 𝗉𝗈𝗋 𝗁𝗈𝗆𝖾𝗇𝗌 [𝗊𝗎𝖾] 𝗇𝖺̃𝗈 𝖾𝗌𝗍𝖺̃𝗈 𝖺 𝗎𝗆 𝗆𝗂𝗅𝗁𝖺̃𝗈 𝖽𝖾 𝗆𝗂𝗅𝗁𝖺𝗌 𝖽𝖾 𝖽𝗂𝗌𝗍𝖺̂𝗇𝖼𝗂𝖺 𝖽𝗈 𝗍𝗂𝗉𝗈 𝖽𝖾 𝖼𝗈𝗂𝗌𝖺 𝗊𝗎𝖾 𝖿𝖾𝗓 𝖽𝖾 𝖠𝗅𝖺𝗇𝗂𝗌 𝖬𝗈𝗋𝗂𝗌𝗌𝖾𝗍𝗍𝖾 𝗎𝗆𝖺 𝗀𝗋𝖺𝗇𝖽𝖾 𝖾𝗌𝗍𝗋𝖾𝗅𝖺". 𝖠 𝗇𝗂́𝗏𝖾𝗅 𝗅𝗂́𝗋𝗂𝖼𝗈, 𝖫𝖾𝗍 𝖦𝗈 𝗏𝗈𝗅𝗍𝖺-𝗌𝖾 𝗉𝖺𝗋𝖺 𝗈 𝖺𝗆𝗈𝗋 𝖺𝖽𝗈𝗅𝖾𝗌𝖼𝖾𝗇𝗍𝖾, 𝖺 𝗂𝗇𝗌𝖾𝗀𝗎𝗋𝖺𝗇𝖼̧𝖺, 𝖺 𝖺𝗎𝗍𝗈𝖽𝖾𝗌𝖼𝗈𝖻𝖾𝗋𝗍𝖺 𝖾 𝖺 𝗉𝖾𝗋𝗌𝖾𝗏𝖾𝗋𝖺𝗇𝖼̧𝖺; 𝗌𝗎𝖺𝗌 𝖿𝖺𝗂𝗑𝖺𝗌 𝗉𝗈𝗌𝗌𝗎𝖾𝗆 𝖾𝗆 𝗀𝖾𝗋𝖺𝗅 𝗎𝗆 𝗍𝗈𝗆 𝖼𝗈𝗇𝖿𝖾𝗌𝗌𝗂𝗈𝗇𝖺𝗅, 𝖺 𝖾𝗑𝖾𝗆𝗉𝗅𝗈 𝖽𝖾 "𝖬𝗒 𝖶𝗈𝗋𝗅𝖽", 𝗊𝗎𝖾 𝖿𝖺𝗅𝖺 𝗌𝗈𝖻𝗋𝖾 𝗈 𝗂𝗇𝗂́𝖼𝗂𝗈 𝖽𝖺 𝗏𝗂𝖽𝖺 𝖽𝖺 𝖼𝖺𝗇𝗍𝗈𝗋𝖺 𝖾𝗆 𝖭𝖺𝗉𝖺𝗇𝖾𝖾.

ㅤ𝖤𝗆 𝖴𝗇𝖽𝖾𝗋 𝖬𝗒 𝖲𝗄𝗂𝗇, 𝖾𝗅𝖾𝗆𝖾𝗇𝗍𝗈𝗌 𝗌𝗈𝗇𝗈𝗋𝗈𝗌 𝖾 𝗅𝗂́𝗋𝗂𝖼𝗈𝗌 𝖽𝖾 𝗌𝖾𝗎 𝖺𝗇𝗍𝖾𝖼𝖾𝗌𝗌𝗈𝗋 𝖿𝗈𝗋𝖺𝗆 𝗆𝖺𝗇𝗍𝗂𝖽𝗈𝗌, 𝖾𝗇𝗍𝗋𝖾𝗍𝖺𝗇𝗍𝗈, 𝗌𝖾𝗀𝗎𝗇𝖽𝗈 𝖩𝗈𝖾 𝖣'𝖠𝗇𝗀𝖾𝗅𝗈 𝖽𝖺 𝖬𝖳𝖵, 𝖼𝗈𝗆 "𝖺𝗌𝗌𝗎𝗇𝗍𝗈𝗌 𝗆𝗎𝗂𝗍𝗈 𝗆𝖺𝗂𝗌 𝗆𝖺𝖽𝗎𝗋𝗈𝗌 𝖽𝗈 𝗊𝗎𝖾 𝗈𝗌 𝗉𝖺𝗂𝗑𝗈̃𝖾𝗌 𝖺𝖽𝗈𝗅𝖾𝗌𝖼𝖾𝗇𝗍𝖾𝗌" 𝖾𝗆 𝖫𝖾𝗍 𝖦𝗈, 𝖼𝗈𝗆𝗈 𝗇𝖺 𝖿𝖺𝗂𝗑𝖺 "𝖣𝗈𝗇'𝗍 𝖳𝖾𝗅𝗅 𝖬𝖾", 𝗊𝗎𝖾 𝗍𝗋𝖺𝗍𝖺 𝖽𝖾 𝗇𝖺̃𝗈 𝖼𝖾𝖽𝖾𝗋 𝖺 𝗉𝗋𝖾𝗌𝗌𝖺̃𝗈 𝗌𝖾𝗑𝗎𝖺𝗅 𝖽𝖾 𝗎𝗆 𝗁𝗈𝗆𝖾𝗆. 𝖬𝗎𝗌𝗂𝖼𝖺𝗅𝗆𝖾𝗇𝗍𝖾, 𝖾́ 𝗆𝖺𝗋𝖼𝖺𝖽𝗈 𝗉𝗈𝗋 𝗀𝗎𝗂𝗍𝖺𝗋𝗋𝖺𝗌 𝖽𝗂𝗌𝗍𝗈𝗋𝖼𝗂𝖽𝖺𝗌 𝖾 𝗅𝖾𝗍𝗋𝖺𝗌 𝗍𝖾𝗆𝗉𝖾𝗋𝖺𝗆𝖾𝗇𝗍𝖺𝗂𝗌 𝖾 𝗆𝖾𝗅𝖺𝗇𝖼𝗈́𝗅𝗂𝖼𝖺𝗌, 𝗌𝖾𝗇𝖽𝗈 𝗊𝗎𝖾 𝖿𝗈𝗂 𝗂𝗀𝗎𝖺𝗅𝖺𝖽𝗈 𝖺 𝗍𝗋𝖺𝖻𝖺𝗅𝗁𝗈𝗌 𝖽𝗈 𝖫𝗂𝗇𝗄𝗂𝗇 𝖯𝖺𝗋𝗄 𝖾 𝖤𝗏𝖺𝗇𝖾𝗌𝖼𝖾𝗇𝖼𝖾, 𝖾𝗆 𝗏𝗂𝗋𝗍𝗎𝖽𝖾 𝖽𝖺 𝖿𝗈𝗋𝗍𝖾 𝗂𝗇𝖿𝗅𝗎𝖾̂𝗇𝖼𝗂𝖺 𝖽𝖾 𝗇𝗎 𝗆𝖾𝗍𝖺𝗅.

ㅤ𝖤𝗆 𝖼𝗈𝗇𝗍𝗋𝖺𝗌𝗍𝖾 𝖺𝗈𝗌 𝗌𝖾𝗎𝗌 𝖽𝗈𝗂𝗌 𝗉𝗋𝗂𝗆𝖾𝗂𝗋𝗈𝗌 𝗍𝗋𝖺𝖻𝖺𝗅𝗁𝗈𝗌, 𝖳𝗁𝖾 𝖡𝖾𝗌𝗍 𝖣𝖺𝗆𝗇 𝖳𝗁𝗂𝗇𝗀 𝗇𝖺̃𝗈 𝖾𝗋𝖺 𝗍𝖺̃𝗈 𝖺𝗎𝗍𝗈𝖻𝗂𝗈𝗀𝗋𝖺́𝖿𝗂𝖼𝗈 𝖾 𝖺𝖻𝖺𝗇𝖽𝗈𝗇𝗈𝗎 𝗈 𝗋𝗈𝖼𝗄 𝖺𝗅𝗍𝖾𝗋𝗇𝖺𝗍𝗂𝗏𝗈 𝖾 𝗈 𝗉𝗈́𝗌-𝗀𝗋𝗎𝗇𝗀𝖾 𝖾𝗆 𝖿𝖺𝗏𝗈𝗋 𝖽𝗈 𝗉𝗈𝗉 𝗉𝗎𝗇𝗄. 𝖮 𝖽𝗂𝗌𝖼𝗈 𝖺𝗉𝗋𝖾𝗌𝖾𝗇𝗍𝖺, 𝖺𝗂𝗇𝖽𝖺, 𝖿𝗈𝗋𝗍𝖾𝗌 𝗂𝗇𝖿𝗅𝗎𝖾̂𝗇𝖼𝗂𝖺𝗌 𝖽𝖾 𝖻𝗎𝖻𝖻𝗅𝖾𝗀𝗎𝗆 𝗉𝗈𝗉 𝖾 𝗉𝗈𝗐𝖾𝗋 𝗉𝗈𝗉 𝖾 𝖿𝗈𝗂 𝗇𝗈𝗍𝖺𝖽𝗈 𝖼𝗈𝗆𝗈 𝗌𝖾𝗎 𝗍𝗋𝖺𝖻𝖺𝗅𝗁𝗈 𝗆𝖺𝗂𝗌 𝗉𝗈𝗉. 𝖭𝖾𝗌𝗌𝖾 𝖺́𝗅𝖻𝗎𝗆, 𝖫𝖺𝗏𝗂𝗀𝗇𝖾 𝗆𝖺𝗇𝗍𝖾𝗏𝖾 𝖺 𝗍𝖾𝗆𝖺́𝗍𝗂𝖼𝖺 𝗋𝖺𝗂𝗏𝗈𝗌𝖺 𝗌𝗈𝖻𝗋𝖾 𝗀𝖺𝗋𝗈𝗍𝗈𝗌, 𝗉𝗈𝗋𝖾́𝗆 𝗌𝗈𝖺 𝗆𝖺𝗂𝗌 𝗌𝖺𝗋𝖼𝖺́𝗌𝗍𝗂𝖼𝖺 𝖾 𝖺𝗎𝗍𝗈𝖼𝗈𝗇𝖿𝗂𝖺𝗇𝗍𝖾, 𝖼𝗈𝗆 𝗆𝖾𝗇𝗌𝖺𝗀𝖾𝗇𝗌 𝖽𝖾 𝖺𝗎𝗍𝗈𝖾𝗆𝗉𝗈𝖽𝖾𝗋𝖺𝗆𝖾𝗇𝗍𝗈 𝖾 𝗎𝗆𝖺 𝗏𝗂𝗌𝖺̃𝗈 𝗆𝖺𝗂𝗌 𝖿𝖾𝗆𝗂𝗇𝗂𝗇𝖺. 𝖤𝗆 𝖦𝗈𝗈𝖽𝖻𝗒𝖾 𝖫𝗎𝗅𝗅𝖺𝖻𝗒, 𝖺 𝗌𝗈𝗇𝗈𝗋𝗂𝖽𝖺𝖽𝖾 𝖿𝗈𝗂 𝗆𝖺𝗂𝗌 𝖽𝖾𝗌𝗉𝗈𝗃𝖺𝖽𝖺 𝖾 𝖺𝖼𝗎́𝗌𝗍𝗂𝖼𝖺, 𝖺𝗅𝗀𝗈 𝗍𝗈𝗍𝖺𝗅𝗆𝖾𝗇𝗍𝖾 𝖼𝗈𝗇𝗍𝗋𝖺́𝗋𝗂𝗈 𝖺 𝗃𝗈𝗏𝗂𝖺𝗅𝗂𝖽𝖺𝖽𝖾 𝗉𝗋𝖾𝗌𝖾𝗇𝗍𝖾 𝖾𝗆 𝖠𝗏𝗋𝗂𝗅 𝖫𝖺𝗏𝗂𝗀𝗇𝖾. 𝖭𝖾𝗌𝗌𝖾 𝗎́𝗅𝗍𝗂𝗆𝗈, 𝖺 𝖼𝖺𝗇𝗍𝗈𝗋𝖺 𝗋𝖾𝖿𝖾𝗋𝖾𝗇𝖼𝗂𝗈𝗎 𝖺 𝗌𝖾𝗑𝗎𝖺𝗅𝗂𝖽𝖺𝖽𝖾 𝖽𝖾 𝗎𝗆𝖺 𝖿𝗈𝗋𝗆𝖺 𝗆𝖺𝗂𝗌 𝖾𝗑𝗉𝗅𝗂́𝖼𝗂𝗍𝖺, 𝖼𝗈𝗆𝗈 𝖾𝗆 "𝖡𝖺𝖽 𝖦𝗂𝗋𝗅" 𝖾 "𝖦𝗂𝗏𝖾 𝖸𝗈𝗎 𝖶𝗁𝖺𝗍 𝖸𝗈𝗎 𝖫𝗂𝗄𝖾"; 𝗇𝖺 𝗉𝗋𝗂𝗆𝖾𝗂𝗋𝖺 𝖼𝗂𝗍𝖺𝖽𝖺, 𝖾𝗅𝖺 𝖿𝖾𝗓 𝗋𝖾𝖿𝖾𝗋𝖾̂𝗇𝖼𝗂𝖺𝗌 𝗌𝖺𝖽𝗈𝗆𝖺𝗌𝗈𝗊𝗎𝗂𝗌𝗍𝖺𝗌.

ㅤ𝖤𝗆 𝖧𝖾𝖺𝖽 𝖠𝖻𝗈𝗏𝖾 𝖶𝖺𝗍𝖾𝗋, 𝖺 𝖺𝗋𝗍𝗂𝗌𝗍𝖺 𝗏𝗈𝗅𝗍𝗈𝗎-𝗌𝖾 𝗉𝖺𝗋𝖺 𝗎𝗆 𝗍𝗈𝗆 𝗆𝖺𝗂𝗌 𝗌𝗈́𝖻𝗋𝗂𝗈, 𝖼𝗈𝗆 𝗅𝖾𝗍𝗋𝖺𝗌, 𝖾𝗆 𝗌𝗎𝖺 𝗆𝖺𝗂𝗈𝗋𝗂𝖺, 𝗍𝗋𝖺𝗍𝖺𝗇𝖽𝗈-𝗌𝖾 𝖽𝗈 𝗋𝖾𝖼𝗈𝗇𝗁𝖾𝖼𝗂𝗆𝖾𝗇𝗍𝗈 𝖽𝖺𝗌 𝖿𝗋𝖺𝗀𝗂𝗅𝗂𝖽𝖺𝖽𝖾𝗌, 𝖽𝗈𝗌 𝗆𝖾𝖽𝗈𝗌, 𝖾 𝖺 𝗍𝖾𝗇𝗍𝖺𝗍𝗂𝗏𝖺 𝖽𝖾 𝗌𝗎𝗉𝖾𝗋𝖺𝖼̧𝖺̃𝗈; 𝖾𝗆 𝖺𝗅𝗀𝗎𝗇𝗌 𝗆𝗈𝗆𝖾𝗇𝗍𝗈𝗌, 𝗂𝗆𝗉𝗅𝗂𝖼𝗂𝗍𝖺𝗆𝖾𝗇𝗍𝖾 𝖽𝗂𝖺𝗅𝗈𝗀𝖺𝗇𝖽𝗈 𝖼𝗈𝗆 𝗈 𝗉𝖾𝗋𝗂́𝗈𝖽𝗈 𝖾𝗆 𝗊𝗎𝖾 𝗌𝗈𝖿𝗋𝖾𝗎 𝖼𝗈𝗆 𝖺 𝖽𝗈𝖾𝗇𝖼̧𝖺 𝖽𝖾 𝖫𝗒𝗆𝖾. 𝖠 𝗌𝗎𝖺 𝗊𝗎𝖺𝗋𝗍𝖺 𝗉𝗂𝗌𝗍𝖺, "𝖳𝖾𝗅𝗅 𝖬𝖾 𝖨𝗍'𝗌 𝖮𝗏𝖾𝗋", 𝖿𝗈𝗂 𝖼𝗈𝗇𝗌𝗂𝖽𝖾𝗋𝖺𝖽𝖺 𝖼𝗈𝗆𝗈 𝗎𝗆𝖺 𝖿𝖺𝗂𝗑𝖺 𝗌𝗈𝗎𝗅 𝖼𝗈𝗆 𝖾𝗌𝗍𝗂𝗅𝗈 𝗋𝖾𝗍𝗋𝗈̂, 𝖺𝗅𝗀𝗈 𝗂𝗇𝖾́𝖽𝗂𝗍𝗈 𝖾𝗆 𝗌𝖾𝗎𝗌 𝗍𝗋𝖺𝖻𝖺𝗅𝗁𝗈𝗌; 𝖦𝗂𝗅 𝖪𝖺𝗎𝖿𝗆𝖺𝗇, 𝖽𝖺 𝖡𝗂𝗅𝗅𝖻𝗈𝖺𝗋𝖽, 𝖽𝖾𝗌𝖼𝗋𝖾𝗏𝖾𝗎-𝖺 𝖼𝗈𝗆𝗈 "𝗎𝗆𝖺 𝖾𝗑𝗎𝖻𝖾𝗋𝖺𝗇𝗍𝖾 𝖻𝖺𝗅𝖺𝖽𝖺 𝖽𝖾 𝖱&𝖡 𝖺𝗈 𝖾𝗌𝗍𝗂𝗅𝗈 𝖣𝗎𝗌𝗍𝗒 𝖲𝗉𝗋𝗂𝗇𝗀𝖿𝗂𝖾𝗅𝖽", 𝖾𝗇𝗊𝗎𝖺𝗇𝗍𝗈 𝖠𝗅𝖾𝗑𝗂𝗌 𝖯𝖾𝗍𝗋𝗂𝖽𝗂𝗌, 𝖽𝗈 𝖳𝗁𝖾 𝖦𝗎𝖺𝗋𝖽𝗂𝖺𝗇, 𝖼𝗈𝗆𝗉𝖺𝗋𝗈𝗎 𝖺 𝗂𝗇𝗍𝖾́𝗋𝗉𝗋𝖾𝗍𝖾 𝖺 𝖠𝗆𝗒 𝖶𝗂𝗇𝖾𝗁𝗈𝗎𝗌𝖾.


𝐈𝐧𝐟𝐥𝐮𝐞̂𝐧𝐜𝐢𝐚𝐬
ㅤㅤㅤㅤㅤㅤ"𝐸𝑢 𝑞𝑢𝑒𝑟𝑖𝑎 𝑐𝑎𝑛𝑡𝑎𝑟 𝑒 𝑚𝑖𝑛𝘩𝑎 𝑚𝑎̃𝑒 𝑣𝑖𝑢 𝑖𝑠𝑠𝑜 𝑒𝑚 𝑚𝑖𝑚 𝑒 𝑡𝑒𝑛𝑡𝑜𝑢 𝑚𝑒 𝑓𝑎𝑧𝑒𝑟
ㅤㅤㅤㅤㅤㅤ𝑐𝑎𝑛𝑡𝑎𝑟 𝑜𝑛𝑑𝑒 𝑞𝑢𝑒𝑟 𝑞𝑢𝑒 𝑝𝑢𝑑𝑒𝑠𝑠𝑒 — 𝑒𝑛𝑡𝑎̃𝑜 𝑐𝑜𝑚𝑒𝑐𝑒𝑖 𝑎 𝑐𝑎𝑛𝑡𝑎𝑟 𝑠𝑜𝑧𝑖𝑛𝘩𝑎 𝑝𝑒𝑙𝑎
ㅤㅤㅤㅤㅤㅤ𝑝𝑟𝑖𝑚𝑒𝑖𝑟𝑎 𝑣𝑒𝑧 𝑛𝑎 𝑖𝑔𝑟𝑒𝑗𝑎 𝑒 𝑑𝑒𝑝𝑜𝑖𝑠 𝑚𝑒 𝑟𝑎𝑚𝑖𝑓𝑖𝑞𝑢𝑒𝑖 𝑝𝑎𝑟𝑎 𝑓𝑒𝑖𝑟𝑎𝑠 𝑒 𝑡𝑖𝑛𝘩𝑎 𝑞𝑢𝑒
ㅤㅤㅤㅤㅤㅤ𝑐𝑎𝑛𝑡𝑎𝑟 𝑚𝑢́𝑠𝑖𝑐𝑎𝑠 𝑐𝑜𝑢𝑛𝑡𝑟𝑦. 𝐸𝑛𝑡𝑎̃𝑜 𝑒𝑢 𝑑𝑖𝑠𝑠𝑒: '𝑀𝑎̃𝑒, 𝑛𝑎̃𝑜 𝑔𝑜𝑠𝑡𝑜 𝑑𝑒𝑠𝑠𝑎𝑠
ㅤㅤㅤㅤㅤㅤ𝑚𝑢́𝑠𝑖𝑐𝑎𝑠!' 𝑁𝑎 𝑣𝑒𝑟𝑑𝑎𝑑𝑒, 𝑛𝑎̃𝑜 𝑞𝑢𝑒𝑟𝑖𝑎 𝑚𝑎𝑖𝑠 𝑐𝑎𝑛𝑡𝑎𝑟 𝑚𝑢́𝑠𝑖𝑐𝑎 𝑔𝑜𝑠𝑝𝑒𝑙 𝑜𝑢
ㅤㅤㅤㅤㅤㅤ𝑐𝑜𝑢𝑛𝑡𝑟𝑦. 𝐸𝑠𝑡𝑎𝑣𝑎 𝑓𝑖𝑐𝑎𝑛𝑑𝑜 𝑒𝑚𝑏𝑎𝑟𝑎𝑐̧𝑜𝑠𝑜. 𝐸𝑢 𝑒𝑠𝑡𝑎𝑣𝑎 𝑒𝑛𝑣𝑒𝑙𝘩𝑒𝑐𝑒𝑛𝑑𝑜 𝑒
ㅤㅤㅤㅤㅤㅤ𝑝𝑒𝑟𝑐𝑒𝑏𝑒𝑛𝑑𝑜 𝑜 𝑞𝑢𝑒 𝑞𝑢𝑒𝑟𝑖𝑎 𝑓𝑎𝑧𝑒𝑟."
ㅤㅤㅤㅤㅤㅤ— 𝖠𝗏𝗋𝗂𝗅 𝖫𝖺𝗏𝗂𝗀𝗇𝖾 𝖼𝗈𝗆𝖾𝗇𝗍𝖺𝗇𝖽𝗈 𝗌𝗈𝖻𝗋𝖾 𝖺 𝗍𝗋𝖺𝗇𝗌𝗂𝖼̧𝖺̃𝗈 𝖽𝖾 𝗌𝖾𝗎 𝗀𝗈𝗌𝗍𝗈 𝗆𝗎𝗌𝗂𝖼𝖺𝗅 𝗉𝖺𝗋𝖺 𝗈 𝖬𝗎𝖼𝗁𝖬𝗎𝗌𝗂𝖼.

ㅤ𝖯𝗈𝗋 𝖼𝖺𝗎𝗌𝖺 𝖽𝖾 𝗌𝗎𝖺 𝖼𝗋𝗂𝖺𝖼̧𝖺̃𝗈 𝖿𝖺𝗆𝗂𝗅𝗂𝖺𝗋, 𝖺𝗌 𝗉𝗋𝗂𝗆𝖾𝗂𝗋𝖺𝗌 𝗂𝗇𝖿𝗅𝗎𝖾̂𝗇𝖼𝗂𝖺𝗌 𝗆𝗎𝗌𝗂𝖼𝖺𝗂𝗌 𝗍𝗂𝖽𝖺𝗌 𝗉𝗈𝗋 𝖠𝗏𝗋𝗂𝗅 𝗏𝗂𝖾𝗋𝖺𝗆 𝖽𝖾 𝖺𝗋𝗍𝗂𝗌𝗍𝖺𝗌 𝖽𝖾 𝗆𝗎́𝗌𝗂𝖼𝖺 𝖼𝗈𝗎𝗇𝗍𝗋𝗒, 𝖼𝗈𝗆𝗈 𝖺𝗌 𝖼𝖺𝗇𝗍𝗈𝗋𝖺𝗌 𝖥𝖺𝗂𝗍𝗁 𝖧𝗂𝗅𝗅 𝖾 𝖲𝗁𝖺𝗇𝗂𝖺 𝖳𝗐𝖺𝗂𝗇, 𝗈 𝖼𝖺𝗇𝗍𝗈𝗋 𝖦𝖺𝗋𝗍𝗁 𝖡𝗋𝗈𝗈𝗄𝗌 𝖾 𝗈 𝗍𝗋𝗂𝗈 𝖿𝖾𝗆𝗂𝗇𝗂𝗇𝗈 𝖣𝗂𝗑𝗂𝖾 𝖢𝗁𝗂𝖼𝗄𝗌. 𝖣𝖾𝗌𝗌𝖾𝗌 𝗆𝗎́𝗌𝗂𝖼𝗈𝗌, 𝖾𝗅𝖺 𝗆𝗎𝗂𝗍𝖺𝗌 𝗏𝖾𝗓𝖾𝗌 𝗋𝖾𝖺𝗅𝗂𝗓𝗈𝗎 𝖼𝗈𝗏𝖾𝗋𝗌 𝖺𝗈 𝗅𝗈𝗇𝗀𝗈 𝖽𝖺 𝗂𝗇𝖿𝖺̂𝗇𝖼𝗂𝖺. 𝖰𝗎𝖺𝗇𝖽𝗈 𝖾𝗋𝖺 𝖼𝗋𝗂𝖺𝗇𝖼̧𝖺, 𝗇𝖺̃𝗈 𝗉𝗈𝗌𝗌𝗎𝗂́𝖺 𝗇𝖾𝗇𝗁𝗎𝗆 𝖽𝗂𝗌𝖼𝗈 𝖾𝗆 𝖿𝗈𝗋𝗆𝖺𝗍𝗈 𝖿𝗂́𝗌𝗂𝖼𝗈, 𝗌𝖺𝗅𝗏𝗈 𝖺𝗅𝗀𝗎𝗆𝖺𝗌 𝖿𝗂𝗍𝖺𝗌 𝖼𝖺𝗌𝗌𝖾𝗍𝖾 𝖽𝗈𝗌 𝖡𝖾𝖺𝖼𝗁 𝖡𝗈𝗒𝗌 𝖾 𝖽𝖺𝗌 𝖣𝗂𝗑𝗂𝖾 𝖢𝗁𝗂𝖼𝗄𝗌. 𝖠 𝗋𝖾𝗌𝗍𝗋𝗂𝖼̧𝖺̃𝗈 𝗉𝖺𝗍𝖾𝗋𝗇𝖺𝗅 𝖾𝗋𝖺 𝗍𝖺̃𝗈 𝖺𝗅𝗍𝖺 𝗊𝗎𝖾, 𝗂𝗇𝖼𝗅𝗎𝗌𝗂𝗏𝖾, 𝗌𝗎𝖺 𝗆𝖺̃𝖾 𝗇𝖺̃𝗈 𝖺 𝖽𝖾𝗂𝗑𝖺𝗏𝖺 𝖼𝖺𝗇𝗍𝖺𝗋 𝗎𝗆𝖺 𝖼𝖺𝗇𝖼̧𝖺̃𝗈 𝖼𝗈𝗎𝗇𝗍𝗋𝗒 𝖼𝗁𝖺𝗆𝖺𝖽𝖺 "𝖲𝗍𝗋𝖺𝗐𝖻𝖾𝗋𝗋𝗒 𝖶𝗂𝗇𝖾", 𝖽𝖾 𝖣𝖾𝖺𝗇𝖺 𝖢𝖺𝗋𝗍𝖾𝗋, 𝗌𝗂𝗆𝗉𝗅𝖾𝗌𝗆𝖾𝗇𝗍𝖾 𝗉𝗈𝗋 𝖼𝗈𝗇𝗍𝖾𝗋 𝖺 𝗉𝖺𝗅𝖺𝗏𝗋𝖺 "𝗏𝗂𝗇𝗁𝗈".

ㅤ𝖠𝗇𝗍𝖾𝗌 𝖽𝖾 𝖺𝗍𝗂𝗇𝗀𝗂𝗋 𝖺 𝖺𝖽𝗈𝗅𝖾𝗌𝖼𝖾̂𝗇𝖼𝗂𝖺, 𝖫𝖺𝗏𝗂𝗀𝗇𝖾 𝗇𝗎𝗇𝖼𝖺 𝗈𝗎𝗏𝗂𝖺 𝗆𝗎𝗂𝗍𝖺 𝗆𝗎́𝗌𝗂𝖼𝖺 𝖼𝗈𝗇𝗍𝖾𝗆𝗉𝗈𝗋𝖺̂𝗇𝖾𝖺 𝖾𝗆 𝗀𝖾𝗋𝖺𝗅 𝖾, 𝗇𝗈𝗌 𝗆𝗈𝗆𝖾𝗇𝗍𝗈𝗌 𝗊𝗎𝖾 𝗈 𝖿𝖺𝗓𝗂𝖺, 𝖾𝗌𝖼𝗎𝗍𝖺𝗏𝖺 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗅𝗆𝖾𝗇𝗍𝖾 𝖻𝖺𝗇𝖽𝖺𝗌 𝖽𝖾 𝗋𝗈𝖼𝗄 𝗍𝗋𝖺𝖽𝗂𝖼𝗂𝗈𝗇𝖺𝗂𝗌 𝖼𝗈𝗆𝗈 𝖦𝗈𝗈 𝖦𝗈𝗈 𝖣𝗈𝗅𝗅𝗌 𝖾 𝖬𝖺𝗍𝖼𝗁𝖻𝗈𝗑 𝖳𝗐𝖾𝗇𝗍𝗒. 𝖠𝗅𝖾́𝗆 𝖽𝗂𝗌𝗌𝗈, 𝗈𝗎𝗏𝗂𝖺 𝖺 𝖻𝖺𝗇𝖽𝖺 𝗉𝗈𝗉 𝗋𝗈𝖼𝗄 𝖧𝖺𝗇𝗌𝗈𝗇, 𝖼𝗎𝗃𝗈 𝗏𝗈𝖼𝖺𝗅𝗂𝗌𝗍𝖺 𝖨𝗌𝖺𝖺𝖼 𝖧𝖺𝗇𝗌𝗈𝗇 𝗅𝗁𝖾 𝗉𝖺𝗋𝖾𝖼𝗂𝖺 "𝖺𝖽𝗈𝗋𝖺́𝗏𝖾𝗅" 𝖾 𝗌𝖾𝗆𝖾𝗅𝗁𝖺𝗇𝗍𝖾 𝖺 𝗌𝗂.

ㅤ𝖤𝗆 𝗎𝗆𝖺 𝗋𝖾𝗉𝗈𝗋𝗍𝖺𝗀𝖾𝗆 𝖽𝖺 𝗋𝖾𝖽𝖾 𝖽𝖾 𝗍𝖾𝗅𝖾𝗏𝗂𝗌𝖺̃𝗈 𝖢𝖭𝖭, 𝖾𝗆 𝖽𝖾𝗓𝖾𝗆𝖻𝗋𝗈 𝖽𝖾 𝟤𝟢𝟢𝟤, 𝖺 𝖼𝖺𝗇𝗍𝗈𝗋𝖺 𝖺𝖿𝗂𝗋𝗆𝗈𝗎 𝗊𝗎𝖾 𝗇𝖺̃𝗈 𝗍𝖾𝗏𝖾 𝗆𝗎𝗂𝗍𝗈𝗌 𝖺𝗋𝗍𝗂𝗌𝗍𝖺𝗌 𝖾𝗆 𝗊𝗎𝖾 𝗌𝖾 𝗂𝗇𝗌𝗉𝗂𝗋𝖺𝗋 𝗉𝖺𝗋𝖺 𝖺 𝖼𝗋𝗂𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝖫𝖾𝗍 𝖦𝗈, 𝗉𝗈𝗂𝗌 𝗍𝗂𝗇𝗁𝖺 𝗍𝗂𝖽𝗈 𝗎𝗆𝖺 𝗏𝗂𝖽𝖺 𝗉𝗋𝗈𝗍𝖾𝗀𝗂𝖽𝖺 𝗉𝖾𝗅𝗈𝗌 𝗉𝖺𝗂𝗌. 𝖭𝖺̃𝗈 𝗈𝖻𝗌𝗍𝖺𝗇𝗍𝖾, 𝖺𝗉𝗈́𝗌 𝗈 𝗅𝖺𝗇𝖼̧𝖺𝗆𝖾𝗇𝗍𝗈 𝖽𝖾 𝗉𝗋𝗂𝗆𝖾𝗂𝗋𝗈 𝖺́𝗅𝖻𝗎𝗆, 𝗋𝖾𝗏𝖾𝗅𝗈𝗎 𝗍𝖾𝗋 𝖼𝗈𝗇𝗁𝖾𝖼𝗂𝖽𝗈 𝗆𝖺𝗂𝗌 𝖽𝖺 𝖼𝖾𝗇𝖺 𝗆𝗎𝗌𝗂𝖼𝖺𝗅, 𝗂𝗇𝖿𝗈𝗋𝗆𝖺𝗇𝖽𝗈 𝖺𝗉𝗋𝖾𝖼𝗂𝖺𝗋 𝗋𝗈𝖼𝗄 𝖾, 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗅𝗆𝖾𝗇𝗍𝖾, 𝖻𝖺𝗇𝖽𝖺𝗌 𝖼𝗈𝗆 𝗆𝖾𝗆𝖻𝗋𝗈𝗌 𝖽𝗈 𝗌𝖾𝗑𝗈 𝗆𝖺𝗌𝖼𝗎𝗅𝗂𝗇𝗈, 𝖼𝗈𝗆𝗈 𝖢𝗈𝗅𝖽𝗉𝗅𝖺𝗒, 𝖭𝗂𝗋𝗏𝖺𝗇𝖺, 𝖦𝗋𝖾𝖾𝗇 𝖣𝖺𝗒 𝖾 𝖲𝗒𝗌𝗍𝖾𝗆 𝗈𝖿 𝖺 𝖣𝗈𝗐𝗇, 𝖾 𝖺𝖼𝗋𝖾𝗌𝖼𝖾𝗇𝗍𝖺𝗇𝖽𝗈 𝖺𝗂𝗇𝖽𝖺 𝗀𝗈𝗌𝗍𝖺𝗋 𝖽𝖾 𝗉𝗎𝗇𝗄 𝗋𝗈𝖼𝗄. 𝖣𝗎𝗋𝖺𝗇𝗍𝖾 𝖺 𝖽𝗂𝗏𝗎𝗅𝗀𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝖳𝗁𝖾 𝖡𝖾𝗌𝗍 𝖣𝖺𝗆𝗇 𝖳𝗁𝗂𝗇𝗀, 𝖾𝗅𝖺 𝖼𝗂𝗍𝗈𝗎 𝗉𝖺𝗋𝖺 𝖺 𝗋𝖾𝗏𝗂𝗌𝗍𝖺 𝖢𝖺𝗉𝗋𝗂𝖼𝗁𝗈 𝗈𝗎𝗍𝗋𝗈𝗌 𝗋𝖾𝗉𝗋𝖾𝗌𝖾𝗇𝗍𝖺𝗇𝗍𝖾𝗌 𝖽𝖾𝗌𝗌𝖾 𝗎́𝗅𝗍𝗂𝗆𝗈 𝗀𝖾̂𝗇𝖾𝗋𝗈 𝗊𝗎𝖾 𝗉𝗋𝖾𝗓𝖺: 𝗈𝗌 𝗀𝗋𝗎𝗉𝗈𝗌 𝖡𝗅𝗂𝗇𝗄-𝟣𝟪𝟤, 𝖳𝗁𝖾 𝖣𝗂𝗌𝗍𝗂𝗅𝗅𝖾𝗋𝗌, 𝖧𝗈𝗅𝖾 𝖾 𝖱𝖺𝗆𝗈𝗇𝖾𝗌. "𝖳𝖾𝗇𝗁𝗈 𝖾𝗌𝖼𝗎𝗍𝖺𝖽𝗈 𝗆𝗎𝗂𝗍𝗈 𝗉𝗎𝗇𝗄 𝗋𝗈𝖼𝗄, 𝖾𝗇𝗍𝖺̃𝗈 𝗏𝗈𝖼𝖾̂ 𝗉𝗈𝖽𝖾𝗋𝖺́ 𝗇𝗈𝗍𝖺𝗋 𝗎𝗆𝖺 𝖼𝖾𝗋𝗍𝖺 𝗂𝗇𝖿𝗅𝗎𝖾̂𝗇𝖼𝗂𝖺 𝖽𝗈 𝗉𝗎𝗇𝗄 𝖾𝗆 𝗆𝖾𝗎 𝗇𝗈𝗏𝗈 𝖽𝗂𝗌𝖼𝗈". 𝖠𝗂𝗇𝖽𝖺 𝖺𝗌𝗌𝗂𝗆, 𝖫𝖺𝗏𝗂𝗀𝗇𝖾 𝗆𝖺𝗇𝗂𝖿𝖾𝗌𝗍𝗈𝗎 𝖺𝖽𝗆𝗂𝗋𝖺𝖼̧𝖺̃𝗈 𝗉𝗈𝗋 𝗆𝗎𝗅𝗁𝖾𝗋𝖾𝗌 𝗆𝗎𝗌𝗂𝖼𝗂𝗌𝗍𝖺𝗌 𝖾 𝖼𝖺𝗇𝗍𝗈𝗋𝖺𝗌, 𝖺 𝖾𝗑𝖾𝗆𝗉𝗅𝗈 𝖽𝖾 𝖢𝗈𝗎𝗋𝗍𝗇𝖾𝗒 𝖫𝗈𝗏𝖾, 𝖩𝖺𝗇𝗂𝗌 𝖩𝗈𝗉𝗅𝗂𝗇, 𝖫𝗂𝗌𝖺 𝖫𝗈𝖾𝖻 𝖾 𝖭𝖺𝗍𝖺𝗅𝗂𝖾 𝖨𝗆𝖻𝗋𝗎𝗀𝗅𝗂𝖺. 𝖠𝗅𝖺𝗇𝗂𝗌 𝖬𝗈𝗋𝗂𝗌𝗌𝖾𝗍𝗍𝖾 𝖿𝗈𝗂 𝗈𝗎𝗍𝗋𝖺 𝖼𝗂𝗍𝖺𝖽𝖺 𝖼𝗈𝗆𝗈 𝗎𝗆𝖺 𝖽𝖾 𝗌𝗎𝖺𝗌 𝗂́𝖽𝗈𝗅𝖺𝗌: "[𝖤𝗅𝖺] 𝖾́ 𝗆𝗂𝗇𝗁𝖺 𝖺𝗋𝗍𝗂𝗌𝗍𝖺 𝖿𝖾𝗆𝗂𝗇𝗂𝗇𝖺 𝖿𝖺𝗏𝗈𝗋𝗂𝗍𝖺 𝖾 𝖩𝖺𝗀𝗀𝖾𝖽 𝖫𝗂𝗍𝗍𝗅𝖾 𝖯𝗂𝗅𝗅 𝖾́ 𝗆𝖾𝗎 𝖽𝗂𝗌𝖼𝗈 𝖿𝖺𝗏𝗈𝗋𝗂𝗍𝗈 𝖽𝖾 𝗍𝗈𝖽𝗈𝗌 𝗈𝗌 𝗍𝖾𝗆𝗉𝗈𝗌", 𝖼𝗈𝗆𝖾𝗇𝗍𝗈𝗎 𝖺 𝖺𝗋𝗍𝗂𝗌𝗍𝖺.

ㅤ𝖠 𝖼𝗈𝗆𝗉𝗂𝗅𝖺𝖼̧𝖺̃𝗈 𝖨𝗇𝖿𝗅𝗎𝖾𝗇𝖼𝖾𝗌: 𝖠𝗏𝗋𝗂𝗅 𝖫𝖺𝗏𝗂𝗀𝗇𝖾, 𝗅𝖺𝗇𝖼̧𝖺𝖽𝖺 𝖾𝗆 𝟤𝟢𝟢𝟩 𝖾𝗑𝖼𝗅𝗎𝗌𝗂𝗏𝖺𝗆𝖾𝗇𝗍𝖾 𝗇𝖺𝗌 𝗅𝗈𝗃𝖺𝗌 𝗇𝗈𝗋𝗍𝖾-𝖺𝗆𝖾𝗋𝗂𝖼𝖺𝗇𝖺𝗌 𝖽𝖺 𝖳𝖺𝗋𝗃𝖾𝗍, 𝖼𝗈𝗇𝗍𝖾́𝗆 𝖽𝖾𝗓 𝖿𝖺𝗂𝗑𝖺𝗌 𝗌𝖾𝗅𝖾𝖼𝗂𝗈𝗇𝖺𝖽𝖺𝗌 𝗉𝖾𝗅𝖺 𝗉𝗋𝗈́𝗉𝗋𝗂𝖺 𝖼𝖺𝗇𝗍𝗈𝗋𝖺 𝖼𝗈𝗆𝗈 𝗆𝖺𝗋𝖼𝖺𝗇𝗍𝖾𝗌 𝗉𝖺𝗋𝖺 𝗌𝗎𝖺 𝖿𝗈𝗋𝗆𝖺𝖼̧𝖺̃𝗈: "𝖠𝗇𝗍𝗁𝖾𝗆, 𝖯𝗍. 𝟤" (𝖡𝗅𝗂𝗇𝗄-𝟣𝟪𝟤), "𝖲𝗂𝗇𝗀 𝖲𝗂𝗇𝗀 𝖣𝖾𝖺𝗍𝗁 𝖧𝗈𝗎𝗌𝖾" (𝖳𝗁𝖾 𝖣𝗂𝗌𝗍𝗂𝗅𝗅𝖾𝗋𝗌), "𝖳𝗁𝗂𝗌 𝖨𝗌 𝗍𝗁𝖾 𝖭𝖾𝗐 𝖲𝗁𝗂𝗍" (𝖬𝖺𝗋𝗂𝗅𝗒𝗇 𝖬𝖺𝗇𝗌𝗈𝗇), "𝖠𝗅𝗅 𝖨 𝖱𝖾𝖺𝗅𝗅𝗒 𝖶𝖺𝗇𝗍" (𝖠𝗅𝖺𝗇𝗂𝗌 𝖬𝗈𝗋𝗂𝗌𝗌𝖾𝗍𝗍𝖾), "𝖨𝗋𝗂𝗌" (𝖦𝗈𝗈 𝖦𝗈𝗈 𝖣𝗈𝗅𝗅𝗌), "𝖣𝗋𝖾𝖺𝗆𝗌" (𝖳𝗁𝖾 𝖢𝗋𝖺𝗇𝖻𝖾𝗋𝗋𝗂𝖾𝗌), "𝖳𝗎𝖻𝗍𝗁𝗎𝗆𝗉𝗂𝗇𝗀" (𝖢𝗁𝗎𝗆𝖻𝖺𝗐𝖺𝗆𝖻𝖺), "𝖲𝗎𝗀𝖺𝗋, 𝖲𝗎𝗀𝖺𝗋" (𝖳𝗁𝖾 𝖠𝗋𝖼𝗁𝗂𝖾𝗌), "𝖨 𝖦𝖾𝗍 𝖠𝗋𝗈𝗎𝗇𝖽" (𝖳𝗁𝖾 𝖡𝖾𝖺𝖼𝗁 𝖡𝗈𝗒𝗌) 𝖾 "𝖬𝖾 𝖺𝗇𝖽 𝖡𝗈𝖻𝖻𝗒 𝖬𝖼𝖦𝖾𝖾" (𝖩𝖺𝗇𝗂𝗌 𝖩𝗈𝗉𝗅𝗂𝗇). 𝖲𝗍𝖾𝗉𝗁𝖾𝗇 𝖳𝗁𝗈𝗆𝖺𝗌 𝖤𝗋𝗅𝖾𝗐𝗂𝗇𝖾, 𝖽𝗈 𝗉𝗈𝗋𝗍𝖺𝗅 𝖠𝗅𝗅𝖬𝗎𝗌𝗂𝖼, 𝖼𝗈𝗆𝖾𝗇𝗍𝗈𝗎 𝗊𝗎𝖾 𝖺 𝖺𝗋𝗍𝗂𝗌𝗍𝖺 "𝗉𝗋𝗈𝖼𝗅𝖺𝗆𝖺 𝖼𝗈𝗆𝗈 𝗎𝗆𝖺 𝗂𝗇𝖿𝗅𝗎𝖾̂𝗇𝖼𝗂𝖺 𝖾𝗆 𝗌𝖾𝗎 𝗉𝗎𝗇𝗄 𝗉𝗈𝗉 𝗆𝖺𝗅𝖼𝗋𝗂𝖺𝖽𝗈" 𝖽𝖾𝗌𝖽𝖾 𝖼𝖺𝗇𝖼̧𝗈̃𝖾𝗌 𝖺𝗇𝗍𝗂𝗀𝖺𝗌, 𝖼𝗈𝗆𝗈 "𝖲𝗎𝗀𝖺𝗋, 𝖲𝗎𝗀𝖺𝗋", 𝗊𝗎𝖾 𝖾𝗅𝖺 𝗅𝖾𝗆𝖻𝗋𝖺 𝖽𝖾 𝗍𝖾𝗋 𝖼𝖺𝗇𝗍𝖺𝖽𝗈 𝖼𝖾𝗋𝗍𝖺 𝗏𝖾𝗓 𝖼𝗈𝗆 𝗈 𝗉𝖺𝗂 𝗇𝗎𝗆 𝗉𝖺𝗌𝗌𝖾𝗂𝗈 𝖽𝖾 𝖼𝖺𝗋𝗋𝗈, 𝖺𝗍𝖾́ — 𝗇𝖺̃𝗈 𝗂𝗇𝖾𝗌𝗉𝖾𝗋𝖺𝖽𝖺𝗆𝖾𝗇𝗍𝖾 — 𝗋𝗈𝖼𝗄 𝖼𝗈𝗇𝗍𝖾𝗆𝗉𝗈𝗋𝖺̂𝗇𝖾𝗈 𝖾 𝖻𝖺𝗅𝖺𝖽𝖺𝗌 𝗉𝗈𝖽𝖾𝗋𝗈𝗌𝖺𝗌. 𝖯𝗈𝗋𝖾́𝗆, 𝖺 𝗂𝗇𝖼𝗅𝗎𝗌𝖺̃𝗈 𝖬𝗈𝗋𝗂𝗌𝗌𝖾𝗍𝗍𝖾 𝖾 𝖢𝗁𝗎𝗆𝖻𝖺𝗐𝖺𝗆𝖻𝖺 𝖿𝗈𝗂 𝗋𝖾𝗌𝗌𝖺𝗅𝗍𝖺𝖽𝖺 𝗉𝖾𝗅𝗈 𝖾𝖽𝗂𝗍𝗈𝗋 𝗉𝗈𝗋 "𝗌𝗎𝗀𝖾𝗋[𝗂𝗋𝖾𝗆] 𝗈 𝗅𝖺𝖽𝗈 𝖿𝖾𝗆𝗂𝗇𝗂𝗇𝗈 𝖽𝖾 𝖠𝗏𝗋𝗂𝗅". 𝖭𝗈 𝗆𝖾𝗌𝗆𝗈 𝖺𝗇𝗈, 𝖺 𝗋𝖾𝗏𝗂𝗌𝗍𝖺 𝖨𝗇𝖲𝗍𝗒𝗅𝖾 𝗉𝗎𝖻𝗅𝗂𝖼𝗈𝗎 𝗎𝗆 𝖺𝗋𝗍𝗂𝗀𝗈 𝖼𝗈𝗆 𝖼𝗂𝗇𝖼𝗈 𝖼𝖺𝗇𝖼̧𝗈̃𝖾𝗌 𝗊𝗎𝖾 𝗂𝗇𝖿𝗅𝗎𝖾𝗇𝖼𝗂𝖺𝗋𝖺𝗆 𝖺 𝖼𝖺𝗇𝗍𝗈𝗋𝖺: "𝖨'𝗆 𝗍𝗁𝖾 𝖪𝗂𝗇𝖽𝖺" (𝖯𝖾𝖺𝖼𝗁𝖾𝗌), "𝖢𝗂𝗍𝗒 𝗈𝖿 𝖠𝗇𝗀𝖾𝗅𝗌" (𝖳𝗁𝖾 𝖣𝗂𝗌𝗍𝗂𝗅𝗅𝖾𝗋𝗌), "𝖲𝗆𝖾𝗅𝗅𝗌 𝖫𝗂𝗄𝖾 𝖳𝖾𝖾𝗇 𝖲𝗉𝗂𝗋𝗂𝗍" (𝖭𝗂𝗋𝗏𝖺𝗇𝖺), "𝖦𝗈𝖽 𝖲𝖺𝗏𝖾 𝗍𝗁𝖾 𝖰𝗎𝖾𝖾𝗇" (𝖲𝖾𝗑 𝖯𝗂𝗌𝗍𝗈𝗅𝗌) 𝖾 "𝖯𝗅𝖺𝗇𝖾𝗍 𝖳𝖾𝗅𝖾𝗑" (𝖱𝖺𝖽𝗂𝗈𝗁𝖾𝖺𝖽).

ㅤ𝖫𝖺𝗏𝗂𝗀𝗇𝖾 𝗍𝖺𝗆𝖻𝖾́𝗆 𝗃𝖺́ 𝗋𝖾𝗏𝖾𝗅𝗈𝗎 𝖺𝗉𝗋𝖾𝖼̧𝗈 𝗉𝗈𝗋 𝖺𝗋𝗍𝗂𝗌𝗍𝖺𝗌 𝖽𝗈 𝗌𝗄𝖺𝗍𝖾 𝗉𝗎𝗇𝗄, 𝗇𝗈𝗆𝖾𝖺𝖽𝖺𝗆𝖾𝗇𝗍𝖾 𝖭𝖮𝖥𝖷 𝖾 𝖯𝖾𝗇𝗇𝗒𝗐𝗂𝗌𝖾, 𝖺𝗅𝖾́𝗆 𝖽𝖺𝗌 𝖻𝖺𝗇𝖽𝖺𝗌 𝖮𝖺𝗌𝗂𝗌, 𝖽𝖾 𝖻𝗋𝗂𝗍𝗉𝗈𝗉, 𝖳𝗁𝗂𝗋𝖽 𝖤𝗒𝖾 𝖡𝗅𝗂𝗇𝖽, 𝖽𝖾 𝗋𝗈𝖼𝗄 𝖺𝗅𝗍𝖾𝗋𝗇𝖺𝗍𝗂𝗏𝗈, 𝖾 𝖳𝗁𝖾 𝖴𝗌𝖾𝖽, 𝖽𝖾 𝗉𝗈́𝗌-𝗁𝖺𝗋𝖽𝖼𝗈𝗋𝖾. 𝖠 𝖼𝖺𝗇𝗍𝗈𝗋𝖺 𝖼𝗂𝗍𝗈𝗎 𝖺 𝖻𝖺𝗇𝖽𝖺 𝖽𝖾 𝗋𝗈𝖼𝗄 𝖾𝗑𝗉𝖾𝗋𝗂𝗆𝖾𝗇𝗍𝖺𝗅 𝖱𝖺𝖽𝗂𝗈𝗁𝖾𝖺𝖽 𝖾𝗆 "𝖧𝖾𝗋𝖾'𝗌 𝗍𝗈 𝖭𝖾𝗏𝖾𝗋 𝖦𝗋𝗈𝗐𝗂𝗇𝗀 𝖴𝗉" 𝖾 𝖽𝗂𝗌𝗌𝖾 𝗊𝗎𝖾 "𝖢𝗋𝖾𝖾𝗉" (𝟣𝟫𝟫𝟤) 𝖾́ 𝗎𝗆𝖺 𝖽𝖺𝗌 𝖼𝖺𝗇𝖼̧𝗈̃𝖾𝗌 𝖽𝗈 𝗀𝗋𝗎𝗉𝗈 𝗊𝗎𝖾 𝖾𝗅𝖺 𝗆𝖺𝗂𝗌 𝗀𝗈𝗌𝗍𝖺. 𝖠𝖽𝖾𝗆𝖺𝗂𝗌, 𝗈 𝖼𝖺𝗇𝗍𝗈𝗋 𝖽𝖾 𝗃𝖺𝗓𝗓 𝖾 𝗌𝗐𝗂𝗇𝗀 𝖥𝗋𝖺𝗇𝗄 𝖲𝗂𝗇𝖺𝗍𝗋𝖺 𝖾 𝖺𝗌 𝖼𝖺𝗇𝗍𝗈𝗋𝖺𝗌 𝖽𝖾 𝗌𝗈𝗎𝗅/𝖱&𝖡 𝖾/𝗈𝗎 𝗃𝖺𝗓𝗓 𝖠𝗋𝖾𝗍𝗁𝖺 𝖥𝗋𝖺𝗇𝗄𝗅𝗂𝗇, 𝖡𝗂𝗅𝗅𝗂𝖾 𝖧𝗈𝗅𝗂𝖽𝖺𝗒, 𝖤𝗅𝗅𝖺 𝖥𝗂𝗍𝗓𝗀𝖾𝗋𝖺𝗅𝖽 𝖾 𝖤𝗍𝗍𝖺 𝖩𝖺𝗆𝖾𝗌, 𝖺𝗌 𝗊𝗎𝖺𝗂𝗌 𝖽𝖾𝗌𝖼𝗋𝖾𝗏𝖾𝗎 𝖼𝗈𝗆𝗈 "𝗋𝖺𝗂𝗇𝗁𝖺𝗌 𝖺𝗍𝖾𝗆𝗉𝗈𝗋𝖺𝗂𝗌", 𝖿𝗈𝗋𝖺𝗆 𝗆𝖾𝗇𝖼𝗂𝗈𝗇𝖺𝖽𝗈𝗌 𝗉𝗈𝗋 𝖠𝗏𝗋𝗂𝗅 𝖼𝗈𝗆𝗈 𝗋𝖾𝖿𝖾𝗋𝖾̂𝗇𝖼𝗂𝖺𝗌 𝗆𝗎𝗌𝗂𝖼𝖺𝗂𝗌.


𝐂𝐨𝐦𝐩𝐨𝐬𝐢𝐜̧𝐚̃𝐨

ㅤ𝖣𝖾𝗌𝖽𝖾 𝗊𝗎𝖾 𝖼𝗈𝗆𝖾𝖼̧𝗈𝗎 𝗉𝗋𝗈𝖿𝗂𝗌𝗌𝗂𝗈𝗇𝖺𝗅𝗆𝖾𝗇𝗍𝖾 𝗇𝖺 𝗆𝗎́𝗌𝗂𝖼𝖺, 𝖠𝗏𝗋𝗂𝗅 𝖫𝖺𝗏𝗂𝗀𝗇𝖾 𝖼𝗈𝗆𝗉𝗈̂𝗌 𝗌𝗎𝖺𝗌 𝖼𝖺𝗇𝖼̧𝗈̃𝖾𝗌 𝖾 𝗋𝖾𝗃𝖾𝗂𝗍𝗈𝗎 𝗆𝗎́𝗌𝗂𝖼𝖺𝗌 𝗉𝗋𝗈𝗇𝗍𝖺𝗌 𝖽𝖾 𝗈𝗎𝗍𝗋𝗈𝗌 𝖼𝗈𝗆𝗉𝗈𝗌𝗂𝗍𝗈𝗋𝖾𝗌, 𝗈𝗎 𝗊𝗎𝖾 𝗇𝖺̃𝗈 𝗍𝗂𝗏𝖾𝗌𝗌𝖾𝗆 𝗌𝗎𝖺 𝗉𝖺𝗋𝗍𝗂𝖼𝗂𝗉𝖺𝖼̧𝖺̃𝗈 𝗇𝖺 𝖼𝗈𝗆𝗉𝗈𝗌𝗂𝖼̧𝖺̃𝗈. 𝖬𝖾𝗌𝗆𝗈 𝖺𝗇𝗍𝖾𝗌 𝖽𝗈 𝖼𝗈𝗆𝖾𝖼̧𝗈 𝖽𝖾 𝗌𝗎𝖺 𝖼𝖺𝗋𝗋𝖾𝗂𝗋𝖺, 𝖾𝗅𝖺 𝗃𝖺́ 𝖼𝗈𝗆𝗉𝗎𝗇𝗁𝖺, 𝖼𝗈𝗆𝗈 𝖾𝗆 𝟣𝟫𝟫𝟫, 𝖼𝗈𝗆 𝗊𝗎𝖺𝗍𝗈𝗋𝗓𝖾 𝖺𝗇𝗈𝗌, 𝗇𝖺 𝖼𝖺𝗇𝖼̧𝖺̃𝗈 "𝖳𝗈𝗎𝖼𝗁 𝗍𝗁𝖾 𝖲𝗄𝗒" 𝖾, 𝖾𝗆 𝟤𝟢𝟢𝟢, 𝖼𝗈𝗆 "𝖳𝖾𝗆𝗉𝗅𝖾 𝗈𝖿 𝖫𝗂𝖿𝖾" 𝖾 "𝖳𝗐𝗈 𝖱𝗂𝗏𝖾𝗋𝗌", 𝗍𝗈𝖽𝖺𝗌 𝗉𝖺𝗋𝗍𝖾 𝖽𝗈 𝗉𝗋𝗈𝗃𝖾𝗍𝗈 𝖽𝖾 𝖲𝗍𝖾𝗉𝗁𝖾𝗇 𝖬𝖾𝖽𝖽. 𝖭𝖺 𝗉𝗋𝗈𝖽𝗎𝖼̧𝖺̃𝗈 𝖽𝖾 𝖫𝖾𝗍 𝖦𝗈, 𝗍𝖾𝗇𝗍𝖺𝗋𝖺𝗆 𝖿𝖺𝗓𝖾̂-𝗅𝖺 𝗀𝗋𝖺𝗏𝖺𝗋 𝖼𝖺𝗇𝖼̧𝗈̃𝖾𝗌 𝗊𝗎𝖾 𝗇𝖺̃𝗈 𝗍𝗂𝗇𝗁𝖺𝗆 𝗌𝗎𝖺 𝖺𝗎𝗍𝗈𝗋𝗂𝖺. 𝖤𝗅𝖺 𝖺𝖿𝗂𝗋𝗆𝗈𝗎: "𝖰𝗎𝖺𝗇𝖽𝗈 𝗆𝖾 𝗂𝗇𝗌𝖼𝗋𝖾𝗏𝗂 𝗇𝖺 𝖠𝗋𝗂𝗌𝗍𝖺, 𝖼𝗈𝗇𝗍𝗋𝖺𝗍𝖺𝗋𝖺𝗆-𝗆𝖾 𝖼𝗈𝗆𝗈 𝖼𝖺𝗇𝗍𝗈𝗋𝖺. 𝖭𝖺̃𝗈 𝗌𝖺𝖻𝗂𝖺𝗆 𝗊𝗎𝖾 𝖾𝗎 𝗍𝖺𝗆𝖻𝖾́𝗆 𝗉𝗈𝖽𝗂𝖺 𝖾𝗌𝖼𝗋𝖾𝗏𝖾𝗋, 𝗈𝗎 𝗊𝗎𝖾𝗋𝗂𝖺 𝖾𝗌𝖼𝗋𝖾𝗏𝖾𝗋. 𝖢𝗈𝗆𝖾𝖼̧𝖺𝗋𝖺𝗆 𝖺 𝗆𝖾 𝗅𝖺𝗇𝖼̧𝖺𝗋 𝖺̀𝗌 𝗆𝗎́𝗌𝗂𝖼𝖺𝗌 𝖽𝖾 𝗈𝗎𝗍𝗋𝖺𝗌 𝗉𝖾𝗌𝗌𝗈𝖺𝗌, 𝗆𝖺𝗌 𝖾𝗎 𝗌𝗂𝗆𝗉𝗅𝖾𝗌𝗆𝖾𝗇𝗍𝖾 𝗇𝖺̃𝗈 𝖼𝗈𝗇𝗌𝖾𝗀𝗎𝗂𝖺 𝖼𝖺𝗇𝗍𝖺́-𝗅𝖺𝗌. 𝖤𝗎 𝖽𝗂𝗌𝗌𝖾: '𝖤𝗎 𝗇𝖺̃𝗈 𝗆𝖾 𝗂𝗆𝗉𝗈𝗋𝗍𝗈 𝖼𝗈𝗆 𝗈 𝗊𝗎𝖺̃𝗈 𝖻𝗈𝖺𝗌 𝖾𝗌𝗌𝖺𝗌 𝗆𝗎́𝗌𝗂𝖼𝖺𝗌 𝗌𝖺̃𝗈. 𝖰𝗎𝖾𝗋𝗈 𝖾𝗌𝖼𝗋𝖾𝗏𝖾𝗋 𝖺𝗌 𝗆𝗂𝗇𝗁𝖺𝗌".

ㅤ𝖠𝗂𝗇𝖽𝖺 𝖺𝗌𝗌𝗂𝗆, 𝖺 𝗌𝗎𝖺 𝖼𝗈𝗆𝗉𝗈𝗌𝗂𝖼̧𝖺̃𝗈 𝖿𝗈𝗂 𝗊𝗎𝖾𝗌𝗍𝗂𝗈𝗇𝖺𝖽𝖺 𝗉𝗈𝗋 𝖽𝗂𝗏𝖾𝗋𝗌𝖺𝗌 𝗏𝖾𝗓𝖾𝗌. 𝖯𝗋𝗂𝗆𝖾𝗂𝗋𝖺𝗆𝖾𝗇𝗍𝖾, 𝗉𝖾𝗅𝗈𝗌 𝗆𝖾𝗆𝖻𝗋𝗈𝗌 𝖽𝗈 𝖳𝗁𝖾 𝖬𝖺𝗍𝗋𝗂𝗑, 𝖼𝗈𝗆 𝗊𝗎𝖾𝗆 𝗍𝗋𝖺𝖻𝖺𝗅𝗁𝗈𝗎 𝗇𝗈 𝗌𝖾𝗎 𝖽𝖾𝖻𝗎𝗍𝖾, 𝗊𝗎𝖾 𝖺𝖿𝗂𝗋𝗆𝖺𝗋𝖺𝗆 𝗌𝖾𝗋𝖾𝗆 𝗈𝗌 𝖼𝗈𝗆𝗉𝗈𝗌𝗂𝗍𝗈𝗋𝖾𝗌 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗂𝗌 𝖾𝗆 "𝖢𝗈𝗆𝗉𝗅𝗂𝖼𝖺𝗍𝖾𝖽", "𝖲𝗄𝟪𝖾𝗋 𝖡𝗈𝗂" 𝖾 "𝖨'𝗆 𝗐𝗂𝗍𝗁 𝖸𝗈𝗎". 𝖭𝗈 𝖾𝗇𝗍𝖺𝗇𝗍𝗈, 𝖺 𝖼𝖺𝗇𝗍𝗈𝗋𝖺 𝗇𝖾𝗀𝗈𝗎 𝗂𝗌𝗌𝗈, 𝖺𝗅𝖾𝗀𝖺𝗇𝖽𝗈 𝗌𝖾𝗋 𝖺 𝗉𝗋𝗂𝗇𝖼𝗂𝗉𝖺𝗅 𝗋𝖾𝗌𝗉𝗈𝗇𝗌𝖺́𝗏𝖾𝗅 𝗉𝖾𝗅𝗈𝗌 𝖼𝗋𝖾́𝖽𝗂𝗍𝗈𝗌 𝖽𝖾 𝖼𝖺𝖽𝖺 𝖿𝖺𝗂𝗑𝖺 𝗇𝗈 𝖺́𝗅𝖻𝗎𝗆. 𝖬𝖺𝗂𝗌 𝗍𝖺𝗋𝖽𝖾, 𝖾𝗆 𝟤𝟢𝟢𝟥, 𝖺 𝖾𝗊𝗎𝗂𝗉𝖾 𝖾𝗌𝗍𝖺𝗏𝖺 𝗌𝖾𝗇𝖽𝗈 𝗎𝗇𝗂𝖼𝖺𝗆𝖾𝗇𝗍𝖾 𝖼𝗋𝖾𝖽𝗂𝗍𝖺𝖽𝖺 𝖾𝗆 𝗌𝗎𝖼𝖾𝗌𝗌𝗈𝗌 𝖽𝖾 𝗈𝗎𝗍𝗋𝗈𝗌 𝖺𝗋𝗍𝗂𝗌𝗍𝖺𝗌, 𝖼𝗈𝗆𝗈 𝖧𝗂𝗅𝖺𝗋𝗒 𝖣𝗎𝖿𝖿 𝖾 𝖫𝗂𝗓 𝖯𝗁𝖺𝗂𝗋, 𝗈 𝗊𝗎𝖾 𝖿𝖾𝗓 𝗇𝗈𝗏𝖺𝗆𝖾𝗇𝗍𝖾 𝖺𝗌 𝗁𝖺𝖻𝗂𝗅𝗂𝖽𝖺𝖽𝖾𝗌 𝖽𝖾 𝖾𝗌𝖼𝗋𝗂𝗍𝖺 𝖽𝖾 𝖫𝖺𝗏𝗂𝗀𝗇𝖾 𝗌𝖾𝗋𝖾𝗆 𝗉𝗈𝗌𝗍𝖺𝗌 𝖾𝗆 𝗉𝖺𝗎𝗍𝖺. 𝖠̀ 𝖾́𝗉𝗈𝖼𝖺, 𝖾𝗅𝖺 𝖽𝗂𝗌𝗌𝖾: "𝖢𝗈𝗆𝗉𝗈𝗇𝗁𝗈 𝖽𝖾𝗌𝖽𝖾 𝖼𝗋𝗂𝖺𝗇𝖼̧𝖺. 𝖳𝗈𝖼𝗈 𝗏𝗂𝗈𝗅𝖺̃𝗈 𝖽𝖾𝗌𝖽𝖾 𝖼𝗋𝗂𝖺𝗇𝖼̧𝖺. 𝖤𝗌𝖼𝗋𝖾𝗏𝗈 𝗆𝗎́𝗌𝗂𝖼𝖺𝗌 𝖼𝗈𝗆𝗉𝗅𝖾𝗍𝖺𝗌 𝖽𝖾𝗌𝖽𝖾 𝗈𝗌 𝟣𝟦 𝖺𝗇𝗈𝗌; 𝗆𝗎́𝗌𝗂𝖼𝖺𝗌 𝖾𝗌𝗍𝗋𝗎𝗍𝗎𝗋𝖺𝖽𝖺𝗌. 𝖲𝗈𝗎 𝖼𝗈𝗆𝗉𝗈𝗌𝗂𝗍𝗈𝗋𝖺 𝖾 𝗇𝖺̃𝗈 𝖺𝖼𝖾𝗂𝗍𝗈 𝗉𝖾𝗌𝗌𝗈𝖺𝗌 𝗍𝖾𝗇𝗍𝖺𝗇𝖽𝗈 𝗍𝗂𝗋𝖺𝗋 𝗂𝗌𝗌𝗈 𝖽𝖾 𝗆𝗂𝗆". 𝖤𝗆 𝟤𝟢𝟢𝟩, 𝖢𝗁𝖺𝗇𝗍𝖺𝗅 𝖪𝗋𝖾𝗏𝗂𝖺𝗓𝗎𝗄, 𝗊𝗎𝖾 𝖼𝗈𝗆𝗉𝗈̂𝗌 𝖴𝗇𝖽𝖾𝗋 𝖬𝗒 𝖲𝗄𝗂𝗇 𝖼𝗈𝗆 𝖫𝖺𝗏𝗂𝗀𝗇𝖾, 𝖼𝗋𝗂𝗍𝗂𝖼𝗈𝗎-𝖺 𝖺𝗈 𝖽𝖾𝖼𝗅𝖺𝗋𝖺𝗋: "𝖠𝗏𝗋𝗂𝗅 𝗋𝖾𝖺𝗅𝗆𝖾𝗇𝗍𝖾 𝗇𝖺̃𝗈 𝖾𝗌𝖼𝗋𝖾𝗏𝖾 𝗆𝗎́𝗌𝗂𝖼𝖺𝗌 𝗉𝗈𝗋 𝖾𝗅𝖺 𝗆𝖾𝗌𝗆𝖺 𝗈𝗎 𝗊𝗎𝖺𝗅𝗊𝗎𝖾𝗋 𝗈𝗎𝗍𝗋𝖺 𝖼𝗈𝗂𝗌𝖺". 𝖫𝖺𝗏𝗂𝗀𝗇𝖾 𝗍𝖺𝗆𝖻𝖾́𝗆 𝗇𝖾𝗀𝗈𝗎 𝗂𝗌𝗌𝗈 𝖾 𝖼𝗈𝗇𝗌𝗂𝖽𝖾𝗋𝗈𝗎 𝗍𝗈𝗆𝖺𝗋 𝗆𝖾𝖽𝗂𝖽𝖺𝗌 𝗅𝖾𝗀𝖺𝗂𝗌 𝖼𝗈𝗇𝗍𝗋𝖺 𝖪𝗋𝖾𝗏𝗂𝖺𝗓𝗎𝗄 𝗉𝗈𝗋 "𝖽𝗂𝖿𝖺𝗆𝖺𝖼̧𝖺̃𝗈" 𝖼𝗈𝗇𝗍𝗋𝖺 𝗌𝗎𝖺 𝗁𝗈𝗇𝗋𝖺. 𝖪𝗋𝖾𝗏𝗂𝖺𝗓𝗎𝗄, 𝖽𝖾𝗉𝗈𝗂𝗌, 𝗋𝖾𝗍𝗋𝖺𝗍𝗈𝗎-𝗌𝖾 𝖼𝗁𝖺𝗆𝖺𝗇𝖽𝗈 𝖠𝗏𝗋𝗂𝗅 𝖽𝖾 "𝗎𝗆𝖺 𝖼𝗈𝗆𝗉𝗈𝗌𝗂𝗍𝗈𝗋𝖺 𝗍𝖺𝗅𝖾𝗇𝗍𝗈𝗌𝖺", 𝖾 𝖺𝗀𝗋𝖺𝖽𝖾𝖼𝖾𝗎 𝗉𝗈𝗋 𝗍𝗂𝖽𝗈 𝗈 𝗉𝗋𝗂𝗏𝗂𝗅𝖾́𝗀𝗂𝗈 𝖽𝖾 𝗍𝗋𝖺𝖻𝖺𝗅𝗁𝖺𝗋 𝖼𝗈𝗆 𝖾𝗅𝖺.

ㅤ𝖠𝗅𝖾́𝗆 𝖽𝖾 𝖼𝗈𝗆𝗉𝗈𝗋 𝗉𝖺𝗋𝖺 𝗌𝖾𝗎𝗌 𝗉𝗋𝗈́𝗉𝗋𝗂𝗈𝗌 𝗉𝗋𝗈𝗃𝖾𝗍𝗈𝗌, 𝖫𝖺𝗏𝗂𝗀𝗇𝖾 𝗃𝖺́ 𝖿𝗈𝗂 𝖼𝗋𝖾𝖽𝗂𝗍𝖺𝖽𝖺 𝖾𝗆 𝖿𝖺𝗂𝗑𝖺𝗌 𝗊𝗎𝖾 𝖿𝗈𝗋𝖺𝗆 𝗀𝗋𝖺𝗏𝖺𝖽𝖺𝗌 𝗉𝗈𝗋 𝗈𝗎𝗍𝗋𝗈𝗌 𝖺𝗋𝗍𝗂𝗌𝗍𝖺𝗌. 𝖤𝗆 𝟤𝟢𝟢𝟦, 𝖺 𝗇𝗈𝗋𝗍𝖾-𝖺𝗆𝖾𝗋𝗂𝖼𝖺𝗇𝖺 𝖪𝖾𝗅𝗅𝗒 𝖢𝗅𝖺𝗋𝗄𝗌𝗈𝗇 𝗅𝖺𝗇𝖼̧𝗈𝗎 "𝖡𝗋𝖾𝖺𝗄𝖺𝗐𝖺𝗒", 𝗂𝗇𝗂𝖼𝗂𝖺𝗅𝗆𝖾𝗇𝗍𝖾 𝖼𝗈𝗆𝗉𝗈𝗌𝗍𝖺 𝗉𝖺𝗋𝖺 𝖫𝖾𝗍 𝖦𝗈. 𝖤𝗆 𝟤𝟢𝟢𝟩, 𝖺 𝖻𝗋𝗂𝗍𝖺̂𝗇𝗂𝖼𝖺 𝖫𝖾𝗈𝗇𝖺 𝖫𝖾𝗐𝗂𝗌 𝗅𝖺𝗇𝖼̧𝗈𝗎 𝗎𝗆𝖺 𝗋𝖾𝗀𝗋𝖺𝗏𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 "𝖨 𝖶𝗂𝗅𝗅 𝖡𝖾", 𝗈𝗋𝗂𝗀𝗂𝗇𝖺𝗅𝗆𝖾𝗇𝗍𝖾 𝗉𝗋𝖾𝗌𝖾𝗇𝗍𝖾 𝗇𝖺𝗌 𝖾𝖽𝗂𝖼̧𝗈̃𝖾𝗌 𝗅𝗂𝗆𝗂𝗍𝖺𝖽𝖺𝗌 𝖽𝖾 𝖳𝗁𝖾 𝖡𝖾𝗌𝗍 𝖣𝖺𝗆𝗇 𝖳𝗁𝗂𝗇𝗀. 𝖤𝗆 𝟤𝟢𝟢𝟫, 𝖺 𝖽𝗎𝗉𝗅𝖺 𝗃𝖺𝗉𝗈𝗇𝖾𝗌𝖺 𝖯𝗎𝖿𝖿𝗒 𝖠𝗆𝗂𝖸𝗎𝗆𝗂 𝖺𝗌 𝖼𝖺𝗇𝖼̧𝗈̃𝖾𝗌 "𝖠𝗅𝗅 𝖡𝖾𝖼𝖺𝗎𝗌𝖾 𝗈𝖿 𝖸𝗈𝗎" 𝖾 "𝖨 𝖣𝗈𝗇'𝗍 𝖶𝖺𝗇𝗇𝖺". 𝖤𝗆 𝟤𝟢𝟣𝟢, 𝖺 𝗇𝗈𝗋𝗍𝖾-𝖺𝗆𝖾𝗋𝗂𝖼𝖺𝗇𝖺 𝖬𝗂𝗋𝖺𝗇𝖽𝖺 𝖢𝗈𝗌𝗀𝗋𝗈𝗏𝖾 𝗀𝗋𝖺𝗏𝗈𝗎 "𝖣𝖺𝗒𝖽𝗋𝖾𝖺𝗆" 𝖾 "𝖣𝖺𝗇𝖼𝗂𝗇𝗀 𝖢𝗋𝖺𝗓𝗒", 𝗉𝗈𝗌𝗌𝗂́𝗏𝖾𝗂𝗌 𝗌𝗈𝖻𝗋𝖺𝗌 𝖽𝖾 𝖴𝗇𝖽𝖾𝗋 𝖬𝗒 𝖲𝗄𝗂𝗇 𝖾 𝖦𝗈𝗈𝖽𝖻𝗒𝖾 𝖫𝗎𝗅𝗅𝖺𝖻𝗒 𝗋𝖾𝗌𝗉𝖾𝖼𝗍𝗂𝗏𝖺𝗆𝖾𝗇𝗍𝖾.