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𝖤𝗌𝖼𝗋𝖾𝗏𝖾𝗎 𝖱𝗈𝗀𝖾𝗋 𝖢𝖺𝗅𝗅𝗈𝗂𝗌 𝖾𝗆 𝖡𝖺𝖻𝖾𝗅, 𝗇𝗈 𝗌𝖾𝗎 𝗊𝗎𝖺𝗋𝗍𝗈 𝖼𝖺𝗉ı́𝗍𝗎𝗅𝗈, “𝖠 𝖫𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺 𝖾𝗌𝗍𝖺́ 𝖺 𝗆𝗈𝗋𝗋𝖾𝗋", 𝗊𝗎𝖾 "𝖺𝗉𝖾𝗇𝖺𝗌 𝗈 𝖾𝗌𝖼𝗋𝗂𝗍𝗈𝗋 𝖾́ 𝖼𝖺𝗉𝖺𝗓 𝖽𝖾 𝗌𝖾𝗇𝗍𝗂𝗋 𝗏𝖾𝗋𝗀𝗈𝗇𝗁𝖺 𝖽𝖺 𝗅𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺", 𝖺𝗂𝗇𝖽𝖺 𝗊𝗎𝖾 𝗊𝗎𝖺𝗅𝗊𝗎𝖾𝗋 𝗎𝗆 𝗉𝗈𝗌𝗌𝖺 𝖽𝖾𝗌𝖼𝗈𝗇𝖿𝗂𝖺𝗋 "𝖽𝖾 𝗎𝗆 𝗍𝗂𝗉𝗈 𝖽𝖾 𝖽𝗂𝗌𝖼𝗎𝗋𝗌𝗈 𝖾𝗆 𝗊𝗎𝖾 𝗇𝖺𝖽𝖺 𝗂𝗆𝗉𝖾𝖽𝖾 𝗊𝗎𝖾 𝖺𝗌 𝗉𝖺𝗅𝖺𝗏𝗋𝖺𝗌 𝗌𝖾𝗃𝖺𝗆 𝗎𝗌𝖺𝖽𝖺𝗌 𝖽𝖾 𝗆𝗈𝖽𝗈 𝗅𝖾𝗏𝗂𝖺𝗇𝗈." (𝟣𝟫𝟫𝟨:𝟣𝟥𝟨). 𝖢𝗂𝗍𝗈 𝗈 𝖾𝗇𝗌𝖺ı́𝗌𝗍𝖺 𝖿𝗋𝖺𝗇𝖼𝖾̂𝗌 𝗉𝗈𝗋𝗊𝗎𝖾 𝖾𝗇𝗍𝗋𝖾 𝗈 "𝗁𝗈𝗆𝖾𝗆 𝖽𝖾 𝗅𝖾𝗍𝗋𝖺𝗌" 𝖾 𝗈 "𝗁𝗈𝗆𝖾𝗆 𝖽𝖾 𝗉𝖺𝗅𝖺𝗏𝗋𝖺𝗌" 𝗁𝖺́ 𝗎𝗆𝖺 𝖾𝗌𝗉𝖾́𝖼𝗂𝖾 𝖽𝖾 "𝗍𝖾𝗋𝗋𝖺 𝖽𝖾 𝗇𝗂𝗇𝗀𝗎𝖾́𝗆" 𝖾𝗆 𝗊𝗎𝖾 𝗆𝗎𝗂𝗍𝖺𝗌 𝗏𝖾𝗓𝖾𝗌 𝗌𝖾 𝗃𝗈𝗀𝖺𝗆 𝗇𝗈𝗏𝖺𝗌 𝗆𝖺𝗇𝖾𝗂𝗋𝖺𝗌 𝖽𝖾 𝗆𝗂𝗇𝗂𝗆𝗂𝗓𝖺𝖼̧𝖺̃𝗈 𝖽𝗈 𝗊𝗎𝖾, 𝗏𝗂𝗇𝖽𝗈 𝖽𝖾 𝖿𝗈𝗋𝖺 𝖽𝖺 "𝖫𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺" (𝖺𝗊𝗎𝗂 𝖼𝗈𝗆 𝗆𝖺𝗂𝗎́𝗌𝖼𝗎𝗅𝖺), 𝗇𝖺̃𝗈 𝗌𝖾 𝗋𝖾𝖼𝗈𝗇𝗁𝖾𝖼𝖾 𝖺𝗂𝗇𝖽𝖺 𝖼𝗈𝗆𝗈 𝗍𝖺𝗅.

𝖧𝗈𝗆𝖾𝗇𝗌 𝖽𝖾 𝗅𝖾𝗍𝗋𝖺𝗌 𝖾 𝗁𝗈𝗆𝖾𝗇𝗌 𝖽𝖾 𝗉𝖺𝗅𝖺𝗏𝗋𝖺𝗌: 𝖾𝗌𝗌𝖾 𝖼𝗈𝗇𝗍𝗂𝗇𝗎𝖺 𝖺 𝗌𝖾𝗋 𝗎𝗆 𝗉𝗋𝗈𝖻𝗅𝖾𝗆𝖺 𝗂𝗋𝗋𝖾𝗌𝗈𝗅𝗏𝗂𝖽𝗈 𝗊𝗎𝖺𝗇𝖽𝗈, 𝖾𝗇𝗍𝗋𝖾 𝗇𝗈́𝗌, 𝗉𝗈𝗋𝗍𝗎𝗀𝗎𝖾𝗌𝖾𝗌 𝗊𝗎𝖾 𝗌𝗈𝗆𝗈𝗌, 𝗉𝖾𝗌𝖺𝗆 𝗉𝗋𝖾𝖼𝗈𝗇𝖼𝖾𝗂𝗍𝗈𝗌 𝗏𝖺́𝗋𝗂𝗈𝗌 𝗋𝖾𝗅𝖺𝗍𝗂𝗏𝖺𝗆𝖾𝗇𝗍𝖾 𝖺𝗈 𝗊𝗎𝖾 𝖿𝖺𝗓𝖾𝗆, 𝖽𝗂𝗓𝖾𝗆, 𝗉𝗎𝖻𝗅𝗂𝖼𝖺𝗆 𝖾 𝗉𝖾𝗇𝗌𝖺𝗆, 𝗇𝖾𝗌𝗍𝖺 𝗉𝖾𝗊𝗎𝖾𝗇𝖺 𝖼𝗈𝗇𝖿𝗋𝖺𝗋𝗂𝖺 𝖽𝖾 𝗉𝖾𝗊𝗎𝖾𝗇𝗈𝗌 𝗉𝗈𝖽𝖾𝗋𝖾𝗌 𝖾 𝖽𝖾 𝗀𝗋𝖺𝗇𝖽𝖾𝗌 𝗋𝖾𝗌𝗌𝖾𝗇𝗍𝗂𝗆𝖾𝗇𝗍𝗈𝗌, 𝗉𝗈𝖾𝗍𝖺𝗌 𝖾𝗇𝗌𝖺ı́𝗌𝗍𝖺𝗌, 𝖿𝗂𝖼𝖼𝗂𝗈𝗇𝗂𝗌𝗍𝖺𝗌, 𝖽𝗋𝖺𝗆𝖺𝗍𝗎𝗋𝗀𝗈𝗌, 𝗉𝗋𝗈𝖿𝖾𝗌𝗌𝗈𝗋𝖾𝗌…

𝖮 𝗎𝗌𝗈 𝖽𝖺 𝗉𝖺𝗅𝖺𝗏𝗋𝖺 𝗏𝗂𝗏𝖾 𝗁𝗈𝗃𝖾, 𝖽𝖾 𝗋𝖾𝗌𝗍𝗈, 𝗉𝗋𝖾𝖼𝗂𝗌𝖺𝗆𝖾𝗇𝗍𝖾 𝖽𝖾𝗇𝗍𝗋𝗈 𝖽𝖺𝗊𝗎𝗂𝗅𝗈 𝗊𝗎𝖾 𝖾́ 𝖺 𝗇𝗈𝗌𝗌𝖺 𝖼𝗈𝗆𝗎𝗇𝗂𝖽𝖺𝖽𝖾 𝗂𝗇𝗍𝖾𝗋-𝗅𝗂𝗍𝖾𝗋𝖺́𝗋𝗂𝖺, 𝗎𝗆 𝗍𝖾𝗆𝗉𝗈 𝗈𝖻𝗌𝖼𝗎𝗋𝗈. 𝖧𝖺́ 𝗆𝗎𝗂𝗍𝗈 𝗉𝗋𝖾𝖼𝗈𝗇𝖼𝖾𝗂𝗍𝗈, 𝗁𝖺́ 𝗆𝗎𝗂𝗍𝖺 𝗂𝗇𝖼𝗈𝗆𝗉𝗋𝖾𝖾𝗇𝗌𝖺̃𝗈. 𝖧𝖺́ 𝗎𝗆 𝗆𝗈𝖽𝗈 𝗇𝗈𝗏𝗈 𝖽𝖾 𝖾𝗑𝖾𝗋𝖼𝖾𝗋 𝗂𝗌𝗌𝗈 𝖺 𝗊𝗎𝖾 𝖼𝗁𝖺𝗆𝖺𝗋𝖾𝗂 "𝖿𝖺𝗌𝖼𝗂𝗌𝗆𝗈 𝖼𝗎𝗅𝗍𝗎𝗋𝖺𝗅": 𝖼𝖺𝗇𝖼𝖾𝗅𝖺𝗆𝖾𝗇𝗍𝗈, 𝖾𝗌𝗊𝗎𝖾𝖼𝗂𝗆𝖾𝗇𝗍𝗈, 𝖺𝗉𝖺𝗀𝖺𝗆𝖾𝗇𝗍𝗈, 𝗍𝗎𝖽𝗈 𝗉𝗈𝖽𝖾 𝗌𝗈𝖿𝗋𝖾𝗋 𝖾𝗌𝗌𝖾 𝗁𝗈𝗆𝖾𝗆 𝖽𝖾 𝗉𝖺𝗅𝖺𝗏𝗋𝖺𝗌 𝗊𝗎𝖾 𝗇𝖺̃𝗈 𝖾́ 𝖻𝖾𝗇𝗊𝗎𝗂𝗌𝗍𝗈 𝗉𝖾𝗅𝗈 𝗁𝗈𝗆𝖾𝗆 𝖽𝖾 𝗅𝖾𝗍𝗋𝖺𝗌.

𝖤𝗌𝗉𝖾𝗋𝖺𝗏𝖺-𝗌𝖾 (𝖾𝗌𝗉𝖾𝗋𝖺-𝗌𝖾 𝖺𝗂𝗇𝖽𝖺?) 𝖺𝗅𝗀𝗎𝗆𝖺 𝖼𝖺𝗉𝖺𝖼𝗂𝖽𝖺𝖽𝖾 𝖽𝖾 𝖽𝗂𝗌𝗍𝗂𝗇𝖼̧𝖺̃𝗈 𝖾𝗇𝗍𝗋𝖾 𝗈 𝗊𝗎𝖾 𝖾́ 𝖺𝗋𝗍𝖾 𝗏𝖾𝗋𝖻𝖺𝗅, 𝗁𝖾𝗍𝖾𝗋𝗈𝖽𝗈𝗑𝖺 𝖿𝗈𝗋𝗆𝖺 𝖽𝖾 𝗉𝖾𝗇𝗌𝖺𝗋 𝗎𝗆 𝗉𝗈𝖾𝗆𝖺 𝗈𝗎 𝗎𝗆 𝗋𝗈𝗆𝖺𝗇𝖼𝖾, 𝗎𝗆 𝖾𝗇𝗌𝖺𝗂𝗈 𝗈𝗎 𝗎𝗆𝖺 𝗉𝖾𝖼̧𝖺 𝖽𝖾 𝗍𝖾𝖺𝗍𝗋𝗈, 𝖾 𝗈 𝗊𝗎𝖾, 𝖾𝗆 𝗇𝗈𝗆𝖾 𝖽𝖾 𝗎𝗆𝖺 𝗈𝗋𝗂𝗀𝗂𝗇𝖺𝗅𝗂𝖽𝖺𝖽𝖾 𝗍𝗂𝗋𝖺𝖽𝖺 𝖺 𝖿𝖾𝗋𝗋𝗈𝗌, 𝖾́ 𝗍𝖺̃𝗈-𝗌𝗈́ 𝗎𝗆𝖺 𝗅𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺 𝖺𝗋𝗍𝗂𝖿𝗂𝖼𝗂𝖺𝗅. 𝖤𝗇𝗍𝖾𝗇𝖽𝖺-𝗌𝖾: 𝗉𝖺𝗋𝖺 𝗁𝖺𝗏𝖾𝗋 𝗅𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺 𝗇𝖺̃𝗈 𝗍𝖾𝗆 𝖽𝖾 𝗎𝗆 𝗍𝖾𝗑𝗍𝗈 𝗌𝖾𝗋 𝗈 𝗈𝖻𝗃𝖾𝖼𝗍𝗈 𝗂𝗅𝖾𝗀ı́𝗏𝖾𝗅, 𝗉𝗈𝗋 𝖽𝖾𝗆𝖺𝗂𝗌 𝖺𝗋𝗍𝗂𝖿𝗂𝖼𝗂𝗈𝗌𝗈 𝗈𝗎 𝖿𝖺𝗅𝗌𝖺𝗆𝖾𝗇𝗍𝖾 𝗌𝗂𝗇𝗀𝗎𝗅𝖺𝗋. 𝖠 𝗅𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺 𝗇𝖺̃𝗈 𝖾𝗑𝗂𝗌𝗍𝖾 𝗇𝖾𝖼𝖾𝗌𝗌𝖺𝗋𝗂𝖺𝗆𝖾𝗇𝗍𝖾 𝗇𝗈 𝗊𝗎𝖾 𝖾́ 𝖺 𝗂𝗇𝗏𝗎𝗅𝗀𝖺𝗋𝗂𝖽𝖺𝖽𝖾 𝖽𝖾 𝗎𝗆𝖺 𝗆𝖺𝗇𝖼𝗁𝖺 𝗀𝗋𝖺́𝖿𝗂𝖼𝖺. 𝖭𝖺̃𝗈 𝖾𝗌𝗍𝖺́ 𝖽𝖾𝖼𝖾𝗋𝗍𝗈 𝗇𝗈𝗌 𝗂𝗆𝗉𝗋𝗈𝗉𝖾́𝗋𝗂𝗈𝗌 𝗊𝗎𝖾 𝗎𝗆 𝖾𝗎 𝗍𝖾𝗑𝗍𝗎𝖺𝗅 𝖾𝗅𝖾𝗇𝖼𝖺; 𝗇𝖺̃𝗈 𝖽𝖾𝗉𝖾𝗇𝖽𝖾 𝖽𝖺 𝗉𝗈𝗌𝖾 𝗉𝗋𝗈𝗏𝗈𝖼𝖺𝗍𝗈́𝗋𝗂𝖺 𝖽𝖺𝗊𝗎𝖾𝗅𝖾 𝗊𝗎𝖾 𝗌𝖾 𝗊𝗎𝖾𝗋 "𝖺𝗎𝗍𝗈𝗋".

𝖠 𝗅𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺 (𝗉𝖾𝗇𝗌𝗈 𝗇𝖺 𝗉𝗈𝖾𝗌𝗂𝖺, 𝗌𝗈𝖻𝗋𝖾𝗍𝗎𝖽𝗈), 𝗇𝖺̃𝗈 𝖾𝗌𝗍𝖺́ 𝗃𝖺𝗆𝖺𝗂𝗌 𝗇𝖺 𝖿𝗈𝗋𝗆𝖺 𝖼𝗈𝗆𝗈 𝖺𝗅𝗀𝗎𝖾́𝗆 𝗍𝗋𝖺𝗇𝗌𝖿𝗈𝗋𝗆𝖺 𝖺 𝗉𝗈𝖾𝗌𝗂𝖺 𝖾𝗆 𝗉𝗈𝖾𝗆𝖺-𝗉𝗂𝖺𝖽𝖺, 𝗁𝗈𝗃𝖾 𝗍𝖺̃𝗈 𝖾𝗆 𝗏𝗈𝗀𝖺 𝖾𝗇𝗍𝗋𝖾 𝖼𝖾𝗋𝗍𝖺𝗌 𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗀𝖾𝗇𝗌 𝗊𝗎𝖾 𝖾𝗌𝗍𝖺̃𝗈 𝖺 𝗆𝗂𝗅𝗁𝖺𝗌 𝖽𝖺 𝗉𝗈𝖾𝗌𝗂𝖺 𝖾 𝖽𝖺 𝗅𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺 𝗊𝗎𝖺𝗇𝖽𝗈 𝗍𝗎𝖽𝗈 𝗋𝖾𝖽𝗎𝗓𝖾𝗆 𝖺𝗈 𝖾𝖿𝖾𝗂𝗍𝗈 𝖿𝖺́𝖼𝗂𝗅 𝖽𝖾 𝖾𝗌𝖼𝗋𝖾𝗏𝖾𝗋𝖾𝗆 𝗎𝗆𝖺𝗌 𝖿𝗋𝖺𝗌𝖾𝗌 𝗊𝗎𝖾 𝖿𝗂𝗇𝗀𝖾𝗆 𝗌𝖾𝗋 𝖼𝗈𝗂𝗌𝖺 𝖽𝖾𝗌𝗉𝗋𝖾𝗍𝖾𝗇𝗌𝗂𝗈𝗌𝖺, 𝗊𝗎𝖺𝗇𝖽𝗈, 𝗉𝖾𝗅𝖺 𝖾𝗌𝗍𝗋𝖺𝗍𝖾́𝗀𝗂𝖺 𝖽𝖺 𝖽𝖾𝗋𝗋𝗂𝗌𝖺̃𝗈, 𝖺𝗉𝖾𝗇𝖺𝗌 𝖼𝗈𝗇𝖿𝗂𝗋𝗆𝖺𝗆 𝗊𝗎𝖾 𝗇𝗎𝗇𝖼𝖺 𝖾𝗇𝗍𝖾𝗇𝖽𝖾𝗋𝖺𝗆 𝖻𝖾𝗆 𝗊𝗎𝖺𝗇𝗍𝗈 𝖺 𝗅𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺, 𝗆𝖾𝗌𝗆𝗈 𝗊𝗎𝖺𝗇𝖽𝗈 𝖺𝗎𝗍𝗈-𝗂𝗋𝗈́𝗇𝗂𝖼𝖺, 𝗇𝖺̃𝗈 𝖽𝖾𝗂𝗑𝖺 𝖽𝖾 𝗍𝖾𝗋, 𝖽𝖾 𝗌𝖾𝗋, 𝖾𝗌𝗌𝖾 𝖽𝗂𝖺́𝗅𝗈𝗀𝗈 𝗉𝗋𝗈𝖿𝗎𝗇𝖽𝗈 𝖾𝗇𝗍𝗋𝖾 𝖺 𝗏𝗂𝖽𝖺 𝖾 𝖺 𝗅𝗂𝗇𝗀𝗎𝖺𝗀𝖾𝗆, 𝖼𝗎𝗌𝗍𝖺𝗇𝖽𝗈 𝗂𝗌𝗌𝗈 𝗆𝗎𝗂𝗍𝗈 𝖼𝖺𝗋𝗈, 𝖼𝗈𝗆𝗈 𝗅𝖾𝗆𝖻𝗋𝖺 𝖠𝗅𝖾𝗑𝖺𝗇𝖽𝗋𝖾 𝖮’𝖭𝖾𝗂𝗅𝗅. 𝖤𝗌𝗌𝖾 𝗍𝗂𝗉𝗈 𝖽𝖾 𝗈𝖻𝗋𝖺 𝗊𝗎𝖾, 𝗉𝖾𝗅𝗈 𝖾𝖿𝖾𝗂𝗍𝗈 𝖿𝖺́𝖼𝗂𝗅 𝖽𝗈 𝗇𝖺̃𝗈 𝗊𝗎𝖾𝗋𝖾𝗋 𝗌𝖾𝗋 𝗅𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺 𝗆𝗎𝗂𝗍𝖺𝗌 𝗏𝖾𝗓𝖾𝗌 𝗀𝗋𝖺𝗇𝗃𝖾𝗂𝖺 𝖾𝗇𝗍𝗋𝖾 𝗈𝗌 𝗉𝖺𝗋𝖾𝗌 𝖺𝗊𝗎𝖾𝗅𝖺 𝖺𝗎𝗋𝖺 𝖽𝖾 "𝖿𝖺𝗌𝖼ı́𝗇𝗂𝗈" 𝗊𝗎𝖾, 𝗇𝗈 𝖿𝗎𝗇𝖽𝗈, 𝖾́ 𝖾𝗆 𝗌𝗂 𝗎𝗆 𝗌𝗂𝗇𝗍𝗈𝗆𝖺, 𝖽𝖺 𝗉𝖺𝗋𝗍𝖾 𝖽𝗈𝗌 𝗊𝗎𝖾 𝗍𝖺𝗅 𝖺𝖽𝗆𝗂𝗋𝖺𝗆, 𝖽𝖾 𝗆𝗂𝗈𝗉𝗂𝖺 𝗅𝗂𝗍𝖾𝗋𝖺́𝗋𝗂𝖺, 𝗂𝗌𝗌𝗈 𝖾𝗌𝗍𝖺́ 𝗇𝗈𝗌 𝖺𝗇𝗍ı́𝗉𝗈𝖽𝖺𝗌 𝖽𝗈 𝗊𝗎𝖾 𝖣𝖺𝗇𝗂𝖾𝗅 𝖲𝖺𝗆𝗉𝖺𝗂𝗈 𝗉𝖾𝗋𝗌𝖾𝗀𝗎𝖾.

𝖯𝖺𝗋𝖺 𝖽𝗂𝗓𝖾𝗋 𝗍𝗎𝖽𝗈: 𝗎𝗆 𝗅𝗂𝗏𝗋𝗈 𝖼𝗈𝗆𝗈 𝖾𝗌𝗍𝖾 𝖽𝖾 𝖣𝖺𝗇𝗂𝖾𝗅 𝖲𝖺𝗆𝗉𝖺𝗂𝗈 – 𝖴𝗆 𝖠𝗆𝗈𝗋 𝖰𝗎𝖾 𝖭𝖺̃𝗈 𝖲𝖾 𝖣𝗂𝗓 (𝖢𝖺𝗆𝗂𝗇𝗁𝗈, 𝟤𝟢𝟤𝟨) – 𝖾́ 𝗎𝗆 𝗅𝗂𝗏𝗋𝗈 𝗆𝗎𝗂𝗍𝗈 𝖻𝖾𝗆 𝖾𝗌𝖼𝗋𝗂𝗍𝗈, 𝗇𝗎𝗆 𝖾𝗌𝗍𝗂𝗅𝗈 𝗉𝗋𝗈́𝗉𝗋𝗂𝗈 𝖺𝗈 𝖺𝗎𝗍𝗈𝗋: 𝖼𝖺𝗎𝗍𝗈, 𝖼𝗈𝗆 𝖿𝗋𝖺𝗌𝖾𝗌 𝖻𝖾𝗆 𝖼𝖺𝗅𝗂𝖻𝗋𝖺𝖽𝖺𝗌, 𝖺𝖻𝗌𝗈𝗅𝗎𝗍𝖺𝗆𝖾𝗇𝗍𝖾 𝖾𝗇𝗀𝖾𝗇𝗁𝗈𝗌𝗈 𝗇𝗈 𝗆𝗈𝖽𝗈 𝖼𝗈𝗆𝗈 𝗉𝗈𝗅𝗂𝖿𝗈𝗇𝗂𝖼𝖺𝗆𝖾𝗇𝗍𝖾 𝖽𝖺́ 𝗏𝗈𝗓 𝖺 𝗍𝗋𝖾̂𝗌 𝖽𝗂𝗌𝖼𝗎𝗋𝗌𝗈𝗌 𝗉𝖺𝗋𝖺𝗅𝖾𝗅𝗈𝗌, 𝗍𝗈𝖽𝗈𝗌 𝗆𝖺𝗌𝖼𝗎𝗅𝗂𝗇𝗈𝗌, 𝗋𝖾𝗏𝖾𝗅𝖺𝗇𝖽𝗈 𝗈𝗌 𝖻𝖺𝗌𝗍𝗂𝖽𝗈𝗋𝖾𝗌 𝖽𝖾 𝖽𝗋𝖺𝗆𝖺𝗌 𝗁𝗎𝗆𝖺𝗇𝗈𝗌, 𝗊𝗎𝖾 𝗌𝗈́ 𝗊𝗎𝖾𝗆 𝗁𝖺́ 𝖽𝖾́𝖼𝖺𝖽𝖺𝗌 𝗈𝗎𝗏𝖾 𝖾𝗌𝗌𝖾𝗌 𝖽𝗋𝖺𝗆𝖺𝗌 𝗉𝗈𝖽𝖾 𝗍𝗋𝖺𝗇𝗌𝗆𝗎𝗍𝖺𝗋 𝖾𝗆 𝗋𝗈𝗆𝖺𝗇𝖼𝖾-𝖾𝗇𝗌𝖺𝗂𝗈. 𝖤, 𝗌𝖾 𝖾́ 𝖺𝗌𝗌𝗂𝗆, 𝗇𝖺̃𝗈 𝗁𝖺́ 𝗇𝖾𝖼𝖾𝗌𝗌𝗂𝖽𝖺𝖽𝖾 𝖽𝖾 𝖽𝖾𝗋𝗋𝗂𝗌𝖺̃𝗈 𝖾 𝖽𝖾 𝖾𝖿𝖾𝗂𝗍𝗈 𝖿𝖺́𝖼𝗂𝗅: 𝖣𝖺𝗇𝗂𝖾𝗅 𝖲𝖺𝗆𝗉𝖺𝗂𝗈 𝗌𝖾𝗆𝗉𝗋𝖾 𝖿𝗈𝗂 𝖿𝗂𝖾𝗅 (𝗏𝖾𝗃𝖺𝗆-𝗌𝖾 𝗈𝗌 𝗍ı́𝗍𝗎𝗅𝗈𝗌 𝖽𝖾 𝖺𝗅𝗀𝗎𝗇𝗌 𝖽𝗈𝗌 𝗌𝖾𝗎𝗌 𝗅𝗂𝗏𝗋𝗈𝗌, 𝗂𝗇𝖽𝗂𝖼𝖺𝖽𝗈𝗋𝖾𝗌 𝖽𝖾 𝗎𝗆𝖺 𝗌𝖾𝗇𝗌𝗂𝖻𝗂𝗅𝗂𝖽𝖺𝖽𝖾 𝗉𝖺𝗋𝖺 𝖺𝗌 𝗉𝖺𝗅𝖺𝗏𝗋𝖺𝗌 𝗊𝗎𝖾 𝗇𝖺̃𝗈 𝖾́ 𝖼𝗈𝗆𝗎𝗆) 𝖺 𝗎𝗆𝖺 𝗏𝗈𝗇𝗍𝖺𝖽𝖾 𝖽𝖾 𝗅𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺, 𝗉𝗋𝖾𝖼𝗂𝗌𝖺𝗆𝖾𝗇𝗍𝖾 𝗉𝗈𝗋𝗊𝗎𝖾 – 𝖼𝗈𝗆𝗈 𝗁𝗈𝗆𝖾𝗆 𝖽𝖾 𝗉𝖺𝗅𝖺𝗏𝗋𝖺𝗌 𝖾 𝗇𝖺̃𝗈 𝗁𝗈𝗆𝖾𝗆 𝖽𝖾 𝗅𝖾𝗍𝗋𝖺𝗌 – 𝗈 𝗊𝗎𝖾 𝗅𝗁𝖾 𝗂𝗆𝗉𝗈𝗋𝗍𝖺 𝖾́ 𝗌𝗈𝗇𝖽𝖺𝗋 𝗈 𝗁𝗎𝗆𝖺𝗇𝗈 𝖾 𝗍𝗋𝖺𝗇𝗌𝖿𝖾𝗋𝗂𝗋 𝗈 𝗉𝗋𝗈𝖻𝗅𝖾𝗆𝖺-𝖧𝗈𝗆𝖾𝗆 𝗉𝖺𝗋𝖺 𝗎𝗆 𝗎𝗇𝗂𝗏𝖾𝗋𝗌𝗈 𝗈𝗇𝖽𝖾, 𝖺𝗈 𝗊𝗎𝖾 𝖾́ 𝗉𝗋𝗈́𝗉𝗋𝗂𝗈 𝖽𝗈 𝖾𝗇𝗌𝖺𝗂𝗈, 𝗈 𝖼𝗈𝗇𝗍𝖺𝗋 𝖾𝗑𝗂𝗀𝖾 𝗎𝗆 𝗌𝖺𝖻𝖾𝗋 𝗇𝖺𝗋𝗋𝖺𝗍𝗂𝗏𝗈, 𝗎𝗆𝖺 𝖿𝗂𝗇𝖺 𝖺𝗋𝗍𝖾 𝖽𝖾 𝗆𝗈𝗇𝗍𝖺𝗀𝖾𝗆 𝖿ı́𝗅𝗆𝗂𝖼𝖺, 𝗈𝗎 𝗋𝗈𝗆𝖺𝗇𝖾𝗌𝖼𝖺.

𝖴𝗆 𝖠𝗆𝗈𝗋 𝖰𝗎𝖾 𝖭𝖺̃𝗈 𝖲𝖾 𝖣𝗂𝗓 𝖾́ 𝗌𝗈𝖻𝗋𝖾 𝖺𝗌 𝗏𝗂𝖽𝖺𝗌 𝗉𝖺𝗋𝖺𝗅𝖾𝗅𝖺𝗌 𝖽𝖾 𝖽𝗈𝗂𝗌 𝗁𝗈𝗆𝗈𝗌𝗌𝖾𝗑𝗎𝖺𝗂𝗌, 𝖫𝗎ı́𝗌 𝖾 𝖦𝗎𝗂𝗅𝗁𝖾𝗋𝗆𝖾. 𝖮 𝗍𝖾𝗆𝖺, 𝗊𝗎𝖾 𝖾𝗑𝗍𝗋𝖺𝗏𝖺𝗌𝖺 𝗊𝗎𝖺𝗅𝗊𝗎𝖾𝗋 𝖾𝗌𝗉𝖾́𝖼𝗂𝖾 𝖽𝖾 𝗇𝗂𝖼𝗁𝗈 𝖼𝗂𝖾𝗇𝗍ı́𝖿𝗂𝖼𝗈 (𝗅𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺 𝗀𝖺𝗒, 𝗅𝗂𝗍𝖾𝗋𝖺𝗍𝗎𝗋𝖺 𝖽𝗂𝗌𝗍𝗈 𝗈𝗎 𝖽𝖺𝗊𝗎𝗂𝗅𝗈), 𝖾́ 𝗎𝗆 𝗍𝖾𝗆𝖺 𝗁𝗎𝗆𝖺𝗇𝗈. 𝖲𝖾𝗀𝗎𝗂𝗆𝗈𝗌 𝖺𝗌 𝗋𝗈𝗍𝖺𝗌 𝖽𝖾 𝖽𝗈𝗂𝗌 𝗁𝗈𝗆𝖾𝗇𝗌 𝗊𝗎𝖾 𝗌𝖺̃𝗈 𝖺𝗅𝖾𝗀𝗈𝗋𝗂𝖺 𝖽𝖾 𝗎𝗆 𝗉𝖺ı́𝗌: 𝗈 𝖯𝗈𝗋𝗍𝗎𝗀𝖺𝗅 𝗊𝗎𝖾 𝗏𝖾𝗆 𝖽𝗈 𝗉𝖺́𝗍𝗂𝗈 𝖾 𝖽𝗈 𝖺𝗆𝖻𝗂𝖾𝗇𝗍𝖾 𝖾𝗌𝖼𝗈𝗅𝖺𝗋 𝖽𝖺 𝖤𝗌𝖼𝗈𝗅𝖺 𝖯𝖾𝖽𝗋𝗈 𝖭𝗎𝗇𝖾𝗌, 𝗉𝖺𝗌𝗌𝖺 𝗉𝖾𝗅𝗈𝗌 𝖺𝗇𝗈𝗌 𝟪𝟢 𝖾 𝗈 𝗎𝗇𝗂𝗏𝖾𝗋𝗌𝗈 𝖽𝖺 𝖽𝗈𝖼𝖾̂𝗇𝖼𝗂𝖺 (𝖫𝗎ı́𝗌 𝖾́ 𝗉𝗋𝗈𝖿𝖾𝗌𝗌𝗈𝗋 𝖽𝖾 𝖯𝗈𝗋𝗍𝗎𝗀𝗎𝖾̂𝗌) 𝖾 𝗌𝖾 𝗋𝖾𝗌𝗈𝗅𝗏𝖾 𝗁𝗎𝗆𝖺𝗇𝖺𝗆𝖾𝗇𝗍𝖾 𝗊𝗎𝖺𝗇𝖽𝗈 𝗈𝗌 𝖽𝗈𝗂𝗌 𝗉𝗋𝗈𝗍𝖺𝗀𝗈𝗇𝗂𝗌𝗍𝖺𝗌 𝖺𝗌𝗌𝗎𝗆𝖾𝗆 𝗏𝗂𝗏𝖾𝗋 𝗃𝗎𝗇𝗍𝗈𝗌.

𝖦𝗎𝗂𝗅𝗁𝖾𝗋𝗆𝖾, 𝖺 𝗊𝗎𝖾𝗆 𝗌𝖾 𝖽𝖺́ 𝖺 𝗏𝗈𝗓 𝗇𝗈 𝖼𝖺𝗉ı́𝗍𝗎𝗅𝗈 𝖿𝗂𝗇𝖺𝗅, 𝗌𝖾𝗇𝗍𝗂𝗎-𝗌𝖾 𝗌𝖾𝗆𝗉𝗋𝖾 𝗀𝖺𝗒, 𝗆𝖺𝗌 𝖾𝗌𝗍𝖾𝗏𝖾 𝟥𝟢 𝖺𝗇𝗈𝗌 𝗌𝖾𝗆 𝗍𝖾𝗋 𝗋𝖾𝗅𝖺𝖼̧𝖺̃𝗈 𝖺𝗅𝗀𝗎𝗆𝖺. 𝖫𝗎ı́𝗌 𝖾́ 𝟣𝟢 𝖺𝗇𝗈𝗌 𝗆𝖺𝗂𝗌 𝗇𝗈𝗏𝗈 𝗊𝗎𝖾 𝖦𝗎𝗂𝗅𝗁𝖾𝗋𝗆𝖾. 𝖫𝗎ı́𝗌, 𝖾𝗌𝗌𝖾 𝖼𝗈𝗆𝗉𝗅𝖾𝗑𝗈 𝖾 𝗍𝖺̃𝗈 𝗇𝖺𝗍𝗎𝗋𝖺𝗅 𝗌𝖾𝗋-𝗁𝗎𝗆𝖺𝗇𝗈 𝗊𝗎𝖾 𝖺𝗆𝖺 𝗍𝖺𝗆𝖻𝖾́𝗆 𝖢𝖺𝗍𝖺𝗋𝗂𝗇𝖺. 𝖮 𝗍𝖾𝗆𝗉𝗈 𝖾𝗇𝗍𝗋𝖾 𝖫𝗎ı́𝗌 𝖾 𝖦𝗎𝗂𝗅𝗁𝖾𝗋𝗆𝖾, 𝗊𝗎𝖾 𝗌𝖾 𝖼𝗈𝗇𝗁𝖾𝖼𝖾𝗆 𝗁𝖺́ 𝗉𝗈𝗎𝖼𝗈 𝗍𝖾𝗆𝗉𝗈, 𝗇𝖺̃𝗈 𝖾𝗑𝗂𝗌𝗍𝖾 𝖾 𝖾́ 𝗉𝗋𝖾𝖼𝗂𝗌𝖺𝗆𝖾𝗇𝗍𝖾 𝖾𝗌𝗌𝖺 𝗊𝗎𝖾𝗌𝗍𝖺̃𝗈 𝖽𝗈 𝗍𝖾𝗆𝗉𝗈 𝗎𝗆 𝖽𝗈𝗌 𝖺𝗌𝗉𝖾𝖼𝗍𝗈𝗌 𝗆𝖺𝗂𝗌 𝖼𝗈𝗇𝗌𝖾𝗀𝗎𝗂𝖽𝗈𝗌 𝖽𝖾𝗌𝗍𝖾 𝗅𝗂𝗏𝗋𝗈: 𝗇𝖺 𝗆𝖾𝖽𝗂𝖽𝖺 𝖾𝗆 𝗊𝗎𝖾 𝖺𝗌 𝗏𝗈𝗓𝖾𝗌 𝗌𝖾 𝗌𝗎𝖼𝖾𝖽𝖾𝗆, 𝗈 𝗅𝖾𝗂𝗍𝗈𝗋 𝗆𝖾𝗋𝗀𝗎𝗅𝗁𝖺 𝗇𝖺 𝗉𝗌𝗂𝖼𝗈𝗅𝗈𝗀𝗂𝖺 𝖽𝖾𝗌𝗍𝖺𝗌 𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗀𝖾𝗇𝗌 𝗊𝗎𝖾, 𝗇𝖺̃𝗈 𝗌𝖾𝗇𝖽𝗈 𝗇𝗂𝗇𝗀𝗎𝖾́𝗆 𝖾𝗆 𝗉𝖺𝗋𝗍𝗂𝖼𝗎𝗅𝖺𝗋, 𝖿𝗎𝗇𝖼𝗂𝗈𝗇𝖺𝗆 𝖼𝗈𝗆𝗈 𝖺𝗋𝗊𝗎𝖾́𝗍𝗂𝗉𝗈𝗌. 𝖤́ 𝗎𝗆𝖺 𝗁𝗂𝗉𝗈́𝗍𝖾𝗌𝖾. 𝖫𝗎ı́𝗌, 𝗉𝗈𝗋 𝖾𝗑𝖾𝗆𝗉𝗅𝗈, 𝗏𝗂𝗏𝖾 𝖺 𝖼𝗁𝖺𝗆𝖺𝖽𝖺 "𝖼𝗋𝗂𝗌𝖾 𝖽𝗈𝗌 𝟦𝟢" 𝖾 𝖺𝗌𝗌𝗎𝗆𝖾, 𝖺𝗉𝖾𝗌𝖺𝗋 𝖽𝖾 𝖼𝖺𝗌𝖺𝖽𝗈, 𝖺 𝗌𝗎𝖺 𝗁𝗈𝗆𝗈𝗌𝗌𝖾𝗑𝗎𝖺𝗅𝗂𝖽𝖺𝖽𝖾.

𝖣𝖺𝗇𝗂𝖾𝗅 𝖲𝖺𝗆𝗉𝖺𝗂𝗈 – 𝖺 𝗏𝗈𝗓 "𝖣𝖺𝗇𝗂𝖾𝗅" 𝗊𝗎𝖾 𝖾𝗇𝗍𝗋𝖾 𝖺𝗌 𝗉𝖺́𝗀𝗂𝗇𝖺𝗌 𝟪𝟣 𝖾 𝟫𝟧 𝗇𝗈𝗌 𝖾𝗌𝖼𝗅𝖺𝗋𝖾𝖼𝖾 𝗊𝗎𝖺𝗇𝗍𝗈 𝖺̀𝗌 𝗊𝗎𝖾𝗌𝗍𝗈̃𝖾𝗌 𝖽𝖺 𝗂𝖽𝖾𝗇𝗍𝗂𝖽𝖺𝖽𝖾 𝗌𝖾𝗑𝗎𝖺𝗅 𝖾 𝖽𝖺 𝗈𝗋𝗂𝖾𝗇𝗍𝖺𝖼̧𝖺̃𝗈 𝗌𝖾𝗑𝗎𝖺𝗅, 𝖼𝗈𝗅𝗈𝖼𝖺𝗇𝖽𝗈 𝗈 𝖾𝗇𝖿𝗈𝗊𝗎𝖾 𝗇𝗈 "𝗉𝗋𝗈𝖼𝖾𝗌𝗌𝗈 𝖾𝗏𝗈𝗅𝗎𝗍𝗂𝗏𝗈" 𝗊𝗎𝖾 𝗈𝖼𝗈𝗋𝗋𝖾 𝖺𝗈 𝗅𝗈𝗇𝗀𝗈 𝖽𝖺 𝗏𝗂𝖽𝖺, 𝖽𝖾𝗌𝖽𝖾 𝖺 "𝗌𝖺ı́𝖽𝖺 𝖽𝗈 𝖺𝗋𝗆𝖺́𝗋𝗂𝗈" 𝖺̀ 𝖺𝖿𝗂𝗋𝗆𝖺𝖼̧𝖺̃𝗈 𝗉𝗅𝖾𝗇𝖺 𝖽𝖺 𝗌𝖾𝗑𝗎𝖺𝗅𝗂𝖽𝖺𝖽𝖾 𝗁𝗈𝗆𝗈 – 𝖾́ 𝗇𝖺̃𝗈 𝗌𝗈́ 𝗎𝗆 𝗉𝗌𝗂𝖼𝗈𝗍𝖾𝗋𝖺𝗉𝖾𝗎𝗍𝖺 𝖾 𝗎𝗆 𝗉𝗌𝗂𝗊𝗎𝗂𝖺𝗍𝗋𝖺, 𝖾́ 𝗎𝗆 𝖾𝗌𝖼𝗋𝗂𝗍𝗈𝗋 𝗊𝗎𝖾 𝗌𝖺𝖻𝖾 𝖻𝖾𝗆 𝖼𝗈𝗆𝗈 𝖾𝗌𝗍𝗋𝖺𝗍𝖾𝗀𝗂𝖼𝖺𝗆𝖾𝗇𝗍𝖾 𝖼𝗈𝗅𝗈𝖼𝖺𝗋 𝖺𝗌 𝗏𝗈𝗓𝖾𝗌 𝗇𝗈 𝗉𝖺𝗅𝖼𝗈 𝖽𝖺 𝖾𝗌𝖼𝗋𝗂𝗍𝖺.

𝖲𝖾 𝗉𝗈𝖽𝖾𝗆𝗈𝗌, 𝖼𝗈𝗆 𝖾𝗅𝖾, 𝖼𝗈𝗆𝗉𝗋𝖾𝖾𝗇𝖽𝖾𝗋 𝗆𝖾𝗅𝗁𝗈𝗋 𝖺 𝗁𝗂𝗌𝗍𝗈́𝗋𝗂𝖺 𝖽𝖾 𝗎𝗆 𝖼𝗈𝗇𝖼𝖾𝗂𝗍𝗈 𝖼𝗈𝗆𝗈 "𝗁𝗈𝗆𝗈𝗌𝗌𝖾𝗑𝗎𝖺𝗅" 𝖾 𝖼𝗈𝗆𝗉𝗋𝖾𝖾𝗇𝖽𝖾𝗋 𝗆𝖾𝗅𝗁𝗈𝗋 𝗈 𝗊𝗎𝖾 𝗌𝖾𝗃𝖺 "𝗂𝖽𝖾𝗇𝗍𝗂𝖽𝖺𝖽𝖾 𝗌𝖾𝗑𝗎𝖺𝗅 𝗁𝖾𝗍𝖾𝗋𝗈𝗌𝗌𝖾𝗑𝗎𝖺𝗅" 𝖾 "𝗁𝗈𝗆𝗈𝗌𝗌𝖾𝗑𝗎𝖺𝗅", 𝗈 𝗊𝗎𝖾 𝗂𝗆𝗉𝗈𝗋𝗍𝖺 𝗋𝖾𝖼𝗈𝗇𝗁𝖾𝖼𝖾𝗋 𝖺𝗂𝗇𝖽𝖺 𝖾́ 𝖺 𝖼𝖺𝗉𝖺𝖼𝗂𝖽𝖺𝖽𝖾 𝖽𝖾 𝖿𝗂𝖼𝖼𝗂𝗈𝗇𝖺𝗋 𝗌𝗂𝗍𝗎𝖺𝖼̧𝗈̃𝖾𝗌 𝗁𝗎𝗆𝖺𝗇𝖺𝗌 𝗍𝖾𝗇𝖽𝗈 𝖾𝗆 𝗉𝖺𝗇𝗈 𝖽𝖾 𝖿𝗎𝗇𝖽𝗈 𝗈 𝗆𝗎𝗇𝖽𝗈 𝖽𝖾 𝗏𝖺𝗅𝗈𝗋𝖾𝗌 𝖼𝗈𝗅𝖾𝖼𝗍𝗂𝗏𝗈 𝖾 𝗂𝗇𝖽𝗂𝗏𝗂𝖽𝗎𝖺𝗅 𝗊𝗎𝖾 𝗋𝖾𝗀𝖾𝗆 𝖼𝗈𝗆𝗉𝗈𝗋𝗍𝖺𝗆𝖾𝗇𝗍𝗈𝗌 𝖾 𝖽𝖾𝖼𝗂𝗌𝗈̃𝖾𝗌, 𝖾𝗌𝗍𝖺𝖽𝗈𝗌 𝖽𝖾 𝖺𝗅𝗆𝖺 𝖾 𝖾𝗑𝗉𝖾𝖼𝗍𝖺𝗍𝗂𝗏𝖺𝗌 𝖽𝗈𝗌 𝗉𝗋𝗈𝗍𝖺𝗀𝗈𝗇𝗂𝗌𝗍𝖺𝗌.

𝖮 𝖽𝖾𝗌𝖾𝗃𝗈 𝗌𝖾𝗑𝗎𝖺𝗅 𝗇𝖺̃𝗈 𝖾́, 𝗉𝗈𝗋 𝖾𝗑𝖾𝗆𝗉𝗅𝗈 𝖾𝗆 𝖦𝗎𝗂𝗅𝗁𝖾𝗋𝗆𝖾, 𝖾𝗎𝖿𝗈𝗋𝗂𝖺 𝗉𝗅𝖾𝗇𝖺. "𝖠̀𝗌 𝗏𝖾𝗓𝖾𝗌 𝗌𝖾𝗇𝗍𝗂𝖺 𝗎𝗆𝖺 𝗌𝗈𝗆𝖻𝗋𝖺 𝖺𝗈 𝗆𝖾𝗎 𝗅𝖺𝖽𝗈", 𝖽𝗂𝗓 (𝗉.𝟫𝟩). 𝖠 𝗋𝖾𝖽𝗎𝖼̧𝖺̃𝗈 – 𝖼𝗈𝗆 𝖩𝗈𝖺𝗊𝗎𝗂𝗆 – 𝖽𝗈 𝖺𝗆𝗈𝗋 𝖺𝗈 𝗌𝖾𝗑𝗈 𝖼𝗈𝗇𝖽𝗎𝗓 𝖺̀ 𝗍𝗋𝗂𝗌𝗍𝖾𝗓𝖺 𝖾 𝖺̀ 𝗌𝗈𝗅𝗂𝖽𝖺̃𝗈.

𝖣𝗈𝗌 𝖺𝗇𝗈𝗌 𝟨𝟢, 𝖼𝗈𝗆 𝖡𝖾𝖺𝗍𝗅𝖾𝗌 𝖾 𝖺 𝗋𝖾𝗏𝗈𝗅𝗎𝖼̧𝖺̃𝗈 𝗌𝖾𝗑𝗎𝖺𝗅 𝖺 𝖺𝖼𝗈𝗇𝗍𝖾𝖼𝖾𝗋, 𝖺𝗈𝗌 𝖺𝗇𝗈𝗌 𝟫𝟢, 𝗇𝗈 𝗉𝖺𝗌𝗌𝖺𝗋 𝖽𝗈 𝗌𝖾́𝖼𝗎𝗅𝗈, 𝖣𝖺𝗇𝗂𝖾𝗅 𝖲𝖺𝗆𝗉𝖺𝗂𝗈 𝖾́ 𝗊𝗎𝖾𝗆 𝗆𝖾𝗅𝗁𝗈𝗋 𝗁𝗈𝗃𝖾, 𝗇𝗈 𝗋𝗈𝗆𝖺𝗇𝖼𝖾-𝖾𝗇𝗌𝖺𝗂𝗈, 𝗇𝗈𝗌 𝗍𝗋𝖺𝗇𝗌𝗉𝗈𝗋𝗍𝖺 𝗉𝖺𝗋𝖺 𝗎𝗆 𝗍𝖾𝗆𝗉𝗈 𝗈𝗎𝗍𝗋𝗈 𝗊𝗎𝖾, 𝖺𝖿𝗂𝗇𝖺𝗅 𝖽𝖾 𝖼𝗈𝗇𝗍𝖺𝗌, 𝗉𝗈𝖽𝖾𝗆 𝖻𝖾𝗆 𝖼𝗈𝗇𝗍𝗂𝗇𝗎𝖺𝗋 𝖺 𝗌𝖾𝗋 𝗈 𝗍𝖾𝗆𝗉𝗈 𝖽𝖾 𝗍𝖺𝗇𝗍𝗈𝗌. 𝖣𝗈𝗌 𝖼𝖺̂𝗇𝗍𝗂𝖼𝗈𝗌 𝗆𝖺𝖼𝗁𝗂𝗌𝗍𝖺𝗌 𝖽𝖺 𝗅𝗎𝗌𝗂𝗍𝖺𝗇𝗂𝖽𝖺𝖽𝖾 𝗌𝖺𝗅𝖺𝗓𝖺𝗋𝗂𝗌𝗍𝖺 𝖺𝗈 𝖬𝗈𝗇𝗍𝗂𝗃𝗈 𝖽𝖾 𝗍𝗈𝗎𝗋𝗈𝗌 𝖾 𝖽𝖾 𝗍𝗈𝗎𝗋𝖺𝖽𝖺𝗌, 𝖾́ 𝖯𝗈𝗋𝗍𝗎𝗀𝖺𝗅 𝗊𝗎𝖾𝗆 𝖣𝖺𝗇𝗂𝖾𝗅 𝖲𝖺𝗆𝗉𝖺𝗂𝗈 𝖺𝗇𝖺𝗅𝗂𝗌𝖺. 𝖤́ 𝗈 𝗉𝖺ı́𝗌 𝖾𝗌𝖼𝗈𝗇𝖽𝗂𝖽𝗈 𝖽𝗈𝗌 𝖺𝗆𝗈𝗋𝖾𝗌 𝗌𝖾𝖼𝗋𝖾𝗍𝗈𝗌, 𝗈𝗇𝖽𝖾 𝗏𝗂𝗈𝗅𝖾̂𝗇𝖼𝗂𝖺 𝖾 𝖺𝗋𝗋𝖾𝗉𝖾𝗇𝖽𝗂𝗆𝖾𝗇𝗍𝗈, 𝖽𝖾𝗌𝖾𝗃𝗈 𝖾 𝗍𝗈𝗋𝗍𝗎𝗋𝖺 𝗌𝖾 𝗏𝗂𝗏𝖾𝗆, 𝗈 𝗊𝗎𝖾 𝗇𝖾𝗌𝗍𝖾 𝗅𝗂𝗏𝗋𝗈 𝖽𝖾 𝖾𝗌𝖼𝗋𝗂𝗍𝖺 𝗅𝗂𝗆𝗉𝖺, 𝗌𝖾𝗆 𝖾𝗑𝖼𝗅𝖺𝗆𝖺𝖼̧𝗈̃𝖾𝗌, 𝖾𝗆 𝗍𝗈𝗆 𝗌𝖾𝗋𝖾𝗇𝗈 𝖾 𝗌𝖾𝗀𝗎𝗋𝗈, 𝗅𝖾𝗆𝗈𝗌.

𝖲𝖾𝗆 𝖿𝖺𝗅𝗌𝗈𝗌 𝗉𝗎𝖽𝗈𝗋𝖾𝗌, 𝗋𝖾𝖼𝗈𝗋𝗋𝖾𝗇𝖽𝗈 𝖺𝗈 𝗃𝖺𝗋𝗀𝖺̃𝗈 𝖺𝖽𝗈𝗅𝖾𝗌𝖼𝖾𝗇𝗍𝖾 ("𝖻𝖺𝗍𝖾𝗋 𝗎𝗆𝖺", 𝖺𝗌 𝗋𝖾𝗏𝗂𝗌𝗍𝖺𝗌 𝗉𝗈𝗋𝗇𝗈𝗀𝗋𝖺́𝖿𝗂𝖼𝖺𝗌, 𝖺 𝖺𝗍𝗋𝖺𝖼𝖼̧𝖺̃𝗈 𝗉𝖾𝗅𝗈 𝖼𝗈𝗋𝗉𝗈 𝗌𝖾𝗆𝖾𝗅𝗁𝖺𝗇𝗍𝖾, 𝗆𝖺𝗌𝖼𝗎𝗅𝗂𝗇𝗈 𝖼𝗈𝗆 𝗆𝖺𝗌𝖼𝗎𝗅𝗂𝗇𝗈, 𝖺 𝖽𝖾𝗌𝖼𝗈𝖻𝖾𝗋𝗍𝖺 𝖽𝗈 𝖼𝖺𝗆𝗂𝗇𝗁𝗈 𝖽𝖺 𝗉𝗈𝖾𝗌𝗂𝖺 𝖼𝗈𝗆𝗈 𝗉𝗈𝗌𝗌ı́𝗏𝖾𝗅 𝗅𝗂𝖻𝖾𝗋𝗍𝖺𝖼̧𝖺̃𝗈 𝗇𝗎𝗆 𝖯𝗈𝗋𝗍𝗎𝗀𝖺𝗅 𝗅𝗂𝖻𝖾𝗋𝗍𝗈 𝗁𝖺́ 𝗉𝗈𝗎𝖼𝗈 𝖽𝖺𝗌 𝗆𝖺𝗅𝗁𝖺𝗌 𝖽𝗈 𝖿𝖺𝗌𝖼𝗂𝗌𝗆𝗈) 𝖾 𝗉𝗈𝗇𝖽𝗈 𝗇𝗈 𝗆𝖺𝗉𝖺-𝗆𝗎́𝗇𝖽𝗂 𝗊𝗎𝖾 𝖾𝗌𝗍𝖾 𝗅𝗂𝗏𝗋𝗈 𝖾́ 𝗈 𝗇𝗈𝗌𝗌𝗈 𝗆𝗎𝗇𝖽𝗈, 𝗇𝖺̃𝗈 𝗍𝖾𝗇𝗁𝗈 𝗀𝗋𝖺𝗇𝖽𝖾𝗌 𝖽𝗎́𝗏𝗂𝖽𝖺𝗌 𝗊𝗎𝖺𝗇𝗍𝗈 𝖺 𝗎𝗆 𝖿𝖺𝖼𝗍𝗈 𝗌𝗂𝗆𝗉𝗅𝖾𝗌: 𝖣𝖺𝗇𝗂𝖾𝗅 𝖲𝖺𝗆𝗉𝖺𝗂𝗈, 𝗋𝖾𝖼𝗈𝗇𝗁𝖾𝖼̧𝗈-𝗈 𝖼𝗈𝗆𝗈 𝖿𝖺𝗓𝖾𝖽𝗈𝗋 𝖽𝖾𝗌𝗌𝖾 𝖾𝗌𝗍𝗂𝗅𝗈 𝖾𝗑𝗂𝗀𝖾𝗇𝗍𝖾, 𝗈 𝗋𝗈𝗆𝖺𝗇𝖼𝖾-𝖾𝗇𝗌𝖺𝗂𝗈.

𝖭𝗎𝗆 𝗅𝗂𝗏𝗋𝗈 𝗉𝗋𝗈́𝗑𝗂𝗆𝗈, 𝖺𝖻𝖺𝗇𝖽𝗈𝗇𝖺𝗇𝖽𝗈 𝖽𝖾 𝗏𝖾𝗓 𝖺𝗌 𝗉𝖺́𝗀𝗂𝗇𝖺𝗌 𝗈𝗇𝖽𝖾 𝖿𝖺𝗅𝖺 "𝗈 𝗉𝗌𝗂𝖼𝗈𝗍𝖾𝗋𝖺𝗉𝖾𝗎𝗍𝖺", 𝗇𝖺̃𝗈 𝖼𝗋𝖾𝗂𝗈 𝗊𝗎𝖾 𝗆𝖾 𝖾𝗇𝗀𝖺𝗇𝖾: 𝖺𝗈𝗌 𝗅𝗂𝗏𝗋𝗈𝗌 𝖻𝖾𝗅𝗈𝗌 𝗌𝗈𝖻𝗋𝖾 𝖺 𝖽𝗈𝗋 𝗁𝗎𝗆𝖺𝗇𝖺 𝖾 𝖺 𝖽𝗈𝗋 𝖽𝖾 𝖺𝗆𝖺𝗋, 𝗈 𝖺𝗎𝗍𝗈𝗋 𝖽𝖾 𝖴𝗆 𝖠𝗆𝗈𝗋 𝖰𝗎𝖾 𝖭𝖺̃𝗈 𝖲𝖾 𝖣𝗂𝗓, 𝖣𝖺𝗇𝗂𝖾𝗅 𝖲𝖺𝗆𝗉𝖺𝗂𝗈 𝖺𝖼𝗋𝖾𝗌𝖼𝖾𝗇𝗍𝖺𝗋𝖺́ 𝗎𝗆 𝗋𝗈𝗆𝖺𝗇𝖼𝖾 𝗍𝗈𝗍𝖺𝗅. 𝖬𝖾𝗅𝗁𝗈𝗋: 𝗈 𝗋𝗈𝗆𝖺𝗇𝖼𝖾 𝗈𝗇𝖽𝖾 𝗍𝗈𝖽𝖺 𝖺 𝗌𝗎𝖺 𝖾𝗑𝗉𝖾𝗋𝗂𝖾̂𝗇𝖼𝗂𝖺 𝖼𝗅ı́𝗇𝗂𝖼𝖺 𝗌𝖾 𝗆𝖾𝗍𝖺𝗆𝗈𝗋𝖿𝗈𝗌𝖾𝖺𝗋𝖺́ 𝗇𝗂𝗌𝗌𝗈 𝗊𝗎𝖾, 𝗉𝖺𝗋𝖺 𝗎𝗆 𝖥𝖾𝗋𝗇𝖺𝗇𝖽𝗈 𝖭𝖺𝗆𝗈𝗋𝖺, 𝗉𝗈𝗋 𝖾𝗑𝖾𝗆𝗉𝗅𝗈, 𝖾𝗋𝖺 𝖾𝗌𝗌𝖾𝗇𝖼𝗂𝖺𝗅 𝖺𝖼𝗈𝗇𝗍𝖾𝖼𝖾𝗋 𝗇𝖺 𝗏𝗂𝖽𝖺 𝖽𝗈 𝗆𝖾́𝖽𝗂𝖼𝗈-𝖾𝗌𝖼𝗋𝗂𝗍𝗈𝗋 – 𝖺 𝖼𝗈𝗇𝗃𝗎𝗀𝖺𝖼̧𝖺̃𝗈 𝖽𝗈𝗌 𝗉𝗋𝗈𝖻𝗅𝖾𝗆𝖺𝗌 𝗌𝗈𝖼𝗂𝖺𝗂𝗌 𝗊𝗎𝖾 𝗈 𝗋𝗈𝖽𝖾𝗂𝖺𝗆 𝖼𝗈𝗆 𝖺 𝖾𝖽𝗂𝖿𝗂𝖼𝖺𝖼̧𝖺̃𝗈 𝖽𝖾 𝗎𝗆 𝗆𝗎𝗇𝖽𝗈 𝗏𝖾𝗋𝖻𝖺𝗅 𝗈𝗇𝖽𝖾 𝗉𝖾𝗋𝖼𝖾𝖻𝖾𝗆𝗈𝗌 𝗎𝗆 𝖾𝗌𝗍𝗂𝗅𝗈 𝖼𝗈𝗇𝗊𝗎𝗂𝗌𝗍𝖺𝖽𝗈.

𝖵𝖾𝗇𝗁𝖺 𝗈 𝗋𝗈𝗆𝖺𝗇𝖼𝖾.

* Doutorado em Ciências da Literatura pela Universidade do Minho e investigador do Centro de Estudos Humanísticos da Universidade do Minho. É poeta, professor, crítico literário, ensaísta.

IN "DIÁRIO DE NOTÍCIAS"-09/11/26 .

 .

4580.UNIÃO

EUROPEIA

FRANÇA

TEDDY RINER

Penta campeão olímpico

 Judoca francês anuncia 

candidatura presidencial.

FONTE:   Euronews em Português-09/11/26  

NR: Se vencesse as eleições e fosse tão bom político como atleta a  França estaria bem entregue. Saudamos a candidatura.

 putin  HUYLO

putin é um canalha

trump is also a killer

 of innocent people Ukrainians

Também é um activo russo