Origin and structure of Attic tragedy. Attic tragedy and comedy

I

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OEYNPCHETOPK CHEMYUYOSCH RETYETPOSHCH, RPFOSHCH PF UPMOGB, HUYMIK Y ChPKMPYUOSCHI RPDKHYEL, CHEKHF ZPTSH VPYUEL, Y PLPMP OYI YDHF RSHMSHOSHCHE Y TsBTLYE MADI, KH LPPTTSCHI MYGB UFBMY VTPOЪPCHSH NY.

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* bTEOB "RP PVTBGH BOFYUOPZP" FEBFTB VSHMB RPUFTPEOB CH VESHE CH 1897 ZPDH. CHNEUFINPUFSH DP 13,000 ЪTYFEMEK. rPUFTPEOB DMS RTPCHEDEOYS, RTETSDE CHUEZP, LPTTYDSCH, P YUEN BOOOOULYK RYYEF OITSE, OP FBLCE DMS DTHZYI RTEDUFBCHMEOYK Y URPTFICHOSCHI NETPRTYSFYK. h VESHE EUFSH Y TKHYOSCH BOFYUOPZP FEBFTB, RPUFTPEOOOPZP CH RETCHPN CHELE OBYECH Y PVPCHMEOOOPZP CH 1992 ZPDH. sing CHNEEBMY 10,000 ЪTYFEMEK. "bTEOSCH VESHE" boOOULYK KHRPNIOBEF Y CH UFBFSH "BOFYUOSCHK NYZH CH UPCHTENOOOPK ZHTBOGKH'ULPK RPIYY" (1908), ZPCHPTS P DTHZPN "rTPNEFEEE", "OBRYUBOOPN ts. mPTTEOPN Y zh ETD. zETPMSHDPN", OP U FPK TSE YTPOJEK.
** yNEEFUS CH CHYDH PRETB zBVTJEMS zPTE(1845-1924) "rTPNEFEK", "MYTYUUEULBS FTBZEDYS" CH 3-I BLFBI (1900). bChFPT -- ZHTBOGKHULYK LPNRPJFPT, REDBZPZ, PTZBOYUF, DYTYTSЈT. h 1902 ZPDH RTPZHEUUPT LPNRPYGYY H rBTYTSULPK LPOUETCHBFPTYY, LPFPTHA YUETE FTY ZPDB CHPZMBCHYM.

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1 gYFYTHEFUS "DYZHYTBNV BZHYOSOBN", OBRYUBOOSHCHK DMS CHUEOOEZP RTBDOYLB vPMSHYYI DYPOYUYK, CHETPSFOP, CH RETECHPDE UBNPZP boOOULPZP.

UEZPDOS RETCHSCHK DEOSH RTBDOYLB ZPTPDULYI DYPOYUYK, Y CHUSH ZPTPD ABOUT KHMYGE. chPF Y RTPGEUYS. EE PFLTSCHCHBEF UBN URPOYN, RETCHPE MYGP ZPTPDB Y IPЪSIO RTBDOILB, ЪB OIN UBOPCHOIL, TSTEGSCH. h ZHUFPK FPMRE, UTEDY GEMPK FSCHUSYU NPMPDSCHI MADEK H LPTPFLYI IMBNIDBI U VMEUFSEYNY LPRSHSNYY MEZLYNY EIFBNY CHSHCHUPLP OBD OINY DCHYTSEFUS UFBTBS, OBYCHOBS DETECHSOOBS UFBFH S DYPOYUB, DPTPZPK UYNCHPM CHUEZP BMMYOULPZP NYTB, B CH RTPGEUUYY ЪB UFBFHEK CHSHCHDEMSEFUS UCHPEK LTBUPFPK Y UCHETSEUFSHA ZTHRRRB LBOJPT 2: LFP OBFOSH DECHKHYLY CH VEMPN, LPFPTSHCH ЪPMPFSHI LPTYOBY OEUHF RETCHCHE CHUEOOYE RMPDSCH. OP, LBTSEFUS, OBTSDOE CHUEI CH RTPGEUUY IPTEZY, F. E. FE BZHYOULYE ZTBTSDBOE, LPFPTSCHN CHSHHRBM TSTEVIK CH LFPN ZPDH UFBCHYFSH DTBNSCH ABOUT FEBFT, Y IPT YЪ BZHYOULYI ZTBC DBO, LPFPTSCHK YI UPRTPCHPTsDBEF. ZYNBFYY 3 YI PFMYCHBAF ЪPMPFPPN CHSHCHYCHPL Y RHTRKHTPN YMY YBZHTBOPN FLBOY, B CHPMPUSH RTYTSBFSCH ЪPMPFSCHNY CHEOLBNY, CH LPFPTSCHI YZTBAF MKHYU NBTFPCHULPZP UPMOGB. YuETE DCHB DOS MADI, UPUFBCHMSAEYE UFKH RTPGEUUYA, VHDHF CH FEBFTE, ABOUT UCHSEEOOOPK ENME DYPOYUB, ZDE OE FPMSHLP BLFET YMY IPTYUF, OP Y CHUSLYK ЪTYFEMSH VHDEF OBIPDF ShUS RPD ЪBEIFPK VPZB, UFPMSH CE OERTYLPUOPCHOOOSCHK, LBL ABOUT UFHREOSI еChUPChB BMFBTS.

2 lBOEZhPT- HYUBUFOIL RTPGEUUYY CH YUEUFSH DENEFTSH YMY DYPOYUB, OEUHAKE ABOUT ZPMPCH LPTJOH U TSETFCHEOOSCHNY DBTBNY.
3 ZYNBFYK- OBLIDLB, RMBE.

NSC CE RPLKHDB DPIMY JB FPMRPK DP BTEO VESHE. CHETOENUS L CHREYUBFMEOYSN DEKUFCHYFEMSHOPUFY. pZTPNOSHCHK, UMBVP ЪBEEYEEOOOSCHK PF UPMOGB BNZHYFEBFT. NEUFB YDHF YYTPLYNY UFHREOSNY. sing RETERPMOEOSCH REUFTPK FPMRPK, LPFPTBS ABOUT OUEULPMSHLP NYOHF RPZMPEBEF CHUE OBUYE CHOINBOYE. FHF, RPTsBMKHK, FSHUSYU 8 YuEMPCHEL. OB UBNPK BTEOE, ZDE CH DTHZIE DOY RTPYUIPDYF VPK VSCHLPCH, FERETSH TBURPMPTSYMPUSH FTY PTLEUFTB NHSHSHLBOFPCH, B OBD OINY CHSHCHUIFUS IBTBLFETOBS ZPMPCHB Fauré YJCHEUFOBS CHUENH NYTH RP RPTFTEFH UBTDTSEOFB * . chPF Y UGEOB. DELPTTBGYS RTEDUFBCHMSEF DYLYE ULBMSHCH, ЪTEЪBOOSCH KHEEMSHSNYY RPFPLPN. PUPVEOOOP IPTPY ЪBDOYK RMBO UGEOSCH - UPCHUEN CHPDHYOSCHK. zPTSH YDHF DP UBNPZP ZPTYPOFB, ZDE SING UMYCHBAFUS U OBUFPSEIN UYOYN OEVPN. h OEN U KhFTB IPDSF VEMSH PVMBYULB, RP CHTENEOBN OBCHPDS FEOSH ABOUT CHUA UFKH OEVSHCHBMKHA, DYCHOP-LTBUYCHHA LBTFYOKH, OP POY OYLPZP OE RKHZBAF, RPFPNH YUFP CHEFET OE U NPTS. yuh... RETCHSHCHHLY PTLEUFTB. chBN LBBMPUSH RP EZP TBNETBN (S OBUYUYFBM 21 BTZHH, OP OE Refinery UPUYUYFBFSH ULTYRPL), YuFP PO PZMKHOYF CHBU, Y CHSH OEULPMSHLP TBUPYUBTPCHBOSHCH. CHEFET TBOPUYF ЪCHHLY, ЪOPK TBUUMBVMSEF UFTKHOSHCH. ъBOBCHEUB, LPOYUOP, OEF, B LKHMYUSCH ЪBNEOSAFUS ZPTOSCHNY RTPIPDBNY. ZhTBOGKHSCH RPIMY CH LFPN PFOPYEOY DBMSHYE DTECHOYI ZTELPCH, KH LPPTTSCHI IPFSH OBD UGEOPK VSHM OBCHUE...

* OBCHETOPE, BOOOOULYK CHYDEM URELFBLMSH RPD KHRTBCHMEOYEN UBNPZP BCHFPTB NKHSHHLY. TEYUSH YDF P EZP RPTFTEFE LYUFY BNETYLBOULPZP IHDPCOILB dtspob uyozetb ubtdtseofb (1856 - 1925). DEKUFCHYFEMSHOP MY RPTFTEF VSHM FBL YJCHEUFEO, YMY LFP PVSHYUOBS MYZLBS YTPOYS boOOULLPZP? (uN. DBMEE RTP ЪBOBCHEU Y LKHMYUSCH).

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Plus m û r et plus saignant que le raisin des treilles
Que dé vore en automne un lourd essaim d"abeilles,
Et puis qu"achevera le bee d"oiseaux pillards,
Un dieu vivant, la chair et les membres epars 4 .

OE YUKHCHUFCHHEFE MY CHSHCH, YuFP TSYCHPRYUOPE UTBCHOOYE TBBPTCHBOOPK TBOSCH FYFBOB U LTBUOSCHN CHYOPZTBDPN FTEMSHSTSB, DPVSHCHUEK RYUEM Y RFYG, CH DEKUFCHYFEMSHOPUFY HTSBUOP? pOP OE FPMSHLP OE UNSZYUBEF RTEDUFBCHMEOYS P TBOE, OP, OBRTPFYCH, RETEOPUIF RTEDUFBCHMEOYE ZTSJOPK TBOSCH CH LTBUICHHA LBTFYOH FTEMSHSTSB 5. with OE VKHDH DEFBMSHOP TBVYTBFSH ZHTBOGKHULPZP rTPNEFES. NEOS YOFETEUKHEF RPLB UBNSCHK URELFBLMSH.

4 UREMEE Y LTPCHPFPYYCHEE, YUEN CHYOPZTBD FTEMSHSTSB, LPFPTSHCHK RP PUEOY RPTSYTBEFUS FSTSEMSCHN TPEN RYUEM Y RTYLBOYUYCHBEFUS LMACHPN RETOBFSHI IIEOILPC, VPZ EEE TSICHPK, U TBUFET BOOSCHN FEMPN. UOPULB Y, OBCHETOPE, RETECHPD Y. and. bOOOOULPZP.
5 fPOLBS TEYEFLB DMS CHSHAEYIUS TBUFEOYK, KHCHYFBS YNY.

CHEFET, LPFPTSCHK DEMBEF FBLYE LTBUYCHSHCHE ULMBDLY Y RPLPTSEFUS FBLYNY LTBUYCHSHNY TSEUFBNY, ULTP OBDPEDBEF CHBN. BY NEYBEF UMKHYBFSH. ChPF ChSCH KHMPCHYMY X rTPNEFES ITYRMHA OPPH, - Y CHSCH YUKHCHUFCHHEFE, YuFP L VPTSHVE FYFBOB U YECHUPN RTYNEYCHBEFUS DTHZBS, EDCHB MY OE VPMEE DMS OEZP FTHDOBS, U CHEFTPN. lTPNE FPZP, YUETE LBLYE-OYVKhDSH RPMYUBUB CHSHCH PUSBBFEMSHOP ЪBNEYUBEFE, YuFP ChBN YuEZP-FP OEDPUFBEF. lBL OH TSYCHPRYUOSCH, LBL OH LTBUICHSH ZHYZHTSCH, LPFPTSCHE DCHYTSKHFUS, ZPCHPTSF Y RPAF O UGEOE, DMS ZMBB LFP CHUE TSE FPMSHLP DEFBMSH FPZP, YuFP ChBU PLTHTSBEF, DEFBMSH BNZHY FEBFTB. oEDPUFBEF FPZP YULMAYUYFEMSHOPZP, FPZP FBYOUFCHEOOPZP YuEFSHTEIHZPMSHOILB, LPFPTSCHK FBL CHMBUFOP RTYLPCHCHCHBEF ZMB L UGEOE CH OBUYEN ЪBLTSCHFPN FEBFTE. eUFSH EEE RTYYUYOB DBAEEK EUVS RPD LPOEG OBFSH... ULHLY. DEKUFCHYE RETED CHBNY OE DCHYTSEFUS, Y CHUS LTBUPFB NHYSHCHLY, RPYYY, YZTSCH OE NPTSEF CHSHHLHRYFSH LFPPZP PUOPCHOPZP UGEOYUEULZP OEDPYUEFB. DEMP CH FPN, YuFP UGEOB U OBYUBMB DP LPOGB MYTYUUEULPK FTBZEDYY PUCHEEOB PDYOBLPCHP. dCHB YUBUB OE DBAF CHBN YMMAYY DTBNBFYUEULYI UHFPL U TBOPPVTBYEN UCHEFYM Y FEOEK Y UNEOSH OBUFTPEOYK. rPMPTSYN, X ZTELPCH bFPZP FPCE OE VSHMP, OP CH FPN-FP Y DEMP, YuFP KH OBU CHEDSH LFP EUFSH, Y HCE DBCHOP.

UFP CE FBLPE BOFYUOBS FTBZEDYS? chNEUFP PFCHMEYOOOSCHI PRTEDEMEOYK PVTBFYNUS MHYUYE CHUEZP L FPK UBNPK RSHUE, LPFPTHA LPRYTPCHBMY RBTYTSBOYE H VESHE.

rTPYMP HCE ZPTBJDP VPMEE RPMKHCHELB PF OBYUBMB FTBZYUUEULYI UPUFSBOYK, F. E. FEBFTB, LPZDB CH PDYO YJ NBTFPCHULYI DOEK ABOUT BZHYOULHA UGEOH RPUFBCHYMY DCHHI UIYMP CHULYI rTPNEFEEECH* : rTYLPCHBOOPZP Y PUCHPVPTSDEOOOPZP. dP OBU DPIYEM FPMSHLP rTYLPCHBOOSCHK. dTBNB OBUYOBEFUS U FPZP, UFP O UGEOH U OBCHUPN Y ZTHVPK DELPTBGYEK ZPTOPZP REKBTSB CHSHCHIPDYF FTY BLFETB Y PDYO UFBFYUF. bLFETSH YЪPVTBTSBAF: FYFBOB rTPNEFES, VPZB RPDENOPZP PZOS zEZHEUFB, Y DTHZPZP VPZB, lTBFPUB - UYMKH. uFBFYUF YZTBEF VEENPMCHOHA TPMSH VPZB oBUYMYS. fTY VPZB RTYIPDSF PF UCHPEZP OPChPZP RPCHEMYFEMS, ECHUB, LPFPTSHK FPMSHLP YuFP, RPUME KHRPTOPK VPTSHVSHCH, RPMKHYUM CHMBUFSH OBD NYTPN. I'm eating something YN RTYLPCHBFSH rTPNEFES L RKHUFSCHOOPK ULBME LBCHLBYB ЪB FP, YuFP LFPF FYFBO, RPIYFYCH VPTSEUFCHEOOSCHK PZPOSH, RETEDBM EZP MADSN, CHNEUFE U OBYUBFLBNY OBHLY, YU LHUUFCHB Y TEMIZYY. rTPNEFEK OBYUYF rTPCHYDEG: DEKUFCHYFEMSHOP, LFPF VPZ PVMBDBEF GEOOSHNY FBKOBNY Y CH FPN YUYUME FBLYNY, LPFPTSHCH OE OBEF UBN ECHU, IPFS POY RTSNP EZP LBUBAFUS, Y OPCHSHCHK GBTSH OE DBTPN VPYFUS UCHPEZP OEDBCHOEZP RPNPEOILB.

* uOPULB y. and. bOOOOULZP:"with OBNETEOOP TBMYUBA ЪDEUSH YNEOB rTPNEFES Y rTPNEZHES, UFPMSH NBMP UIPDOSHHI RP UKHEEUFCHH." OBYUIF, PE CHUEN RPUMEDHAEEN FELUFE UMEDHEF YUYFBFSH Y RTPI'OPUYFSH rTPNEZHEK. DKHNBA, YuFP LFB UOPULB FTEVHEF DMS UPCHTENOOOPZP YuYFBFEMS UREGYBMSHOPZP LPNNEOFBTYS.

UHDSHVB UDEMBMB еCHUB UYMSHOEE rTPNEFES, B rTPNEFES NHDTEK еCHUB, RP LTBKOEK NETE, UFBTPK NHDTPUFSHA FBKO Y PFLTPCHEOYK, Y CH LFPN METSYF PUOPCHBOYE YI FTBZYUEULPK LPMM YYYY. h DTBNE, LBL CH TSIYOY, UYMB THL FPTCEUFCHHEF OBD UYMPK KHNB, OP UPUFTBDBOYE, KhTSBU Y OZPDPCBOYE, LPFPTSHCH CHURSHCHYCHBAF CH ЪTYFEMSI RETED ЪTEMYEEN OETBCHOPK VPTSHVSHCH Y NHL, RPDA SFSCHI FYFBOPN TBDI VMBZB MADEK, OECHPMSHOP DBAF rTPNEFEA OTBCHUFCHEOOSCHK RETECHEU OBD ECUPN.

rETCHBS UGEOB RTECHPUIPDOB. FYFBO OE RTPYOPUYF OPDOZP UMChB, RPLB ZEZHEUF RTPFYCH UPVUFCHOOOPK CHPMY, RPD DBCHMEOYEN TSEUFPLLPZP Y RTSNPMYOEKOPZP lTBFPUB, U TBUUFBOPCHLPK Y ZHBFBMSHOPK BTFYUFYUOP UFSA, Y LPFPTPK ЪTYFEMY, LPOYUOP, OE FETSMY OH PDOPK DEFBMY, CHZPOSEF ZCHPЪDSH ЪB ZCHPDEN CH FEMP VPZB Y OBMBZBEF ABOUT OEZP GERSH JB GERSH.

lPNH VSH LBL OE ZEZHEUFKH, LBTSEFUS, VSHMP NUFYFSH FYFBOKH JB RPPIEEOOYE EZP UFYYYY - PZOS? b NETSDH FEN, LFPF VPZ FSZPFYFUS UCHPEK TPMSHA: BY RPNOIF PV KHBI TPDUFCHB Y DTHTSVSHCH. chPMS YECHUB, OBPVPTTPF, UYNCHPMYYTHEF UPCHETYOOOP OPCHSHCHK NYTPPTSDPL, Y LFPF NYTPPTSDPL FPMSHLP STUE CHSHCHUFKHRBEF ABOUT CHYD RP LPOFTBUFKH U UPTSBMEOYEN VPTSEUFCHEOOPZP LH JOEGB. GEMSHI FTY IBTBLFETB CHSHCHRHLMP CHSHCHUFKHRBAF RETED OBNY CH LFPC RETCHPK Y LPTPFLPK UGEOE. UBN FYFBO PVTYUPCHCHCHBEFUS UMPCHBNY DTHZYI Y UPVUFCHEOOSCHN NPMYUBOYEN. fPMSHLP PUFBCHYUSH PDYO, rTPNEFEK PVTBEBEF TsBMPVSH L LZHYTH, PVMBLBN, YUFPYUOILBN, LP CHUENKH, YuFP NPMYUB EZP PLTHTSBEF. bfp omsche th zptdsche TsBMPVShch. FYFBO OE YEEF RPNPEY YMY UPUFTBDBOYS: BY CHCHCHBEF, LUCYDEFEMSN OERTBCHDSCH. zPTDPUFSH EZP OE DPRHULBEF Y NSCHUMY P FPN, YUFPVSH PO, rTPNEFEK, VSHM PUIMEO IYFTPUFSHA, Y PO ZPCHPTYF, YuFP ЪBTBOEE, LPZDB URBUBM MADEK PF ECHUB, PO HTSE OBBM PUCHPEC HYUBUFY. OP CHPF RTYLPCHBOOPNH UMSCHYYFUS OECHOSFOSHCHK YKHN LTSHMSHECH, DP OEZP DPMEFBEF LBLPE-FP UMBVPE DHOPCHEOYE, RTYOBL TSYYOY. pDOB NSCHUMSH P RTYVMYTSEOYY TSYCHPZP UKHEEUFCHB OECHSCHOPUYNB DMS KHOYTSEOOPZP VPZB.

"with VPAUSH, - ZPCHPTYF PO, - CHUEZP, YuFP RTYVMYTSBEFUS". about PTIEUFTH, RTY RPNPEY OBYCHOPK FEBFTBMSHOPK NBYOSCH, RPSCHMSEFUS IPT PLEBOYD. rPTB ULBUBFSH OEULPMSHLP UMPC P UGEOYUEULPK PVUFBOPCHLE DTECHOYI. FERETSH BLFET FEN MHYUYE YZTBEF, YUEN VPMEE DBEF ON OBN YMMAYY DEKUFCHYFEMSHOPUFY. yЪZPOSAF CHUE HUMPCHOPE, DBCE ZTYN, RPFPNKH YuFP CH BTFYUFE DPMTSOB UCHPVPDOP RTPSCHMSFSHUS DHYB YUEMPCHELB. OE FP VSHMP CH DTECHOEK ZTEUEULPK FTBZEDYY. oBRTPFYCH, YZTB BLFETB DPMTSOB VSHMB PFTSHCHBFSH DKHYKH YTYFEMS PF TEBMSHOPUFY.

ABOUT UGEOE RPSCHMSMYUSH PUPVSHCHE, YDEBMYYYTPCHBOOSCH MADI, LPFPTSHCHE VSHCHMY ZTBODYPJOOEE, RTELTBUOOEE Y RBFEFYOOEE OBUFPSEYI. ьФПНХ РППНЗБМ YULHUUFCHEOOP KHCHEMYUEOOOSCHK TPUF Y PVYAEN FEMB, OERPDCHYTSOBS VEMBS NBULB, ZDE VSHMY OBTYUPCHBOSH DBCE ZMBOB, CHSHUPLYK FTEHZPMSHOSCHK MPV YUBUFP U RTYCHSBOO SHCHNY CHPMPUBNY YUEFSHTEIKHZPMSHOSCHK THRPT TFB, PFLKHDB ЪCHKHYUBM STLYK ZPMPU TsYFEMS ZPT. dP UBNPZP RPMB OYURBDBMB DMYOOBS YYTPLBS PDETsDB YBZHTBOOPZP, VEMPZP YMY RHTRHTPCHPZP GCHEFB, ЪBFLOOBS IYFTSHCHN KHPTPN. nBUPL VSHMP EEE OE NOPZP Y POY TBURTEDEMSMYUSH RP FYRBN. "uFBTYL", "VMEDOBS TSEOOYOB U TBURHEOOOSCHNY CHPMPUBNY": FTBDYGYS, B YOPZDB FPMSHLP FELUF DTBNSCH RPNPZBMY ЪTYFEMSN PRTEDEMYFSH, LPZP NBULB DPMTsOB VSHMB CH DBOOPN UMHYUB E ЪПВТБЦБФШ.

PLEBOYDSCH CHSTBTSBAF OETsOPE Y FBLFYUOPE KHYBUFYE L NHLBN FYFBOB, B OBU U RETCHSCHI CE OPF RMEOSEF LTBUICHSHCHK Y RPMOSHCHK LPOFTBUF NETSDKH TSEOULINE OBUMBMPN TsBMPUFY NHTSULINE OBUMPN DET ЪBOYS, DB Y CH UBNYI PLEBOYDBI YUKHCHUFCHHEFUS LBL VSH DCHPEOYE: DKHYB OYNZHSH LPMEVMEFUS NETSDH UFSHDPN ЪBLTSCHFSH ZMBB RETED UFTBIOPK NHLPK Y UFTBIPN ZTHVP YMY OEKHNEMP CHSHCHTBYFSH UCHPE KHUBUFYE. OP FYFBOB OE TBDTBTSBEF HYUBUFYE VSHCHYI UCHYDEFEMSHOYG EZP UYUBUFSHS: BY ZPCHPTYF OYNZHBN P FPN, LBL TBOSHYE RPNPZBM YECHUKH, Y UMYCHBEFUS U OYNY CH CHPURPNYOBOY Y TsBMPUF Y... X OEZP LFP - TsBMPUFSH L MADSN. PLEBOYDSCH KHCE ZPFPCHSHCH, UPKDS U UCHPEK LTSHMBFPK LPMEUOYGSH, RTYVMYJFSHUS L EZP UFTBIOPNH RPUFKH - U ZMKHVPLPK YTPOYEK FYFBO UBN OBCHBM UEVS "TSBMLYN UFPPTTSEN", OP CH LFP CHTE NS ABOUT UGEOH RPSCHMSEFUS OPCHPE MYGP - PLEBO. uFBTYL EEE UPCHUEN OEDBCHOP CHNEUFE U rTPNEFEEN CHPUUFBM RTPFYCH LTBKOPUFEK OPCHPZP FYTBOB - ECUB; OP BY KHUREM CHCHTENS PUFBOPCHYFSHUS Y FERETSH, LBL VSC YYUKHCHUFCHB RTYMYYUS, SCHMSEFUS OBCHEUFYFSH UCHPEZP VSHCHYEZP UPAYOILB. RETED OBNY OPCHSHCHK LPOFTBUF Y, RPTsBMKHK, OPChBS RBTBMMMEMSH L FYFBOKH.

dChB FYRB KHNB: VPMSHYPK FChPTYUEULYK KHN rTPNEFES Y NBMEOSHLIK RTBLFYUEULYK KHN PLEBOB, Y DCHE CHPMY: DETLBBS CHPMS Y PUFPPTSOBS CHPMS. NSH OE OBEN, LBL YЪPVTBTSBMUS ABOUT UGEOE PLEBO, OP DPUFBFPYUOP FERETSH RTPYUEUFSH CH FELUFE RETCHSHE UMPCHB UGEOSCH, YUFPVSH KHCHYDEFSH, YUFP CH UBNPN SSHLE OPCHPZP ZPUFS uUIYM IPFEM RPLB ЪБФШ, OBULPMSHLP KHN ьFPZP VPZB, FBL УЛБББФШ, OYLPRTPVOEE rTPNEFEECHB KHNB. s OE RETECHPTSKH CHUEK UGEOSCH YI PRBUEOYS RETECHPDPN CHYDPPYNEOYFSH TBYOYGKH NETSDH DCHHNS SSHBLNY, ABOUT LPPTTSCHI ZPCHPTSF LFY VPZY. x PLEBOB OEF OH FEOY YDEBMYYNB YMY LUFBBB, OP TEYUSH EZP CHUE-FBLY GEMYLPN RTYOBDMETSYF NYTH FTBZEDYY, Y OB TKHUULPN SSHLE S OE KHNEA TEMSHEZHOP RPLBJBFSH LFPZP D TBZPGEOOOPZP PFFEOLB.

pFOPYEOYE rTPNEFES L PLEBOKH - LFP PDYO YЪ RUYIPMPZYUEULYI chef d"oeuvr"oCH BUYMB. fYFBO TBZBDBM GEMSH CHYYFB TBOE, YUEN plebo KHUREM TBULTSHFSH TPF DMS CHSTBTTSEOYS UCHPEZP KHUBUFYS. th ChPF, UMBVPDHYOPK NKhDTPUFY UFBTGB, LPFPTSCHK YEEF URTSFBFSHUS ЪB OEPRTEDEMEOOSCHNY PVEEBBOYSNY RPNPYUSH, KHZPCHPTYFSH, KHUFTPYFSH, FYFBO RTPPHYCHPRPUFBCHMSEF UFTBIOKHA, RPDBCHMSAEHA LBTFYOKH NHL LBL TEKHMSHFBFB CHILDREN'S BOYK. po ZPCHPTYF PLEBOKH P OBLBBBOY DTHZYI FYFBOPCH. fBN X zEURETB NHYUIFUS bFMBOF, ЪБДБЧМЭOOШЧК ЗТХЪПН GEMPZP NYTB, B ABOUT VMBTSEOOPN PUFTPCHE UFPZPMPCHSHCHK fYZhPO, KH LPFPTPZP OELPZDB PDOY NPMOY ZMB KHVYCHBMY CHUE TSYCHP E, METSYF YETFOPK NBUUPK, RTYDBCHMEOOOSCHK yFOPA, Y ZEZHEUF, UIDS ABOUT ITS FOURTH, LHEF DPVEMB TBULBMEOOSCH ZMSHCHV TSEMEB. OP RTDEF DEOSH, LPZDB FYZhPO "YYTSCHZOEF UCHPA STPUFSH, Y PZOEOOSH RPFPLLY IMSCHOKHF YЪ ZPTSYUYI YUEMAUFEK YUKHDPCHYEB ABOUT RMPDPOPUOSCH YYTPLYE TBCHOYOSCH UYGYMYYY". rTEЪTEOYE OE RPЪCHPMSEF FYFBOKH UETDYFSHUS ABOUT RPLYOKHCHYEZP EZP UPAYOILB. hPF LPOEG UGEOSCH:

PLEBO

YUEN CE NPTSEF ZTPYFSH NOE RTEDHUNPFTYFEMSHOPUFSH? ЪБВПФБ? PVASUOY, RPTsBMHKUFB!

rTPNEFEK

pOB VSHMB VSH MYYOIN VTENEOEN Y, LTPNE FPZP, OBYCHOSCHN MEZLPNSCHUMYEN.

PLEBO

oh YuFP Ts. rTEDPUFBCHSH NOE bFH DPMA UFTBDBOYS rTYLTSCHFSH TBUYUEF RTPUFPFPK VSHCHBEF YOPZDB PYUEOSH CHZPDOP.

rTPNEFEK

FSH OE DPMTSEO VTBFSH ABOUT UEVS LFPZP ZTEIB, RPFPNKH YuFP ON NPK.

PLEBO

yFBL, FSH NEOS TEYFEMSHOP RTPZPOSEYSH.

rTPNEFEK

dB, VETEZYUSH LBL VSH, PRMBLYCHBS NEOS, FSH OE CHSHCHBM VSH ZOECHB.

PLEBO

zOECHB? YUSHEZP? YMY FPZP VPZB, LPFPTSCHK FPMSHLP YuFP ЪBCHMBDEM FTPOPN?

rTPNEFEK

dB, VETEZYUSH TBVKhDYFSH EZP ZOECH...

PLEBO

rTPNEFEK! fChPK TSTEVIK VKhDEF NOE KHTPLPN.

rTPNEFEK

UFHRBK CE, UFKHRBK - DB VETEZY IPTPYEOSHLP UCHPA NHDTPUFSH.

rP HIPDE PLEBOB FYFBO UOPCHB ZPCHPTYF U PLEBOIDBNY Y UOPCHB P UCHPEK MAVCHY L MADSN; "S OY CH YUEN OE HRTELBA YI, - RTYVBCHMSEF PO, - OP NOE RTYSFOP CHURPNYOBFSH P FPN, UFP S DMS OYI UDEMBM YI MAVCHY." y ChPF, OE PUFBOBCHMYCHBSUSH ABOUT FPN, UFP PO DBM VPZBN, rTPNEFEK RPDTPVOP TBUULBSCHBEF OINZHBN, LBL Ъ UKHEEUFCH EDCHB ЪTSUYI, RPDPVOSHHI UOPCHYDEOOYA, PO UDEMBM MADEK FEN, YUEN P OH UFBMY. PLEBOYDSCH U YUYUFP TSEOULYN YULHUUFCHPN OBCHPDSF TEYUSH ABOUT TPLPCHHA FBKOKH rTPNEFES, LPFPTBS LBUBEFUS YECHUB, OP VPZ ЪBUFBCHMSEF YI NPMYUBFSH. BY ITBOIF BH FBKOKH, RPFPNH YUFP VKhDEF DEOSH LPZDB, YUFPVSH KHOBFSH EE, YECHUKH RTYDEFUS UOSFSH U rTPNEFES EZP RPPTOSCH GERY. h UMEDHAEEN IPTE PLEBOYD ЪCHHUYF OPFB FBLPZP ZMHVPLPZP REUUYNYYNB, LPFPTSCHK VSHM TEDPL DBCE CH ZTEUEULPK FTBZEDYY. pVTBEBSUSH L FYFBOKH, IPT FBL RPEF P MADSI: "oEHTSFP-Ts FSH OE CHYDYYSH OEDCHYTSOPK UMBVPUFY, RPDPVOPK UOX, LPFPTPK ULCHBO UMERPK TPD NKHCEK? oEF, OILPZDB OE UNEUFY CHPME UNETFOSHI ye CHUPCHB NYTPRPTSDLB...".

OP CHPF SCHMSEFUS yP. ъDEUSHNOE RTYDEFUS UDEMBFSH NBMEOSHLPE PFUFHRMEOYE.

"rTPNEFEK" VSCHM UBNPK CHSHCHUPLPK Y UBNPK PFPVEOOOPK PF TsYOY DTBNPK LMMYOPCH. yTYFEMY CHYDEMY ABOUT EZP UGEOE HCE OE LBLHA-OYVKHSH EMELFTKH U EE CHUEN RPOSFOPK MAVPCHSHA L VTBFKH, UBCHYUFSHA L NBFETY Y OEOBCHYUFSHA L CHPFYUNKH, Y EUMY BLFETSCH FP Y DEMP R PChFPTSAF, YuFP еchu UCHECEYUREYUEOOOSCHK FYTBO, FP CHUE TSE OILFP JЪ ЪTYFEMEK OE UNEYBM VSC EZP U CHHMSHZBTOSCHN FYTBOPN, CHTPDE MYLB YMY lTEPOFB. ъTYFEMY CHUE CHTENS YUKHCHUFCHPCHBMY VPZB ZDE-FP OBD UGEOPK, OETYNP RTYUKHFUFCHHAEIN Y UKHDSEIN. dB Y DMS OBU EEE PEKHFYFEMSHOP CH ECHUE CHCHUYEE, YDEBMSHOP OYUBMP: VPZ OEDPCHPMEO MADSHNYY ZPFPCHYFUS UPJDBFSH DMS YENMY OPCHSHCHK TPD PVYFBFEMEC; FYFBO FPSE OE RTPUFPK ЪBLPOPOBTHYYFEMSH, LPFPTPZP NPTsOP UKhDYFSH LBL boFYZPOKH YMY pTEUFB. BY VPZ Y UPRETOIL VPZB. h FTBZEDYY OEF MADEK, DBCE VEDOBS yP FPMSHLP FEMLB.

MADY, CHYUETBYOYE FTPZMPDYFSHCH, LPRPYBFUS ZDE-FP FBN, CHOYH, Y YN OEF NEUFB ABOUT UGEOE, FTBZEDYS FCHPTYFUS TBY OYI, B OE YNY; Y ZHTBOGKHULYE RPFSCH VE'ENTOP RTYOYYMY UCHPEZP ZETPS, UDEMBCH FYFBOB LBLYN-FP BNYUUBTPN YUEMPCHYUEUFCHB. х ьУИМБ ДБЦЭ УЧСЪШЧБEF rTPNPEFES U ьжЭНЭТБНИ 6 OE ьТПУ - МАВПЧШ, B ECHOPS - VMBZPULMPOOPUFSH, F, E. YUKHCHUFChP, LPFPTPPE NPTSEF VShchFSH OE YuKhTsDP Y DPVTPNH TBVPCHMBDE MSHGH. UBNSHCH VMBZPDESOYS FYFBOB MADSN, CH HEETV OPChPK TBUE, LPFPTHA ЪBNSHCHYMSM lTPOD, OE VSHMY MYYEOSCH OELPFPTPZP RPMENYYUEULPZP TsBTB.

6 vHLCHBMSHOP TSYCHKHEINY PDYO DEOSH. ъDEUSH: TPD MADULPC.

PE CHUSLPN UMKHYUBE CH NYTE BOFYUOPK FTBZEDYY rTPNEFEK yUIYMB VSHMY PDYOPYUOSCHN SCHMEOYEN. OYLFP OE TEYBMUS LBUBFSHUS LFPC FBYOUFCHEOOPK LPOGERGYY, RPMOPK ЪBZBDPL Y RTPFPYCHPTEYUYK, Y ZEOYBMSHOPK CH UCHPEK RBTBDPLUBMSHOPUFY. h OPChPN NYTE rTPNEFEK, OBPVPTPF, YNEOOOP VMBZPDBTS CHCHUPFE Y PVEOPUFY UYNCHPMB, UFBM MAVYNPK FENPK DMS FChPTYUEULYI KHNPCH: lBMSHDETPO, NYMSHFPO, ZEFE, vBKTPO, еEMMY UPJD BMY LBTSDSCHK UCHPEZP rTPNEFES. VSHMP VSC OERTBCHYMSHOP, PDOBLP, YUYUETRSHCHBFSH OBYUEOYE LUYIMPCHULZP rTPNEFES EZP PVEEEYEMPCHYUEULYY UMENEOFBNY Y ЪBVSCCHBFSH P FPN, YUEN FTBZEDYS VSHMB DMS RETCHSHHI ЪTY FEMEC. OEF UPNOEOYS, YuFP DMS BNZHYFEBFTB "rTPNEFEK" VShchM, RTETSDE CHUEZP, δρᾶμα τεςατῶδες , DTBNPK YUKHDEU, Y BLFET, YZTBCHYYK yP, UCHPEK NBULPK, ​​CHETPSFOP, OBRPNYOBM ЪTYFEMSN, YuFP VEKHNOBS DPYUSH YOBIB VSHMB PVTBEEOB TECHOYCHPA zETPK CH FEMLH, LPFPTHA OEPFCHS ЪOBS PUB OBRPMOSMB VTEDPN, PFYUBSOYEN Y CHEUOSCHN TSEMBOYEN DCHYZBFSHUS.

rTPNEFEK NPMYUBM CH UGEOE U RBMBYUBNY. by ZPCHPTYM PLEBOIDBN P UCHPEK UMBCHE Y UFTBDBOY, F. E. P MADSI; BY TYUPCHBM RETED FTHUMYCHSHCHN PLEBOPN FYFBOPCH, LPFPTSHCHE ZTPJSF ECHUPCHH NYTH DBCE CH UPEN KHOYTSEOYY UCHPYI NHLBI. FERETSH RETED JP BY UFBOEF RTPTPPLPN; FTPOHFSHCHK UPUFTBDBOYEN L LFPNH UINCHPMH YUEMPCHEULYI NHL, BY PVOBTHTSYF UHEOPUFSH UCHPEK YULMAYUYFEMSHOPK VPTSEUFCHEOOPK RTYTPDSCH, YUFPVSH RPFPN IMPPDOPK Y PUFTPK, LBL NEDSH, DET ЪPUFSHA CH RPUMEDOEK UGEOE U zETNEUPN VE'ENTOP KHUIMYFSH UPVUFCHEOOSCH NHLY Y FEN EEE STUE RPLBBBFSH NYTH CHUA VEURPMEYOPUFSH YECHUPCHB ZOECHB. fBL RPUFEREOOP TBCHETFSHCHBM uUIIM IBTBLFET UCHPEZP FTBZYUEULPZP ZETPS. UGEOB FYFBOB U yP RPMOB DTBNBFYUEULPZP OBYUEOYS, NSCH KHOBEN YY yFPK UGEOSCH, YuFP PF yP YuETE DCHEOBDGBFSH RPLPMEOYK TPDYFUS URBUYFEMSH rTPNEFES, Y FYFBO OE VEY CHSH ЪПЧБ ОЭЧИДНИП RTYUHFUFCHHAEEENH yechukh RTEDTELBEF LFP OYUYUBUFOPK TSETFCHE EZP MAVCHY. OP UGEOB U yP OEULPMSHLP DMYOOB, Y CH OEK EUFSH RPDTPVOPUFY, IPFS Y PYUBTPCHBFEMSHOSHCHE, OP UMYYLPN DTECHOE-UMMYOULYE. fBL, FYFBO CH DCHB RTYENB RETEDBEF CH VMEUFSEEN NYZHPMPZYUEULPN TBUULBYE, ZDE VSHMB yP Y ZDE EEE EK RTYDEFUS ULYFBFSHUS. OP OE OBDP ЪБВШЧЧБФШ, YuFP RPMPCHYOB V CHELB VSHMB LBL TB ьRPIPK UBNPZP PTSYCHMEOOOPZP YOFETEUB L ZEPZTBZHYUEULYN PRYUBOYSN, bFPK RTYYUKHDMYCHPK UNEUY MEZEOD U ЪBNEF LBNY RHFEYUFCHEOILCH. ъB RSHCHFMYCHSHNY TBUURTPUBNY PLEBOYD CHSC VHDFP EEE YUKHCHUFCHHEFE OBRTSCEOOPE MAVPRSCHFUFChP BNZHYFEBFTB. OE UMEDHEF KHRKHULBFSH YI CHYDB Y FPZP PVUFPSFEMSHUFCHB, YuFP DTECHOIE ZTELY VPMEYUEN NSCH GEOMY DEFBMY UCHPYI RSHEU, FBL LBL YN OE OBDP VSHMP UMEDYFSH ЪB YI UPDETSBOYEN: NY F VSHM YJCHEUFEO ЪBTBOEE, B RTY yUIIME PO L FPNH TSE VSHM EEE RPYUFY LBOPOYUEO.

l IHDPCEUFCHEOOSCHN LPOFTBUFBN RSHEUSCH RTYVBCHMSEFUS CH UGEOE yP EEE PDI O, Y EDCHB MY RTYFPN OE UBNSCHK RPMOSHCHK OE UBNSCHK RBFEFYUEULYK. ьФП LPOFTBUF NETSDH rTPNEFEEN Y yP, Y PO PVTYUPCHCHCHBEFUS ABOUT RPYUCH VMYOLPK UKhDShVSCH Y PVEEZP UFTBDBOYS. OETSOBS DPYUSH YOBIB, LPFPPTBS OYUEZP OE DEMBMB CH UCHPEN FETENE, YUFPVSH RPOTBCHYFSHUS YECHUKH, Y DETOLYK FYFBO, LFPPTSHCHK UDEMB CHUE, YUFPVSH EZP KhTSBUOKHFSH - PVB SCHMSAFUS TSETFCHBNY PMYNRYKGB ABOUT DMYOOSHCHK TSD MEF. b ABOUT UGEOE RETED OBNY U PDOPK UFPTPOSCH VPZ, RTYLPCHBOOSCHK NPMPFPPN ZEZHEUFB, U DTHZPK - YUKhDPCHYEE - FEMLB, ZPOSENBS RP CHUENKH NYTH PUK, U PDOPC UFPTPPOSH FTECHSHCHK Y SUOSCHK KHN NHTSB Y DBT RTPCHYDEOOYS VPZB, U DTHZPK VEKHNYE Y VTED TsEOEYOSCH.

lPOEG UGEOSCH yP RPMPO ZMHVPLZP RBZHPUB. ChPF YuFP ZPCHPTYF POB, RPLYDBS UGEOH:

"хЧШЧ! хЧШ! LBFSHCHCHBAFUS, VMHTSDBS, FSTSLPE DSHIBOIE mYUUSH UTSHCHBEF NEOS U NEUFB, Y NPI UNSFEOOSCH LTYLY VSHAFUS P CHPMOSCH OEOOBCHYUFOPZP ZTEIB".

rPD CHMYSOYEN RTPTPYUEULPZP TsBTB, LPFPTSCHK CHCHCHBO CH rTPNEFEEE ЪTEMYEEN OEURTBCHEDMYCHSHYY TPDUFCHEOOSCHY ENKH NHL YUEMPCHELB, ЪMPVB EZP RTPPHYCH YECHUB CHSHCHCHCHBEFUS CH UFTBUF OPN NPOPMPZE. fYFBO RTPTPPUYF OPChPNH GBTA UNYTEOYE Y RBDEOOYE Y RTEDTELBEF ENKH FPTCEUFCHHAEEZP CHTBZB. rTPNEFEK YEEF VPTSHVSHCH: FBL TEBZYTHEF NHTSEUFCHEOOPE UETDGE OBCHREYUBFMEOYE PF OPChPK OERTBCHDSCH, LPFPTBS ENKH VPMSHOEE UPVUFCHEOOPK PVIDSHCH. OP CHNEUFP еCHUB SCHMSEFUS EZP RPUPM. h ZETNEUE RETED OBNY OPCHSHCHK FYR DTHZB CHMBUFY. lFP HCE OE FSTSEMPCHEUOP-RPLPTOSHCHK, RBUUYCHOP-DPVTSHCHK ZEZHEUF, OE FKHRP-CEUFPLYK lTBFPU, OE UMBDLPTEYUYCHSHCHK Y NHDTSCHK PLEBO. bFP FPOLYK UPAYOIL, les grands moyens FYTBOYY. YuFPVSH DBFSH CHBN CHPNPTSOPUFSH UKhDYFSH, IPFS VSC RP VMEDOPC LPRYY, P OBBLMAYUYFEMSHOPK UGEOE ULPCHOOPZP rTPNEFES, S RTYCHEDH CHBN EE CH DPUMPCHOPN RETECHPDE:

ZETNEU

with ZPCHPTA U FPVPK, UPZHYUF, RTEDETOPUFOSHCHK, U FPVPK, LPFPTSCHK, RPZTEYYCH RETED VPZBNY, RPYUFYM MADEK, U FPVPK, RPIIFYFEMSH PZOS.
pFEG RTYLBYBSHCHBEF FEVE PVASUOYFSH, P LBLPN LFP VTBLE FSH ICHBUFMYCHP CHEEBEYSH, VKhDFP YЪ-ЪB OEZP еchu MYYYFUS CHMBUFY? CHSHCHULBTSYUSH SUOEK Y OE ЪBUFBCHMSK NEOS RTYIPDIFSH CHFPTYYUOP. fsch, LBCEPHUS, CHYDYYSH, YuFP RPDPVOSHCHE TEYU OE YI FAIRIES, LPFPTSHCHE UNSZYUBAF YECHUB.

rTPNEFEK

bFB RSCHYOPKHUFBS Y LYUMYCHBS TEYUSH LBL OEMSHЪS MHYUYE RPDPVBEF UMHZE VPZCH. OPCHSCHE GBTY OPCHPZP GBTUFCHB, CHSHCH DKHNBEFE, YuFP VEDB OE RPUNEEF CHBU FTPOKhFSH ЪB CHBYEK FCHETDSCHOEK. OP TBCHE S OE CHYDBM, LBL PFFHDB HCE RBMP DCHB CHMBUFEMYOB? fTEFYK UYDYF FBN UEZPDOS, Y S OBDEAUSH KHCHYDEFSH EZP PYUEOSH VSCHUFTPE Y PYUEOSH RPPTOPPE LTHYEOYE. FSC DKHNBM, NPTsEF VShchFSh, YuFP S VHDH PUFETEZBFSHUS, YuFP S VPAUSH OPCHSHHI VPZCH. oEF, WITH THEYFEMSHOP OYUEZP OE VPAUSH. b FSH UFKHRBK FPK CE DPTPZPK, RP LPFPTPK RTYYEM: ABOUT CHPRPTUSCH UCHPY OILBLLPZP PFCHEFB OE RPMKHYYYSH.

ZETNEU

b NETSDH FEN, VMBZPDBTS YNEOOOP FBLPNH TSE KHRPTUFCHH, FSH PUKHFYMUS CH LFPC VEDOE NHL.

rTPNEFEK

ъOBK, YuFP S OE UNEOYM VSH UCHPEZP ЪMPRPMKHYYS ABOUT FChPE TBVUFChP. dB, MHYUYE, RPTsBMKHK, VShchFSH TBVPN LFK ULBMSHCH, YUEN CHETOSCHN RPUMPN yechukh.

ZETNEU

b FEUS, LBCEPHUS, FEYYF LFP? ( KHLBSCCHBEF ABOUT GERY Y ULBMH).

rTPNEFEK

rHUFSH VSHCH LFP FEYYMP FBLCE NPYI CHTBZPCH Y FEVS RETCHPZP.

ZETNEU

TBCHE WITH ULPMSHLP-OYVHDSH CHYOPCHBF?

rTPNEFEK

with OEOOBCHYTSKH CHUEI CHBU, VPZPC, ChPPVEE, RPFPNH YuFP, Ch PFRMBFH ЪB NPI VMBZPDESOYS, CH OEURTBCHEDMYCHP NEOS NHUYFE.

ZETNEU

pDOBLP, FSH UETSHEOP VPMEO... KHNPN...

rTPNEFEK

vPMEO KHNPN, DB... EUMY LFP OBYUIF OEOOBCHYDEFSH CHTBZPCH.

ZETNEU

ъOBEYSH, YuFP FSH VSHM OECHSCHOPUYN, VHDSH ABOUT FCHPEK UFPTPOE UYMB?

rTPNEFEK

xChShch!

ZETNEU

hPF UMPChP, LPFPTPNH OE PVHYUEO lTPoid.

rTPNEFEK

CHUENH OBHUIF UFBTEAEE CHTENS.

ZETNEU

fPMSHLP OE FEVS... RPLHDB... ULTPNOPUFY.

rTPNEFEK

with VSHCH OE PFCHYUBM FEVE FPZDB, IPMPR.

ZETNEU

yFBL, FSH OE DBYSH PFGH OYLBLPZP PFCHEFB?

rTPNEFEK

rPUMBFSH ENKH VMBZPDBTOPUFSH?..

ZETNEU

fsch, LBCEPHUS, ЪBVBCHMSEYSHUS NOPA, LBL TEVEOLPN.

rTPNEFEK

dB FSH Y EUFSH TEVEOPL, DBTSE ZMKHRSCHK TEVEOPL, EUMY FSH DKHNBEYSH YUFP-OYVKhDSH X NEOS CHSHCHRSCHFBFSH. OEF FPK RSHCHFLY Y OEF FPK IYFTPUFY, LPFPTPA UECHU Refinery VSHCHCHTSBFSH YI NEOS IPFSH UMPChP, RTETSDE YuEN OE VHDHF TBVYFSH VTENEOSEYE NEOS PLPCSHCH. RHUFSH TBYF NEOS STPE RMBNS, RHUFSH ECHU RETECHETOEF UFKH ENMA CH VEMPN CHYITE UOEZB UYMPA UCHPYI RPDYENOSHI ZTPNPCH. oEF, S OE ULBTSKH ENKH, LFP MYYYF EZP RTEUFPMB.

ZETNEU

rPDKHNBK MHYUYE, L YUENH FEVE LFP RPUMKHTSYF?

rTPNEFEK

p, CHUE HCE DBCHOP PVDHNBOP Y TEYEOP.

ZETNEU

EEE TB, VEKHNEG, PZMSOYUSH, DBK CHTBHNYFSH FEVS FChPYNY TSE OYUBUFSHSNY.

rTPNEFEK

fsch DPLKHYUBEYSH NOE, OP U FBLPK CE RPMSHЪPK, LBL EUMY VSH FSH ZPCHPTYM CHPMOBN. rPUFBTBKUS PUCHPVPDYFSHUS PF NSCHUMY, YuFP S NPZH PF KhTSBUB RETED TEYOYEN YECHUB PVTBFYFSHUS UETDGEN CH TSEOOEYOH Y, RP-TSEOULY RPDOINBS THLY, NPMYFSH FPZP, LPFPTSHCHKNOE OE OBCHYUFEO, YuFPVSH BY JVBCHYM NEOS PF GEREK. with DBMEL PF CHUEZP bFPZP.

ZETNEU

dB, RP-CHYDYNPNH, S ZPCHPTYM, Y NOPZP, Y UPCHETYOOOP VEURPMEYOP. FSH OY CH YUEN O KHUFHRBEYSH Y TEYFEMSHOP Oye UDBEYSHUS ABOUT NPI RTPUSHSCH.
lBL NPMPPDK EDCHB PVYAETTSEOOSCHK LPOSH, FSH ЪBLKHUIM KHDYMB Y OE IPUYYSH RPLPTYFSHUS CHPTsCBN, VPTSHVB FCPS MYIEOB UNSHUMB. chPPVEE KHRTSNUFChP OYLPZDB OE RTYOPUYF RPMSHЪSH YUEMPCHELH, LPFPTPK OE IPUEF TBUUKHTsDBFSH. rPUNPFTY, EUMY FSH OE RPUMKHYBEYSHUS NPYI UPCHEFPC, LBLBS VHTS, LBLPC OEYYVETSOSCHK RPFPR VEDUFCHYK ZPFPCH ABOUT FEVS PVTHYYFSHUS.
UOBYUBMB PFEG TBDBCHYF LFY ULBMSH PZOEN NPMOYK Y FSTSEUFSHA UCHPYI ZTPNPCH. according to RPZMPFYF FChPE FEMP, Y EZP HOEUHF PFUADB LBNEOOSCH PVYASFYS. y DPMZP VKhDEYSH FSH METSBFSH RPZTEVEOOOSCHN, RPLB OE CHPTPDYYSHUS DMS UPMOGB, B FPZDB LTSHMBFSHCHK REU LTPOIDB, TsBDOSCHK DP LTPCHY PTEM, RTYNEFUS TsBDOP RPTSYTBFSH PVIMSHOSHCHE PU FBOLY FCHPEZP FEMB. OJCHBOSHCHK ZPUFSH, BY VKhDEF RTYMEFBFSH YuFP OH DEOSH, Y VKhDEF TCHBFSH FChPA YUETOKHA REYUEOSH, Y OE TBUUYUYFSHCHBK, YUFPVSH LFB LBTB LPZDB-OYVKhDSH LPOYUMBUSH. dms bfpzp lfp-oyvhdsh yj vpzpch dpmtseo bbosfsh fchpe neufp j UPKFY CH FENOSCHK BYD, CH ZMKHVPLYE FKHNBOSCH fBTFBTB.
rPDKHNBK, rTPNEFEK, CHEDSH LFP OE MTSOBS Y OE RKHUFBS KHZTPЪB, UMPCHP LFP VMYTSE L DEKUFCHYFEMSHOPUFY, YUEN FSHCH, NPTSEF VSCHFSH, DKHNBEYSH. KhUFB YECHUB OE KHNEAF MZBFSH, Y TEYOOOPE YNY FCHETDP. rPDKHNBK TSE, TBNSCHUMY, NPTsEF VShchFSH, FSH Y OE ЪBIPIYUEYSH, CH LPOGE LPOGPCH, RTEDRPYUEUFSH KHRTSNUFChP VMBZPTBKHNYA.

iPT

dB, OBN LBCEFUS, YuFP ZETNEU ZPCHPTYF IPTPYP. according to IPUEF YUFPVSH FSH VTPUYM KHRPTUFChP TBDY VMBZPTBHNYS, TBDY NHDTPUFY. rPCHYOHKUS ENKH. uFSHCHDOP nKhDTPNH KHLMPOSFSHUS PF RTSNPZP TBUUKHDLB.

rTPNEFEK

noe Y'CHEUFOP CHUE, YuFP PO ЪDEUSH ZPCHPTYM Y RPCHFPTSM. URTBCHEDMYCHP Y FP, YuFP ChTBZ FETRYF RPOPEEOYS PF CHTBZB. OP RHUFSH RBDEF ABOUT NEOS LTSHMBFSHCHK ЪNEK, RHUFSH YJT UPDTPZOEFUS PF ZTPNB Y STPUFY CHYITS, RHUFSH VHTS U LPTOSNY CHSHTCHEF JENMA YEE KHUFPECH, RHUFSH CHPMOSCH NPTEK U ITIRMSCHN LMPLPFBOYEN IMSCHOKHF ABOUT RKhFY OEVEUOSCHI UCHEFYM, B'ECHU YCHSCHTOEF NPE FEMP CH UBNHA ZMKHVSH fBTFBTB, Y POP MEFIF FKhDB, ​​VEUUYMSHOP LTHTSBUSH, - BY OE NPTsEF NEOS HVYFSH.

ZETNEU

dB, FBL DPMTSOSCH ZPCHPTYFSH Y DKHNBFSH MADI, PICHBUEOOSCH VEKHNYEN. th LFP UPCHETYOOOP RPOSPHOP. po VPMEO Y VTEDYF, B STPUFSH OE DPRKHULBEF EZP DP KHUFKHRPL.
(l IPTX) . OP CHSHCH, LPFPTSCHE UFPOEFE OBD EZP NHLBNY, OE DPMTSOSCH VPMEE PUFBCHBFSHUS ЪDEUSH, EUMY CHCH OE IPFYFE, YUFPVSH KHTsBUOSCHK TECH ZTPNB MYYYM CHBU TBUUKHDLB.

iPT

ZPPTY YOBYUE. dBC DTHZPK UPCHEF. eFYN FSH OE KHVEDYYSH NEOS. fChPY UMPCHB OECHSCHOPUYNSCH. fschchschchchbeysh neos udembfsh oyjpufsh. u OIN S IYUH UFTBDBFSH, OEOOBCHYDEFSH YYNEOOILPC. th OEF OEDKHZB RPЪPTOEE RTEDBFEMSHUFCHB.

ZETNEU

rKHUFSH FBL, OP WITH CHBU RTEDKHRTETSDBM. pVYASFSH VEDUFCHYEN ZTEIB, OE CHYOFE RPFPN UKhDSHVSCHY OE RPCHFPTSKFE, YuFP еCHU OEPTSIDBOOP CHCHETZ CHBU CH OEYUBUFSHE. ChSHCH, LPOYUOP, VKhDEFE ЪBICHBUEOSHCH CHNEUFE U OYN PZTPNOPK UEFSHA VEDUFCHYS, OP OE CHOEBROP Y OE VMBZPDBTS ЪBRBDOE, B UPOBFEMSHOP Y VMBZPDBTS CHBYENKH VEKHNYA.

(hIPDF).

rTPNEFEK

yENMS OBUYOBEF LPMEVBFSHUS... dB... bFP OE UMPCHB... bFP FBL... dP UMHIB DPOPUYFUS ITYRMPE NSHYUBOSHE ZTPIPYUHEEZP ZTPNB. ЪИЗЪБЗІ, УйВБСУШ, ЪБЗПТБАФУС. chYITY LTHFSF RSHMSH. CHEFTSCH NEYBAFUS CH STPUFOPK UICHBFLE. LIVE UMYCHBEFUS AT NPTEN. dB, IECHU PFLTSCHFP OBRBDBEF ABOUT NEOS Y TBYF NEOS KHTSBUPN. p, UCHSEOOOBS NBFSH, P FSH, LMHVSEIKUS zhJT, FSH, UPMOGE, EDYOPE DMS CHUEI. ZMSDYFE, PF LBLPK OERTBCHDSCH S ZYVOKH.

(rTPCHBMYCHBEFUS).

yuFP NPTsEF VShchFSH RTPEE LFPC DTBNSCH RP UFTHLFHTE, HTSBUOOEE RP VESCHUIPDOPNH FTBZYYNH RPMPTSEOYK Y IBTBLFETB Y ZHZHZHELFOEE RP LPOFTBUFBN Y BBLMAYUEOYA?

s OE VKHDH ZPCHPTYFSH P CHFPTPN rTPNEFEEE, LPFPTSCHK KH UUIYMB Y ABOUT UGEOE OERPUTEDUFCHEOOP RTYNSCHLBEF L RETCHPNH. lFP ЪBCHMELMP VSH NEOS UMYYLPN DBMELP. noe OBDP VSHMP FPMSHLP IPFS VSC ABOUT PDOPN RTYNET RPLBЪBFSH NPYN UMKHYBFEMSN, YuFP FBLPE BOFYUOBS FTBZEDYS Y YuFP RPOINBMY DTECHOYE BMMYOSCH RPD YNEOEN FTBZYUEULPZP. b FERTSH RPKDEN YULBFSH YUFPYUOYLPCH FTBZEDYY: POB OE CHCHYMB, LBL rBMMBDB, ZPFPCHPA YЪ ZPMPCHSH ECHUB.

FTBZEDYS RPMKHYYMB OYUBMP YI MEZEODSCH Y LHMSHFB dYPOYUB. lPZDB S FERTSH RPCHFPTSA LFP YNS, FP RTEDUFBCHMSA UEVE dYPOYUB CH CHYDE VPTSEUFCHEOOPZP RTYUOP PFTPLB: FPZP puer aeternus pCHYDYS, LPFPTSCHK VSHM RPJDOEKYN PFJCHHLPN RTBLUIFEM ECHULPZP dYPOYUB. OP YUEN ZMKHVTSE NSCH KHIPDYN CH YUFPTYA DYPOYUB, LPFPTPZP RPD TBOSCHNY YNEOBNY YUFYM CHEUSH DTECHOYK NYT, FEN REUFTEE Y OEPRTEDEMOOOOEE NMSHLBEF RETED OBNY LFPF PVTB, CHTENEOBNY DBCE OE PVTB, B UINCHPM - FP VShchL, FP MPJB, FP REUOS. oEUPNOOOOP, YuFP CH BMMYOULPN dYPOYUE PYUEOSH TEOLLP UNEYBMYUSH YuETFSH DCHHI UPCHETYEOOOP TBOPTPDOSH VPZPCH: ZHTBLYKULPZP VPZB, LHMSHF LPFPTPZP PFMYUBMUS LLUFBFYUEUL YN IBTBLFETPN, B MEZEODSCH LTPCHBCHSHNY RPDTPVOPUFSNY, Y NYTOPZP BMMYOULPZP VPZB CHYOPZTBDOPK MPISHCH - DEODTYFB U EZP CHUEMSCHNY IPTBNY, NBULBTBDPN Y YHFMYCHSHCHNY YNRTPCHYBGYSNY. bJYOSOE, LPFPTSCHE OE MAVIMY RTYOBCHBFSH, YuFP SING YuFP-OYVHDSH ЪBYNUFCHPCHBMY KH DTHZYI, Y FE DEMBMY YULMAYUEOYE DMS LHMSHFB dYPOYUB. h FPN UBNPN DENE, PFLKHDB RTPYUIPDYM RETCHSHCHK YJCHEUFOSCHK OBN FTBZYL 7, UPЪDBMBUSH UMEDHAEBS RPFYUEULBS MEZEODB:

l GBTA YLBTYA OELPZDB RTYYEM dYPOYU DTHTSYOPK, GBTSH RTYOSM EZP TBDHYOP, Y CH OBZTBDH dYPOYU DBM ENKH CHIOB, OBLBBCH FPMSHLP RTYRTSFBFSH EZP IPTPYEOSHLP. OP RBUFHIY YLBTYS PFLTSCHMY MBLPNUFChP RP EZP BTPNBFH. sing RPRTPVPCHBMY CHYOB, RPFPN RETERYMYUSH Y, OBLPOEG HVYMY YLBTYS, B FEMP EZP ULTSHCHMY CH SNE, ЪBVTPUUBCH EZP LBNEOSHSNY. y ChPF DPYUSH yLBTYS, yTYZPOB, YDEF YULBFSH PFGB. lPZDB, RTY RPNPEY CHETOPK UPVBLY NTSCH, POB OBUYMB, OBLPOEG, EZP NPZYMKH, FP U ZPTS FHF TSE RPCHEUYMBUSH. DYPOYU CHUEI FTPYI ABOUT OEVP, HERE YLBTYK, Y YYZPOB, Y NTB UFBMY ЪCHEDBNY. OP ABOUT UNETFSH YTYZPOSH CHSHCHBMB NBUUKH RPDTBTSBOYK - PDOB ЪB DTHZPK UFBMY CHEYBFSHUS NEUFOSH DECHKHYLY, Y FPMSHLP YULHRYFEMSHOSHCH TSETFCHSH RTELTBFYMY, OBLPOEG, LF X UFTBIOOHA VPMEOSH.

7 TEYUSH YDEF PV mMECHUYOE.

OE OBDP VPMSHYPK RTPOYGBFEMSHOPUFY, YUFPVSH KHZBDBFSH UNSHUM Y VSHFPCHHA UFPTPOH LFPZP VPFBOYUEULPZP NYZHB. xVYFSHCHK Y ЪBVTPUBOOSCHK LBNOSNY YLBTYK - LFP ChYOPZTBD RPD RTEUUPN, yTYZPOB Y RYDENYS UBNPKHVYKUFCH, LFP SZPDSH OPChPZP ChYOPZTBDB, LPFPTSHN PVCHEUYMBUSH MP B, LPZDB RTPCHSMEOOOSCHK Y CHSTSBFSHCHK CHYOPZTBD HCE DBM UCHPK RETEVTPDYCHYK, RSHSOSHCHK UPL, RBUFKHIY CHSHCHRYMY PDOP CHYOP, Y FPZDB KHVYMY YLBTYS, F. E. UFBMY ZPFPCHYFSH DTHZPE. RETEIPD dYPOYUB CH bFFYLH YЪ zhTBLYY OBNEOHHEFUS OPChPK EZP TBOPCHYDOPUFSH: YЪ CHBLIYUUEULPZP, F.E. VEUOPCHBFSHUS, dYPOYU UFBOPCHYFUS mYUYEN, F. E. TBTEYFEMEN HY. h FTBZEDYA, IPFS OE CH TBCHOPK NETE, CHPIMY, LPOYUOP, PVB dYPOYUB. chPPVEE TSE Y CH ULBLBI, Y CH LHNYTPUMKHTSEOY YFPZP VPZB VSHMY CHUE DBOOSCH, YUFPVSH UDEMBFSH YNEOOOP EZP VPZPN UGEOSCH. chP-RETCHSCHI, dYPOYU CHUEZDB SCHMSEFUS Ch UPRTPCHPTSDEOOY UCHYFSHCH Y CH UBNPN RPSCHMEOYY EZP EUFSH HCE, FBLYN PVTBBPN, ETOP DTBNSCH. ChP-ChFPTSCHI, TSYЪOSH LFPZP VPZB RPMOB RTYLMAYUEOYK, RPMOB RTYYUKHDMYCHPK UNEOSHCH UFTBDBOYK Y FPTCEUFCHB; CH-FTEFSHYI, CH EZP UMHTSEOY VSHCHMY Y LUFB, Y FBCOB.

eEE TEVEOLPN dYPOYUB CHPDSF ZKHUFPLUSCHE OYNZHSHCH, EZP LPTNYMYGSHCH; RPFPN LFB ZPTUFSH URKHFOYG CHSTBUFBEF CH VMYUFBFEMSHOSHCHK ZHYBU, F. E. DTHTSYOH: FBN Y VEMPOPZIE NEOBDSCH U FYTUBNY, VHVOBNY, RMAEN YMY ЪNESNY CH CHPMPUBI, UBFYTSCH, RP MHMADI U LPSHIYN ICHPUFPN Y MPYBDYOSCHNY KHYBNY, RSHSOIGSHCH Y MBLPNLY, UFTBUFOSHCH NKHSHHLBOFSHCH Y OEKHFPNYNSCHE FBOGPTSH, rBO, LPFPTSCHK YЪPVTEM UCHYTEMSH, ZHTYZYKULYK VPZ RPFPLPCH uIMEO, FBN THNSOSCHK NBMSHYUIL pKOPRYK OBMYCHBEF VPZH CHIOB, B pKOPU, PMYGEFCHPTEOOPE CHYOP, FBOGHEF U ЪBTTSSEOOSHCHN ZHBLEMPN, FBN GEMSHK TSD LTBUICHSHCHI OYNZH, Y mPIB CH GCHEFKH, Y zPMPCHPLTHTSEOYE, FBN Y FTY VPTSEUFCHEOOSCHI RPDTHZY DYPOYUB : PRSHSOEOYE, RTEMEUFSH YNYT.

ZHYBU chBLIB, FBL DYCHOP YЪPVTBTSEOOSCHK echTYRIDPN CH PDOPC YЪ MYTYUUEULYI UGEO EZP "chBLIBOPL", VShchM OE FPMSHLP ULBYLPK; CH TSYJOY VSHHMY FPTSE ZHYBUSCH, FPMSHLP, LPOYUOP, OE FBLYE STLYE Y MEZLYE, LBL CH NEYUFE: LFP VSHMY TEMYZYPOSCH VTBFUFCHB, LPFPTSHCHE, CHOE PZHYGYBMSHOPK TEMYZYY, VSHUFTP TB URTPUFTBOSMYUSH RP nBMPK bjy, zTEGYY Y FBMYY Y BBLMAYUBMY CH UCHPEK UTEDE Y TSEEOEYO, Y CHPMSHOPFRHEOOOSCHI , Y DBCE TBPV. pDOBLP, OE REUFTPNH ZHYBUKH, B DTHZPK, VPMEE FEUOPK Y YOFYNOPK Y RTYFPN YUYUFP LMMYOULPK, ​​UCHYFE DYPOYUB DPCHEMPUSH RPMPTSYFSH OBYUBMP FEBFTH.dYPOYUB YUFYMB CHUS UMMBDB, Y IPFS OE LPTEOOPK ZTEUEULYK VPZ,BY YNEOOOP ЪDEUSH-FP, CHETPSFOP, Y UFBM VPZPN CHYOPZTBDOPK MPISHCH. OE VSHMP DETECHOY, ZDE VSH UVPT CHYOPZTBDB YMY RTPVB RETCHPZP CHYOB OE URPTPCHPTsDBMYUSH YZTBNY CH YUEUFSH DIPOYUB, Y YNEOOP CH YMMBDE EZP UCHYFB RPMKHYYMB IPFS NEOEE STLYK, OP ЪBFP VPMEE NYTOSHCHK Y KHRPTSDPUEOOSCHK CHYD IPTB UBFYTPCH YMY FTBZPCH, LPЪMPCH, - FTBZYUEULYK IPT.

iPT CHOEYOYK, ЪBOPUOSCHK, ZHYBU YNEM CH PUOPCHE TSEOOEYO - PDETSINPUFSH, LUFB; IPT NEUFOSCHK BMMYOULYK, LHDB dYPOYU CHYYEM ZPUFEN, OP PFLKHDB ON NBMP-RPNBMH CHSHCHFEUOYM UFBTTPZP DEODTYFB, YNEM CH PUOPCHE NHTSULPE OBYUBMP, - RPYUOB, YЪPVTEFBFEMSHOPUFY Y TBCHYFYS; ENKH TSE Y RTYYMPUSH UFBFSH FChPTYUEULYN OBYUBMPN FTBZEDYY. pFЪCHHL ZHYBUB PUFBMUS CH MYTYLE DB CH TSYCHPRYUY, B ABOUT UGEOE ON NEMSHLOHM UCHPYN OBTSDOSHN TPEN MYYSH RPD UBNSCHK LPOEG LMBUUYUEULPZP CHELB DTBNSCH.

dMS TBYCHYFYS FTBZEDYY VSHMP CHBTsOP Y FP PVUFPSFEMSHUFCHP, YuFP POB TBCHYMBUSH YJ PZHYGYBMSHOPK TEMYZYY, Y YuFP ZPUKhDBTUFCHEOOBS PVEYOB NPZMB ChЪSFSH ITS RPD UCHPA PRELH. DEKUFCHYFEMSHOP, TPDYCHYE FTBZEDYA IPTSCH, LBL RPTSE UBNB FTBZEDYS, TBOP UDEMBMYUSH PDOPK YЪ PUOPCH CHMBUFY OBD UETDGBNY: RPFPNH-FP FYTBOSCH uYLYPOB, bZhYO, uYTBLH Y nBLEDPOYY Y DENBZPZY, LBL ZHENYUFPLM Y RETAILM, PUPVEOOOP NOPZP DEMBMY DMS UGEOSCH.

MESEODSCH DYPOYUB RPMOSH RTYLMAYUEOYK, LBL EZP UPVUFCHEOOSCHI, FBL Y EZP CHTBZPCH Y TSETFCH. with OBRPNOA NPYN UMKHYBFEMSN ZPNETPCHULIK ZYNO. FENOPLKhDTSHK AOPYB CH RHTRKHTPCHPN ZhBTPUE UICHBYUEO FYTTEOULINY RYTBFBNY. sing LTERLP CHSCHF VPZB, OP UYOYE ZMBB EZP FPMSHLP UNEAFUS. lPTNYUYK RTEDKHRTETSDBEF FPCHBTYEEK, YuFP YN OE VHDEF DPVTB PF LFPC DYCHOPK DPVSHYUY, OP RYTBFSH OEKHNPMYNSCH, RPFPNKH YuFP POY TsDHF VPZBFPZP CHSHLHRB. th CHPF SING CH PFLTSCHFPN NPTE... ъDEUSH OBUYOBAFUS YUKHDEUB.

CHDTHZ ABOUT VSHUFTSHCHK Y YUETOSHCHK LPTBVMSH BTPNBFOPK ChPMOPA
iMSCHOKHMB UMBDLBS CHBLIPCHB CHMBZB, Y YUKhDOSHK RPCHUADH
ъBRBI RPYEM PF CHIOB. th DYCHSUS LEAVE RYTBFSH.
uNPFTSF: RP RBTHUKH UMEDPN Y YEMEOSH MPISC CHYOPZTBDOPK
choy RPFSOKHMBUSH, Y RBTHU RPLTSCHMUS Y ZTPЪDSHS RPCHYUMY
FENOEA ЪMEOSHA RMAE RPRPMЪ, TBUGCHEFBS ABOUT NBUFH.

uMDPN ABOUT LPTBVM RPSCHMSEFUS UFTBIOSCHK SWORD. nPTSLY CH KHTSBUE: SING VTPUBAFUS CH CHPMOSCH Y DEMBAFUS DEMSHJOBNY, B dYPOYU OZTBTSDBEF LPTNYUEZP Y OBSCHCHBEF EUVS.

h MEZEODBY dYPOYU RPYUFY CHUEZDB PLTHTSEO CHTBZBNY, RTYUEN LFY CHTBZY PVSHLOPCHEOOOP VPTAFUS CH EZP MYGE RTPPHYCH LUFBFYUOPUFY EZP LHMSHFB Y CHOPUYNPZP YN CH TSYOSH VEUR PTSDLB. fBL, ZHTBLYKULYK GBTSH MYLHTZ RTEUMEDHEF U PTHTSYEN CH THLBI NBMEOSHLPZP dYPOYUB, LPFPTSCHK, TBZKHMYCHBS UP UCHPYNY LPTNYMYGBNY RP MEUBN ZHTBLYY, OBRPMOSM YI UMY YLPN CHUEMSCHN YKHNPN. dYPOYU CH KHTSBUE VTPUBEFUS PF GBTS CH NPTE, ABOUT MYLHTZB CE CH OBLBBBOYE OBRBDBEF UMERPFB.

zhTBLYEG KHVYCHBEF UPVUFCHEOOPZP USCHOB, B UBNPNH UEVE PVTKHVBEF OPZY, CH RPNTBYUEOY RTYOSCH YI ЪB OEOOBCHYUFOSCH ENKH CHYOPZTBDOSHCH.

ZHYCHBOULYK GBTSH, REOZHEK, OBLBBBO EEE VPME TSEUFPLP: TBBDTBOOYCHYK EZP dYPOYU NEMSHLBEF RETED OIN CH PVTBJE VSHLB, LPFPTPZP FPF, RPUME PFYUBSOOSCHI HUIMYY, RTYCHSCHCH BEF L UFPMVH, DKHNBS, YuFP RTYCHSЪBM VPZB RPFPN, CH OBLBBOYE ЪB DET'PUFSH, REOZHEK UIPDYF U KHNB Y CH TSEOULPN RMBFSHE YDEF UNPFTEFSH ABOUT FBKOSHCHE TSEOULYE PTZYY DYPOYUB, WHERE EZP TBTSCHCHBAF VEEYOSCH RPUYFBFEMSHOYGSCH VPZB, U EZP UPVUFCHEOOPK NBFETSHHA PE ZMBCHE. rTECHTBEEOOYSNYY FPTSEUFCHPN VPZB OBD MADSHNY RPMOSH MEZEODSCH CHUEI ZTEYUEULYI VPZCH, OP CH ULBLBI DYPOYUB EUFSH PDOB IBTBLFETOBS PUPVEOOPUFSH. ъBNEFSHFE, YuFP dYPOYU PVNBOSCCHBEF MADEK RTYJTBLPN UCHPEZP KHOYTSEOYS Y UFTBDBOYS, YuFP PO KHCHMELBEF YI, YZTBEF U OYNY, DHTBYUIF YI, FP VTPUBSUSH PF OYI CH CHPDH, FP DBCH BS UEVS UCHSCHCHBFSH, Y YUFP RTY LFPN EZP UFTBDBOYE Y KHOYTSEOYE FPMSHLP RTY'TBYUOPE, B UFTBDBOYE EZP CETFCH HCE OBUFPSEE.

vShchFPCHSHCHN DHVMEFPN L RTECHTBEEOYA VSHM YHFPYUOSCHK NBULBTBD, VSHFPCHSHCHN DHVMEFPN L RTYYTBYUOPK, OP KhTsBUOPK RP RPUMEDUFCHYSN VPTSHVE dYPOYUB U MADSHNYUFBMB ZTEYUEULBS FTBZ EDYS.

with ZPCHPTYM PV PVNBOBI dYPOYUB. UMEDHAEIK IBTBLFETOSHK BOELDPF, UPITBOOOOSCHK rMHFBTIPN, RPLBYUESCHBEF, LBL FEUOP CH UPOBBOYY RETCHPOBUBMSHOPZP ЪTYFEMS FTBZEDY UGEOYUEULBS YMMAYS URHFBMBUSH YNEOOOP U PVNBOPN.

UFBTYL UPMPO, LFPF ЪBLPOPDBFEMSH-UUEFUYL, RPUME PDOPZP YЪ UGEOYUEULYI KHUREIPCH ZHEURYUB, UPЪDBFEMS FTBZEDYY, FSTsLP HRTELBEF EZP ЪB OERTBCHDH; UFHYUB RPUPIPN, BY UETDYFP RPCHFPTSEF, YuFP, YuEZP DPVTPZP, PVNBO FERETSH UP UGEOSCH RETEKDEF Y CH TBYUEFSH Y CH DPZPPCHPTSH.

OP PVTBFYNUS L LHMSHFH dYPOYUB.

h LHMSHFE FPTSE RTPIPDSF DCHE OUMYSOOSCHI UFTKHY: LLUFBFYUEULBS Y PUCHPVPDYFEMSHOBS. UYNCHPMPN RETCHPK SCHMSEFUS LTPCHSH. UYNCHPMPN CHFPTPK - RYTPCHPE CHYOP. RETCHBS CHSTBIMBUSH CH BZTYPOISY Y PTZYSI. PTZYY URTBCHMSMYUSH TsEOYOBNY OPYUSHA ABOUT MEUYUFSHI CHETYOBY rBTOBUB, LYZHETPOB YMY ZENB Y UPRTPCHPTsDBMYUSH UFTBUFOSHN RTYYSCHCHBOYEN VPZB, LTPCHBCHPK TSETFCHPK Y VEKHNOPK RMSU LPK, B CHYOB FBN, LBCEPHUS, OE VSHMP CHCHUE. u DTHZPK UFPTPOSCH, CH bFFYLE, CH GEOFTE dYPOYUYK, UFPSM NYTOSHK LHMSHF CHYOPZTBDOPK MPYSH Y GBTYMP CHYOP. hTsE DBCHOP VSHMP ЪBNEYUEOP, YuFP CH NYZHPMPZYY TBBUFEOYE PYUEOSH TBOP UFBOPCHYFUS UYNCHPMPN NSHUMY, PVTBEOOOPK ABOUT YULPOOSCH CHPRPTPUSH YuEMPCHYUEULZP VSHCHFYS. DEKUFCHYFEMSHOP, TBUFEOYS U YI OEBBNEFOP TBCHYCHBAEEKUS TSYOSHA, TBUGCHEFPN Y EBNYTBOYEN, OKHTsOPK PFSCHCHUYCHPUFSHA ABOUT UFYIYKOSHCHEMEOYS Y LTBUPFPK, OE RPIPTSEK ABOUT YUEMPCHYU EULHA, OE FBL MEZLP BUUYNYMYTHAFUS CH NYZHPMPZYUUEULPN FCHPTYUEUFCHE YuEMPCHYUEULPNH NYTH, LBL TsYCHPFOSHCHE, Y EUMY LFP NPTsOP ULBJBFSH PVP CHUEN RTPJSVBAEEN, FP L LPMPUKH Y MPYE, LFYN PUOPCHBN YuEMPCHYUEULPZP VMBZPRPMHYUS, NYUFYUEULBS UYNCHPMYLB PLBBBMBUSH PUPVEOOOP RTYNEONPK. IPFS IMEV UFBM OBSHCHBFSHUS DENEFTPK, B CHYOP dYPOYUPN, OP Y LPMPU, Y CHYOP PUFBMYUSH UCHSEOOOSCHNY UYNCHPMBNY, B RETCHSHCHK, F. E. LPMPU, UPЪDBM ChPLTHZ EUVS UFTPKOSHCHK NY T NYUFETYK.

bFFYUEULYE dYPOYUYY RTEDUFBCHMSMY STLYK LPOFTBUF U LUFBBPN PTZYK: CHNEUFP VEURPLPCOPZP YULBOYS VPZB CH TBDEOOYY LTPCHSHI TSETFCBI PTZYK, ЪDEUSH CHYDYN RPRSCHFLY F BYOUFCHEOOPZP UPEDYOOYS U dYPOYUPN CH UYNCHPME, RYTE, ZBDBOYY, RPNYOPCHEOYY KHUPRYYI; CHNEUFP PUMERMEOYS DKHYY LUFBBPN, OBIPDN TBTEYEOYE EE XY, EE CHTEOOPE PYUYEEOOYE PF TSYFEKULPK RMUEEOY. fTBZEDYS, OE YUKHTsDBS LUFBB PTZYK Y DYLPZP dYPOYUB, VPMEE RPDIPDIMB L LHMSHFKH BFFYUEULPZP HЪPTEYFEMS. OE DBTPN CE YUETE 200 MEF RPUME ITS OBYUBMB bTYUFPFEMSH UYUIFBEF GEMSA FTBZEDYY PYUYUFYFSH DKHYKH PF UFTBUFEK. NHTSULPK IPT Y TBVBCHMEOOPE RYTPCHPE CHYOP, UFY OEYYNEOOOSCH URKHFOILY BFFYUEULYI DYPOYUYK, UFBMY YUFPYUOILPN Y BTEOPK DTBNBFYUEULPZP FChPTYUEUFCHB. pF YI UPAЪB TPDYMYUSH FE YNRTPCHYBGYY ЪBRECHM, LPFPTSCHN UKhTsDEOP VSHMP UFBFSH ETOPN FTBZYUEULYI NPOPMPZPCH.

UBNBS REUOS FTBZPCH, DYZHYTBNV, VSHMB RETCHPOBUBMSHOP MYYSH PFYCHHLPN UFTBUFOPZP RTYYSHCHCHBOYS dYPOYUB. rPTSE CH UCHPEN OEDPMZPN TBUGCHEFE DYZHYTBNV UDEMBUS VMEUFSEEK NHYSHCHLBMSHOPK DTBNPK, B ЪBFEN NBMP-RPNBMH, CH LBYUEUFCHE EE FELUFB, URKHUFYMUS DP TPMY YBVMPOOPZP PRETOP ZP MYVTEFFP, FBL YuFP Ch IV CHELE ZPCHPTYMY HCE "RPYMP, LBL DYZHYTBNV". FTBZEDYA DYZHYTBNV PFDEMYM PF UEVS NETSDKH RETCHSHCHN Y CHFPTSCHN YJ PFNEYOOOSCHI NNEOPCH, CH FPF RETIPD, LPZDB YY VEURPTSDPUOPK CTEYUEULPK NPMYFCHSHCH BY UFBM DEMBFSHUS RTBCHYM SHOP PTZBOYPCHBOOPC IPTPCHPK REUOOEA, LPZDB MYTYYN UFBM CHSHFEUOSFSHUS YEZP, U PDOPC UFPTPOSCH, YOFETEUOSCHN UPDETSBOYEN, B U DTHZPK YZTPA, F E. E. ETOPN DTBNSCH, LPZDB VMBZPDBTS ЪBRTPUBN ABOUT YЪPVTEFBFEMSHOPUFSH, CHSHCHNSCHUMSHCH, OPCHYOKH KhCE OE PDO DYPOYU, B NBMP-RPNBMH Y DTHZYE VPZY YMY ZETY UFBMY DEMB FSHUS GEOFTPN DYZHYTBNVB, Y LPZDB, OBLPOEG, UBNBS YNRTPCHYBGYS ЪBRECHBM, VMBZPDBTS PTZBOYBGYY IPTB, UFBMB PVTBEBFSHUS Ch DCH TBDEMSHOSHHI ЪBDBUY - FCHPTYUEUFChP U PDOPC UFPTPOSCH, Y PVHYUEOYE IPTB Y EZP RBTBUFBFPCH 8 - U DTHZPK.

8 rBTBUFBF- HYUBUFOIL IPTB, UFPSEIK TSDPN U lPTYZHEEN.

OP CH CHPRPTPUE P RTPPIUIPTSDEOOY FTBZEDY OE OBDP ЪБВШЧЧБФШ И УБНПЗП UChPKUFCHB ZTEYUEULYI ULBPL. NYZHSHCH BMMYOPCH DBCHBMY NOPZP OETBCHYFSHCHI FTBZEDYK. yMYBDB VSHMB RPMOB RBZHPUB, BEE PVTBSHCHY RPMPTSEOYS, OEBCHYUYNP PF OBYCHOSHI HUMPCHOPUFEK RYYUEULPZP UFYMS (CHTPDE RPCHPTEOYK, RPUFPSOOSCHI RYFEFPCH, ZTPNPJDLYI UT BCHOOYK) Y NEUFBNY ZTKHVPK ZHBOFBUFYLY OBRPMOSAF OBU Y FERETSH FBLYN KHTSBUPN Y DBAF OBN CHLKHUIFSH FBLPE YUYUFPE UPUFTBDBOYE, YuFP NSCH OECHPMSHOP ЪBVSCCHBEN PV PUPVPN DTBNBFYUEULPN LHMSHFE LFYI BNPGYK. chPUUFBOPCHYFE CH RBNSFY UBNSCHK STLYK NPNEOF YMYBDSHCH, ITS FTBZYUEULYK LPOEG; LBLYN HTSBUPN CHEF PF NPMYUBMYCHPK, ЪMPK RPZPOY biYMMMB ЪB ZELFPTPN, CH PRHUFEMPN RPME, CH CHYDH RTYNPMLYI FTPSOULYI UFEO, LBLHA ЪBFEN YUYUFP ECHTYRYDPCHULHA R P UCHPEK TSYOOOOPUFY TSBMPUFSH CHPVKHTSDBAF CH OBU UMPChB bodtpnbiy P Tsteviy EE NBMEOSHLPZP BUFYBOBLUB, Y U LBLYN IHDPCEUFCHEOOSCHN FBLFPN RPF ЪBUFBCHYM ZPCHPTYF PV LFPN TSTEVIY YNEOOOP NBFSH.

OP RYUUEULBS RPYYS OE FPMSHLP DBCHBMB RPPFBN NBFETYBM DMS FTBZEDYK: POB OBUFBCHMSMB YI PFLTSCHBFSH FTBZEDYY CH TSIYOY NYZHBI, POB KHYYMB CHEMILPNH YULHUUFCHH TsBUBFSH Y FTPZBFSH UETDGB.

OE NEOEE CHBTTSOSCHN UFYNHMPN DMS FTBZYUEULPZP FChPTYUEUFCHB ULBBMYUSH Y YUFPTYYUEULYE UPVSCHFYS. CHPSHNYFE IPFS VSH FPF RTPNETSKHFPL, CH LPFPTSCHK KHNEUFYMBUSH PTZBOYBGYS FTBZEDYY PF OBYUBMB UGEOYUEULYI BZPOPCH Ch 536 Z. DP RETCHPK RPVEDSCH uPZhPLMB OBD yuIMPN, F. E. R ETCHPZP KHUREIB FPK UMPTsOPK, RUYIPMPZYUEULPK DTBNSCH, LPFPTBS TSYCHEF DP OBYI DOEK. OB OBYUBMSHOPK ZTBOY CHCH OBKDEF RBDEOYE MYDYKULPZP GBTUFCHB, F.E. RETCHHA KHZTPЪKH CHPUFPLB LMMYOULPK LHMSHFHTE; ABOUT CHFPTPK YIZOBOYE LYNPOB YBZHYO, F. E. RETCHSHCHE KHUREY FPK TELP RPTCHBCHYEK U RTPYMSCHN DENBZPZYY, LPFPTPK UKhTsDEOP VSCHMP PLBBBFSH OEYUYUYUMINSHCHE VMBZPDESOYS YuEMPCHYUEUFCHH YH ULPTYFSH RBDEOYE BZHYOULPZP NPZHEEUFCHB. yuEZP OE RETETSIMB CH LFPF RTPNETSKHFPL UMMBDB, B CH OEK JOFEOUYCHOE CHUEI LPOYUOP, bZJYOSCH! rBDEOYS GBTUFCH, OBYUBMB, DPTPPZPK VMEUL Y LPOGSH FYTBOIK, PRKHUFEOYE GEMSHHI UFTBO, UPTTSEOYE ZPTPDPCH, nBTBZhPO, ZHETNPRYMSCH, UBMBNYO... with YEH CH YUFPTYY FTBZEDY OE LPTOEK, B RT YYUYO EE VSHCHUFTPZP Y RMPDPFCHPTOPZP TBCHYFYS - RTYYUYO, RP LPFPTSCHN YЪ OBYCHOPK YNRTPCHYBGYY ABOUT VEЪPVIDOKHA FENKH MMMYOULPZP NYZHB POB UFBMB FBL ULPTP UETSHEOOPK Y ZMKHVPLPK RP LFYUEULYN ЪBDBUYUBN ZHTNPK IHDPTSEUFCHEOOPZP FChPTYUEUFCHB Y RTYPVTEMB CHUENY TOP-YUFPTYUEULPE OBYUEOYE.

vPTSHVB, UFTBDBOYE, TSETFCHB, TEMYZYPЪOSCHK ЪBLPO - CHUE LFY YULPOOSCHE BMENEOFSH FTBZEDYY RPMKHYUBAF FBLPK ZMHVPLYK, FBLPK CHEYOSCHK UNSHCHUM YNEOOOP RPFPNKH, YUFP CHEMILYE FTBZYILY UMMBDSCH TSYMY RTSSNSHCHN YMY PFTBTSEOOSHCHN UCHEFPN ZTBODYPOPK FTBZEDY YUEMPCHYUEULPK TSYI. RBZHPU, RETETSYFSHCHK UMMBDPK CH CHEMYLPK VPTSHVE, DBM EK OBUFPSEYK RBZHPU, OBUFPSEEE OBOIE: BY ULPCBM YOPE ECUPCHP YuEMPCHYUEUFPP CHNEUFP FPZP YOETFOPZP, YЪ-ЪB LPFPTP ZP HRTSNP UFTBDBM CHEMILIK FYFBO. nsch ULBUBMYUFTBDBOYE: CHPYSHNEN RTYNET UBNSHCHK BMENEOFBTOSCHK, pTEUFB: TEVEOPL, ABOUT LPFPTPN METSBF ZTEI TSDB RPLPMEOYK, ZTHJ LTPCHBCHPK Y UFTBYOPK YUFPTYY, DETBEF UPCHETYFSH CHEMYUBKYE YY RTEUFKHRMEOYK: BY HVYCHBEF NBFSH; ЪБ ьФПФ УФТБОВОСХК ЗТИ по РТЭФЭТРИЧБЭФ ОЭУЭМПЧЭУЕУЛПЭ ОПЛБББОВЭ: ЭЗП NХУБФ ъТІOOYY, NХУБФ УЛИФКОСНY, VEChPMYEN, VEJKHNYEN, VEYEOUFCHPN, NHYUBF, RPLB NHLB OE RTELTBEBEFUS bZHYOPK ABOUT UMBCHH ITS ZPTPDB. rТБЧДБ ьММБДШШ И И КРБМБДYХН-БТЭПРБЗ OBRTBЧМСАФ ЛП VМБЗХ MAKE UBNYI LTYOOYK, LFYI ITBOYFEMSHOYG RTPNEFEECHULPK NHDTPUFY, B UFTBDBOYE DEMBAF KHTPLPN. nsch ULBUBMYVPTSHVB: UMBVBS bOFYZPOB VPTEFUS RTPFYCH FYTBOB lTEPOFB, VPTEFUS VE CHUSLPK RPDDETSLY UP UFPTPOSCH, OP PE YNS CHYUOPZP TEMYZYPOPZP ЪBLPOB, ЪBRTEEBCHYEZP CHUEN OBTPDBN OBDTH ZBFSHUS OBD FTHRPN. pOB ZYVOEF ABOUT FEBFTE, OP RPVETSDBEF CH BNZHYFEBFTE, RPFPNH YuFP ABOUT UFPTPOE ITS RTBCHDB, Y RPF ЪBUFBCHYM ЪTYFEMEK LFP RPYUKHCHUFCHPCHBFSH.

nsch ULBUBMY CETFCHB . OETSOBS bMLEUFB TEYBEFUS PFDBFSH UCHPA TSY'OSH, YUFPVSH RTDDMYFSH TsYOSH NHTSB: TsYOSH RTYOPUYFUS CH TSETFCHH, OP OE MYGH, Y OE CH VEKHNOPN RPTSHCHCHE YMY CH UYMKH TBVULPZP RPDYUYOOYS FTBDYGYY, B UCHPVPDOP, PE YNS PVEEUFCHEOOPZP UPOBBOYS, DMS RPDDETSLY UENSHY, PUOPCHSH ZPUKHDBTUFCHB.

Otbchufcheopa Khoyuyoeye Ztelp-Retuyduli Chupko Mkhuyy Chuzp Pftbympush Chkiy Vmbzptpdopdokyyi Fchpteiulpzp Zeois: h yufpty zetpfb, h Rpyyyimb. OH FEOY LYUMYCHPUFY RPVEDIFEMEK YMY OBGYPOBMSHOPK YULMAYUYFEMSHOPUFY, OP CHEDE Y CHUEZDB ABOUT RETCHPN NEUFE CHPRTPU P VPTSEUFCHEOOPK URTBCHEDMYCHPUFY. with KHDPCHPMSHUFCHHAUSH PDOYN RTYNETPN. Part 472 ZPDH, F. E. YUETE 8 MEF RPUME UBMBNYOULPK VYFCHSHCH, UUIIM UFBCHYM ABOUT BZHYOULHA UGEOH YUFPTTYYUEULHA FTBZEDYA "RETUPCH": CH OEK OEF "UMBCHSHCH RPVEDYFEMEC", B FPMSHLP R BZHPU RPVETSDEOOSCHI. LUETLUB RPVEDIMY OE ZTELY, EZP OBLBBMY VPZY. OP CH RSHUE SCHMSEFUS Y YDEBM NPOBTIB, NHDTPZP Y TEMYZYP'OPZP, B RFPPNH Y YUBUFMYCHPZP. lFPF YDEBM - FEOSH dBTYS, FPZP UBNPZP RETUB, LPFPTSCHK OBYUBM ZTELP-RETUYDULYE CHPKOSH Y PUPVEOOOP OEOOBCHYDEM BZHIOSO.

II

rTYOSFP ZPCHPTYFSH, YuFP ZTEYUEULBS FTBZEDYS RTPTSYMB 60 pMYNRYBD (PF 61 DP 120), LFP OBYUYF, YuFP CH FEYUEOYE 240 MEF UFBCHYMY ABOUT UGEOH OPCHCHES FTBZEDYY. OP NSCH DBCE RTYVMYYFEMSHOP OE NPTSE PRTEDEMYFSH FERETSH, ULPMSHLP UB LFP CHTENS YI VSHMP RPUFBCHMEOP; RTEDBOIE ZPCHPTYF, YuFP UOBYUBMB FTEVPCHBMPUSH CH ZPD RP FTY FTBZEDYY, RPFPN RP YEUFY, OP VSHCHMY RETYPDSH, LPZDB YI UFBCHYMPUSH RP 12th DBCE RP 24. uHNNB CHUEI RTPY'CHEDEOY K VPMEE YMY NEOEE OBYUYFEMSHOSHI FTBZYLPCH UPUFBCHMSEF PF 1500 - 1600, OP, LPOYUOP, LFYN YUYUMPN DBMELP OE YUYUETRSHCHBEFUS VPZBFUFChP FTBZYUUEULPZP FCHPTYUEUFCHB. YuFP TSE NSCH YNEEN FERETSH PF LFPZP VPZBFUFCHB? D B LTPNE FPZP DTECHOSS MYFETBFKHTB UPTBOYMB OBN PLPMP FTEI U RPMPCHYOPA FSCHUSYU KHLBBOYK YMY PFTSHCHLPCH YЪ OE DPYEDYYI DP OBU FTBZEDYK. rTYVBCHSHFE UADB OEULPMSHLP TYNULYI RPDTBCBOIK ZTEYUEULYN FTBZYLBN GEMYLPN, Y DPChPMSHOP VPMSHYPE LPMYUEUFChP YI CH PFTSHCHLBI, OBLPOEG TBURYUOSCH CHBSHCH, ZDE TSYCHPRYU GSH NPZMY RETEDBCHBFSH NPFYCHSH YMY UGEOSCH YJ UFBTSCHI FTBZEDYK, Y CHSH RPMKHUYFE DPCHPMSHOP VPZBFSHCHK NBFETYBM DMS IBTBLFETYUFYLY BOFYUOPK FTBZEDYY, OP PFOADSH OE DMS EE Y UFPTYYY. mHYUYE CHUEZP, IPFS Y PDOPUFPTPOOE PUCHEEEO ECHTYRID.

iPFS FTYBDB LPTYZHEEECH V CHELB Y UFPSMB, OUUPNOOOOP, CH GEOFTE FTBZEDYY BOFYUOPZP NYTB, OP YUFPTYLH, DB, RPTsBMHK, Y UFEFYLH CHUE TSE RTYIPDIYFUS RPTSBMEFSH, YuFP Ch ЪBNEO "RETUPCH" ЪUIYMB, "ьМЭЛФТШЧ" уПжПЛМБ И "ЗЛХВШ" еЧТИРДБ, УХДШВБ OE UPITBOIMB OBN RP PDOPK FTBZEDYY ZhTYOIB, bZBZHPOB Y UFBTYEZP BUFYDBNBOFB.

zhTYOYI VSHM UBNSCHK ЪБНЭИУБFEMSHOSHCHK YЪ FTBZYLPCH DP yuIMB, BY UDEMBM RETECHPTPF CH FTBZEDYY, CHCHEDS FHDB TSEOULYE TPMY.

bZBZhPO VShchM DTKhZ eChTYRYDB, OP NMPPTSE EZP Y RTYOBDMETSBM CHELKH rMBFPOB; LFPF YSEOSCHK RPF RTYDKHNSCHCHBM DMS FTBZEDYK OPCHCHES NYZHSHCH Y RMEOSM BZHYOSO KHFPOYUEOOPUFSHHA UFYMS Y CHITFKHPOPUFSHA NHYSHCHLY. bFP VSHM DELBDEOF, OP FPMSHLP OE PFCHETSEOOOSCHK, LBL KH OBU, B OBRTPFYCH, VEUUNEOOP CHEOYUBOSCHK. oBLPOEG BUFYDBNBOF UKHNEM CH IV CHELE PE CHTENS HRBDLB FCHPTYUEUFCHB, DPVYFSHUS NEDOPK UFBFKHY RETED FEBFTPN OBTSDKH UP UFBFHSNY FTEI LPTYZHEEECH V CHELB. OP DMS YUFPTYLB VSHMY VSH YOFETEUOSCH OE FPMSHLP ZEOYBMSHOSHE Y UBNPVSHFOSH RTPY'CHEDEOYS FTBZYUEULPZZ ZEOYS. h RTPGEUUE HCPMAGYY FBLYE RSHEUSH SCHMSMYUSH CHUE TSE FPMSHLP FPYULBNY.

yUFPTYLH OE DPUFBEF, U PDOPK UFPTPOSCH, ZHPOB YBVMPOOSCHI DTBN, IBTBLFETOSHCHI RP OBYCHOPK PZTBOYUEOOOPUFY LPOGERGYY OERTYLTSCHFP CHSTBTTSEOOPNH OBRTBCHMEOYA, B U DTHZPK UFPTPOSCH, RTPY'CHEDEOYK NPMPDSHCHI, ЪBDPTOSCHI, PECHSHCHI, PE CHLHUE UGEOSCH UMELFTSHCH U TBVPN, WHERE ECHTYRID RPMENYYTHEF U FEBFTBMSHOSCHNY RTYENBNY YUIYMB 9 . ьChPMAGYS FTBZEDY YMB OE RP CHPME ZEOYECH, B RP TBCHOPDEKUFCHHAEEK DCHHI UYM: UYMSCH CHEEK Y FTBDYGYY, U PDOPK UFPTPOSH, Y ZEOYS, Y LTYFYLY - U DTHZPK.

9 ІРІУПДИК 2, HERE ьМЭЛФТБ РДЧЦЦБЭФ УПНООЯ "ЧОПНИОЯ" РТЪОБЛІ ПДУФЧБ У ВТБФПН: ГЧЭФ ІЯМЛПЧУФПУФШ ChPMPU, TBNET OPZY.

h UBNPN FCHPTYUEUFCHB DTECHOYI FTBZYLPCH, LTPNE YI KhDYCHYFEMSHOPK RMPDPCHYFPUFY, OBDP PFNEFYFSH FTY IBTBLFETOSCHI Yuetfsch. chP-RETCHSCHI, RTEENUFCHOOPUFSH RTPZHEUUYY: TPD ьUIYMB, OBRTYNET, PUFBCHBMUS ABOUT BZHYOULPK UGEOE VPMEE 1.5 UFPMEFYK. ChP-ChFPTSCHI, UPCHNEUFOPUFSH TBVPFSCH. h RYUBOYY IPTPCH echtyrydkh RPNPZBM, OBRTYNET, EZP DPNBOOYK UELTEFBTSH, OELYK LEZHYUPZhPLF. OE RPDMETSYF FBLCE UPNOEOYA, YuFP USCHOPCHSHS OE TB RETEDEMSHCHBMY RPUNETFOSH RSHEUSH UCHPYI PFGPCH, UPITBOSS, CHRTPYUEN, ABOUT LFYI RSHEUBI UMBCHOSCH PFGPCHULYE YNEOB. with UFTPZP TBMYUBA, LPOEYUOP, LFY, FBL ULBUBFSH, OERPUTEDUFCHEOOSCH RETEDEMLY PF FAIRIES RPЪDOEKYI, LPFPTSCHE DEMBMYUSH BLFETBNY, RETERYUYULBNY Y NPTBMYUFBNY, Y PF LPFPT SHIPPING FERTSH LTYFYLE HDBEFUS YOPZDB IPFS PFYUBUFY PUCHPVPTsDBFSH FELUF BOFYUOSHI FTBZEDYK. h-FTEFSHYI, DESFEMSHOPUFSH DTBNBFKHTZB VSHMB ZPTBJDP UMPTSOE KH DTECHOYI ZTELPCH, YUEN X OBU. fBL LBL FTBZEDYS CHSTBVBFSHCHBMBUSH ABOUT RPYUCH IPTB Y RHFEN RPUFEREOOPZP TBUYYTEOYS TPMY EZP ЪBRECHBMSHCH, FP ABOUT DTBNBFKHTZB UYMPA CHEEK CHPЪMBZBMPUSH FTY TPMY: UPYUYOYFSH RSH EUH, YMY UOBYUBMB REUOA-RSHEUKH, RPFPN PVKHYUFSH EK IPT Y OBLPOEG YMY YZTBFSH UBNPNH, YMY PVKHYUFSH BLFETB (DP OBYUBMB V CHELB PDOPZP, RPFPN CH FEYUEOYE 40 MEF DCHHI Y RPJTSE FTEI).

lTPNE FPZP, DTBNBFKhTZ OE FPMSHLP UPYYOSM FELUF RSHEUSH Y PVKHYUBM IPT YMY BLFETPCH UMPCHBN Y TSEUFBN, OP ON DPMTSEO VSHM UPYYOSFSH NHYSHCHLH Y RMSULH FTBZEDY Y PVHUYF SH NHYSHLE ZHMEKFYUFB Y IPT, B RMSULE IPT YMY BLFETPCH. OE FPMSHLP RETCHPOBUBMSHOSHE FTBZYYLY KHYUBUFCHPCHBMY CH YURPMOOY UCHPYI RSHEU, OP DBCE UPZHPLM FBOGECHBM CH TPMY OBCCHUILBY.

u TBCHYFYEN FEBFTBMSHOSHI RTPZHEUUYK PVHYUEOYE IPTB Y BLFETPCH NPZMP RTPYUIPDYFSH, LPOYUOP, Y RPNYNP BCHFPTB, OP DBCE CH LPOGE V CHELB, RTY Y'CHEUFYY P UNETFY ECHTYRD B, uPZhPLM CHSCCHPDYF ABOUT UGEOH UCHPK IPT UBN. PYUECHYDOP, UCHSH NETSDH IPTPN Y FTBZYLPN DPMZP OE RPTSHCHBMBUSH. ъBFP BOFYUOSCHN FTBZYLBN RPYUFY OILLPZDB OE RTYIPDIMPUSH UPYYOSFSH UATSEFPCH. sing DEMBMY CHSHCHVPT YЪ ZPFPCHSHCHI. YoFETEUOP PFNEFYFSH OUEULPMSHLP FPYUEL CH TBYFYY FTBZYUEULYI UATSEFPCH. FTBZEDYS OYUBMB U VPZHR. CHOBYUBME RTYYTBYUOSCHK dYPOYU VSHM EEE OETBDEMSHOP Y RETCHSHCHN LPTYZHEEN, Y RETCHSHCHN BLFETPN, EZP NIZH UFBM RETCHPK FTBZEDYEK, B EZP UFTBDBOYS Y TSETFCHSHCH BMENEOFBNY RETCHPZP RBZH PUB. OP VPZY OE PUFBMYUSH CH GEOFTE FTBZEDYY. th ABOUT LFP VSHMP OUEULPMSHLP RTYUYO. ChP-RETCHSHI, PMYNR ZPNETB VSHM UMYILPN STPL Y LBOPOYUEO, YUFPVSH EZP RETEOPUYFSH ABOUT UGEOKH. BY ZPDYMUS TBCHE DMS ZHEETYY YMY TSYCHPK LBTFYOSCH, Y YNEOOP CH LFPN CHYDE PDO TB YUIYM CHPURPMSHYPCHBMUS UGEOPK YYYMYBDSHCH. h FTBZEDYY "WHYCHEYCHBOYE TSYJOEK" ABOUT UGEOE SCHMSMUS ABOUT NYOHFH ECHU: BY RPLBISHCHBMUS OBD GBTULINY DCHETSHNY ABOUT CHCHUPLPN CHSHCHDCHYTSOPN BMSHFBOE 10 . x VPZB VSHCHMY CH THLBY ЪPMPFSCHE CHEUSHCH, ZHE PO CHCHEYCHBM TSTEVIY BIYMMB Y NENOPOB, B RP PVE UFPTPPOSH pMYNRYKGB ABOUT LPMEOSI UFPSMY U NPMSHVPK NBFETY ZETPECH, ZHEFYDB Y PU.

10 h DTECHOEZTEYUEULPN FEBFTE UREGYBMSHOBS RPDYAENOBS NBYOB, ABOUT LPFPTPK RPSCHMSMUS VPZ.

LTPNE FPZP, ABOUT PMYNRE TSYMY UKHEEUFCHB, LPFPTSHCHE OE RPDIPDSF L RPOSFYSN VPTSHVSHCH Y UFTBDBOYS. sing Y'VEZBAF FTECHPZ Y YEHF FPMSHLP OBUMBTSDEOOK. sing ῥεῖα ξώοντες - "MEZLP TSYCHKHEYE". dBCE TBUULB P REYUBMSHOPK UHDSHVE ZEZHEUFB, LPFPTPZP LPZDB-FP еCHU CH ZOECH VTPUYM U pMYNRB Y YYHTPDPCHBM ABOUT CHUE CHTENS EZP VPTSEUFCHEOOPZP UKHEEUFCHPCHBOYS, ChPIVH TsDBEF X VPZCH yMYBDSH FPMSHLP CHUEEMSHCHK, ZPNETYUEULYK UNEY. uFTBDBOYS Y UFTBUFY YUEMPCHELB - DMS VPZHR FPMSHLP YZTB. ChPF PFYUEZP DBCE CH FTBZEDYSI DYPOYUB ZETPSNY-NHYUEOILBNY UFBOPCHSFUS EZP CETFCHSHCH: MYLHTZ, ZYRRBU, REOZHEK, B OE UBN PO, RTYYTBYUOSCHK, KHMSHVBAEYKUS, UYOEZMBYSCHK UV TBDBMEG. lTPNE FPZP, VPZY OE RPDIPDYMY L FTBZEDY LBL UKHEEUFCHB, YUKhTSDSCHE ZTEIB Y UNETFY. rTPNEFEK bUIYMB PDYOPL CH BOFYUOPK FTBZEDYY. oBDP VShchMP<ЙНЕФШ>* DET'PUFSH ZEOYS Y NBTBZHPOULPZP UPMDBFB, YuFPVSH DPRKHUFYFSH UHD OBD ECHUPN (B ZMBCHOPE DMS LFPZP OBDP VSHMP VSHCHFSH YuEMPCHELPN UMYILPN ZMHVPLP Y UNEMP TEMYZYPOSCHN).**

* UMPCHB OEF Y CH FEBFTE ECHTYRDB 1906. ULPTEE CHUEZP, LFP OE RPZTEYOPUFSH REYUBFY.
** h fEBFTE ECHTYRIDB 1906 ЪDEUSH OEF BVBBGOPZP TBTSCHB.

ZETPSNY FTBZEDYY RPUME VPZCH UFBMP YI UNETFOPE RPLPMEOYE, UFBMY UHEEUFCHB, LPFPTSHCHE VEJNETOP RTECHPUIPDIYMY MADEK UYMBNY, LTBUPFPK, UMBCHPK Y OYUYUBUFSHSNY, UHEEUFCHB LP FPTSCHE DCHPKUFCHEOOPUFSHHA UCHPEZP TPDB, DCHHNS OUMYCHYNYUS FPLBNY LTPCHY CH YI TSYMBI UPJDBCHBMY PUPVHA YJVTBOOHA TBUKH, VPMEE YuEMPCHEYUOKHA, YUEN VPZY, Y VPMEE VPTSEUFCHOOKHA, YUEN MADI, TBUKH, LPFPTBS OPUYMB FTBZYYN CH UBNPK OEUMYSOOPUFY DCHHI OBYUBM UCHPEK RTYTPDSCH. NYZH DPTPZ VSHHM FTBZYLBN Y YI RHVMYLE OE FPMSHLP RP UBEFYUEULYN DPUFPYOUFCHBN Y FTBDYGYY, OE FPMSHLP LBL YUBUFSH YI DHIPCHOPZP VSHCHFYS, ZHTNB YI NSCHUMY, OP Y LBL RTYCHSHCHYUOSCHK UFBDYK, DMS UPUFSBOYS FTBZYUEULYI VPTGPCH; LBTSDSCHK BFMEF NPZ ABOUT LFPC PVEEK DMS CHUEI BTEOE CHShCHLBBFSH Y ZYVLPUFSH, Y UYMKH, Y LTBUPFKH UCHPEZP KHNB, OE ЪБВШЧЧБС FEI TBNPL Y FPK OPTNSHCH, LPFPTSHCHE PVHЪDSCHBMY EZP RTYIPFMYCHHA ZhBOFBYA.

lTPNE FPZP, OE OBDP ЪБВШЧЧБФШ, УФП НИж, ОЭУНПФЦ О ПВСЪБFEMSHOPUFSH DMS ьДИРБ ЦЭОИФШУС О NBFETY, B DMS pTEUFB EE HVYFSH, RTEDPUFBCHMSM FTBZYLKH NOPZP UCHPVPDSH CH TBCHYF YY DEFBMEK, PVTYUPCHLE IBTBLFETPCH Y RPMPTSEOYK.

h UFEFYUUEULPN TSE PFOPEYOYY ON VSHHM OEUBNEOONSCHN, RPFPNKH YuFP DPRHULBM CHPVKHTSDEOOYE YUFEFP UBEFYUUEULYI BNPGYK Y MYGETEOYE LTBUPFSCH, OE ЪBZTSЪOOOPK RTYL PUOPCHEOYEN TEBMSHOPUFY. OBLPOEG, NYZHSC UBNY RP UEVE VSHCHMY HCE RTELTBUOSCHNY UPJDBOYSNY YUEMPCHYUEULPZP ZEOYS. s OE VKHDH OBRPNYOBFSH CHBN LMBUUYUEULYI YUFPTYK BDYRB Y bZBNENOPOB. OP CHURPNOYFE NEMEBZTB, LFPZP CHFPTPZP biIMMMB, RP VMBZPTPDUFCHH, PZOOOOPK DETYPUFY Y FTBZYUEULPK UKhDSHVE.

pDOB YЪ rBTL RTY EZP TPTSDEOOY RTEDTELMB bMFEE, EZP NBFETY, YUFP TsYYOY ENKH VHDEF UFPMSHLP TSE, ULPMSHLP PDOPNKH YI ZPTECHYI RETED OEK CH FP CHTENS KHZMEK, Y NBFSH, TBHNEEFU S, FPFYBU CE URTSFBMB DTBZPGEOOSHCHK ЪBMPZ TSYYOY UCHPEZP neMEBZTB, OP LPZDB ZETPK ChShTPU, PO KHVYM CH VYFCHE VTBFSHECH UCHPEK NBFETY, Y CHPF UHDSHVB neMEBZTB CH CHYDE YuETOPK ZPMPCHEYLY PUKHFYMBUSH CH THLBI TBBDTBTSEOOPK TSEOOESCH, UETDGE LPFPTPK LPMEVMEFUS NETSDH USCHOPN Y V TBFSHSNY.

h PDOPN LFPN PUFPCHE NYZHB CHSC HCE YUKHCHUFCHHEFE FTBZEDYA. b FTBZYLY PVMBDBMY L FPNKH TSE EEE DTBZPGEOOPK CHPNPTSOPUFSHA URMEFBFSH UCHPY RSHEUSH YI PFDEMSHOSHI NYZHPCH, PVTBHS YЪ LFYI REYUBMSHOSCHI BUZHPDEMEK CHEOLY, RPMOSHHE FBYO UFCHEOOPK LTBUPFSCH. fBL, ECHTYRD DMS UCHPEZP neMEBZTB UCHYM U NYZHPN bMFEY NYZH bFBMBOFSH, PUIMEOOPK Y MAVYNPK neMEBZTPN BNBBPOLY, YЪ-ЪB LPFPTPK CH EZP RSHUE ZETPK KHVYCHBM UCHPYI DSDEC , B bMFES VTPUUBMB CH PZPOSH TPLPCHPK ЪBMPZ EZP TSYYOY.

NYZH OE VSHM YUEN-OYVKhDSH PZTBOYUEOOOSCHN Y BNLOKHFSHCHN. NYZHSCH CHYUOP FCHPTYMYUSH, SING MEZLP OBLYDSHCHBMY UCHPA FPOLHA UEFSH ABOUT FELHEHA TSYOSH Y YUFPTYYUEULYE UPVSHCHFYS, CHPTPTSDBS YI CH YDEBMSHOSHI ZHTTNBI. YuYFBS "RETUPCH" yuUIYMB, CHCH RPYUFY OE TBMYUYUFE FERETSH: YUFP RETED CHBNY, YUFPTYYUEULYE MY MYGB YMY UP'DBOSHS ZhBOFBYY?

NYZHYUEULYK SJSHL DBCHBM UBNSCHK ZYVLYK NBFETYBM DMS FTBZYUUEULPZP FCHPTYUEUFCHB Y UBNPE EUFEUFCHEOOPE, UBNPE YDEBMSHOPE CHSTBTTSEOYE DMS VMBZPTPDOSCHI RPVKHTsDEOOK DKHYY.

rPUMEDOEA DTBNPK uPZhPLMB VShchM "dYR CH lPMPOE". ьRPU OE OBBM NYZHB, LPFPTSCHK VSH RTYCHPDYM YIZOBOOPZP ZHYCHBOULPZP GBTS CH BZHYOSCH, UPZHPLM YJPVTEM EZP UBN, OP CHUS FTBZEDYS UFTPZP NYZHYUOB Y RTPOILOKHFB UBNSHCHN YUYUF SHCHN YDEBMYЪNPN. oEUUBUFOSHCHK ULYFBMEG, NHLBNY YULKHRYCHYK KHFEIY UCHPEZP RTYTBYUOPZP UYUBUFSHS, OBIPDIYF RTYAF CH bFFYLE X VMBZPTPDOPZP ZHEUES Y FPYuOP FBEF CH UCHPEK UCHETSEMYUFCHEOOPK NPZYME CH U CHSEOOOPK TPEE ECHNEOID, UFBOPCHSUSH ZEOYEN - RPLTPCHYFEMEN UFTBOSHCH.

oBLPOEG, LTPNE UCHYFYS NYZHPCH Y NYZHYUUEULPZP FChPTYUEFCHB, CH TBURPTSCEOYY FTBZYLPCH VSHHM EEE CHSHCHVPT NETSDH CHBTYBOFBNY. OBRTYNET, ECHTYRD RTEDUFBCHYM CH PDOPK YЪ UCHPYI FTBZEDYK, UFP EMEOB, YЪ-ЪB LPFPTPK RTPYUIPDYMB UFTBIOBS 10-MEFOSS VPTSHVB ZTELPCH U FTPSOGBNY, OE VSHMB DBTSE OECH PMSHOPK RTYUYOPK LFPC VPTSHVSH. rBTYU RPIYFYM FPMSHLP EE RPDPVYE, B OBUFPSEBS DPYUSH YECHUB Y MEDSH ULTSHCHBMBUSH CH EZYRFE, H rTPNEFES, CHETOBS UCHPENKH NHTSKH. ьФПФ CHBTYBOF MEZEODSCH echtyryd OBYEM X MYTYLB uFEUYIPTB.

CHOBYUBME X FTBZYLPCH NYZHSCH FTBBLFHAFUS UFTPZP. ьUIIM OE FPMSHLP OE RPOYTSBEF YZTPA ZhBOFBYY FPOB NYZHB, OP ON ULMPOEO, OBRTPFYCH, DEMBFSH EZP VPMEE UFTPZYN. NYZH P rTPNEFEEE, OBLBOBOOPN RPIIFFYFEME PZOS, CHCHUE OE UPDETSBM CH UCHPEK RYYUEULPK ZHTNE FPZP NTBYUOPZP LPMPTYFB Y FPZP PUPVEOOP ZMHVPLPZP NPTBMSHOPZP UNSHUMB, LPPTSH K CH OEN RTPCHYDEM Y CHPUUP'DBM uUIIM. ьФПЗП НБМП - ьУИМ ЧПЧУЕО ДХНБМ PZТБОВИУИФШ RTEDUFBCHMEOYE P еЧУUE ЖИЗХТПК FYTBOB, LPFPTPZP ABOUT UGEOE DPUFPKOP ЪБNEOSAF lTBFPU, plebo Y ZEZHEUF. FTBZEDYS rTPNEFES OE FPMSHLP CH FPN, YuFP PO UFTBDBEF ЪB ZPOYNPE Y PVE'DPMEOOPE YECHUPN YuEMPCHYUEUFChP, B CH FPN, YuFP, UOBVDYCH "LZHENETPCH" VMBZBNY LHMSHFKhTSCH, BY CHUE TSE Refinery UPЪDBFSH MYYSH FP VEUUYMSHOPE, CHSMPE, FHULMPE YuEMPCHYUEUFChP, ABOUT LPFPTPPE TsBMHAFUS PLEBOYDSCH. MYYSH RTPCHEDS EZP YUETE ZPTOYMP UFTBDBOYK, PRSHCHFB, ЪBUFBCHYCH DPVSHCHBFSH OBOE NHLPK μάϑος άϑει , еchu pTEUFYY, ЪBCHEFOSCHK YDEBMSHOSCHK еchu ьUIYMB, LPFPTPZP OILLPZDB OE RPKNEF rTPNEFEK, USCHO ENMY Y UNES, UPЪDBUF RPLPMEOYE, LPFPTPPE OBRPMOYF NYT BZHY OULPK UMBCHPK Y OBKHUYF MADEK YURPMOSFSH YI RETCHHA Y YDEBMSHOKHA PVSBOOPUFSH - DPUFPKOP YUFYFSH VPZCH.

UPZhPLM, UPJDBFEMSH UMPTsOPK RUYIPMPZYUEULPK DTBNSCH DPMTSEO VSCHM, LPOYUOP, OEULPMSHLP UCHPVPDOEEE FTBLFPCHBFSH NYZHSCH, OP Y PO OE CHSHCHVYTBM FBLYI, LPFPTSCHE VSC KHOYTSBMY VPZPCH . uPZhPLM MAVYM NYZHSCH U TSEOULINE GEOFTPN CHTPDE boFYZPOSH, ZHEDTSHCH, UMELFTSHCH; LTPNE FPZP ENKH PUPVEOOOP DPTPZY VSHMY UATSEFSH YUYUFP BFFYUUEULYE, OBRTYNET NYZH P fTYRFPMENE, UCHSBOOSHCHK U OBYUBMPN RTBDOYLB ZHEUNPZHPTYK Y yMECHUYOULYI NYUFETYK, PDOP K Y UPLTPCHOOEKYI UCHSFSHCHOSH ZPTPDB bZJYOSCH. fPMSHLP eCHTYRYD UFBM PVTBEBFSHUS U NYZHBNY UCHPVPDOP: OBRTYNET, RTEDUFBCHMSS KHOYTSEOYE DPUETY bZBNENOPOB, BY CHSHCHDBCHBM ITS ЪBNХЦ ЪБ НХЦИЛБ. deFBMSH UBNB RP UEVE VSHMB OE MYIEOB DTBNBFYNB Y DBTSE DPChPMSHOP YULHUOP URMEFBMBUSH U DTBNPK pTEUFB, OP UBNSCHK NJH KhFTBUYCHBM U OEA UChPA UFTPZHA LTBUPFH Y RETEIPD YM YPVMBUFY YDEBMSHOPK CH VSHFPCHHA. lTPNE FPZP, OEMSHЪS ULBUBFSH, YUFPVSH RTY CHSHCHVPTE NYZHB eCHTYRID DKHNBM P UPITBOEOYY, B FEN NEOEE KHZMKHVMEOYY EZP LFYUEULPK UKHEOPUFY. ZETPY Y VPZY UPVMBJOSAEYE DECHKHYEL, NBFETY, PFLTSCHCHBAEYEUS CH MAVCHY RBUSCHOLBN, OYUEUFYCHSHCHK VTBL NETSDH VTBFPN Y UEUFTPK, YUEMPCHEL, RPUSZBAEYK ABOUT VPZYOA, TsTYGB, X RTELBABES CH TSEUFPLPUFY VPZYOA, ZETPY CH CHYDE VTPDSZ YMY LBMEL - CHUE LFP UMYILPN STLPK Y ZHUFPK RPMPUPA RTPIPDIF YUETE UGEOH ECHTYRYDB, YuFPVSH UFPYMP PRTBCHDSCHBFSH EZP CH LBTsDPN PFDEMSHOPN UMHYUBE. chPPVEE DMS eCHTYRDB NYZH VSHM FPMSHLP UATSEFPN, B OE LFYUEULIN GEMSHN, LBL DMS yuIMB, Y OE ETOPN RUYIPMPZYUEULPZP GEMZP, LBL X uPZHPLMB; TPMSH VPZB DMS eCHTYRIDB VSHMB FPMSHLP PDOYN Y BMENEOFPCH UATSEFB, Y RTYFPN PFOADSH OE CHUEZDB UBNSCHN YOFETEUOSCHN Y UBNSCHN NPTBMSHOSCHN. uATSEFSH FTBZEDY YUBUFP RPCHFPTSMYUSH, FBL X CHUEI FTEI LPTYZHEEECH VSHMP RP ZHYMPLFEFH, RP PTEUFKH, RP YLUYPOKH, OP EEE ZPTBJDP VPMEE PVEYI NYZHPCH NPTsOP OBKFY CH TERETFHBTBI u PZHPLMB Y ECHTYRYDB. YuFP TSE LBUBEFUS DP RPЪDOEKYI, FP POY OE FPMSHLP OE HCHEMYYUMY YUYUMB UATSEFPCH, B, OBRTPFYCH, UCHEMY YI L CHEUSHNB OENOPZYN YJMAVMEOOSCHN FENBN. OPCCHCHE NYZHSH FCHPTYM FPMSHLP bZBZHPO, OP, L UPTSBMEOYA, NSCH OYUEZP OE OBEN PV LFPN, Y DBTSE UBNPE OBCHBOYE FTBZEDYY "gCHEFPL" NPTsOP RTPYUYFBFSH "bOFEK".

RETKDEN L PVTBVPFLE NYZHB. pDOPA Ъ RETCHSCHI ЪБВПФ UPЪDBFEMEK FTBZEDYY VSHMP PUCHPVPDYFSH ITS PF PVSBFEMSHOPZP IPTB UBFYTPCH. * CHETPSFOP, LPZDB KH dYPOYUB SCHYMUS ABOUT UGEOE ЪBNEUFYFEMSH, LBLPK-OYVKhDSh fBOFBM YMY BOFEK, POY RTYCHEMY U UPVPA OPCHSHCHK IPT HCE OE URKHFOYLPCH dYPOYUB, B PTHTSEOPUGECH ZETPS. iPT CE UBFYTPCH UPITBOYM MYYSH RPYUEFOPE RPMPTSEOYE ABOUT RTBDOILBI dYPOYUB, NBMP-RPNBMH ABOUT UGEOE UPЪDBMBUSH DBCE OPCHBS ZHTNB FChPTYUEUFChB, DTBNB UBFYTPCH, LPFPTBS ЪBNSHCHLBMB UPVPA FTY RPDTSD DBCHBENSCH FTBZEDYY PDOPZP BCHFPTB Y PFMYUBMBUSH FEN TSE VMEULPN RPUFBOPCHLY. OP MEZUE VSHMP ABOUT UGEOE ЪBNEOYFSH IPT UBFYTPCH OPCHSHCHN FTBZYUEULN IPTPN, YUEN PUCHPVPDYFSH UBNHA FTBZEDYA PF VKHZHZhPOBDSH. uChPKUFCHB RETCHPOBYUBMSHOPZP IPTB PLBBMYUSH ABOUT DEM KHUFPKYUCHE UBNPK ZhPTNSCH.

* ъDEUSH UOPULB bOOOOULLPZP: "eUMY DPRKHUFYFSH, YuFP FBLPCH VShchM RETCHPOBUBMSHOSCHK IPT FTBZEDYK".

lPZDB YUETE UFP MEF RPUME OBYUBMB FTBZEDYY ECHTYRD RPUFBCHYM UCHPA "bMLEUFKH", LFB RSHEUB, OEUNPFTS ABOUT ITS FTPZBFEMSHOSHCHK UACEF - HERE TSEOB DPVTPCHPMSHOP KHNYTBEF ЪB NHTSB, UPDETSBMB CH UEVE UFTBOOKHA RPDNEUSH ZHBTUB; UNETFSH SCHMSMBUSH FBN CH CHYDE LBLPZP-FP YUKHDPCHYEB UP CHLHUBNY CHHTDBMBLB, B ZETBLM CHSHCHIPDYM ABOUT UGEOH U LHVLPN, RPDPZTEFSHCHK CHYOPN Y U ZHYMPUPZHYEK UBFYTB ABOUT ZHVBI. OE UTBH FBLCE KHUFBOPCHYMPUSH CH FTBZEDYY RTBCHYMSHOP TBCHYCHBENPE DEKUFCHYE, B MYTYUUEULPE RTPYUIPTSDEOOYE FTBZEDYY DBCHBMP UEVS OBFSH RPYUFY DP UBNPZP LPOGB UGEOYU EULPC DESFEMSHOPUFY UUIYMB. oEF OILBLPZP UPNOEOYS, YUFP TBOEE, YUEN PFPKFY CH BOFTBLFSCH, REUOY IPTB VSCHMY ZMBCHOSCHN KHUFPEN RSHEUSHCH, Y UFP RETCHSHE BLFETSH ZPCHPTYMY FPMSHLP PE CHTENS RETEDSCHYEL IPTB.

x ьUIYMB EUFSH RSHEUSCH, ZDE ZMBCHOSCHK DTBNBFYUEULYK YOFETEU ЪBLMAYUBEFUS YNEOOP CH IPTE, FBLPCSHCH EZP "nPMSEYE". nPMSEYE - LFP DPYUETY GBTS dBOBS, LPFPTSCHE VETSBMY YI MYCHYY CH BTZPU PF KhTSBUBCHYEZP YI VTBYUOPZP UPAUB U DCHPATDOSCHNY VTBFSHSNY (USCHOPCHSHSNY ezYRFB). DEKUFCHYS CH RSHUE RPYUFY OEF. dBOBIDSCH NPMSF, BTZPUULYK GBTSH LPMEVMEFUS, RPLB BTZPUGSCH OE UDBAFUS ABOUT NPMSHVSH ZPOYNSCHI, RTYUEN CHTBTSEULYK ZETPMSHD FPMSHLP DBTPN TBUFPYUBEF KHZTPYSCH. ъDEUSH BMENEOFSH DTBNSCH EEE CH VTPTSEOYY; POB FPYuOP OE KHUREMB CHSHCHDEMYFSHUS YY MYTP-LRYYUEULPZP GEMZP, OE MYYEOOOPZP, PDOBLP, UCHPEPVTBOPK RTEMEUFY; PUPVEOOOP LTBUYCHP RETEDBEFUS OBUFTPEOYE DBOBYD CH FE NPNEOFSH, LPZDB OBDETSDB Y KhTsBU RPYUFY PDOPCHTENEOOOP CHPMOHAF DKHYKH. nsch CHYDEMY Y BOBMYB "rTYLPCHBOOPZP rTPNEFES", UFP DTBNB yUIYMB VSHMB EEE PYUEOSH RTPUFB RP UFTHLFHTE: RETYREFYY EC OE IBTBLFETOSHCH, B LBFBUFTPZHB RPDZPPFPCHMSEFUS U F PZP NPNEOFB, LBL rTPNEFEK RTPIJOEU RETCHPE UMPChP.

UBN ZETPK OBUFPMSHLP CHCHYE Y UYMSHOEK CHUEZP, UFP EZP PLTHTSBEF, UFP DEKUFCHYE ULPMSHYF RP EZP IBTBLFETH, MYYSH CHTENS PF CHTENEY RTYLTSHCHBS FBKOKH EZP VPTSEUFCHEOOPK RTYTPDSCH . yOPZDB LBCEFUS DBCE, VKhDFP VPTSHVB rTPNEFES U yeCHUPN FCHPTYFUS ZDE-FP OBD UGEOPK, B DP OBU DPOPUYFUS FPMSHLP EE PFJCHHL.

lTPNE OEUMPTSOPUFY DEKUFCHYS FTBZEDYY, CHSC ЪБНEFYMY, LPOYUOP, YuFP POB ЪBUFBCHMSEF OBU TsDBFSH RTDPDPMTSEOYS VPTSHVSH. ZETNEU RPUMEDOEK UGEOSCH RTEDULBBSCHBM rTPNEFEA LPTYKHOB Y CHELB UFTBDBOYK Y, DEKUFCHYFEMSHOP, UB RETCHSHCHN rTPNEFEEN YEM CHFPTPC, "PUCHPVPTSDEOOOSCHK", OERPUTEDUFCHEOOP L OENH RTYNSCHL BCHYYK Y PVAEDYOOOSCHK U OYN FUYUEULY, FBL YuFP ЪTYFEMY NPZMY OE RPLYDBFSH FEBFTB RPD YZPN UNHFOPK IDEY VEUUYMSHOPZP CH UCHPEK TSEUFPLPUFY YECHUB. pFOPYEOYS NETSDH DCHHNS NYTPRPTSDLBNY CH LPOGE LPOGPCH CHSHSUOSMYUSH. OP EUMY rTPNEFEECH, UCHSBOOSCHI NETSDH UPVPA, VSHMP FPMSHLP DCHB, FP PVSHHLOPCHOOOP uUIYM UFBCHYM FTYMPZYY, FBL YuFP EZP RTPUFSHCHE DTBNSCH SCHMSMYUSH LBL VSH DEKUFCHYSNY FTEIYUMEOOPK DT BNSHCH, CHRTPUEN FPTSE OUMPTsOPK CH UNSHUME UGEOYUEULPN, B MYYSH ЪBLPOYUOOOPK LFYUEULY. dP OBU DPYMB PDOB FTYMPZYS yuUIMB GEMYLPN 11: "bZBNENOPO", "tsETFCHB ABOUT ZTPVE" Y "echneoidshch". h RETCHPK RSHUE TSEOB Y EE ​​MAVPCHOIL KHVYCHBMY bZBNENOPOB. Private Enterprise ChFPTPC USCHO NUFYM ЪB UNETFSH PFGB. h FTEFSHEK - LFPF USCHO, pTEUF, FETREM OBLBBOYE Y, OBLPOEG, URBUEOOSCHK, UBCHETYBM UFBTSHCHK NYT TPDPCHSCHI PFOPYEOYK, TSYCHYYK RPD ZYDPK FENOPK NHDTPUFY VPZPC ENMY, OBNEOH S OBUFHRMEOYE OPChPK TBSH pMYNRYKGECH Y FPTCEUFChP CHYUOPK LMMYOULPK RTBCHDSCH.

11 "pTEUFES". ъDEUSH UOPULB bOOOOULLPZP:"pTEUFYS".

uPZhPLM, LBCEPHUS, OE MAVYM FTYMPZYY CH BUYIMPCHULPN UNSHUME. OP EZP FTBZEDYS UFBMB ЪBFP UBNB RP UEVE ЪBLPOYUEOOOSCHN Y UMPTSOSCHN GEMSHCHN, ZDE YUBUFY PVAEDYOSMYUSH EUMY OE FUYUEULY, FP RUYIPMPZYUEULY, ZBTNPOYUEULYN TBULTSHCHFY EN IBTBLFETPCH. h LFPN PFOPYEOYY S OE OBAB RTYNETB VPMEE STLPZP, YUEN EZP "jDYR-GBTSH". rTEDRPMBZBS LFKH RSHEUKH YCHEUFOPA NPYN UMKHYBFEMSN, S RPRTPTYKH YI FPMSHLP RTYRPNOYFSH FP DYCHOPE NBUFETUFCHP, U LPFPTSCHN TBCHYCHBEFUS DEKUFCHYE RSHEUSH Y PUPVEOOOP F PF FBLF, U LPFPTSCHN RPF UOBYUBMB HULPTSEF EZP FENR RP NETE FPZP, LBL CH OBU TBUFEF KhTsBU PCIDBOYS, B RPFPN DBEF LFPNH KhTsBUH NBMP -RPNBMH UPKFY ABOUT UFEREOSH KHYCHMEOYS RTED CHEMYUYEN DHib BDYRB Y, OBLPOEG, RETEMYFSHUS CH FYIPE YUKHCHUFCHP ZMKHVPLLPZP, OP OE UFPMSH FSCEMPZP DMS DKHYUPUFTBDBOYS. h "jDYRE" OE VSHMP OH PDOPK MYYOEK UGEOSCH, OE VSHMP OH PDOPZP OPCHPZP SCHMEOYS VEY RUYIPMPZYUEULPK ЪBDBUY. oEF UPNOEOYS, YuFP UGEOB OE OBMB DBCE RPUME tBUYOB ЪDBOYS VPMEE ZBTNPOYUOPZP, YUEN DTBNB "udYRB-FYTBOB". YuFPV KhDETTSBFSH DTBNBFYUEULHA LLPOPNYA ABOUT LFPC CHCHUPFE FEBFTH OHTSOP VSHCHMP GEMKHA UETYA "ldYRPCH" 12, B ABOUT UBNPN DEME DTBNB uPZhPLMB FBL Y KHNETMB CHNEUFE U OIN: FPM ShLP FTBZEDYS OE NPZMB HCE CHETOKHFSHUS L RTPUFPK DTBNE yuIMB, Y LFP VSHMP DMS FEBFTB PZTPNOSCHN YBZPN CHREDED .

12 h PTYZYOBME VSHMP: uPZHPLMPCH. dHNBEFUS, MHYUYE VSHMP PUFBCHYFSH PTYZIOBM.

dTBNB ECHTYRYDB, EUMY IPFYFE, UPUFBCHMSEF YBZ OBBD CH UFTPKOPUFY TBCHYFYS UACEFB. dTBNB FETSEF UCPA GEMSHOPUFSH. DEKUFCHYE FP PUFBOBCHMYCHBEFUS, FP YDEF U MYIPTBDPYuOPK VSHUFTPPFPK. RSHEUB RPYUFY OEYJNEOOOP RPMKHYUBEF OEOPTNBMSHOPE, YUYUFP LRYUUEULPE OYUBMP - RTPMPZ. UMPTSOSCHK DTBNBFYUEULY KHYEM, CHNEUFP FPZP, YuFPVSC PUFPPTTSOP TBURKHFSCHBFSHUS, TBTHVBEFUS NBYOOOSCHN RPSCHMEOYEN VPZB, LPFPTSCHK OBULPTTP RTYNYTSEF FTEVPCHBOYS NYZHB U PUMPTSOEOSNY DTBNSCH.

OETEDLP CH DEKUFCHYY SCHMSAFUS RYYPDSH, YMY POP FETSEF PUOPCHOPE EDYOUFCHP, Y CH UETEDYOE RSHEUSHCH, JB OEPLPOYOOOPK RETCHPK YUBUFSHA OBUYOBEFUS CHFPTBS. CHUE LFP NPTsOP CHYDEFSH, OBRTYNET, CH "pTEUFE" Y "ZHYOILSOLBY". OP EUMY ECHTYRD SCHMSEFUS, FBLYN PVTBBPN, NEOEE YULHUOSCHN, YUEN uPZhPLM CH RPUFTPKLE DTBNSCH, FP PFYUBUFY CH EZP RSHEUBI CHUE TSE OEMSH OE CHYDEFSH DBMSHOEKYEK CHPMAGY Y FPZP RUYIPMPZYUEULPZP BMENEOFB DTBNSCH, LPFPTSCHK VSHM CHSHCHDCHYOKHF uPZHPLMPN. nsch KHCHYDYN OYCE TBJOYGH CH PVTYUPCHLE IBTBLFETPCH X UPZHPLMB Y KH ECHTYRYDB. bFP GEMSHOSH ZBTNPOYUOSCH MADI KH RETCHPZP Y, OBPVPTTPF, OBFHTSCH FTPOKHFSCH TEZHMELUYEK, RPMOBS DKHYECHOPK VPTSHVSH Y RTPFYCHPTEYUYK, KH ECHTYRYDB; OENKhDTEOP YFP EZP pTEUF Y BZBNENOP Y UBNHA DTBNH LBL VSH ZHTNPCHBMY RP UCHPYN RTYYUKHDMYCHSHCHN LPOFKHTBN. oEMSHЪS FBLCE PZKHMPN PUKhTSDBFSH CH OPChPK DTBNE EE RTPMPZB Y BRPZHEPB, RYЪPDPCH Y DBCE TBDCHPEOOPUFY UATSEFB. Eumi defbmy Nybmy gemhopufy, dtbnsh -dtbnshpchlpchulpzp firb, FP, at the DTHZPK UFPTPOSH, I go to the UPDBMYA Yofheyokh KommersantByukh VHDHAII FTBZILPCH. TBCHE RBYPDDSCHY TBBDCHPEOOPUFSH OE RPNPZMY "YYNOEK ULBLE" UFBFSH PDOPA YUBNSHI RTYYUKHDMYCHSHI PTIIDEK CH CHEOLE yELURYTB? OP YuFPVSH OE YDFY FBL DBMELP, UBN ECHTYRD DBM RPFYUEULPE PRTBCHDBOIE RTPMPZB CH UCHPEN "pTEUFE" YMY "ZETBLME", FBL LBL CH FYI RSHEUBI RTPMPZ OE FPMSHLP OERPUTEDUFCHEO OP RTYNSCHLBM L DEKUFCHYA, OP Y PUEOSH YULHUOP PUCHEEBM EZP. UPCHETYOOOP DTHZPK IBTBLFET FBYOUFCHOOOPK VPTSEUFCHEOOPK KHZTPYSCH, CH LPFPTPK VSHMP FPTSE OENBMP UCHPEPVTBOBOPZP PVBSOYS, YNEMY RTPMPZY "yRRPMYFB" Y "chBLIBOPL".

b VPZY CH YUIPDE FTBZEDYY? YuFP NPTsEF VShchFSH RPFYUOOEE SCHMEOYS bTFENIDSH OBD MPTSEN KHNYTBAEEZP yRRPMYFB. zETPK KHOBEF UCHPA RPDTHZKH RP OETsOPNH DHOPCHEOYA ITS VEUUNETFOSHI PDETSD, B POB ЪBUFBCHMSEF ЪCHHYUBFSH CH EZP ZPMPUE FBLYE UFTHOSHCH, LPFPTSCHI NSCH CH OEN Y OE RTEDRPMBZBMY. th TBCHE UPUFTBDBOYE OBUYUFBOPCHYFUS UMBVEE YMY NEOEE GEOOOP UFEFYYUEULY PF FPZP, YuFP L KHNYTBAEEENH AOPYE URKHULBEFUS OEVPTSYFEMSHOYGB, B OE L YuEMPCHELH U PLTPCHBCHMEOOOSCHNY ZMBBIBNY RPDIDDSF MBULBFSHUS EZP NBMEOSHLYE DEFY?

RETKDEN CH UZHETH IBTBLFETPCH. UBNSHCHK STLYK YIBTBLFETPCH yuUIMB VSHM EFPLM, USCHO BDYRB Y OBUMEDOIL EZP ZHYCHBOULPZP RTEUFPMB. DEKUFCHYE DTBNSCH "UENETP RTPFYCH ZHYCH" RTPYUIPDYF CH ZHYCHBI, PUBTSDEOOSCHI BTZPUGBNY U VTBFPN FEPLMB rPMYOILPN PE ZMBCHE. pF ьFEPLMB EEE CHEF TSEUFPLPK Y KHRPTOPK VPTSHVPK. bFP PMYGEFCHPTEOYE ZPTDPK ЪМПВШЧ. UBNBS MAVPCHSH ZETPS L TPDYOE, DBCE TEMYZYPOPPE YUKHCHUFChP PLTBYEOSCH X OEZP OEOBCHYUFSHA L CHTBZBN, Y CH OEN OECHPMSHOP YUKHCHUFCHHEFUS NBTBZHPOULYK VPEG. ChPF UMPCHB, U LPFPTSCHNY EFPLM PVTBEBEFUS L IPTH ZHYCHBOULYI DECHKHYEL:

"ULBTSYFE NOE, P OECHSCHOPUYNSCHE FCHBTY, OOOBCHYUFOSCH DMS CHUSLPZP, LFP TBUUHTSDBEF: OEKHTsFP U CHPRMSNY Y LTYLBNY RTYRBDBFSH L LHNYTBN VPZPC, ЪBEYFOYLPCH ZPTPDB, LF P MKHYUYEE, YuFP NPTsOP UDEMBFSH DMS ZPTPDB Y PUBTSDEOOOSCHI?p, RHUFSH VPZY YJVBCSF NEOS PF OEPVIPDYNPUFY, CH UYUBUFSH MY, YMY CH OUYUBUFSHE, TSYFSH VPL P VPL U TSEEOYOBNY. hMSHCHVOYUSH YN TSTEVIK, POY OEUOPUOP DETIL, OP EUMY FPMSHLP PICHBFIF YI KhTSBU, ЪMP VMBZPDBTS YN UFBOPCHYFUS EEE U YMSHOEE Y DMS ZPTPDB, Y DMS DPNB. RETEVEZBOYE U NEUFB ABOUT NEUFP CHUEMYMP NETSDH ZTBTSDBO FTHUMYCHPE PFYUBSOIE Y RTYDBMP UYMSCH CHTBZKH.YuFP TSE CHSCHIPDYF? OEYOSH. FPF PUKHTSDEO, Y EZP RPVSHAF LBNOSNY.nHTSYuYOSCH, OOBYE DAMP UNPFTEFSH, YUFPVSH OH PDOB TSEEOYOB OE NEYBMBUSH CH FP, YUFP VKhDEF FCHPTYFSHUS ЪB PZTBDPK UFEO. POB OEPRBUOB. (l IPTH.) fsch UMSCHYBMB, YMY S ZPCHPTYM ZMKHIPK? "

th DBMEE ABOUT ЪBNEYUBOYE IPTB, YuFP VPZBN OEMSHЪS OE NPMYFSHUS, RPFPNKH YuFP YI UYMB CHUYEZP:

"DEM NHTSEK ЪBLBMSHCHBFSH TSETFCHSHCH Y RTYOPUYFSH YI VPZBN, LPZDB RPDIPDYF CHTBZ, B CHBYYE DEMP FPMSHLP NPMYUBFSH Y OE RETEUFKHRBFSH ЪB RPTPZ CHBYI DPNPCH."

h TBUULBYE ZETPMSHDB uUIYM RTPCHPDYF RETED ZMBЪBNY TPVLPZP IPTB Y DETOLLPZP eFEPLMB GEMSHK TSD KHTSBUPCH: PDYO ZTPJOEE DTHZPZP TYUHAFUS FE UENETP, LPFPTSCHE RPDU FHRBAF RPD ZHYCHBOULYE UFEOSCH. bTZPUGBN OE RTYDEFUS, PDOBLP, FPTCEUFCHPCHBFSH, FBL LBL eFEPLM UNEEFUS OBD ZTPOSHNY YMY ICHBUFMYCHSHNY BNVMENBNY YI EIFPC, YZTHYLPK, LPPTBS, RP EZP UMPC BN, URPUPVOB YURKHZBFSH TBCHE TEVEOLB.

LBTSDPNKH YJ CHTBZPCH ON OBNEYUBEF DPUFPKOPZP UPRETOILB. OP CHPF NYOPCHBMP YEUFETP, Y ZETPMSHD OBSCHCHBEF UEDSHNPZP - LFP UBN rPMYOIL. xChShch! ьFEPLMH DPUFBEFUS ABOUT DPMA RPEDYOPL U TPDOSCHN VTBFPN. OE FPMSHLP KhTsBU OBTHYEOYS UCHSEOOOEKYI HJ RTPFEUFHAEYK ZPMPU LTPCHY, OE FPMSHLP CHPRMY CHPLTHZ, OP Y RTPLMSFYE UBNPZP ldYRB, LPFPTPPE ЪBTBOEE PUKHDYMP EZP USH OPCHEK ABOUT UCHSFPFBFUFCHEOOSCHK RPEDYOPL, - CHUE TBBPN RPDOSMPUSH ABOUT EFPLMB. OP ЪБ ьФЭПЛМБ РТБЧДБ, ЪБ ОВН ТПДОПК ЗПТПД, - Ъ Ъ Ъ FEОY UPNOEOYS, Ъ ЪОХФОПК ПФПТПРИ, Ъ ОПФШХ ХРТELБ ЦТEWЯ OE ЪЧХУИФ CH EZP ZPMPUE, LPZDB PO TEYBEFUS YDFY CH VPK : "chTBZ ABOUT CHTBZB, GBTSH ABOUT GBTS Y VTBF ABOUT VTBFB" . dB, LFP GEMSHOSHCHK IBTBLFEET. GEMSHOSCHK, YDEBMSHOSCHK, OP PDOPGCHEFOSCHK. mHYUYYK RP IHDPCEUFCHEOOPK PVTBVPFLE IBTBLFET uPZHPLMB - EZP boFYZPOB. bFP FPCE GEMSHOSCHK IBTBLFETH Y RTYFPN ON OE NEOEE YDEBMEO RP EZP PVTYUPCHLE, YUEN EFPLM BUIMB. NETSDH UEUFTPK Y VTBFPN EUFSH DBCE PVEYE YETFSH, Y CH LFPN PFOPYEOYY PYUEOSH IBTBLFETEO RETCHSHCHK MPIHOZ BOFYZPOSH: "with PUFBOPCHMAUSH, LPZDB VPMEE OE CH UYMBY VHDH DEKUFCHPCH BFS".

OP ZETPYOS uPZHPLMB PVTYUPCHBOB ZPTBJDP RPMOEE Y YYSEOEE, YUEN EFPLM BUYYMB.

h YUEN CE ЪBLMAYUBEFUS LFB RPMOPFB, Y LBL CHPPYYA PVTYUPCHCHCHBEF IBTBLFETSCH DTBNB?

dTBNB OE NPTSEF, RPDPVOP TPNBOH, DBCHBFSH TBCHYFYS IBTBLFETB, POB FPMSHLP TBULTSHCHBEF OBN ZPFPCHCHK IBTBLFET, Y DTBNBFHTZ DEMBEF LFP DCHHNS URPUPVBNY: 1) CH LPOFT BUFBI; 2) PE READ.

oBFHTB boFYZPOSH LBCEPHUS OBN PUPVEOOOP VPZBFPK, BEE IBTBLFET KHRPTOSCHN Y UFTBUFOSHN PF ITS UPRPUFBCHMEOYS U OTsOPK Y TPVLPK yUNEOPK. еUMY VSH TSDPN U BOFYZPOPK OE VSHMP IPTB, NSCH VSH OE RPYUKHCHUFCHBMY FBL STLP CHUEK TBJOYGSCH NETSDH DPVTPDEFEMSHA ЪBHTSDOPZP YUEMPCHELB Y ZETPYNPN, Y, OBLPOEG, EUMY VSH UCHP YN DETIBOYEN BOFYZPOB OE CHSHCHBMB LTEPOFB ABOUT FPMLPCHBOYE ЪBLPOB Y RTETPZBFYCH CHMBUFY, NSCH VSH OE KHCHYDEMY U FBLPK SUOPUFSHA , YuFP FBLPE TEMYZYPOSCHK ЪBLPO CH PFMYYUYE PF ЪBLPOB CHOEYOEZP. chFPTPK URPUPV TBULTSHCHFYS, LPOYUOP, OE NPTsEF DBFSH LPOFHTB, PO OE DBEF DBCE MYOY, B FPMSHLP OEULPMSHLP FPYUEL, OP ЪBFP LFP FPYULY CH RTPUFTBOUFCHE, FPZDB LBL TPNBO TYU HEF LPOFHT ABOUT RMPULPUFY. nsch ЪBUFBEN BOFYZPOKH, LPZDB POB KhCE TEYYMBUSH RPIPPTPOYFSH VTBFB, ЪBLPOPN MYYEOOOPZP RPZTEVEOYS, Y DMS bFPZP PRBUOPZP DEMB EK, CH UHEOPUFY, CHCHUE OE OBDP RPNPEY. eUMY POB Y RTEDMBZBEF UEUFTE TBDEMYFSH EE DETBOYE Y KHUBUFSH, FP MYYSH RPFPNKH, YuFP POB IPFEMB VSHCH VEDYFSHUS, YuFP UEUFTB FBLCE ZPTSYUP MAVYF VTBZB, LBL Y POB, bo FYZPOB. OE ЪМПВБ, Б ЗПТЭУШ ЪЧХУИФ CHE UMPCBI, LPZDB KENEOB PFLBBBMBUSH YDFY ЪB OEK. dBMEE BOFYZPOB NEMSHLBEF RETED OBNY CH UMPCHBI UFPTPCB. NSCH CHYDYN, YuFP OB OE EBRYTBMBUSH Y NPMYUB RPUMEDPCHBMB ЪB MADSHNY LTEPOFB. ъBFEN UMEDHAF ITS UGEOSCH U FYTBOPN Y UEUFTPK. RETED lTEPOFPN boFYZPOB SCHMSEFUS OE FPMSHLP UNEMPK, OP ZPTDPK ЪBEYFOYGEK OTBCHUFCHEOOPZP ЪBLPOB. NETSDH ITS UMPCHBNY OEF OH PDOPZP VHI UPVUFCHOOOPK ЪBEIFSHCH.

"TBCHE FEVE NBMP KHNETFCHYFSH NEOS, EUMY S CH FChPYI THLBY?" - ZPCHPTYF POB FYTBOKH. EHH CE ZPCHPTYF POB Y UCHPK CHFPTPK DECHY: "with OBYUEOB RTYTPPDK DMS FPZP, YUFPVSH DEMYFSH MAVPCHSH, B OE OEOOBCHYUFSH."

y DEKUFCHYFEMSHOP, VSHMP VSH PYYVLPA UNEYYCHBFSH boFYZPOKH U MADSHNYUCHPEOTCHOSCHNYY RTPFEUFKHAEYNY RP ULMPOOPUFY. h PUOPCHE EE FTBZEDYY IBTBLFETB METSYF OE ZOECHY OE OEOBCHYUFSH, B MAVPCHSH L OEYUBUFOPNKH VTBFKH: P DTHZPK, DECHYUUEULPK MAVCHY L ZENPOKH, USCHOKH FYTBOB, POB OE ZPCHPTYF YЪ Z PTDPUFY, Y P OEK OBRTBUOP OBRPNYOBAF GBTA UFBTYLYY KENEOB. OP FPF CHCHUYYK yTPF, LPFPTSCHK CHMBDEEF UETDGEN boFYZPOSH, Y LPFPTPZP OEF OE FPMSHLP KH lTEPOFB, OP OH X yUNESCH, OH X IPTB, OH X UFTBTSOILB, LFP TsBTsDB RPDCHYZB MAVCHY.

lPZDB KENEO ZPFPCHB TBDEMYFSH EE KHYUBUFSH, ZPTSHLYN HRTELPN CHSTCHCHBEFUS KH BOFYZPOSH UMPCHP, OBRTBCHMEOOPE RTPPFYCH VE'DESFEMSHOPK MAVCHY.

"with OE MAVMA FAIRIES, LPFPTSHCHE MAVSF NEOS FPMSHLP ABOUT UMPCHBI."

KENEOB OE KHNETMB U BOFIZPOPA, OP EUMY VSHCH LFB DECHKHYLB KHRTSNUFCHPN Y DPVYMBUSH EE KHYUBUFY, OBU, CHETPSFOP, VSH OE FTPOKHMB EE TSETFCHB; DMS TSETFCHSHCH CH UNETFY YUNEOSH OE ICHBFBMP VSC OTBCHUFCHEOOPZP KHTPLB, LPFPTSCHK UPUFBCHMSEF CHUA LTBUPFKH Y, ZMBCHOPE, CHUSH UNSHUM UBNPRPTSETFChPCHBOYS boFYZPOSHCH. BOFYZPOB CHSHCHBMB KHRTEL CH VEKHNYY. eZP RPCHFPTSMY ABOUT UGEOE Y KENEOB, Y IPT; FERETSH, LPZDB POY NPMYUBF, RPFPNKH YuFP YN UPCHEUFOP, LFP UMPP RTPYOPUYF lTEPOF.

OP BOFIZPOB OE VEKHNOB. fPMSHLP POB UBNB PVYASUOSEF LPTEOOPE TBMYUYE NETSDH UCHPYN KHNPN Y KHNPN yUNEOSHCH.

"fShch (HLBSHCHCHBEF POB YUNEOE ABOUT IPT) ZPCHPTYYSH KHNOP DMS LFYI MADEK, B S LBBBMBUSH KHNOPA NETFCHSHCHN."

h RPUMEDOEK UGEOE NSCH CHYDYN CHUA RPMOPPHH TSYYOY, LPFPTBS RPDUELBEFUS CHMBUFPMAVYEN FYTBOB. UChPVPDOP Y UFTBUFOP MSHAFUS TSBMPVSH BOFYZPOSH, OP CH EE CHSHCHUPLPK DKHYE OEF NEUFB DMS RTPLMSFYK: UBNHA UNETFSH UCPA POBOE TEYBEFUS DBTSE OBCHBFSH RTSNP OEURTBCHEDMYCHPK, DB Y OE H UE MY EK TBCHOP CH UKHEOPUFY, RTBCHB POB YMY OEF. POB OBEF, YuFP OE NPZMB RPUFKHRYFSH YOBYUE. "eUMY VPZY PRTBCHDSHCHBAF NPA UNETFSH, - ZPCHPTYF POB, - Y S ZPFPCHB RTYOBFSH URTBCHEDMYCHPK UCHPA LBJOSH, B EUMY OERTBCHSHCH BFY MADI, RKHUFSH YURSHCHFBAF POY OE VPME FPZP, L YUENKH RT YUKHDIMY NEOS."

fY UMPCHB, PDOY YJ RPUMEDOYI, RTPYOOUEOOOSCHI BOFYZPOPK, MHYUYE CHUEI IBTBLFETYJHAF EE YUYUFP UPZHPLMPCHULHA ZBTNPOYUOPUFSH Y LFYUOPUFSH, F. E. BVUPMAFOKHA OTBCHUFCHEO OPUFSH ITS RTYTPDSCH, EUMY FBL NPTsOP CHSTBYFSHUS. OP ABOUT IBTBLFETE BOFYZPOSH OE PUFBOPCHYMPUSH YULHUUFCHP ZTEYUEULYI FTBZYLPCH H YJPVTBTTSEOY MADEK. eCHTYRDH RTYOBDMETSYF zhedtb. l UPTSBMEOYA, NSCH OBEN LFPF PVTB MYYSH CH UNSZYUEOOOSCHY YETFBI... with RTEDRPMBZBA, YuFP CHUEN YJCHEUFOB REYUBMSHOBS YUFPTYS NBYYYY, LPFPTBS RPMAVIMB RBUSCHOLB Y OE CHUFTEFYM B FUCKING FUCK.

h RETCHPN "yRRPMYFE" zhEDTB UBNB RTYOBCHBMBUSH yRRPMYFH, Y LPZDB BY PFCHETZBM ITS DBCE RPUME bFPZP KhTsBUOPZP, VEURPCHPTPFOPZP YBZB, -- POB KHNYTBMB, PLMECHEFBCH EZP R YUSHNPN RETED PFGPN EZP, ZHEUEEN.

h KHGEMECHYEK DTBNE MYUOPZP RTY'OBOYS HCE OEF: ZhEDTH ЪBNEOYMB RETED yRRPMYFPN VPMFMYCHBS Y OEYULHUOBS UMKHTSBOLB, Y ZOECH EE, FBLYN PVTBJPN, NEOEE NPFYCHYTPCHBO. GBTYGB OE YURSHCHFBMB TZKHYUEZP UFSHCHDB RTYOBOYS, DB Y yRRPMYF UMYYLPN MEZLP RPTsBMHK, RPCHETYM VEUFPMLPCHPK TsEOEYOE, LPFPTBS NPZMB Y OE RPOSFSH UCHPA ZPURPTsKH Y MY PLMECHEFBFSH EE. DEMBS GEOFTPN FTBZEDYY ZHEDTH, OE VEJ FPOLPZP RUYIPMPZYUEULPZP FBLFB UEOELB RTEDRPYUEM RETCHPZP yRRPMYFB CHFPTPNH.

OP Y FB ZHEDTB ECHTYRYDB, LPFPTHA NSCH OBEN, YOFETEUOSCHK Y UMPTSOSHCHK IBTBLFET. Eumi Bofyzpob VHDFP Chus Ukhfus Yidebmshchin Pzone, Mkheuk LPFPPZP Victory Ipyuf Ultshchbfsh, FP Zhedtkh, OPPVPTPF, Oyachidop Utsizbef Rmbens Uftbufy. ABOUT UGEOE RETED OBNY RTPIPPDYF ITS UNKHFOPE FPNMEOYE, RTPOPUSFUS CHYITEN NEYUFSHCH, ZDE POB UCHPEPVTBOBOP Y RTYYUKHDMYCHP "UBNEOSEF" yRRPMYFB, FP ABOUT NPTULPN RPVETETSHE, FP ABOUT PIPFOYUSH EK UFPSOLE, FP CH VEYEOPK RPZPOE ЪB MBOSCHP. OP NSCH CHYDYN, YuFP UFTBUFSH HTSE DBCHOP OBYUBMB UCHPY PRKHUPYEOYS CH UETDGE GBTYGSHCH, ZHEDTB OE FPMSHLP VPMSHOB, POB FETSEF OBD UPVPK ChPMA, Y UNETFSH, LBL EDYOUFCHEOOSCHK CHSHCHIPD YЪ LFY AND FSTSLYI PUMPTSOEOYK, TYUHEFUS EK CHUE FUCKING. ZhEDTB OE NEYUFBFEMSHOYGB Y OE FB YUFETYUUEULY-YUKHCHUFCHOOBS TSEOOYOB, ЪB LPFPTHA Refinery VSC RTYOSFSH ITS RPCHETIOPUFOSHCHK OBVMADBFEMSH. ECHTYRD TYUHEF EE, OBPVPTPF, OBFHTPK TBUUKHDPYUOPK, ZPTDPK Y UFSHDMYCHPK. eUMY VSH OE UEFSH YI MBULY, MAVPRSCHFUFCHB Y VEUPCHULPK IYFTPUFY, ZHEDTB, CHETPSFOP, KHOEUMB VSHCH NPZYMKH UCPA FENOKHA Y VESCHUIIPDOHA DTBNKH. OP CHPF RTYOBOYE CHSHCHNPFBOP; ЪХВ, DEKUFCHYFEMSHOP, CHCHTCHBO, OP LTPCHY PUFBOPCHYFSH HCE OEMSH: ULPTP DMS ZhEDTSCHE PUFBOEFUS YuEUFOPZP CHSCHIPDB DBTSE CH UNETFY.

zPTDP Y UFPKLP CHSHCHUMKHYYCHBEF POB HRTELY yRRPMYFB, UNSHUM LPFPTSCHI UMYYLPN IPTPYP RPOSFEO CHUEN RTYUKHFUFCHHAEIN, OEUNPFTS ABOUT FP, YuFP yRRPMYF, RTPY'OPUS YI, VKH DFP DBCE OE ЪБНЭУБEF НБУЭИІ, ЪБ ьФХ NPMYUBMYCHHA RSHCHFLH CH OEK UP'TECHBEF BDULYK RMBO NEEOYS. lPNH? UBNB POB BUMHTSYMB FPMSHLP LBIOSH, Y TBVULBS REFMS - CHPF CHUE, YuEZP POB DPUFPKOB.

OP RPZYVOKHFSH, OE PUFBCHS UMEDB PF RETETSYFPK VPTSHVSHCH Y PF DPMZYI NHL, - OE OBYUIF MY LFP - RPLPTOP RETEDBFSH ABOUT UHD TBVULYI KHUF UCHPE YNS CHNEUFE U YNEOEN DEFEC? oEF, ZhEDTB DPMTSOB URBUFY YUEUFSH OERPCHYOOSHI NBMAFPL... B DMS LFPZP EK OE PUFBEFUS DTHZPZP CHSHCHIPDB, LBL CHPPTHTSYFSH FBYOUFCHEOOSCHN Y OEPFTBYNSCHN PTHTSYEN UPVUFCHEOOSCHK FTHR. lBLPE DTHZPE UTEDUFCHP URBUMP VSH EE RBNSFSH PF Y'DECHBFEMSHUFCH Y RPTHZBOYS, LPFPTSCHI POB CHUE-FBLY OE ЪBUMHTSYMB? bOETZYS GBTYGSHCH, IYFTPUFSH RPMB Y ЪMPVB PFCHETZOHFPK TSEOOEYOSCH RYYKHF UFTBIOKHA LMECHEFKH. CHYOB ZHEDTSCH ЪBLMYUBEFUS RTY LFPN CH HER UMERPFE: POB HOPUIF CH NPZYMKH PVTB IMPPDOPZP Y OMZP TYFPTB, LPFPTSCHK, OBCHETOP, OE UFBOEF NPMYUBFSH RTY CHYDE EE FTHRB Y PUPVE OOP RPD KHZTPЪPK ITS ЪBZTPVOPZP PVCHYOOYS. b NPTSEF VSHCHFSH, NYNPCHPMSHOP, CH VEKHNOPK ZTEE RTPOPUYFUS RETED OEA NSCHUMSH: "oe DPUFBCHBKUS TSE OILPNH, TB FSH OE DPUFBMUS NOE" YMY "tBDEMY NPE UFTBDBOYE, EUMY FSH OE "BIPFEM DEMYFSH NPEK MAVCHY." rPUMEDOYE UMChB JEDTSCH ABOUT UGEOE RPMOSH NTBYuOPK Y ЪMPK TEYINPUFY, CHO YOY OEF OH OPFSCH MAVCHY, OH FEOY TSEMBOS, OP NSH Y OE TsDEN YI: ZHEDTB - PDOB YY FEY TSEOEYO, UMPCHB LPFPTSHY OE U FPMSHLP PFLTSCHCHBAF IBTBLFET, ULPMSHLP ЪBUFBCHMSAF OBU U VEOBDETSOPUFSH CHUNBFTYCHBFSHUS Ch ZMHVPLHA FBKOKH UETDGB.

bFPZP VEZMPZP TBVPTB DPCHPMSHOP, S DKHNBA, YuFPVSH RPLBBBFSH, OBULPMSHLP RUYIPMPZYUEULY PVTB ZHEDTSCH UMPTSOE DKHYECHOPZP PVMYLB boFYZPOSH. EHH EEE DBMELP DP MEDY nBLVEF, OP LFP HCE VPMEE OE ZHPFPZTBZHYS CH FTY LTBULY.

fTBZYUUEULYK RBZHPU, FP EUFSH FB PUPVEOOBS BNPGYS, LPFPTHA CHPVKHTSDBEF CH OBU RTEUFKHRMEOYE Y LBTB ZETPECH FTBZEDY YNEM FPCE UCHPA UCHPMAGYA. BY VSHHM PDOPFPOOOEE X BUIYMB Y RPMKHYUM X ECHTYRYDB VPMEE TZHYUYE LTBULY.

nsch CHYDEMY NHLY rTPNEFES, ZCHPЪDY, CHPZOBOOSH EZP FEMP FSTSLYN NPMPFLLPN VPZB, RPZTEVEOIE OBTSYCHP, REYUEOSH, CHYUOP OBTBUFBAEKHA Y CHYUOP RPTSYTBENHA PLTPCHBCHMEOOOSCHN LMACHPN LPTYKHOB, NSCH CHYDEMY KhTSBU DBOBYD, VEZHEYI PF RTEUMEDPCHBOYS, CHYDEMY CHYUOKHA Y VEKHNOKHA ULIFBMYGH YP, KHOYTSEOOPZP LUETLUB, VMEDOSHCH TYOOYK , LPFPTSHCHN OE DBEF NYOHFSH RPLPS LTPCHBCHBS FEOSH lMYFENOEUFTSH. h RBZHPUE bUIYMB OE DPUFBEF OPF UPUFTBDBOYS. nHLY FYFBOB CHSHCHCHCHBAF CH UETDGE ЪTYFEMS OZPDPCHBOYE Y KhTsBU, VEЪ TZKHYUEZP ЪХДБ РПУМе. chPF FYR DTHZPZP RBZHPUB - bODTPNBIB YЪ "fTPSOPL" echTYRYDB.

"ftPSOLY", LFP - TSD DTBNBFYUEULYI UGEO, RPFYUEULYK ULMBDEOSH, ZHE ECHTYRD TBCHETFSHCHBEF RETED OBNY STLHA LBTFYOKH KHTSBUPCH CHPKOSHCH, CHUE LFY VECHYOOSH CETFCHSHCH Y ЪMPDEKUFCHB, UDEMBOOSH NYNPIPDPN; OBLBOKHOE UYGYMYKULPZP RPIPDB ("fTPSOLY" PFOPUSFUS L 415 ZPDH) RPF, LBL EZP lBUUBODTB, FPYuOP RTEDYUKHCHUFChPCHBM VHDHAKE RPZTPN bZHYO Y FPTCEUFChP mYUBODTB.

BODTPNBIB HTSE OBEF P UCHPEK KHUBUFY: TBVSCHOEK EE HCHEKHF CH ZTEGYA, Y POB TBDEMYF MPTSE PDOPZP YЪ ЪMPDEECH UCHPEZP ZELFPTB. OP CHPF fBMFYVYK RTYOPUYF EK OPCHPE TEYEOYE ZTELPCH. pDYUUEK CHOKHYM CHPTDSSN, YuFP PUFBCHMSFSH TSYOSH USCHOKH zELFPTB VSHMP VSH LTBKOE OETBKHNOP, Y FERTSH ZETPMSHDH RPTHYUEOP CHSTCHBFSH TEVEOLB YY THL NBFETY, YUFPVSH UVTPUYFSH EZ P U FTPSOULPK VBOY. according to UPCHEFHEF BODTPNBIE OE URPTPFYCHMSFSHUS: CP-RETCHSHI, URPTSH VEURPMEYOSCH Y OERTYMYUOSCH, B CP-CHFPTSCHI, BODTPNBIB ChPPVEE DPMTSOB VSHFSH PUFPPTSOB: EUMY RTPPLMSFYS ABOUT ZTEYUEU LPE CHPKULP CHSHCHTCHHFUS YE EE KHUF, NBMEOSHLPZP RPLPKOILB MYYBF DBCE ZTPVB, RPZTEVEOYS. rPUME LFPPZP CHUFKHRMEOYS, LTBUOPTEYUYCHPZP LPNNEOFBTYS, PE CHUSLPN UMHYUBE, L VKHDHEEK UGEOE TBBMHLY NBFETY U TEVEOLPN, BODTPNBIB OEULPMSHLP NYOHF NPMYUB RMBUEF Y G EMHEF NBMAFLH, RPFPN OBUYOBEF ZPCHPTYFSH. (Tro. 740-779):

"nPE DYFS, NPK MAVYNSCHK, OEPGEOOOSCHK. chTBZY IPFSF KHVYFSH FEVS Y PUFBCHYFSH TSYOSH FCHPEK OYUBUFOPK NBNE... oe CHRTPL FEVE, CHYDOP, RPYMB Y PFGPCHULBS UMBCHB! p, NPS OE UYUBUFOBS, NPS ZPTSHLBS UCHBDSHVB!
dKHNBMB FPZDB: ChPF TPTSKH USCHOB, VKhDEF X OEZP GBTUFChP - ЪПМПФПЭ ДОП, Б ТПДИМБ УШЧOB, YuFPVSH PFDBFSH EZP ZTELBN, KHVYKGBN, ABOUT UNETFSH... fsch RMBYuEYSH, NPS DEFPYULB? TBCHE FSCH YUKHCHUFCHHEYSH, YuFP U FPVPK VHDEF? YuFP Ts FSH FBL UTsBM NEOS THYUPOLBNY, FBL RTYMSHOHM L NPENKH RMBFSHA, LBL RFYULB RPD LTSHMSCHYLP. oEF, PO OE RTDEF, OBY ZELFPT, OE PFPVSHEF OBU LPRSHEN: ENKH OE CHUFBFSH PLPMP FEVS UFEOPK YЪ ENMY. th OYLPZP, OYLPZP-FP X FEVS OEF: OH VTBFSHECH PFGPCHULYI, OH OBYEZP GBTUFCHB. b FEVS CHPF UEKYUBU VE CHUSLPK TsBMPUFY CHPSHNHF PF NEOS Y UVTPUSF UP UFEOSCH; FSH KHDBTYYSHUS ZPMPCHLPK PV YENMA Y CHJDPIOEYSH... CH RPUMEDOYK TB... Y S OE VKHDH VPMSHYE YUKHCHUFCHPCHBFSH ABOUT THLBI FCPEZP NYMPZP FEMSHGB, DSCHYBFSH FPVPK...
ЪБУЭН Це ьФБ ЗТХДШ CHULPTNYMB FEVS, ЪБУЭН С FEWS REMEOBMB? ъБУЭН WITH IMPRPFBMB, Y'CHPDYMBUSH RP FEVE? OH RTYDY TSE, RPGEMKHK UCHPA NBNKH CH RPUMEDOYK TB, RTYMSZ LP NOE, CHPF FBL; PVPYNY UCHPA NBNKH UB YEA THYULBNY Y RTYMPTSY UCHPK TPFYL L NPYN ZHVBN..."

OP CHPF ЪМПВБ OBUYOBEF DKHYYFSH BODTPNBIKH.

"TSEUFPLYE ZTELY, CHCH IHTSE CHBTCHBTPC! BUYEN CHBN UNETFSH LFPC LTPYLY? YuFP ON CHBN UDEMBM?"

CHUE HER RTPLMSFYS PVTHYYCHBAFUS ABOUT EMEOH, POB VPYFUS RTPLMYOBFSH CHPTSDEK. NETSDH FEN, fBMFYVYK FPTPRYF EE, Y POB, OE ZMSDS, RETEDBEF ENKH RMBUHEESP DAMAGE.*

* bFPF BVBBG PFUHFUFCHHEF CH FEBFTE ECHTYRYDB 1906.

"Oh OBFE, OBFE TEVEOLB HOPUYFE EZP, VTPUBKFE, EYSHFE EZP. xTs EUMY VPZY TEYMYMY OBU RPZHVYFSH, TBCHE S CHSHCHCHH EZP X UNETFY?"

fBMFYVYK HOPUYF BUFYBOBLUB, B BODTPNBIB, ЪBLTSCHCHBS MYGP LTYUYF:

"fPMSHLP URTSYUSHFE NEOS, URTSYUSHFE NEOS, VTPUSHFE LHDB-OYVKHSH ABOUT DOP LPTBVMS, OYUEZP OE CHYDEFSH..."

ChCHYDYFE, YuFP LFPF RBZHPU RPFETSM HCE IBTBLFET FBYOUFCHEOOPZP, UFYIYKOPZP, ZDE-FP DBCHOP TEYOOOPZP KhTSBUB BUYIMPCHULYI JPVTBTSEOYK, OP ЪBFP ON UFBM TsYOSHA.

RPIYY VHDHEZEP Rededufpsmbsmb Kommersiufseopzp uyofeba dbzhpupch - nyufyuyulpzp, IPMPDPZP KTsbubbubube Gerlpzp, Zhyuzp RBzhpub echtiridb.

yFYUEULPE OBYUEOYE FEBFTB CH LMMYOULPK TSYOY VSHMP ZTPNBDOP. lFP VShchM UCHPEPVTBOSCHK OBTPDOSHCHK KHOYCHETUYFEF BOFYUOPZP NYTB Y RTYFPN CH TEDLYE NNEOFSH UCHPEK TSYYOY FBLPK PDHYECHMEOOSHCHK Y RTELTBUOSCHK, LBLYE VPMSHYE HCE OE RCHFPTSM YUSH. dTBNB UFBMB UYNCHPMPN CHCHUYEZP PVTBBPCHBOYS DTECHOYI, LPZDB zPNET UDEMBUS KHDEMPN YLPMSHOYLPCH.

UBNBS FPTCEUFCHOOPUFSH Y TEDLPUFSH FEBFTBMSHOSCHI RTEDUFBCHMEOYK DEMBMB OTBCHUFCHEOOSCH KHTPLY UGEOSCH PUPVEOOOP STLYNY Y DPTPPZYNY. PTSYCHMEOYE RTBDOYLB Y UP'OBOYE EDYOUFCHB NETSDH DEUSFLBNNY FSCHUSYU MADEK, ZPCHPTSEYI ABOUT PDOPN SJSHLE, ІОФХЪЪЪБН, й VMBЗПУУЭУФЭ, ОПЧЪOB й ТБДИГІС UMYCHBM YUSH CH UETDGBI ЪTYFEMEK CH FBLPK RPMOSHCHK Y ZBTNPOYUOSCHK BLLPTD, YUFP LFY UETDGB YYTPLLP PFLTSCHCHBMYUSH DMS OTBCHUFCHEOOSCHI HTPLPCH UGEOSCH. OP DKHNBFSH, YUFPVSH FEBFT VSHM OEYYNEOOOSCHN URKHFOILPN TEMYZYY, OBYUYMP VSH OE RPOINBFSH OY FPZP, OY DTHZPZP. FEBFT, CHP'OILYK RPD RTYLTSCHFYEN YHFLY Y PVNBOB UBFYTPCH, PYUEOSH TBOP, OEUNPFTS O RSHMBCHYYK TSETFCHEOIL dYPOYUB, DPUFYZ FPK UCHPVPDSH, DMS LPFPTPK TEMYZY RPFTEVPCHBMPUSH ED BW MY OE DCHE FSCHUSYU MEF. OYLFP OE CHNEOSM yUIYMKH CH RTEUFKHRMEOYE HRTELY YECHUB CH FYTBOYY, Y ECHTYRIDKH OBDP VSHMP ЪBIPDYFSH HCE UMYYLPN DBMELP CH PFLTPCHEOOPUFY UCHPYI TEMYZYPOSHI UPNOEOYK, YUFPV R PDCHETZBFSHUS OBRBDLBN. boFYUOSCHK FEBFT CHPPVEE OE MAVYM FPMSHLP VPMSHYPK PFLTPCHEOOPUFY, Y EUMY echtyrydkh UFBCHYMY H HRTEL EZP nemboyrrkh YMY ZELHVH, FP MYYSH ЪB FP, YUFP LFY TsEOEYOSCH Z PCHPTYMY, VKhDFP SING OE OBAF, YUFP FBLPE еCHU. NETSDH FEN, YTPOYUUEULPE ЪBNNEYUBOYE DYPULHTPCH OBUUEF bRPMMPOB, "PV HNE LPFPTPZP POY OE UNEAF UKhDYFSH, RPFPNKH YuFP PO YI OBYUBMSHOIL 13, RTPIPDIMP VEBOBLBOBOOSHCHN. rTY LTSCHFPUFSH, NYUFYZHYLBGYS, YTPOYS - CHPF FE ZhPTNSCH LTYFYLY, LPFPTSHCHE VSHCHMY PUCHSEOOSH FTBDYGYEK UGEOSCH Y EE ​​RTPYUIIPTSDEOYEN YЪ LHMSHFB VPTSEUFCHEOOPZP PVNBOAILB.

13 ІРІУПДИК 5, УФБУНИ 4.

yFYUEULPE CHMYSOYE UGEOSCH ULBSCCHBMPUSH, LPOYUOP, STUE CHUEZP CH YЪPVTBTSEOY PMYNRIKGECH, ZDE NSCH NPTSE PFNEFIFSH DCHB NPNEOFB. RETCHSHCHK H'UIYMB, LPFPTSCHK UPEDYOSEF IDEA CHETIPCHOPZP RTPNSCHUMYFEMS U PVTBBPN YECHUB, B RPUTEDOYGEK NETSDH OIN Y MADSHNY, YMY, YuFP FP TSE, BZHYOSOBNY, DEMBEF EZP NKhDTHA Y YUKHTSDHA UFTBUFY DPYUSH - bZHYOH-rBMMBDH. chFPTK - X ECHTYRYDB, ZDE YDES VPTSEUFCHOOOPK NHDTPUFY Y URTBCHEDMYCHPUFY CHOEDTSEFUS CH DKHYY ЪTYFEMEK, FBL ULBUBFSH, DTBNBFYUEULPK LTYFYLPK NYZHB, F. E. PMYNRYKGECH : bRPMMPO, bTFENIDB, bZHTPDYFB, rPUEKDPO ЪBFEICHBAF U MADSHNY UMYILPN TSEUFPLYE YZTSCH, RPF TSE PFOADSH OE ЪBFHYECHCHCHBEF YI, B, OBPVPTPF, RPDYUETLYCHBEF STLYN YЪPVTBTTSEOYEN YYOYNPK YNY NHLY; FBL, CH "YRRRPMYFE" bTFENYDB PFLTPCHEOOP CHSHCHULBSHCHCHBEF TSEMBOE PFPNUFYFSH LYRTYDE UB UNETFSH UCHPEZP URKHFOILB KHVYKUFCHPN PDOPZP Y EE ​​MAVYNGECH. yZHYZEOYS PVYASCHMSEF LBOOYVBMSHULYK LHMSHF bTFENIDSH PFCHTBFYFEMSHOSHCHN, B yPO KHRTELBEF, RPMPTSYN ЪBPYuOP, ZhEVB, UCHPEZP VMYUFBFEMSHOPPZP RBFTPOB, ЪB FP, YuFP PO PVNBOSHCH CHBEF DECHKHYEL Y RPFPN VTPUBEF UCHPYI DEFEC. y FPF, y DTHZPK URPUPV LFYUEULPZP ChPDEKUFCHYS YNEMY UCHPY LPTOY CH HUMPCHYSI READING; RETCHSHCHK, BUYIMPCHULIK, RPDIPDYM L UTEDE, ZDE EEE TsYCHB VSHMB CHETB CH MYYUOSCHI VPZCH Y ZHE VSCHMY OHTSOSCH YuEMPCHELPRPDPVOSCH UYNCHPMSCH CHETCH, B CHFPTK UPPFCHEFUFCHPBCHBM CHELKH TEZHMELUYY, F. E. CHTE NEOY, LPZDB BZHYOULYE RPTFYLY LYYEMY ZHYMPUPZHBNYY TYFPTBNY TBOSHI CHEMYUYO, B BMFBTY CHYDEMY FPMSHLP TYFKHBMSHOSHI RPUEFYFEMEC. eUMY RETCHSCHK NPNEOF NPTsOP OBCHBFSH LFYLP-VPZPUMPCHULN, FP CHFPTPK BUMHTSYCHBEF OBCHBOYE LFYLP-ZHYMPUPZHULZP.

ьChPMAGYS FTBZEDY OE CHUEZDB ULBSCCHBMBUSH, PDOBLP, TPUFPN ITS LMENEOFPC. h ZTEYUEULPK FTBZEDYY VSHMY BMENEOFSH, YUFPTYS LPFPTSCHI VSHMB YUFPTYEK YI RBDEOYS. Yuen VPMEE TBCHYCHBEFUS DYBMPZ Y MYTYLB CH UCHPEN ZMBCHOPN, NHYSHCHLBMSHOPN NPNEOFE, FEN VPMEE FETSEF Y CH OBYUEOYY, Y CH LPMPTYFOPUFY FTBZYUEULYK IPT. rPUNPFTYFE ABOUT IPTSH BUYMB, LBL POY TBOPPVTBOSCH: CHPF UFBTSHCHE UCHETUFOILY bZBNENOPOB, CHPF UNSFEOOSCH KHTSBUPN ZHYCHBOLY, CHPF OETsOSCHE Y VMBZPTPDOSHE PLEBOYDSCH, B CHPF Y UFTBOOBS , HTPDMYCHBS GERSH CHCHUPIYI BTYOOYK U ZHBLEMNY CH THLBI Y UNESNY CH UEDSCH LPUNBY, U YI CHPRMSNY, FENOPK TEYUSHA Y OJDEYOINY TSBMPVBNY.

IPT uPZhPLMB OEKFTBMEO Y VEUGCHEFEO; LFPF RPF OE DBCHBM ENKH RTYOINBFSH TSYCHPZP HYUBUFYS CH DEKUFCHYSI. rPMPTSYN, Y H OEZP, Y H ECHTYRDB REUOY IPTB SCHMSMYUSH YOPZDB RTECHPUIPDOSHNY RP MYTYUUEULPK UYME Y LTBUPFE, OP TPMSH IPTB VSHMB OEDTBNBFYUOB, Y DBOBDSH OILZDB HTs E ABOUT CHETOHFUS ABOUT UGEOH. eee PDYO YBZ, Y X bZBZHPOB REUOY IPTB UIPDSF VECHPCHTBFOP ABOUT TPMSH DTBNBFYUEULYI RBKH, NHYSHLBMSHOSHI OPNETPCH.

UFYMSH FTBZEDYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYSHL PFMYYUBMYUSH H'UYIMB OE FPMSHLP PF PVSHDEOOOPK TEYUY, OP Y PF TEYUY LBRPUB. bTYUFPZHBO, CHPUIEBSUSH UMPCHBNY NBTBZHPOULPZP VPKGB, OBSCHCHBEF YI "UMPCHBNY, PUEDMBCHYYNY LPOEK." DEKUFCHYFEMSHOP, MYYYFE UMPCHB LTSHMBFSHI LPOEK RPYYY, Y SING VHDHF LBBBFSHUS OERPCPTPFMYCHSHNYY, VEUUNSHUMEOOSCHNYY DBTSE UNEYOSCHNYY, B YI FSTSEMSHCHPOLYE Y ZTP NPJDLYE DPUREIY RPFETSAF CHUSLPE PVBSOYE CHEMYUBCHPK LTBUPFSCH. l NTBYuOPK FYFBOYUEULPK RPYYY, LPFPTBBS MAVYMB YЪPVTBTSBFSH SCHMEOYS ЪБЗТПВОПК ЦЪЪЪЪ, УОШЧ, RTEDYUKHCHUFCHYS, FENOSHCH RTPTPYUEUFCHB Y DENPOPCH, LFY ЪCHHYUOSCHY, Y YSHCHULBOOSCH, UFTBOOSCH CHSTBTTSEOYS YDHF, LBL YDHF L OEK VMEDOSHCH Y UFTBYOSCH NBULY, U YUEFSHTEIKHZPMSHOSCHNY FENOSCHNY TFBNY, LPFKHTOSH Y YYTPLYE ULMBDLY DMYOOPK Y TBURYUOPK PDETDSCH. TSD PFFEOLPCH NPTsOP OBKFY, LPOYUOP, Y CH UFYME yuIMB, UNPFTS RP FPNH, ZPCHPTYF MY lMYFENOEUFTB YMY EE FEOSH, rTPNEFEK YMY PLEBO, pTEUF YMY EZP LPTNYMYGB, OP PUOPCHOPK IB TBLFET UFYMS bUIYMB UPPFCHEFUFCHHEF CHUE-FBLY EE OEDEYOYN LTBULBN Y EE ​​NTBUOPNH RSHHMKH.

dMS PVTBGB CHPF TEYUSH FEOY lMYFENOEUFTSHCH, LPZDB POB VKHDYF BTYOOYK PF YI NYOHFOPZP UOB:

"CHCH VSH CHUE URBMY... zek.. lBLBS RPMSHЪB PF URSEYI? b S PDOB UTEDY NETFCHSHCHI PVEYUEEOB, S PDOB ULYFBAUSH CH RPЪPTE, Y NEOS OE RPLYDBEF KHLPT PF FAIRIES, LPZP S KHVYMB. s ZPCHPTA CHBN , SING NHYUBF NEOS ЪB NPE RTEUFKHRMEOYE, S RTEFETREMB FBLPK KhTSBU PF UBNSHCHI MAVYNSCHI, Y OILFP YЪ VPZCH YЪ-ЪB NEOS OE YURPMOYFUS ZOECHB, YЪ-ЪB NEOS, ЪBLPMFPK NBFETEKHVYKUFCHEY THLBNY. rPUNPFTYFE ABOUT FY TBOSCH UETDGB. EZP KhDEM OE CHYDEFSH CHDBMY... hSh RTEUSCHFYMYUSH TSETFCHBNY YJ NPYI THL Y CHLKHUIMY FPK YUKhTSDPK CHIOB UFTKHY FBMPZP UOEZB Y NEDB.jFP S., S... RPUCHSEBMB CHBN ABOUT UCHSFPK FTBREY OPI Y RETED PYUBTSOSCHN PZOEN, VTBIOB CH YUBU, LPFPTPZP OE DEMYF U CHBNY OH PDYO VPZ..."

rPMOSCHK LPOFTBUF LFK UFTBYOPK Y CHSHCHYUKHTOPK TEYUY DBEF UFYMSH ECHTYRDB, PDYO YI ZMBCHOSHI YUFPYUOYLPCH DPMZPZP, NPTsEF VSHFSH, CHEYUOPZP PVBSOYS EZP RPYY. ZMBCHOPE DPUFPYOUFCHP TEYU ECHTYRIDB ЪBLMAYUBMPUSH CH FPN, YuFP LFPF RPF ЪBUFBCHMSM UCHPYI ZETPECH ZPCHPTYFSH PVSHDEOOOSCHNY UMPCHBNY, B UMHYBFEMSN LBBBMPUSH, YuFP LFP FPF TSE SJSHL, LPFPTSCHN ZPCHPTSF Y POY, OP, CHUMKHYYCHBSUSH Y CHDHNSCHCHBSUSH CH NHYSHCHLBMSHOSHE UFTPLY FTBZEDYK, BZHYOSOE PVTEFBMY CH OYI FBLPE VPZBFUFChP PFFEOLPCH Y FBLHA FPOLPUFSH CH TBZTBOYUEOSI, LPFPTSCHI OE NPZMB VSH RETEDBFSH PVSCDEOOBS TEYUSH. YuFPVSH UPUFBCHYFSH UEVE RPOSFYE P TEYUY ECHTYRIDB, RTPYUFYFE UOBYUBMB RHYLYOULPZP "BOYUBTB" Y RPFPN "chBMETYL" METNPOFPCHB. CHCH RPYUKHCHUFCHHEFE FPZDB CH YJCHEUFOPK NETE TBYOIGH NETSDH DCHHNS FYRBNY LTBUPFSHCH, LPFPTSCHE TPDYMYUSH YY NTBUOPK ЪBZBDLY yuYIMB. Teyesh UEHPLPPLMB HOBUMDPCHBMB Her Uyofeofyuopufsh, Ufimsh echtiridb Tbvchpfbm VPZBPHCHSHE Kommersi, LPFPTHE FBIMYUSH CHEEN UFPCHE UFBTPZP NOOOOUB. noe LBTSEFUS, YUFP CH SJSHLE echtYRD TBTEYYM OBDBYUKH UPAYB NETSDH ZMKHVPLYN PDHYECHMEOYEN UFTBUFY Y SUOPK ZYVLPK NSCHUMSHA.

EZP RPFYUEULBS TEYUSH PFLTSCHMB UCHPVPDOHA BTEOH DMS VEULPOYUOPZP TBCHYFYS SJSHLB YuEMPCHYUEULYI YUKHCHUFCH, LPZDB POY RTPIPDSF YUETE RTYYNH BOBMYYTHAEEZP KHN B.

III

h YUFPTYY ZTEYUEULPK FTBZEDYY EUFSH UFTBOYGB, h LPFPTPK, OEUNPFTS ABOUT UPBOYE, YuFP OBBLPOSH YUFPTYYUEULPZP TBCHYFYS OEKHNPMYNSCH, YuFP POY DEKUFCHHAF NEDMEOOP Y OERTY NEFOP, YUUMEDPCHBFEMSH OE NPTSEF OE RPTBYFSHUS IHDPTSEUFCHEOOSCHN UPUEFBOYEN SCHMEOYK. bFB UFTBOYGB RTYOBDMETSYF IBTBLFETYUFYLE LPTYZHEEECH FTBZEDYY. OE FPMSHLP CH UBNPN UPJDBOY LFPC EDYOUFCHEOOPK CH NYTE FTYBDSHCH, OP Y CH PVTBVPFLE LBTSDPK YЪ FTEI YODYCHYDHBMSHOPUFEK TSYOSH PLBBBMBUSH YUFYOOSHCHN RPFPN.

ьUIIM VSHHM PDOPA YI FAIRIES TEDLYI, YULMAYUYFEMSHOSHHI OBFHT, LPFPTSCHN UKhTsDEOP UFPSFSH CH TsYOY PDYOPLP, TPTsDBFSHUS Y KHNYTBFSH CHPMOHAEEK NYT ЪBZBDLPK.

h FBLYI OBKHTBI EUFSH YFP-FP FTBZYUUEULPE, UPCHETYOOOP OEBCHYUYNP PF UYUBUFMYCHPK YMY OEYUBUFOPK PVUFBOPCHLY YI QYYOY DBCE PF UFEREOY YI DKHYECHOPZP TBCHOPCHEUYS: YI UTSYZBEF FTBZYIN ZEOYBMSHOPUFY. dCHB YUEMPCHELB IHDPCEUFCHEOOP UPYUEFBMYUSH CH OBFHTE yuIMB: ЪMPK Y KHRPTOSCHK VPTEG nBTBZHPOB Y UBMBNYOB Y ZEOYBMSHOSCHK ZhBOFBUF-BTYUFPLTBF. bTYUFPLTBFYYN OBKHTSCH OE RPJCHPMYM RPPFH UFBFSH VBTDPN RPVEJFEMEK Y, PUKhDYCH NBTBZHPOGB FEPLMB, bUIYM OE RPVPSMUS YDEBMYJTPCHBFSH FPZP NKHDTPZP NPOBTIB , LPFPTSCHK UDEMBM OEOOBCHYUFSH L BZHYOSOBN UPDETSBOYEN UCHPEK UFBTYUEULPK TSYOY. at DTHZPK UFPTPOSCH, FP, YuFP DMS NBUUSCH VSCHMP ZTKHVPK TsBTsDPK OEBCHYUYNPUFY, DET'PUFSHA ITBVTEGPCH - DMS YJVTBOoilB UFBMP UFTENMEOYEN L RPMOPK DHIPCHOPK PVPUPVMOOPUFY. zMHVPLP TEMYZYPOSCHK yUIYM YURPCHEDPCHBM PUPVPZP, UYNCHPMYYUUEULPZP yECUB, CH LPFPTPN RTPTPPUUEULY CHPRMPFYMUS CHEUSH UNSHUM YuEMPCHYUEULPZP UHEEUFCHPCHBOYS, RPF PNH YuFP CH OEN UFTBDBOIE RPMKHYUBMP GEMSH, B OBOE GEOOPUFSH Y LTBUPFH. OP UFTPZPE VPZPRPYUFEOYE RPNEYBMP RPPFKH KHUFBNY UCHPEZP RTYLPCHBOOPZP FYFBOB RTEDTELBFSH ZYVEMSH Y UBNPNKH YECHUKH, BCH MYGE EZP ZYVEMSH CHUSLPNKH MYUOPNKH VPZKH.

YuFPTYS OE OBEF ZHBOFBIY VPMEE UNEMPK Y NPEOPK, YUEN ZHBOFBIYS BUIMB.

with OE ZPCHPTA P DTBNBI YUKHDEU, OP DBFSH RUYIPMPZYUEULHA TEBMSHOPUFSH FEOY dBTYS YMY HRTELBN NETFChPK lMYFENOEUFTSH Refinery FPMSHLP FPF, LFP UYMPK CHEEZP RTPЪTEOYS OE FPMSHLP UR KHULBMUS CH UFTBOKH FEOEK, OP OBKHYUMUS RPOINBFSH DCHYTSEOYS KHUF, OBCHUEZDB MYYEOOSCHI DSCHIBOYS. OE OBDP ЪБВШЧЧБФШ, УФП dBOFE OE VSHM RETCHSHCHN CH NYTE ЪBZTPVOSCHI CHPDBSOIK, Y YUFP PO OE FPMSHLP THAN U UPVPA CHETZYMYS, CHRYFBCHYEZP CH UEVS CHEUSH BMMYOULYK NYT, OP YUFP ЪB OIN VSHMY ZBMMAGYOBGYY NYUFYLPCH, NETSDH FEN LBL DP yuUIMB CH UFTBOKH FEOEK URKHULBMUS FPMSHLP PDYO VEENPMCHOSCHK pTZHEK. DET'PUFSH ZhBOFBYY YUIYMB OE PUFBOPCHYMBUSH DBTSE RETED BMECHUYOULPK FBKOPK 14, Y FPMSHLP VPECHSHE BUMHZY USCHOPCHEK yChZhPTYPOB URBUMY FYFBOB RPYYY PF FSTSLPK LBT Shch ЪB MYYOOEE VMBZPDESOYE, LPFPTPPE BY IPFEM PLBBBFSH FPMRE OERPUCHSEOOOSCHI.

14 yNEEFUS CH CHYDH PDOB YЪ CHETUYK RTYFUY, RP LPFPTPK yuUIM VSHM CHSCHOKHTSDEO PFRTBCHYFSHUS CH YIZOBOE ABOUT UYGYMYA ЪB TBZMBYEOYE FBKOSH мMECHUYOULYI NYUFETYK.

eUMY, U PDOPK UFPTPOSCH, ZHBOFBYS CHOPUYMB VMEUL Y TBOPPVTVTBYE CH RPYYA yuIMB, FP U DTHZPK - ZMHVIOB NSHUMY UPYIDBMB CHOKHFTEOOEE EJYOUFCHP NETSDH EZP TBOPT DOSCHNY FCHPTEOYSNY. fBL PVYAEDYOSAFUS DMS OBU EZP CHEEYK rTPNEFEK Y CHEEBS lBUUBODTB: YI UMYCHBEF FTBZYYN, METSBEIK CH OUEUPY'NETYNPUFY YUEMPCHELB U EZP UTEDPK. NSC OECHPMSHOP RTPCHPDYN Y DTHZHA RBTBMMEMSH: NETSDH rTPNEFEEN Y TYOOYSNY, RPLPMEOYEN ENMY Y OBUMEDOILBNY EE UFBTPC, FBYOUFCHOOOPK, OP ЪBCHYUFMYCHP-VEURMPDOPK NHDT POOF. b, LBTSEFUS, YuFP PVEEZP CH LFYI UFPMSH STLYI Y UFPMSH UBNPVSHFOSHI UP'DBOYSI ZhBOFBYYYYIMB.

UFYMSH YUIYMB, LBL S HCE ZPCHPTYM, PFNEYUEO FEN CE RPYUFYOE YUKhDPCHYEOSHCHN UYOFEFYNPN, FPA CE FTECHPTsOPA FBKOPA Y OEULPMSHLP VTEZMYCHPK PFPVEEOOPUFSHA PF PVSHYUOPK TEYU Y, LBL Y EZP NYZHPMPZYS Y RPIYS.

h YUFPTYY MYFETBFHTSCH uUIYM UFPYF PDYOPLP. eUMY ЪБЗБДПУОПУФШ RPUFTPEOYK SCHMSEFUS YOPZDB KHDEMPN ZMHVPLPK, ZHBFBMSHOP DCHPSEEKUS NSHUMY, FP CH TSYЪOY PF OEE FPMSHLP YBZ DP RTEFEOGYPOPK FENOPFSCH PTBLHMPCH. eEE MEZUE CHPCHCHCHYEOOBS, OE'DEYOSS TEYUSH, EUMY EE OE PDHIPFCHPTSEF CHEMYUYE RPFYUEULPK LPOGERGYY, PVTBEBEFUS CH ЪCHPOLPE VTSGBOIE, ЪB LPFPTSCHN NPTsEF ULTSHCHBF SHUS UBNBS IMPDOBS Y NEMLBS DKHYB. chPF PFYUEZP KH UUIYMB OE VSHMP CHYDOSCHI RPDTBTSBFEMEC Y RTDDPMTsBFEMEC. ъBFP RPPFSHCHUEZP NYTB DP UYI RPT TsYCHHF PZOEN, LPFPTSCHK LPZDB-FP RPPIYFYM DMS OYI LMECHUYOULYK FYFBO.

uPZhPLM Y ECHTYRID, IPFS NETSDH DBFBNY YI TPTsDEOOK METSYF GEMSCHI 15 MEF, RTYOBDMETSBMY PDOPNH RPLPMEOYA. yFP VSHCHMY DEFY UCHPVPDOSCHY YUBUFMYCHSHI BZHYO, Y PVTB ZPTPDB rBMMBDSCH CHSHCHCHBM X PVPYI PDYOBLPCHP OETsOSCHE YUKHCHUFCHB. pVB RPFB CHCHYMY YY VKHTTSKHBOPK UTEDSH, B ABOUT UGEOE Y FPF Y DTHZPK TBCHYCHBMY PDOKH Y FKH TSE UMPTSOKHA RUYIPMPZYUEULHA DTBNH, RTYYUEN PVE'MYYUEOOSCHK IPT X PVPYI PFU FHRBM ABOUT CHFPTPK RMBO. pVB, OBLPOEG, VSHMY TBCHOP YUKHTSDSCH BUYIMPCHULPK DTBNE VPZCH. UTBCHOYFE, OBRTYNET, bZHYOKH "echneoid" U FPA TSE VPZIOEK CH "bSLUE" YMY "yZHYZEOYY": RETCHPK RTYIPDIFUS URPTYFSH; POB RPLPTSEF BTYOOYK, POB TSYCHEF ABOUT UGEOE, FPZDB LBL bZHYOE uPZHPLMB Y echTYRYDB PUFBEFUS FPMSHLP VEIPFUEFOP Y RPMOPCHMBUFOP TBURPTTSSBFSHUS UHDSHVPK yZHYZEOYY FEM BNPOIDB. POB UFBMB VEURMPFOSHN DHIPN, RPYUFY UYNCHPMPN.

oP LFYN NPTSEF VSHFSH YYUYUETRSCHCHBMPUSH CHUE UIPDUFCHP NETSDH NMBDYYNYY FTBZYLBNY. eUMY CHSC VSHCHMY CH mBFETBOULPN NHJEE TYNB, FP OE NPZMY OE ЪBNEFYFSH UFBFHA LTBUYCHPZP LHDTSCHPZP YuEMPCHELB U PFLTSCHFSHCHN MYGPN: OEVPMSHYBS ZPMPCHB EZP RPUFBCHMEOB LOO ETZYUOP, B OEULPMSHLP RKHIMSCHK TPF PVTBNMEO ZHUFPK Y LHTYUBCHPK VPTPDPK. ьжжЭЛФОБС ДТБРИТПЧЛБ RМБЭБ РПьЧПМСЭФ ХЗДШЧЧБФШ LТБУИЧШЧ ЛПОПХТШЧ UYMSHOPZP Y ZBTNPOYUOP UMPTSEOOOPZP FEMB. bFP uPZhPLM. eUMY CHSH IPFYFE YURSHCHFBFSH CHUA UYMKH IHDPTSEUFCHEOOPZP LPOFTBUFB, RPUNPFTYFE RPUME uPZHPLMB ABOUT UMERPL U VAUFB eCHTYRDB YЪ vTBHOYCHEKZULPZP NHJES: CHCH HCHYDYFE ULMP OOOOHA PF FSCEUFY RTYUFBMSHOPK NSHUMY ZPMPCHH YUEMPCHELB, UFPSEEZP HCE ABOUT ZTBOY UFBTPUFY. mYGP EZP RPMOP UPUTEDPFPYUEOOOPK ULPTVI, OP OE MYUOPK, LPFPTBS PVSHHLOPCHOOOP RTDBEF YuETFBN OERTYSFOPE CHSTBTTSEOYE; CH MYGE echtyrjdb ULPTVSH OE FTPOKHMB NSZLPK ULMBDLY ZHV, POB RTPCHEMB FPMSHLP OBD ZMKHVPLP UYDSEYNY ZMBEBNYY VPMSHYYN "OPUPN OEYUBUFSHS" DCHE CHETFYLBMSHOSHI NPTEYOSCH , DB TBCHYMB Y TBTEDYMB RTSDY ChPMPU, OEVTETSOP OBRHEEOOSCH ABOUT UMEZLB CHSHCHRHLMSCHK MPV Y EELY.* , Y, DEKUFCHYFEMSHOP, BY VSHHM, LBCEFUS, OE FPMSHLP LTBUICHSHCHN YUEMPCHELPN Y ZBTNPOYUOPK OBFHTPK, OP Y YUBUFMYCHGEN CH TSYOY. bZhYOSCH RMBFYMY ENKH MAVPCHSHA ЪB MAVPCHSH Y EEDTP OBDEMSMY EZP KHYUBUFYEN CH FPK UMBCHE, LPFPTHA PO KHCHEMYUYCHBM UCHPEK DESFEMSHOPUFSH. vPMEE 90 MEF RTPTSYM PO, Y RPUMEDOSS YY OBRYUBOOSCHY YN FTBZEDYK "udYR CH lPMPOE" OE RPLBISHCHBEF OH HRBDLB FBMBOFB, OH RPZBUBAEEZP PDHYECHMEOYS. eEE AOPYEK ABOUT RTBDOYLE UBMBNYOULPK RPVEDSCH LTBUYCHSHCHK USCHO UPZHYMMB THAN IPT AOPYEK UB UCHPEK YULHUOPK ZHMEKFPK. UPCHUEN NPMPDSHN BCHFPTPN ON PDETTSBM ABOUT DTBNBFYUEULPN UPUFSBOY RPVEDH OBD ZEOYBMSHOSCHN yuUIMPN, Y U FEI RPT TEDLYK ZPD FEFTBMPZYS EZP OE RTYOBCHBMBUSH RETCHPK, BOYCE CH FPTPZP NEUFB ON OE URKHUFYMUS OH TBH. lPZDB UPYMY UP UGEOSCH UOBYUBMB linpo, RPFPN RETYLM, uPZhPLM PUFBCHBMUS DMS BZHYOSO LBL VSH UYNCHPMPN RETETSYFPZP VMEULB, YL UFEFYUEULPK PGEOLE EZP FEBFTBMSHOSHI UKHDEC OE NPZMP, CHETPSFOP, OE RTYNEYYCHBFSHUS DPYSH OBTPDOPK ZPTDPUFY. uPZhPLM YURSHCHFBM CHUE TBDPUFY, LPFPTSHCHE NPZMB DBFSH LMMYOH TSYOSH. h NPMPDPUFY ON OE VPSMUS CHSHCHUFKHRYFSH ABOUT UGEOH CH TPMY UPRETOILB NHY CHPUIEBM ЪTYFEMEK, FBOGHS OBCHUILBA, B CH ЪTEMPN ChPTBUFE DCHBTDSCH VSHM UFTBFEZPN. EZP TSYOSH OE VSHMB PNTBUEOOB OH UBCHYUFSHA, OH YOFTYZPK, Y, PDYO YY FTEI LPTYZHEEECH FTBZEDYY, BY PUFBMUS OCHUEZDB CHETEO BZJOBN, FBL LBL OH PDOP YY RTEDMPTSEOYK YOPUFTBOOSCHI DCHPTCH OE YNEMP X OEZP KHUREYB.

* zTEYUEULYK FELUF PFUHFUFCHHEF CH FEBFTE ECHTYRYDB 1906 .

TsYOSH ECHTYRYDB, OBPVPTTPF, OE NPZMB OBCHBFSHUS YUBUFMYCHPK. KHUREY VBMPCHBMY EZP TEDLP, Y RPTPA ON DPMTSEO VSHM KHUFKHRBFSH RPFBN, RBNSFSH LPFPTSCHI OE PUFBMBUSH OBDPMZP DBTSE CH BZHYOBI. EZP UENEKOSCHE OYUYUBUFSHS RPCHFPTSAFUS MEZEOODPK UMYYLPN YUBUFP, YuFPVSH NPTsOP VSHMP CHO OYI KHUPNOIFSHUS. OP CHETPSFOP, OEKHDBYU FPMSHLP KHUIMYMY CH OEN RTYTPDOHA ULMPOOPUFSH L KHEDOOOOPK Y UPYETGBFEMSHOPK TSYYOY. eUMY uPZhPLM VShchM, RP UMPCHBN EZP VYPZTBZHB, DPVTSCHN ZTBTSDBOYOPN Y PVMBDBM KHNETEOOSCHN RPMYFYUEULYN YUEUFPMAVYEN, FP eCHTYRD FEBFEMSHOP HLMPOSMUS PF CHUSLPZP HYUBUF YS CH PVEEUFCHEOOPK TSYYOY, B CH EZP DTBNBI OBYUETYUEOB OE PDOB ЪMBS LBTYLBFKHTB ABOUT RPMYFYLBOPCH. MEZEODB ЪBUFBCHMSEF ECHTYRIDB UYDEFSH YMY CH UCHPEK VPZBFPK VYVMYPFELE, YMY CH ENMSOLE ABOUT UMBNYOE, PFLKHDB CHYDOP NPTE Y OE CHYDOP MADEK. BY OEOBCHYDYF BFMEFPC, ZYNOBUFYLH, OP ЪBFP MEZEODB OBUFPKYUYCHP ZPCHPTYF P EZP UCHSY U FBLYNY UNEMSHNY NSHUMYFEMSNY, LBL BOBLUBZPT, rTPDYL Y UPLTBF. FEUOBS UCHSЪSH ECHTYRYDB U PFGPN TBGYPOBMYNB, PE CHUSLPN UMHYUBE, OE RPDMETSYF UPNOEOYA, RPFPNH YuFP POB RTPIPDIF DPChPMSHOP STLPK RPMPUK DBTSE CH PUFBFLBI EZP RPYY Y. fEBFEMSHOPE PVTBBPCHBOYE Y DBTSE FBLBS TPULPYSH CH OEN, LBL PVHYUEOYE TSYCHPRYUY, DBEF UEVS YUKHCHUFCHPCHBFSH: echTYRID DBMELP RETEPU UCHPYI UPCHTENEOOYLPCH Y PVMBDBM KHNPN OE FPMSHLP CHSHUPLPK RTYTPDSCH, OP Y FPOLPK LHMSHFHTSCH.

rTYOSFP ZPCHPTYFSH DMS LPOFTBUFB, YuFP uPZhPLM YЪPVTBTsBM MADEK, "LBLYNY POY DPMTSOSCH VSHCHFSH", B ECHTYRD FBLYNYY, "LBL POY EUFSH". ьFPF LPOFTBUF, DEKUFCHYFEMSHOP, PUEOSH STPL, OP PO DBMELP OE CHRPMOE FPYUEO, FBL LBL PO OEURTBCHEDMYCHP MYYBEF echtyRyDB YDEBMYNB, B uPZhPLMB DTBZPGEOOSCHI Yuetf TsY OOOOPK RTBCHDSch.

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WORKSHOP PLANS

General instructions

The seminar lesson involves mandatory familiarization of students with

literary monuments

proposed list of references, as well as independently found

sources.

Consideration of issues involves active appeal to

to the direct text of the work: quoting, citing

fragments, expressive reading, incl. and by heart.

Seminar 1. Homer’s “Iliad” and “Odyssey” as an encyclopedia of the life and beliefs of the ancient Greeks.

For the lesson, you should also watch the film “Odyssey” (dir.: Andrei Konchalovsky, USA-Germany-Great Britain-Italy-Greece, 1997).

Homer. Iliad (trans. N. Gnedich)

Homer. Odyssey (translated by V.A. Zhukovsky). (translated by V.V. Veresaev)

1. Time and place of creation of Homeric poems. The concept of an epic. Socio-historical basis of the epic.

2. “Homeric question.” The history of the creation of the Iliad. A combination of historical events and mythological subjects.

3. The plot and composition of the Iliad. Plot continuity problem.

4. Genre features: historical, fairy-tale, mythological in the Homeric epic.

5. Man and fate in the works of Homer. Gods and heroes. Heroic in Homer's poems. Human concept. The evolution of the epic hero from the Iliad to the Odyssey.

6. Style. Techniques for creating images. "Epic Distance" Time and space. Verse size of Homer's poems. Author's image.

7. Analysis of passages:

What place does the description of the shield of Achilles (XVIII chapter) occupy in the plot-compositional system? Determine the genre specificity of the passage.

The scene of the farewell of Hector and Andromache, as an example of emerging lyricism (VI chapter, lines 394-495). Determine the generic characteristics of lyrics and their manifestation in this passage.

8. Interpretation of Homer’s poems by A. Konchalovsky.

Averintsev S.S. Image of antiquity. St. Petersburg: Azbuka-Classics, 2004.

Weil S. “The Iliad,” or the Poem of Strength // New World. No. 6. 1990. P. 250-260.

Losev A.F. Homer / preface. A. A. Tahoe-Godi. M., 2006 (ser. “ZhZL”).

Malchukova T.G. Homer's "Odyssey" and the problem of its study. - Petrozavodsk, 1983.

Markish S. Homer and his poems. M., 1962.

Meletinsky E. The origin of the heroic epic. - M., 1963.

Polonskaya K. P. Poems of Homer. M., 1961.

Takho-Godi A.A. "Odyssey" and its artistic and aesthetic meaning. In the book: Homer. Odyssey. - M., 1981, 1982.

Stahl I.V. Homeric epic. Experience in textual analysis of the Iliad. M., 1975.

Stahl I.V. “Odyssey” is a poem of wanderings. - M., 1978.

Stahl I.V. The artistic world of Homer's epic. - M., 1983.

Related literature:

Graves R. Myths of Ancient Greece. M., 1992.

Losev A.F. Dialectics of myth (any edition).

Freidenberg O. M. Myth and literature of antiquity. Ekaterinburg, 2006.

Seminar 2. Ancient Greek tragedy. Aeschylus "Oresteia".

Aeschylus “Oresteia” (trans. S. Apta)

1. The origin of Greek tragedy and its structure.

2. Organization of the Greek theater and theatrical performances.

3. Aeschylus as “the father of tragedy.” His contribution to the development of the genre. General characteristics of tragedies created before the Oresteia.

4. The myth of the Atrids as the basis of the trilogy.

5. Image system. The role of the choir.

6. Consideration of each part of the trilogy in connection with the others.

7. Analysis of fragments:

- "Oresteia" (Agamemnon. Episode IV, Kommos). What features of Cassandra’s “eternal image” are embodied in the above dialogue? What ritual model determines the uniqueness of the artistic imagery of the dramatic fragment under consideration?

- “Oresteia” (“Choephori.” Episode III, Stasimus III). How were the expressive capabilities of stichomythia manifested in this episode? Find other examples of stichomythia in the text of The Oresteia. What are the reasons for contacting her? Has the role of the choir changed in this episode?

- "Oresteia" (Eumenides. Kommos II). How do Athena's speeches clarify the title of this part of the trilogy? Why is the goddess Athena given the leading role in this part? Why did the playwright need commos at this point in the trilogy?

8. Reasons for an active appeal to Aeschylus’ trilogy in the modern era.

9. Pasolini’s film “In Search of African Orestes.” Myth and modern reality.

Aristotle. Poetics.

Bonnar A. Tragedy, Aeschylus, Fate and Justice // Greek civilization. - M., 1958. Book 1.

Golovnya V.V. History of the ancient theater. - M., 1972.

Guseinov G.Ch. “Oresteia” by Aeschylus: figurative modeling of action. - M., 1982.

Yarkho V.N. Ancient drama: Technology of mastery. - M., 1990.

Yarkho V.N. Aeschylus. - M., 1958.

Seminar 3. Attic tragedy. "Oedipus the King" by Sophocles.

Sophocles Oedipus the King // Sophocles. Dramas / trans. F.F. Zelinsky; edited by M.L. Gasparova and V.N. Yarkho. M.: Nauka, 1990 (ser. “Literary monuments”).

1. The structure of the Attic tragedy.

2. Folklore basis of the tragedy “Oedipus the King”.

3. Sophocles as a reformer of ancient theater.

4. The complex of “tragic guilt” in Sophocles’ work “Oedipus the King” (objective and subjective reasons for the protagonist’s guilt).

5. Problems of tragedy (fate and human free will, the problem of power in tragedy.

6. The concept of personality.

7. The concept of the “Oedipus complex”.

8. The limitations of human knowledge. Fear of “knowing the future.”

9. Crime and punishment in the interpretation of Sophocles.

10. Interpretation of the image of Oedipus in Pasolini’s film “Oedipus Rex” and in I. Stravinsky’s opera-oratorio “Oedipus Rex”.

11. The Book of Job and Sophocles’ tragedy “Oedipus the King”

Aristotle. Poetics.

Averintsev S.S. Towards the interpretation of the symbolism of the myth of Oedipus // Antiquity and modernity. - M., 1972.

Golovnya V.V. History of the ancient theater. - M., 1972.

Losev A.F. Ancient literature.

Nietzsche F. The Birth of Tragedy from the Spirit of Music.

Propp V. Ya. Oedipus in the light of folklore // Aka. Folklore and reality. M., 1976. pp. 260–295.

Topernik T.F. Sentence in various elements of the genre structure of Sophocles’ tragedy // Interrelation and mutual influence of genres in the development of ancient literature. - M., 1990.

Tronsky I. M. History of ancient literature

Freud Z. Artist and fantasy. M., 1995.

Yarkho V.N. Ancient Greek literature. Tragedy. M., 2000.

Laughter in European literature and culture—like virtually everything in European literature and culture—begins in antiquity. And perhaps the first form of organized laughter was the ancient one. Of course, the Greeks, like all normal people, apparently always laughed, but in the 5th century BC we are confronted for the first time with the fact that laughter becomes a conscious part of culture, even more so than literature. It is this phenomenon that is called the ancient Attic Attica- region in Greece. The center is the city of Athens. comedy.

Ancient Attic comedy is an amazing phenomenon in the history of culture, even from a modern point of view, because it is not only a genre of literature, but also part of the life of at least one city - Athens. Moreover, comedy is one of the most important components of the current life of the city, since the performance of comedies (and) was part of the central ones, which were celebrated quite often in Athens: Small and Great (dedicated to the god Dionysus, who was considered the patron of the theater) and some others.

Where does comedy come from? This is a separate and complex issue, which is not even customary to be particularly addressed now. Regarding it, there is approximately the same decision that at one time the French Academy of Sciences made regarding the perpetual motion machine: new versions will not be considered in the future.

Nevertheless, it is clear that comedy has mythological, folklore, and religious origins, but we do not know which ones specifically. We have many ancient stories about how people used to walk around villages and sing all sorts of, as we would now say, abusive or defamatory songs addressed to their fellow citizens, and it seems that comedy was born from these songs. Indeed, such holidays exist in different cultures - and in our country they are even still preserved in the form of some kind of carols. There were probably some other roots.

But one way or another, comedy came from a very deep mythological idea that a person is good, because this somehow balances the state of the world: if you scold a person, then everything will be fine for him, and if you praise him, then all sorts of things can happen troubles. This idea has been preserved in many signs and rituals, for example, that a newborn child should not be praised. About the same thing happened in Greece.

It is remarkable that this swearing becomes a component of the most important action in the history and life of the highly developed cultural center of Greece - Athens of the 5th century BC.

Why? First of all, as is usually believed, thanks to its political message: the comedy not only made people laugh, but also carried some political ideas. Aristophanes writes it in 405 BC. This is the end of the Peloponnesian War between Athens and Sparta, which Athens was losing all the time, but shortly before the production of this comedy they won a naval victory - and there were some hopes of success.

This is where the comedy's important political message lies. According to the text, the god of the theater Dionysus goes to the underworld to return the tragedian to the city: all the great tragedians have died, and for the city to win the war, a great poet is needed. In the underworld there are two great tragedians - Aeschylus and Euripides, and the choice is determined by which of them will give the best advice to the city. And although Dionysus initially went to the underworld for Euripides, he brings Aeschylus back because he gives the most wonderful advice: on the one hand, return the exiles to the city, and on the other, rely on the fleet.

This causes great approval in society, and they explain to us that it is the political component of comedy that is the key to its success. The paradox, however, is that the second time this comedy, the main idea of ​​which is to rely on the fleet, was staged, apparently, after the Athenian fleet suffered a crushing defeat in the Battle of Aegospotami, after which the Peloponnesian War ended . The political idea of ​​the comedy turned out to be absolutely wrong - and yet the play is staged a second time. Nobody can explain this.

One possible explanation is that this political idea is correct because it corresponds to what the people think. And its final incorrectness is not a reproach to comedy. In the comedy, everything was said well, but what happened in reality, well, didn’t work out. This has nothing to do with comedy. Politics is present in comedy, but, apparently, the main thing is not its presence itself, but how it is woven into the overall structure. It turns out that the political content had a momentary meaning, but “Frogs” is valuable for us and, judging by this second production, for the Athenian audience not only and not so much for this reason.

With what? Apparently, the fact that in this work different levels, different meanings of comedy were intertwined, perhaps in the most remarkable way. And this is precisely the question of what they laughed at and how they laughed in Athenian comedy.

The viewer started laughing right when the characters came out. In the first scene, the god Dionysus appears with his slave and they talk to each other. The slave says to Dionysus: “What a great joke!” Dionysus replies: “Say it boldly! Don’t just say one thing.” - “What else?” - “What, shifting the burden will cause you to crack.” - “And this: I’m dying under the weight. Take it off, or you’ll put it in your pants...” - “Please, don’t continue! I’ve been feeling sick for a long time.”

From our point of view, this is something strange. The Athenian audience, apparently, burst into laughter at this moment: there is a hint of the traditional scene for the beginning of a comedy, when a slave appears, dragging something and saying how bad he feels, crying, even singing a plaintive song. Accordingly, there are words that must be used in this scene.

Aristophanes forbids the slave to say this, because he is Aristophanes, this is not a simple comedy. Nevertheless, the slave, as you understand, still says it. And everyone is terribly happy. This means that in comedy there were recognizable scenes in which the audience knew in advance that they were supposed to laugh - almost as if they were holding up a sign with the word "Laughter". In the future, the comedy will develop precisely according to these scenes - the plot and all scenes starting from the 4th century BC will be standard. And still everyone will laugh - laugh at recognizing something funny. And this in itself is interesting and revealing.

Then the comedy goes on as usual, and throughout the first part the god Dionysus appears as an extremely cowardly, constantly lying ugly god. In the end he judges who is the best tragic poet. It is remarkable that the question of who is the best poet of tragedy is decided by God in a comic form, God as a comic actor. It turns out that a comical god is exactly what he should be.

This comedy is also unique because it has two characters. The name "Frogs" is the name of one of them. Dionysus is transported to, as expected, in Charon’s boat along the terrible River Styx, which in the comedy turns into a swamp or a lake, and frogs croak in it. This is a wonderful stage performance: a beautiful choir croaked, apparently dressed up as frogs. Thanks to this, we roughly know how frogs croaked from the Greek point of view. This croaking is portrayed as a poetic song, and it is also extremely funny.

Before his journey to the underworld, Dionysus meets with another choir - the choir of mystics, people initiated into the Athenian cult, a holiday in honor of Demeter and Persephone - goddesses of fertility - and Dionysus. This choir of mystics is also present on stage.

In general, one of the main problems with the interpretation of this comedy is that there were actually two choirs or one? That is, were there different actors in different costumes or were the same actors changing clothes backstage? This is not only a scenographic issue, but also an economic one, because it was very expensive to train two choirs, and at the end of the Peloponnesian War, there was apparently no money for this.

The Eleusinian Mysteries were a secret cult of Athens that could not be disclosed. The charge of divulging the cult of the Eleusinian Mysteries was one of the most terrible, along with treason. It was presented to many famous people. And yet this undisclosed cult is present on stage, and in the most comic form. For example, it is said that the choristers are dressed in extreme rags, and this is played out in every possible way. On the one hand, it's just funny. On the other hand, this is one of the ways to solve the economic problem: they simply had bad, cheap suits. And on the third hand, this is a joke about the fact that in reality the clothes in which they were initiated into the Eleusinian Mysteries then had to be worn without taking them off. They said that people were dedicated to the flaw itself, so that it would quickly become completely unusable - and it could still be removed. That is, these are jokes on the most sacred thing - which in itself is extremely significant. In addition, it is also the joy of learning the most secret things, including in a funny way.

And finally, this is a literary comedy. She talks about the status that literature had in Athens: a poet was needed to save the city. The entire second part of the comedy is a competition between Aeschylus and Euripides. During the competition, it is clear that Euripides is a much better poet as a poet. But he loses. And this is wonderfully done comedically, purely technically: huge scales are brought onto the stage, on which the poems are weighed. This is at the same time a parody of one of the most important texts, Homer’s Iliad, in which the lot of the heroes, in particular Achilles and Hector, is weighed. The hero whose lot prevails dies. In comedy it’s the other way around: whose poems outweighed, that is, whose cup went down, he wins. Down come the poems of Aeschylus. Why? Because Euripides has light, elegant poems, but Aeschylus writes about serious things, and therefore his poems are heavier. That is, it turns out that he is a worse poet, but he writes about serious things, and since we need about serious things, he wins - and not Euripides, whom Dionysus loves so much. Everything is turned upside down again.

The main scene, which occupies everyone tremendously, may not be completely clear to us, but it is a wonderful demonstration of the entire mechanism of comedy. In it, Euripides reads his poems, and Aeschylus always inserts the phrase “I lost the bottle.”

Well, for example: “Aeneas once raised a sheaf of sacrificial ears from the ground...” reads Euripides. And Aeschylus adds: “I lost the bottle.” The phrase becomes idiotic. And there are a lot of such phrases.

What's the point? The simplest explanation is that Euripides has monotonous poems, in which “I lost the bottle” can be inserted everywhere. This is certainly true. It is remarkable that Dionysus interrupts the process when Euripides finally reads the verses into which it is impossible to insert “Lost the bottle.” Dionysus says to Euripides: stop, because Aeschylus will again say: “I lost the bottle.”

On the other hand, the bottle has an obvious sexual, even obscene character, because it is not just a bottle, but a vessel with a narrow neck and a wide body. This is an obscene symbol: “lost the bottle” means “lost manhood.” This is terribly funny. And at the same time it turns out that Euripides is deprived of the most important thing in comedy - the power of fertility and therefore loses.

Finally, from how this literary text was further played out, we learn about the third dimension of this joke. This bottle, so inflated, big, plump, signified an elevated, inflated style (in the good sense of the word). Thanks to this style, Aeschylus wins, because what is needed now is sublimity and exaggeration.

Thus, it turns out that even one word in comedy carries several meanings at once. The meaning is sexual, native to comedy; the meaning of literal, deliberate humor; literary meaning; the meaning is playful - and at the same time a bright, visual, purely scenic image, because the bottle may have been physically present in this scene, Aeschylus threw it away.

It is this combination of different levels in one word - from political to religious, comic, poetic, sexual - that is the main meaning of the laughter of ancient comedy.

Decoding

The 5th century in Greece - the golden age of ancient culture, associated primarily with Athens - is traditionally called the age of drama, and even, more specifically, the century. Greek tragedy emerges at the very end of the 6th century BC and flourishes throughout the 5th century, when the tragic becomes the center of the cultural life of Athens - and indeed all of Greece.

To begin with, it is worth talking about what a tragedy is.

For many centuries, the very name "tragedy" - a word that has fully entered our lexicon - has been interpreted as a "goat song." You can even recall the work of Konstantin Vaginov, which is called that way precisely because the word “tragedy” is behind it.

Why the tragedy is the "song of the goat" has been explained in various ways, and several theories of the origin of the tragedy are associated with this.

It is more or less clear to everyone that the tragedy must have some kind of ritual roots. She, like comedy, was directly associated with cults, religious in honor of the god Dionysus: Dionysus was considered the patron of theater and tragic competitions, and in Greek there was an altar of Dionysus. The Greeks even had a proverb: “This has nothing to do with Dionysus.” As ancient scholars tell us, this is what they said about a bad tragedy, nonsense - something like our “neither to the village nor to the city.”

Nowadays they like to call various articles and books either “Everything in relation to Dionysus”, or “Something in relation to Dionysus”, or “Nothing in relation to Dionysus”. At the same time, practically none of the Greek tragedies that have come down to us - although, apparently, less than 15% of all tragedies staged in the 5th century have come down to us in their entirety - does not speak of Dionysus. There is only one tragedy in which Dionysus is present, Euripides' The Bacchae. So we can say that Greek tragedy is not about Dionysus at all.

Nevertheless, the obvious connection of the tragedy with the cult of Dionysus indicates the religious and ritual origin of the tragedy. Because of the name, it was believed that it was the goat that connected them to each other. This was explained in different ways. Firstly, they said that the goat was the ritual animal of Dionysus. Secondly, that the goat was a prize in tragic competitions (all tragedies were presented at festivals, mainly at , where three tragedians competed with each other). Finally, a third explanation is that the goat song is the song of the satyrs, the companions of Dionysus, goat-like creatures who may have originally constituted Greek tragedy.

Each tragedian presented a so-called tetralogy at the festival: three tragedies, initially connected by a single plot, and one. Only one satyr drama, “Cyclops” by Euripides, has reached us more or less entirely, where, indeed, the chorus consists of satyrs. It is usually explained that the satirical drama was needed so that the audience could relax after the tragedy. At first, over the course of three dramas, everything is very bad: difficult events happen, everyone is killed, a sea of ​​blood flows, and then a slight, partly comic relaxation sets in. Satire drama is something between tragedy and comedy, and it provides a positive or even humorous version of the myth, including that presented in the tragedy.

Almost all of these explanations are not very convincing. The goat, of course, was the sacred animal of Dionysus, but not the only one, but one of a large list, and by no means the most important. The goat was a prize in tragic competitions, but not the first. And, as you understand, when three people compete, anyone who does not take first place loses - so it is strange to name the entire work by the name of a non-first prize. And finally, it seems that the satyrs became goats quite late and were not them at the moment when the tragedy arose. Therefore, some researchers believe that the Greeks themselves did not understand what the word “tragedy” meant. And when the Greeks did not know what a word meant, they immediately explained it somehow. So they gave us a very detailed explanation of why tragedy is a goat song.

I tell this story only to point out that we do not know where Greek tragedy came from. There were scientists who confidently and firmly stated that they knew that she was born from a certain ritual, almost in a specific place at a specific time, but all this is to a certain extent guesswork - if not on coffee grounds, then on a small amount of evidence, which have reached us. We can only say that the tragedy had some ritual, cultic origins.

When we talk about how the tragedy developed, we have to take on faith the information that the Greeks themselves - especially Aristotle - gave us. That part of Aristotle's Poetics that has come down to us is entirely devoted to tragedy. To begin with, it says that the tragedy occurred from and that it showed almost how to write tragedies correctly. Then Aristotle reports that the tragedy arose from that same satyr drama. And finally, he writes that the tragedy occurred from the sacred choirs in honor of Dionysus, from the so-called dithyramb. Dithyrambs were performed on the same holidays as the tragedy - and it seems that at first they were just songs in honor of Dionysus, sung by a choir. Then one singer stood out from the choir - he was called the luminary - and from the dialogue between the luminary and the choir a tragedy emerged.

That is, Aristotle tells us that tragedy occurred immediately from all the genres that existed before it: epic, and some other drama. This most likely indicates that the Greeks themselves did not know exactly where the tragedy came from. But the idea that tragedy embraces a large variety of cults in honor of Dionysus or a large number of literary genres indicates at least one thing - that tragedy in the 5th century was perceived as the main and almost the only genre of literature. A genre that absorbs everything that came before it, and not only literature.

The story of the origin of the tragedy from the dithyramb reflects the very structure of the tragedy, which consists of two principles: the parts of the choir and the actions. This interaction between the chorus and the actors is the main thing that distinguishes tragedy.

The alternating choir parts and dialogic parts are written slightly in different languages, in different literary dialects. Some researchers even believe that if the dialogic parts were written in colloquial Greek, which was understandable to the Athenian audience, then the choruses might not be very understandable, especially since they were also sung. Thus, the genre of tragedy is something between theatrical drama, as we know it now, and, apparently, opera.

Hence another big problem: how to stage and translate a Greek tragedy. What might not have been very clear to Athenian viewers is completely incomprehensible to modern viewers. But at the same time, the chorus in the tragedy was the main thing, this is its main line, the main content and, by the way, the main expenses.

Both tragedy and comedy were staged first with state money, and then with private money - the money of the so-called producers, who were entrusted with this by the state and who fought for this right. And, of course, the most expensive was the choir: fifteen people for each tragedian, who specially trained and learned their parts. There weren't many actors. Aristotle says that at first there was one actor, then two, and then three.

Of course, there were more characters in the Greek tragedy, which means that the actors played different roles. Moreover, the actors were only men; accordingly, they played both male and female roles. Thanks to this, no faces were visible and it was possible to play different characters. And one of the most interesting problems we solve when analyzing Greek tragedy is which actor played whom. This is done by simply counting the number of characters in any given scene. There were, however, also characters without speeches, the so-called silent actors.

So, I said that it is very difficult to convey the interaction of the choir and actors speaking almost different languages. At the same time, the main ideas of the tragedy are conveyed precisely in the parts of the choirs, regardless of whether the choir is external to the action or participates in it - as, for example, happens in Agamemnon by Aeschylus.

Another difficulty with translations of choirs lies in the fact that, unlike the dialogic parts, which are written in iambic, the choir parts are written in complex. Translations of ancient tragedy always strive to more or less accurately convey the size of the original, but sometimes it turns out that in order to convey this perception of the chorus as something special and independent, it is necessary to look for some other form.

In my opinion, the most successful translation of the chorus was the one that does not correspond to anything - neither all the figurative symbolism, nor the size; it is made like modern Russian verse, in rhyme (of course, the Greeks wrote without rhyme). This is a translation of one of the choruses of Euripides' Medea by Joseph Brodsky.

When, excited, Eros
with a sharp arrow, without aiming,
pierces the heart right through,
the heart loses its value.
Send me - I pray to Cyprus -
love, not eumenides,
love that is easy to overcome
betrayal and resentment,
bitterness and pain of discord.
This kind of love is a delight.
I don't need another love.

There is almost nothing of Euripides' chorus in this translation. But he conveys the most important part of the Greek chorus and Greek tragedy: it is a kind of bewitching text, held together by very important internal verbal leitmotifs, which in Russian are replaced by rhyme. This is an extremely tense text. For us, it is both incomprehensible and, at the same time, attractive with some content that seems timeless and general to us.

Although in reality Greek tragedy was always staged at a specific time and in a specific place. But we'll talk about this later.

Decoding

Going to the theater was a civic duty that was funded by the state: people were paid from , to do it. One Athenian orator said that this theatrical money was the glue of democracy. That is, democracy is maintained by the theater, it is there that the Athenians get the experience of democracy.

Plato spoke about the same thing, albeit from the opposite position. It turned out that almost all of the Athenian democracy of his time, which he did not really like, came from the theater. He said: it would be nice if only knowledgeable people sat in the theater, but God knows who is sitting there. They shout, express their opinions, and as a result, instead of subtle knowledge, “theatrocracy” reigns in the theaters. And it would be nice if it stayed in the theater - but it was transferred to the city, and now in the city we also have a theaterocracy. Plato is obviously alluding to democracy - just as in the theater anyone can express their opinion about a tragedy, so in the city anyone (that is, in fact, any Athenian citizen) can express their opinion about the order of affairs in the state.

And this relationship between tragedy and the city - as we would now say, tragedy and politics - is perhaps also the most important thing that was perceived by the viewer. Any Greek tragedy, regardless of its plot, is a tragedy about Athens.

I'll give just one example. This is the tragedy "Persians", dedicated to the victory of Athens over the Persians.

In “The Persians” the image of Athens is affirmed, which then, like some kind of Athenian myth, will pass through the entire 5th century and will survive to our time - and is affirmed by the words of the Persians, the enemies; there are no Athenian people on stage. Athens is a rich city, in which the ideals of freedom prevail, which is wisely ruled, which is strong at sea (since the navy has always been felt as the main force of Athens, in this tragedy the main victory of the Greeks over the Persians is a naval victory, the victory at Salamis, won mainly thanks to the Athenian fleet; although in reality the Athenians won several victories, and victories on land were no less important). This is a brilliant image.

On the other hand, if you look closely at the tragedy, it turns out that the fallen Persia is depicted with very similar features: it used to be an extremely wisely structured state, in which, like in Athens, laws reigned. Even the wealth of Persia, traditional in the image of the East, is similar to the wealth of Athens. Persia ventured on a sea voyage, and it was the sea that became the source of the Persians' strength - and at the same time the place where they suffered defeat.

Many researchers say that although this tragedy paints a positive image, which was perceived by the audience as the ideologeme “we won,” this same image simultaneously becomes a warning. In Persia, too, everything was correct before - the correct structure, laws, wealth. And she rushed into the sea, just like Athens. And how did it end? Defeat of the Persian Empire.

Apparently, it was at the moment when “The Persians” was staged that Athens began to think about spreading its influence, about becoming a kind of empire, which it would become after some time. And the tragedy, while showing the power and greatness of Athens, at the same time warns the city of how greatness can turn out.

This duality, the two-sidedness of the world, which in Antigone manifests itself as two truths, in The Persians manifests itself as greatness, which can turn into a fall. And no matter what Greek tragedy we read, its main idea is precisely about the ambiguity of what is happening around us, about the complexity of the world order. Including about political complexity, about the fact that the momentary state of a person and a city (and the tragedy, let me remind you, was staged once, in a specific place, at a specific time) must always be correlated with what was and what will be .

In other words, tragedy as literature is inextricably linked with tragedy as a reflection of history, with tragedy as a political event. The two-sidedness of the world is the same both in politics and in the inner world of man. And this is what Greek tragedy is about.

Decoding

Finally, it’s worth talking about one Greek language. It is very difficult to choose, on the one hand, but very simple on the other, because with the light hand of two people separated by a large time period, we know which Greek tragedy is the main one.

Aristotle's Poetics makes it clear that the best Greek tragedian of the three great tragedians is Sophocles, and the best Greek tragedy of all Greek tragedies is Oedipus Rex.

And this is one of the problems with the perception of Greek tragedy. The paradox is that Aristotle's opinion was apparently not shared by the Athenians of the 5th century BC, when Oedipus the King was produced. We know that Sophocles did not lose with this tragedy; the Athenian audience did not appreciate Oedipus the King the way Aristotle appreciated it.

Nevertheless, Aristotle, who says that Greek tragedy is a tragedy of two emotions, fear and compassion, writes about Oedipus the King that anyone who reads even a line from it will at the same time be afraid of what happened to the hero and have compassion for him.

Aristotle turned out to be right: almost all great thinkers paid attention to the question of the meaning of this tragedy, how we should perceive the main character, whether Oedipus is guilty or not guilty. About twenty years ago an article was published D. A. Hester. Oedipus and Jonah // Proceedings of the Cambridge Philological Society. Vol. 23. 1977. one American researcher, in which he scrupulously collected the opinions of everyone, starting with Hegel and Schelling, who said that Oedipus was guilty, who said that Oedipus was not guilty, who said that Oedipus, of course, was guilty, but involuntarily. As a result, he ended up with four main and three auxiliary groups of positions. And not so long ago, our compatriot, but in German, published a huge book called “The Search for Guilt” M. Lurje. Die Suche nach der Schuld. Sophokles' Oedipus Rex, Aristoteles' Poetik und das Tragödienverständnis der Neuzeit. Leipzig, 2004., which examines how Oedipus Rex has been interpreted over the centuries since its first production.

The second person, of course, was Sigmund Freud, who, for obvious reasons, also devoted many pages to Oedipus the King (although not as many as it would seem he should have) and called this tragedy an exemplary example of psychoanalysis - with this only difference that the psychoanalyst and the patient coincide in it: Oedipus acts both as a doctor and as a patient, since he analyzes himself. Freud wrote that this tragedy is the beginning of everything - religion, art, morality, literature, history, that this is a tragedy for all times.

Nevertheless, this tragedy, like all other ancient Greek tragedies, was staged at a specific time and in a specific place. Eternal problems - art, morality, literature, history, religion and everything else - were correlated in it with specific times and specific events.

Oedipus the King was produced between 429 and 425 BC. This is a very important time in the life of Athens - the beginning of the Peloponnesian War, which will ultimately lead to the fall of the greatness of Athens and its defeat.

The tragedy opens, who comes to Oedipus, who rules in Thebes, and says that there is a pestilence in Thebes and the cause of this pestilence, according to the prophecy of Apollo, is the one who killed the former king of Thebes, Laius. In tragedy, it takes place in Thebes, but every tragedy is about Athens, since it is staged in Athens and for Athens. At that moment, a terrible plague had just passed through Athens, which wiped out many people, including absolutely outstanding ones - and this, of course, is an allusion to it. Also during this plague, Pericles, the political leader with whom the greatness and prosperity of Athens is associated, died.

One of the problems that preoccupies interpreters of the tragedy is whether Oedipus is associated with Pericles, if so, how, and what is Sophocles’ attitude to Oedipus, and therefore to Pericles. It seems that Oedipus is a terrible criminal, but at the same time he is the savior of the city both before and at the end of the tragedy. Volumes have also been written on this topic.

In Greek, the tragedy is literally called "Oedipus the Tyrant." The Greek word (), from which the Russian word “tyrant” comes, is deceptive: it cannot be translated as “tyrant” (it is never translated, as can be seen from all Russian - and not only Russian - versions of the tragedy), because initially it the word did not have the negative connotations that it has in modern Russian. But, apparently, in Athens of the 5th century it had these connotations - because Athens in the 5th century was proud of its, that there is no power of one, that all citizens equally decide who is the best tragedian and what is best for the state. In Athenian myth, the expulsion of tyrants from Athens, which occurred at the end of the 6th century BC, is one of the most important ideologies. And therefore the name “Oedipus the Tyrant” is rather negative.

Indeed, Oedipus in the tragedy behaves like a tyrant: he reproaches his brother-in-law Creon for a conspiracy that does not exist, and calls the soothsayer Tiresias bribed, who speaks of the terrible fate awaiting Oedipus.

By the way, when Oedipus and his wife and, as it later turns out, mother Jocasta talk about the imaginary nature of prophecies and their political engagement, this is also connected with the realities of Athens in the 5th century, where there was an element of political technology. Each political leader almost had his own soothsayers, who interpreted or even composed prophecies specifically for his tasks. So even such seemingly timeless problems as the relationship of people with gods through prophecies have a very specific political meaning.

One way or another, all this indicates that a tyrant is bad. On the other hand, we know from other sources, such as the history of Thucydides, that in the mid-5th century the allies called Athens a “tyranny” - meaning a powerful state that was governed in part by democratic processes and united around itself allies. That is, behind the concept of “tyranny” is the idea of ​​power and organization.

It turns out that Oedipus is a symbol of the danger that powerful power brings and which lies in any political system. Thus, this is a political tragedy.

On the other hand, Oedipus the King is, of course, a tragedy of the most important themes. And the main one among them is the theme of knowledge and ignorance.

Oedipus is a sage who at one time saved Thebes from the terrible one (because the sphinx is a woman) by solving its riddle. It is as a sage that a chorus of Theban citizens, elders and youth, comes to him with a request to save the city. And like the sage, Oedipus declares the need to solve the mystery of the murder of the former king and solves it throughout the entire tragedy.

But at the same time he is also blind, not knowing the most important thing: who he is, who his father and mother are. In his quest to find out the truth, he ignores everything that others warn him about. Thus it turns out that he is a sage who is not wise.

The opposition of knowledge and ignorance is at the same time the opposition of vision and blindness. The blind prophet Tiresias, who at the beginning speaks with the seeing Oedipus, constantly tells him: “You are blind.” Oedipus at this moment sees, but does not know - unlike Tiresias, who knows, but does not see.

It is remarkable, by the way, that in Greek vision and knowledge are the same word. In Greek, to know and see is οἶδα (). This is the same root that, from the Greek point of view, is contained in the name of Oedipus, and this is played out many times.

In the end, having learned that it was he who killed his father and married his mother, Oedipus blinds himself - and thereby, having finally become a true sage, loses his sight. Before this, he says that the blind man, that is, Tiresias, was too sighted.

The tragedy is built on an extremely subtle play (including verbal play surrounding the name of Oedipus himself) of these two themes - knowledge and vision. Inside the tragedy they form a kind of counterpoint, constantly changing places. Thanks to this, Oedipus the King, being a tragedy of knowledge, becomes a tragedy for all times.

The meaning of the tragedy also turns out to be dual. On the one hand, Oedipus is the most unfortunate person, and the choir sings about this. He found himself plunged from complete happiness into misery. He will be expelled from his own city. He lost his own wife and mother, who committed suicide. His children are the product of incest. Everything is terrible.

On the other hand, paradoxically, Oedipus triumphs at the end of the tragedy. He wanted to know who his father was and who his mother was, and he found out. He wanted to find out who killed Lai, and he found out. He wanted to save the city from plague, from pestilence - and he did. The city was saved, Oedipus gained the most important thing for him - knowledge, albeit at the cost of incredible suffering, at the cost of losing his own vision.

By the way, Sophocles made changes to the well-known plot: Oedipus had not blinded himself before, and within Sophocles’ drama blindness is a natural ending, an expression of both defeat and victory.

This duality is the literary and political meaning of the tragedy, since it demonstrates the two-sidedness of power, the connection between power and knowledge. This is the key to the integrity and amazing structure of this tragedy at all levels, from plot to verbal. This is also the guarantee of its greatness, which has been preserved over the centuries.

Why did the Athenian public not appreciate Oedipus the King? Perhaps it was precisely the intellectualism of the tragedy, the very complex packaging of various themes within it that turned out to be too complex for the Athenian public of the 5th century. And it was precisely for this intellectualism that Aristotle probably valued Oedipus the King primarily.

One way or another, “Oedipus the King” embodied the main meaning and main message of the Greek tragedy. This is, first of all, an intellectual experience, which is correlated with experience of a very different nature, from religious and literary to political. And the more closely these different meanings interact with each other, the more successful and important its meaning and the stronger its effect.

At the festival of the “great Dionysius”, established by the Athenian tyrant Pisistratus, in addition to lyrical choirs with the obligatory dithyramb in the cult of Dionysus, also tragic choirs performed. Ancient tradition calls Thespis the first tragic poet of Athens and points to 534 BC. e. as on the date of the first production of the tragedy during the “great Dionysius”.

This early Attic tragedy of the late 6th and early 5th centuries. was not yet a drama in the full sense of the word. It was one of the branches of choral lyricism, but was distinguished by two significant features: 1) in addition to the choir, an actor performed who made messages to the choir, exchanged remarks with the choir or with its leader (luminary); while the choir did not leave the scene of action, the actor left, returned, made new messages to the choir about what was happening behind the stage and, if necessary, could change his appearance, playing the roles of different persons in his various parishes; unlike the vocal parts of the choir, this actor, introduced, according to ancient tradition, by Thespis, did not sing, but recited trochaic or iambic verses; 2) the choir took part in the game, portraying a group of people placed in a plot connection with those whom the actor represented. The actor's parts were still very small in quantity, and he, nevertheless, was the bearer of the dynamics of the game, since the lyrical moods of the choir changed depending on his messages. The plots were taken from myth, but in some cases tragedies were also written on modern themes; Thus, after the capture of Miletus by the Persians in 494, the poet Frinich staged the tragedy “The Capture of Miletus”; the victory over the Persians at Salamis served as the theme for the “Phoenician Women” of the same Phrynichus (476), which contained the glorification of the Athenian leader Themistocles. The works of the first tragedians have not survived, and the nature of the development of plots in early tragedy is unknown; However, already with Phrynichus, and perhaps even before him, the main content of the tragedy was the image of some kind of “suffering”. Starting from the last years of the 6th century, the production of tragedy was followed by the “drama of satyrs” - a comic play on a mythological plot, in which the chorus consisted of satyrs. Tradition names the first creator of satyr dramas for the Athenian theater as Pratina from Phliunt (in the northern Peloponnese).

Interest in the problems of “suffering” and its connection with the ways of human behavior was generated by the religious and ethical fermentations of the 6th century, reflecting the formation of the ancient slave society and state, new connections between people, a new phase in the relationship between society and the individual. The democratic religion of Dionysus played an important role in the struggle that the emerging slave-owning* class of the city waged, relying on the peasantry, against the aristocracy and its ideology; tyrants (for example, Pisistratus in Athens or Cleisthenes in Sikyon) put forward the religion of Dionysus in opposition to local aristocratic cults. Myths about heroes, which belonged to the main foundations of city life and constituted one of the most important parts in the cultural wealth of the Greek people, could not help but fall into the orbit of new problems. With this rethinking of Greek myths, it was no longer epic “feats” or aristocratic “valor” that came to the fore, but suffering, “passions”; In this way, it was possible to make myth an exponent of a new worldview and extract from it material for those relevant in the revolutionary era of the 6th century. problems of “justice”, “sin” and “retribution”. The tragedy that arose in response to these requests took on the type closest to the usual forms of choral lyrics: images of “passions”, often found in primitive rituals: “passions” do not occur in front of the viewer, they are reported through the “messenger”, but The collective celebrating the ritual action reacts to these messages with song and dance. Thanks to the introduction of an actor, a “messenger” who makes messages to the choir and answers its questions, a dynamic element entered the choral lyrics, transitions of mood from joy to sadness and back - from crying to jubilation.

Aristotle provides very important information about the literary genesis of the Attic tragedy. In the 4th chapter of his “Poetics” it is said that the tragedy “subjected to many changes” before it took its final form. At an earlier stage, it had a “satyr” character, was distinguished by its simple plot, humorous style and abundance of dance elements; it became a serious work only later. Aristotle speaks about the “satirian” character of tragedy in somewhat vague terms, but the idea, apparently, is that tragedy once had the form of satyr drama. Aristotle considers the origins of the tragedy to be the improvisations of the “initiators of the dithyramb.”

Aristotle's messages are valuable simply because they belong to a very knowledgeable author, who had at his disposal enormous material that has not reached us. But they are also confirmed by testimony from other sources. There is information that in the dithyrambs of Arion (p. 91)* there were costumed choirs performing, after which individual dithyrambs received one name or another, that in these dithyrambs, in addition to musical parts, there were also declamatory parts of satyrs. The formal features of the early tragedy did not therefore represent an absolute innovation and were prepared by the development of the dithyramb, that is, that genre of choral lyrics that is directly related to the religion of Dio'is. A later example of dialogue in a dithyramb is Bacchylides’ “Theses” (p. 95).

Another confirmation of Aristotle’s instructions is the very name of the genre: “tragedy and I” (tragoidia). Literally translated, it means “goat song” (tragos - “goat”, ode - “song”). The meaning of this term was already unknown to ancient scientists, and they created various fantastic interpretations, such as the idea that the goat allegedly served as a reward for the winning choir in a competition. In the light of Aristotle's reports of the former "satyr" character of tragedy, the origin of the term can be easily explained. The fact is that in some areas of Greece, mainly in the Peloponnese, fertility demons, including satyrs, were represented as goat-shaped. It was different in Attic folklore, where horse-like figures (silenes) corresponded to Peloponnesian goats; however, even in Athens, the theatrical mask of a satyr contained, along with horse features (mane, tail), also goat features (beard, goat skin), and Attic playwrights often called satyrs “goats.” The goat-like figures embodied voluptuousness; their songs and dances should be imagined as rude and obscene. Aristotle also hints at this when he speaks of the playful style and dancing nature of tragedy at its “satire” stage.

“Tragic” choirs were also associated outside the cult of Dionysus with mythological figures of the “passionate” type. Thus, in the city of Sikyon (northern Peloponnese), “tragic choirs” glorified the “passions” of the local hero Adrastus; at the beginning of the 6th century. the Sicyon tyrant Cleisthenes destroyed the cult of Adrastus and, as the historian Herodotus says, “gave the choirs to Dionysus.” In “tragic choirs,” therefore, the element of lamentation, which was widely used in later tragedy, should have occupied a significant place. The lament, with its characteristic alternation of lamentations of individuals and choral lamentation of the group (p. 31), was probably also a formal model for scenes of joint lamentation between the actor and the choir, which are frequent in the tragedy.

However, if the Attic tragedy developed on the basis of the folklore game of the Peloponnesian “goats” and the dithyramb of the Arion type, the decisive moment for its emergence was the development of “passions” into a moral problem. While formally retaining numerous traces of its origin, tragedy in content and ideological character was a new genre that posed questions of human behavior using the example of the fate of mythological heroes. As Aristotle puts it, the tragedy “has become serious.” The dithyramb underwent the same transformation, losing the character of a stormy Dionysian song and turning into a ballad on heroic subjects; an example is the dithyrambs of Bacchylides. In both cases, the details of the process and its individual stages remain unclear. Apparently, the songs of “goat choirs” first began to receive literary treatment at the beginning of the 6th century. in the northern Peloponnese (Corinth, Sikyon); at the turn of the 6th and 5th centuries, when a democratic system was established in Athens, which gave rise to all further problematics of the tragedy, it was already a work on the theme of the suffering of the heroes of Greek myth, and the choir dressed up not in a mask of “goats” or satyrs, but in a mask of faces, plot-related to these characters. The transformation of the tragedy did not occur without opposition

supporters of the traditional game; there were complaints that at the festival of Dionysus works were performed that “had nothing to do with Dionysus”; the new form, however, prevailed. The old-style chorus and the corresponding humorous character of the game were preserved (or, perhaps, restored after some time) in a special play, which was staged after the tragedies and was called the “satyr drama.” This cheerful play, with an invariably successful outcome, corresponded to the last act of the ritual performance, the rejoicing of the risen god.

The growth of the social significance of the individual in the life of the polis and the increased interest in its artistic depiction lead to the fact that in the further development of the tragedy the role of the chorus decreases, the importance of the actor increases and the number of actors increases; but the two-part structure itself remains unchanged, the presence of choral parts and actor parts. It is reflected even in the dialectal coloring of the language of the tragedy: while the tragic chorus to a certain extent gravitates towards the Dorian dialect of choral lyrics, the actor pronounced his parts in Attic, with some admixture of the Ionian dialect, which until that time was the language of all declamatory Greek poetry (epic , iambic). The two-part nature of the Attic tragedy also determines its external structure. If the tragedy, as was usually the case later, began with the actors’ parts, then this first part, before the arrival of the chorus, constituted a prologue. Then came the parade, the arrival of the choir; the choir entered from both sides in a marching rhythm and performed a song. Subsequently, there was an alternation of episodies (additions, that is, new arrivals of actors), acting scenes and stasis (standing songs), choral parts, usually performed when the actors left. The last stasim was followed by ex od (exit), the final part, at the end of which both the actors and the choir left the place of play. In episodies and exodes, a dialogue between the actor and the luminary (leader) of the choir is possible, as well as com 6 s (“blows” - usually on the chest - as an expression of grief), a joint lyrical part of the actor and choir. This last form is especially characteristic of the traditional lament of tragedy. The choir parts are strophic in structure (p. 95). The stanza corresponds to the antistrophe; they may be followed by new stanzas and antistrophes of a different structure (diagram: aa bb, ss) Epodes are relatively rare.

There were no intermissions in the modern sense of the word in the Attic tragedy. The game went on continuously, and the choir almost never left the place of the game during the action. Under these conditions, changing the scene of action in the middle of the play or stretching it out for a long time created a sharp violation of the stage illusion. Early tragedy (including Aeschylus) was not very demanding in this regard and dealt quite freely with both time and place, using different parts of the site on which the game took place as different places of action; Subsequently, it became customary, although not absolutely obligatory, for the tragedy to take place in one place and not exceed one day in duration. These features of the construction of developed Greek tragedy were acquired in the 16th century. the name of “unity of place” and “unity of time”. The poetics of French classicism, as is known, attached very great importance to “unities” and elevated them to the main dramatic principle.

The more or less constant components of Attic tragedy are “suffering,” the message of the messenger, and the lament of the choir. A catastrophic end is not at all necessary for her; many tragedies had a reconciliatory outcome. The cult character of the game, generally speaking, required a happy, joyful end, but since this end was ensured for the game as a whole by the final drama of the satyrs, the poet could choose the ending that he found necessary.

From Aeschylus and Sophocles, seven completely preserved works have come down to us, and from Euripides - nineteen. First of all, they will not be discussed, but only those Attic tragedies that have been preserved in fragments. The complete tragedies are much more widely known than the fragments, so it seemed more important to me to give some information about the latter.

AESCHYLUS

Of the dramas of Aeschylus, known to us only from random quotes, we can mention the tragedy “Laius”, since here, judging by the content, it was about love for young men. It formed the initial part of the tetralogy, with which the poet won the first award in the 78th Olympiad (467 BC), under the Archon Theagenis; the second, third and fourth parts were represented by the tragedies “Oedipus”, “Seven against Thebes” and the satyr drama “The Sphinx”.

Unfortunately, only two minor glosses have survived from Laius; however, we are able to say something about its plot. There are many arguments in favor of the fact that Laius’s love for the young man Chrysippus, the beautiful son of Pelops, formed the background to the further tragic fate of the ill-fated king. According to many Greek legends, Laius was considered

the inventor of love for young men. To this we can also add the message that Pelops, the father who had lost his son, uttered a terrible curse to the kidnapper, which was secretly passed down by inheritance to the son and grandchildren of Laius, until the power of the curse was undermined by the death of Oedipus, who, after a life full of sorrows, was at the will of heaven was cleansed from sin. Here it is necessary to avoid the gross mistake that other people who are otherwise knowledgeable about antiquity make; the father's curse is caused not by the fact that Laius fell in love with the young man and became intimate with him, and therefore not by the “unnatural nature” of his passion, as one might assume, taking into account modern views on pederasty, but only and exclusively because Laius kidnaps and kidnaps the young man against the will of his father: what makes Lai guilty is not the perverted direction of his passion, but the violence he used. Abduction is undoubtedly, on the whole, the most common beginning of all sexual relations of primitive times, and we know that the abduction of women and boys as a religious ceremony can take place even in highly civilized times; but in like manner we find everywhere that abduction must remain imaginary, and that the use of real violence is condemned both by public opinion and by law. We will see that this view of Laius’ guilt is correct from a comparison of this plot with the form of kidnapping common in Crete, which will be discussed later.

Thus, we have the right to say that a separate theme of this tragedy of Aeschylus was the curse to which Laius, who violated the generally accepted norm, was doomed: the hero thought that he was forced to kidnap the boy, while he could ask for this wonderful gift freely and openly. The curse called upon his head contains a terrible irony: after his marriage, the king will be denied what was for him the main joy of his youth - his beloved youth. His marriage remains childless, and when, despite fate, he nevertheless gives birth to a son, a catastrophic coupling of fate dooms him to death at the hands of the heir he so passionately longed for. Guided by the blind rage of fate, the hand of the parricide takes revenge for the sinful violation of the boy’s free will, which Laius himself had previously committed. But death at the hands of his son is a consequence of the appearance of the terrible Sphinga; to free his country from this destruction, Laius goes to Delphi to ask for advice or help from the luminous god; on the way back he meets his unrecognized son, who sheds his father's blood. Suddenly, a new light illuminates the deep meaning of the riddle of the Sphinga, to which Oedipus answered: “A person at the dawn of life is fresh and full of joyful hopes, but at sunset he is a weak and broken creature.” One of these pitiable creatures was Lai, and the son who struck his father turned out to be the only person smart enough to solve the riddle. If someone is not touched by such tragedy, if - in accordance with modern views - someone sees Laius’s guilt in loving the son of Pelops - well, the poet did not write for him.

Elsewhere I have spoken of the widely held view that there is no trace of pederasty in Homer's poems, and it was only in the later era of degeneration that the Greeks found traces of it in Homer. In his drama “The Myrmidons,” Aeschylus shows that the bond of affection between Achilles and Patroclus was interpreted as a sexual relationship, and for the first time this happened not in an era of decline, but in the time of the most beautiful spring flowering of Hellenic culture. The drama contained an episode in which Achilles, gravely insulted by Agamemnon, angrily refrains from participating in the battle and consoles himself in his tent with Patroclus. The tragic chorus was represented by the Achilles Myrmidons, who eventually persuade the hero to allow them to participate in the battle under the command of Patroclus. The drama ended with the death of the latter and the hopeless grief of Achilles.

SOPHOCLES

Fragments surviving from Sophocles' dramatic works often speak of love for boys and young men.

This will not surprise those familiar with the poet's life. The great tragedian, whose male beauty is still eloquently testified by the famous statue in the Lateran better than other monuments, was endowed with extraordinary charm and comeliness as a boy. He excelled so much in dance, music and the hymn arts that a victory wreath was often placed on his black hair. When the Greeks were preparing for a holiday in honor of the glorious battle of Salamis, young Sophocles seemed such a perfect embodiment of youthful beauty that he was placed at the head of a round dance of young men - naked and with a lyre in his hands (see γένος Σοφοκλέους and Ath., i, 20).

The dazzling hero of the Iliad, Achilles, in the play The Worshipers of Achilles, which was most likely a satyr drama, appears before us in the guise of a beautiful boy. It is very likely that the action of the drama, of which a few meager fragments have survived, took place on the top of Pelion or in the cave of Chiron, the famous centaur and teacher of heroes. The beauty of the young man can be judged by the line: “He throws arrows with his eyes” [Sophocles, phragm. 151; translation Φ. Φ. Zelinsky]. A longer fragment of nine lines (Sophocles, 153) compares love to a snowball that melts in the hands of a playing boy. It can be assumed that by this Chiron is hinting at his vague attraction to the boy. In the end, Thetis takes her son from his mentor (Sophocles, phragm. 157, where the expression τα παιδικά is used in an erotic sense), and the satyrs try to console Chiron, who is experiencing the loss of his lover. It is likely that the satyrs who composed the chorus also acted as admirers of the boy; it has been suggested that at the end they had to retire “deceived and tamed.”

Known from the Iliad (xxiv, 257), the gentle son of Priam Troilus, whose youthful beauty was already admired by the tragedian Phrynichus,

Sophocles' drama of the same name acted as Achilles' favorite. All we know about the plot of the play is that Achilles mistakenly kills his pet during some gymnastic exercises. In other words, Achilles suffers the same misfortune as Apollo, who, as a result of an accident while throwing a discus, killed his beloved Hyacinth. Achilles mourned the death of Troilus; from his crying came the only verse in which Troilus is called άνδρόπαις, or a boy who is not inferior in intelligence to his husband (Sophocles, phragm. 562).

There is no doubt that obscene expressions were found even in the dramas of Sophocles (for example, phragm. 388 άναστΰφαι; phragm. 390 άποσκόλυπτε; phragm. 974: ούράν).

EURIPIDES

The story of Chrysippus, the young favorite of Laius, also served as the plot for the drama of Euripides. Named after the main character, the drama “Chri-sipp” was based on the personal experience of the poet himself. Among the most beautiful young men who attracted strangers to the streets of Athens in that era was Agathon, the son of Tisamenes. Aristophanes gives this Agathon a well-known witty characterization in “Women at the Thesmophoria”; he plays an important role in Plato's Symposium; Aristotle highly regarded him as a tragic poet. To his contemporaries he seemed to be a god who had descended from heaven and walked in human form on the earth. But many sought to achieve the love of this ephebe; its beauty led to the scene of jealousy between Socrates and Alcibiades, which is so charmingly described by Plato. They say that even the scoffer Euripides was bewitched by the extraordinary charms of this amazing handsome man, and that it was for him that he wrote and staged his “Chrysippus.” If this statement is true - and we have no reason to doubt it - we can conjecture that the hero of the play, Chrysippus, was created in the image of the beautiful Agathon, and that the poet created himself in the image of Laius. In Cicero (Tusc. disp., iv, 33, 71) we find a remark from which it is clear that at the basis of the drama lay lustful sensuality, and that the desires of Laius, seeking the favor of the young man, were revealed here quite clearly and openly. It must be understood that we are talking about a drama performed in public; Of course, both Euripides and the beautiful Agathon were present. At the end of the fifth century, in Athens, the famous poet sought in this way to win the favor of an outstanding young man, equally famous for his beauty and refined education.

The few fragments do not, of course, provide detailed information about the content of the tragedy. Euripides is of the widely held opinion that Laius was the first to introduce youthful love into Greece. Laius also seems to have resisted his passion, especially if we take into account the conviction of the Greeks

is that love is a kind of illness, it upsets the serenity of the spirit, and therefore it should be fought with the weapon of reason. Like Medea, resisting her love for Jason (Ovid, Metamorphoses, 720), Laius (Euripides, phragm 841) complains about that people know what is right, but do the opposite. Perhaps the drama ended with the death of Chrysippus, since Euripides wrote a tragedy; due to the inconsistency of tradition, we are not able to say more.

II. ATTIC COMEDY

Greek comedy is generated by overflowing pious delight, an expression of gratitude to Dionysus, the greatest destroyer of worries and giver of joy, the ever-young god of fertility of a generous, invariably self-renewing nature. Therefore, comedy abounds in obscenities, which are inextricably linked with the veneration of the spirits of fertility. Since comedy is a grotesquely distorted reflection of life, in Greek comedy sex life comes to the fore everywhere, appearing before us as a seething cauldron of witches, a monstrous orgy in which, stunning the viewer, as if around the gigantic axis of the grotesque phallus, endlessly confused sexual desires and all kinds of types of love pleasures. Love for boys has almost the same meaning in comedy as love for women. It goes without saying that Greek comedy, like all other types of poetry, is simply unthinkable without love for boys; This love is in no way the underside of the grotesque humor of Dionysian debauchery, but serves as one of the focuses on which Greek, especially Attic, comedy is concentrated. But, as already said, we will have to deal with distorted reflection. That is why the gentle speeches of the modest young man Eros, who turned into the rude Priapus, are not heard here. Harita, of course, will hide her face in shame, but science cannot ignore these facts in silence.

FEREKRAT

From the unknown comedy of Pherecrates (phragm 135) an offensive saying has come to us. Reproaching Alcibiades for being too accommodating to men, the character of Pherecrates also vilifies him as a threat to women: “Alcibiades, who, it seems, was not a husband at all, has now become the husband of all wives” 36.

36 Wed Suetonius, "Caesar", 32 Cuno pater eum (sc Caesarem) omnium muherum virum et omnium virorum muherem apellat, Cicero, "Against Verres", and, 78, 192 at homo magis vir inter muheres, impura inter viros muheroula profem non potest

EUPOLIDES

Eupolis of Athens is a more generous source for us. Its heyday occurred during the Peloponnesian War, and around 411 BC. he died fighting for his homeland at the Hellespont. He was one of the most subtle minds among the authors of Ancient Comedy, and for many years after his death the cheerful muse Eupolis enjoyed universal love due to her wit and charm. No less than seven of his comedies out of fourteen or seventeen (according to various counts) were awarded the first prize. In the fourth year of the 89th Olympiad (421 BC), Eupolis staged the comedy “Autolus”, a revised version of which was performed a second time ten years later. Autolycus was the son of Lycon and Rodia, a youth of such beauty that the admiring Xenophon (Symposium, i, 9) wrote about him like this: “... just as a luminous object that appears at night attracts the eyes of everyone, so here the beauty of Autolycus attracted the eyes of everyone to him” [translation by S. A. Sobolevsky]. This Autolycus was the favorite of Callias, famous for his wealth and frivolous lifestyle, who, in commemoration of the victory of the beautiful youth in pankratia at the Panathenaic Games in 422 BC. gave a feast in his honor, described by Xenophon in the famous “Symposium”. The life of Autolycus ended tragically: after the capture of the city by Lysander, he was executed by order of the Thirty Tyrants.

Only the following can be said with certainty about the content of the play: the love of Callias and Autolycus was presented here in an extremely unfavorable light, and even the parents of the young man, who took part in the feast, were showered with ridicule and dirt; the feast itself was ridiculed (Ath., ν, 216e; Eupolis, frag. 56: λις σκώπτει; phragm 61: άναφλασμός (masturbation)).

Β 415 BC Eupolis presented a lively comedy at the city Dionysia Baptae(“Sprinklers”), where the private life of Alcibiades was cruelly ridiculed. In these sprinklers you should probably see Alcibiades' comrades organizing night orgies in honor of the goddess of debauchery Cotitto and imitating the dances of women at them; Voluptuous ablutions and cleansing played a prominent role here. From one passage of Lucian (Adv. Ind., 27:“And you did not blush while reading this play”) makes it clear that the comedy was replete with obscenities.

The Flatterers (produced in 423 BC) was apparently entirely dedicated to the love of young men. Here Demos is depicted putting himself up for sale, and in fragment 265 we hear his complaint: “By Poseidon, my door knows no rest,” so many visitors are eager to look at him. Demos, the son of Pyrilampos, a wealthy Athenian and friend of Pericles, also appears as a famous favorite of Aristophanes (“Wasps,” 97; cf. play on words in Plato’s “Gorgias,” 481d). The play also contains a conversation between Alcibiades and B. - a person unknown to us - where Alcibiades is ridiculed for some reprehensible innovations, especially since he himself boasts of them. By λακωνιζειν was meant the simplicity of Spartan meals, while the expression “fry in a frying pan” hints at some luxury that Alcibiades was so keen on. But B., apparently, gives this word a sensual meaning: according to

Suda, λακωνίζει ν means “to have a penchant for boys” (παιδικοΐς χρησθαι), so Alcibiades is given the opportunity to boast of another of his merits: he taught people to start drinking early in the morning 37 . The Athenians undoubtedly condemned those who began to drink in the morning; from this point of view, an interesting passage from Baton is in which the father laments that, under the influence of an admirer, his son became addicted to this bad habit and now cannot get rid of it. Pliny also names Alcibiades as the inventor of this innovation.

ARISTOPHANES

We will not discuss the significance of the comedian Aristophanes and his outstanding role in the history of Greek comedy, but will only briefly dwell on the historical background of individual comedies and their relationship. Within the framework of our topic, excerpts from the following comedies can be given:

(a) "Acharnians" (drama staged in 425 BC)

Here we find a phallic song (262 units):

Thales, friend of Bacchus,

Lover of nighttime debauchery,

Both boys and women!

Six years have passed. And here we go again

I pray to you when I return to the house. Enough grief, enough fighting!

Tired of the Lamahi!

[translation by A. Piotrovsky]

(b) "Women in the Assembly" (staged in 389 or 392 BC)

Lines 877 et seq. A grotesque scene of an amoebaic (alternating) song dispute between an old and young prostitute; the only such scene in all world literature.

OLD WOMAN Why don't the men come? The time has come.

Anointing your face with whitewash

And dressed up in a saffron skirt,

I sit in vain, purring a song,

I coo to catch a passerby.

O Muses, descend upon my lips,

Inspire the sweet Ionian song!

37 Frash. 351: - ΑΛΚΙΒ. μνσω λακωνιζειν, ταγηνιζειν δε καν πρναιμην.

Β. πολλας δ ...οχμαι νυν βεβινησθαν..

Α. ...ος δε πρώτος εξευπεν το πρωί πιπινειν

Β πολλην γε λακκοπρωκτιαν ημιν επισταζ ευπων.

Α. ειεν. τις ειπεν αμιδα πόα πρώτος μεταξύ πίνων;

Β. Παλαμηδικον δε τούτο τουςευρημα καν σοφον σου.

About drinking in the morning Wed. Baton at Athenaeus, w, 193 p.; also commentary on Aristophanes' Birds, 131; Pliny, Natural. history, xiv, 143; Ath., 519e.

GIRL Rotten! Hanging out of the window cheekily

And you think while I'm away, my

Enjoy some grapes? Song

Lure a friend? I will sing an answering song.

This joke is at least familiar to the audience,

Still entertaining and akin to comedy.

OLD WOMAN Hang out with the old man! Have fun with it!

And you, dear flutist, take the pipe

And play a song worthy of both of us.

FLUTIST plays. (Sings accompanied by a flute.)

If you want to know bliss,

Sleep, my friend, in my arms.

There's no point in young girls

There is sweetness in us, mature girlfriends.

Of the girls who wants

To be faithful and unchanging

A friend of your heart?

They flutter from one to another.

YOUNG WOMAN (sings accompanied by a flute.)

Don't scold young beauties!

The languid bliss of pleasure

Our lovely figure is breathing.

Breasts are a sweet flower.

You, old woman,

A coffin in lime, a corpse in rouge,

Death misses you.

OLD WOMAN Burst, you nasty girl!

Let your bed collapse,

You'll want to hug a little!

Let the snake lie in the pillows,

Let the snake lick you

You'll want to kiss me a little!

YOUNG WOMAN (sings.) Ah ah ah! I'm tired

Darling doesn't come.

Mother left the yard

We know where, we just can’t say.

(To the old woman.)

I conjure you, grandma,

Call Orthagoras if

You like to have fun yourself.

OLD WOMAN Quickly in the Ionian style

You will stop the itch of sin!

Or maybe you can adapt the lesbian way...

GIRL I'm having fun dear

You can't take it away! Hour of love

You won’t ruin mine, you won’t kidnap me!

OLD WOMAN Sing as much as you want! Bend like a caress! They will come to me first, and then to you.

GIRL They will come to your funeral, old man!

OLD WOMAN Old women don’t chase novelty! Are my years sad for you?

GIRL What else? Your blush, or what? Rubbing?

OLD WOMAN Why tease?

GIRL Why are you looking out the window?

OLD WOMAN I sing about Epigon, a faithful friend.

GIRL Rotten old age is your only friend!

OLD WOMAN Now you'll see your friend - he'll come to see me.

Yes, here he is.

A YOUTH appears in the distance

GIRL Leprosy! Not you at all

Here he is looking.

OLD WOMAN Me.

GIRL Skinny consumption!

Let him prove it himself. I'll leave the window.

OLD WOMAN And me. Look how noble she is!

YOUTH (wearing a wreath and holding a cup in his hand, he enters the orchestra and sings.)

If I could fall asleep with a young girl,

If I didn't lie with my snub nose at first,

Rotten old woman! Disgust!

This is unbearable for a free person!

OLD WOMAN (looks out of the window.)

Even if you cry, lie down! Zeus is my witness!

You didn't get along with a fool, Hariksena.

The just law dictates,

We live by democratic rules.

I'll watch out for what he'll do now.

(Deleted again.)

YOUTH Send me, oh gods, that beauty,

To which I left the drinking bout, languishing.

YOUNG WOMAN in the window.

I deceived the damned old woman -

She disappeared, believing that I would leave too.

But here is the one I always remembered. (Sings.)

Oh come, oh come!

My dear, come to me!

Stay with me for a sleepless night

For sweet, happy games.

Passion endlessly attracts me

To your resin curls.

Limitless Desire

Burns with a languid flame.

Descend, I pray, Eros,

To have him in my bed

It turned out right away!

YOUTH (sings under the girl’s window.)

Oh come, oh come! Dear friend, hurry up

Open the doors for me! If you don’t open it, I’ll lie down here on the ground in the dust,

My life! I thirst for your breast, stroke it with my hot hand

And press your hip. Why, Cyprida, do I burn with passion for her?

Descend, I pray, Eros,

So that she is in my bed

It turned out right away.

Where to find the song and where are the words to convey the ferocity

My longing? Heart friend! I beg you, have mercy!

Open up and be gentle! You tore my heart apart.

My golden-winged concern! Daughter of Cypris!

You are a song bee! Weasel Harit! Joy! Smile of happiness!

Open up and be gentle! You tore my heart apart!

(He knocks furiously on the door.)

OLD WOMAN Why are you knocking? Are you looking for me?

YOUTH Not at all.

OLD WOMAN Did you knock on my door?

YOUTH I'm lost!

OLD WOMAN So why did you rush here with a torch?

YOUTH Was looking for friends from the deme of Onanists 38.

OLD WOMAN How?
YOUTH Look for the old nags yourself.

OLD WOMAN I swear by Cyprida, whether you like it or not...

YOUTH We are still sixty years old

No need. We postponed them until tomorrow.

Those who are not even twenty are in use now.

OLD WOMAN It was like this under the old government, my dear!

Now it’s not the same - now the first move is ours.

YOUTH How do they play dice? The dice player is not with you.

OLD WOMAN If you're not a player, you'll be without lunch.

YOUTH I don't know what you're talking about. I'm knocking on this door!

OLD WOMAN First you must knock on my door.

YOUTH I don’t need a rotten sieve for nothing.

OLD WOMAN You love me, I know. You're surprised

That I am here, in front of the door. Let me hug you!

YOUTH Let me go! I'm afraid of your lover.

OLD WOMAN Who?

YOUTH of the notorious painter.

OLD WOMAN Who?

YOUTH Paints funeral vessels

It is for the dead. Go away! He'll notice you here.

OLD WOMAN I know what you thirst for.

YOUTH I know what you mean.

OLD WOMAN I swear by Cyprida, who chose me, I will not let you go!

YOUTH You're delirious, old man!
OLD WOMAN You're talking nonsense. I'll take you to my bed.

YOUTH Why did we buy hooks for buckets?

Wouldn't it be better to have these old pitchforks?

Lower them into a well and pull a bucket on them?

OLD WOMAN Don't mock me, dear, and come to me.

YOUTH Don't you dare force! You are the five hundredth

Contribute part of your property to the treasury first!

OLD WOMAN I'll make you do it! And, I swear by Aphrodite,

It’s nice for me to sleep with such young people.

YOUTH But I have no desire to lie with the old! I will never agree!

OLD WOMAN Witness Zeus, He will force you this is it\

38 Literally: “from the Anaflystian deme.” (Note per.).

YOUTH What is this here?

OLD WOMAN Law. He tells you to spend the night with me.

YOUTH What is in the law? Read it!

OLD WOMAN Read it!

“Women decided when a young man

He wants to sleep with a young girl, first

Let him press the old woman. And he will refuse

Snuggle the old woman and sleep with the young one,

In the legal right of older women,

Grabbing the tourniquet, drag the youngster duty free.”

YOUTH Trouble! I'm afraid of Procrustean tricks.

OLD WOMAN We will make you obey our laws!

YOUTH What if my fellow countryman or friend

Will he give me a ransom?

OLD WOMAN He is not authorized to dispose of the amount in excess of the sum.

YOUTH Can you be saved by an oath?

OLD WOMAN No influence!

YOUTH Should I say that I am a merchant?

OLD WOMAN You'll cry!

YOUTH So what should I do?

OLD WOMAN As I command, come with me.

YOUTH This is violence!

OLD WOMAN Diomedovo!

YOUTH Then heap wormwood on the wedding bed,

Place four bunches of vines, and the mourning

Tie a bandage and funeral

Take out the jugs and pour some water at the door!

OLD WOMAN Then buy me a grave wreath!

YOUTH Of course! If only you live to see the candle

And you won’t crumble like a pinch of dust.

A GIRL comes out of the house.

GIRL Where are you taking him?

OLD WOMAN My! I'm taking it with me.

GIRL Nonsense! He's not the same age as you.

Well, how can a young man spend the night with such an old woman?

You are fit to be a mother, not a mistress.

After all, if you follow the law,

Fill the whole earth with Oedipus.

OLD WOMAN You envy me, oh worthless creature!

And that's why you chatter! I'll take revenge on you! (Leaves).

YOUTH Savior Zeus, beauty, glorious is your feat!

Flower! You took me away from the witch.

For this mercy this very evening

I will repay you with a mighty, hot gift.

[translation by A. Piotrovsky]

ALEXID

Alexis was a native of Thurii in Lower Italy, living approximately 392-288. BC. and left, according to the Suda, 245 comedies.

The first of the comedies that interest us is “Agonida” (the name of the hetera). The meager fragments say nothing about its content, but cannot be

I doubt that Misgol from the Attic deme Kollit played a certain role in it. Some authors testify to Misgol's passion for boys, especially those who know how to play the cithara; yes, Aeschines says (Tim., i, 41): “This Misgol, son of Naucrates from the deme of Kollit, is in other respects a beautiful man in soul and body; but he always had a weakness for boys and some kifareds and citharists constantly hover around him.” Antiphanes (phragm 26, 14-18) had previously hinted at it in his “Fishermen”, and Timocles (phragm 30) - in “Sappho”. In “Agonida” (frag. 3) the girl says to her mother: “Mother, please don’t give me away as Misgol, because I don’t play the cithara.”

Fragment 242 (from the comedy “The Dream”): “This young man does not eat garlic, so that when kissing his lover, he would not inspire him with disgust.”

TIMOCL

In Timocles' comedy "Orestaucledes" a prominent role was played by love affairs with the young men of a certain Autocleides. This meant Autocleides from Agnus, whom the orator Aeschines mentions in his famous speech against Timarchus (i, 52). The comedian's idea was approximately the following: just as the furies once pursued Orestes, so now a flock of heterae pursues the boy admirer Autocleid; This is indicated by at least fragment 25, which says that at least eleven heterae watch over the unfortunate person even during sleep.

MENANDR

Menander of Athens, son of Diopitus and Hegesistrata, lived from 342 to 291. BC, was the nephew of the aforementioned Alexis, the poet of Middle Comedy, who introduced Menander to the art of comedy. Already at the age of 21, Menander won, and although he won the first prize no less than seven times, he can be considered one of those poets who were more appreciated and loved by his descendants than by his contemporaries. We have already talked about his Androgyne, or the Cretans.

Fragment 363 describes the behavior cinaedus libertine); the poet here deftly alludes to Ctesippus 39, the son of Chabrias, about whom they said that he even sold the stones from his father’s tombstone, just to continue to indulge in pleasures: “And I, wife, was once a young man, but I did not bathe five times for the day. And now I'm swimming. I didn't even have a thin cloak. And now there is. And there was no fragrant oil. And now there is. I will dye my hair, I will pluck my hair, and soon I will turn into Ctesippus.”

39 About Ctesippus, see Diphilus, phragm. 38 (and, 552, Kock) and Timocles, phragm.. (n, 452, Kock); fragm. 480: πόσθων, penis and a pet name for a little boy. Wed. Hesychios, s.v. σμόρδωνες υποκοριστικώς από των μορίων, ως ποσθωνες; Apollodorus, frag. 13, 8; I have collected other sexual allusions, witticisms and obscenities from Attic comedy in Anthropophy teia, vu, 1910, SS. 173, 495.