Origin and structure of Attic tragedy. Attic tragedy Origin and structure of Attic tragedy

Tragedy. Ancient tragedy names Athens as its first poet Euripides and points to 534 BC. as on the date of the first production of the tragedy during the “Great Dionysia”. This tragedy 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). 2) the choir took part in the game, portraying a group of people placed in a plot connection with those who the actor represented.

The works of the first tragedians have not been preserved and the nature of the development of plots in the early tragedy is unknown, but the main content of the tragedy was the image of “suffering”. 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. Problems - myths about heroes belonging to to the basic foundations of polis life, and constituting one of the most important parts in the cultural wealth of the Greek people. Aristotle: Tragedy underwent many changes before it took its final form. At an earlier stage, it had a “satirical” character, was distinguished by a simple plot, a humorous style and an abundance of dance elements; it became a serious work only later. He considers the source of the tragedy to be the improvisations of the “initiators of the dithyramb.” The decisive moment for the emergence of the Attic tragedy was the development of “passions” into a moral problem. The tragedy raised questions of human behavior using the example of the fate of mythological heroes.

However, drama as an independent work of art originated only in Greece, and, moreover, not earlier than the 6th century. BC, and was embodied in the form of tragedy and comedy. After all, drama presupposes greater independence of the human personality and a clash of personalities among themselves, as well as a clash of individuals with nature or society. This could only appear in Greece in connection with the rise and establishment of a democratic society. The individual who once stood out from the clan community had to master the elemental power of the clan and be able to internally understand the life-giving creative forces of the natural world. This is where the cult of such deities, which, of course, dates back to primitive times, came in handy, which was primarily a generalization of precisely these creative processes.

There were always a lot of deities of this kind throughout the entire territory of the primitive world. But during the period of the birth and rise of Greek democracy, Dionysus turned out to be such a deity, whose cult from the non-Greek areas of Thrace in the north, Asia Minor in the east and Crete in the south swept like a violent whirlwind throughout Greece during the 7th-6th centuries. BC.

This orgiastic cult captured the imagination of the Greeks of that time. The cult participants themselves represented themselves as Dionysus, who had another name - Bacchus, and therefore were called Bacchantes and Bacchants. And since Dionysus was nothing more than a generalization of the creatively productive processes of nature and society, he was thought to be embodied in every living creature, which seemed to be torn to pieces and then resurrected, like the deity himself. This undoubtedly contributed to the emergence and growth of various kinds of ideas about the struggle of one individuality with another, that is, the emergence and growth of a dramatic understanding of life.

Dionysian delight and orgasm by its very nature destroyed all barriers between people, and therefore the former clan and aristocratic nobility in relation to this new deity were already on the same level with the lower strata of the population. That is why the religion of Dionysus from the very beginning came into conflict with the former, aristocratic Olympian gods and quickly defeated them, and Dionysus himself now seemed to be the son of Zeus and was also placed on Olympus, to which he had previously had nothing to do. Consequently, the main source of Greek drama during the period of rising democracy was rooted primarily in the profound Dionysian reform of the former Olympian, and in particular Homeric, mythology. It is known that it was the rulers of the 6th century. BC. propagated the cult of Dionysus in their countries. So, for example, the Athenian tyrant Pisistratus, who relied on democratic strata and pursued an anti-aristocratic policy, established the festival of the Great Dionysius in Athens, and it was under Pisistratus that the first tragedy was staged in Athens. Another tyrant, Cleisthenes, who ruled in the city of Sikyon, handed over to Dionysus the holiday that had previously been celebrated in honor of the local hero Adrastus.

The path from the cult of Dionysus to Greek classical tragedy as a work of art was very complex and long, although it was passed in Greece with incredible speed, just as the classical period of Greek literature itself passed incredibly quickly.

2. The forms that the main source of the tragedy took.

a) Aristotle speaks of the origin of tragedy “from the singers of praise.” The dithyramb was indeed a choral song in honor of Dionysus. The tragedy, therefore, arose from the alternating singing of the lead singer and the choir: the lead singer gradually becomes an actor, and the choir was the very basis of the tragedy. Based on the three great Greek tragedians - Aeschylus, Sophocles and Euripides - one can quite clearly establish the evolution of the chorus in Greek classical drama. This evolution was a gradual decline in the importance of the chorus, starting from those tragedies of Aeschylus, where the chorus itself is a character, and ending with tragedies and represented nothing more than a kind of musical intermission.

b) The same Aristotle speaks about the origin of the tragedy from the Satmra game. Satyrs are humanoid demons with strongly pronounced goat-like elements (horns, beard, hooves, unkempt fur), and sometimes with a horse's tail.

The goat, like the bull, was closely related to the cult of Dionysus. Dionysus was often represented as a goat, and goats were sacrificed to him. Here was the idea that God himself was torn to pieces so that people could taste the divinity of Dionysus himself under the guise of goat meat. The word tragedy itself, translated from Greek, literally means either “song of the goats” or “song of the goats” (tragos - goat and ode - song).

c) It is necessary to recognize the folklore origin of drama in general. Ethnographers and art historians have collected significant material from the history of different peoples about the primitive collective game, which was accompanied by singing and dancing, consisted of parts of a lead singer and a choir or two choirs and initially had a magical meaning, because in this way they thought of influencing nature.

d) It is quite natural that in primitive religious and labor rituals those elements that later led to the development of separate types of drama or to vicissitudes within one drama were not yet differentiated. Therefore, a mixture of the sublime and base, serious and humorous is one of the features of these primitive beginnings of drama, which later led to the origin of tragedy and comedy from the same Dionysian source.

e) In the city of Eleusis, mysteries were given, which depicted the abduction of her daughter Persephone from Demeter by Pluto. The dramatic element in Greek cults could not help but influence the development of drama in the dithyramb and could not help but contribute to the isolation of artistic and dramatic moments from religious rituals. Therefore, in science there is a firmly established theory about the influence of the Eleusinian mysteries on the development of the tragedy in Athens.

f) The theory of the origin of tragedy from the cult of the spirit of the dead, and in particular from the cult of heroes, has also been put forward. Of course, the cult of heroes could not be the only source of tragedy, but it was of great importance for tragedy already in view of the fact that tragedy was almost exclusively based on heroic mythology.

g) Almost every tragedy contains scenes of mourning for certain heroes, so there was also a theory about the phrenetic origin of the tragedy (tbrenos - in Greek “funeral lament”). But frenos also could not be the only source of tragedy.

h) It was also pointed out that there was a mimic dance at the grave of the heroes. This point is also very important. i) At a certain stage of development, a serious tragedy separated from. funny satyr drama. And from mythological tragedy and satyr drama a non-mythological comedy was separated. This differentiation is a certain stage in the development of Greek drama.

3. Tragedy before Aeschylus.

Not a single tragedy has survived before Aeschylus. According to Aristotle, drama originated in the Peloponnese, among the Dorian population. However, drama received its development only in the much more advanced Attica, where tragedy and satyr drama were staged on the festival of the Great (or City) Dionysia (March - April), and on another festival of Dionysus, the so-called Lenaea (January - February) - mainly comedy; At the Rural Dionysia (December - January), plays that had already been performed in the city were staged. We know the name of the first Athenian tragedian and the date of the first production of the tragedy. It was Thespis who first staged the tragedy at the Great Dionysia in 534. A number of innovations and the titles of some tragedies are attributed to Thespis, but the reliability of this information is questionable. A contemporary of the famous Aeschylus was Phrynichus (approx. 511-476), to whom, among others, the tragedies “The Taking of Miletus” and “The Phoenician Women”, which gained great fame, are attributed. Later Pratin acted, becoming famous for his satyr dramas, of which he had more than tragedies. All these tragedians were eclipsed by Aeschylus.

4. The structure of the tragedy.

Aeschylus' tragedies are already distinguished by their complex structure. Undoubtedly, the development path of this structure was long. The tragedy began with a prologue, by which we must understand the beginning of the tragedy before the first performance of the choir. The first performance of the choir, or more precisely, the first part of the choir, is a parod of tragedy (parod in Greek means “performance”, “passage”). After the parod, the tragedy alternated between the so-called episodies, that is, dialogical parts (episodies means “entry” - dialogue in relation to the chorus was initially something secondary), and stasims, the so-called “standing songs of the choir”, “song of the choir in a motionless state” . The tragedy ended with an exodus, exodus, or final song of the choir. It is also necessary to point out the combined singing of the choir and actors, which could take place in different places of the tragedy and usually had an excited-crying character, which is why it was called kommos (copto in Greek means “I hit,” that is, in this case, “I hit myself in the chest.” "). These parts of the tragedy can be clearly traced in the works of Aeschylus, Sophocles and Euripides that have come down to us.

Works of Aeschylus.

The first great Greek tragedian to gain worldwide recognition, Aeschylus, lived in Greece in the first half of the 5th century. BC, in that era, which both the Greeks themselves and all subsequent culture have always regarded as an era of greatest upsurge - social, political, ideological and artistic. Greece, which went through the decomposition of the communal-tribal system, created a state instead of tribal authorities: first an aristocratic and then a democratic republic

Aeschylus (525-456) came from a noble agricultural family. He was born in Eleusis, near Athens. Aeschylus wrote at least 80 plays - tragedies and satirical dramas. Only 7 tragedies have reached us in their entirety; only excerpts remain from the remaining plays. "Oresteia", "Prik.Prometheus". The range of ideas that Aeschylus puts forward in his tragedies is striking in its complexity: the progressive development of human civilization, the defense of the democratic order of Athens and its opposition to Persian despotism, a number of religious and philosophical issues - the gods and their dominion over the world, the fate and personality of man, etc. In the tragedies of Aeschylus, gods, titans, and heroes of amazing spiritual power act. They often embody philosophical, moral and political ideas, and therefore their characters are outlined somewhat generally. Aeschylus's work was religious and mythological. The poet believes that the gods rule the world, but despite this, his people are not weak-willed creatures subordinate to the gods. According to Aeschylus, man is endowed with a free mind and will and acts according to his own understanding. Aeschylus believes in fate, or fate, which even the gods obey. Tragedy "Chained Prometheus". Zeus is depicted here not as the bearer of truth and justice, but as a tyrant who intended to destroy the human race and who condemns Prometheus, the savior of humanity, who rebelled against his power, to eternal torment. The tragedy has little action, but it is full of high drama. In the tragic conflict, the titan wins, whose will was not broken by the lightning of Zeus. Prometheus is depicted as a fighter for the freedom and reason of people, he is the discoverer of all the benefits of civilization, and is punished for “excessive love for people.”

Historical basis and ideological meaning.

The historical basis for such a tragedy could only be the evolution of primitive society, the transition from the bestial state of man to civilization. The tragedy wants to convince the reader and viewer, first of all, of the need to fight against all tyranny and despotism in defense of the weak and oppressed person. This struggle, according to Aeschylus, is possible thanks to civilization, and civilization is possible thanks to constant progress. Aeschylus lists the benefits of civilization in great detail. These are, first of all, theoretical sciences: arithmetic, grammar, astronomy, then technology and practice in general: the art of construction, mining, navigation, the use of animals, medicine. Finally, this is mantika (interpretation of dreams and omens, bird fortune telling and fortune telling by the entrails of animals). Aeschylus demonstrates human strength in the broader sense of the word.

He paints an image of a fighter, a moral winner in conditions of physical suffering. The human spirit cannot be broken by anything, no suffering or threats, if it is armed with deep ideology and an iron will. Finally, this entire apotheosis of the struggle for freedom and progress of mankind is conceived by Aeschylus not in terms of an abstract narrative, but precisely as a story about the struggle with the supreme deity Zeus. This is not yet a direct criticism of religion, since it comes from Prometheus, who himself is a god and even a cousin of Zeus, but in any case it is a sharp criticism of the mythological Olympus: and Prometheus openly speaks of his hatred of all the gods who subjected him to such torture .

"Bound Prometheus" by Aeschylus, unlike his other tragedies, is striking in its brevity and insignificant content of choral parts. This deprives him of that broad and grandiose oratorical genre that is inherent in other tragedies of Aeschylus. There is no oratorio in it, because the choir does not play any role here at all. The dramaturgy of "Bound Prometheus" is also very weak (only monologues and dialogues). The only genre left that is superbly represented in tragedy is the genre of declamation.

d) Characters.

The characters of "Bound Prometheus" are the same as in the early tragedies of Aeschylus: they are monolithic, static, monochromatic and not marked by any contradictions.

Prometheus himself is a superman, an unyielding personality, standing above all hesitations and contradictions, not agreeing to any compromise or conciliation. Prometheus regards what is happening as the will of fate (which he speaks about no less than six times in the tragedy: 105, 375, 511, 514, 516, 1052; the Oceanids also talk about this - 936). The image of Prometheus represents that classical harmony of fate and heroic will, which is generally a huge and valuable achievement of the Greek genius: fate predetermines everything, but this does not necessarily lead to powerlessness, lack of will, or insignificance; it can lead to freedom, to great feats, to powerful heroism. In such cases, fate not only does not contradict the heroic will, but, on the contrary, justifies and elevates it. This is Achilles in Homer, Eteocles in Aeschylus, but even more so is Prometheus. Therefore, the lack of ordinary everyday psychology in Prometheus is compensated here by the monolithic nature of the hero’s powerful deeds, presented, albeit statistically, but sublimely, majestically.

The remaining heroes of "Bound Prometheus" are characterized by one leading feature, quite immovable, but less significant than that of the main hero of the tragedy. Ocean is a good-natured old man who wants to help Prometheus and is ready to compromise, without taking into account the person to whom he offers his services. Io is a physically and mentally suffering woman, distraught with pain. Hephaestus and Hermes are mechanical executors of the will of Zeus, one against his own will, the other insensitive and thoughtless, like an unreasoning servant.

All these characters can be called characters in the figurative sense of the word. These are general diagrams, or mechanical embodiments of an idea or thought.

e) Development of action.

If by action we mean the transition from one state to another, opposite to it, as a result of the relationship of capable heroes, then in “Bound Prometheus” there is no action, and, consequently, no development of it.

What happens between the scenes of Prometheus being chained and overthrown consists exclusively of monologues and dialogues, which in no way advance the action and certainly do not reverse it. The monologues and dialogues of "Bound Prometheus" are highly artistic, but they are completely undramatic.

The only driving motive can be considered only the future liberation of Prometheus by Hercules, which is predicted by Prometheus himself. But this is only a prediction, and, moreover, about a very distant future, and there are no hints of even the slightest signs of this liberation in the present in the tragedy.

f) Artistic style.

The mere fact that the protagonists of the tragedy are gods and even of the heroes there is only one Io and that these gods are presented in a serious manner testifies to the monumentality that is characteristic of all the tragedies of Aeschylus. As for the other main point of Aeschylus's style, namely pathetism, it is here significantly weakened by large lengths of ideological, theoretical and philosophical content and long conversations, often also of a rather calm nature.

There is pathosity primarily in the initial monody of Prometheus, where Titan complains about the injustice of Zeus, in the scene with the distraught Io, and, finally, in the depiction of the catastrophe in nature during the overthrow of Prometheus into the underworld. However, this pathos is too overloaded with rational content, namely criticism of the despotism of Zeus, and is devoid of those features of frenzy that we found in other tragedies of Aeschylus. But the monumental-pathetic style of "Bound Prometheus" is still evident. Its specificity lies in the general tone of the tragedy, which can be called laudatory-rhetorical. The entire tragedy "Bound Prometheus" is nothing more than a laudatory-rhetorical declamation addressed to its only true hero - Prometheus. Only such an understanding of the artistic style of this tragedy will help to comprehend all its lengths and its non-dramatic setting.

Indeed, Prometheus’s stories and conversations about the past, in particular about his good deeds, without moving the action forward at all, give the image of Prometheus an unusually deep meaning, elevate and saturate ideologically. In the same way, conversations with Oceanus and Hermes, again without developing the action at all, very expressively depict to us the stamina and willpower of Prometheus. The scene with Io immortalizes Prometheus as a sage and seer who knows the secrets of life and existence, although he cannot use these secrets.

In addition to the prophecy of his liberation, Prometheus here also talks a lot about the wanderings of Io with a long list of geographical points through which she has passed and must still pass. Prometheus is credited here with extensive geographical knowledge, which, undoubtedly, was then the latest achievement of science. This story, completely devoid of any drama and even the exact opposite of it, is nevertheless stylistically very important as an increasing depiction of the wisdom of Prometheus.

The choruses in Prometheus Bound are also undramatic. If you approach them from a declamatory-rhetorical point of view, you can immediately see how necessary they are to deepen the general monumental-pathetic style of the tragedy. Parod speaks of the Oceanids' compassion for Prometheus. The first stasim tells us how the north, and the south, and the west, and the east, and the Amazons, and all of Asia, and Colchis, and the Scythians, and Persia, and the seas, and even Hades cry for Prometheus - is this not enough to describe the personality of the main character in relation to everything around him? The second stasim - about the need to subjugate weak beings - and the third stasim - about the inadmissibility of unequal marriages - again emphasize the greatness of Prometheus’ work, which only he is capable of, but weak and downtrodden beings are not capable of.

Finally, the geological catastrophe at the end of the tragedy again demonstrates to us the powerful will of Prometheus, capable of resisting absolutely everything, including all of nature and all the gods who command it. Thus, what is the development of action in “Bound Prometheus” is a gradual and steady intensification of the tragedy of Prometheus’s personality and a gradual declamatory and rhetorical increase in the general monumental-pathetic style of this tragedy.

g) Socio-political orientation.

The ideology of this tragedy, even taken in its abstract form, differs sharply from other tragedies of Aeschylus in its attitude towards Zeus. In other tragedies of Aeschylus we find enthusiastic hymns to Zeus, theological discussions about him, and in any case, constant veneration of him, some kind of directly biblical exaltation of him. In contrast, Zeus of "Bound Prometheus" is depicted as a tyrant, a cruel despot, a treacherous traitor, not omnipotent, a cunning and a coward. When we begin to delve into the style of "Bound Prometheus", it turns out that this attitude towards Zeus is not just some kind of abstract theory and not an accidental appendage to the tragedy, but is carried out in the most daring, daring and even rebellious form, with a revolutionary pathos, with educational conviction and journalistic fervor. This is undoubtedly an educational tragedy, this is an enthusiastic word of praise to the fighter against tyranny.

7. General characteristics.

Aeschylus is a champion of the enlightened aristocracy, which fights against the savagery and barbarism of old times in defense of individuals united in a single state - the polis. A moderately democratized aristocratic polis is for Aeschylus a constant subject of respect and protection. In religious and philosophical terms, Aeschylus also argues in the spirit of the cultural upsurge of his time, freeing his Zeus from all vices and shortcomings and interpreting him as the principle of world justice and constantly praising him.

However, Aeschylus' attitude to mythology is quite critical even without Prometheus. Fragment 70" says: "Zeus is the ether, Zeus is the earth, Zeus is the heavens, Zeus is everything and what is above this." In the "Oresteia" under the guise of Zeis and Dickey, absolute cosmic moralism is preached, which is even higher than individual mythological names. Here is a frank criticism of anthropomorphism. The ardent patriotism of an emancipated aristocrat and an Athenian citizen forced Aeschylus to trace his socio-political and religious-philosophical ideas to the most distant antiquity, finding them there already in a developed form and thereby justifying them with the entire direction of human history.

To characterize the monumental-pathetic style of Aeschylus, not only variations of its two main elements taken separately - monumentality and pathos - are important, but also different forms of their joint functioning in the general style of tragedies. This style, based on the elemental foundations of life, which the religion of Dionysus spoke about, also demonstrates one or another of their design or crystallization in very clear images, which cannot otherwise be called plastic. The main forms of manifestation of Aeschylus’s main monumental-pathetic style did not go beyond the archaic style in general, since everything individual in him, despite the brightness of its design, was always determined not by itself, but by the higher and very harsh laws of life.

An analysis of the artistic style of Aeschylus's tragedies reveals the great efforts of the great genius to depict the wild riot of the dark forces of hoary antiquity, but not just to depict, but to show their transformation and enlightenment, their new organization and plastic design. This occurs as a result of the development of the life of the emancipated polis. It is the polis that is the transformative and organizing force, thanks to which a person is freed from this primitive savagery. But this requires a strong and young, powerful and heroic policy of rising slavery, which, in turn, requires powerful heroes, endowed with the greatest heroic ability to fight the old and create the new. Only the polis, the ascending polis, explains to us in Aeschylus his new moralistic religion, his new civilized mythology, his new monumental-pathetic style and artistic design.

Aeschylus walked with his age along the path of ascending slave-owning democracy, which at first reflected the enormous power of the new class and its titanic efforts to create a new type of culture. Archaic mythology, monumental-pathetic style and titanism do not form an external appendage here, but are a single and inseparable whole with the socio-political life of a young rising democracy. Titanism of Aeschylus is,

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 a message 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 the tragedies were also composed on modern themes; Thus, after the capture of Miletus by the Persians in 494, “the poet Phrynichus 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 not exactly known; However, already with Phrynichus, and perhaps even before him, the main content of the tragedy was the image of some kind of “suffering.” Since the last years of the 6th century. The production of the tragedy was followed by the “drama of satyrs” - a comic play on a mythological plot, in which the chorus consisted of satyrs. Tradition names Pratina from Phlius (in the northern Peloponnese) as the first creator of satyr dramas for the Athenian theater.

Interest in the problems of “suffering” was generated by the religious and ethical ferment of the 6th century, the struggle that the emerging slave-owning class of the city waged, relying on the peasantry, against the aristocracy and its ideology. The democratic religion of Dionysus played a significant role in this struggle and was put forward by tyrants (for example, Pisistratus or Cleisthenes) as opposed to local aristocratic cults. Myths about heroes, which belonged to the basic foundations of city life and constituted one of the most important parts of 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 began to come to the fore, but suffering, “passions” that could be depicted in the same way as the “passions” of dying and resurrected gods were depicted; 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 adopted the type of depiction of “passions” that was closest to the usual forms of choral lyricism,

often found in primitive rituals: “passions” do not occur in front of the viewer, they are reported through a “messenger”, and the group celebrating the ritual action reacts to these messages with song and dance. Thanks to the introduction of an actor, a “messenger” who answers the choir’s 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. Chapter 4 of his Poetics tells us that the tragedy “underwent many changes” before taking 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 a huge amount of 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. 89) mummer choirs performed, 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 Dionysus. A later example of dialogue in a dithyramb is Bacchylides' Theses (p. 93).

Another confirmation of Aristotle’s instructions is the very name of the genre: “tragedy” (tragoidia). Literally translated, it means “goat song” (tragos - “goat”, oide - “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-shaped 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, that is, dressed up as goats, 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” the zalachka element, which was widely used in later tragedy, should therefore occupy a significant place. The lament, with its characteristic alternation of lamentations of individuals and choral lamentation of the group (p. 21), was probably also a formal model for scenes of joint lamentation between the actor and the choir, which are frequent in the tragedy.

However, even if 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 Dioisian 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” began to receive literary treatment for the first time at the beginning of the 6th century. in the northern Peloponnese (Corinth, Sikyon); at the turn of the 6th and 5th centuries. in Athens, the tragedy was already a work on the theme of the suffering of the heroes of Greek myth, and the chorus dressed up not in the mask of “goats” or satyrs, but in the mask of persons connected with these heroes. The transformation of the tragedy did not occur without opposition from 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 tragedy: while the tragic chorus 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 stsims (standing songs), choral parts, usually performed when the actors left. After the last stasim there was an exod (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 kommos, a joint lyrical part of the actor and the choir. This last form is especially characteristic of the traditional lament of tragedy. The choir parts are strophic in structure (p. 92). The stanza corresponds to the antistrophe; they may be followed by new stanzas and antistrophes of a different structure (scheme: 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 times and”. The poetics of French classicism, as is known, attached very great importance to “unities” and elevated them to the main dramatic principle.

The necessary 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 nature of the game, generally speaking, required a happy, joyful ending, but since this ending was provided for the game as a whole by the final drama of the satyrs, the poet could choose the ending that he found necessary.

Athens theater

During the heyday of Greek society, theatrical performances were part of the cult of Dionysus and took place exclusively during festivals dedicated to this god. In Athens in the 5th century. A number of holidays were celebrated in honor of Dionysus, but dramas were staged only during the “Great Dionysius” (around March - April) and Lena (in January - February). “Great Dionysia” is a holiday of the beginning of spring, which at the same time marked the opening of navigation after the winter winds; on this holiday, representatives of the communities that were part of the Athenian maritime union came to pay taxes to the union treasury; The “Great Dionysia” was therefore celebrated with great pomp and lasted six days. On the first day there was a solemn procession of transferring the statue of Dionysus from one temple to another, and the god was imagined to be present at the poetic competitions that occupied the rest of the festival; the second and third days were devoted to the praises of lyrical choirs, the last three days to dramatic games. Tragedies, as already indicated, have been staged since 534, that is, from the time when the holiday was established; around 488 - 486 comedies joined them. Leney, a more ancient festival, was enriched with dramatic competitions only later; Around 448, comedies began to be staged there, and around 433, tragedies. All these games had the character of mass spectacles and were designed for a large number of spectators. To the competitions in the 5th century. with rare exceptions, only new plays were allowed; Subsequently, the new plays were preceded by a play from the old repertoire, which, however, did not serve as the subject of competition. The works of Athenian playwrights were thus intended for one-time production, and this contributed to the saturation of the dramas with topical and even topical content.

The order established around 501 - 500. for The Great Dionysius, provided for three authors in a tragic competition, each of whom represented three tragedies and a drama of satyrs. At comedy competitions, poets were required to write only one play. The poet composed not only the text, but also the musical and ballet parts of the drama; he was also a director, choreographer and often, especially in earlier times, an actor. The poet’s admission to the competition depended on the archon (member of the government) who was in charge of the festival; ideological control over the plays was also exercised in this way. The state assigned the costs of staging the dramas of each poet to some wealthy citizen, who was appointed choreg (choir director). The choreg recruited a choir of 12, and later 15 people for tragedy, 24 for comedy, paid for the choir members, the room in which the choir prepared, rehearsals, costumes, etc. The splendor of the production depended on the generosity of the choreg. The expenses of the choreographers were very significant, and victories in the competition were awarded jointly to the choreographer and the director-poet. With the increase in the number of actors and the separation of the actor from the poet, the third, independent participant in the competition became the main actor (“protagonist”), who selected his assistants: one for the second, the other for third roles (“deuteragonist” and “tritagonist”). The appointment of his poet to the choregus and his chief actor to the poet took place by lot in the people's assembly presided over by the archon. In the 4th century, when the choir lost its importance in drama and the center of gravity shifted to acting, this order was considered inconvenient, since it made the success of the choreographer and poet excessively dependent on the performance of the actor assigned to them and the success of the actor on the quality of the play and production . Then it was established that each protagonist should appear for each poet in one of his tragedies.

The jury consisted of 10 people, one representative from each Athenian district. They were chosen at the beginning of the competition by lot from a pre-compiled list. The final decision was made based on the votes cast by five members of the jury, also selected by lot. At the festival of Dionysus, only “victories” were allowed; the judges established the first, second and third “winners” both in relation to the poets and their choreographers, and especially in relation to the protagonists. The only real winners were the choregas, the poet and the protagonist, who were recognized as “first”; they were crowned with ivy right there in the theater. The third “victory” was actually tantamount to defeat. However, all three poets and protagonists received prizes, which were also their fees. The jury's decision was kept in the state archives. In the middle of the 4th century. Aristotle published these archival materials. After the appearance of his work, consolidated registers of victories at each festival and lists of winners began to be written down on stone, and a number of fragments of these inscriptions have reached us.

The Athenian state entrusted the care of the premises for spectators and performers, first with the construction of temporary wooden structures, and subsequently with the maintenance and repair of the permanent theater, to private entrepreneurs, renting out the premises. “Entrance to the theater was therefore paid. However, in order to ensure that all citizens, regardless of their financial situation, had the opportunity to attend the theater, democracy since the time of Pericles provided every interested citizen with a subsidy in the amount of entrance fee for one day, and in the 4th century and for all three days of theatrical performances.

One of the most important differences between Greek theater and modern theater “is that the play took place in the open air, in daylight. The lack of a roof and the use of natural light were, by the way, connected with the huge size of the Greek building? theaters, significantly larger than even the largest modern theaters. Given the rarity of theatrical performances, ancient theater premises had to be built with the masses of citizens celebrating the holiday in mind. The Athens theater, according to archaeologists, could accommodate 17,000 spectators, the theater of the city of Megalopolis in Arcadia - 44,000 people. In Athens, performances first took place in one of the city squares, and temporary wooden platforms were erected for the audience; when they collapsed one day during a game, the southern rocky slope of the Acropolis was adapted for theatrical purposes, to which wooden seats were attached. The stone theater was finally completed only in the 4th century.

Until the second half of the 19th century. the structure of the Greek theater was known only on the basis of a description in the treatise of the Roman architect Vitruvius “On Architecture,” written around 25 BC. e. Currently, the ruins of a large number of Greek theaters from different eras have been archaeologically examined, including the Athenian Theater of Dionysus, where almost all dramas of the classical Greek repertoire were once intended for production.

Due to the choral origins of Attic drama, one of the main parts of the theater is the orchestra (“dancing platform”), on which both dramatic and lyrical choirs performed. The oldest orchestra of the Athenian theater was a round compacted parade ground, 24 meters in diameter, with two side entrances; the audience passed through them, and then the choir entered. In the middle of the orchestra was the altar of Dionysus. With the introduction of an actor who performed in different roles, a changing room was needed. This room, the so-called skena (“stage”, i.e. tent), was temporary in nature and was initially located in the public view; soon they began to build it behind the orchestra and artistically design it as a decorative background for the game. The skene now depicted the facade of a building, most often a palace or a temple, in front of whose walls the action unfolds (in Greek drama the action never takes place inside a house). A colonnade (proskenium) was erected in front of it; Painted boards were placed between the columns, serving as a kind of conventional decoration: they depicted something reminiscent of the setting of the play. Subsequently, the skene and proskenium became permanent stone buildings (with side extensions - paraskenia).

With this structure of the theater, one very important question for the theatrical business remains unclear: where did the actors play? Accurate information about this is available only for late antiquity; The actors then performed on the stage, rising high above the orchestra, and were thus separated from the choir. For a drama of its heyday, such a device was unthinkable: at that time the choir was directly involved in the action, and the actors often had to come into contact with it during the course of the play. It is therefore necessary to assume that the actors in the 5th century. they played in the orchestra before the proscenium, on the same level as the choir or on a very slight elevation; in some cases, the roof of the proscenium could be used to play actors, and the playwright had the opportunity to structure the play so that some characters were at a higher level than others. The high stage, as a permanent place for actors to play, appeared much later, probably already in the Hellenistic era, when the choir lost its importance in drama.

The third component of the theater, besides the orchestra and the skene.” were places for spectators. They were located on ledges, bordering the orchestra like a horseshoe, and were cut by radial and concentric passages. In the 5th century these were wooden benches, which were later replaced by stone seats (see drawing on page 270).

Mechanical devices in the theater of the 5th century. there was very little. When it was necessary to show the viewer what was happening inside the house, a platform on wooden wheels (ekkiklema) was rolled out of the doors of the skena, together with the actors or dolls placed on it, and then, when the need had passed, it was taken back. To lift characters (for example, gods) into the air, a so-called machine was used, something like a crane. The heyday of Greek drama took place under conditions of the most primitive theatrical technology.

Participants in the game wore masks. The Greek theater of the classical period fully preserved this heritage of ritual drama, although it no longer had any magical significance. The mask corresponded to the focus of Greek art on presenting generalized images, not ordinary ones, but heroic ones, rising above the everyday level, or grotesque-comic ones. The mask system was developed in great detail. They covered not only the face, but also the actor’s head. The color, expression of the forehead, eyebrows, shape and hair color of the mask characterized the gender, age, social status, moral qualities and mental state of the person depicted. When there was a sharp change in his mental state, the actor put on different masks in his different parishes. In other cases, the mask could be adapted to depict more individual features, reproducing the features of the usual appearance of a mythological hero or imitating a portrait resemblance to contemporaries ridiculed in comedy. Thanks to the mask, the actor could easily perform in several roles during one play. The mask made the face motionless and eliminated facial expressions from the ancient acting art, which, however, still would not have reached the vast majority of spectators given the size of the Greek theater and the absence of optical instruments. The immobility of the face was compensated by the richness and expressiveness of body movements and the actor’s declamatory art. In the minds of the Greeks, mythical heroes exceeded ordinary people in height and shoulder width. Tragic actors therefore wore buskins (shoes with high, stilt-shaped soles), a high headdress from which long curls flowed, and placed pillows under their costumes. They performed in solemn long clothes, the ancient vestments of kings, which only the priests continued to wear. (For the costume of the comic actor, see below, p. 156).

Women's roles were played by men. Actors were regarded as cult servants and enjoyed certain privileges, such as tax exemption. The craft of an actor was therefore available only to the free. Starting from the 4th century, when many theaters appeared in Greece and the number of professional actors increased, they began to form special associations of “Dionysian masters”.

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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 OBIEN 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.

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rTPYMP HCE ZPTBJDP VPMEE RPMKHCHELB PF OBYUBMB FTBZYUUEULYI UPUFSBOYK, F.E. FEBFTB, LPZDB CH PDYO YЪ 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 UCPE HYUBUFYE. 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.

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PLEBO

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

rTPNEFEK

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

PLEBO

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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

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PLEBO

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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 УЧСЪШЧБЭФ rTPNPEFES У ьжЭНИТБНЯ 6 OE ьТПУ - МАВПЧШ, Б ЭЧОПС - ВМБЗПУЛМПОПУФШ, Ф, Е. 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 BH YENMA CH VEMPN CHYITE UOEZB UYMPA UCHPYI RPDYENOSCHI 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 еCHUB 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. UFSCHDOP nKhDTPNKH 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 S 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 UCHYFSHCHY CH UBNPN RPSCHMEOYY EZP EUFSH HCE, FBLYN PVTBBPN, ETOP DTBNSCH. ChP-ChFPTSCHI, TSYЪOSH LFPPZP 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, VSHCHUFTP 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 MMMYOULPK, ​​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 RTEDHRTETSDBEF 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, OPCHYOHKH TSE OE PDYO 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, RPUFPSOOSHI 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 CHPVHTSDBAF CH OBU UMPChB bodtpnbiy P Tstevy 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 CHEMILLPNH 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 ZMHVPLPK RP LFYUEULYN ЪBDББББН ЖПТНПК ИХДПЦЭУФЧЭOOПЗП FChPTYUEFCHB 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 РТEFЭТРИЧБЭФ ОЭУЭМПЧЭУЕУЛПЭ ОПЛБББОВЭ: ЭЗП NХУБФ ъТІOOYY, NХУБФ ULIFBOYSNY, 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 RTPPHYCH FYTBOB lTEPOFB, VPTEFUS VE CHUSLPK RPDDETSLY UP UFPTPPOSH, 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-RETUIDULYE 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 RPDTBTsBOIK 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 RETCHPOBUBMSHOSCH FTBZYLY KHYUBUFCHPCHBMY CH YURPMOEOY UCHPYI RSHEU, OP DBCE UPZHPLM FBOGECHBM CH TPMY obCHUILBY.

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 RTYTBYUOSCHK 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-RECHSHCHI, 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 CHEUSH, 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 UMYYLPN 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 CHSHBLBBFSH Y ZYVLPUFSH, Y UYMKH, Y LTBUPFKH UCHPEZP KHNB, OE ЪBVSHCHBS FEE 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 biYMMB, 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 UP'DBMBUSH 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 RETCHPOBUBMSHOPZP 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 RTEDULBYSHCHBM rTPNEFEA LPTYKHOB Y CHELB UFTBDBOYK Y, DEKUFCHYFEMSHOP, UB RETCHSHCHN rTPNEFEEN YEM CHFPTPK, "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 HRTEL 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. BVUPMAFOHA 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 UCHPEPVTBOP 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 NSHUMSH: "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 H 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.

fTBZYUEULYK 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 NPMPFLPN 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 FSHCHUSYU MADEK, ZPCHPTSEYI ABOUT PDOPN SJSHLE, OFKHYYBN, Y VMBZPYUEUFYE, OPCHYOB Y FTBDYGYS 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 NHDTHA 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 "jRRPMYFE" bTFENYDB PFLTPCHEOOP CHSHCHULBSCCHBEF TSEMBOE PFPNUFYFSH LYRTYDE UB UNETFSH UCHPEZP URKHFOILB KHVYKUFCHPN PDOPZP YYYE 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 RETCHSHCHK NPNEOF NPTsOP OBCHBFSH LFYLP-VPZPUMPCHULIN, 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 HYBUFYS 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 FTBZEDYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYSHL PFMYYUBMYUSH H'UYIMB OE FPMSHLP PF PVSHDEOOOPK TEYUY, OP Y PF TEYUY LRPUB. bTYUFPZHBO, CHPUIEBSUSH UMPCHBNY NBTBZHPOULPZP VPKGB, OBSCHCHBEF YI "UMPCHBNY, PUEDMBCHYYNYY 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, FENOSCH RTPTPYUEUFCHB Y DENPOPCH, LFY ЪCHHYUOSCHY, Y YSHCHULBOOSCH, UFTBOOSCH CHSTBTTSEOYS YDHF, LBL YDHF L OEK VMEDOSHCH Y UFTBYOSCH NBULY, U YUEFSHTEIKHZPMSHOSCHNYY FENOSHCHNY 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 TYOOYK 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 YuFP-FP FTBZYUUEULPE, UPCHETYOOOP OEBCHYUYNP PF UYUBUFMYCHPK YMY OEYUBUFOPK PVUFBOPCHLY YI TSIYOY 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 TBOPPVTBYE CH RPYYA yuIMB, FP U DTHZPK - ZMHVIOB NSHUMY UPYIDBMB CHOKHFTEOOEE EJYOUFCHP NETSDH EZP TBOPT DOSCHNY FCHPTEOYSNY. fBL PVYAEDYOSAFUS DMS OBU EZP CHEEIK rTPNEFEK Y CHEEBS lBUUBODTB: YI UMYCHBEF FTBZYYN, METSBEIK CH OEUPY'NETYNPUFY YUEMPCHELB U EZP UTEDPK. NSC OECHPMSHOP RTPCHPDYN Y DTHZHA RBTBMMEMSH: NETSDH rTPNEFEEN Y YTYOOYSNY, RPLPMEOYEN YENMY Y OBUMEDOILBNY EE UFBTPC, FBYOUFCHEOOPK, OP ЪБЧУФМИЧП-ВЭУРМПДОПК 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.

lPTEOOBS TBJOYGB ЪBLMAYUBEFUS, NPTSEF VShchFSH, OE CH LFPN, B CH FPN, YuFP UYOFEFYUEULYK KHN uPZHPLMB NPZ U VPMSHYYN KHUREYPN PRETYTPCHBFSH OBD NYZHPN, UPITBOSS EZP GEMSHOPUFSH , LTBUPFKH Y RPCHSHCHYBS EZP BUYUEULPE OBYUEOYE, YUEN PUFTSHCHK BOBMYFYUEULYK KHN ECHTYRYDB. uPZhPLM RPOECHPME, LBL FTBZYL, RTYOBDMETSBM DKHYPK RTPYEDYENH, RPFPNH YuFP RTPYEDYE CHUEZDB UFTPKOEK Y RPYUOOEE, YUEN OBUFPSEE U EZP OEKHUFPKYYCHPUFSHA, ZTHDPC NEMPYUEK Y RE UFTPK UNEUSHA LPOGPCH Y OBYUBM. echTYRD, CH UYMKH PUPVEOOPUFEK UCHPEK RTYTPDSCH, OBPVPTTPF, DEMBMUS RPFPN VKHDHEEZP. MADY CHTPDE NEMBOIRRSCH, RTPRPchedPCHBCHYEK ZHYMPUPZHYA boBLUBZPTB LBL PUOPCHH OTBCHUFCHEOOSCHI CHPTEOYK, YMY bNZHYPOB, KHNECHYEZP PUFBFSHUS CH TSYOY YUYUFSCHN UPETGBFEMEN, YMY, OBLPOEG, MADI DKHYECHOPZP TBMBDB, LBL pTEUF - CHUE LFP VSHCHMY LPOFKhTSCH YJ "NYTB ZYRPFE", NYTB VKHDHEEZP. OH NYZH, OH ZTBTSDBOULBS PVEYOB V CHELB OE KHDEMSMY YN OILBLPK TPMY. eUMY RPMPTSYFEMSHOPK UFPTPOPK UCHPEZP YDEBMB echTYRD RTYOBDMETSBM VKHDHEENKH - POP-FP Y PGEOYMP EZP; UPCHTENEOOILY OBUMBTSDBMYUSH CH ECHTYRIDE OE FEN, YuFP ChPUIEBMP MADEK OPChPK TBCH, - FP EEE VPMEE PFTBIYMBUSH NEYUFB ABOUT PFTYGBFEMSHOPK UFPTPOE EZP FCHPTEOYK: RMBYUHEYE ZETPY, RPT PYUOSCH VPZY, CHPYOUFCHEOOSCH YMY RMSYKHEYE UFBTGSCH Y UEOFYNEOFBMSHOP OBUFTPEOOBS VPZYOY VEKHNYS MYUUB, - X ECHTYRYDB NPTsOP OBKFY GEMSHK TSD FBLYI PMYGEFCHPTEOOSCHI TBOPTEYUYK NETSDH DEKUFCHYFEMSHOPUFSH Y YDEBMYYYTPCHBOOSCHN NYZHPN, RTYUEN CHOYI, VEKHUMPCHOP, OEMSH'S CHIDEFSH UBFYTSCH.

fP, YuFP NSCH OBSHCHCHBEN YUKHCHUFChPN DEKUFCHYFEMSHOPUFY, ChPCHUE OE PFUHFUFCHPCHBMP X uPZHPLMB, FPMSHLP LFP YUKHCHUFChP KHNETSMPUSH X OEZP IBTBLFETOPK YuETFPK EZP YuYUFP BFFYUEULPK OB FKhTSCH, OBLMPOOPUFSH L RPTSDDLH Y ZBTNPOYY. TEBMYYN uPZHPLMB EEE DBMELP OE CHRPMOYE PGEOO. b NETSDH FEN, X bFPZP RPPFB VSHMB KHDYCHYFEMSHOBS FPOLPUFSH Y PFUEFMYCHPUFSH OBVMADEOIK, Y bFP DPMTSOP VSHMP PUPVEOOOP UYMSHOP DEKUFCHPCHBFSH VMBZPDBTS UFTPZP NYZHYUEULPK PVUFBOPCH LE EZP DTBN. h "fTBIYOSOLBI" RTECHPUIPDOP YЪPVTBTTSEO, LBL RPLBЪBM LFP RTPZHEUUPT EMYOULYK, PRSHCHF DESOITSH OBD UYMPK PTZBOYUEULPZP SDB, CH LTPCHY LEOFBCHT. OP TEBMYYN echtyrydb LBCEPHUS STUE, RPFPNH YuFP CH EZP OBHTE OE VSHMP FBLPK ZBTNPOYY, LBL X uPZHPLMB. UBNSHCHK UIMSHOSCHK RBZHPU X uPZHPLMB TBBTEYBEFUS LBTFYOPK CHP'NE'DYS YMY RPUFEREOOOSCHN PUMBVMEOYEN FTBZYUEULPZP KHTSBUB. ECHTYRD CE OE ЪBVPFYMUS OH P FPN, OH P DTHZPN. ъBFP, EUMY X uPZhPLMB RBZHPU UPUFBCHMSM MYYSH PDYO YЪ IHDPCEUFCHEOOSCHI BMENEOFPCH DTBNSCH, FP KH ECHTYRYDB BY VSHM GEMSHA Y UPDETSBOYEN FTBZEDYY. fTBZEDYY ECHTYRYDB RTEDUFBCHMSAFUS NOE YOPZDB ЪCHEOSHSNY LBLPK-FP PDOPK ZYZBOFULPK DTBNSCH YuEMPCHYUEUFCHB: LFY ULCHBOOSCH ZEOYBMSHOSCHN NBUFETPN ЪCHEOSHS TBURBMYUSH, Y TPVLYK HYUEOIL RTYDEMBM LOYN OBYUBMB Y LPOGSHCH, YuFPVSH DBFSH YN PVMYUSHE UBNPUFPSFEMSHOSHI FTBZEDYK.

h YUEFCHETFPN CHELE FTBZEDYS HCE CHSTPTsDBEFUS. uATSEFPCH UFBOPCHYFUS CHUE NEOSHIE, pTEUF Y YDYR, bMLNEPO Y FEMEZH UNEOSAF DTHZ DTHZB RPUFPSOOP VMEDOEAEK YuETEDPK. ZETPY UFBOPCHSFUS ULHYUOP FYRYUOSCHNY, FPYuOP NBULY. yЪTEDLB NEMSHLOEF YUBUFMYCHBS RP VMEULH LBTFYOB, CHTPDE MBZETS CHBLIBOPL H IETENPOB, YMY KHDBUOBS DEFBMSH CH UGEOE RTYBOYS pTEUFB YЪ fBCHTYUUEULPK yZHYZEOYY. FTBZYLY RTPIPDSF YUETE YLPMH yUPLTBFB, Y, LPOYUOP, FTBZEDYY YI VEKHRTEYUOSCH CH TYFPTYYUEULPN PFOPEYOYY; OP RTY LFPN POY OETEDLP VPMEE TBUUUYFBOSH OB DEFBMSHOHA PGEOLKH ACHEMYTOSHCHI LTBUPF RSHEUSCH CH YUFEOYY, YUEN OB PVEYK UGEOYUEUULYK ITS YZHZHELF; NBMP-RPPNBMKH, MYYEOOOBS FChPTYUEULYI UYM, ЪBNLOKHFBS CH KHLYK LTKHZ NYZHYUEULYI HUMPCHOPUFEK, DTBNB FETSEF DBTSE VBOBMSHOKHA SUOPUFSH. dPYEDYBS DP OBU PF III CHELB NPOMPZYUEULBS FTBZEDYS mYLPZHTPOB, ZDE YЪPVTBTSEOSH FENOSCH RTPTPYUEUFCHB lBUUBODTSCH, ЪBLMAYUEOOPK CH FENOYGH, RTEDUFBCHMSEF UPVPA LBL VSHCH BZPOY A NYZHPMPZYUEULPZP FCHPTYUEUFCHB. rTPKDS YUETE PVMBUFSH CHETCH, RPYYY TYFPTUFCHB, NYZHSCH UFBOPCHSFUS ЪDEUSH LBLPK-FP CHSHCHYUKHTOPK FBKOPRYUSHA, B FE ZEPZTBZHYUEULYE UCHEDEOYS, LPFPTSCHE UFBTSHCHK uUIYM KHNEM PVMELBFSH CH UGEOE rTPNEFES U yP UCHPEPVTBOPK RTEMEUFSHA, ULPTEE URPUPVOSH ЪBRKhFBFSH YUYFBFEMS "bMELUBODTSH", YUEN YUFP-OYVKhDSH ENKH HSUOYFSH .

CHUS RPYYS MYLPZHTPOB EUFSH FPMSHLP YZTB KHNB, LPFPTBS, NPTSEF VSHCHFSH, Y OE VSHMB MYYEOB DMS EZP UPCHTENEOOYLPCH OELPFPTPZP OBUMBTSDEOOYS, OP, PE CHUSLPN UMHYUBE, DETTSBM B YI CH PYUEOSH PZTBOYUEOOOPN LTHZE YDEK. with OE VKHDH ZPCHPTYFSH CHBN P TYNULPK DTBNE, RPFPNH UFP, IPFS Y UCHSBOOBS U MMMYOULPK - NYZHBNY Y UGEOYUUEULPK FTBDYGYEK, - POB VSH ЪBCHMELMB NEOS UMYYLPN DBMELP. CHEDSH EUMY ZPCHPTYFSH P UEOLE, FP PFYUEZP VSH OE ZPCHPTYFSH Y P TBUYOE.

with RPЪCHPMA UEVE CH ЪBLMAYUEOYE PUFBOPCHYFSH CHBYE CHONBOYE MYYSH ABOUT PDOPN CHPRTPPUE: LBLPE OBYUEOOYE YNEAF DMS UPCHTENEOOOPK MYFETBFHTSCH Y FEBFTB LMBUUYUEULYE DTBNSCH BMMYOPCH ?

YuHFSH MY OE LBTSDBS YI OYI PVTPUMB VPMSHYPK MYFETBFHTPK RETECHPDPCH, RETEDEMPL, RPDTBTSBOYK, Y OE PDOB CHOKHYMB RPPFBN CHDPIOPCHEOOSCH UP'DBOYS. "YZHYZEOYS" zЈFE OBUFPMSHLP UBNPVSHPHOPE RTPY'CHEDEOYE ZETNBOULPZP ZEOYS, YuFP VSHMP VSH OEURTBCHEDMYCHP TBUUNBFTYCHBFSH ITS FPMSHLP LBL RETETBVPFLH BOFYUOPK FTBZEDYY. iHDPCEUFCHEOOBS MYFETBFKHTB, RTYNSCHLBAEBS L BOFYUOSCHN DTBNBN, TBUFEF U LBTSDSCHN DOEN. nsch YNEEN YMY YNEMY EEE CHYUETB t. vTBHOYOSB, ZTYMSHRBTGETB, melPOFB DE-mYMSH. pF RPDTBTSBOYS ZPFPCHSHCHN PVTBGBBN RPYYS YDEF L TELPOUFTHLGYY RPZYYYI RP PFTSHCHLBN, NSHUMSH, LPFPTBS ЪBOINBMB EEE zЈFE Y LPFPTBS FBL VMYUFBFEMSHOP CHSHCHRP MOEOB VSHMB UAYOVETOPN CH EZP "bFBMBOFE". OP VSHMP VSH UFPMSH CE OEEUFEUFCHEOOP UCHSCHCHBFSH PVMBUFSH FChPTYUEFCHB ZHYMPMPZYUEULYNY RTPVMENBNY, LBL Y UFEUOSFSH OBKHYUOPE YUUMEDPCHBOIE RPFYUEULPK ZHTNPK.

pVMBUFSH ZHTBZNEOFPCH YI BOFYUOSHI FTBZEDYK Y NYZHPCH DPMTSOB SCHMSFSHUS, RP NPENKH, MYYSH PDOYN YUFPYUOYLPCH DMS UCHPVPDOPK FChPTYUEULPK TBVPFSHCH. mYYSH UCHPVPDOPNH CHPUUPЪDBOYA ZTEYUEULYI NYZHPCH UKhTsDEOP RPKFY DBMEE YLPMSHOPZP KHRTBTSOEOYS ABOUT ZPFPCHHA FENKH.

OP YuFP TSE RTYCHMELBFEMSHOPZP CH BOFYUOPK FTBZEDYY UPITBOSEFUS DMS RPFB DP UYI RPT? chP-RETCHSHI, CH NYZHBI EUFSH RTPUFPT DMS UBNPZP YYTPLLPZP YDEBMYNB. h OI EUFSH Y UIMKHFSCH FEE ZETPYUUEULYI RPDOINBAEYI DKHYKH PVTBBPCH Y UIFKHBGYK, Y FE VMBZPTPDOP-NBTSPTOSCHE OPFSCH, LPPTSHCH OE ICHBFBEF UCHTENEOOOSCHN FENBN, Y LPPTDSCHI NSCH FBL URTBCHEDMYCHP TsDEN PF FEBFTB. b YuFP MHYUYE: OBUYMPCHBFSH MY DEKUFCHYFEMSHOPUFSH, PUFBCHBSUSH CH EE TBNLBI, YMY ABOUT NYOHFH PTSYCHYFSH CHETH CH FE ULBLY, LPFPTSCHE UPUFBCHMSMY OELPZDB DKH CHEMYLPZP OBTPDB?

ъBFEN, OEMSHЪS ЪBLTSCHBFSH ZMBYY ABOUT FP PVUFPSFEMSHUFCHP, YuFP BOFYUOBS FTBZEDYS DBCHOP KhCE RPOENOPZH PCHMBDECHBEF TSEMBOYSNY UPCHTENEOOOPZP ЪTYFEMS, OP YuFP MADI FPYuOP VPS FUS CHSHCHULBBFSH FY TSEMBOYS. CHUE NSCH IFYN ABOUT UGEOE RTETSDE CHUEZP LTBUPFSHCH, OP OE UFBFKHTOPK Y OE DELPTBFYCHOPK, B LTBUPFSCH LBL FBYOUFCHOOOPK UYMSCH, LPFPTBS PUCHPVPTsDBEF OBU PF FHNBOB Y RBKHFYO TSYJOY Y DBEF CHPNPTSOPUFSH ABOUT NYOKHFKH RTPЪTEFSH OUEUPETGBENPE, UMPCHPN, LTBUPFSCH NHYSCHLBMSHOPK, B FB-FP YNEOOOP LTBUPFB Y UPUFBCHMSMB YDEBM BOFYUOPK FTBZEDYY, YNEOOOP POB UCHPYNY VMEUFLBNY Y UDEMBMB DTBNKH MMMYOPCH CHEMYLPK Y VEUUNETFOPK.

with DKHNBA, OBLPOEG, YuFP, UPPVTBOP GEMY, Y OELPFPTSHCHE RTYENSH BOFYUOPK UGEOSCH TsDHF UCHPEK PYUETEDY ABOUT OBYEK. TEYUSH YDEF, LPOYUOP, OE PV PFLTSCHFSHCHI FEBFTBI, NBULBI YMY LPPHKHTOBI, B PV NHYSHCHLE Y VBMEFE, F.E. P Y FBL OEURTBCHEDMYCHP TBBPVEEOSH U FTBZEDYEK, LFPC KHOYCHETUBMSHOPK ZHTNPK FChPTYUEUFCHB, RPULPMSHLH POP SCHMSEFUS CHEUOSCHN YULBOYEN FBKOSH LTBUPFSCH.

rHVMYLHEFUS RP: nv, 1902, OPSVTSH. u. 1-41.

ATTICA TRAGEDY

Just as the archaic era in Greece expressed itself in lyric poetry, the 5th century (BC), when Athens became the center of literary and poetic creativity, began to speak in the language of Attic tragedy and comedy. Tragedy (literally “song of the goats”) arose from a choral song, from a dithyramb sung by “satyrs” dressed in goat skins and depicting the constant cheerful companions of the god of wine Dionysus. Such “choirs of goats,” or satyrs, existed already in the 7th century. BC e. throughout Greece. Decisive in the birth of the Attic tragedy was the establishment by the Athenian tyrant Pisistratus of the national holiday of the Great Dionysius, thanks to which the popular cult of Dionysus now relied on the official support of the authorities. When the poet Thespis added an actor to the chorus, “answering” and conducting a dialogue with the chorus, the tragedy turned into a dramatic action. At first, the participants in the performance acted out scenes from myths only about Dionysus himself, but later the turn came to other myths. Only Aeschylus remained in the first half of the 5th century. BC e. bring before the audience also a second actor, and Sophocles a third, and the ancient “chorus of goats” was finally transformed into drama.

But the origin of Greek tragedy from choral song was reflected in the fact that in the future the choir played no less a role in the drama than the actors. This brings Greek tragedy closer to the modern opera or oratorio. The themes and plots of the tragedies were also not arbitrarily chosen, but borrowed from mythology.<Персы» Эсхила или «Завоевание Милета» Фриниха - редчайшие исключения, подтверждающие правило.

Like the epic poetry of Homer, Greek tragedy performed not only aesthetic functions, but also didactic and educational ones. Great tragediographers of the 5th century. BC e. They sought not only to interest the viewer, but also to frighten, shock, instruct, and show, using the example of the destinies of well-known heroes of myths, the operation of divine laws that govern people’s lives.

The Attic theater differed from the modern one, however, not only in what was shown, but also in the way it was arranged. The performances lasted only three days, during the festival in honor of Dionysus. They gave three tragedies in a row, and then a “satire drama” - another dramatized episode from mythology, but in a lighter, cheerful, funny light, which allowed the audience to relieve the tension from the tragedies. Each of the three dramatic poets who competed with each other these days brought to the attention of the audience the entire tetralogy, that is, a complete cycle of three tragedies and one “satyr drama.” The performance took place in the open air, on a round platform - an orchestra. The benches for spectators were carved right into the rocky slope of the Acropolis; It was this simple auditorium that was called theatron. In such a huge open theater it was impossible to see either the facial expressions of the actors or the details of the costumes, so the participants in the performance went on stage in long, formal robes and large traditional masks, which were supposed to indicate either the stage type of character (king, old man, woman - female roles men also played), or state of mind (joy, grief, arrogant grandeur, despair). It was necessary to enlarge the actor's figure and wear special high shoes - buskins. Standing on buskins, the tragic actor pronounced sublime monologues written in a language far from everyday. All this distracted the viewer from the routine of everyday life, filling the soul with solemnity and a feeling of great celebration. It was the theater that was the main event for the Athenians during the days of the Great Dionysius, celebrated in late March - early April.

Attic tragedy owes its unfading glory to three great poets of the 5th century. BC e.: Aeschylus, Sophocles and Vrypidus. The first of them, although he belonged to the aristocracy by birth, is closely connected throughout his work with the idea of ​​​​the emerging Athenian democracy. This is visible not only in the “Persians,” where eastern despotism and the tyranny of the Persian king Xerxes are defeated by the Athenians, but also in the most perfect work of Aeschylus, perhaps, in the “Oresteia”: the court established by Athena, the Areopagus, pronounces a sentence on Orestes and thus the oldest family law, the law of blood feud. Thus, the birth of new social forms coincided with and found expression in the birth of new aesthetic and artistic forms. In the tragedy “Prometheus Bound”, people who have mastered fire and other fruits of the then civilization, through the mouth of the tormented titan Prometheus, challenge the omnipotence of Zeus, represented here as a cruel, hateful tyrant. The author's sympathies and the audience's sympathy were on the side of the hero, a lover of humanity and a fighter against God.

Of course, Aeschylus, as was typical for people of his generation, still thought entirely in religious and ethical terms. As in Solon’s elegies, the boundaries of truth, justice, and good are outlined in most of his tragedies by a deity who rewards good and punishes evil. for violating his own established limits in the behavior of mortals. The inevitable law of fair retribution is manifested in the fates of almost all of Aeschylus’s heroes.

If for Aeschylus the will of the gods is, as a rule, fair, then for Sophocles it is, first of all, omnipotent, while its ethical meaning is hidden from mortals. The conflict of his tragedies is in the dramatic confrontation between man and inevitable fate. The unwritten laws established by the gods require that the dead body be buried so that the soul can find eternal peace in the underground kingdom of Hades, but a daring man, referring to the state laws he himself introduced, tries to prevent this, and then all possible misfortunes befall him one after another (the conflict between Antigone and King Creon in Antigone). Trying to fight the unknowable, to prevent the fulfillment of divine prophecies, the individual dooms himself to the inevitable retribution of fate (“Oedipus the King”). But since the will of the gods is omnipotent, the people who dare to resist it are bright and unusual: such are Creon and Oedipus. Majestic and powerful in spirit are those who in one way or another fight for their right to follow the unwritten divine regulations: the gallery of strong, unyielding and persistent heroines of the Attic tragedy is opened by Antigone and Electra in Sophocles. This increasing attention to the individual, independently making his life choices, undoubtedly reflected the increasing importance of the individual principle in the social system and culture of classical Athens. The close connection of Sophocles’s work with the circle of ideas and intellectual interests that dominated his hometown at that time is also evidenced by the fact that many of the dialogues of his heroes are built according to all the rules of the sophistic art of argument (remember, for example, the dialogue between Antigone and Creon). Sophocles's bright, dramatic tragedies more than once brought him awards in theatrical competitions of that time.

A new generation of cultural figures in Athens asserted itself on the dramatic stage in the work of Euripides, although he and Sophocles lived at the same time and, as far as we know, even died in the same 406 BC. e. In contrast to the traditionally minded Sophocles, who shares old religious beliefs and prejudices, Euripides is full of skepticism, even going so far as to outright fight against God. The gods of the youngest of the three great tragediographers are cruel and partial, but it is not they, but the uncontrollable impulses of the human soul that determine the destinies of people, throwing them from one abyss of suffering to another. For Sophocles, the will and authority of Apollo are indisputable, absolute - Euripides attacks the cult of the formidable god-soothsayer, calling Apollo himself vengeful and vindictive, like an ordinary mortal. Such different attitudes towards Apollo’s religion also had social roots. The conservative Sophocles, close to the aristocracy, remembers the former authority of both God himself, the patron of noble youth, and his Delphic sanctuary, which once controlled many aspects of the life of the Greeks. For the democratic circles of Athens, to which Euripides belonged, a passionate supporter of democratic Athens in its many years of confrontation with aristocratic Sparta, the temple of Apollo at Delphi embodied the ambiguous position of its priests during the Persian attack on Hellas.

The playwright also does not believe in the divine origin of laws and other norms regulating social relations and human behavior. Love, a product of human nature itself, forces Medea, and in another tragedy Phaedra, to reject family ties, prevailing customs, and traditions. Natural law conflicts with the law established by people. The poet denounces the prejudices that doomed Athenian women to a position close to slavery, and slaves to the inhuman attitude and contempt of their owners. The tragedy of “The Trojan Women” also sounds a protest against an offensive war, which brings suffering to both the victors and the vanquished; at the height of the Peloponnesian War, this position of Euripides demanded from him courage and loyalty to his convictions. Here again and again the creators of the Greek theater recognized themselves as educators of their contemporary society.

If the focus of Aeschylus’s attention is not on an individual hero, but on the action itself, the conflict of the drama itself, and therefore the main role is assigned not to the actors, but to the chorus, then Sophocles has already decisively broken with this tradition. Choral songs and lyrics receded into the background, the importance of actor's recitations, monologues, and dialogues increased noticeably. For Ajax, Antigone or Electra in Sophocles, the chorus serves only as a background. The psychological picture of the main roles became more and more expressive and clear. Euripides now acts as a real explorer of the secrets of the human soul. Such power of expression of love, anger, maternal passion, as in the monologues of Medea, is not easy to find in the drama of later times. The heroes of Aeschylus and Sophocles do not change at all internally throughout the entire action. Not so with Euripides: his heroes are familiar with painful hesitations, doubts, transitions from despair to determination, from self-confidence to weakness and impotent rage. Myth does not ask about the psychological motives of someone’s activity, just as neither the tragedies of Aeschylus nor the “History” of Herodotus ask about them. The tragedies of Euripides, like Thucydides' History, are realistic and look for the reasons for a person's actions in himself.

The dialogues also became more natural. In Aeschylus, the heroes utter either long, pathetic tirades or short, one-verse remarks. In Euripides' dialogues there is almost no stylization, no artificiality: the heroes speak as ordinary people speak, only those who are in great excitement or tormented by strong passions. From decade to decade, Attic tragedy developed towards increasingly entertaining, dynamic, intense intrigue, and unexpected plot twists. In Euripides' tragedies, viewers were treated to rapid changes in situations, unpredictable developments of action (of course, within the framework of some canonical requirements of the genre), and sudden recognitions and revelations. In his works, plots are often borrowed from lesser-known myths, interpreted very arbitrarily; a lot of realistic, everyday details and direct political allusions; the language is more familiar and natural. The tragedy of gods and heroes turned into a tragedy of people. Even the ancients said that Sophocles presented man as he should be, and Euripides - as he is. When Jason in Medea appears cowardly and base, and Electra, the king's daughter, is the wife of a poor peasant, the myth is destroyed, the sacred legend becomes a secular narrative.

Since tragedy was born from choral lyrics, from dithyramb, music always played an important role in Greek theater, even when the attention of authors and spectators was transferred from the choir to the actors. The tragedy consisted of two parts: lyrical-orchestral, entrusted entirely to the choir and not directly related to the action, and stage, or mimetic, covering monologues and dialogues. Along with the actors, the choir also showed itself in this part in the person of its leader, called the luminary. The lyrical part was sung, the stage part consisted of recitation to the accompaniment of a flute. This is how colloquial speech, recitation to music, i.e. melodic recitation, and singing itself were combined. It should be remembered, however, that singing in ancient times was closer to melodic recitation than to today's vocals, and the recitations of ancient actors were more reminiscent of singing than modern conversations on stage. In addition, the stage part was preceded by fragments written in lyrical poetic meters, and the singing was accompanied by expressive gestures. In addition to purely speech and choral scenes, the classical Greek tragedy had the so-called komnos - a joint singing part of the soloist and choir, which continued the tradition of funeral songs: the plaintive lamentations of the actor were echoed by the refrain of the choir.

Tragic poets also had to be excellent musicians. They were especially famous for the beautiful, sweet-sounding melodies of the tragedy of Phrynichus. The lyrical and choral parts of Aeschylus are also distinguished by their freedom and variety of composition. But in Sophocles' tragedies the musical element does not play a significant role: music would only hold back the lively, dynamic development of the action. However, Sophocles also managed to achieve a rare perfection of melodic structure in the choral parts. Euripides, in a sense, restored music to its rights on stage, but not by strengthening the chorus, but by having the actors perform large solo arias; the choral parts had very little connection with the action of the drama, producing a purely musical effect. Euripides' solo arias, full of expression, required considerable virtuosity in performance, which led to professionalism and the identification of theatrical music as a special type of creativity.