film review

Sairat is a Marathi film directed by Nagraj Manjule, released in 2016, which received widespread acclaim for its poignant narrative and stellar performances. Let’s delve into the essence of this remarkable movie:Plot Summary: The film follows the love story of two young protagonists, Parshya (played by Akash Thosar) and Archi (played by Rinku Rajguru), who navigate through societal norms and class differences in rural Maharashtra. Despite hailing from contrasting backgrounds, their romance faces numerous obstacles, including pride and ego clashes, as they strive to be together against all odds.Themes and Impact: Unlike conventional love stories, Sairat delves into themes of innocence, rebellion, and unwavering determination without resorting to clichés. While subtly addressing caste discrimination, the film primarily explores the power dynamics between the lovers, resonating with its audience on a deeper level.The music by Ajay-Atul, along with impeccable cinematography, enhances the film's quality, immersing viewers in its rich narrative tapestry. Despite its lengthy runtime, Sairat maintains a powerful grip on its subject, captivating audiences from start to finish.Performances: Both Akash Thosar and Rinku Rajguru deliver remarkable performances, despite being debutantes, capturing the essence of their characters with authenticity and depth. Tanaji Galgunde's portrayal provides much-needed comic relief, effectively balancing the emotional intensity of the story.Verdict: Sairat transcends the confines of a typical love story, seamlessly blending elements of romance and social commentary. Its achingly tender portrayal of love, coupled with raw performances and realistic storytelling, makes it a must-watch for cinephiles and casual viewers alike.In summary, Sairat is a spellbinding cinematic experience that explores the complexities of love, social dynamics, and the human spirit, leaving a lasting impression on its audience

practice paper English HSC board

https://juniorcollegeteacher.com/hsc-english-practice-question-papers/?amp=1

Around the world in eighty days novel importat points

Around the World in Eighty Days is a classic adventure novel by Jules Verne. It tells the story of Phileas Fogg, a wealthy English gentleman who bets 20,000 pounds that he can travel around the world in 80 days. He is accompanied by his French valet, Passepartout, who is loyal but often gets into trouble. Along the way, they face many challenges and obstacles, such as storms, bandits, rescuing a princess, and being pursued by a detective who thinks Fogg is a bank robber. They also encounter different cultures and modes of transportation, such as trains, steamboats, elephants, and sledges. The novel is full of suspense, humor, and exotic descriptions.

Here are some important points of the novel:

• The novel is set in 1872, when the world was undergoing rapid changes due to industrialization and colonization. Verne was fascinated by science and technology, and he used his imagination to create realistic scenarios based on the latest inventions and discoveries of his time.
• The novel is divided into 37 chapters, each corresponding to one day of the journey. The chapters are numbered with Roman numerals and have titles that summarize the main events of each day. The novel also has a map that shows the route of Fogg and Passepartout around the world.
• The novel is a satire of the British Empire and its obsession with punctuality and order. Fogg represents the typical Englishman who is calm, rational, and reserved. He follows a strict routine and never shows any emotion or curiosity. He treats his journey as a mathematical problem that can be solved with precise calculations and money. Passepartout represents the opposite: he is lively, emotional, and curious. He enjoys exploring new places and cultures and often gets into trouble because of his impulsiveness and naivety.
• The novel is also a critique of the social inequalities and injustices of the 19th century. Fogg and Passepartout encounter various examples of oppression, exploitation, and violence in their travels, such as slavery in America, caste system in India, opium trade in China, and Mormon polygamy in Utah. They also witness the effects of colonialism and imperialism on the native peoples and their cultures. Fogg and Passepartout often intervene to help those who are suffering or in danger, such as saving an Indian princess from being burned alive or fighting against Sioux warriors who attack a train.
• The novel is a celebration of human diversity and adventure. Fogg and Passepartout meet many interesting characters and experience many thrilling situations in their journey. They also learn from each other and grow as individuals. Fogg becomes more compassionate and generous, while Passepartout becomes more responsible and courageous. They also develop a strong friendship and loyalty that transcends their cultural differences.

To illustrate the story with images, I have created some graphic artworks based on some scenes from the novel. I hope you like them.

image) image) image) image) image)

best easy to understand create knowledge of 11English subject text please refer this link for more understanding and information

🏖️🏝️🏜️🏖️🏝️🏜️🏖️

*STD.11- ENGLISH*

*Maharashtra State Board*

*Pictorial Presentations*

(चित्रमय सादरीकरण)

🏖️🏝️🏜️🏖️🏝️🏜️🏖️

*1.2 ON TO THE SUMMIT: WE REACH THE TOP*

http://www.globalenglishcreativity.com/std-11-state-board-1-2-on-to-the-summit-we-reach-the-top-pictorial-presentation/

🏖️🏝️🏜️🏖️🏝️🏜️🏖️

*1.6 TIGER HILLS*

http://www.globalenglishcreativity.com/std-11-state-board-1-6-tiger-hills-pictorial-presentation/

🏖️🏝️🏜️🏖️🏝️🏜️🏖️

*2.1 CHERRY TREE*

http://www.globalenglishcreativity.com/std-11-state-board-2-1-cherry-tree-pictorial-presentation/

🏖️🏝️🏜️🏖️🏝️🏜️🏖️

*2.2 THE SOWER*

http://www.globalenglishcreativity.com/std-11-state-board-2-2-the-sower-pictorial-presentation/

🏖️🏝️🏜️🏖️🏝️🏜️🏖️

*2.3 THERE IS ANOTHER SKY*

http://www.globalenglishcreativity.com/std-11-state-board-2-3-there-is-another-sky-pictorial-presentation/

🏖️🏝️🏜️🏖️🏝️🏜️🏖️

*2.4 UPON WESTMINSTER BRIDGE*

http://www.globalenglishcreativity.com/std-11-state-board-2-4-upon-westminster-bridge-pictorial-presentation/

🎨🎨🎨🎨🎨🎨🎨

*Share with all Std.11 (Maharashtra State Board) Students...*

कला शाखा आणि त्यातील भविष्यात असणाऱ्या संधी

कला शाखा आणि संधी

Types of comedy

TYPES OF COMEDY

1) 𝘙𝘰𝘮𝘢𝘯𝘵𝘪𝘤 𝘊𝘰𝘮𝘦𝘥𝘺:-

𝘙𝘰𝘮𝘢𝘯𝘵𝘪𝘤 𝘤𝘰𝘮𝘦𝘥𝘺 𝘪𝘴 𝘢 𝘨𝘦𝘯𝘦𝘳𝘢𝘭 𝘵𝘦𝘳𝘮 𝘧𝘰𝘳 𝘤𝘰𝘮𝘦𝘥𝘪𝘦𝘴 𝘵𝘩𝘢𝘵 𝘥𝘦𝘢𝘭 𝘮𝘢𝘪𝘯𝘭𝘺 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘧𝘰𝘭𝘭𝘪𝘦𝘴 𝘢𝘯𝘥 𝘮𝘪𝘴𝘶𝘯𝘥𝘦𝘳𝘴𝘵𝘢𝘯𝘥𝘪𝘯𝘨𝘴 𝘰𝘧 𝘺𝘰𝘶𝘯𝘨 𝘭𝘰𝘷𝘦𝘳𝘴, 𝘪𝘯 𝘢 𝘭𝘪𝘨𝘩𝘵‐𝘩𝘦𝘢𝘳𝘵𝘦𝘥 𝘢𝘯𝘥 𝘩𝘢𝘱𝘱𝘪𝘭𝘺 𝘤𝘰𝘯𝘤𝘭𝘶𝘥𝘦𝘥 𝘮𝘢𝘯𝘯𝘦𝘳 𝘸𝘩𝘪𝘤𝘩 𝘶𝘴𝘶𝘢𝘭𝘭𝘺 𝘢𝘷𝘰𝘪𝘥𝘴 𝘴𝘦𝘳𝘪𝘰𝘶𝘴 𝘴𝘢𝘵𝘪𝘳𝘦. 𝘛𝘩𝘦 𝘣𝘦𝘴𝘵‐𝘬𝘯𝘰𝘸𝘯 𝘦𝘹𝘢𝘮𝘱𝘭𝘦𝘴 𝘢𝘳𝘦 𝘚𝘩𝘢𝘬𝘦𝘴𝘱𝘦𝘢𝘳𝘦'𝘴 𝘤𝘰𝘮𝘦𝘥𝘪𝘦𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘭𝘢𝘵𝘦 1590𝘴, 𝘈 𝘔𝘪𝘥𝘴𝘶𝘮𝘮𝘦𝘳 𝘕𝘪𝘨𝘩𝘵'𝘴 𝘋𝘳𝘦𝘢𝘮, 𝘛𝘸𝘦𝘭𝘧𝘵𝘩 𝘕𝘪𝘨𝘩𝘵, 𝘢𝘯𝘥 𝘈𝘴 𝘠𝘰𝘶 𝘓𝘪𝘬𝘦 𝘐𝘵 𝘣𝘦𝘪𝘯𝘨 𝘵𝘩𝘦 𝘮𝘰𝘴𝘵 𝘱𝘶𝘳𝘦𝘭𝘺 𝘳𝘰𝘮𝘢𝘯𝘵𝘪𝘤, 𝘸𝘩𝘪𝘭𝘦 𝘔𝘶𝘤𝘩 𝘈𝘥𝘰 𝘈𝘣𝘰𝘶𝘵 𝘕𝘰𝘵𝘩𝘪𝘯𝘨 𝘢𝘱𝘱𝘳𝘰𝘢𝘤𝘩𝘦𝘴 𝘵𝘩𝘦 𝘤𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘮𝘢𝘯𝘯𝘦𝘳𝘴 𝘢𝘯𝘥 𝘛𝘩𝘦 𝘔𝘦𝘳𝘤𝘩𝘢𝘯𝘵 𝘰𝘧 𝘝𝘦𝘯𝘪𝘤𝘦 𝘪𝘴 𝘤𝘭𝘰𝘴𝘦𝘳 𝘵𝘰 𝘵𝘳𝘢𝘨𝘪𝘤𝘰𝘮𝘦𝘥𝘺.

2) 𝘊𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘏𝘶𝘮𝘰𝘶𝘳𝘴:-

𝘊𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘏𝘶𝘮𝘰𝘶𝘳𝘴 𝘪𝘴 𝘢 𝘥𝘳𝘢𝘮𝘢𝘵𝘪𝘤 𝘨𝘦𝘯𝘳𝘦 𝘮𝘰𝘴𝘵 𝘤𝘭𝘰𝘴𝘦𝘭𝘺 𝘢𝘴𝘴𝘰𝘤𝘪𝘢𝘵𝘦𝘥 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘌𝘯𝘨𝘭𝘪𝘴𝘩 𝘱𝘭𝘢𝘺𝘸𝘳𝘪𝘨𝘩𝘵 𝘉𝘦𝘯 𝘑𝘰𝘯𝘴𝘰𝘯 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘭𝘢𝘵𝘦 16𝘵𝘩 𝘤𝘦𝘯𝘵𝘶𝘳𝘺. 𝘛𝘩𝘪𝘴 𝘤𝘰𝘮𝘪𝘤 𝘵𝘦𝘤𝘩𝘯𝘪𝘲𝘶𝘦 𝘮𝘢𝘺 𝘣𝘦 𝘧𝘰𝘶𝘯𝘥 𝘪𝘯 𝘈𝘳𝘪𝘴𝘵𝘰𝘱𝘩𝘢𝘯𝘦𝘴, 𝘣𝘶𝘵 𝘵𝘩𝘦 𝘌𝘯𝘨𝘭𝘪𝘴𝘩 𝘱𝘭𝘢𝘺𝘸𝘳𝘪𝘨𝘩𝘵𝘴 𝘉𝘦𝘯 𝘑𝘰𝘯𝘴𝘰𝘯 𝘢𝘯𝘥 𝘎𝘦𝘰𝘳𝘨𝘦 𝘊𝘩𝘢𝘱𝘮𝘢𝘯 𝘱𝘰𝘱𝘶𝘭𝘢𝘳𝘪𝘻𝘦𝘥 𝘵𝘩𝘦 𝘨𝘦𝘯𝘳𝘦 𝘪𝘯 𝘵𝘩𝘦 𝘤𝘭𝘰𝘴𝘪𝘯𝘨 𝘺𝘦𝘢𝘳𝘴 𝘰𝘧 𝘵𝘩𝘦 16𝘵𝘩 𝘤𝘦𝘯𝘵𝘶𝘳𝘺. 𝘐𝘯 𝘵𝘩𝘦 𝘭𝘢𝘵𝘦𝘳 𝘩𝘢𝘭𝘧 𝘰𝘧 𝘵𝘩𝘦 𝘴𝘦𝘷𝘦𝘯𝘵𝘦𝘦𝘯𝘵𝘩 𝘤𝘦𝘯𝘵𝘶𝘳𝘺, 𝘪𝘵 𝘸𝘢𝘴 𝘤𝘰𝘮𝘣𝘪𝘯𝘦𝘥 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘤𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘮𝘢𝘯𝘯𝘦𝘳𝘴 𝘪𝘯 𝘙𝘦𝘴𝘵𝘰𝘳𝘢𝘵𝘪𝘰𝘯 𝘤𝘰𝘮𝘦𝘥𝘺. 𝘛𝘩𝘦 𝘵𝘦𝘳𝘮 𝘥𝘦𝘳𝘪𝘷𝘦𝘴 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘓𝘢𝘵𝘪𝘯 𝘩𝘶𝘮𝘰𝘳 (𝘮𝘰𝘳𝘦 𝘱𝘳𝘰𝘱𝘦𝘳𝘭𝘺 𝘶𝘮𝘰𝘳), 𝘮𝘦𝘢𝘯𝘪𝘯𝘨 “𝘭𝘪𝘲𝘶𝘪𝘥”. 𝘈 𝘩𝘶𝘮𝘰𝘶𝘳 𝘪𝘴 𝘦𝘴𝘴𝘦𝘯𝘵𝘪𝘢𝘭𝘭𝘺 𝘢 𝘵𝘳𝘢𝘪𝘵 𝘰𝘧 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳. 𝘐𝘵 𝘸𝘢𝘴 𝘶𝘴𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘮𝘦𝘥𝘪𝘦𝘷𝘢𝘭 𝘢𝘯𝘥 𝘙𝘦𝘯𝘢𝘪𝘴𝘴𝘢𝘯𝘤𝘦 𝘮𝘦𝘥𝘪𝘤𝘢𝘭 𝘵𝘩𝘦𝘰𝘳𝘺 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦 𝘩𝘶𝘮𝘢𝘯 𝘣𝘰𝘥𝘺 𝘩𝘦𝘭𝘥 𝘢 𝘣𝘢𝘭𝘢𝘯𝘤𝘦 𝘰𝘧 𝘧𝘰𝘶𝘳 𝘭𝘪𝘲𝘶𝘪𝘥𝘴, 𝘰𝘳 𝘩𝘶𝘮𝘰𝘶𝘳𝘴. 𝘛𝘩𝘦𝘺 𝘸𝘦𝘳𝘦 𝘣𝘭𝘰𝘰𝘥, 𝘱𝘩𝘭𝘦𝘨𝘮, 𝘺𝘦𝘭𝘭𝘰𝘸 𝘣𝘪𝘭𝘦 (𝘤𝘩𝘰𝘭𝘦𝘳), 𝘢𝘯𝘥 𝘣𝘭𝘢𝘤𝘬 𝘣𝘪𝘭𝘦 (𝘮𝘦𝘭𝘢𝘯𝘤𝘩𝘰𝘭𝘺). 𝘛𝘩𝘦𝘴𝘦 𝘸𝘦𝘳𝘦 𝘤𝘭𝘰𝘴𝘦𝘭𝘺 𝘢𝘭𝘭𝘪𝘦𝘥 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘧𝘰𝘶𝘳 𝘦𝘭𝘦𝘮𝘦𝘯𝘵𝘴 (𝘢𝘪𝘳, 𝘧𝘪𝘳𝘦, 𝘸𝘢𝘵𝘦𝘳, 𝘢𝘯𝘥 𝘦𝘢𝘳𝘵𝘩). 𝘞𝘩𝘦𝘯 𝘱𝘳𝘰𝘱𝘦𝘳𝘭𝘺 𝘣𝘢𝘭𝘢𝘯𝘤𝘦𝘥, 𝘵𝘩𝘦𝘴𝘦 𝘩𝘶𝘮𝘰𝘶𝘳𝘴 𝘸𝘦𝘳𝘦 𝘵𝘩𝘰𝘶𝘨𝘩𝘵 𝘵𝘰 𝘨𝘪𝘷𝘦 𝘵𝘩𝘦 𝘪𝘯𝘥𝘪𝘷𝘪𝘥𝘶𝘢𝘭 𝘢 𝘩𝘦𝘢𝘭𝘵𝘩𝘺 𝘮𝘪𝘯𝘥 𝘪𝘯 𝘢 𝘩𝘦𝘢𝘭𝘵𝘩𝘺 𝘣𝘰𝘥𝘺. 𝘌𝘢𝘤𝘩 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳 𝘪𝘴 𝘵𝘩𝘦 𝘦𝘮𝘣𝘰𝘥𝘪𝘮𝘦𝘯𝘵 𝘰𝘧 𝘢 ‘𝘩𝘶𝘮𝘰𝘶𝘳’ 𝘢𝘯𝘥 𝘸𝘩𝘢𝘵 𝘪𝘵 𝘳𝘦𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘴, 𝘴𝘶𝘤𝘩 𝘢𝘴 𝘮𝘦𝘭𝘢𝘯𝘤𝘩𝘰𝘭𝘺 𝘰𝘳 𝘢𝘯𝘨𝘦𝘳. 𝘛𝘩𝘦 𝘮𝘰𝘴𝘵 𝘧𝘢𝘮𝘰𝘶𝘴 𝘦𝘹𝘢𝘮𝘱𝘭𝘦 𝘰𝘧 𝘢 𝘤𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘩𝘶𝘮𝘰𝘶𝘳𝘴 𝘪𝘴 𝘉𝘦𝘯 𝘑𝘰𝘯𝘴𝘰𝘯'𝘴 𝘌𝘷𝘦𝘳𝘺 𝘔𝘢𝘯 𝘪𝘯 𝘩𝘪𝘴 𝘏𝘶𝘮𝘰𝘶𝘳 (1598). 𝘊𝘰𝘮𝘦𝘥𝘪𝘦𝘴 𝘰𝘧 𝘩𝘶𝘮𝘰𝘶𝘳𝘴 𝘢𝘳𝘦 𝘷𝘦𝘩𝘪𝘤𝘭𝘦𝘴 𝘧𝘰𝘳 𝘴𝘢𝘵𝘪𝘳𝘦, 𝘦𝘴𝘱𝘦𝘤𝘪𝘢𝘭𝘭𝘺 𝘰𝘧 𝘮𝘢𝘵𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵𝘪𝘤 𝘴𝘰𝘤𝘪𝘦𝘵𝘺. 𝘚𝘶𝘤𝘩 𝘥𝘳𝘢𝘮𝘢 𝘪𝘴 𝘯𝘰𝘵 𝘯𝘢𝘵𝘶𝘳𝘢𝘭𝘪𝘴𝘵𝘪𝘤 𝘴𝘪𝘯𝘤𝘦 𝘵𝘩𝘦 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳𝘴 𝘢𝘳𝘦 𝘨𝘳𝘰𝘵𝘦𝘴𝘲𝘶𝘦, 𝘢𝘯𝘥 𝘵𝘩𝘪𝘴 𝘪𝘴 𝘪𝘯𝘵𝘦𝘯𝘥𝘦𝘥 𝘵𝘰 𝘣𝘦 𝘴𝘦𝘦𝘯 𝘢𝘴 𝘢 𝘱𝘰𝘳𝘵𝘳𝘢𝘪𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘷𝘪𝘤𝘦𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘦𝘵𝘺. 𝘛𝘩𝘦 𝘧𝘰𝘶𝘳 𝘵𝘦𝘮𝘱𝘦𝘳𝘢𝘮𝘦𝘯𝘵𝘴 (𝘩𝘶𝘮𝘰𝘳𝘴) 𝘢𝘳𝘦:

 1. 𝘛𝘩𝘦 𝘩𝘶𝘮𝘰𝘶𝘳 𝘰𝘧 𝘣𝘭𝘰𝘰𝘥 𝘮𝘢𝘬𝘦𝘴 𝘢 𝘮𝘢𝘯 𝘦𝘹𝘤𝘦𝘴𝘴𝘪𝘷𝘦𝘭𝘺 𝘰𝘱𝘵𝘪𝘮𝘪𝘴𝘵𝘪𝘤 𝘰𝘳 𝘴𝘢𝘯𝘨𝘶𝘪𝘯𝘦 𝘦𝘷𝘦𝘯 𝘸𝘪𝘵𝘩𝘰𝘶𝘵 𝘵𝘩𝘦 𝘴𝘭𝘪𝘨𝘩𝘵𝘦𝘴𝘵      𝘤𝘩𝘢𝘯𝘤𝘦 𝘰𝘧 𝘩𝘰𝘱𝘦 𝘰𝘳 𝘴𝘶𝘤𝘤𝘦𝘴𝘴. 𝘐𝘵 𝘤𝘰𝘳𝘳𝘦𝘴𝘱𝘰𝘯𝘥𝘴 𝘵𝘰 𝘵𝘩𝘦 (𝘩𝘰𝘵 𝘢𝘯𝘥 𝘮𝘰𝘪𝘴𝘵) 𝘢𝘪𝘳 𝘦𝘭𝘦𝘮𝘦𝘯𝘵.

2. 𝘗𝘩𝘭𝘦𝘨𝘮 𝘮𝘢𝘬𝘦𝘴 𝘰𝘯𝘦 𝘦𝘹𝘤𝘦𝘴𝘴𝘪𝘷𝘦𝘭𝘺 𝘤𝘢𝘭𝘮 𝘢𝘯𝘥 𝘥𝘰𝘤𝘪𝘭𝘦. 𝘐𝘵 𝘊𝘰𝘳𝘳𝘦𝘴𝘱𝘰𝘯𝘥𝘴 𝘵𝘰 𝘵𝘩𝘦 (𝘤𝘰𝘰𝘭 𝘢𝘯𝘥 𝘮𝘰𝘪𝘴𝘵) 𝘸𝘢𝘵𝘦𝘳 𝘦𝘭𝘦𝘮𝘦𝘯𝘵. 

 3. 𝘊𝘩𝘰𝘭𝘦𝘳 𝘮𝘢𝘬𝘦𝘴 𝘰𝘯𝘦 𝘩𝘪𝘨𝘩𝘭𝘺 𝘪𝘭𝘭-𝘵𝘦𝘮𝘱𝘦𝘳𝘦𝘥. 𝘐𝘵 𝘤𝘰𝘳𝘳𝘦𝘴𝘱𝘰𝘯𝘥𝘴 𝘵𝘰 𝘵𝘩𝘦 (𝘩𝘰𝘵 𝘢𝘯𝘥 𝘥𝘳𝘺) 𝘧𝘪𝘳𝘦 𝘦𝘭𝘦𝘮𝘦𝘯𝘵.

    4. 𝘉𝘭𝘢𝘤𝘬 𝘣𝘪𝘭𝘦 𝘮𝘢𝘬𝘦𝘴 𝘰𝘯𝘦 𝘦𝘹𝘤𝘦𝘴𝘴𝘪𝘷𝘦𝘭𝘺 𝘮𝘦𝘭𝘢𝘯𝘤𝘩𝘰𝘭𝘺 𝘢𝘯𝘥 𝘮𝘰𝘳𝘣𝘪𝘥. 𝘐𝘵 𝘤𝘰𝘳𝘳𝘦𝘴𝘱𝘰𝘯𝘥𝘴 𝘵𝘰 𝘵𝘩𝘦 (𝘤𝘰𝘰𝘭 𝘢𝘯𝘥 𝘥𝘳𝘺) 𝘦𝘢𝘳𝘵𝘩 𝘦𝘭𝘦𝘮𝘦𝘯𝘵.

3) 𝘊𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘔𝘢𝘯𝘯𝘦𝘳𝘴:-

𝘊𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘔𝘢𝘯𝘯𝘦𝘳𝘴 - 𝘈 𝘊𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘔𝘢𝘯𝘯𝘦𝘳𝘴 𝘪𝘴 𝘢 𝘱𝘭𝘢𝘺 𝘤𝘰𝘯𝘤𝘦𝘳𝘯𝘦𝘥 𝘸𝘪𝘵𝘩 𝘴𝘢𝘵𝘪𝘳𝘪𝘴𝘪𝘯𝘨 𝘴𝘰𝘤𝘪𝘦𝘵𝘺’𝘴 𝘮𝘢𝘯𝘯𝘦𝘳𝘴. 𝘈 𝘮𝘢𝘯𝘯𝘦𝘳 𝘪𝘴 𝘵𝘩𝘦 𝘮𝘦𝘵𝘩𝘰𝘥 𝘪𝘯 𝘸𝘩𝘪𝘤𝘩 𝘦𝘷𝘦𝘳𝘺𝘥𝘢𝘺 𝘥𝘶𝘵𝘪𝘦𝘴 𝘢𝘳𝘦 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥, 𝘤𝘰𝘯𝘥𝘪𝘵𝘪𝘰𝘯𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘦𝘵𝘺, 𝘰𝘳 𝘢 𝘸𝘢𝘺 𝘰𝘧 𝘴𝘱𝘦𝘢𝘬𝘪𝘯𝘨. 𝘐𝘵 𝘪𝘮𝘱𝘭𝘪𝘦𝘴 𝘢 𝘱𝘰𝘭𝘪𝘵𝘦 𝘢𝘯𝘥 𝘸𝘦𝘭𝘭-𝘣𝘳𝘦𝘥 𝘣𝘦𝘩𝘢𝘷𝘪𝘰𝘶𝘳.

𝘊𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘔𝘢𝘯𝘯𝘦𝘳𝘴 𝘪𝘴 𝘬𝘯𝘰𝘸𝘯 𝘢𝘴 𝘩𝘪𝘨𝘩 𝘤𝘰𝘮𝘦𝘥𝘺 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘪𝘵 𝘪𝘯𝘷𝘰𝘭𝘷𝘦𝘴 𝘢 𝘴𝘰𝘱𝘩𝘪𝘴𝘵𝘪𝘤𝘢𝘵𝘦𝘥 𝘸𝘪𝘵 𝘢𝘯𝘥 𝘵𝘢𝘭𝘦𝘯𝘵 𝘪𝘯 𝘵𝘩𝘦 𝘸𝘳𝘪𝘵𝘪𝘯𝘨 𝘰𝘧 𝘵𝘩𝘦 𝘴𝘤𝘳𝘪𝘱𝘵. 𝘐𝘯 𝘵𝘩𝘪𝘴 𝘴𝘦𝘯𝘴𝘦 𝘪𝘵 𝘪𝘴 𝘣𝘰𝘵𝘩 𝘪𝘯𝘵𝘦𝘭𝘭𝘦𝘤𝘵𝘶𝘢𝘭 𝘢𝘯𝘥 𝘷𝘦𝘳𝘺 𝘮𝘶𝘤𝘩 𝘵𝘩𝘦 𝘰𝘱𝘱𝘰𝘴𝘪𝘵𝘦 𝘰𝘧 𝘴𝘭𝘢𝘱𝘴𝘵𝘪𝘤𝘬. 𝘚𝘭𝘢𝘱𝘴𝘵𝘪𝘤𝘬 𝘳𝘦𝘲𝘶𝘪𝘳𝘦𝘴 𝘭𝘪𝘵𝘵𝘭𝘦 𝘴𝘬𝘪𝘭𝘭 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘴𝘤𝘳𝘪𝘱𝘵 𝘢𝘯𝘥 𝘪𝘴 𝘭𝘢𝘳𝘨𝘦𝘭𝘺 𝘢 𝘱𝘩𝘺𝘴𝘪𝘤𝘢𝘭 𝘧𝘰𝘳𝘮 𝘰𝘧 𝘤𝘰𝘮𝘦𝘥𝘺. 𝘐𝘯 𝘢 𝘊𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘔𝘢𝘯𝘯𝘦𝘳𝘴 𝘩𝘰𝘸𝘦𝘷𝘦𝘳, 𝘵𝘩𝘦𝘳𝘦 𝘪𝘴 𝘰𝘧𝘵𝘦𝘯 𝘮𝘪𝘯𝘪𝘮𝘢𝘭 𝘱𝘩𝘺𝘴𝘪𝘤𝘢𝘭 𝘢𝘤𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘱𝘭𝘢𝘺 𝘮𝘢𝘺 𝘪𝘯𝘷𝘰𝘭𝘷𝘦 𝘩𝘦𝘢𝘷𝘺 𝘶𝘴𝘦 𝘰𝘧 𝘥𝘪𝘢𝘭𝘰𝘨𝘶𝘦.

𝘔𝘰𝘴𝘵 𝘱𝘭𝘢𝘺𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘨𝘦𝘯𝘳𝘦 𝘸𝘦𝘳𝘦 𝘤𝘢𝘳𝘦𝘧𝘶𝘭𝘭𝘺 𝘤𝘰𝘯𝘴𝘵𝘳𝘶𝘤𝘵𝘦𝘥 𝘵𝘰 𝘴𝘢𝘵𝘪𝘳𝘪𝘴𝘦 𝘵𝘩𝘦 𝘷𝘦𝘳𝘺 𝘱𝘦𝘰𝘱𝘭𝘦 𝘸𝘢𝘵𝘤𝘩𝘪𝘯𝘨 𝘵𝘩𝘦𝘮. 𝘛𝘩𝘪𝘴 𝘸𝘢𝘴 𝘶𝘴𝘶𝘢𝘭𝘭𝘺 𝘵𝘩𝘦 𝘮𝘪𝘥𝘥𝘭𝘦 𝘵𝘰 𝘶𝘱𝘱𝘦𝘳 𝘤𝘭𝘢𝘴𝘴𝘦𝘴 𝘪𝘯 𝘴𝘰𝘤𝘪𝘦𝘵𝘺, 𝘸𝘩𝘰 𝘸𝘦𝘳𝘦 𝘯𝘰𝘳𝘮𝘢𝘭𝘭𝘺 𝘵𝘩𝘦 𝘰𝘯𝘭𝘺 𝘱𝘦𝘰𝘱𝘭𝘦 𝘸𝘦𝘢𝘭𝘵𝘩𝘺 𝘦𝘯𝘰𝘶𝘨𝘩 𝘵𝘰 𝘢𝘧𝘧𝘰𝘳𝘥 𝘨𝘰𝘪𝘯𝘨 𝘵𝘰 𝘵𝘩𝘦 𝘵𝘩𝘦𝘢𝘵𝘳𝘦. 𝘛𝘩𝘦 𝘴𝘢𝘵𝘪𝘳𝘦 𝘵𝘦𝘯𝘥𝘦𝘥 𝘵𝘰 𝘧𝘰𝘤𝘶𝘴 𝘰𝘯 𝘵𝘩𝘦𝘪𝘳 𝘮𝘢𝘵𝘦𝘳𝘪𝘢𝘭𝘪𝘴𝘵𝘪𝘤 𝘯𝘢𝘵𝘶𝘳𝘦, 𝘯𝘦𝘷𝘦𝘳-𝘦𝘯𝘥𝘪𝘯𝘨 𝘥𝘦𝘴𝘪𝘳𝘦 𝘵𝘰 𝘨𝘰𝘴𝘴𝘪𝘱 𝘢𝘯𝘥 𝘩𝘺𝘱𝘰𝘤𝘳𝘪𝘵𝘪𝘤𝘢𝘭 𝘦𝘹𝘪𝘴𝘵𝘦𝘯𝘤𝘦. 𝘊𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘔𝘢𝘯𝘯𝘦𝘳 𝘱𝘭𝘢𝘺𝘴 𝘸𝘦𝘳𝘦 𝘣𝘦𝘪𝘯𝘨 𝘱𝘦𝘳𝘧𝘦𝘤𝘵𝘦𝘥 𝘪𝘯 𝘌𝘯𝘨𝘭𝘢𝘯𝘥 𝘣𝘺 𝘧𝘢𝘮𝘰𝘶𝘴 𝘐𝘳𝘪𝘴𝘩 𝘱𝘭𝘢𝘺𝘸𝘳𝘪𝘨𝘩𝘵 𝘖𝘴𝘤𝘢𝘳 𝘞𝘪𝘭𝘥𝘦, 𝘸𝘪𝘵𝘩 𝘸𝘰𝘯𝘥𝘦𝘳𝘧𝘶𝘭 𝘸𝘰𝘳𝘬𝘴 𝘭𝘪𝘬𝘦 𝘓𝘢𝘥𝘺 𝘞𝘪𝘯𝘥𝘦𝘳𝘮𝘦𝘳𝘦’𝘴 𝘍𝘢𝘯 (1892) 𝘢𝘯𝘥 𝘛𝘩𝘦 𝘐𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘤𝘦 𝘰𝘧 𝘉𝘦𝘪𝘯𝘨 𝘌𝘢𝘳𝘯𝘦𝘴𝘵 (1895). 𝘐𝘳𝘪𝘴𝘩 𝘱𝘭𝘢𝘺𝘸𝘳𝘪𝘨𝘩𝘵 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘚𝘩𝘦𝘳𝘪𝘥𝘢𝘯 𝘢𝘯𝘥 𝘌𝘯𝘨𝘭𝘪𝘴𝘩𝘮𝘢𝘯 𝘖𝘭𝘪𝘷𝘦𝘳 𝘎𝘰𝘭𝘥𝘴𝘮𝘪𝘵𝘩 𝘳𝘦𝘷𝘪𝘷𝘦𝘥 𝘵𝘩𝘦 𝘊𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘔𝘢𝘯𝘯𝘦𝘳𝘴 𝘨𝘦𝘯𝘳𝘦. 𝘛𝘩𝘦 𝘣𝘦𝘴𝘵 𝘦𝘹𝘢𝘮𝘱𝘭𝘦𝘴 𝘰𝘧 𝘵𝘩𝘦𝘪𝘳 𝘸𝘰𝘳𝘬 𝘪𝘯𝘤𝘭𝘶𝘥𝘦 𝘚𝘩𝘦𝘳𝘪𝘥𝘢𝘯’𝘴 𝘛𝘩𝘦 𝘚𝘤𝘩𝘰𝘰𝘭 𝘧𝘰𝘳 𝘚𝘤𝘢𝘯𝘥𝘢𝘭 (1777) 𝘢𝘯𝘥 𝘎𝘰𝘭𝘥𝘴𝘮𝘪𝘵𝘩’𝘴 𝘚𝘩𝘦 𝘚𝘵𝘰𝘰𝘱𝘴 𝘵𝘰 𝘊𝘰𝘯𝘲𝘶𝘦𝘳 (1773).

𝘚𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘊𝘰𝘮𝘦𝘥𝘺

𝘐𝘯 𝘵𝘩𝘦 1800’𝘴 𝘪𝘯 𝘉𝘳𝘪𝘵𝘢𝘪𝘯 𝘢 𝘯𝘦𝘸 𝘧𝘰𝘳𝘮 𝘰𝘧 𝘥𝘳𝘢𝘮𝘢 𝘦𝘮𝘦𝘳𝘨𝘦𝘥, 𝘬𝘯𝘰𝘸𝘯 𝘢𝘴 𝘴𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘤𝘰𝘮𝘦𝘥𝘺. 𝘛𝘩𝘦 𝘣𝘢𝘴𝘪𝘤 𝘱𝘳𝘦𝘮𝘪𝘴𝘦 𝘰𝘧 𝘢𝘭𝘭 𝘚𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘊𝘰𝘮𝘦𝘥𝘪𝘦𝘴 𝘸𝘢𝘴 𝘵𝘩𝘢𝘵 𝘮𝘢𝘯 𝘸𝘢𝘴 𝘨𝘰𝘰𝘥, 𝘣𝘶𝘵 𝘤𝘢𝘱𝘢𝘣𝘭𝘦 𝘰𝘧 𝘣𝘦𝘪𝘯𝘨 𝘮𝘪𝘴𝘭𝘦𝘥. 𝘚𝘰 𝘱𝘭𝘢𝘺𝘴 𝘰𝘧 𝘵𝘩𝘪𝘴 𝘨𝘦𝘯𝘳𝘦 𝘩𝘢𝘥 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳𝘴 𝘵𝘩𝘢𝘵 𝘸𝘦𝘳𝘦 𝘯𝘰𝘣𝘭𝘦, 𝘨𝘰𝘵 𝘪𝘯𝘵𝘰 𝘵𝘳𝘰𝘶𝘣𝘭𝘦, 𝘵𝘩𝘦𝘯 𝘧𝘰𝘶𝘯𝘥 𝘵𝘩𝘦 𝘳𝘰𝘢𝘥 𝘵𝘰 𝘴𝘢𝘭𝘷𝘢𝘵𝘪𝘰𝘯. 𝘚𝘵𝘳𝘢𝘯𝘨𝘦𝘭𝘺, 𝘵𝘩𝘦𝘴𝘦 𝘤𝘰𝘮𝘦𝘥𝘪𝘦𝘴 𝘸𝘦𝘳𝘦 𝘮𝘰𝘳𝘦 𝘭𝘪𝘬𝘦𝘭𝘺 𝘵𝘰 𝘣𝘳𝘪𝘯𝘨 𝘢𝘯 𝘢𝘶𝘥𝘪𝘦𝘯𝘤𝘦 𝘵𝘰 𝘵𝘦𝘢𝘳𝘴 𝘵𝘩𝘢𝘯 𝘰𝘧𝘧𝘦𝘳 𝘵𝘩𝘦𝘮 𝘭𝘢𝘶𝘨𝘩𝘵𝘦𝘳. 𝘚𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘤𝘰𝘮𝘦𝘥𝘺 𝘩𝘢𝘥 𝘪𝘵𝘴 𝘳𝘰𝘰𝘵𝘴 𝘪𝘯 𝘦𝘢𝘳𝘭𝘺 18𝘵𝘩 𝘤𝘦𝘯𝘵𝘶𝘳𝘺 𝘵𝘳𝘢𝘨𝘦𝘥𝘺. 𝘐𝘵 𝘩𝘢𝘥 𝘢 𝘷𝘦𝘪𝘯 𝘰𝘧 𝘮𝘰𝘳𝘢𝘭𝘪𝘵𝘺 𝘴𝘪𝘮𝘪𝘭𝘢𝘳 𝘵𝘰 𝘵𝘩𝘢𝘵 𝘰𝘧 𝘴𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘤𝘰𝘮𝘦𝘥𝘺. 𝘛𝘩𝘦𝘺 𝘩𝘢𝘥 𝘭𝘰𝘧𝘵𝘪𝘦𝘳 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳𝘴 𝘢𝘯𝘥 𝘴𝘶𝘣𝘫𝘦𝘤𝘵 𝘮𝘢𝘵𝘵𝘦𝘳 𝘵𝘩𝘢𝘯 𝘴𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘤𝘰𝘮𝘦𝘥𝘺. 𝘚𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘊𝘰𝘮𝘦𝘥𝘪𝘦𝘴 𝘸𝘦𝘳𝘦 𝘤𝘰𝘯𝘴𝘪𝘥𝘦𝘳𝘦𝘥 𝘣𝘺 𝘮𝘢𝘯𝘺 𝘵𝘰 𝘣𝘦 𝘳𝘦𝘢𝘭𝘪𝘴𝘵𝘪𝘤 𝘥𝘦𝘱𝘪𝘤𝘵𝘪𝘰𝘯𝘴 𝘰𝘧 𝘦𝘷𝘦𝘳𝘺𝘥𝘢𝘺 𝘭𝘪𝘧𝘦 𝘢𝘯𝘥 𝘵𝘩𝘪𝘴 𝘸𝘢𝘴 𝘱𝘢𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦𝘪𝘳 𝘢𝘱𝘱𝘦𝘢𝘭.

𝘞𝘳𝘪𝘵𝘦𝘳𝘴 𝘰𝘧 𝘴𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘤𝘰𝘮𝘦𝘥𝘺 𝘪𝘯𝘤𝘭𝘶𝘥𝘦𝘥 𝘊𝘰𝘭𝘭𝘦𝘺 𝘊𝘪𝘣𝘣𝘦𝘳 𝘢𝘯𝘥 𝘎𝘦𝘰𝘳𝘨𝘦 𝘍𝘢𝘳𝘲𝘶𝘩𝘢𝘳, 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦𝘪𝘳 𝘳𝘦𝘴𝘱𝘦𝘤𝘵𝘪𝘷𝘦 𝘱𝘭𝘢𝘺𝘴 𝘓𝘰𝘷𝘦’𝘴 𝘓𝘢𝘴𝘵 𝘚𝘩𝘪𝘧𝘵 (1696) 𝘢𝘯𝘥 𝘛𝘩𝘦 𝘊𝘰𝘯𝘴𝘵𝘢𝘯𝘵 𝘊𝘰𝘶𝘱𝘭𝘦 (1699). 𝘛𝘩𝘦 𝘣𝘦𝘴𝘵-𝘬𝘯𝘰𝘸𝘯 𝘴𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘤𝘰𝘮𝘦𝘥𝘺 𝘪𝘴 𝘚𝘪𝘳 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘚𝘵𝘦𝘦𝘭𝘦’𝘴 𝘛𝘩𝘦 𝘊𝘰𝘯𝘴𝘤𝘪𝘰𝘶𝘴 𝘓𝘰𝘷𝘦𝘳𝘴 (1722). 𝘚𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘤𝘰𝘮𝘦𝘥𝘪𝘦𝘴 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘦𝘥 𝘵𝘰 𝘤𝘰𝘦𝘹𝘪𝘴𝘵 𝘸𝘪𝘵𝘩 𝘴𝘶𝘤𝘩 𝘤𝘰𝘯𝘷𝘦𝘯𝘵𝘪𝘰𝘯𝘢𝘭 𝘤𝘰𝘮𝘦𝘥𝘪𝘦𝘴 𝘢𝘴 𝘖𝘭𝘪𝘷𝘦𝘳 𝘎𝘰𝘭𝘥𝘴𝘮𝘪𝘵𝘩’𝘴 𝘚𝘩𝘦 𝘚𝘵𝘰𝘰𝘱𝘴 𝘵𝘰 𝘊𝘰𝘯𝘲𝘶𝘦𝘳 (1773) 𝘢𝘯𝘥 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘉𝘳𝘪𝘯𝘴𝘭𝘦𝘺 𝘚𝘩𝘦𝘳𝘪𝘥𝘢𝘯’𝘴 𝘛𝘩𝘦 𝘙𝘪𝘷𝘢𝘭𝘴 (1775) 𝘶𝘯𝘵𝘪𝘭 𝘵𝘩𝘦 𝘴𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘢𝘭 𝘨𝘦𝘯𝘳𝘦 𝘸𝘢𝘯𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘦𝘢𝘳𝘭𝘺 19𝘵𝘩 𝘤𝘦𝘯𝘵𝘶𝘳𝘺.

 𝘍𝘢𝘳𝘤𝘦

𝘈 𝘍𝘢𝘳𝘤𝘦 𝘪𝘴 𝘢 𝘭𝘪𝘨𝘩𝘵 𝘥𝘳𝘢𝘮𝘢𝘵𝘪𝘤 𝘸𝘰𝘳𝘬 𝘪𝘯 𝘸𝘩𝘪𝘤𝘩 𝘩𝘪𝘨𝘩𝘭𝘺 𝘪𝘮𝘱𝘳𝘰𝘣𝘢𝘣𝘭𝘦 𝘱𝘭𝘰𝘵 𝘴𝘪𝘵𝘶𝘢𝘵𝘪𝘰𝘯𝘴, 𝘦𝘹𝘢𝘨𝘨𝘦𝘳𝘢𝘵𝘦𝘥 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳𝘴, 𝘢𝘯𝘥 𝘰𝘧𝘵𝘦𝘯 𝘴𝘭𝘢𝘱𝘴𝘵𝘪𝘤𝘬 𝘦𝘭𝘦𝘮𝘦𝘯𝘵𝘴 𝘢𝘳𝘦 𝘶𝘴𝘦𝘥 𝘧𝘰𝘳 𝘩𝘶𝘮𝘰𝘳𝘰𝘶𝘴 𝘦𝘧𝘧𝘦𝘤𝘵. 𝘍𝘢𝘳𝘤𝘦𝘴 𝘢𝘳𝘦 𝘰𝘧𝘵𝘦𝘯 𝘩𝘪𝘨𝘩𝘭𝘺 𝘪𝘯𝘤𝘰𝘮𝘱𝘳𝘦𝘩𝘦𝘯𝘴𝘪𝘣𝘭𝘦 𝘱𝘭𝘰𝘵-𝘸𝘪𝘴𝘦 𝘥𝘶𝘦 𝘵𝘰 𝘵𝘩𝘦 𝘭𝘢𝘳𝘨𝘦 𝘯𝘶𝘮𝘣𝘦𝘳 𝘰𝘧 𝘱𝘭𝘰𝘵 𝘵𝘸𝘪𝘴𝘵𝘴 𝘢𝘯𝘥 𝘳𝘢𝘯𝘥𝘰𝘮 𝘦𝘷𝘦𝘯𝘵𝘴 𝘵𝘩𝘢𝘵 𝘰𝘧𝘵𝘦𝘯 𝘰𝘤𝘤𝘶𝘳𝘴. 𝘉𝘶𝘵 𝘷𝘪𝘦𝘸𝘦𝘳𝘴 𝘢𝘳𝘦 𝘦𝘯𝘤𝘰𝘶𝘳𝘢𝘨𝘦𝘥 𝘯𝘰𝘵 𝘵𝘰 𝘵𝘳𝘺 𝘵𝘰 𝘧𝘰𝘭𝘭𝘰𝘸 𝘵𝘩𝘦 𝘱𝘭𝘰𝘵 𝘪𝘯 𝘰𝘳𝘥𝘦𝘳 𝘵𝘰 𝘢𝘷𝘰𝘪𝘥 𝘣𝘦𝘤𝘰𝘮𝘪𝘯𝘨 𝘤𝘰𝘯𝘧𝘶𝘴𝘦𝘥 𝘢𝘯𝘥 𝘰𝘷𝘦𝘳𝘸𝘩𝘦𝘭𝘮𝘦𝘥. 𝘍𝘢𝘳𝘤𝘦 𝘪𝘴 𝘢𝘭𝘴𝘰 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳𝘪𝘻𝘦𝘥 𝘣𝘺 𝘱𝘩𝘺𝘴𝘪𝘤𝘢𝘭 𝘩𝘶𝘮𝘰𝘳, 𝘵𝘩𝘦 𝘶𝘴𝘦 𝘰𝘧 𝘥𝘦𝘭𝘪𝘣𝘦𝘳𝘢𝘵𝘦 𝘢𝘣𝘴𝘶𝘳𝘥𝘪𝘵𝘺 𝘰𝘳 𝘯𝘰𝘯𝘴𝘦𝘯𝘴𝘦, 𝘢𝘯𝘥 𝘣𝘳𝘰𝘢𝘥𝘭𝘺 𝘴𝘵𝘺𝘭𝘪𝘻𝘦𝘥 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦𝘴. 𝘍𝘢𝘳𝘤𝘦𝘴 𝘩𝘢𝘷𝘦 𝘣𝘦𝘦𝘯 𝘸𝘳𝘪𝘵𝘵𝘦𝘯 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘴𝘵𝘢𝘨𝘦 𝘢𝘯𝘥 𝘧𝘪𝘭𝘮. 𝘛𝘩𝘦 𝘊𝘰𝘮𝘦𝘥𝘺 𝘰𝘧 𝘌𝘳𝘳𝘰𝘳𝘴 𝘪𝘴 𝘰𝘯𝘦 𝘰𝘧 𝘞𝘪𝘭𝘭𝘪𝘢𝘮 𝘚𝘩𝘢𝘬𝘦𝘴𝘱𝘦𝘢𝘳𝘦'𝘴 𝘦𝘢𝘳𝘭𝘺 𝘱𝘭𝘢𝘺𝘴. 𝘐𝘵 𝘪𝘴 𝘩𝘪𝘴 𝘴𝘩𝘰𝘳𝘵𝘦𝘴𝘵 𝘢𝘯𝘥 𝘰𝘯𝘦 𝘰𝘧 𝘩𝘪𝘴 𝘮𝘰𝘴𝘵 𝘧𝘢𝘳𝘤𝘪𝘤𝘢𝘭 𝘤𝘰𝘮𝘦𝘥𝘪𝘦𝘴, 𝘸𝘪𝘵𝘩 𝘢 𝘮𝘢𝘫𝘰𝘳 𝘱𝘢𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘩𝘶𝘮𝘰𝘶𝘳 𝘤𝘰𝘮𝘪𝘯𝘨 𝘧𝘳𝘰𝘮 𝘴𝘭𝘢𝘱𝘴𝘵𝘪𝘤𝘬 𝘢𝘯𝘥 𝘮𝘪𝘴𝘵𝘢𝘬𝘦𝘯 𝘪𝘥𝘦𝘯𝘵𝘪𝘵𝘺. 𝘈𝘯𝘰𝘵𝘩𝘦𝘳 𝘧𝘢𝘮𝘰𝘶𝘴 𝘧𝘢𝘳𝘤𝘦 𝘪𝘴 𝘉𝘰𝘹 𝘢𝘯𝘥 𝘊𝘰𝘹, 𝘢 𝘰𝘯𝘦 𝘢𝘤𝘵 𝘧𝘢𝘳𝘤𝘦 𝘣𝘺 𝘑𝘰𝘩𝘯 𝘔𝘢𝘥𝘥𝘪𝘴𝘰𝘯 𝘔𝘰𝘳𝘵𝘰𝘯.  𝘊𝘩𝘢𝘳𝘭𝘦𝘺'𝘴 𝘈𝘶𝘯𝘵 𝘪𝘴 𝘢 𝘧𝘢𝘳𝘤𝘦 𝘪𝘯 𝘵𝘩𝘳𝘦𝘦 𝘢𝘤𝘵𝘴 𝘸𝘳𝘪𝘵𝘵𝘦𝘯 𝘣𝘺 𝘉𝘳𝘢𝘯𝘥𝘰𝘯 𝘛𝘩𝘰𝘮𝘢𝘴. 𝘐𝘵 𝘣𝘳𝘰𝘬𝘦 𝘢𝘭𝘭 𝘩𝘪𝘴𝘵𝘰𝘳𝘪𝘤 𝘳𝘦𝘤𝘰𝘳𝘥𝘴 𝘧𝘰𝘳 𝘱𝘭𝘢𝘺𝘴 𝘰𝘧 𝘢𝘯𝘺 𝘬𝘪𝘯𝘥, 𝘸𝘪𝘵𝘩 𝘢𝘯 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭 𝘓𝘰𝘯𝘥𝘰𝘯 𝘳𝘶𝘯 𝘰𝘧 1,466 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦𝘴.

𝘉𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦

𝘉𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦 𝘪𝘴 𝘢 𝘭𝘪𝘵𝘦𝘳𝘢𝘳𝘺 𝘰𝘳 𝘥𝘳𝘢𝘮𝘢𝘵𝘪𝘤 𝘸𝘰𝘳𝘬 𝘵𝘩𝘢𝘵 𝘳𝘪𝘥𝘪𝘤𝘶𝘭𝘦𝘴 𝘢 𝘴𝘶𝘣𝘫𝘦𝘤𝘵 𝘦𝘪𝘵𝘩𝘦𝘳 𝘣𝘺 𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘪𝘯𝘨 𝘢 𝘴𝘰𝘭𝘦𝘮𝘯 𝘴𝘶𝘣𝘫𝘦𝘤𝘵 𝘪𝘯 𝘢𝘯 𝘶𝘯𝘥𝘪𝘨𝘯𝘪𝘧𝘪𝘦𝘥 𝘴𝘵𝘺𝘭𝘦 𝘰𝘳 𝘢 𝘵𝘳𝘪𝘷𝘪𝘢𝘭 𝘴𝘶𝘣𝘫𝘦𝘤𝘵 𝘪𝘯 𝘢 𝘥𝘪𝘨𝘯𝘪𝘧𝘪𝘦𝘥 𝘴𝘵𝘺𝘭𝘦.  𝘛𝘩𝘦 𝘸𝘰𝘳𝘥 𝘥𝘦𝘳𝘪𝘷𝘦𝘴 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘐𝘵𝘢𝘭𝘪𝘢𝘯 𝘣𝘶𝘳𝘭𝘦𝘴𝘤𝘰, 𝘸𝘩𝘪𝘤𝘩, 𝘪𝘯 𝘵𝘶𝘳𝘯, 𝘪𝘴 𝘥𝘦𝘳𝘪𝘷𝘦𝘥 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘐𝘵𝘢𝘭𝘪𝘢𝘯 𝘣𝘶𝘳𝘭𝘢 – 𝘢 𝘫𝘰𝘬𝘦, 𝘳𝘪𝘥𝘪𝘤𝘶𝘭𝘦 𝘰𝘳 𝘮𝘰𝘤𝘬𝘦𝘳𝘺. "𝘉𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦" 𝘩𝘢𝘴 𝘣𝘦𝘦𝘯 𝘶𝘴𝘦𝘥 𝘪𝘯 𝘌𝘯𝘨𝘭𝘪𝘴𝘩 𝘪𝘯 𝘵𝘩𝘪𝘴 𝘭𝘪𝘵𝘦𝘳𝘢𝘳𝘺 𝘢𝘯𝘥 𝘵𝘩𝘦𝘢𝘵𝘳𝘪𝘤𝘢𝘭 𝘴𝘦𝘯𝘴𝘦 𝘴𝘪𝘯𝘤𝘦 𝘵𝘩𝘦 𝘭𝘢𝘵𝘦 17𝘵𝘩 𝘤𝘦𝘯𝘵𝘶𝘳𝘺. 𝘐𝘵 𝘩𝘢𝘴 𝘣𝘦𝘦𝘯 𝘢𝘱𝘱𝘭𝘪𝘦𝘥 𝘳𝘦𝘵𝘳𝘰𝘴𝘱𝘦𝘤𝘵𝘪𝘷𝘦𝘭𝘺 𝘵𝘰 𝘸𝘰𝘳𝘬𝘴 𝘰𝘧 𝘊𝘩𝘢𝘶𝘤𝘦𝘳 𝘢𝘯𝘥 𝘚𝘩𝘢𝘬𝘦𝘴𝘱𝘦𝘢𝘳𝘦 𝘢𝘯𝘥 𝘵𝘰 𝘵𝘩𝘦 𝘎𝘳𝘢𝘦𝘤𝘰-𝘙𝘰𝘮𝘢𝘯 𝘤𝘭𝘢𝘴𝘴𝘪𝘤𝘴. 𝘊𝘰𝘯𝘵𝘳𝘢𝘴𝘵𝘪𝘯𝘨 𝘦𝘹𝘢𝘮𝘱𝘭𝘦𝘴 𝘰𝘧 𝘭𝘪𝘵𝘦𝘳𝘢𝘳𝘺 𝘣𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦 𝘢𝘳𝘦 𝘈𝘭𝘦𝘹𝘢𝘯𝘥𝘦𝘳 𝘗𝘰𝘱𝘦'𝘴  𝘛𝘩𝘦 𝘙𝘢𝘱𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘓𝘰𝘤𝘬 𝘢𝘯𝘥 𝘚𝘢𝘮𝘶𝘦𝘭 𝘉𝘶𝘵𝘭𝘦𝘳'𝘴 𝘪𝘳𝘳𝘦𝘷𝘦𝘳𝘦𝘯𝘵 𝘏𝘶𝘥𝘪𝘣𝘳𝘢𝘴. 𝘖𝘵𝘩𝘦𝘳 𝘦𝘹𝘢𝘮𝘱𝘭𝘦𝘴 𝘰𝘧 𝘵𝘩𝘦𝘢𝘵𝘳𝘪𝘤𝘢𝘭 𝘣𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦𝘴 𝘪𝘯𝘤𝘭𝘶𝘥𝘦 𝘞. 𝘚. 𝘎𝘪𝘭𝘣𝘦𝘳𝘵'𝘴 𝘙𝘰𝘣𝘦𝘳𝘵 𝘵𝘩𝘦 𝘋𝘦𝘷𝘪𝘭 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘈. 𝘊. 𝘛𝘰𝘳𝘳 – 𝘔𝘦𝘺𝘦𝘳 𝘓𝘶𝘵𝘻 𝘴𝘩𝘰𝘸𝘴, 𝘪𝘯𝘤𝘭𝘶𝘥𝘪𝘯𝘨 𝘙𝘶𝘺 𝘉𝘭𝘢𝘴 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘉𝘭𝘢𝘴𝘦́ 𝘙𝘰𝘶𝘦́. 𝘛𝘩𝘦 17𝘵𝘩 𝘢𝘯𝘥 18𝘵𝘩 𝘤𝘦𝘯𝘵𝘶𝘳𝘺 𝘣𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦 𝘸𝘢𝘴 𝘥𝘪𝘷𝘪𝘥𝘦𝘥 𝘪𝘯𝘵𝘰 𝘵𝘸𝘰 𝘵𝘺𝘱𝘦𝘴: 

𝘏𝘪𝘨𝘩 𝘣𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦 𝘳𝘦𝘧𝘦𝘳𝘴 𝘵𝘰 𝘢 𝘣𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦 𝘪𝘮𝘪𝘵𝘢𝘵𝘪𝘰𝘯 𝘸𝘩𝘦𝘳𝘦 𝘢 𝘭𝘪𝘵𝘦𝘳𝘢𝘳𝘺, 𝘦𝘭𝘦𝘷𝘢𝘵𝘦𝘥 𝘮𝘢𝘯𝘯𝘦𝘳 𝘸𝘢𝘴 𝘢𝘱𝘱𝘭𝘪𝘦𝘥 𝘵𝘰 𝘢 𝘤𝘰𝘮𝘮𝘰𝘯𝘱𝘭𝘢𝘤𝘦 𝘰𝘳 𝘤𝘰𝘮𝘪𝘤𝘢𝘭𝘭𝘺 𝘪𝘯𝘢𝘱𝘱𝘳𝘰𝘱𝘳𝘪𝘢𝘵𝘦 𝘴𝘶𝘣𝘫𝘦𝘤𝘵 𝘮𝘢𝘵𝘵𝘦𝘳. 𝘖𝘯𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘮𝘰𝘴𝘵 𝘤𝘰𝘮𝘮𝘰𝘯𝘭𝘺 𝘤𝘪𝘵𝘦𝘥 𝘦𝘹𝘢𝘮𝘱𝘭𝘦𝘴 𝘰𝘧 𝘩𝘪𝘨𝘩 𝘣𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦 𝘪𝘴 𝘈𝘭𝘦𝘹𝘢𝘯𝘥𝘦𝘳 𝘗𝘰𝘱𝘦'𝘴 "𝘴𝘭𝘺, 𝘬𝘯𝘰𝘸𝘪𝘯𝘨 𝘢𝘯𝘥 𝘤𝘰𝘶𝘳𝘵𝘭𝘺" 𝘛𝘩𝘦 𝘙𝘢𝘱𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘓𝘰𝘤𝘬. 

𝘓𝘰𝘸 𝘣𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦 𝘢𝘱𝘱𝘭𝘪𝘦𝘥 𝘢𝘯 𝘪𝘳𝘳𝘦𝘷𝘦𝘳𝘦𝘯𝘵, 𝘮𝘰𝘤𝘬𝘪𝘯𝘨 𝘴𝘵𝘺𝘭𝘦 𝘵𝘰 𝘢 𝘴𝘦𝘳𝘪𝘰𝘶𝘴 𝘴𝘶𝘣𝘫𝘦𝘤𝘵; 𝘢𝘯 𝘦𝘹𝘢𝘮𝘱𝘭𝘦 𝘪𝘴 𝘚𝘢𝘮𝘶𝘦𝘭 𝘉𝘶𝘵𝘭𝘦𝘳'𝘴 𝘱𝘰𝘦𝘮 𝘏𝘶𝘥𝘪𝘣𝘳𝘢𝘴, 𝘸𝘩𝘪𝘤𝘩 𝘥𝘦𝘴𝘤𝘳𝘪𝘣𝘦𝘥 𝘵𝘩𝘦 𝘮𝘪𝘴𝘢𝘥𝘷𝘦𝘯𝘵𝘶𝘳𝘦𝘴 𝘰𝘧 𝘢 𝘗𝘶𝘳𝘪𝘵𝘢𝘯 𝘬𝘯𝘪𝘨𝘩𝘵 𝘪𝘯 𝘴𝘢𝘵𝘪𝘳𝘪𝘤 𝘥𝘰𝘨𝘨𝘦𝘳𝘦𝘭 𝘷𝘦𝘳𝘴𝘦, 𝘶𝘴𝘪𝘯𝘨 𝘢 𝘤𝘰𝘭𝘭𝘰𝘲𝘶𝘪𝘢𝘭 𝘪𝘥𝘪𝘰𝘮.

 𝘚𝘰𝘮𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘮𝘰𝘴𝘵 𝘧𝘳𝘦𝘲𝘶𝘦𝘯𝘵 𝘴𝘶𝘣𝘫𝘦𝘤𝘵𝘴 𝘧𝘰𝘳 𝘣𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦 𝘸𝘦𝘳𝘦 𝘵𝘩𝘦 𝘱𝘭𝘢𝘺𝘴 𝘰𝘧 𝘚𝘩𝘢𝘬𝘦𝘴𝘱𝘦𝘢𝘳𝘦 𝘢𝘯𝘥 𝘨𝘳𝘢𝘯𝘥 𝘰𝘱𝘦𝘳𝘢. 𝘛𝘩𝘦 𝘥𝘪𝘢𝘭𝘰𝘨𝘶𝘦 𝘸𝘢𝘴 𝘨𝘦𝘯𝘦𝘳𝘢𝘭𝘭𝘺 𝘸𝘳𝘪𝘵𝘵𝘦𝘯 𝘪𝘯 𝘳𝘩𝘺𝘮𝘪𝘯𝘨 𝘤𝘰𝘶𝘱𝘭𝘦𝘵𝘴, 𝘭𝘪𝘣𝘦𝘳𝘢𝘭𝘭𝘺 𝘱𝘦𝘱𝘱𝘦𝘳𝘦𝘥 𝘸𝘪𝘵𝘩 𝘣𝘢𝘥 𝘱𝘶𝘯𝘴. 

𝘉𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦 𝘣𝘦𝘤𝘢𝘮𝘦 𝘵𝘩𝘦 𝘴𝘱𝘦𝘤𝘪𝘢𝘭𝘪𝘵𝘺 𝘰𝘧 𝘤𝘦𝘳𝘵𝘢𝘪𝘯 𝘓𝘰𝘯𝘥𝘰𝘯 𝘵𝘩𝘦𝘢𝘵𝘳𝘦𝘴, 𝘪𝘯𝘤𝘭𝘶𝘥𝘪𝘯𝘨 𝘵𝘩𝘦 𝘎𝘢𝘪𝘦𝘵𝘺 𝘢𝘯𝘥 𝘙𝘰𝘺𝘢𝘭 𝘚𝘵𝘳𝘢𝘯𝘥 𝘛𝘩𝘦𝘢𝘵𝘳𝘦 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 1860𝘴 𝘵𝘰 𝘵𝘩𝘦 𝘦𝘢𝘳𝘭𝘺 1890𝘴. 𝘐𝘯 𝘵𝘩𝘦 𝘦𝘢𝘳𝘭𝘺 1890𝘴, 𝘵𝘩𝘦𝘴𝘦 𝘣𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦𝘴 𝘸𝘦𝘯𝘵 𝘰𝘶𝘵 𝘰𝘧 𝘧𝘢𝘴𝘩𝘪𝘰𝘯 𝘪𝘯 𝘓𝘰𝘯𝘥𝘰𝘯, 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘧𝘰𝘤𝘶𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘎𝘢𝘪𝘦𝘵𝘺 𝘢𝘯𝘥 𝘰𝘵𝘩𝘦𝘳 𝘣𝘶𝘳𝘭𝘦𝘴𝘲𝘶𝘦 𝘵𝘩𝘦𝘢𝘵𝘳𝘦𝘴 𝘤𝘩𝘢𝘯𝘨𝘦𝘥 𝘵𝘰 𝘵𝘩𝘦 𝘯𝘦𝘸 𝘮𝘰𝘳𝘦 𝘸𝘩𝘰𝘭𝘦𝘴𝘰𝘮𝘦 𝘣𝘶𝘵 𝘭𝘦𝘴𝘴 𝘭𝘪𝘵𝘦𝘳𝘢𝘳𝘺 𝘨𝘦𝘯𝘳𝘦 𝘰𝘧 𝘌𝘥𝘸𝘢𝘳𝘥𝘪𝘢𝘯 𝘮𝘶𝘴𝘪𝘤𝘢𝘭 𝘤𝘰𝘮𝘦𝘥𝘺.

4) 𝘉𝘭𝘢𝘤𝘬 𝘊𝘰𝘮𝘦𝘥𝘺:-

𝘛𝘩𝘦 𝘵𝘦𝘳𝘮 𝘣𝘭𝘢𝘤𝘬 𝘩𝘶𝘮𝘰𝘳 𝘸𝘢𝘴 𝘤𝘰𝘪𝘯𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘴𝘶𝘳𝘳𝘦𝘢𝘭𝘪𝘴𝘵 𝘵𝘩𝘦𝘰𝘳𝘦𝘵𝘪𝘤𝘪𝘢𝘯 𝘈𝘯𝘥𝘳𝘦́ 𝘉𝘳𝘦𝘵𝘰𝘯 𝘪𝘯 1935. 𝘉𝘭𝘢𝘤𝘬 𝘤𝘰𝘮𝘦𝘥𝘺, 𝘢𝘭𝘴𝘰 𝘬𝘯𝘰𝘸𝘯 𝘢𝘴 𝘣𝘭𝘢𝘤𝘬 𝘩𝘶𝘮𝘰𝘶𝘳 𝘰𝘳 𝘥𝘢𝘳𝘬 𝘤𝘰𝘮𝘦𝘥𝘺 𝘪𝘴 𝘢 𝘴𝘶𝘣-𝘨𝘦𝘯𝘳𝘦 𝘰𝘧 𝘤𝘰𝘮𝘦𝘥𝘺 𝘢𝘯𝘥 𝘴𝘢𝘵𝘪𝘳𝘦 𝘸𝘩𝘦𝘳𝘦 𝘵𝘰𝘱𝘪𝘤𝘴 𝘢𝘯𝘥 𝘦𝘷𝘦𝘯𝘵𝘴 𝘵𝘩𝘢𝘵 𝘢𝘳𝘦 𝘶𝘴𝘶𝘢𝘭𝘭𝘺 𝘵𝘳𝘦𝘢𝘵𝘦𝘥 𝘴𝘦𝘳𝘪𝘰𝘶𝘴𝘭𝘺 (𝘥𝘦𝘢𝘵𝘩, 𝘮𝘢𝘴𝘴 𝘮𝘶𝘳𝘥𝘦𝘳, 𝘴𝘶𝘪𝘤𝘪𝘥𝘦, 𝘥𝘰𝘮𝘦𝘴𝘵𝘪𝘤 𝘷𝘪𝘰𝘭𝘦𝘯𝘤𝘦, 𝘥𝘪𝘴𝘦𝘢𝘴𝘦, 𝘪𝘯𝘴𝘢𝘯𝘪𝘵𝘺, 𝘧𝘦𝘢𝘳, 𝘥𝘳𝘶𝘨 𝘢𝘣𝘶𝘴𝘦, 𝘳𝘢𝘱𝘦, 𝘸𝘢𝘳, 𝘵𝘦𝘳𝘳𝘰𝘳𝘪𝘴𝘮, 𝘦𝘵𝘤.) 𝘢𝘳𝘦 𝘵𝘳𝘦𝘢𝘵𝘦𝘥 𝘪𝘯 𝘢 𝘩𝘶𝘮𝘰𝘳𝘰𝘶𝘴 𝘰𝘳 𝘴𝘢𝘵𝘪𝘳𝘪𝘤𝘢𝘭 𝘮𝘢𝘯𝘯𝘦𝘳. 𝘚𝘺𝘯𝘰𝘯𝘺𝘮𝘴 𝘪𝘯𝘤𝘭𝘶𝘥𝘦 𝘥𝘢𝘳𝘬 𝘩𝘶𝘮𝘰𝘶𝘳 𝘢𝘯𝘥 𝘮𝘰𝘳𝘣𝘪𝘥 𝘩𝘶𝘮𝘰𝘶𝘳.  𝘏𝘶𝘮𝘰𝘳 𝘵𝘩𝘢𝘵 𝘪𝘴 𝘷𝘪𝘦𝘸𝘦𝘥 𝘢𝘴 𝘥𝘢𝘳𝘬, 𝘮𝘰𝘳𝘣𝘪𝘥, 𝘤𝘳𝘶𝘦𝘭, 𝘰𝘧𝘧𝘦𝘯𝘴𝘪𝘷𝘦 𝘵𝘰 𝘴𝘰𝘮𝘦, 𝘢𝘯𝘥 𝘰𝘳 𝘨𝘳𝘢𝘱𝘩𝘪𝘤 𝘪𝘯 𝘯𝘢𝘵𝘶𝘳𝘦 𝘢𝘯𝘥 𝘪𝘴 𝘺𝘦𝘵, 𝘴𝘵𝘪𝘭𝘭 𝘧𝘰𝘶𝘯𝘥 𝘧𝘶𝘯𝘯𝘺.