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丌乇鬲賵乇 乇丕賲亘賵: 丕賱丌孬丕乇 丕賱卮毓乇賷丞
賴賷 丕賱賲乇丞 丕賱兀賵賱賶 丕賱鬲賷 鬲鬲乇噩賲 賮賷賴丕 丌孬丕乇 乇丕賲亘賵 賰丕賲賱丞 廿賱賶 丕賱毓乇亘賷丞貙 賵丕賱賲乇丞 丕賱兀賵賱賶 兀賷囟丕賸 賷丨馗賶 賮賷賴丕 乇丕賲亘賵 毓乇亘賷丕賸 亘丕賴鬲賲丕賲 賵卮睾賮 賰亘賷乇賷賳 鬲賲孬賱丕 賮賷 丕賱賲鬲丕亘毓丞 丕賱丿丐賵亘 賱氐賳賷毓賴 丕賱卮毓乇賷 鬲乇噩賲丞 賵卮乇丨丕賸... 賵賲賳 賷賯乇兀 丕賱丌孬丕乇 丕賱毓卮乇賷丞 賯丿 賱丕 賷丨鬲丕噩 賱賱毓賵丿丞 廿賱賶 兀賷 賲乇噩毓 賱丕爻鬲賷囟丕丨 廿卮賰丕賱 賲丕 兀賵 兀賲乇 兀賵 丕爻賲 鬲丕乇賷禺. 賮丕賱賲鬲乇噩賲 氐丕睾 丕賱賰孬賷乇 賲賳 丕賱卮賵丕賴丿 賵丕賱廿賷囟丕丨丕鬲 丕賱鬲賷 鬲爻賴賱 賯乇丕亍丞 賴匕丕 丕賱卮丕毓乇... 賵鬲氐丿賶 丕賱賲鬲乇噩賲 賱賱賯氐丕卅丿 亘丿兀亘 賵氐亘乇 賵丕囟丨賷賳貙 賲鬲賷賯馗丕賸 賱兀爻乇丕乇賴丕 賵禺賮丕賷丕賴丕 賵乇賲賵夭賴丕貙 賵賲氐賷睾丕賸 廿賱賶 賳亘乇丕鬲賴丕 丕賱氐丕禺亘丞 丨賷賳丕賸 賵丕賱賴丕賲爻 丨賷賳丕賸貙 賵賲爻鬲爻賱賲丕賸 廿賱賶 丕賱丕睾乇丕亍丕鬲 丕賱鬲賷 鬲孬賷乇賴丕 賮賷 賵噩丿丕賳賴 賰卮丕毓乇 賵賱賷爻 賰賲鬲乇噩賲 賮賯胤... 丕賱卮丕毓乇 丕賱匕賷 卮睾賱 丕賱兀賵爻丕胤 丕賱兀丿亘賷丞 賮賷 賮乇賳爻丕 賵丕賱毓丕賱賲 亘丕鬲 賲賳 丕賱賲賲賰賳 丕賱丌賳 賯乇丕亍鬲賴 賮賷 丕賱毓乇亘賷丞 亘賱匕丞 賵孬賯丞 鬲丕賲丞. 賵亘丕丿乇丞 賰丕馗賲 噩賴丕丿 賴匕賴 爻賵賮 鬲爻噩賱 賱賴 賮賷 鬲丕乇賷禺 丕賱鬲乇噩賲丞 丕賱毓乇亘賷丞
686 pages, Paperback
First published January 1, 1870
556 people are currently reading
13383 people want to read
About the author
Arthur Rimbaud
683听books2,652听followersHallucinatory work of French poet Jean Nicolas Arthur Rimbaud strongly influenced the surrealists.
With known transgressive themes, he influenced modern literature and arts, prefiguring. He started writing at a very young age and excelled as a student but abandoned his formal education in his teenage years to run away to Paris amidst the Franco-Prussian war. During his late adolescence and early adulthood, he produced the bulk of his literary output. After assembling his last major work, Illuminations , Rimbaud completely stopped writing literature at age 20 years in 1874.
A hectic, violent romantic relationship, which lasted nearly two years at times, with fellow poet Paul Verlaine engaged Rimbaud, a libertine, restless soul. After his retirement as a writer, he traveled extensively on three continents as a merchant and explorer until his death from cancer. As a poet, Rimbaud is well known for his contributions to symbolism and, among other works, for A Season in Hell , a precursor to modernist literature.
With known transgressive themes, he influenced modern literature and arts, prefiguring. He started writing at a very young age and excelled as a student but abandoned his formal education in his teenage years to run away to Paris amidst the Franco-Prussian war. During his late adolescence and early adulthood, he produced the bulk of his literary output. After assembling his last major work, Illuminations , Rimbaud completely stopped writing literature at age 20 years in 1874.
A hectic, violent romantic relationship, which lasted nearly two years at times, with fellow poet Paul Verlaine engaged Rimbaud, a libertine, restless soul. After his retirement as a writer, he traveled extensively on three continents as a merchant and explorer until his death from cancer. As a poet, Rimbaud is well known for his contributions to symbolism and, among other works, for A Season in Hell , a precursor to modernist literature.
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Displaying 1 - 30 of 309 reviews
June 19, 2023
I would have strongly preferred that the original French follow the English translation, rather than have the book be split into English and French halves. It made for much irritation as my French is rusty.
So interesting to see the progression of his work as he matured.
Une Saison en Enfer and Illuminations are stellar.
So interesting to see the progression of his work as he matured.
Une Saison en Enfer and Illuminations are stellar.
Read
March 15, 2023Well, this is embarrassing.
So I was messing around with ChatGPT, following up on a discussion I'd had with some online collaborators about how well it would work as a mechanical conversation partner for people who wanted to improve their reading and writing skills in foreign languages. I started a French conversation with it by asking what it knew about Juliette Gr茅co (we went to a pleasant show about her last night). Then we got on to the Orpheus and Eurydice myth, and I asked it to give examples of how that had been treated in French literature. Among other things, it said that Rimbaud had written a poem called "Orph茅e". I asked if it could show it to me, and here's what it produced:
A bit later, it occurred to me to feel suspicious and I did some googling. Well, I suppose it's possible that this poem is for some reason very hard to locate, but Rimbaud is extremely famous and that would be odd. I think Chat made it up.
When this bot figures out how to play Tic-Tac-Toe and multiply reliably, it'll be kinda dangerous.
________________
[Update, Feb 15 2023]
Testing the new GPT-4 version of Chat, I asked it whether Rimbaud ever wrote a poem called "Orph茅e". It said it had never heard of it.
I told it that it had previously said the poem existed and copied back its own work to it. Now it said it had been wrong and that the poem was in fact by Rimbaud. But when I told it that I couldn't find the poem anywhere on Google and I was pretty sure it had written it itself, it changed its story a second time, confessed that that was probably what had happened, and shyly said it hoped I had liked its work.
ChatGPT, you're such a funny, lovable little AI.
So I was messing around with ChatGPT, following up on a discussion I'd had with some online collaborators about how well it would work as a mechanical conversation partner for people who wanted to improve their reading and writing skills in foreign languages. I started a French conversation with it by asking what it knew about Juliette Gr茅co (we went to a pleasant show about her last night). Then we got on to the Orpheus and Eurydice myth, and I asked it to give examples of how that had been treated in French literature. Among other things, it said that Rimbaud had written a poem called "Orph茅e". I asked if it could show it to me, and here's what it produced:
Orph茅e, de l'enfer tragique embouchant les boutes,I hardly know Rimbaud, but this sounded similar to the small number of poems I had seen. I didn't completely understand it, but I'm afraid that's my usual reaction to Rimbaud, I need to reread them several times before they fully make sense. It sounded nice.
Clairon de cris humains, musicien des douleurs,
Orph茅e monte et chante. O sa lyre en ses pleurs
Est comme un bois vivant que br没le le d茅luge.
La lyre d'Orph茅e, h茅las ! 茅tait sept fois bris茅e.
De la mort lente et s没re il baissait les paupi猫res,
Et les pleurs de ses yeux crevaient les rocs de pierre,
Lorsque, parmi l'airain et les lames d'茅t茅,
Sur un char flamboyant de blanche escarboucle orn茅,
Immortel, il franchit les mondes et les 芒ges,
Et s'en vint jusqu'au seuil des supr锚mes myst猫res,
O霉, d茅faillant d'amour, il perd tout son g茅nie.
O merveille ! il entend ! son regard voit encore !
Eurydice ! l'amour !... Il se penche, il la touche...
Ai-je vu, dans la nuit qui r茅gnait sur l'enfer,
Plus d'un couple heureux ainsi se confondre en pleurs ?
Orph茅e ! Ah ! que ton luth est doux comme la mort !
A bit later, it occurred to me to feel suspicious and I did some googling. Well, I suppose it's possible that this poem is for some reason very hard to locate, but Rimbaud is extremely famous and that would be odd. I think Chat made it up.
When this bot figures out how to play Tic-Tac-Toe and multiply reliably, it'll be kinda dangerous.
________________
[Update, Feb 15 2023]
Testing the new GPT-4 version of Chat, I asked it whether Rimbaud ever wrote a poem called "Orph茅e". It said it had never heard of it.
I told it that it had previously said the poem existed and copied back its own work to it. Now it said it had been wrong and that the poem was in fact by Rimbaud. But when I told it that I couldn't find the poem anywhere on Google and I was pretty sure it had written it itself, it changed its story a second time, confessed that that was probably what had happened, and shyly said it hoped I had liked its work.
ChatGPT, you're such a funny, lovable little AI.
December 11, 2011
rimbaud is comfort reading for the soul. i fell into reading him on accident, i was talking about poetry with a friend and he happened to mention that this was his favourite poet. and he told me all about rimbaud鈥檚 past, the tryst he had with paul verlaine, the religious upbringing he had and the curious fact that rimbaud stopped writing at 21. that he dropped everything to become a merchant and to run away from it all. my interest was piqued; there isn鈥檛 any way that it couldn鈥檛 be.
what strikes me about rimbaud in the translated work that wyatt mason has compiled is the ability to watch him grow in the few years that he is a poet and writer. he lists the poetry and prose as best as he can by the year that it was written. mason even captures versions of poems, again sorting by year, so that you can see the corrections that age helped him to make to his beautiful poems.
i鈥檝e read previous translations of rimbaud, and i鈥檝e loved those as well, but this one felt a bit more鈥� modern and relatable. instead of a literal translation, word by word, he tried to convey nuances of the language into english, which to me hasn鈥檛 been done as well by previous translators. i imagine reading it in the original french would be amazing, but alas, i can only speak so many languages.
below is probably my favourite prose piece that he鈥檚 written (which isn鈥檛 an easy thing to choose).
* * * *
Long ago, if my memory serves, life was a feast where every heart was open, where every wine flowed.
One night, I sat Beauty on my knee. 鈥揂nd I found her bitter. 鈥揂nd I hurt her.
I took arms against justice.
I fled, entrusting my treasure to you, o witches, o misery, o hate.
I snuffed any hint of human hope from my consciousness. I made the muffled leap of a wild beast onto any hint of joy, to strangle it.
Dying, I called my executioners over so I could bite the butts of their rifles. I called plagues to suffocate me with sand, blood. Misfortune was my god. I lay in the mud. I withered in criminal air. And I even tricked madness more than once.
And spring left me with an idiot鈥檚 unbearable laughter.
Just now, having nearly reached death鈥檚 door, I thought about seeking the key to the old feast, through which, perhaps, I might regain my appetite.
Charity is the key. 鈥揝uch an inspiration proves I was dreaming!
鈥淎 hyena you鈥檒l remain, etc鈥�.鈥� cries the demon that crowns me with your merry poppies. 鈥淢ake for death with every appetite intact, with your egotism, and every capital sin.鈥�
Ah. It seems I have too many already: 鈥揃ut, dear Satan, I beg you not to look at me that way, and while you await a few belated cowardices鈥攜ou who so delight in a writer鈥檚 inability to describe or inform鈥攚atch me tear a few terrible leaves from my book of the damned.
it鈥檚 hard for me to explain why i love a poet, or a specific poem. i feel transported, or full of life or anger, or just an emotion that previously hadn鈥檛 consumed me, for the duration of my reading and for some time beyond. i鈥檓 stuck in that space that the author has written and it feels for a time like i want nothing more than to drown in that emotion. this is why i read rimbaud, all the time.
what strikes me about rimbaud in the translated work that wyatt mason has compiled is the ability to watch him grow in the few years that he is a poet and writer. he lists the poetry and prose as best as he can by the year that it was written. mason even captures versions of poems, again sorting by year, so that you can see the corrections that age helped him to make to his beautiful poems.
i鈥檝e read previous translations of rimbaud, and i鈥檝e loved those as well, but this one felt a bit more鈥� modern and relatable. instead of a literal translation, word by word, he tried to convey nuances of the language into english, which to me hasn鈥檛 been done as well by previous translators. i imagine reading it in the original french would be amazing, but alas, i can only speak so many languages.
below is probably my favourite prose piece that he鈥檚 written (which isn鈥檛 an easy thing to choose).
* * * *
Long ago, if my memory serves, life was a feast where every heart was open, where every wine flowed.
One night, I sat Beauty on my knee. 鈥揂nd I found her bitter. 鈥揂nd I hurt her.
I took arms against justice.
I fled, entrusting my treasure to you, o witches, o misery, o hate.
I snuffed any hint of human hope from my consciousness. I made the muffled leap of a wild beast onto any hint of joy, to strangle it.
Dying, I called my executioners over so I could bite the butts of their rifles. I called plagues to suffocate me with sand, blood. Misfortune was my god. I lay in the mud. I withered in criminal air. And I even tricked madness more than once.
And spring left me with an idiot鈥檚 unbearable laughter.
Just now, having nearly reached death鈥檚 door, I thought about seeking the key to the old feast, through which, perhaps, I might regain my appetite.
Charity is the key. 鈥揝uch an inspiration proves I was dreaming!
鈥淎 hyena you鈥檒l remain, etc鈥�.鈥� cries the demon that crowns me with your merry poppies. 鈥淢ake for death with every appetite intact, with your egotism, and every capital sin.鈥�
Ah. It seems I have too many already: 鈥揃ut, dear Satan, I beg you not to look at me that way, and while you await a few belated cowardices鈥攜ou who so delight in a writer鈥檚 inability to describe or inform鈥攚atch me tear a few terrible leaves from my book of the damned.
it鈥檚 hard for me to explain why i love a poet, or a specific poem. i feel transported, or full of life or anger, or just an emotion that previously hadn鈥檛 consumed me, for the duration of my reading and for some time beyond. i鈥檓 stuck in that space that the author has written and it feels for a time like i want nothing more than to drown in that emotion. this is why i read rimbaud, all the time.
July 10, 2015
I spent the summer of my 18th year in semi-voluntary exile on a tiny isle in the Adriatic. Of the few books I had room to pack I think two were different translations of Rimbaud and one was about him. I passed those four months drinking a lot, listening to a lot of Bob Marley, Bob Dylan and T-Rex, and reading Rimbaud constantly. These poems are so tied up in my mind with that period of time that I still can't read them without being instantaneously transported back there. Same with T-Rex's Electric Warrior. What we consume becomes a part of us, a part of our lives. It serves to locate us in time. A thousand books and songs spinning their gossamer webs across the surface of my life, tying disparate moments together through these persistent associations. Who says time-travel doesn't exist?
February 6, 2021
For I is someone else. If the brass awakes as horn, it can't be to blame. This much is clear: I'm around for the hatching of my thought: I watch it, I listen to it: I release a stroke from the bow: the symphony makes its rumblings in the depths, or leaps fully-formed onto the stage.
*
The Poet makes himself into a seer by a long, involved and logical derangement of all the senses. Every kind of love, of suffering, of madness; he searches himself; he exhausts every possible poison so that only essence remains. He undergoes unspeakable tortures that require complete faith and superhuman strength, rendering him the ultimate Invalid among men, the master criminal, the first among the damned-and the supreme Savant! For he arrives at the unknown!For, unlike everyone else, he has developed an already rich soul! He arrives at the unknown, and when, bewildered, he ends up losing his understanding of his visions, he has, at least, seen them! It doesn't matter if these leaps into the unknown kill him: other awful workers will follow him; they'll start at the horizons where the other has fallen!
*
The poet is really a thief of fire. [...] he must make sure his inventions live and breathe; if what he finds down below has a form, he offers form: if it is formless, he offers formlessness. Find the words;
*
The Poet makes himself into a seer by a long, involved and logical derangement of all the senses. Every kind of love, of suffering, of madness; he searches himself; he exhausts every possible poison so that only essence remains. He undergoes unspeakable tortures that require complete faith and superhuman strength, rendering him the ultimate Invalid among men, the master criminal, the first among the damned-and the supreme Savant! For he arrives at the unknown!For, unlike everyone else, he has developed an already rich soul! He arrives at the unknown, and when, bewildered, he ends up losing his understanding of his visions, he has, at least, seen them! It doesn't matter if these leaps into the unknown kill him: other awful workers will follow him; they'll start at the horizons where the other has fallen!
*
The poet is really a thief of fire. [...] he must make sure his inventions live and breathe; if what he finds down below has a form, he offers form: if it is formless, he offers formlessness. Find the words;
June 22, 2013
毓卮鬲 爻賳賵丕鬲 賰孬賷乇丞 賲毓 丕賱卮丕毓乇 丕賱賲鬲賲乇丿 乇丕賲亘賵 貙 賵賯乇兀鬲 兀毓賲丕賱賴 賰賱賴丕 亘丕賱廿賳噩賱賷夭賷丞 兀賵賱丕 孬賲 亘丕賱賮乇賳爻賷丞 貙 賵鬲乇丨賲鬲 亘毓囟 賯氐丕卅丿賴 貙 賵賱賰賳 賴匕丕 丕賱賰鬲丕亘 賱賱卮丕毓乇 乇賮毓鬲 爻賱丕賲 賯丿 兀賵賮賶 亘賰賱 賲丕 賷乇賷丿 丕賱賯丕乇卅 丕賱毓乇亘賶 賲賳 丕丨鬲賵丕亍 賱卮毓乇 乇丕賲亘賵 .
丕賱鬲乇噩賲丞 賮賶 賱睾丞 噩賲賷賱丞 乇賯乇丕賯丞 貙 賲毓 兀賲丕賳丞 賱賱賳氐 丕賱兀氐賱賶 賲賲丕 賷噩毓賱 賲賳 丕賱賰鬲丕亘 丕賱匕賶 賵氐賱賳賶 賮賶 賲賴噩乇賶 丨丿賷孬丕 貙 丕賱賲乇噩毓 丕賱兀禺賷乇 亘丕賱毓乇亘賷丞 賱賴匕丕 丕賱卮丕毓乇 丕賱匕賶 兀氐亘丨 丕賷賯賵賳丞 賴丕賲丞 賮賶 丕賱卮毓乇 丕賱毓丕賱賲賶
丕賱鬲乇噩賲丞 賮賶 賱睾丞 噩賲賷賱丞 乇賯乇丕賯丞 貙 賲毓 兀賲丕賳丞 賱賱賳氐 丕賱兀氐賱賶 賲賲丕 賷噩毓賱 賲賳 丕賱賰鬲丕亘 丕賱匕賶 賵氐賱賳賶 賮賶 賲賴噩乇賶 丨丿賷孬丕 貙 丕賱賲乇噩毓 丕賱兀禺賷乇 亘丕賱毓乇亘賷丞 賱賴匕丕 丕賱卮丕毓乇 丕賱匕賶 兀氐亘丨 丕賷賯賵賳丞 賴丕賲丞 賮賶 丕賱卮毓乇 丕賱毓丕賱賲賶
December 4, 2019
I love Rimbaud and I really enjoy Mason's translations; they're faithful without being inflexible.
July 29, 2014
Poetry has always been kinda dull to me. Some poetry is pretty, but I've never really seen the point to it.
And then I discovered Rimbaud.
The thing about Rimbaud is that you can't read his poetry without knowing at least some of his backstory. His religious upbringing. His frequent rebellions and escapes. His affair with Paul Verlaine. And then, most amazing of all, the fact that he stopped writing poetry before he hit 21.
This collection is of everything that Rimbaud wrote, and he wrote it all at an age that most would consider to still be childhood. A majority of these poems, however, are anything but immature.
Really, I bought this book for A Season In Hell. I wasn't disappointed. "First Delirium" is heartbreaking. "Second Delirium" is beautiful. And with such quotable lines as "I turned silences and nights into words. What was unutterable, I wrote down. I made the whirling world stand still", it's no wonder it's his most famous work.
I then started reading his other poems. Just a few, here and there. The thing I do when I'm reading is if I find a line that stands out to me, I put a sticky note on the corner of the page. I soon realised I was putting notes on nearly every other page. That's just how fantastic his words are.
And yes, I realise this is just one translation of Rimbaud's work, but I can't help but feel that no matter who translated Rimbaud's poems, the beauty and truth of his words would still stand out to me. He's just that fucking good.
And then I discovered Rimbaud.
The thing about Rimbaud is that you can't read his poetry without knowing at least some of his backstory. His religious upbringing. His frequent rebellions and escapes. His affair with Paul Verlaine. And then, most amazing of all, the fact that he stopped writing poetry before he hit 21.
This collection is of everything that Rimbaud wrote, and he wrote it all at an age that most would consider to still be childhood. A majority of these poems, however, are anything but immature.
Really, I bought this book for A Season In Hell. I wasn't disappointed. "First Delirium" is heartbreaking. "Second Delirium" is beautiful. And with such quotable lines as "I turned silences and nights into words. What was unutterable, I wrote down. I made the whirling world stand still", it's no wonder it's his most famous work.
I then started reading his other poems. Just a few, here and there. The thing I do when I'm reading is if I find a line that stands out to me, I put a sticky note on the corner of the page. I soon realised I was putting notes on nearly every other page. That's just how fantastic his words are.
And yes, I realise this is just one translation of Rimbaud's work, but I can't help but feel that no matter who translated Rimbaud's poems, the beauty and truth of his words would still stand out to me. He's just that fucking good.
December 31, 2015
賯丕賲 兀爻鬲丕匕 丕賱賱睾丕鬲 賵丕賱丨囟丕乇丕鬲 賮賷 亘丕乇賷爻 (賰丕馗賲 噩賴丕丿) 亘鬲乇噩賲丞 賰賱 兀卮毓丕乇賴 賱賱毓乇亘賷丞 賳賯賱丕賸 毓賳 丕賱賮乇賳爻賷丞 .
賷毓鬲亘乇 賴匕丕 丕賱賰鬲丕亘 賲賳 兀賮囟賱 賲丕 賰鬲亘 毓賳賴 毓乇亘賷丕賸 . 丨賷孬 囟賲 丨賷丕鬲賴 賲賳匕 賵賱丕丿鬲賴 丨鬲賶 鬲賳賯賱丕鬲賴 賲丕亘賷賳 賮乇賳爻丕 賵賲氐乇 賵丕賱賷賲賳 賵丕賱丨亘卮丞 賵丕賱毓賵丿丞 賱亘賱丕丿賴 賲賳 噩丿賷丿 . 賵賯丿 囟賲 賰賱 賰鬲丕亘丕鬲賴 丕賱卮毓乇賷丞 賵丌孬丕乇賴 丕賱鬲賷 賳卮乇鬲 亘毓丿 賵賮丕鬲賴 . 賵賯丿 賳卮乇鬲 賴賳丕 丕賱賯氐丕卅丿 丕賱賱丕鬲賷賳賷丞 . 賵賰匕賱賰 鬲賲 鬲賵孬賷賯 賯氐氐賴 丕賱賯氐賷乇丞 賵丕賱鬲賷 丕賲鬲丕夭鬲 亘賱睾丞 卮丕毓乇賷丞 賯賵賷丞 噩丿丕賸 . 賵賰賱 丿賵丕賵賷賳賴 丕賱卮毓乇賷丞 丕賱賲賳卮賵乇丞 賯亘賱 賵賮丕鬲賴 賵亘毓丿 賵賮丕鬲賴 貙 賵丕賱賰鬲丕亘丕鬲 丕賱賳孬乇賷丞 貙 賵乇爻丕卅賱賴 兀孬賳丕亍 賮鬲乇丞 丕賱鬲乇丨丕賱 賮賷 丌禺乇 丨賷丕鬲賴貙 賵爻賷乇鬲賴 賮賷 賳賴丕賷丞 丕賱賰鬲丕亘 丕賱賰亘賷乇
賱賲 鬲賴囟賲 丕賱鬲乇噩賲丞 賰毓丕丿鬲賴丕 噩賲丕賱 卮毓乇 乇丕賲亘賵 賵丿賱丕賱丞 賰賱賲丕鬲賴
賷毓鬲亘乇 賴匕丕 丕賱賰鬲丕亘 賲賳 兀賮囟賱 賲丕 賰鬲亘 毓賳賴 毓乇亘賷丕賸 . 丨賷孬 囟賲 丨賷丕鬲賴 賲賳匕 賵賱丕丿鬲賴 丨鬲賶 鬲賳賯賱丕鬲賴 賲丕亘賷賳 賮乇賳爻丕 賵賲氐乇 賵丕賱賷賲賳 賵丕賱丨亘卮丞 賵丕賱毓賵丿丞 賱亘賱丕丿賴 賲賳 噩丿賷丿 . 賵賯丿 囟賲 賰賱 賰鬲丕亘丕鬲賴 丕賱卮毓乇賷丞 賵丌孬丕乇賴 丕賱鬲賷 賳卮乇鬲 亘毓丿 賵賮丕鬲賴 . 賵賯丿 賳卮乇鬲 賴賳丕 丕賱賯氐丕卅丿 丕賱賱丕鬲賷賳賷丞 . 賵賰匕賱賰 鬲賲 鬲賵孬賷賯 賯氐氐賴 丕賱賯氐賷乇丞 賵丕賱鬲賷 丕賲鬲丕夭鬲 亘賱睾丞 卮丕毓乇賷丞 賯賵賷丞 噩丿丕賸 . 賵賰賱 丿賵丕賵賷賳賴 丕賱卮毓乇賷丞 丕賱賲賳卮賵乇丞 賯亘賱 賵賮丕鬲賴 賵亘毓丿 賵賮丕鬲賴 貙 賵丕賱賰鬲丕亘丕鬲 丕賱賳孬乇賷丞 貙 賵乇爻丕卅賱賴 兀孬賳丕亍 賮鬲乇丞 丕賱鬲乇丨丕賱 賮賷 丌禺乇 丨賷丕鬲賴貙 賵爻賷乇鬲賴 賮賷 賳賴丕賷丞 丕賱賰鬲丕亘 丕賱賰亘賷乇
賱賲 鬲賴囟賲 丕賱鬲乇噩賲丞 賰毓丕丿鬲賴丕 噩賲丕賱 卮毓乇 乇丕賲亘賵 賵丿賱丕賱丞 賰賱賲丕鬲賴
January 27, 2019
Fever dreams and drug visions in prose from the OG prodigal dissolute hipster dirtbag poet himself
May 8, 2018
All I can think about this is that Rimbaud's work must really sing in French. Because this ... this is not good. It is not remotely great. This is the ranting of a teenage boy who did not want to grow up, did not want to be responsible. He insults his mother, but he always runs home to her. It seems to me that his reputation mostly rests on his shocking biography and his letters. (Of course, I recognize that timing is everything in literature; when he wrote, much of this must have seemed new and startling as well.)
Mind you, the makings of greatness are here, but at the time he was writing (from the age of 15 to the age of 20) he did not have the experience to fill it out. And he knew that. His famous "I am depraving myself as much as I can," his ars poetica is based on gathering the experience he knew he needed. His drinking and drugging, his wild affair with Verlaine, his travels, all to explore his own otherness, his unknown, to become aware of and to cultivate himself with the express goal of knowing and writing so that others may then build on that work. But then:
Science, the new nobility! Progress! The world moves!...And why shouldn't it?
We have visions of numbers. We are moving toward the Spirit. What I say is oracular and absolutely right. I understand...and since I cannot express myself except in pagan terms, I would rather keep quiet.
-from "Bad Blood" in A Season in Hell, 1873
And just two years after that, he quit writing. On October 14, 1875, six days shy of his 21st birthday, he writes his friend Ernest Delahaye "the hell with 'my craft and art,'" requesting information on pursuing a degree in science. The letter contains his last known poem, on soldiers farting. He then goes to travel, then a life as a trader in Africa. (And ooh, hello colonialism.)
Truly, I regret that he did not continue. Maybe he could not. Maybe the wild living was part and parcel with the poetry for him and he could not write without it. I would have liked to see his poetry when he grew up. When he had had to live by the sweat of his brow and toil with the thorns and thistles as we all do, I would have liked to see what a man of his impressive craftsmanship could do with that wisdom. But I certainly don't begrudge him his turning to other things. I only wonder what might have been.
I don't have any French with which to judge Paul Schmidt's translation, or I would be reading the originals of course, but his translations make perfectly good English verse. I appreciated his arrangement of the body of work into seasons bracketed by a brief biographical note and letters; it helped to place the poetry within Rimbaud's life. I did think it was incredibly petty of Mr. Schmidt to suggest that it would have been better for the poet to disappear or die young than suffer the banal life of business he turned to. There is more to life than just poetry, and Rimbaud died young enough at 37. Of what he left behind, this is probably my favorite (and it is an early work):
Crows
Lord, when the open field is cold,
When in battered villages
The endless angelus dies-
Above the dark and drooping world
Let the empty skies disclose
Your dear, delightful crows.
Armada dark with harsh cries,
Your nests are tossed by icy winds!
Along the banks of yellowed ponds,
On roads where crumbling crosses rise,
In cold and gray and mournful weather
Scatter, hover, dive together!
In flocks above the fields of France
Where yesterday's dead men lie,
Wheel across the winter sky;
Recall our black inheritance!
Let duty in your cry be heard,
Mournful, black, uneasy bird.
Yet in that oak, you saints of God,
Swaying in the dying day,
Leave the whistling birds of May
For those who found, within that wood
From which they will not come again,
That every victory is vain.
(c. 1870? During the Franco-Prussian War)
Mind you, the makings of greatness are here, but at the time he was writing (from the age of 15 to the age of 20) he did not have the experience to fill it out. And he knew that. His famous "I am depraving myself as much as I can," his ars poetica is based on gathering the experience he knew he needed. His drinking and drugging, his wild affair with Verlaine, his travels, all to explore his own otherness, his unknown, to become aware of and to cultivate himself with the express goal of knowing and writing so that others may then build on that work. But then:
Science, the new nobility! Progress! The world moves!...And why shouldn't it?
We have visions of numbers. We are moving toward the Spirit. What I say is oracular and absolutely right. I understand...and since I cannot express myself except in pagan terms, I would rather keep quiet.
-from "Bad Blood" in A Season in Hell, 1873
And just two years after that, he quit writing. On October 14, 1875, six days shy of his 21st birthday, he writes his friend Ernest Delahaye "the hell with 'my craft and art,'" requesting information on pursuing a degree in science. The letter contains his last known poem, on soldiers farting. He then goes to travel, then a life as a trader in Africa. (And ooh, hello colonialism.)
Truly, I regret that he did not continue. Maybe he could not. Maybe the wild living was part and parcel with the poetry for him and he could not write without it. I would have liked to see his poetry when he grew up. When he had had to live by the sweat of his brow and toil with the thorns and thistles as we all do, I would have liked to see what a man of his impressive craftsmanship could do with that wisdom. But I certainly don't begrudge him his turning to other things. I only wonder what might have been.
I don't have any French with which to judge Paul Schmidt's translation, or I would be reading the originals of course, but his translations make perfectly good English verse. I appreciated his arrangement of the body of work into seasons bracketed by a brief biographical note and letters; it helped to place the poetry within Rimbaud's life. I did think it was incredibly petty of Mr. Schmidt to suggest that it would have been better for the poet to disappear or die young than suffer the banal life of business he turned to. There is more to life than just poetry, and Rimbaud died young enough at 37. Of what he left behind, this is probably my favorite (and it is an early work):
Crows
Lord, when the open field is cold,
When in battered villages
The endless angelus dies-
Above the dark and drooping world
Let the empty skies disclose
Your dear, delightful crows.
Armada dark with harsh cries,
Your nests are tossed by icy winds!
Along the banks of yellowed ponds,
On roads where crumbling crosses rise,
In cold and gray and mournful weather
Scatter, hover, dive together!
In flocks above the fields of France
Where yesterday's dead men lie,
Wheel across the winter sky;
Recall our black inheritance!
Let duty in your cry be heard,
Mournful, black, uneasy bird.
Yet in that oak, you saints of God,
Swaying in the dying day,
Leave the whistling birds of May
For those who found, within that wood
From which they will not come again,
That every victory is vain.
(c. 1870? During the Franco-Prussian War)
July 21, 2016
Paul 厂肠丑尘颈诲迟鈥檚 was the fourth translation of Rimbaud鈥檚 hallucinatory poetry that I鈥檝e encountered, having previously read renderings by Louise Var猫se, Wyatt Mason (my first entry into the mercurial world of Rimbaud) and Wallace Fowlie. Of the three translations of the complete works 鈥� Fowlie鈥檚, 厂肠丑尘颈诲迟鈥檚 and Mason鈥檚 鈥� Mason鈥檚 was the most recent, published 35 years after the other two first appeared in print. And perhaps in hindsight, and with the other two translations as guides, Mason provides what I think is the truest interpretation of Rimbaud鈥檚 works. Although this review is of 厂肠丑尘颈诲迟鈥檚 work, I will refer to the Mason translation many times throughout: (1) because it does combine some of the best of the Schmidt and Fowlie translations, both of which Mason was very familiar with and relied upon when he wrote his own translation, and (2) because in the intro to his work Mason draws many comparisons between his translation and those of these two predecessors.
In the introduction to Mason鈥檚 work, he uses up a good deal of space discussing the art of translation, sometimes with humorous and interesting examples to make his point. He begins this section writing: 鈥淭he number of ways in which any single line can be translated is exceeded only by the number of theories of translation that have been advanced over the years.鈥� He then proceeds, focusing on the 鈥測in and yang of translation, its irreconcilable poles: literalism or liberty,鈥� the latter sometimes referred to throughout as 鈥榩oetry.鈥�
Mason鈥檚 treatment of Rimbaud walks a fine middle line between the interpretations by Schmidt and Fowlie, with Schmidt favoring 鈥榩oetry鈥� or 鈥榣iberty鈥� and Fowlie preferring literalism, often neglecting (in the process) rhythm and form. Of Fowlie鈥檚 translation, Mason writes: 鈥淔owlie鈥檚 is the ideal translation for a student of French who wishes to read the original but requires a crutch. As such Rimbaud鈥檚 pages are presented on facing pages, making it impossible to forget the translations鈥� dependence upon them: they are joined at the hip.鈥� One thing that I actually quite enjoyed about the Fowlie translation when I read it was the parallel French text (something one also finds in James McGowan鈥檚 treatment of Baudelaire鈥檚 The Flowers of Evil, the next book in my to-read queue, which I read for the first time last year). Mason鈥檚 Rimbaud Complete includes the French poems in a separate section after his translations. This is fine, too, but not my preference. 厂肠丑尘颈诲迟鈥檚 Arthur Rimbaud. Complete Works does not include the original French versions of the poems at all, and that was actually one of my major qualms with 厂肠丑尘颈诲迟鈥檚 work.
Mason also points out that Fowlie鈥檚 work 鈥渋gnores the consequential fact that French grammar and English grammar are very different,鈥� accusing him of using a 鈥渢hird language that lies between the two, the language of translatorese that fuses (in this case) English words onto French grammar.鈥� One example of this that Mason points out is where Fowlie translates 鈥榗asquette de moire鈥� as 鈥榗ap of silk,鈥� which he argues has an 鈥渁ntique quality鈥� 鈥� Mason鈥檚 translation prefers the rendering 鈥榮ilk cap.鈥� I, personally, preferred the Fowlie translation in this case, particular for the way that it flows, even though I agree with Mason that this would simply be translated as 鈥榮ilk cap鈥� in English. This is a bit nitpicky to me, but the point is valid, nonetheless.
Compared to Fowlie鈥檚 translation, Mason writes, 厂肠丑尘颈诲迟鈥檚 鈥渃ould not be more different. Schmidt has not translated the poem鈥檚 words, but rather its style and apparent subject (erotic horseplay). . . . Whereas Fowlie ignores rhyme and rhythm, Schmidt bravely holds on to them. . . . In so doing, however, Schmidt writes a totally new poem that may or may not be beautiful . . . but which has little to do with the literal sense of what Rimbaud wrote.鈥� When I read other translations of Rimbaud (after my first encounter) it seemed that I had more or less, read the poems before. This time around, there were many poems that seemed entirely new to me due largely to the liberality with which Schmidt approaches the original, his free poetic approach versus a literal interpretation.
I found 厂肠丑尘颈诲迟鈥檚 version novel, but it didn鈥檛 have the feel of Rimbaud that I鈥檝e become accustomed to. But I can forgive Schmidt this, because he acknowledges in his introduction to the work that the purpose of his translation is to 鈥渟peak [Rimbaud鈥檚 words] in my own language.鈥� His translation, he writes, is 鈥渁 drama that Rimbaud has written, and I now perform. This is my Rimbaud. . . .鈥� Just as filmmakers give their own interpretations to works when they adapt them from print to the screen, so too Schmidt reimagines the words that Rimbaud might have used if he were writing his poems in English in the later 1960s.
Mason鈥檚 translation, the first that I read, is probably the truest of the three, as it treads the fine thin line between 厂肠丑尘颈诲迟鈥檚 radical interpretation and Fowlie鈥檚 conservative and comparatively rhythmless one. A future task is to read the three translations side by side (maybe next year?). I do think there is veracity to the claims of many critics that Wyatt Mason鈥檚 translation is 鈥渢he definitive one鈥� for the time in which we are living.
One thing that I enjoyed most about 厂肠丑尘颈诲迟鈥檚 interpretation was how he broke the work into eight seasons that defined the life of young Rimbaud, each opening with a different passage from Une Saison en Enfer. At the very beginning, Schmidt justifies this style in his introduction, focusing on Rimbaud鈥檚 own preoccupation with seasons, 鈥渢hose stretches of time that open unawares and close painfully in our lives.鈥� I also liked that before the poems and letters contained in each of these 鈥渟easons,鈥� Schmidt offers readers a biographical sketch of the said period in Rimbaud鈥檚 life.
Mason鈥檚 biographical sketch of the artist is scanty, focusing solely on the work of the artist, and Fowlie鈥檚 brief biography of the artist comes at the onset. By presenting Rimbaud鈥檚 life in seasons, Schmidt really captures effectively the blossoming of Rimbaud鈥檚 genius and style and then his sharp split with art in favor of commerce. By the eighth and final season we are presented with a sober and straight Rimbaud, not this young libertine that we met before: 鈥淭he voice we hear . . . is that of Rimbaud the businessman, clearly distinguished from the work of Rimbaud the poet. Rarely are the two voices so distinct. Poets鈥� letters tend to be just that鈥攃onscious, literary 鈥榓rtistic鈥� pieces of writing. Only occasionally do we find the vatic voice so clearly distinguished from the mundane one. With Rimbaud the separation is complete.鈥�
I would have liked having the original French versions available in the work for purposes of reference (I favor the parallel text that one finds in the Fowlie translation), and I would have preferred a bit more of a literal interpretation. I think that Mason gives us the best taste of what Rimbaud truly was saying. Fowlie鈥檚 translation is honest, but bland in comparison. And in Schmidt one can find hints of the essence of Rimbaud, but there are sharper flavors that dominate the senses. 厂肠丑尘颈诲迟鈥檚 translation is certainly worth reading, and it is beautifully organized, but it is really a very free interpretation, Schmidt telling Rimbaud鈥檚 story, but adapting it to the words and style he feel are best suited to communicate the message. This is, after all, not Rimbaud per se, but 厂肠丑尘颈诲迟鈥檚 creative interpretation of Rimbaud.
In the introduction to Mason鈥檚 work, he uses up a good deal of space discussing the art of translation, sometimes with humorous and interesting examples to make his point. He begins this section writing: 鈥淭he number of ways in which any single line can be translated is exceeded only by the number of theories of translation that have been advanced over the years.鈥� He then proceeds, focusing on the 鈥測in and yang of translation, its irreconcilable poles: literalism or liberty,鈥� the latter sometimes referred to throughout as 鈥榩oetry.鈥�
Mason鈥檚 treatment of Rimbaud walks a fine middle line between the interpretations by Schmidt and Fowlie, with Schmidt favoring 鈥榩oetry鈥� or 鈥榣iberty鈥� and Fowlie preferring literalism, often neglecting (in the process) rhythm and form. Of Fowlie鈥檚 translation, Mason writes: 鈥淔owlie鈥檚 is the ideal translation for a student of French who wishes to read the original but requires a crutch. As such Rimbaud鈥檚 pages are presented on facing pages, making it impossible to forget the translations鈥� dependence upon them: they are joined at the hip.鈥� One thing that I actually quite enjoyed about the Fowlie translation when I read it was the parallel French text (something one also finds in James McGowan鈥檚 treatment of Baudelaire鈥檚 The Flowers of Evil, the next book in my to-read queue, which I read for the first time last year). Mason鈥檚 Rimbaud Complete includes the French poems in a separate section after his translations. This is fine, too, but not my preference. 厂肠丑尘颈诲迟鈥檚 Arthur Rimbaud. Complete Works does not include the original French versions of the poems at all, and that was actually one of my major qualms with 厂肠丑尘颈诲迟鈥檚 work.
Mason also points out that Fowlie鈥檚 work 鈥渋gnores the consequential fact that French grammar and English grammar are very different,鈥� accusing him of using a 鈥渢hird language that lies between the two, the language of translatorese that fuses (in this case) English words onto French grammar.鈥� One example of this that Mason points out is where Fowlie translates 鈥榗asquette de moire鈥� as 鈥榗ap of silk,鈥� which he argues has an 鈥渁ntique quality鈥� 鈥� Mason鈥檚 translation prefers the rendering 鈥榮ilk cap.鈥� I, personally, preferred the Fowlie translation in this case, particular for the way that it flows, even though I agree with Mason that this would simply be translated as 鈥榮ilk cap鈥� in English. This is a bit nitpicky to me, but the point is valid, nonetheless.
Compared to Fowlie鈥檚 translation, Mason writes, 厂肠丑尘颈诲迟鈥檚 鈥渃ould not be more different. Schmidt has not translated the poem鈥檚 words, but rather its style and apparent subject (erotic horseplay). . . . Whereas Fowlie ignores rhyme and rhythm, Schmidt bravely holds on to them. . . . In so doing, however, Schmidt writes a totally new poem that may or may not be beautiful . . . but which has little to do with the literal sense of what Rimbaud wrote.鈥� When I read other translations of Rimbaud (after my first encounter) it seemed that I had more or less, read the poems before. This time around, there were many poems that seemed entirely new to me due largely to the liberality with which Schmidt approaches the original, his free poetic approach versus a literal interpretation.
I found 厂肠丑尘颈诲迟鈥檚 version novel, but it didn鈥檛 have the feel of Rimbaud that I鈥檝e become accustomed to. But I can forgive Schmidt this, because he acknowledges in his introduction to the work that the purpose of his translation is to 鈥渟peak [Rimbaud鈥檚 words] in my own language.鈥� His translation, he writes, is 鈥渁 drama that Rimbaud has written, and I now perform. This is my Rimbaud. . . .鈥� Just as filmmakers give their own interpretations to works when they adapt them from print to the screen, so too Schmidt reimagines the words that Rimbaud might have used if he were writing his poems in English in the later 1960s.
Mason鈥檚 translation, the first that I read, is probably the truest of the three, as it treads the fine thin line between 厂肠丑尘颈诲迟鈥檚 radical interpretation and Fowlie鈥檚 conservative and comparatively rhythmless one. A future task is to read the three translations side by side (maybe next year?). I do think there is veracity to the claims of many critics that Wyatt Mason鈥檚 translation is 鈥渢he definitive one鈥� for the time in which we are living.
One thing that I enjoyed most about 厂肠丑尘颈诲迟鈥檚 interpretation was how he broke the work into eight seasons that defined the life of young Rimbaud, each opening with a different passage from Une Saison en Enfer. At the very beginning, Schmidt justifies this style in his introduction, focusing on Rimbaud鈥檚 own preoccupation with seasons, 鈥渢hose stretches of time that open unawares and close painfully in our lives.鈥� I also liked that before the poems and letters contained in each of these 鈥渟easons,鈥� Schmidt offers readers a biographical sketch of the said period in Rimbaud鈥檚 life.
Mason鈥檚 biographical sketch of the artist is scanty, focusing solely on the work of the artist, and Fowlie鈥檚 brief biography of the artist comes at the onset. By presenting Rimbaud鈥檚 life in seasons, Schmidt really captures effectively the blossoming of Rimbaud鈥檚 genius and style and then his sharp split with art in favor of commerce. By the eighth and final season we are presented with a sober and straight Rimbaud, not this young libertine that we met before: 鈥淭he voice we hear . . . is that of Rimbaud the businessman, clearly distinguished from the work of Rimbaud the poet. Rarely are the two voices so distinct. Poets鈥� letters tend to be just that鈥攃onscious, literary 鈥榓rtistic鈥� pieces of writing. Only occasionally do we find the vatic voice so clearly distinguished from the mundane one. With Rimbaud the separation is complete.鈥�
I would have liked having the original French versions available in the work for purposes of reference (I favor the parallel text that one finds in the Fowlie translation), and I would have preferred a bit more of a literal interpretation. I think that Mason gives us the best taste of what Rimbaud truly was saying. Fowlie鈥檚 translation is honest, but bland in comparison. And in Schmidt one can find hints of the essence of Rimbaud, but there are sharper flavors that dominate the senses. 厂肠丑尘颈诲迟鈥檚 translation is certainly worth reading, and it is beautifully organized, but it is really a very free interpretation, Schmidt telling Rimbaud鈥檚 story, but adapting it to the words and style he feel are best suited to communicate the message. This is, after all, not Rimbaud per se, but 厂肠丑尘颈诲迟鈥檚 creative interpretation of Rimbaud.
January 29, 2010
Rimbaud is one of those literary figures that I find myself coming back to from time to time and always developing a new fascination and affection for.
December 19, 2018
Arthur Rimbaud is one of my favourite poets and that鈥檚 that
September 28, 2016
鈥�
鈥� 賰鬲丕亘 賲賴賲 賷卮賲賱 爻賷乇丞 丨賷丕丞 丕賱卮丕毓乇 噩丕賳 - 賳賷賰賵賱丕爻 丌乇孬乇 乇丕賲亘賵貙 丕囟丕賮丞 廿賱賶 氐賵乇賴 賵乇爻丕卅賱賴 賱毓丕卅賱鬲賴 賵賲乇丕爻賱丕鬲賴 賲毓 氐丿賷賯賴 丕賱卮丕毓乇 冥賷乇賱賷賳貙 賷囟賲 丕賱賰鬲丕亘 兀毓賲丕賱賴 丕賱卮毓乇賷丞 丕賱賰丕賲賱丞 賲賳 賰鬲丕亘丕鬲賴 丕賱賲丿乇爻賷丞 廿賱賶 丌禺乇 兀卮毓丕乇賴 丕賱鬲賷 賳卮乇鬲 亘毓丿 丕毓鬲夭丕賱賴 丕賱賲亘賰乇 賱賱卮毓乇.听
鈥� 丕賱賲鬲乇噩賲 丕賱卮丕毓乇 乇賮毓鬲 爻賱丕賲 亘匕賱 賰丕賲賱 噩賴丿賴 賮賷 噩賲毓 兀毓賲丕賱賴 丕賱賰丕賲賱丞 賲賳 丕賱賲乇丕噩毓 丕賱賮乇賳爻賷丞 賵鬲乇鬲賷亘賴丕 夭賲賳賷丕賸 賱賱賯丕乇賶亍 賲毓 賲賯丿賲丞 亘爻賷胤丞 賱賰賱 賮鬲乇丞貙 賷鬲囟丨 匕賱賰 賮賷 鬲丿乇賾噩 卮丕毓乇賷丞 乇丕賲亘賵 賲賳 兀卮毓丕乇賴 丕賱賲亘賰乇丞 丕賱鬲賷 鬲賲賷賱 賱賱氐賵賮賷丞 丨鬲賶 丕賳鬲賯賱 廿賱賶 賯氐丕卅丿賴 丕賱兀賰孬乇 鬲賲乇丿丕賸 賵噩乇丕亍丞 亘賳賮爻 丕賱鬲氐賵賮 賵丕賱卮賮丕賮賷丞 賵賴匕丕 亘丕賱匕丕鬲 賲丕 卮丿賳賷 賱兀卮毓丕乇賴.
鈥� 賲丕 兀賳 鬲賳鬲賴賷 賲賳 賯乇丕亍丞 丕賱賰鬲丕亘 丨鬲賶 鬲亘丿兀 賮賷 丕賱鬲賮賰賷乇 賮賷 囟賷丕毓 丨賷丕丞 丌乇孬乇 乇丕賲亘賵 賱兀噩賱 賱丕 卮賷亍貙 賰賷賮 鬲毓賲賱賯鬲 賲賵賴亘鬲賴 兀賲丕賲 丨賷丕鬲賴 丕賱賯氐賷乇丞 丨鬲賶 丕爻鬲賵賱鬲 毓賱賶 賰賱 賲丕 賮賷賴丕 賲賳 賮囟丕卅賱 賵鬲乇賰鬲 賱賴 丕賱賮鬲丕鬲貙 乇丕賲亘賵 丕賱胤賮賱 賰丕賳 賷賲賱賰 賵毓賷丕賸 賳丕氐毓 丕賱亘賷丕囟 噩毓賱賴 睾乇賷亘丕賸 亘賷賳 兀賯乇丕賳賴貙 丨乇賵賮 丕賱賴噩丕亍 鬲鬲乇丕賯氐 賮賷 匕賴賳賴 亘卮毓乇賷丞 丌孬賲丞 亘賳馗乇 賵丕賱丿鬲賴 丕賱賲鬲夭賲鬲丞 丿賷賳賷丕賸貙 賷丿乇賰 兀賳賴 賷賲賱賰 賲賮丕鬲賷丨 丕賱賱睾丞 賵賷賰鬲卮賮 匕賱賰 賲毓 兀爻鬲丕匕 丕賱亘賱丕睾丞 趩賵乇趩 廿賷夭丕賲亘丕乇貙 賷鬲乇賰 丕賱賲丿乇爻丞 賱鬲亘丿兀 乇丨賱丕鬲賴 丕賱賲鬲賰乇乇丞 亘賷賳 亘丕乇賷爻 賵卮丕乇賱冥賷賱 賮賷 賲丨丕賵賱丕鬲 賱賳卮乇 賯氐丕卅丿賴 .
鈥�鬲鬲睾賷乇 丨賷丕鬲賴 鬲賲丕賲丕賸 亘毓丿 鬲毓乇賮賴 毓賱賶 丕賱卮丕毓乇 冥賷乇賱賷賳 丕賱匕賷 亘丿兀 賲毓賴 丕賱锟斤拷乇丕毓 亘賷賳 乇丕賲亘賵丕賱卮丕毓乇 賵乇丕賲亘賵 丕賱廿賳爻丕賳貙 賵丕賳鬲賴賶 丕賱氐乇丕毓 亘丕毓鬲夭丕賱賴 丕賱鬲丕賲 丕賱卮毓乇 賵乇丨賷賱賴 賱賱卮乇賯貙 卮乇賯 賲賵丨卮 賷禺鬲賱賮 毓賳 丕賱卮乇賯 丕賱匕賷 爻賰賳 賲亘賰乇丕賸 賮賷 禺賷丕賱 乇丕賲亘賵 賵噩毓賱賴 賷賳亘匕 丨囟丕乇丞 丕賱睾乇亘貙 鬲禺亘胤丕鬲 乇丕賲亘賵 丕賱兀卮賯乇 噩毓賱鬲 賲賳賴 鬲丕噩乇 兀爻賱丨丞 賮丕卮賱 賷丨丕噩噩 丕賱鬲噩丕乇 亘鬲賮爻賷乇賴 丕賱禺丕氐 賱丌賷丕鬲 賯乇丌賳賷丞貙 乇爻丕卅賱賴 賱毓丕卅賱鬲賴 賰丕賳鬲 鬲毓噩 亘丕賱賳賮賵乇 賲賳 亘賱丕丿丞 丕賱爻賰丕賳 丕賱賲丨賱賷賷賳 賵丨乇丕乇丞 丕賱胤賯爻 賵賴賵 丕賱匕賷 賰丕賳 "賷禺卮賶 丕賱卮鬲丕亍 賱兀賳賴 賮氐賱 丕賱乇賮丕賴賷丞" 丕賱睾乇賷亘 賮賷 鬲賱賰 丕賱賮鬲乇丞 兀賳賴 賰丕賳 賷鬲賲賳賶 丕賳噩丕亘 胤賮賱 賷卮賴丿 亘丨囟賵乇賴 賱賴匕丕 丕賱毓丕賱賲 乇睾賲 丕丿乇丕賰賴 丕賱鬲丕賲 賱丨丕賱丞 丕賱囟賷丕毓 丕賱鬲賷 賷毓賷卮賴丕貙 兀禺賷乇丕賸 丨賲賱 丕亘賳 丕賱爻丕亘毓丞 賵丕賱孬賱丕孬賷賳 毓丕賲丕賸 噩爻丿賴 丕賱賲乇賷囟 毓丕卅丿丕賸 賱亘賱丕丿賴貙 賱賷丨鬲囟乇 亘噩丕賳亘 卮賯賷賯鬲賴 丕賱氐睾乇賶 丕賷夭丕亘賷賱.
"賰賳鬲購 賳丕囟噩丕賸 賲賳 兀噩賱 丕賱賲賵鬲貙 賵毓亘乇 丿乇亘 丕賱兀禺胤丕乇 賰丕賳 賵賴賳賷 賷購賮囟賷 亘賷 廿賱賶 兀賯丕氐賷 丕賱毓丕賱賲 賵廿賱賶 爻賲賷乇賷丕 賵胤賳 丕賱馗賱賲丕鬲 賵丕賱兀毓丕氐賷乇"
鈥� 乇丕賲亘賵 賮卮賱 賮賷 賲賵丕賰亘丞 賲賵賴亘鬲賴 丕賱卮毓乇賷丞 丕賱鬲賷 賱丕 夭丕賱鬲 賲鬲賵賴噩丞 賵爻丕丨乇丞 賮賷 兀卮毓丕乇賴 丕賱賯賱賷賱丞 丕賱鬲賷 鬲乇賰賴丕 賱賱毓丕賱賲 -乇睾賲 丨丕噩夭 丕賱鬲乇噩賲丞 - 亘賯賷 丕爻賲賴 賮賷 丕賱匕丕賰乇丞 亘賮囟賱 丕亘鬲賰丕乇賴 賱賱卮毓乇 賲賳 噩丿賷丿貙 賵亘賮囟賱 賯氐丕卅丿賴 丕賱賲賵睾賱丞 賮賷 丕賱乇賲夭賷丞 丨鬲賶 賵氐賱鬲 賱丕爻鬲卮乇丕賮 賲丕 賳毓賷卮賴 丕賱賷賵賲 賲賳 兀丨丿丕孬 賵氐乇丕毓丕鬲 丿丕賲賷丞貙 賷賯賵賱 賮賷 賴匕賷丕賳丕鬲 賰賷賲賷丕亍 丕賱賰賱賲丞 :
"賰賳鬲 兀丨賱賲 亘丨賲賱丕鬲 氐賱賷亘賷丞貙 亘乇丨賱丕鬲 賱丕賰鬲卮丕賮丕鬲 賲噩賴賵賱丞 賱丿賷賳丕貙 亘噩賲賴賵乇賷丕鬲 亘賱丕 鬲賵丕乇賷禺貙 亘丨乇賵亘 丿賷賳賷丞 禺丕賲丿丞貙 亘孬賵乇丕鬲 賮賷 丕賱兀禺賱丕賯貙 亘賴噩乇丕鬲 賱賱兀毓乇丕賯 賵丕賱賯丕乇丕鬲 : 賰賳鬲 兀丐賲賳 亘賰賱 爻賽丨乇."
鈥� 乇丕賯 賱賷 賵氐賮 丕賱賰丕鬲亘 乇賲爻賷爻 毓賵囟 賱賵丨卮 丕賱賳賯丕亍 丌乇孬乇 乇丕賲亘賵 :
廿匕丕 賯賱鬲 毓賳賴 兀賳賴 卮賷胤丕賳 乇噩賷賲 賮兀賳鬲 賲賳 丕賱氐丕丿賯賷賳貙 賵丕賳 賯賱鬲 兀賳賴 氐賵賮賷 賷爻毓賶 廿賱賶 丕賱賳賵乇丕賳賷丞 賵丕賱卮賮丕賮賷丞 丕賱乇賵丨賷丞 賮兀賳鬲 賲賳 丕賱氐丕丿賯賷賳.
鈥� 賵氐賮 賲賯丕乇亘 賱賲丕 賯丕賱賴 乇丕賲亘賵 毓賳 賳賮爻賴 :
" 兀賳丕 丕賱匕賷 丕毓鬲亘乇鬲 賳賮爻賷 賲噩賵爻賷丕賸 兀賵 賲賱丕賰丕賸貙 賲鬲丨乇乇丕賸 賲賳 賰賱 兀禺賱丕賯貙 賯丿 毓丿鬲 廿賱賶 丕賱鬲乇丕亘貙 亘賲賴賲丞 兀爻毓賶 廿賱賷賴丕貙 賵廿賱賶 丕賱賵丕賯毓 丕賱禺卮賳 賱兀毓丕賳賯賴 ! 賮賱丕丨 ! 賮賴賱 禺購丿毓鬲 責 賵賴賱 爻鬲賰賵賳 丕賱賲丨亘丞 亘丕賱賳爻亘丞 賱賷 卮賯賷賯丞 丕賱賲賵鬲 責 賮賷 丕賱賳賴丕賷丞 爻兀胤賱亘 丕賱毓賮賵 毓賳 兀賳賷 鬲睾匕賷鬲 毓賱賶 丕賱賰匕亘. 賵賻賴賻賷賻賾丕. 賱賰賳 賲丕 賲賳 賷丿賺 氐丿賷賯丞 ! 賵賲賳 兀賷賳 丕爻鬲賲丿 丕賱賲丿丿 責"
January 26, 2020
Another one that disappeared into the 欧宝娱乐 void. Someone out there in another universe is probably enjoying it now. Anyways, one of my favorites. Makes me feel the way Kafka feels. Expresses deep and powerful emotion through words.
March 4, 2017
"In this moment of awakening, I had a vision of purity! Through the mind we go to God!
What a crippling misfortune!"
What a crippling misfortune!"
May 27, 2023
Just read this for a second time, most all of it in a day. Reading all of Rimbaud鈥檚 work in a day is intense. And this edition by Paul Schmidt was quite a lot more enjoyable than the dual language facing text. I was able to enjoy the tone and voice of the translator, while feeling as close to Rimbaud without reading his French text. The organization into episodes of his poetic genesis was a great way to organize thematic and stylistic content, and especially to be able to supplement it with personal letters and biographical detail. I greatly enjoyed the additional documents provided in this edition with letters from Verlaine, his mother and sister, police interviews as well as the government and business contacts. His later life is Abyssinia is almost as fascinating as his turbulent youth. 猸愶笍猸愶笍猸愶笍猸愶笍猸愶笍
One thing I could not connect in the first read/edition/translation was that Rimbaud showed Verlaine 鈥淭he Drunken Boat鈥� upon his first meeting; that must have blown him away. In many ways it is a magical work. Another is the exact nature of Rimbaud work in Africa and how questionable some of his behaviors must have been. As well, having his mother鈥檚 letters certainly makes one wonder whatever brought Rimbaud the need to run away, to escape, to make his own way.
First reading:
The only thing wrong with this edition, the 1966 Wallace Fowlie translated University of Chicago Press published, Rimbaud: Collected Words, Selected Letters is 30 pages containing Une Saison en enfer are missing (so I had to read another translation, without the facing original French text). 猸愶笍猸愶笍猸愶笍猸愶笍
Rimbaud the artist in many ways supplants his own great art鈥攖o make sense of his work we look to the man, err boy. The story of Rimbaud鈥檚 prodigal genius, his revolt, his escape to Paris, a volatile relationship with Paul Verlaine (alcohol, drugs, getting shot, beatings, divorce) only capture the adolescent growth Rimbaud undergoes to express himself as 鈥渟eer,鈥� a poetic concept he evinces in letters to Paul Demeny in 1871 as the rational 鈥渄erangement of all the senses.鈥�
The great thing about Rimbaud鈥檚 Collected Works is that all poems fall into four discernible periods. His early 笔辞茅蝉颈别蝉 (1871) contain more orthodox works, while his Dernier Vers (1872) mark an experimental style to find a more universal language with the rejection of orthodox verse, the abandonment of rhyme, and a more free form. Une Saison en enfer (1873) and Les Illuminations (1874) display this strikingly new poetic form of language.
By 1878, Rimbaud has fully abandoned poetry for years and has made is way to Alexandria, Egypt heading to Aden (now Yemen) via the Suez Canal and Red Sea to set up work as an exporter, frequently of coffee, in Harar, Abyssinia (now Ethiopia). For ten years Rimbaud鈥檚 correspondences with his family obsess about his subsistence on exploitative circumstances and his striving to earn a living with which to be able to find rest, and establish a family. Due to ill health in a right knee, he returns to Marseilles and is hospitalized, eventually losing the leg and dying after a return home to Charleville. Indeed, the life of the man after the adolescent artist has past raises so many questions. A fascinating glimpse into one great poet.
One thing I could not connect in the first read/edition/translation was that Rimbaud showed Verlaine 鈥淭he Drunken Boat鈥� upon his first meeting; that must have blown him away. In many ways it is a magical work. Another is the exact nature of Rimbaud work in Africa and how questionable some of his behaviors must have been. As well, having his mother鈥檚 letters certainly makes one wonder whatever brought Rimbaud the need to run away, to escape, to make his own way.
First reading:
The only thing wrong with this edition, the 1966 Wallace Fowlie translated University of Chicago Press published, Rimbaud: Collected Words, Selected Letters is 30 pages containing Une Saison en enfer are missing (so I had to read another translation, without the facing original French text). 猸愶笍猸愶笍猸愶笍猸愶笍
Rimbaud the artist in many ways supplants his own great art鈥攖o make sense of his work we look to the man, err boy. The story of Rimbaud鈥檚 prodigal genius, his revolt, his escape to Paris, a volatile relationship with Paul Verlaine (alcohol, drugs, getting shot, beatings, divorce) only capture the adolescent growth Rimbaud undergoes to express himself as 鈥渟eer,鈥� a poetic concept he evinces in letters to Paul Demeny in 1871 as the rational 鈥渄erangement of all the senses.鈥�
The great thing about Rimbaud鈥檚 Collected Works is that all poems fall into four discernible periods. His early 笔辞茅蝉颈别蝉 (1871) contain more orthodox works, while his Dernier Vers (1872) mark an experimental style to find a more universal language with the rejection of orthodox verse, the abandonment of rhyme, and a more free form. Une Saison en enfer (1873) and Les Illuminations (1874) display this strikingly new poetic form of language.
By 1878, Rimbaud has fully abandoned poetry for years and has made is way to Alexandria, Egypt heading to Aden (now Yemen) via the Suez Canal and Red Sea to set up work as an exporter, frequently of coffee, in Harar, Abyssinia (now Ethiopia). For ten years Rimbaud鈥檚 correspondences with his family obsess about his subsistence on exploitative circumstances and his striving to earn a living with which to be able to find rest, and establish a family. Due to ill health in a right knee, he returns to Marseilles and is hospitalized, eventually losing the leg and dying after a return home to Charleville. Indeed, the life of the man after the adolescent artist has past raises so many questions. A fascinating glimpse into one great poet.
February 21, 2019
This is a wonderful edition of Rimbaud's Complete Works in translation.
Paul Schmidt, the translator, divides the poems into eight seasons according to the estimated chronology. There is a fine introduction to Rimbaud's work, and there are further introductory notes at the beginning of each season section, providing context to the poems. Rimbaud's letters are placed both throughout the text, and there's a large collection at the end in the eight season. This makes the book read somewhat like a memoir as the reader progresses through the various comments, poems, and letters.
Among the highlights for me were the sixth season, which includes the A Season in Hell poems, the seventh season, which contains the breathtaking poems Lines, Lives, and Cities I and II, and the last season in which his letters reveal the pain of Rimbaud's last years and unfold in tragedy.
The only concern I had was in trying to identify which poems belonged to which books that have been published in the past: it's not easy for a novice like me to know which poems would have been included in Rimbaud's various works (i.e. Poesies, Illuminations, A Season in Hell). Perhaps a better cross-referencing would have helped.
It was reading Bob Dylan's Complete Lyrics recently that brought me to Rimbaud's poems, and it was reading Rimbaud's Complete Works that brought me to re-listen to all of my Door's albums and to reread Jim Morrison's biography, No One Here Gets Out Alive.
Paul Schmidt, the translator, divides the poems into eight seasons according to the estimated chronology. There is a fine introduction to Rimbaud's work, and there are further introductory notes at the beginning of each season section, providing context to the poems. Rimbaud's letters are placed both throughout the text, and there's a large collection at the end in the eight season. This makes the book read somewhat like a memoir as the reader progresses through the various comments, poems, and letters.
Among the highlights for me were the sixth season, which includes the A Season in Hell poems, the seventh season, which contains the breathtaking poems Lines, Lives, and Cities I and II, and the last season in which his letters reveal the pain of Rimbaud's last years and unfold in tragedy.
The only concern I had was in trying to identify which poems belonged to which books that have been published in the past: it's not easy for a novice like me to know which poems would have been included in Rimbaud's various works (i.e. Poesies, Illuminations, A Season in Hell). Perhaps a better cross-referencing would have helped.
It was reading Bob Dylan's Complete Lyrics recently that brought me to Rimbaud's poems, and it was reading Rimbaud's Complete Works that brought me to re-listen to all of my Door's albums and to reread Jim Morrison's biography, No One Here Gets Out Alive.
September 19, 2021
My first reaction to reading the Complete Works of Arthur Rimbaud was one of shock and admiration. Shock because I'd never read anything like it before, and admiration because of my awareness of how young he was when he wrote his best poems. Of course, these feelings soon became mixed with countless others, for it seems as soon as one encounters Rimbaud the poet, one can never look back.
This was Henry Miller's experience of him, and it was no doubt mine as well. Encountering Rimbaud the extraordinary man and the attendant extraordinary life (as I learned from reading Graham Robb's expertly researched biography Rimbaud) would only intensify this, even if the poetry and the life are inseparable.
With Rimbaud's poetry, everything depends on the pure and often deranged expression (to reference Rimbaud's famous words on the "derangement of the senses") of poetic language, and this, coupled with his radically novel way of using it to intense effect, is what makes him a singular artist. Early 1870s-era poems like the visually hypnotising "The Drunken Boat" and the creatively composed "Vowels" are strong examples of this. The works from Illuminations, the imagery of which is often dazzling and brilliant, also shouldn't be left out here.
As another example, I found and still find "A Season in Hell", one of his longer prose poem efforts, deeply affecting for its haunting imagery and style. Translator Paul Schmidt's English rendering of Rimbaud's French verse in the Complete Works brings these qualities to the surface for monolingual readers (even though I personally prefer other translations like Louise Varese's).
The translated letters of Rimbaud (Paul Verlaine's, too) were also enthralling, especially the Africa period entries where he was always contending with some kind of physical, mental or financial difficulty. They weren't always easy to read. One could say they possess their own inherent poetry as Rimbaud's life could be interpreted as a sort of unpredictable epic poem, so to speak, one where tragedy had as much an equal say as promise.
I'm sure reading a bilingual or French version of Rimbaud in addition wouldn't hurt either, since braving the original French of his work would surely be another reading experience altogether. I've covered few of the many aspects of Rimbaud's undeniable influence on the literature, poetry, music, theatre, art and even fashion of modern Western times.
In this way there'll always be certain downsides to barely scraping the surface of any great poet's work or poetics, particularly that of Rimbaud's calibre, but I hope this short review of the Complete Works of Arthur Rimbaud will inspire people to learn about Rimbaud and what he achieved.
This was Henry Miller's experience of him, and it was no doubt mine as well. Encountering Rimbaud the extraordinary man and the attendant extraordinary life (as I learned from reading Graham Robb's expertly researched biography Rimbaud) would only intensify this, even if the poetry and the life are inseparable.
With Rimbaud's poetry, everything depends on the pure and often deranged expression (to reference Rimbaud's famous words on the "derangement of the senses") of poetic language, and this, coupled with his radically novel way of using it to intense effect, is what makes him a singular artist. Early 1870s-era poems like the visually hypnotising "The Drunken Boat" and the creatively composed "Vowels" are strong examples of this. The works from Illuminations, the imagery of which is often dazzling and brilliant, also shouldn't be left out here.
As another example, I found and still find "A Season in Hell", one of his longer prose poem efforts, deeply affecting for its haunting imagery and style. Translator Paul Schmidt's English rendering of Rimbaud's French verse in the Complete Works brings these qualities to the surface for monolingual readers (even though I personally prefer other translations like Louise Varese's).
The translated letters of Rimbaud (Paul Verlaine's, too) were also enthralling, especially the Africa period entries where he was always contending with some kind of physical, mental or financial difficulty. They weren't always easy to read. One could say they possess their own inherent poetry as Rimbaud's life could be interpreted as a sort of unpredictable epic poem, so to speak, one where tragedy had as much an equal say as promise.
I'm sure reading a bilingual or French version of Rimbaud in addition wouldn't hurt either, since braving the original French of his work would surely be another reading experience altogether. I've covered few of the many aspects of Rimbaud's undeniable influence on the literature, poetry, music, theatre, art and even fashion of modern Western times.
In this way there'll always be certain downsides to barely scraping the surface of any great poet's work or poetics, particularly that of Rimbaud's calibre, but I hope this short review of the Complete Works of Arthur Rimbaud will inspire people to learn about Rimbaud and what he achieved.
November 28, 2012
I have very fond memories of finding Rimbaud. I was killing time in one of my favorite small bookstores before I was to meet friends and wound up in front of the poetry shelf on the second floor. His name sounded familiar to me from all my reading on Bob Dylan, and the wonderful movie "I'm Not There" where A.R. is played by Ben Whishaw ("R-I-M-B-A-U-D"), so I picked this volume off the shelf and started reading.
An hour later I was still on the floor of the bookstore, late to my appointment, and was absolutely in love. To the point where I seriously considered picking up French in order to read him without the buffer of the translator. He gets language in a way that has only been rivaled by few other writers since Rimbaud's death. Recommended for the poor starving artists among you.
An hour later I was still on the floor of the bookstore, late to my appointment, and was absolutely in love. To the point where I seriously considered picking up French in order to read him without the buffer of the translator. He gets language in a way that has only been rivaled by few other writers since Rimbaud's death. Recommended for the poor starving artists among you.
August 30, 2012
He has cruelly, wildly, savagely, and oh, so beautifully
scratched, ripped off his own flesh,
his layers
Bloody, raw, completely blunt, pure,
everything and nothing
All is clear in the violent red
In the blood, in the teeth, in the aggression, in the claws
He has ripped away all his flesh
until he reaches his heart
As he writes
He is savagely ripping, biting, tearing
apart his very essence,
his beating heart
He is dying and living
Ripping and panting and breathing and biting
There is blood
So much blood
The claws savagely rip everything up
There is blood
Everywhere
Wild eyes, white teeth
Savage, pure, such beautiful aggression
There is blood
So much blood
Beautiful aggression
I burst with you
scratched, ripped off his own flesh,
his layers
Bloody, raw, completely blunt, pure,
everything and nothing
All is clear in the violent red
In the blood, in the teeth, in the aggression, in the claws
He has ripped away all his flesh
until he reaches his heart
As he writes
He is savagely ripping, biting, tearing
apart his very essence,
his beating heart
He is dying and living
Ripping and panting and breathing and biting
There is blood
So much blood
The claws savagely rip everything up
There is blood
Everywhere
Wild eyes, white teeth
Savage, pure, such beautiful aggression
There is blood
So much blood
Beautiful aggression
I burst with you
March 19, 2017
I discovered Rimbaud in High School, and since then his tormented and garroulous spirit have inspired me and I find myself returning to his prose and poetry often......this is a complete collection of his work, edited by Wyatt Mason; and I still read this like it was new and fresh to me. His words and wording bring up not just images, but an illusion that is immediately recognizable and relatable. This book is divided according to periods of his life, but every piece could stand alone. I find in his work, so many sentences that to me are amazing and thought provoking. This is what stays with me, his words, and how he can twist a sentence to wrap around itself and leave you so sure of his emotive, you feel you could have written it yourself....
September 26, 2007
The best collection of Rimbaud's work I've read. Presents several translations of his work and justifies/explains why and how the editor got to the one they chose. Also includes some really great excerpts from Rimbaud's school notebooks, poems and little blurbs, that you won't find anywhere else.
Read
July 3, 2015禺丕亘 丕賲賱賷 貙 賯氐丕卅丿賴 丕亘鬲賴鬲鬲賴丕 丕賱鬲噩乇賲丞
鬲亘丿賵丕 亘賱丕 丕賱賵丕賳
乇兀賷鬲 噩賳賵賳賴 乇兀賷鬲 孬賵乇鬲賴 乇兀賷鬲 丨亘賴 賮賷 賰賱賲丕鬲 賲氐胤賳毓丞 賱賰賳賷 賱賲 丕卮毓乇 亘兀賷 賲賳賴丕!
鬲亘丿賵丕 亘賱丕 丕賱賵丕賳
乇兀賷鬲 噩賳賵賳賴 乇兀賷鬲 孬賵乇鬲賴 乇兀賷鬲 丨亘賴 賮賷 賰賱賲丕鬲 賲氐胤賳毓丞 賱賰賳賷 賱賲 丕卮毓乇 亘兀賷 賲賳賴丕!
October 28, 2016
丕賱毓丕賱賲 馗賲丌賳 賱賱丨亘
.
賰丕賳 賱丿賷賳丕
卮賷亍 賲丕 賮賷 丕賱賯賱亘
賷卮亘賴 丕賱丨亘
.
賴匕賴 丕賱兀爻卅賱丞 丕賱兀賱賮
丕賱鬲賷 鬲鬲賮乇毓
賱丕 鬲賮囟賷 賮賷 丕賱賳賴丕賷丞 廿賱丕
廿賱賶 丕賱爻賰乇 賵丕賱噩賳賵賳
.
鬲乇噩賲丞 乇賮毓鬲 爻賱丕賲 賮丕鬲賳丞
賱賰賳 賰孬賷乇 賲賳 丕賱賯氐丕卅丿 賱賲 鬲賲爻賻賾賳賷 乇賵丨賴丕
.
賰丕賳 賱丿賷賳丕
卮賷亍 賲丕 賮賷 丕賱賯賱亘
賷卮亘賴 丕賱丨亘
.
賴匕賴 丕賱兀爻卅賱丞 丕賱兀賱賮
丕賱鬲賷 鬲鬲賮乇毓
賱丕 鬲賮囟賷 賮賷 丕賱賳賴丕賷丞 廿賱丕
廿賱賶 丕賱爻賰乇 賵丕賱噩賳賵賳
.
鬲乇噩賲丞 乇賮毓鬲 爻賱丕賲 賮丕鬲賳丞
賱賰賳 賰孬賷乇 賲賳 丕賱賯氐丕卅丿 賱賲 鬲賲爻賻賾賳賷 乇賵丨賴丕
July 21, 2022
芦 On est pas s茅rieux quand on a dix-sept ans. 禄
omgg
honn锚tement, je pense que m锚me cinq 茅toiles ne suffisent pas pour qualifier le talent et la plume de Rimbaud.
je suis clairement tomb茅e amoureuse de ce recueil en fait, je me demande vraiment pourquoi j'ai attendu aussi longtemps pour le lire. tout 脿 l'int茅rieur m'a beaucoup plu. les po猫mes en vers et en prose, le d茅sir de provocation de l'auteur, son style singulier, sa jeunesse et pourtant son incroyable maturit茅, etc.
bref, c'est un 茅norme coup de c艙ur !
omgg
honn锚tement, je pense que m锚me cinq 茅toiles ne suffisent pas pour qualifier le talent et la plume de Rimbaud.
je suis clairement tomb茅e amoureuse de ce recueil en fait, je me demande vraiment pourquoi j'ai attendu aussi longtemps pour le lire. tout 脿 l'int茅rieur m'a beaucoup plu. les po猫mes en vers et en prose, le d茅sir de provocation de l'auteur, son style singulier, sa jeunesse et pourtant son incroyable maturit茅, etc.
bref, c'est un 茅norme coup de c艙ur !
May 23, 2024
::丕賳胤亘丕毓 毓丕賲 卮禺氐賷 噩丿賸丕 噩丿賸丕 噩丿賸丕::
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1_ 賷丕 賱賱毓馗賲丞! 賷丕 賱賱賮馗丕毓丞! 賷丕 賱賱兀賱賲! 賷丕 賱賱賲噩丿! 賷丕 賱賱卮賲爻 丕賱鬲賷 鬲賲噩丿 亘賴丕 乇丕賲亘賵 賵丕亘鬲賴賱 廿賱賶 賮賵亘賵爻 乇亘 丕賱囟賷丕亍 賵丕賱賳賵乇! 賷丕 賱氐毓賵亘丞 賯乇丕亍丞 乇丕賲亘賵! 賰賱 賰賱賲丞 鬲丨鬲丕噩 賱鬲賯賲氐 乇賴賷亘貙 賰賱 爻胤乇 賳賯賱丞 賮賷 亘購毓丿 賲禺鬲賱賮貙 賵賰賱 賯氐賷丿丞 賴賷 賮鬲乇丞 卮毓乇賷丞 賲賳賮氐賱丞 鬲賲丕賲賸丕 毓賳 丕賱鬲賷 賯亘賱賴丕貙 賵賰賱 匕賱賰 丨丿孬 賮賷 亘囟毓 爻賳賵丕鬲 賯亘賱 兀賳 賷毓鬲夭賱 丕賱卮毓乇 賮賷 兀賵賱 毓卮乇賷賳賷丕鬲賴! 賰賷賮! 賰賷賮 賰鬲亘 賰賱 匕賱賰 賵賴賵 亘毓丿 賷乇丕賴賯責 賰賱 噩乇賾亘 賰賱 匕賱賰 賵爻亘乇 兀睾賵丕乇 丕賱賳賮爻 亘賴匕賴 丕賱爻乇毓丞責 賰賷賮 賵氐賱 賱丌禺乇 丕賱丨賷丕丞 亘賴匕賴 丕賱賯丿乇丞! 兀鬲噩乇兀 賵兀賯賵賱: 乇丕賲亘賵 賯賮賾賱 賱毓亘丞 丕賱丨賷丕丞 亘丿乇賷 亘丿乇賷貙 賵毓卮丕賳 賰丿丕 賲丕鬲 亘丿乇賷 亘丿乇賷貙 賱廿賳賴 毓乇賮 廿賳賴丕 賰賵賲賷丿賷丕 亘鬲爻禺乇 賲賳賳丕 賰賱賳丕!
2_ 賵亘毓丿 丕賱鬲賲噩賷丿 賮賷 乇丕賲亘賵貙 賷賳丕賱 丕賱賲鬲乇噩賲 賰丕馗賲 噩賴丕丿 丕賱鬲賲噩賷丿 亘賳賮爻 丕賱賯丿乇 賱丕 賷夭賷丿 賵賱丕 賷賳賯氐! 賴匕丕 丕賱賲鬲乇噩賲 丕賱賲禺賱氐 丕賱匕賷 賯丿賲賴 賮賷 賴匕賴 丕賱丌孬丕乇 丕賱卮毓乇賷丞 丨丕賱丞 賳丕丿乇丞 賮賷 鬲丕乇賷禺 丕賱鬲乇噩賲丕鬲 丕賱毓乇亘賷丞. 賴匕賴 賱賷爻鬲 鬲乇噩賲丞 亘賯丿乇 賲丕 賴賷 丿乇丕爻丞 賰丕賲賱丞 毓賳 乇丕賲亘賵 賵卮毓乇賴. 賱丕 賷鬲乇賰 賰丕馗賲 賴賮賵丞 廿賱丕 賵賷鬲乇噩賲賴丕 賰賲丕 賯丕賱賴丕 乇丕賲亘賵 賮賷 賮乇賳爻賷鬲賴 賵賱丕 賷賰鬲賮賷 亘匕賱賰 亘賱 賷賵乇丿 丕賱丨賵丕卮賷 賵丕賱鬲賮丕爻賷乇 丕賱賲丨鬲賲賱丞 賱賮賰 賱睾夭 丕賱兀亘賷丕鬲 丕賱卮毓乇賷丞 丕賱乇丕賲亘賵賷丞 丕賱賲爻鬲毓氐賷丞 毓賱賶 賮賴賲 丕賱賮乇賳爻賷 賯亘賱 丕賱毓乇亘賷! 賲噩賴賵丿 賱丕 賷賵賮賷 丨賯賴 兀賷 賰賱丕賲! 賲賳 丨賷孬 丕賱廿禺乇丕噩 丕賱賮賳賷 賲賳 丿丕乇 丕賱噩賲賱 賵丌賮丕賯貙 賵賲賳 丨賷孬 丕賱鬲卮賰賷賱 賵丕賱鬲丿賯賷賯 丕賱賱睾賵賷貙 賵賲賳 丨賷孬 丕賱丨賵丕卮賷 賵丕賱賴賵丕賲卮貙 賵賲賳 丨賷孬 鬲賯爻賷賲 丕賱毓賲賱 賱賮鬲乇丕鬲 廿亘丿丕毓賷丞 賱乇丕賲亘賵貙 賵賮賵賯 賰賱 匕賱賰: 賲賳 丨賷孬 丕賱鬲乇噩賲丞 匕丕鬲賴丕 - 丕賱亘胤賱丞 丕賱丨賯賷賯賷丞 丕賱鬲賷 賳賯賱鬲 乇賵丨 乇丕賲亘賵 賮賷 賮乇賳爻賷鬲賴丕 丕賱賲鬲賵丨卮丞 丕賱卮賲爻賷丞 丕賱乇丕賲亘賵賷丞.
3_ 乇丕賲亘賵 賱賷爻 卮禺氐賸丕 賵丕丨丿賸丕 亘賱 賴賵 丕賱賰孬賷乇 賲賳 丕賱兀卮禺丕氐 賵丕賱賲乇丕丨賱. 賵賱賴匕丕 兀賳丕 賮毓賱丕賸 兀鬲亘賳賶 賳馗乇賷丞 兀賳 丕賱廿賳爻丕賳 賴賵 鬲丕乇賷禺 兀賷 賴賵 賲噩賲賵毓丞 賲賳 丕賱丨賷賵丕鬲 丕賱賲氐睾乇丞 賵丕賱賲乇丕丨賱 丕賱丨賷丕鬲賷丞 丕賱賲鬲鬲丕亘毓丞 賱賰賱 賲乇丨賱丞 賳賰賴鬲賴丕 賵賳賲賵匕噩賴丕 賵鬲噩丕乇亘賴丕 賵賱睾鬲賴丕 亘賱 賵廿賷賲丕賳賴丕. 賯丕賱 丕賱卮丕毓乇 丕賱亘乇賷胤丕賳賷 丕賱囟禺賲 鬲丿 賴賷賵夭 賱胤賱賷賯鬲賴 丕賱卮丕毓乇丞 丕賱兀賲乇賷賰賷丞 爻賷賱賮賷丕 亘賱丕孬: "毓賱賶 丕賱賲乇亍 兀賳 賷賯鬲賱 丨賷丕鬲賴 賰賱 毓卮乇 爻賳賵丕鬲." - 兀賲丕 乇丕賲亘賵 賮賯丿 賯鬲賱 丨賷丕鬲賴 賰賱 毓丿丞 兀卮賴乇! 賱賲 賷乇囟貙 賱賲 賷爻鬲賰賳貙 賱賲 賷爻鬲爻賱賲貙 廿賳賴 乇賵丨 亘乇賾賷丞 賴賵噩丕亍貙 噩乇賾亘 賰賱 卮賷亍貙 賵賱丿賷賴 丕鬲爻丕毓 爻賷賰賵賱賵噩賷 乇賴賷亘 賵賲禺賷賮 賵賴匕丕 賲丕 噩毓賱賴 賷爻鬲胤賷毓 兀賳 賷丨鬲乇賯 賵賷賯賵賲 賲賳 乇賲丕丿賴 賰賱 賲乇丞 亘丨丕賱丞 丕爻鬲胤賷賯賷丞 噩丿賷丿丞 賵賲禺鬲賱賮丞 毓賳 爻丕亘賯鬲賴丕. 賱賯丿 賰丕賳 丕賱睾囟亘 賴賵 賲丨乇賰賴 賵毓丿賲 乇囟丕賴 賵賲孬賱賴 丕賱兀毓賱賶 賴賵 賮賵亘賵爻 丕賱卮賲爻 丕賱賳賷賾乇丞. 乇丕賲亘賵 丨丕賱丞 卮毓乇賷丞 賱賳 鬲鬲賰乇乇.
4_ 亘毓丿 丕賱丕胤賱丕毓 毓賱賶 鬲乇噩賲丞 丕賱丿賰鬲賵乇 乇賮毓鬲 爻賱丕賲 乇丨賲賴 丕賱賱賴 賱兀毓賲丕賱 乇丕賲亘賵 丕賱賰丕賲賱丞 - 兀爻鬲胤賷毓 丕賱賯賵賱 亘爻胤賵乇 賲禺鬲氐乇丞 噩丿賸丕 - 鬲乇噩賲丞 噩賴丕丿 賴賷 鬲乇噩賲丞 鬲賮爻賷乇賷丞 鬲爻亘乇 睾賵乇 丕賱賱睾丞 賵鬲賮賰賰 爻賷賰賵賱賵噩賷丞 丕賱卮丕毓乇貨 亘賷賳賲丕 鬲乇噩賲丞 爻賱丕賲 賴賷 鬲乇噩賲丞 卮毓乇賷丞 噩賲丕賱賷丞 鬲爻鬲賲鬲毓 亘賯乇丕亍鬲賴丕 賱賰賳賰 賯丿 鬲囟賷毓 賮賷 鬲賮爻賷乇賰 丕賱匕丕鬲賷 賱爻胤賵乇賴丕 賱兀賳賴丕 亘賱丕 兀賷 賲乇卮丿 賮兀賳鬲 兀賲丕賲 丕賱賳氐 丕賱毓丕乇賷 丕賱毓乇亘賷 丿賵賳 兀賷 廿丨丕胤丞 亘兀噩賵丕卅賴 丕賱賮乇賳爻賷丞 丕賱乇丕賲亘賵賷丞. 賱匕賱賰貨 賱丕 兀丐孬乇 鬲乇噩賲丞 毓賱賶 兀禺乇賶貙 亘賱 兀丨亘 丕賱鬲乇噩賲鬲賷賳 賵兀賲鬲賱賰賴賲丕 賲毓賸丕貙 賵兀賯乇兀 丕賱賯氐賷丿丞 亘丕賱鬲乇噩賲鬲賷賳 賵兀爻鬲賲鬲毓 亘丕賱賯丿乇 賳賮爻賴. 賵賷丕 賱賷鬲 賱賵 賰賳鬲 兀爻鬲胤賷毓 丕賱賯乇丕亍丞 亘丕賱賮乇賳爻賷丞!
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::賲賳 賴賵 丌乇鬲賵乇 乇丕賲亘賵責::
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1_ 噩丕賳 賳賷賰賵賱丕 丌乇孬乇 乇丕賲亘賵 (20 兀賰鬲賵亘乇 1854 - 10 賳賵賮賲亘乇 1891) 賰丕賳 卮丕毓乇賸丕 賮乇賳爻賷賸丕 賲毓乇賵賮賸丕 亘鬲噩丕賵夭賴 賵毓賳賮賴 賵賲賵丕囟賷毓賴 丕賱爻乇賷丕賱賷丞 賵鬲兀孬賷乇賴 毓賱賶 丕賱兀丿亘 賵丕賱賮賳賵賳 丕賱丨丿賷孬丞. 賵賱丿 賮賷 卮丕乇賱賮賷賱貙 賵亘丿兀 丕賱賰鬲丕亘丞 賮賷 爻賳 賲亘賰乇丞 噩丿賸丕 賵鬲賮賵賯 賰胤丕賱亘 賮賷 賲丿乇爻鬲賴貙 賱賰賳賴 鬲禺賱賶 毓賳 鬲毓賱賷賲賴 丕賱乇爻賲賷 賮賷 爻賳賵丕鬲 賲乇丕賴賯鬲賴 賱賷賴乇亘 廿賱賶 亘丕乇賷爻 廿亘丕賳 丕賱丨乇亘 丕賱賮乇賳爻賷丞 丕賱亘乇賵爻賷丞. 兀賳鬲噩 禺賱丕賱 賮鬲乇丞 賲乇丕賴賯鬲賴 丕賱賲鬲兀禺乇丞 賵兀賵丕卅賱 爻賳 丕賱亘賱賵睾 丕賱噩夭亍 丕賱兀賰亘乇 賲賳 廿賳鬲丕噩賴 丕賱兀丿亘賷. 鬲賵賯賮 乇丕賲亘賵 毓賳 賰鬲丕亘丞 丕賱兀丿亘 鬲賲丕賲賸丕 賮賷 爻賳 丕賱毓卮乇賷賳 亘毓丿 鬲噩賲賷毓 丌禺乇 兀毓賲丕賱賴 丕賱乇卅賷爻賷丞 丕賱賲毓賳賵賳 亘丕爻賲 "廿卮乇丕賯丕鬲".
2_ 賰丕賳 乇丕賲亘賵 賲鬲丨乇乇賸丕 賵賱賴 乇賵丨 睾賷乇 賴丕丿卅丞貙 賵丕賳禺乇胤 賮賷 毓賱丕賯丞 賲丨賲賵賲丞 賵毓賳賷賮丞 賲毓 夭賲賷賱賴 丕賱卮丕毓乇 亘賵賱 賮賷乇賱賷賳貙 賵丕賱鬲賷 丕爻鬲賲乇鬲 賯乇丕亘丞 毓丕賲賷賳. 亘毓丿 鬲賯丕毓丿賴 賰賰丕鬲亘貙 爻丕賮乇 賰孬賷乇賸丕 賮賷 孬賱丕孬 賯丕乇丕鬲 賰鬲丕噩乇 賵賲爻鬲賰卮賮 丨鬲賶 賵賮丕鬲賴 亘賲乇囟 丕賱爻乇胤丕賳 亘毓丿 毓賷丿 賲賷賱丕丿賴 丕賱爻丕亘毓 賵丕賱孬賱丕孬賷賳. 丕卮鬲賴乇 賰卮丕毓乇 亘賲爻丕賴賲丕鬲賴 賮賷 鬲賷丕乇 丕賱乇賲夭賷丞貙 賵賲賳 亘賷賳 兀毓賲丕賱賴 丕賱兀禺乇賶貙 "賮氐賱 賮賷 丕賱噩丨賷賲"貙 賵賷毓鬲亘乇 鬲賵胤卅丞 賱賱兀丿亘 丕賱丨丿丕孬賷.
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::賲乇丕丨賱 丨賷丕鬲賴::
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1_ 胤賮賵賱鬲賴 (1854-1861):
賵購賱賽丿 乇丕賲亘賵 賮賷 亘賱丿丞 卮丕乇賱賮賷賱 賮賷 賲賯丕胤毓丞 丌乇丿賷賳 賮賷 卮賲丕賱 卮乇賯 賮乇賳爻丕. 賰丕賳 賵丕賱丿 乇丕賲亘賵 賲賳 兀氐賵賱 亘乇賵賮賳爻丕賱賷丞貙 賳賯賷亘賸丕 賮賷 丕賱賲卮丕丞 賵鬲乇賯賶 賮賷 丕賱乇鬲亘貨 賱賯丿 兀賲囟賶 丕賱賰孬賷乇 賲賳 丨賷丕鬲賴 丕賱毓爻賰乇賷丞 賮賷 丕賱禺丕乇噩. 卮丕乇賰 賮賷 睾夭賵 丕賱噩夭丕卅乇 賵丨氐賱 毓賱賶 賵爻丕賲 丕賱卮乇賮 亘賲乇爻賵賲 廿賲亘乇丕胤賵乇賷 賰賲丕 賵購氐賽賮 丕賱賰丕亘鬲賳 乇丕賲亘賵 兀賳賴 匕賵 賲夭丕噩 噩賷丿 賵爻賴賱 賵賰乇賷賲 賵賱賴 卮丕乇亘 胤賵賷賱 賵賱丨賷丞 氐睾賷乇丞. 鬲賲 賳賯賱 丕賱賰丕亘鬲賳 乇丕賲亘賵 亘毓丿 匕賱賰貙 丕賱匕賷 賰丕賳 賷亘賱睾 賲賳 丕賱毓賲乇 38 毓丕賲賸丕貙 廿賱賶 賲賷夭賷賷乇 丨賷孬 丕賱鬲賯賶 賮賷鬲丕賱賷 賰賵賷賮貙 丕賱鬲賷 鬲氐睾乇賴 亘賭 11 毓丕賲賸丕貙 兀孬賳丕亍 賳夭賴丞 賷賵賲 丕賱兀丨丿. 賰丕賳鬲 卮禺氐賷鬲賴丕 丕賱毓賰爻 鬲賲丕賲賸丕 賱卮禺氐賷丞 丕賱賰丕亘鬲賳 乇丕賲亘賵. 賵亘丨爻亘 賲丕 賵乇丿 賰丕賳鬲 囟賷賯丞 丕賱兀賮賯 賵亘禺賷賱丞. 賱賰賳 鬲夭賵噩賴丕 丕賱賰丕亘鬲賳 乇丕賲亘賵.
毓賱賶 丕賱乇睾賲 賲賳 兀賳 丕賱夭賵丕噩 丕爻鬲賲乇 爻亘毓 爻賳賵丕鬲貙 廿賱丕 兀賳 丕賱賰丕亘鬲賳 乇丕賲亘賵 毓丕卮 亘卮賰賱 賲爻鬲賲乇 賮賷 賲賳夭賱 丕賱夭賵噩賷丞 賱賲丿丞 鬲賯賱 毓賳 孬賱丕孬丞 兀卮賴乇貙 亘賯賷丞 丕賱賵賯鬲 賰丕賳鬲 賲賳丕氐亘賴 丕賱毓爻賰乇賷丞 - 亘賲丕 賮賷 匕賱賰 丕賱禺丿賲丞 丕賱賮毓賱賷丞 賮賷 丨乇亘 丕賱賯乇賲 賵丨賲賱丞 爻乇丿賷賳賷丕 (賲毓 丕賱賲賷丿丕賱賷丕鬲 丕賱鬲賷 丨氐賱 毓賱賷賴丕 賮賷 賰賱賷賴賲丕) - 鬲毓賳賷 兀賳賴 毓丕丿 廿賱賶 賲賳夭賱賴 賮賷 卮丕乇賱賮賷賱 賮賯胤 毓賳丿賲丕 賷賰賵賳 賮賷 廿噩丕夭丞. 賵賱賲 賷賰賳 賲鬲賵丕噩丿賸丕 賮賷 丕賱賲賳夭賱 賲賳 兀噩賱 賵賱丕丿丞 兀亘賳丕卅賴 賵賱丕 鬲毓賲賷丿賴賲. 賱丕 亘丿 兀賳 賵賱丕丿丞 廿賷夭丕亘賷賱 毓丕賲 1860 賰丕賳鬲 丕賱賯卮丞 丕賱鬲賷 賯氐賲鬲 馗賴乇 丕賱亘毓賷乇貙 丨賷孬 鬲賵賯賮 丕賱賰丕亘鬲賳 乇丕賲亘賵 亘毓丿 匕賱賰 毓賳 丕賱毓賵丿丞 廿賱賶 丕賱賲賳夭賱 賮賷 廿噩丕夭丞 鬲賲丕賲賸丕. 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴賲丕 賱賲 賷鬲胤賱賯丕 兀亘丿賸丕貙 廿賱丕 兀賳 丕賱丕賳賮氐丕賱 賰丕賳 賰丕賲賱丕賸貨 亘毓丿 匕賱賰貙 兀胤賱賯鬲 丕賱爻賷丿丞 乇丕賲亘賵 毓賱賶 賳賮爻賴丕 賱賯亘 "兀乇賲賱丞 乇丕賲亘賵" 賵賵氐賮 丕賱賰丕亘鬲賳 乇丕賲亘賵 賳賮爻賴 亘兀賳賴 兀乇賲賱. 賵賱賲 賷購馗賴乇 丕賱賯亘胤丕賳 賵賱丕 兀胤賮丕賱賴 兀丿賳賶 丕賴鬲賲丕賲 亘廿毓丕丿丞 賱賲 丕賱卮賲賱 丕賱兀爻乇賷. 賷毓亘賾乇 乇丕賲亘賵 賮賷 兀卮毓丕乇賴 丕賱賲亘賰乇丞 毓賳 睾賷丕亘 丕賱兀亘 丕賱丨丕丿賾 賴匕丕.
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2_ 賲乇丕賴賯鬲賴 (1861-1871):
胤賵丕賱 丕賱爻賳賵丕鬲 丕賱禺賲爻 丕賱鬲賷 賯囟丕賴丕 乇丕賲亘賵 賮賷 丕賱賲丿乇爻丞貙 馗賱鬲 賵丕賱丿鬲賴 鬲賮乇囟 廿乇丕丿鬲賴丕 毓賱賷賴貙 賵鬲丿賮毓賴 賱鬲丨賯賷賯 丕賱賳噩丕丨 丕賱丿乇丕爻賷. 賰丕賳鬲 鬲毓丕賯亘 兀亘賳丕亍賴丕 亘噩毓賱賴賲 賷丨賮馗賵賳 賲丕卅丞 爻胤乇 賲賳 丕賱卮毓乇 丕賱賱丕鬲賷賳賷 毓賳 馗賴乇 賯賱亘貙 賵鬲毓丕賯亘賴賲 亘丨乇賲丕賳賴賲 賲賳 賵噩亘丕鬲 丕賱胤毓丕賲. 毓賳丿賲丕 賰丕賳 丌乇孬乇 賮賷 丕賱鬲丕爻毓丞 賲賳 毓賲乇賴貙 賰鬲亘 賲賯丕賱賸丕 賲賳 700 賰賱賲丞 賷毓鬲乇囟 賮賷賴 毓賱賶 丕囟胤乇丕乇賴 賱鬲毓賱賲 丕賱賱睾丞 丕賱賱丕鬲賷賳賷丞 賮賷 丕賱賲丿乇爻丞. 兀丿丕賳 亘卮丿丞 丕賱鬲毓賱賷賲 丕賱賰賱丕爻賷賰賷 亘丕毓鬲亘丕乇賴 賲噩乇丿 亘賵丕亘丞 賱賱丨氐賵賱 毓賱賶 賵馗賷賮丞 亘兀噩乇貙 賵賰鬲亘 賲乇丕乇賸丕 賵鬲賰乇丕乇賸丕貙 "爻兀賰賵賳 賲爻鬲兀噩乇賸丕". 賱賲 賷毓噩亘 丌乇孬乇 亘丕賱賵丕噩亘丕鬲 丕賱賲丿乇爻賷丞 賵丕爻鬲丕亍 賲賳 廿卮乇丕賮 賵丕賱丿鬲賴 丕賱賲爻鬲賲乇. 賱賲 賷購爻賲丨 賱賱兀胤賮丕賱 亘丕賱丕亘鬲毓丕丿 毓賳 乇丐賷丞 兀賲賴賲貙 賵丨鬲賶 賷亘賱睾賵丕 丕賱禺丕賲爻丞 毓卮乇丞 賵丕賱爻丕丿爻丞 毓卮乇丞 賲賳 丕賱毓賲乇 毓賱賶 丕賱鬲賵丕賱賷貙 賰丕賳鬲 鬲氐胤丨亘賴賲 廿賱賶 丕賱賲賳夭賱 賲賳 丕賱賲丿乇爻丞. 丨鬲賶 匕賱賰 丕賱丨賷賳貙 賰丕賳鬲 賯乇丕亍鬲賴 賲賯鬲氐乇丞 廿賱賶 丨丿 賰亘賷乇 毓賱賶 丕賱賰鬲丕亘 丕賱賲賯丿爻貙 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴 賰丕賳 賷爻鬲賲鬲毓 兀賷囟賸丕 亘丕賱丨賰丕賷丕鬲 丕賱禺賷丕賱賷丞 賵賯氐氐 丕賱賲睾丕賲乇丕鬲貙 兀氐亘丨 賮賷 丕賱賰賱賷丞 胤丕賱亘賸丕 賳丕噩丨賸丕 賱賱睾丕賷丞貙 丨賷孬 鬲乇兀爻 賮氐賱賴 賮賷 噩賲賷毓 丕賱賲賵丕丿 亘丕爻鬲孬賳丕亍 丕賱乇賷丕囟賷丕鬲 賵丕賱毓賱賵賲貨 賱丕丨馗 賲毓賱賲賵賴 賯丿乇鬲賴 毓賱賶 丕爻鬲賷毓丕亘 賰賲賷丕鬲 賰亘賷乇丞 賲賳 丕賱賲賵丕丿. 丨氐賱 毓賱賶 孬賲丕賳賷 噩賵丕卅夭 兀賵賱賶 賮賷 丕賱賲爻丕亘賯丕鬲 丕賱兀賰丕丿賷賲賷丞 丕賱賮乇賳爻賷丞 毓丕賲 1869貙 賲賳賴丕 噩丕卅夭丞 丕賱鬲乇亘賷丞 丕賱丿賷賳賷丞貙 賵賮賷 丕賱毓丕賲 丕賱鬲丕賱賷 丨氐賱 毓賱賶 爻亘毓 噩賵丕卅夭 兀賵賱賶. 賯丕賲鬲 丕賱爻賷丿丞 乇丕賲亘賵 亘鬲毓賷賷賳 賲丿乇爻 禺丕氐 賱丌乇孬乇 毓賳丿賲丕 賵氐賱 廿賱賶 丕賱氐賮 丕賱孬丕賱孬. 賳噩丨 丕賱兀亘 兀乇賷爻鬲 賱賷乇賷鬲賷賷賴 賮賷 廿孬丕乇丞 丨亘 丕賱毓丕賱賲 丕賱卮丕亘 賱賱兀丿亘 丕賱賰賱丕爻賷賰賷 丕賱賷賵賳丕賳賷 賵丕賱賱丕鬲賷賳賷 賵丕賱賮乇賳爻賷丞貙 賵賰丕賳 兀賵賱 賲賳 卮噩毓 丕賱氐亘賷 毓賱賶 賰鬲丕亘丞 丕賱卮毓乇 丕賱兀氐賱賷 亘丕賱賱睾鬲賷賳 丕賱賮乇賳爻賷丞 賵丕賱賱丕鬲賷賳賷丞. 兀賵賱 賯氐賷丿丞 賱乇丕賲亘賵 馗賴乇鬲 賲胤亘賵毓丞 賰丕賳鬲 (賴丿丕賷丕 丕賱丨賱賵丕賳 賱賱兀賷鬲丕賲)貙 賵賳卮乇鬲 毓賳丿賲丕 賰丕賳 毓賲乇賴 15 毓丕賲賸丕 賮賯胤. 兀氐亘丨 廿賷夭丕賲亘丕乇丿 賲毓賱賲 乇丕賲亘賵貙 賵爻乇毓丕賳 賲丕 鬲卮賰賱鬲 氐丿丕賯丞 賵孬賷賯丞 亘賷賳 丕賱賲毓賱賲 賵丕賱胤丕賱亘貙 丨賷孬 乇兀賶 乇丕賲亘賵 賮賷 廿賷夭丕賲亘丕乇丿 亘賲孬丕亘丞 丕賱兀禺 丕賱兀賰亘乇. 賰丕賳 乇丕賲亘賵 賷馗賴乇 賳囟噩賴 賰卮丕毓乇貨 丕賱賯氐賷丿丞 丕賱兀賵賱賶 丕賱鬲賷 毓乇囟賴丕 毓賱賶 廿賷夭丕賲亘丕乇丿貙 "兀賵賮賷賱賷丕"貙 賵睾丕賱亘賸丕 賲丕 鬲毓鬲亘乇 賵丕丨丿丞 賲賳 兀賮囟賱 孬賱丕孬 兀賵 兀乇亘毓 賯氐丕卅丿 賱乇丕賲亘賵. 賮賷 4 賲丕賷賵 1870貙 賰鬲亘鬲 賵丕賱丿丞 乇丕賲亘賵 廿賱賶 廿賷夭丕賲亘丕乇丿 鬲毓鬲乇囟 毓賱賶 廿毓胤丕亍 乇丕賲亘賵 賮賷賰鬲賵乇 賴賵睾賵 乇賵丕賷丞 丕賱亘丐爻丕亍 賱賯乇丕亍鬲賴丕貙 賱兀賳賴丕 丕毓鬲賯丿鬲 兀賳 丕賱賰鬲丕亘 賷卮賰賱 禺胤乇賸丕 毓賱賶 兀禺賱丕賯 丕賱胤賮賱. 丕賳丿賱毓鬲 丕賱丨乇亘 丕賱賮乇賳爻賷丞 丕賱亘乇賵爻賷丞貙 亘賷賳 丕賱廿賲亘乇丕胤賵乇賷丞 丕賱賮乇賳爻賷丞 丕賱孬丕賳賷丞 賱賳丕亘賱賷賵賳 丕賱孬丕賱孬 賵賲賲賱賰丞 亘乇賵爻賷丕貙 睾丕丿乇 廿賷夭丕賲亘丕乇丿 卮丕乇賱賮賷賱 賱賯囟丕亍 丕賱氐賷賮 賱賷賯賷賲 賲毓 毓賲丕鬲賴 丕賱孬賱丕孬 賵兀氐亘丨鬲 賰賱賷丞 卮丕乇賱賮賷賱 賲爻鬲卮賮賶 毓爻賰乇賷賸丕. 亘丨賱賵賱 賳賴丕賷丞 卮賴乇 兀睾爻胤爻貙 賵賲毓 丨丕賱丞 丕賱丕囟胤乇丕亘 賮賷 丕賱乇賷賮貙 卮毓乇 乇丕賲亘賵 亘丕賱賲賱賱 賵丕賱賯賱賯. 賮賴乇亘 亘丨孬賸丕 毓賳 丕賱賲睾丕賲乇丞 亘丕賱賯胤丕乇 廿賱賶 亘丕乇賷爻 丿賵賳 兀賳 賷賰賵賳 賱丿賷賴 兀賲賵丕賱 賰丕賮賷丞 賱鬲匕賰乇鬲賴. 毓賳丿 賵氐賵賱賴 廿賱賶 睾丕乇 丿賵 賳賵乇丿貙 鬲賲 丕賱賯亘囟 毓賱賷賴 賵丕丨鬲噩丕夭賴 賮賷 爻噩賳 賲丕夭丕爻 賮賷 丕賳鬲馗丕乇 丕賱賲丨丕賰賲丞 亘鬲賴賲丞 丕賱鬲賴乇亘 賲賳 丿賮毓 丕賱兀噩乇丞 賵丕賱鬲卮乇丿. 賮賷 5 爻亘鬲賲亘乇貙 賰鬲亘 乇丕賲亘賵 乇爻丕賱丞 賷丕卅爻丞 廿賱賶 廿賷夭丕賲亘丕乇丿貙 丕賱匕賷 乇鬲亘 賲毓 丨丕賰賲 丕賱爻噩賳 賱廿胤賱丕賯 爻乇丕丨 乇丕賲亘賵 鬲丨鬲 乇毓丕賷鬲賴. 賲毓 丕爻鬲賲乇丕乇 丕賱兀毓賲丕賱 丕賱毓丿丕卅賷丞貙 亘賯賷 賲毓 毓賲丞 賲毓賱賲賴 賮賷 丿賵丕賷 丨鬲賶 賷賲賰賳 廿毓丕丿鬲賴 廿賱賶 卮丕乇賱賮賷賱. 兀禺賷乇賸丕 爻賱賲 廿賷夭丕賲亘丕乇丿 乇丕賲亘賵 廿賱賶 丕賱爻賷丿丞 乇丕賲亘賵 賮賷 27 爻亘鬲賲亘乇 1870 (賵乇丿 兀賳 賵丕賱丿鬲賴 氐賮毓鬲賴 毓賱賶 賵噩賴賴 賵賵亘禺鬲 廿賷夭丕賲亘丕乇丿)貙 賱賰賳賴 亘賯賷 賮賷 丕賱賲賳夭賱 賱賲丿丞 毓卮乇丞 兀賷丕賲 賮賯胤 賯亘賱 兀賳 賷賴乇亘 賲乇丞 兀禺乇賶! 兀氐亘丨 爻賱賵賰 乇丕賲亘賵 丕爻鬲賮夭丕夭賷賸丕 亘卮賰賱 毓賱賳賷. 賰丕賳 賷卮乇亘 丕賱賰丨賵賱貙 賵賷鬲丨丿孬 亘賵賯丕丨丞貙 賵賷丐賱賮 賯氐丕卅丿 亘匕賷卅丞貙 賵賷爻乇賯 丕賱賰鬲亘 賲賳 丕賱賲鬲丕噩乇 丕賱賲丨賱賷丞貙 賵賷鬲禺賱賶 毓賳 賲馗賴乇賴 丕賱兀賳賷賯 丕賱賲賲賷夭 賲賳 禺賱丕賱 丕賱爻賲丕丨 賱卮毓乇賴 亘丕賱賳賲賵 賱賮鬲乇丞 胤賵賷賱丞. 賰鬲亘 乇爻丕卅賱 乇丕賲亘賵 廿賱賶 廿賷夭丕賲亘丕乇丿 賵廿賱賶 氐丿賷賯賴 亘賵賱 丿賷賲賷賳賷 毓賱賶 丕賱鬲賵丕賱賷 (乇爻丕賱鬲賷 丕賱乇丕卅賷) 丕賱卮賴賷乇鬲賷賳貙 丨賵賱 胤乇賷賯鬲賴 賮賷 鬲丨賯賷賯 丕賱爻賲賵 丕賱卮毓乇賷 兀賵 丕賱賯賵丞 丕賱亘氐賷乇丞 賲賳 禺賱丕賱 毓賲賱 胤賵賷賱 賵賴丕卅賱. 賵丕賱鬲卮賵賷卮 賱賱丨賵丕爻.
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3_ 丨賷丕鬲賴 賲毓 賮賷乇賱賷賳 賮賷 亘丕乇賷爻 (1871-1875):
賰鬲亘 乇丕賲亘賵 廿賱賶 丕賱毓丿賷丿 賲賳 丕賱卮毓乇丕亍 丕賱賲锟斤拷賴賵乇賷賳 孬賲 兀乇爻賱 廿賱賶 亘賵賱 賮賷乇賱賷賳貙 丕賱卮丕毓乇 丕賱氐丕毓丿 賵丕賱夭毓賷賲 丕賱賲爻鬲賯亘賱賷 賱丨乇賰丞 丕賱乇賲夭賷丞. 兀乇爻賱 乇丕賲亘賵 乇爻丕賱鬲賷賳 廿賱賶 賮賷乇賱賷賳 賲毓 丕賱毓丿賷丿 賲賳 賯氐丕卅丿賴貙 丕賳亘賴乇 賮賷乇賱賷賳 亘乇丕賲亘賵貙 賮兀噩丕亘: "鬲毓丕賱 兀賷賴丕 丕賱乇賵丨 丕賱毓馗賷賲丞. 賳丨賳 賳賳鬲馗乇賰貙 賵賳乇睾亘 賮賷賰"貙 賵兀乇爻賱 賱賴 鬲匕賰乇丞 匕賴丕亘 賮賯胤 廿賱賶 亘丕乇賷爻. 賵氐賱 乇丕賲亘賵 賮賷 兀賵丕禺乇 爻亘鬲賲亘乇 賵兀賯丕賲 賱賮鬲乇丞 賵噩賷夭丞 賮賷 賲賳夭賱 賮賷乇賱賷賳. 賰丕賳鬲 夭賵噩丞 賮賷乇賱賷賳貙 賲丕鬲賷賱丿 賲賵鬲賷貙 鬲亘賱睾 賲賳 丕賱毓賲乇 爻亘毓丞 毓卮乇 毓丕賲賸丕 賵賰丕賳鬲 丨丕賲賱賸丕貙 賵賰丕賳 賮賷乇賱賷賳 賯丿 鬲乇賰 賵馗賷賮鬲賴 賲丐禺乇賸丕 賵亘丿兀 賮賷 卮乇亘 丕賱禺賲乇. 賮賷 匕賰乇賷丕鬲 賲賳卮賵乇丞 賱丕丨賯賸丕 毓賳 乇丐賷鬲賴 丕賱兀賵賱賶 賱乇丕賲亘賵 賮賷 爻賳 丕賱爻丕丿爻丞 毓卮乇丞貙 賵氐賮賴 賮賷乇賱賷賳 亘兀賳賴 賷賲鬲賱賰 "乇兀爻賸丕 丨賯賷賯賷賸丕 賱胤賮賱". 賲毓 "賱賰賳丞 丌乇丿賷賳 丕賱賯賵賷丞 噩丿賸丕 賵丕賱鬲賷 賰丕賳鬲 鬲賯乇賷亘賸丕 賱賴噩丞". 賰丕賳 賱氐賵鬲賴 "丕乇鬲賮丕毓 賵丕賳禺賮丕囟 賰賲丕 賱賵 賰丕賳 賷賳賰爻乇". 賵爻乇毓丕賳 賲丕 亘丿兀 乇丕賲亘賵 賵賮賷乇賱賷賳 毓賱丕賯丞 睾乇丕賲賷丞 賯氐賷乇丞 賵丨丕丿丞. 賱賯丿 毓丕卮賵丕 丨賷丕丞 亘乇賷丞 賲鬲卮乇丿丞 賲賲鬲賱卅丞 亘丕賱兀賮爻賳鬲賷賳 賵丕賱兀賮賷賵賳 賵丕賱丨卮賷卮. 兀氐賷亘鬲 丕賱夭賲乇丞 丕賱兀丿亘賷丞 丕賱亘丕乇賷爻賷丞 亘丕賱賮囟賷丨丞 亘爻亘亘 乇丕賲亘賵貙 丕賱匕賷 賰丕賳 爻賱賵賰賴 爻賱賵賰 丕賱胤賮賱 丕賱賳賲賵匕噩賷 丕賱賮馗賷毓貙 賱賰賳賴 丕爻鬲賲乇 胤賵丕賱 賴匕賴 丕賱賮鬲乇丞 賮賷 賰鬲丕亘丞 丕賱賯氐丕卅丿. 禺賱丕賱 賴匕丕 丕賱賵賯鬲貙 鬲禺賱賶 賮賷乇賱賷賳 毓賳 夭賵噩鬲賴 賵丕亘賳賴 丕賱乇囟賷毓 賰賱丕賴賲丕 賰丕賳 賯丿 兀爻丕亍 廿賱賷賴賲丕 賮賷 賳賵亘丕鬲 睾囟亘賴. 賮賷 賱賳丿賳貙 毓丕卮丕 賮賷 賮賯乇 賲丿賯毓 丨賷孬 賰丕賳丕 賷丨氐賱丕賳 毓賱賶 賱賯賲丞 毓賷卮賴賲 賲賳 丕賱鬲丿乇賷爻貙 亘丕賱廿囟丕賮丞 廿賱賶 廿毓丕賳丞 賲賳 賵丕賱丿丞 賮賷乇賱賷賳. 賯囟賶 乇丕賲亘賵 兀賷丕賲賴 賮賷 睾乇賮丞 丕賱賯乇丕亍丞 亘丕賱賲鬲丨賮 丕賱亘乇賷胤丕賳賷 丨賷孬 賰丕賳鬲 丕賱鬲丿賮卅丞 賵丕賱廿囟丕亍丞 賵丕賱兀賯賱丕賲 賵丕賱丨亘乇 賲噩丕賳賷丞. 兀氐亘丨鬲 丕賱毓賱丕賯丞 亘賷賳 丕賱卮丕毓乇賷賳 賲乇賷乇丞 亘卮賰賱 賲鬲夭丕賷丿貙 賵鬲禺賱賶 賮賷乇賱賷賳 毓賳 乇丕賲亘賵 賮賷 賱賳丿賳 賱賱賯丕亍 夭賵噩鬲賴 賮賷 亘乇賵賰爻賱. 賱賲 賷賰賳 乇丕賲亘賵 賲丨亘賵亘賸丕 賮賷 匕賱賰 丕賱賵賯鬲貙 賵丕毓鬲亘乇賴 丕賱賰孬賷乇 賲賳 丕賱賳丕爻 賯匕乇賸丕 賵賵賯丨賸丕. 賰賲丕 賳卮乇鬲 賲賷乇丕鬲 卮丕卅毓丕鬲 賰孬賷乇丞 賲賮丕丿賴丕 兀賳 賮賷乇賱賷賳 賵乇丕賲亘賵 賰丕賳丕 賷賳丕賲丕賳 賲毓賸丕. 賵賰丕賳 丕賳鬲卮丕乇 鬲賱賰 丕賱卮丕卅毓丕鬲 亘賲孬丕亘丞 亘丿丕賷丞 丕賱爻賯賵胤 賱賱卮丕毓乇賷賳 丕賱賱匕賷賳 賰丕賳丕 賷丨丕賵賱丕賳 亘賳丕亍 爻賲毓丞 胤賷亘丞 賱兀賳賮爻賴賲丕. 毓丕丿 賮賷乇賱賷賳 廿賱賶 亘丕乇賷爻 亘賲賮乇丿賴貙 賱賰賳賴 爻乇毓丕賳 賲丕 亘丿兀 賮賷 丕賱丨丿丕丿 毓賱賶 睾賷丕亘 乇丕賲亘賵. 賮兀乇爻賱 亘乇賯賷丞 廿賱賶 乇丕賲亘賵 賷胤賱亘 賲賳賴 丕賱丨囟賵乇 廿賱賶 賮賳丿賯 賮賷 亘乇賵賰爻賱. 爻丕乇鬲 丕賱兀賲賵乇 毓賱賶 賲丕 賷乇丕賲貙 賰賲丕 賰丕賳 賷鬲噩丕丿賱丕賳 亘丕爻鬲賲乇丕乇貙 賵賱噩兀 賮賷乇賱賷賳 廿賱賶 丕賱廿賮乇丕胤 賮賷 卮乇亘 丕賱禺賲乇. 丕卮鬲乇賶 賮賷乇賱賷賳 賲爻丿爻賸丕 賵匕禺賷乇丞. 丨賵丕賱賷 丕賱爻丕毓丞 16:00貙 "賮賷 丨丕賱丞 賲賳 丕賱睾囟亘 丕賱爻賰賷乇"貙 兀胤賱賯 乇氐丕氐鬲賷賳 毓賱賶 乇丕賲亘賵貙 兀丿鬲 廿丨丿丕賴賲丕 廿賱賶 廿氐丕亘丞 丕賱卮丕亘 丕賱亘丕賱睾 賲賳 丕賱毓賲乇 18 毓丕賲賸丕 賮賷 賲毓氐賲賴 丕賱兀賷爻乇. 賮賷 丕賱亘丿丕賷丞貙 乇賮囟 乇丕賲亘賵 丕賱噩乇丨 亘丕毓鬲亘丕乇賴 爻胤丨賷賸丕貙 賱賰賳賴 乇睾賲 匕賱賰 賯丕賲 亘鬲囟賲賷丿賴 賮賷 賲爻鬲卮賮賶. 賵賱賲 賷賵噩賴 丕鬲賴丕賲丕鬲 毓賱賶 丕賱賮賵乇貙 賱賰賳賴 賯乇乇 賲睾丕丿乇丞 亘乇賵賰爻賱.丨賵丕賱賷 丕賱爻丕毓丞 20:00貙 乇丕賮賯 賮賷乇賱賷賳 賵賵丕賱丿鬲賴 乇丕賲亘賵 廿賱賶 賲丨胤丞 賯胤丕乇 賵賮賷 丕賱胤乇賷賯貙 賵亘丨爻亘 乇賵丕賷丞 乇丕賲亘賵貙 賮廿賳 賮賷乇賱賷賳 "鬲氐乇賮 賰賲丕 賱賵 賰丕賳 賲噩賳賵賳丕賸". 禺賵賮賸丕 賲賳 兀賳 賷胤賱賯 賮賷乇賱賷賳 丕賱賳丕乇 毓賱賷賴 賲乇丞 兀禺乇賶 賵賴賵 賷丨賲賱 賲爻丿爻賸丕 賮賷 噩賷亘賴貙 賴乇亘 乇丕賲亘賵 賵"鬲賵爻賱 廿賱賶 丕賱卮乇胤賷 賱廿賱賯丕亍 丕賱賯亘囟 毓賱賷賴". 鬲賲 丕鬲賴丕賲 賮賷乇賱賷賳 亘賲丨丕賵賱丞 丕賱賯鬲賱貙 孬賲 鬲毓乇囟 賱賮丨氐 胤亘賷 賯丕賳賵賳賷 賲賴賷賳. 賰賲丕 鬲賲 丕爻鬲噩賵丕亘賴 丨賵賱 賲乇丕爻賱丕鬲賴 賲毓 乇丕賲亘賵 賵胤亘賷毓丞 毓賱丕賯鬲賴賲丕. 鬲賲鬲 廿夭丕賱丞 丕賱乇氐丕氐丞 賮賷 丕賱賳賴丕賷丞 賮賷 17 賷賵賱賷賵 賵爻丨亘 乇丕賲亘賵 卮賰賵丕賴. 鬲賲 鬲禺賮賷囟 丕賱鬲賴賲 廿賱賶 丕賱廿氐丕亘丞 亘爻賱丕丨 賳丕乇賷貙 賵賮賷 8 兀睾爻胤爻 1873 丨購賰賲 毓賱賶 賮賷乇賱賷賳 亘丕賱爻噩賳 賱賲丿丞 毓丕賲賷賳. 毓丕丿 乇丕賲亘賵 廿賱賶 賲賳夭賱賴 賮賷 卮丕乇賱賮賷賱 賵兀賰賲賱 毓賲賱賴 丕賱賳孬乇賷 丕賱賴丕卅賱 "賮氐賱 賮賷 丕賱噩丨賷賲"貙 賵丕賱匕賷 賱丕 賷夭丕賱 賷購賳馗乇 廿賱賷賴 毓賱賶 賳胤丕賯 賵丕爻毓 毓賱賶 兀賳賴 賲孬丕賱 乇丕卅丿 賱賱賰鬲丕亘丞 丕賱乇賲夭賷丞 丕賱丨丿賷孬丞. 賮賷 丕賱毓賲賱貙 鬲賲 鬲賮爻賷乇賴 毓賱賶 賳胤丕賯 賵丕爻毓 兀賳賴 賷卮賷乇 廿賱賶 賮賷乇賱賷賳 毓賱賶 兀賳賴 "兀禺賷賴 丕賱賲孬賷乇 賱賱卮賮賯丞" 賵"丕賱毓匕乇丕亍 丕賱賲噩賳賵賳丞"貙 賵廿賱賶 賳賮爻賴 毓賱賶 兀賳賴 "丕賱夭賵噩 丕賱噩賴賳賲賷"貙 賵 賵氐賮賵丕 丨賷丕鬲賴 賲毓賴 亘兀賳賴丕 "賲賴夭賱丞 賲丨賱賷丞". 賵賮賷 毓丕賲 1874貙 毓丕丿 廿賱賶 賱賳丿賳 賲毓 丕賱卮丕毓乇 噩賷乇賲丕賳 賳賵賮賵. 毓丕卮丕 賲毓賸丕 賱賲丿丞 孬賱丕孬丞 兀卮賴乇 亘賷賳賲丕 賰丕賳 賷噩賲毓 賲噩賲賵毓丞 賯氐丕卅丿 丕賱賳孬乇 丕賱乇丕卅丿丞 "廿卮乇丕賯丕鬲"貙 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴 賱賲 賷乇賴丕 賮賷 丕賱賳賴丕賷丞 賲賳 禺賱丕賱 丕賱賳卮乇 (賱賲 賷鬲賲 賳卮乇賴丕 廿賱丕 賮賷 毓丕賲 1886貙 丿賵賳 毓賱賲 丕賱賲丐賱賮).
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4_ 兀爻賮丕乇賴 (1875-1880):
丕賱鬲賯賶 乇丕賲亘賵 賵賮賷乇賱賷賳 賱賱賲乇丞 丕賱兀禺賷乇丞 賮賷 賲丕乇爻 1875貙 亘毓丿 廿胤賱丕賯 爻乇丕丨 賮賷乇賱賷賳 賲賳 丕賱爻噩賳 賵鬲丨賵賱賴 廿賱賶 丕賱賰丕孬賵賱賷賰賷丞. 賵亘丨賱賵賱 匕賱賰 丕賱賵賯鬲 賰丕賳 乇丕賲亘賵 賯丿 鬲禺賱賶 毓賳 丕賱兀丿亘 賱氐丕賱丨 丨賷丕丞 毓賲賱 賲爻鬲賯乇丞. 賵賷賲賰賳 賱賱亘毓囟 丕賱賯賵賱 兀賳賴 賱丕 賷賵噩丿 卮賷亍 賳亘賷賱 兀賵 丨鬲賶 賲睾丕賲乇 丨賯賷賯賷貙 賮賷 乇噩賱 丕乇鬲賰亘 丕賳鬲丨丕乇賸丕 乇賵丨賷賸丕貙 賵兀氐亘丨 賲鬲丕噩乇賸丕 亘乇噩賵丕夭賷賸丕 賵賵丕賮賯 毓賱賶 丕賱賳馗丕賲 丕賱賲丕丿賷 賱賱兀卮賷丕亍 賵廿賳 賰丕賳 賮賷 匕賱賰 廿噩丨丕賮 賮賷 丨賯 乇丕賲亘賵. 亘毓丿 丿乇丕爻丞 乇丕賲亘賵 毓丿丞 賱睾丕鬲 (丕賱兀賱賲丕賳賷丞 賵丕賱廿賷胤丕賱賷丞 賵丕賱廿爻亘丕賳賷丞)貙 爻丕賮乇 賰孬賷乇賸丕 賮賷 兀賵乇賵亘丕貙 賲毓馗賲賴丕 爻賷乇賸丕 毓賱賶 丕賱兀賯丿丕賲. 賮賷 賲丕賷賵 1876貙 鬲賲 鬲噩賳賷丿賴 賰噩賳丿賷 賮賷 丕賱噩賷卮 丕賱賴賵賱賳丿賷 賱賱丨氐賵賱 毓賱賶 賲賲乇 賲噩丕賳賷 廿賱賶 噩丕賵丞 賮賷 噩夭乇 丕賱賴賳丿 丕賱卮乇賯賷丞 丕賱賴賵賱賳丿賷丞. 賵亘毓丿 兀乇亘毓丞 兀卮賴乇 賴乇亘 廿賱賶 丕賱睾丕亘丞. 鬲賲賰賳 賲賳 丕賱毓賵丿丞 賲鬲禺賮賷賸丕 廿賱賶 賮乇賳爻丕 亘丕賱爻賮賷賳丞. 賰丕賳 爻賷賵丕噩賴 賮乇賯丞 廿毓丿丕賲 賴賵賱賳丿賷丞 賱賵 鬲賲 丕賱賯亘囟 毓賱賷賴.
賮賷 丿賷爻賲亘乇 1878貙 爻丕賮乇 乇丕賲亘賵 廿賱賶 賱丕乇賳賰丕 賮賷 賯亘乇氐貙 丨賷孬 毓賲賱 賮賷 卮乇賰丞 廿賳卮丕亍丕鬲 賰乇卅賷爻 毓賲丕賱 賮賷 賲賯賱毓 丕賱丨噩丕乇丞. 賵賮賷 賲丕賷賵 賲賳 丕賱毓丕賲 丕賱鬲丕賱賷貙 丕囟胤乇 廿賱賶 賲睾丕丿乇丞 賯亘乇氐 亘爻亘亘 廿氐丕亘鬲賴 亘丕賱丨賲賶貙 賵丕賱鬲賷 鬲賲 鬲卮禺賷氐賴丕 毓賳丿 毓賵丿鬲賴 廿賱賶 賮乇賳爻丕 毓賱賶 兀賳賴丕 丨賲賶 丕賱鬲賷賮賵卅賷丿.
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5_ 丕賱丨亘卮丞 (1880-1891):
丕爻鬲賯乇 乇丕賲亘賵 兀禺賷乇賸丕 賮賷 毓丿賳貙 丕賱賷賲賳貙 毓丕賲 1880貙 賰賲賵馗賮 乇卅賷爻賷 賮賷 賵賰丕賱丞 亘丕乇丿賷貙 孬賲 鬲賵賱賶 廿丿丕乇丞 賵賰丕賱丞 丕賱卮乇賰丞 賮賷 丕賱丨亘卮丞. 賮賷 賳賮爻 丕賱毓丕賲 鬲乇賰 賵馗賷賮鬲賴 賮賷 亘丕乇丿賷 賱賷氐亘丨 鬲丕噩乇賸丕 賱丨爻丕亘賴 丕賱禺丕氐 丨賷孬 卮賲賱鬲 鬲毓丕賲賱丕鬲賴 丕賱鬲噩丕乇賷丞 丕賱賯賴賵丞 賵丕賱兀爻賱丨丞 丕賱賳丕乇賷丞 (丕賱鬲賷 毓賮丕 毓賱賷賴丕 丕賱夭賲賳 亘卮賰賱 毓丕賲). 賮賷 丕賱賵賯鬲 賳賮爻賴貙 丕賳禺乇胤 乇丕賲亘賵 賮賷 丕賱丕爻鬲賰卮丕賮 賵兀賯丕賲 氐丿丕賯丞 賵孬賷賯丞 賲毓 丨丕賰賲 賴乇丕乇貙 毓賲賱 乇丕賲亘賵 賮賷 鬲噩丕乇丞 丕賱賯賴賵丞. 賱賯丿 賰丕賳 賮賷 丕賱賵丕賯毓 乇丕卅丿賸丕 賮賷 賴匕丕 丕賱賲噩丕賱貙 賵兀賵賱 兀賵乇賵亘賷 賷卮乇賮 毓賱賶 鬲氐丿賷乇 賯賴賵丞 丕賱丨亘卮丞 丕賱卮賴賷乇丞 賲賳 丕賱亘賱丿 丕賱匕賷 賵賱丿鬲 賮賷賴 丕賱賯賴賵丞. 賵賰丕賳 孬丕賱孬 兀賵乇賵亘賷 毓賱賶 丕賱廿胤賱丕賯 鬲胤兀 賯丿賲賴 丕賱賲丿賷賳丞貙 賵賰丕賳 兀賵賱 賲賳 賯丕賲 亘丕賱兀毓賲丕賱 丕賱鬲噩丕乇賷丞 賴賳丕賰. 賮賷 毓丕賲 1885貙 兀賳卮兀 乇丕賲亘賵 賲鬲噩乇賴 丕賱禺丕氐 賮賷 賴乇丕乇貙 賱賰賳賴 爻乇毓丕賳 賲丕 卮毓乇 亘丕賱賲賱賱 賵丕賱賮夭毓. 丕爻鬲囟丕賮 丕賱賲爻鬲賰卮賮 噩賵賱 亘賵乇賷賱賷 賵丕賱鬲丕噩乇 兀乇賲丕賳丿 爻丕賮賵乇賷. 賵賮賷 卮賴丕丿鬲賴賲丕 丕賱賱丕丨賯丞貙 賵氐賮丕賴 賰賱丕賴賲丕 亘兀賳賴 乇噩賱 匕賰賷貙 賴丕丿卅貙 爻丕禺乇貙 賰鬲賵賲 毓賳 丨賷丕鬲賴 丕賱爻丕亘賯丞貙 賷毓賷卮 亘亘爻丕胤丞貙 賷毓鬲賳賷 亘兀毓賲丕賱賴 亘丿賯丞 賵氐丿賯 賵丨夭賲.
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6_ 賵賮丕鬲賴 (1891):
兀氐賷亘 乇丕賲亘賵 賮賷 毓丿賳 亘賲丕 賰丕賳 賷毓鬲賯丿 賮賷 丕賱亘丿丕賷丞 兀賳賴 丕賱鬲賴丕亘 丕賱賲賮丕氐賱 賮賷 乇賰亘鬲賴 丕賱賷賲賳賶. 賵賱賲 賷爻鬲噩亘 賱賱毓賱丕噩貙 賵亘丨賱賵賱 賲丕乇爻/丌匕丕乇 兀氐亘丨 賷毓丕賳賷 賲賳 丌賱丕賲 卮丿賷丿丞 賱丿乇噩丞 兀賳賴 丕爻鬲毓丿 賱賱毓賵丿丞 廿賱賶 賮乇賳爻丕 賱鬲賱賯賷 毓賱丕噩 兀賮囟賱. 賯亘賱 賲睾丕丿乇鬲賴貙 丕爻鬲卮丕乇 胤亘賷亘賸丕 亘乇賷胤丕賳賷賸丕 賯丕賲 亘鬲卮禺賷氐賴 亘丕賱鬲賴丕亘 丕賱睾卮丕亍 丕賱賲賮氐賱賷 丕賱爻賱賷 毓賳 胤乇賷賯 丕賱禺胤兀貙 賵兀賵氐賶 亘亘鬲乇 丕賱兀胤乇丕賮 毓賱賶 丕賱賮賵乇. 亘賯賷 乇丕賲亘賵 賮賷 毓丿賳 丨鬲賶 7 賲丕賷賵 賱囟亘胤 卮丐賵賳賴 丕賱賲丕賱賷丞貙 孬賲 丕爻鬲賯賱 丕賱亘丕禺乇丞 廿賱賶 賮乇賳爻丕 賮賷 乇丨賱丞 賲丿鬲賴丕 13 賷賵賲丕賸. 賱丿賶 賵氐賵賱賴 鬲賲 廿丿禺丕賱賴 廿賱賶 丕賱賲爻鬲卮賮賶貙 丨賷孬 亘購鬲乇鬲 爻丕賯賴 丕賱賷賲賳賶 亘毓丿 兀爻亘賵毓. 賰丕賳 丕賱鬲卮禺賷氐 亘毓丿 丕賱毓賲賱賷丞 丕賱噩乇丕丨賷丞 賴賵 爻乇胤丕賳 丕賱毓馗丕賲. 亘毓丿 廿賯丕賲丞 賯氐賷乇丞 賮賷 賲夭乇毓丞 丕賱毓丕卅賱丞 賮賷 乇賵卮貙 丨丕賵賱 丕賱毓賵丿丞 廿賱賶 兀賮乇賷賯賷丕貙 賵賱賰賳 賮賷 丕賱胤乇賷賯 鬲丿賴賵乇鬲 氐丨鬲賴貙 賵鬲賲 廿丿禺丕賱賴 賲乇丞 兀禺乇賶 廿賱賶 賲爻鬲卮賮賶 賮賷 賲乇爻賷賱賷丕. 兀賲囟賶 亘毓囟 丕賱賵賯鬲 賴賳丕賰 賵賴賵 賷毓丕賳賷 賲賳 兀賱賲 卮丿賷丿 亘丨囟賵乇 兀禺鬲賴 廿賷夭丕亘賷賱. 鬲賱賯賶 丕賱胤賯賵爻 丕賱兀禺賷乇丞 賲賳 賰丕賴賳 賯亘賱 賵賮丕鬲賴 賮賷 10 賳賵賮賲亘乇 1891貙 毓賳 毓賲乇 賷賳丕賴夭 37 毓丕賲賸丕.
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::卮毓乇賷賾鬲赖::
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"兀賳丕 丕賱丌賳 兀噩毓賱 賳賮爻賷 賵囟賷毓賸丕 賯丿乇 丕爻鬲胤丕毓鬲賷. 賱賲丕匕丕責 兀乇賷丿 兀賳 兀氐亘丨 卮丕毓乇賸丕貙 賵兀毓賲賱 毓賱賶 鬲丨賵賷賱 賳賮爻賷 廿賱賶 乇丕卅賷. 賱賳 鬲賮賴賲 兀賷賸丕 賲賳 賴匕丕貙 賵兀賳丕 鬲賯乇賷亘賸丕 睾賷乇 賯丕丿乇 毓賱賶 卮乇丨賴 賱賰. 丕賱賮賰乇丞 賴賷 丕賱賵氐賵賱 廿賱賶 丕賱賲噩賴賵賱 毓賳 胤乇賷賯 鬲卮賵賷卮 噩賲賷毓 丕賱丨賵丕爻. 廿賳 丕賱兀賲乇 賷賳胤賵賷 毓賱賶 賲毓丕賳丕丞 賴丕卅賱丞貙 賱賰賳 賷噩亘 毓賱賶 丕賱賲乇亍 兀賳 賷賰賵賳 賯賵賷賸丕 賵兀賳 賷賰賵賳 卮丕毓乇賸丕 亘丕賱賮胤乇丞. 廿賳賴 丨賯丕 賱賷爻 禺胤兀賷." - 丌乇孬乇 乇丕賲亘賵 賲賳 乇爻丕賱丞 丕賱乇丕卅賷
1_ 賰丕賳鬲 丕賱賯氐丕卅丿 丕賱兀賵賱賶 丕賱賲毓乇賵賮丞 賱丌乇孬乇 乇丕賲亘賵 鬲丨丕賰賷 賮賷 丕賱睾丕賱亘 兀爻賱賵亘 賲丿乇爻丞 亘丕乇賳丕爻 賵睾賷乇賴丕 賲賳 丕賱卮毓乇丕亍 丕賱賲毓丕氐乇賷賳 丕賱賲卮賴賵乇賷賳 賲孬賱 賮賷賰鬲賵乇 賴賵睾賵貙 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴 胤賵乇 亘爻乇毓丞 賲賳賴噩賸丕 兀氐賱賷賸丕貙 爻賵丕亍 賲賳 丨賷孬 丕賱賲賵囟賵毓 兀賵 丕賱兀爻賱賵亘 (賱丕 爻賷賲丕 毓賳 胤乇賷賯 賲夭噩 丕賱賰賱賲丕鬲 賵丕賱兀賮賰丕乇 丕賱丿賳賷賵賷丞 賲毓 丕賱卮毓乇 丕賱賲鬲胤賵乇. 賵賮賷 賵賯鬲 賱丕丨賯貙 丕爻鬲賵丨賶 乇丕賲亘賵 亘卮賰賱 亘丕乇夭 賲賳 兀毓賲丕賱 鬲卮丕乇賱夭 亘賵丿賱賷乇. 爻賷爻丕毓丿賴 賴匕丕 丕賱廿賱賴丕賲 賮賷 廿賳卮丕亍 兀爻賱賵亘 卮毓乇賷 鬲賲 鬲氐賳賷賮賴 賱丕丨賯賸丕 毓賱賶 兀賳賴 乇賲夭賷.
2_ 孬賲 胤乇丨 乇丕賲亘賵 賳賮爻 丕賱兀賮賰丕乇 賮賷 賯氐賷丿鬲賴 "丕賱賯丕乇亘 丕賱爻賰乇丕賳". 鬲丨賰賷 賴匕賴 丕賱賯氐賷丿丞 賯氐丞 賯丕乇亘 賷鬲丨乇乇 賲賳 丕賱賲噩鬲賲毓 丕賱亘卮乇賷 毓賳丿賲丕 賷購賯鬲賱 爻丕卅賯賵賴 毓賱賶 賷丿 丕賱賴賳賵丿 丕賱丨賲乇. 賮賷 丕賱亘丿丕賷丞貙 賷毓鬲賯丿 丕賱賯丕乇亘 兀賳賴 賷賳噩乇賮 丨賷孬 賷卮丕亍貙 賵爻乇毓丕賳 賲丕 賷丿乇賰 兀賳賴 賷鬲賲 鬲賵噩賷賴賴 亘賵丕爻胤丞 賯氐賷丿丞 丕賱亘丨乇. 鬲乇賶 丕賱乇丐賶 乇丕卅毓丞 賵賲孬賷乇丞 賱賱丕卮賲卅夭丕夭 賵賷賳鬲賴賷 丕賱兀賲乇 亘丕賱胤賮賵 賲鬲賲賳賷賸丕 賮賯胤 兀賳 賷睾乇賯 賵賷氐亘丨 賵丕丨丿賸丕 賲毓 丕賱亘丨乇.
3_ 丿賲乇 乇丕賲亘賵 丕賱賴賷丕賰賱 丕賱賲爻亘賯丞 鬲賲丕賲賸丕 賱丕爻鬲賰卮丕賮 丕賱賲賵丕乇丿 睾賷乇 丕賱賲爻鬲禺丿賲丞 丨鬲賶 丕賱丌賳 賱賱睾丞 丕賱卮毓乇賷丞貙 賵賲賳丨 賲毓馗賲 丕賱賯胤毓 氐賮丞 賲賮賰賰丞 賵賴賱賵爻丞 鬲卮亘賴 丕賱丨賱賲. 賲丕鬲 乇丕賲亘賵 丿賵賳 兀賳 賷毓乇賮 兀賳 賲禺胤賵胤丕鬲賴 賱賲 鬲購賳卮乇 賮丨爻亘貙 亘賱 鬲賲 丕賱廿卮丕丿丞 亘賴丕 賵丿乇丕爻鬲賴丕貙 亘毓丿 兀賳 賳丕賱 兀禺賷乇賸丕 丕賱鬲賯丿賷乇 丕賱匕賷 賳丕囟賱 賲賳 兀噩賱賴.
4_ 孬賲 鬲賵賯賮 毓賳 賰鬲丕亘丞 丕賱卮毓乇 賳賴丕卅賷丕賸. 亘賱 賳爻賷 鬲賲丕賲賸丕 賲丕囟賷賴 丕賱匕賷 賷賰鬲亘 賮賷賴 丕賱卮毓乇. 乇丕賲亘賵貙 兀賵賱丕賸 賵賯亘賱 賰賱 卮賷亍貙 賴賵 賴匕丕 丕賱氐賲鬲 丕賱匕賷 賱丕 賷賲賰賳 賳爻賷丕賳賴貙 賵丕賱匕賷貙 亘丕賱賳爻亘丞 賱兀賷 卮禺氐 賷丨丕賵賱 丕賱賰鬲丕亘丞 亘賳賮爻賴貙 賮賴賵 賷胤丕乇丿賳丕 丨鬲賶 兀賳賴 賷賲賳毓賳丕 賲賳 丕賱氐賲鬲 賱兀賳賴 賮毓賱 賴匕丕 兀賮囟賱 賲賳 兀賷 卮禺氐 丌禺乇.
5_ 氐乇丨 丕賱卮丕毓乇 丕賱賮乇賳爻賷 亘賵賱 賮丕賱賷乇賷 兀賳 "賰賱 丕賱兀丿亘 丕賱賲毓乇賵賮 賲賰鬲賵亘 亘賱睾丞 丕賱賮胤乇丞 丕賱爻賱賷賲丞 - 亘丕爻鬲孬賳丕亍 乇丕賲亘賵". 兀孬乇 卮毓乇賴 毓賱賶 丕賱乇賲夭賷賷賳 賵丕賱丿丕丿丕卅賷賷賳 賵丕賱爻乇賷丕賱賷賷賳貙 賵賱賲 賷毓鬲賲丿 丕賱賰鬲丕亘 丕賱賱丕丨賯賵賳 亘毓囟賸丕 賲賳 賲賵囟賵毓丕鬲賴 賮丨爻亘貙 亘賱 丕毓鬲賲丿賵丕 兀賷囟賸丕 丕爻鬲禺丿丕賲賴 丕賱賲亘鬲賰乇 賱賱卮賰賱 賵丕賱賱睾丞.
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::丕賱賯丕乇亘 丕賱爻賰乇丕賳 (1871)::
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鬲氐賮 丕賱賯氐賷丿丞 丕賳噩乇丕賮 賵睾乇賯 賯丕乇亘 囟丕卅毓 賮賷 丕賱亘丨乇 賮賷 爻乇丿 賲噩夭兀 亘囟賲賷乇 丕賱賲鬲賰賱賲 賲卮亘毓 亘丕賱氐賵乇 賵丕賱乇賲夭賷丞 丕賱丨賷丞. 鬲毓鬲亘乇 賲賳 乇賵丕卅毓 丕賱乇賲夭賷丞 丕賱賮乇賳爻賷丞. 丕賱賯氐賷丿丞 賲乇鬲亘丞 賮賷 爻賱爻賱丞 賲賳 25 乇亘丕毓賷丞 丨賵賱 丕賱乇丐賶 丕賱賴匕賷丕賳賷丞 賱賱賯丕乇亘 丕賱睾丕乇賯 賵丕賱賲賮賯賵丿 賮賷 丕賱亘丨乇. 賱賯丿 丕毓鬲亘乇 孬賵乇賷賸丕 賮賷 丕爻鬲禺丿丕賲賴 賱賱氐賵乇 賵丕賱乇賲夭賷丞. 賵丕丨丿丞 賲賳 兀胤賵賱 賵乇亘賲丕 兀賮囟賱 丕賱賯氐丕卅丿 賮賷 兀毓賲丕賱 乇丕賲亘賵. 丕賱氐賵鬲 賴賵 氐賵鬲 丕賱賯丕乇亘 丕賱賲禺賲賵乇 賳賮爻賴. 賷丨賰賷 丕賱賯丕乇亘 兀賳賴 丕賲鬲賱兀 亘丕賱賲丕亍貙 賵亘丕賱鬲丕賱賷 賴賵 爻賰乇丕賳 亘賷賳賲丕 賷氐賮 賳賮爻賴 賵賴賵 賷睾乇賯 賮賷 丕賱亘丨乇貙 乇丨賱丞 賲賳 丕賱鬲噩丕乇亘 丕賱賲鬲賳賵毓丞 丕賱鬲賷 鬲卮賲賱 賲卮丕賴丿 兀賳賯賶 賵兀賰孬乇 爻賲賵賸丕. 廿賳 丕賱鬲夭丕賵噩 亘賷賳 丕賱鬲毓馗賷賲 賵丕賱匕賱貙 賵丕賱丨爻 丕賱賲賵丕賰亘貙 賵丕賱丿賴卮丞 丕賱賲鬲氐丕毓丿丞 賷噩毓賱 賲賳 賴匕賴 丕賱賯氐賷丿丞 丕賱賲賰賵賳丞 賲賳 賲丕卅丞 亘賷鬲 鬲丨賯賷賯賸丕 賱賳馗乇賷丞 乇丕賲亘賵 丕賱卮毓乇賷丞 丕賱卮丕亘丞 亘兀賳 丕賱卮丕毓乇 賷氐亘丨 乇丕卅賷賸丕貙 賰丕卅賳賸丕 賮丕胤賷賸丕貙 賲賳 禺賱丕賱 丕囟胤乇丕亘 丕賱丨賵丕爻. 鬲氐賱 丿賴卮丞 丕賱賯丕乇亘 (賵丕賱賯丕乇卅) 丕賱賲鬲夭丕賷丿丞 廿賱賶 匕乇賵鬲賴丕 賮賷 丕賱爻胤賵乇 丕賱兀禺賷乇丞貙 亘賴匕賴 丕賱胤乇賷賯丞貙 鬲賱禺氐 丕賱賯氐賷丿丞 亘卮賰賱 丕爻鬲亘丕賯賷 賲爻賷乇丞 乇丕賲亘賵 丕賱卮毓乇賷丞貙 賵丕賱鬲賷 鬲亘丿丿鬲 毓賳丿賲丕 丕賰鬲卮賮 兀賳 丕賱卮毓乇 賱丕 賷賲賰賳賴 鬲賵賮賷乇 丕賱鬲賮丕賴賲 賵丕賱丕賳爻噩丕賲 丕賱毓丕賱賲賷 丕賱匕賷 亘丿丕 毓賱賷賴 毓賳丿賲丕 賰丕賳 兀氐睾乇 爻賳丕.
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::賮氐賱 賮賷 丕賱噩丨賷賲 (1873)::
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1_ 賴賷 賯氐賷丿丞 賳孬乇賷丞 賲賵爻毓丞 賰鬲亘賴丕 賵賳卮乇賴丕 丕賱賰丕鬲亘 丕賱賮乇賳爻賷 丌乇孬乇 乇丕賲亘賵 毓丕賲 1873. 賵賴賵 丕賱毓賲賱 丕賱賵丨賷丿 丕賱匕賷 賳卮乇賴 乇丕賲亘賵 亘賳賮爻賴. 賰丕賳 賱賱賰鬲丕亘 鬲兀孬賷乇 賰亘賷乇 毓賱賶 丕賱賮賳丕賳賷賳 賵丕賱卮毓乇丕亍 丕賱賱丕丨賯賷賳貙 亘賲丕 賮賷 匕賱賰 丕賱爻乇賷丕賱賷賷賳 丕賱乇賲夭賷賷賳. 鬲賳賯爻賲 丕賱賯氐賷丿丞 亘卮賰賱 賮囟賮丕囟 廿賱賶 鬲爻毓丞 兀噩夭丕亍貙 賲鬲賮丕賵鬲丞 丕賱胤賵賱. 賵賴賷 鬲禺鬲賱賮 亘卮賰賱 賲賱丨賵馗 賮賷 丕賱賱賴噩丞 賵丕賱爻乇丿. 賵賲毓 匕賱賰貙 賮賴賵 賳氐 鬲賲 鬲丨乇賷乇賴 賵鬲賳賯賷丨賴 亘卮賰賱 噩賷丿 賵賲鬲毓賲丿 賲賳 乇丕賲亘賵.
2_ 賴匕賴 丕賱賯氐賷丿丞 睾丕賲囟丞 亘卮賰賱 乇賴賷亘貙 賵賴賷 卮噩丕乇 卮亘賴 賴爻鬲賷乇賷 亘亘乇丕毓丞 亘賷賳 兀賳丕 丕賱卮丕毓乇 賵丕賱丌禺乇 丨賷锟斤拷 賳爻賲毓 氐賵鬲賷賳 賷毓賲賱丕賳 賮賷 丕賱爻乇丿 丕賱爻乇賷丕賱賷 : 丕賱噩夭兀賷賳 丕賱賲賳賮氐賱賷賳 賲賳 卮禺氐賷丞 乇丕賲亘賵 丕賱賮氐丕賲賷丞 - "丕賱兀賳丕" 賵賴賵 丕賱乇丕卅賷/丕賱卮丕毓乇貙 賵"丕賱兀賳丕" 賵賴賵 丕亘賳 丕賱兀乇賲賱丞 丕賱賯丕爻賷丞. 丕賱丿乇爻 丕賱賳賴丕卅賷 賱賴匕丕 丕賱賳氐 丕賱賲毓賯丿 丕賱賲夭毓噩 兀賳 丕賱卮毓乇 賴賵 賲乇丨賱丞 賲賲賰賳丞 賮賷 毓賲賱賷丞 丕賱丨賷丕丞貙 賵賮賷 丨丿賵丿 賲氐賷乇 丕賱廿賳爻丕賳貙 賮廿賳 賱睾丞 丕賱卮丕毓乇 賯丕丿乇丞 毓賱賶 丕賱鬲毓亘賷乇 毓賳 賵噩賵丿賴 毓賱賶 丕賱乇睾賲 賲賳 毓丿賲 賯丿乇鬲賴丕 毓賱賶 禺賱賯賴. 兀賰亘乇 賲氐丿乇 賱賱廿丨亘丕胤 賲孬賱 賰賱 賯氐賷丿丞 賲賴賲丞 賴賵 廿丿乇丕賰 兀賳賴 賲賳 丕賱賲爻鬲丨賷賱 毓賱賶 兀賷 賲賳丕 丕賱賴乇賵亘 賲賳 丕賱丨丿賵丿 丕賱鬲賷 賷賮乇囟賴丕 毓賱賷賳丕 丕賱賵丕賯毓.
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::廿卮乇丕賯丕鬲 (1875)::
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1_ 毓亘丕乇丞 毓賳 賲噩賲賵毓丞 睾賷乇 賲賰鬲賲賱丞 賲賳 賯氐丕卅丿 丕賱賳孬乇 鬲丨鬲 毓賳賵丕賳 廿卮乇丕賯丕鬲 丕賱匕賷 賴賵 賲賯鬲乇丨 賲賳 賯亘賱 賮賷乇賱賷賳. 賵兀賵囟丨 賮賷乇賱賷賳 賮賷 賲賯丿賲鬲賴 兀賳 丕賱毓賳賵丕賳 賲亘賳賷 毓賱賶 丕賱賰賱賲丞 丕賱廿賳噩賱賷夭賷丞 亘賲毓賳賶 丕賱賱賵丨丕鬲 丕賱賲賱賵賳丞貙 賵毓賳賵丕賳 賮乇毓賷 賰丕賳 乇丕賲亘賵 賯丿 兀毓胤丕賴 賱賱毓賲賱 亘丕賱賮毓賱. 賰鬲亘 乇丕賲亘賵 睾丕賱亘賷丞 丕賱賯氐丕卅丿 兀孬賳丕亍 廿賯丕賲鬲賴 賮賷 丕賱賲賲賱賰丞 丕賱賲鬲丨丿丞 賵賰丕賳 賮賷乇賱賷賳 廿賱賶 噩丕賳亘賴. 鬲鬲亘毓 丕賱賳氐賵氐 鬲乇丨丕賱 乇丕賲亘賵 賮賷 毓丕賲 1873 賲賳 乇賷丿賷賳睾 丨賷孬 賰丕賳 賷兀賲賱 賮賷 丕賱毓孬賵乇 毓賱賶 毓賲賱 孬丕亘鬲貙 廿賱賶 卮丕乇賱賮賷賱 賵卮鬲賵鬲睾丕乇鬲.
2_ 賷鬲賰賵賳 賲賳 丕孬賳賷賳 賵兀乇亘毓賷賳 賯氐賷丿丞. 賱賰賳 賱丕 賷賵噩丿 廿噩賲丕毓 丨賵賱 丕賱鬲乇鬲賷亘 丕賱匕賷 賰丕賳 乇丕賲亘賵 賷賳賵賷 馗賴賵乇 丕賱賯氐丕卅丿 亘賴. 賱丕 鬲賵噩丿 賯氐賷丿丞 賵丕丨丿丞 鬲毓鬲賲丿 丨賯賸丕 毓賱賶 丕賱賯氐丕卅丿 丕賱兀禺乇賶 兀賵 鬲毓賵賱 毓賱賷賴丕 賱鬲丨賯賷賯 賰賲丕賱丕鬲賴丕 丕賱禺丕氐丞. 賰賱 賲賳賴丕 噩賵賴乇賷 賮賱丕 賳毓乇賮 丕賱鬲爻賱爻賱 丕賱丿賯賷賯 賵賱丕 賳丨鬲丕噩 廿賱賶 賲毓乇賮鬲賴.
3_ 毓賱賶 丕賱乇睾賲 賲賳 鬲兀孬乇賴丕 亘賯氐丕卅丿 丕賱賳孬乇 丕賱爻丕亘賯丞 賱卮丕乇賱 亘賵丿賱賷乇貙 廿賱丕 兀賳 賯氐丕卅丿 丕賱賳孬乇 鬲禺鬲賱賮 亘卮賰賱 氐丕乇禺 毓賳 賯氐丕卅丿 亘賵丿賱賷乇 賲賳 丨賷孬 兀賳賴丕 鬲賮鬲賯乇 廿賱賶 毓賳丕氐乇 賳孬乇賷丞 賲孬賱 丕賱爻乇丿 丕賱禺胤賷 賵丕賱丕賳鬲賯丕賱丕鬲. 賵亘爻亘亘 賴匕賴 丕賱丕禺鬲賱丕賮丕鬲貙 賮廿賳 賯氐丕卅丿 乇丕賲亘賵 丕賱賳孬乇賷丞 兀賰孬乇 賰孬丕賮丞 賵兀賰孬乇 卮毓乇賷丞 賲賳 賯氐丕卅丿 亘賵丿賱賷乇. 鬲爻丕賴賲 賴匕賴 丕賱丕禺鬲賱丕賮丕鬲 兀賷囟賸丕 賮賷 丕賱噩賵丿丞 丕賱爻乇賷丕賱賷丞. 毓賱賶 丕賱乇睾賲 賲賳 兀賳 乇丕賲亘賵 爻亘賯 丕賱爻乇賷丕賱賷丞貙 廿賱丕 兀賳賴 賷賯丕賱 廿賳賴 賰鬲亘 亘兀爻賱賵亘 爻乇賷丕賱賷 亘爻亘亘 丕賱噩丕賳亘 丕賱賴賱賵爻賷 丕賱卮亘賷賴 亘丕賱丨賱賲 賮賷 丕賱毓丿賷丿 賲賳 丕賱賯氐丕卅丿. 噩丕賳亘 丌禺乇 賲賳 兀爻賱賵亘 乇丕賲亘賵貙 賵丕賱匕賷 賷爻丕賴賲 兀賷囟賸丕 賮賷 丕賱噩賵丿丞 丕賱乇丐賷賵賷丞 賱賱賯氐丕卅丿貙 賴賵 丕爻鬲禺丿丕賲賴 賱賱賰賱賲丕鬲 賱噩賵丿鬲賴丕 丕賱賲賮毓賲丞 亘丕賱丨賷賵賷丞 亘丿賱丕賸 賲賳 賲毓賳丕賴丕 丕賱丨乇賮賷. 亘丕賱廿囟丕賮丞 廿賱賶 賴匕賴 丕賱氐賮丕鬲 丕賱兀爻賱賵亘賷丞 賮賴賷 睾賳賷丞 亘丕賱氐賵乇 丕賱丨爻賷丞.
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1_ 賷丕 賱賱毓馗賲丞! 賷丕 賱賱賮馗丕毓丞! 賷丕 賱賱兀賱賲! 賷丕 賱賱賲噩丿! 賷丕 賱賱卮賲爻 丕賱鬲賷 鬲賲噩丿 亘賴丕 乇丕賲亘賵 賵丕亘鬲賴賱 廿賱賶 賮賵亘賵爻 乇亘 丕賱囟賷丕亍 賵丕賱賳賵乇! 賷丕 賱氐毓賵亘丞 賯乇丕亍丞 乇丕賲亘賵! 賰賱 賰賱賲丞 鬲丨鬲丕噩 賱鬲賯賲氐 乇賴賷亘貙 賰賱 爻胤乇 賳賯賱丞 賮賷 亘購毓丿 賲禺鬲賱賮貙 賵賰賱 賯氐賷丿丞 賴賷 賮鬲乇丞 卮毓乇賷丞 賲賳賮氐賱丞 鬲賲丕賲賸丕 毓賳 丕賱鬲賷 賯亘賱賴丕貙 賵賰賱 匕賱賰 丨丿孬 賮賷 亘囟毓 爻賳賵丕鬲 賯亘賱 兀賳 賷毓鬲夭賱 丕賱卮毓乇 賮賷 兀賵賱 毓卮乇賷賳賷丕鬲賴! 賰賷賮! 賰賷賮 賰鬲亘 賰賱 匕賱賰 賵賴賵 亘毓丿 賷乇丕賴賯責 賰賱 噩乇賾亘 賰賱 匕賱賰 賵爻亘乇 兀睾賵丕乇 丕賱賳賮爻 亘賴匕賴 丕賱爻乇毓丞責 賰賷賮 賵氐賱 賱丌禺乇 丕賱丨賷丕丞 亘賴匕賴 丕賱賯丿乇丞! 兀鬲噩乇兀 賵兀賯賵賱: 乇丕賲亘賵 賯賮賾賱 賱毓亘丞 丕賱丨賷丕丞 亘丿乇賷 亘丿乇賷貙 賵毓卮丕賳 賰丿丕 賲丕鬲 亘丿乇賷 亘丿乇賷貙 賱廿賳賴 毓乇賮 廿賳賴丕 賰賵賲賷丿賷丕 亘鬲爻禺乇 賲賳賳丕 賰賱賳丕!
2_ 賵亘毓丿 丕賱鬲賲噩賷丿 賮賷 乇丕賲亘賵貙 賷賳丕賱 丕賱賲鬲乇噩賲 賰丕馗賲 噩賴丕丿 丕賱鬲賲噩賷丿 亘賳賮爻 丕賱賯丿乇 賱丕 賷夭賷丿 賵賱丕 賷賳賯氐! 賴匕丕 丕賱賲鬲乇噩賲 丕賱賲禺賱氐 丕賱匕賷 賯丿賲賴 賮賷 賴匕賴 丕賱丌孬丕乇 丕賱卮毓乇賷丞 丨丕賱丞 賳丕丿乇丞 賮賷 鬲丕乇賷禺 丕賱鬲乇噩賲丕鬲 丕賱毓乇亘賷丞. 賴匕賴 賱賷爻鬲 鬲乇噩賲丞 亘賯丿乇 賲丕 賴賷 丿乇丕爻丞 賰丕賲賱丞 毓賳 乇丕賲亘賵 賵卮毓乇賴. 賱丕 賷鬲乇賰 賰丕馗賲 賴賮賵丞 廿賱丕 賵賷鬲乇噩賲賴丕 賰賲丕 賯丕賱賴丕 乇丕賲亘賵 賮賷 賮乇賳爻賷鬲賴 賵賱丕 賷賰鬲賮賷 亘匕賱賰 亘賱 賷賵乇丿 丕賱丨賵丕卮賷 賵丕賱鬲賮丕爻賷乇 丕賱賲丨鬲賲賱丞 賱賮賰 賱睾夭 丕賱兀亘賷丕鬲 丕賱卮毓乇賷丞 丕賱乇丕賲亘賵賷丞 丕賱賲爻鬲毓氐賷丞 毓賱賶 賮賴賲 丕賱賮乇賳爻賷 賯亘賱 丕賱毓乇亘賷! 賲噩賴賵丿 賱丕 賷賵賮賷 丨賯賴 兀賷 賰賱丕賲! 賲賳 丨賷孬 丕賱廿禺乇丕噩 丕賱賮賳賷 賲賳 丿丕乇 丕賱噩賲賱 賵丌賮丕賯貙 賵賲賳 丨賷孬 丕賱鬲卮賰賷賱 賵丕賱鬲丿賯賷賯 丕賱賱睾賵賷貙 賵賲賳 丨賷孬 丕賱丨賵丕卮賷 賵丕賱賴賵丕賲卮貙 賵賲賳 丨賷孬 鬲賯爻賷賲 丕賱毓賲賱 賱賮鬲乇丕鬲 廿亘丿丕毓賷丞 賱乇丕賲亘賵貙 賵賮賵賯 賰賱 匕賱賰: 賲賳 丨賷孬 丕賱鬲乇噩賲丞 匕丕鬲賴丕 - 丕賱亘胤賱丞 丕賱丨賯賷賯賷丞 丕賱鬲賷 賳賯賱鬲 乇賵丨 乇丕賲亘賵 賮賷 賮乇賳爻賷鬲賴丕 丕賱賲鬲賵丨卮丞 丕賱卮賲爻賷丞 丕賱乇丕賲亘賵賷丞.
3_ 乇丕賲亘賵 賱賷爻 卮禺氐賸丕 賵丕丨丿賸丕 亘賱 賴賵 丕賱賰孬賷乇 賲賳 丕賱兀卮禺丕氐 賵丕賱賲乇丕丨賱. 賵賱賴匕丕 兀賳丕 賮毓賱丕賸 兀鬲亘賳賶 賳馗乇賷丞 兀賳 丕賱廿賳爻丕賳 賴賵 鬲丕乇賷禺 兀賷 賴賵 賲噩賲賵毓丞 賲賳 丕賱丨賷賵丕鬲 丕賱賲氐睾乇丞 賵丕賱賲乇丕丨賱 丕賱丨賷丕鬲賷丞 丕賱賲鬲鬲丕亘毓丞 賱賰賱 賲乇丨賱丞 賳賰賴鬲賴丕 賵賳賲賵匕噩賴丕 賵鬲噩丕乇亘賴丕 賵賱睾鬲賴丕 亘賱 賵廿賷賲丕賳賴丕. 賯丕賱 丕賱卮丕毓乇 丕賱亘乇賷胤丕賳賷 丕賱囟禺賲 鬲丿 賴賷賵夭 賱胤賱賷賯鬲賴 丕賱卮丕毓乇丞 丕賱兀賲乇賷賰賷丞 爻賷賱賮賷丕 亘賱丕孬: "毓賱賶 丕賱賲乇亍 兀賳 賷賯鬲賱 丨賷丕鬲賴 賰賱 毓卮乇 爻賳賵丕鬲." - 兀賲丕 乇丕賲亘賵 賮賯丿 賯鬲賱 丨賷丕鬲賴 賰賱 毓丿丞 兀卮賴乇! 賱賲 賷乇囟貙 賱賲 賷爻鬲賰賳貙 賱賲 賷爻鬲爻賱賲貙 廿賳賴 乇賵丨 亘乇賾賷丞 賴賵噩丕亍貙 噩乇賾亘 賰賱 卮賷亍貙 賵賱丿賷賴 丕鬲爻丕毓 爻賷賰賵賱賵噩賷 乇賴賷亘 賵賲禺賷賮 賵賴匕丕 賲丕 噩毓賱賴 賷爻鬲胤賷毓 兀賳 賷丨鬲乇賯 賵賷賯賵賲 賲賳 乇賲丕丿賴 賰賱 賲乇丞 亘丨丕賱丞 丕爻鬲胤賷賯賷丞 噩丿賷丿丞 賵賲禺鬲賱賮丞 毓賳 爻丕亘賯鬲賴丕. 賱賯丿 賰丕賳 丕賱睾囟亘 賴賵 賲丨乇賰賴 賵毓丿賲 乇囟丕賴 賵賲孬賱賴 丕賱兀毓賱賶 賴賵 賮賵亘賵爻 丕賱卮賲爻 丕賱賳賷賾乇丞. 乇丕賲亘賵 丨丕賱丞 卮毓乇賷丞 賱賳 鬲鬲賰乇乇.
4_ 亘毓丿 丕賱丕胤賱丕毓 毓賱賶 鬲乇噩賲丞 丕賱丿賰鬲賵乇 乇賮毓鬲 爻賱丕賲 乇丨賲賴 丕賱賱賴 賱兀毓賲丕賱 乇丕賲亘賵 丕賱賰丕賲賱丞 - 兀爻鬲胤賷毓 丕賱賯賵賱 亘爻胤賵乇 賲禺鬲氐乇丞 噩丿賸丕 - 鬲乇噩賲丞 噩賴丕丿 賴賷 鬲乇噩賲丞 鬲賮爻賷乇賷丞 鬲爻亘乇 睾賵乇 丕賱賱睾丞 賵鬲賮賰賰 爻賷賰賵賱賵噩賷丞 丕賱卮丕毓乇貨 亘賷賳賲丕 鬲乇噩賲丞 爻賱丕賲 賴賷 鬲乇噩賲丞 卮毓乇賷丞 噩賲丕賱賷丞 鬲爻鬲賲鬲毓 亘賯乇丕亍鬲賴丕 賱賰賳賰 賯丿 鬲囟賷毓 賮賷 鬲賮爻賷乇賰 丕賱匕丕鬲賷 賱爻胤賵乇賴丕 賱兀賳賴丕 亘賱丕 兀賷 賲乇卮丿 賮兀賳鬲 兀賲丕賲 丕賱賳氐 丕賱毓丕乇賷 丕賱毓乇亘賷 丿賵賳 兀賷 廿丨丕胤丞 亘兀噩賵丕卅賴 丕賱賮乇賳爻賷丞 丕賱乇丕賲亘賵賷丞. 賱匕賱賰貨 賱丕 兀丐孬乇 鬲乇噩賲丞 毓賱賶 兀禺乇賶貙 亘賱 兀丨亘 丕賱鬲乇噩賲鬲賷賳 賵兀賲鬲賱賰賴賲丕 賲毓賸丕貙 賵兀賯乇兀 丕賱賯氐賷丿丞 亘丕賱鬲乇噩賲鬲賷賳 賵兀爻鬲賲鬲毓 亘丕賱賯丿乇 賳賮爻賴. 賵賷丕 賱賷鬲 賱賵 賰賳鬲 兀爻鬲胤賷毓 丕賱賯乇丕亍丞 亘丕賱賮乇賳爻賷丞!
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::賲賳 賴賵 丌乇鬲賵乇 乇丕賲亘賵責::
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1_ 噩丕賳 賳賷賰賵賱丕 丌乇孬乇 乇丕賲亘賵 (20 兀賰鬲賵亘乇 1854 - 10 賳賵賮賲亘乇 1891) 賰丕賳 卮丕毓乇賸丕 賮乇賳爻賷賸丕 賲毓乇賵賮賸丕 亘鬲噩丕賵夭賴 賵毓賳賮賴 賵賲賵丕囟賷毓賴 丕賱爻乇賷丕賱賷丞 賵鬲兀孬賷乇賴 毓賱賶 丕賱兀丿亘 賵丕賱賮賳賵賳 丕賱丨丿賷孬丞. 賵賱丿 賮賷 卮丕乇賱賮賷賱貙 賵亘丿兀 丕賱賰鬲丕亘丞 賮賷 爻賳 賲亘賰乇丞 噩丿賸丕 賵鬲賮賵賯 賰胤丕賱亘 賮賷 賲丿乇爻鬲賴貙 賱賰賳賴 鬲禺賱賶 毓賳 鬲毓賱賷賲賴 丕賱乇爻賲賷 賮賷 爻賳賵丕鬲 賲乇丕賴賯鬲賴 賱賷賴乇亘 廿賱賶 亘丕乇賷爻 廿亘丕賳 丕賱丨乇亘 丕賱賮乇賳爻賷丞 丕賱亘乇賵爻賷丞. 兀賳鬲噩 禺賱丕賱 賮鬲乇丞 賲乇丕賴賯鬲賴 丕賱賲鬲兀禺乇丞 賵兀賵丕卅賱 爻賳 丕賱亘賱賵睾 丕賱噩夭亍 丕賱兀賰亘乇 賲賳 廿賳鬲丕噩賴 丕賱兀丿亘賷. 鬲賵賯賮 乇丕賲亘賵 毓賳 賰鬲丕亘丞 丕賱兀丿亘 鬲賲丕賲賸丕 賮賷 爻賳 丕賱毓卮乇賷賳 亘毓丿 鬲噩賲賷毓 丌禺乇 兀毓賲丕賱賴 丕賱乇卅賷爻賷丞 丕賱賲毓賳賵賳 亘丕爻賲 "廿卮乇丕賯丕鬲".
2_ 賰丕賳 乇丕賲亘賵 賲鬲丨乇乇賸丕 賵賱賴 乇賵丨 睾賷乇 賴丕丿卅丞貙 賵丕賳禺乇胤 賮賷 毓賱丕賯丞 賲丨賲賵賲丞 賵毓賳賷賮丞 賲毓 夭賲賷賱賴 丕賱卮丕毓乇 亘賵賱 賮賷乇賱賷賳貙 賵丕賱鬲賷 丕爻鬲賲乇鬲 賯乇丕亘丞 毓丕賲賷賳. 亘毓丿 鬲賯丕毓丿賴 賰賰丕鬲亘貙 爻丕賮乇 賰孬賷乇賸丕 賮賷 孬賱丕孬 賯丕乇丕鬲 賰鬲丕噩乇 賵賲爻鬲賰卮賮 丨鬲賶 賵賮丕鬲賴 亘賲乇囟 丕賱爻乇胤丕賳 亘毓丿 毓賷丿 賲賷賱丕丿賴 丕賱爻丕亘毓 賵丕賱孬賱丕孬賷賳. 丕卮鬲賴乇 賰卮丕毓乇 亘賲爻丕賴賲丕鬲賴 賮賷 鬲賷丕乇 丕賱乇賲夭賷丞貙 賵賲賳 亘賷賳 兀毓賲丕賱賴 丕賱兀禺乇賶貙 "賮氐賱 賮賷 丕賱噩丨賷賲"貙 賵賷毓鬲亘乇 鬲賵胤卅丞 賱賱兀丿亘 丕賱丨丿丕孬賷.
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::賲乇丕丨賱 丨賷丕鬲賴::
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1_ 胤賮賵賱鬲賴 (1854-1861):
賵購賱賽丿 乇丕賲亘賵 賮賷 亘賱丿丞 卮丕乇賱賮賷賱 賮賷 賲賯丕胤毓丞 丌乇丿賷賳 賮賷 卮賲丕賱 卮乇賯 賮乇賳爻丕. 賰丕賳 賵丕賱丿 乇丕賲亘賵 賲賳 兀氐賵賱 亘乇賵賮賳爻丕賱賷丞貙 賳賯賷亘賸丕 賮賷 丕賱賲卮丕丞 賵鬲乇賯賶 賮賷 丕賱乇鬲亘貨 賱賯丿 兀賲囟賶 丕賱賰孬賷乇 賲賳 丨賷丕鬲賴 丕賱毓爻賰乇賷丞 賮賷 丕賱禺丕乇噩. 卮丕乇賰 賮賷 睾夭賵 丕賱噩夭丕卅乇 賵丨氐賱 毓賱賶 賵爻丕賲 丕賱卮乇賮 亘賲乇爻賵賲 廿賲亘乇丕胤賵乇賷 賰賲丕 賵購氐賽賮 丕賱賰丕亘鬲賳 乇丕賲亘賵 兀賳賴 匕賵 賲夭丕噩 噩賷丿 賵爻賴賱 賵賰乇賷賲 賵賱賴 卮丕乇亘 胤賵賷賱 賵賱丨賷丞 氐睾賷乇丞. 鬲賲 賳賯賱 丕賱賰丕亘鬲賳 乇丕賲亘賵 亘毓丿 匕賱賰貙 丕賱匕賷 賰丕賳 賷亘賱睾 賲賳 丕賱毓賲乇 38 毓丕賲賸丕貙 廿賱賶 賲賷夭賷賷乇 丨賷孬 丕賱鬲賯賶 賮賷鬲丕賱賷 賰賵賷賮貙 丕賱鬲賷 鬲氐睾乇賴 亘賭 11 毓丕賲賸丕貙 兀孬賳丕亍 賳夭賴丞 賷賵賲 丕賱兀丨丿. 賰丕賳鬲 卮禺氐賷鬲賴丕 丕賱毓賰爻 鬲賲丕賲賸丕 賱卮禺氐賷丞 丕賱賰丕亘鬲賳 乇丕賲亘賵. 賵亘丨爻亘 賲丕 賵乇丿 賰丕賳鬲 囟賷賯丞 丕賱兀賮賯 賵亘禺賷賱丞. 賱賰賳 鬲夭賵噩賴丕 丕賱賰丕亘鬲賳 乇丕賲亘賵.
毓賱賶 丕賱乇睾賲 賲賳 兀賳 丕賱夭賵丕噩 丕爻鬲賲乇 爻亘毓 爻賳賵丕鬲貙 廿賱丕 兀賳 丕賱賰丕亘鬲賳 乇丕賲亘賵 毓丕卮 亘卮賰賱 賲爻鬲賲乇 賮賷 賲賳夭賱 丕賱夭賵噩賷丞 賱賲丿丞 鬲賯賱 毓賳 孬賱丕孬丞 兀卮賴乇貙 亘賯賷丞 丕賱賵賯鬲 賰丕賳鬲 賲賳丕氐亘賴 丕賱毓爻賰乇賷丞 - 亘賲丕 賮賷 匕賱賰 丕賱禺丿賲丞 丕賱賮毓賱賷丞 賮賷 丨乇亘 丕賱賯乇賲 賵丨賲賱丞 爻乇丿賷賳賷丕 (賲毓 丕賱賲賷丿丕賱賷丕鬲 丕賱鬲賷 丨氐賱 毓賱賷賴丕 賮賷 賰賱賷賴賲丕) - 鬲毓賳賷 兀賳賴 毓丕丿 廿賱賶 賲賳夭賱賴 賮賷 卮丕乇賱賮賷賱 賮賯胤 毓賳丿賲丕 賷賰賵賳 賮賷 廿噩丕夭丞. 賵賱賲 賷賰賳 賲鬲賵丕噩丿賸丕 賮賷 丕賱賲賳夭賱 賲賳 兀噩賱 賵賱丕丿丞 兀亘賳丕卅賴 賵賱丕 鬲毓賲賷丿賴賲. 賱丕 亘丿 兀賳 賵賱丕丿丞 廿賷夭丕亘賷賱 毓丕賲 1860 賰丕賳鬲 丕賱賯卮丞 丕賱鬲賷 賯氐賲鬲 馗賴乇 丕賱亘毓賷乇貙 丨賷孬 鬲賵賯賮 丕賱賰丕亘鬲賳 乇丕賲亘賵 亘毓丿 匕賱賰 毓賳 丕賱毓賵丿丞 廿賱賶 丕賱賲賳夭賱 賮賷 廿噩丕夭丞 鬲賲丕賲賸丕. 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴賲丕 賱賲 賷鬲胤賱賯丕 兀亘丿賸丕貙 廿賱丕 兀賳 丕賱丕賳賮氐丕賱 賰丕賳 賰丕賲賱丕賸貨 亘毓丿 匕賱賰貙 兀胤賱賯鬲 丕賱爻賷丿丞 乇丕賲亘賵 毓賱賶 賳賮爻賴丕 賱賯亘 "兀乇賲賱丞 乇丕賲亘賵" 賵賵氐賮 丕賱賰丕亘鬲賳 乇丕賲亘賵 賳賮爻賴 亘兀賳賴 兀乇賲賱. 賵賱賲 賷購馗賴乇 丕賱賯亘胤丕賳 賵賱丕 兀胤賮丕賱賴 兀丿賳賶 丕賴鬲賲丕賲 亘廿毓丕丿丞 賱賲 丕賱卮賲賱 丕賱兀爻乇賷. 賷毓亘賾乇 乇丕賲亘賵 賮賷 兀卮毓丕乇賴 丕賱賲亘賰乇丞 毓賳 睾賷丕亘 丕賱兀亘 丕賱丨丕丿賾 賴匕丕.
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2_ 賲乇丕賴賯鬲賴 (1861-1871):
胤賵丕賱 丕賱爻賳賵丕鬲 丕賱禺賲爻 丕賱鬲賷 賯囟丕賴丕 乇丕賲亘賵 賮賷 丕賱賲丿乇爻丞貙 馗賱鬲 賵丕賱丿鬲賴 鬲賮乇囟 廿乇丕丿鬲賴丕 毓賱賷賴貙 賵鬲丿賮毓賴 賱鬲丨賯賷賯 丕賱賳噩丕丨 丕賱丿乇丕爻賷. 賰丕賳鬲 鬲毓丕賯亘 兀亘賳丕亍賴丕 亘噩毓賱賴賲 賷丨賮馗賵賳 賲丕卅丞 爻胤乇 賲賳 丕賱卮毓乇 丕賱賱丕鬲賷賳賷 毓賳 馗賴乇 賯賱亘貙 賵鬲毓丕賯亘賴賲 亘丨乇賲丕賳賴賲 賲賳 賵噩亘丕鬲 丕賱胤毓丕賲. 毓賳丿賲丕 賰丕賳 丌乇孬乇 賮賷 丕賱鬲丕爻毓丞 賲賳 毓賲乇賴貙 賰鬲亘 賲賯丕賱賸丕 賲賳 700 賰賱賲丞 賷毓鬲乇囟 賮賷賴 毓賱賶 丕囟胤乇丕乇賴 賱鬲毓賱賲 丕賱賱睾丞 丕賱賱丕鬲賷賳賷丞 賮賷 丕賱賲丿乇爻丞. 兀丿丕賳 亘卮丿丞 丕賱鬲毓賱賷賲 丕賱賰賱丕爻賷賰賷 亘丕毓鬲亘丕乇賴 賲噩乇丿 亘賵丕亘丞 賱賱丨氐賵賱 毓賱賶 賵馗賷賮丞 亘兀噩乇貙 賵賰鬲亘 賲乇丕乇賸丕 賵鬲賰乇丕乇賸丕貙 "爻兀賰賵賳 賲爻鬲兀噩乇賸丕". 賱賲 賷毓噩亘 丌乇孬乇 亘丕賱賵丕噩亘丕鬲 丕賱賲丿乇爻賷丞 賵丕爻鬲丕亍 賲賳 廿卮乇丕賮 賵丕賱丿鬲賴 丕賱賲爻鬲賲乇. 賱賲 賷購爻賲丨 賱賱兀胤賮丕賱 亘丕賱丕亘鬲毓丕丿 毓賳 乇丐賷丞 兀賲賴賲貙 賵丨鬲賶 賷亘賱睾賵丕 丕賱禺丕賲爻丞 毓卮乇丞 賵丕賱爻丕丿爻丞 毓卮乇丞 賲賳 丕賱毓賲乇 毓賱賶 丕賱鬲賵丕賱賷貙 賰丕賳鬲 鬲氐胤丨亘賴賲 廿賱賶 丕賱賲賳夭賱 賲賳 丕賱賲丿乇爻丞. 丨鬲賶 匕賱賰 丕賱丨賷賳貙 賰丕賳鬲 賯乇丕亍鬲賴 賲賯鬲氐乇丞 廿賱賶 丨丿 賰亘賷乇 毓賱賶 丕賱賰鬲丕亘 丕賱賲賯丿爻貙 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴 賰丕賳 賷爻鬲賲鬲毓 兀賷囟賸丕 亘丕賱丨賰丕賷丕鬲 丕賱禺賷丕賱賷丞 賵賯氐氐 丕賱賲睾丕賲乇丕鬲貙 兀氐亘丨 賮賷 丕賱賰賱賷丞 胤丕賱亘賸丕 賳丕噩丨賸丕 賱賱睾丕賷丞貙 丨賷孬 鬲乇兀爻 賮氐賱賴 賮賷 噩賲賷毓 丕賱賲賵丕丿 亘丕爻鬲孬賳丕亍 丕賱乇賷丕囟賷丕鬲 賵丕賱毓賱賵賲貨 賱丕丨馗 賲毓賱賲賵賴 賯丿乇鬲賴 毓賱賶 丕爻鬲賷毓丕亘 賰賲賷丕鬲 賰亘賷乇丞 賲賳 丕賱賲賵丕丿. 丨氐賱 毓賱賶 孬賲丕賳賷 噩賵丕卅夭 兀賵賱賶 賮賷 丕賱賲爻丕亘賯丕鬲 丕賱兀賰丕丿賷賲賷丞 丕賱賮乇賳爻賷丞 毓丕賲 1869貙 賲賳賴丕 噩丕卅夭丞 丕賱鬲乇亘賷丞 丕賱丿賷賳賷丞貙 賵賮賷 丕賱毓丕賲 丕賱鬲丕賱賷 丨氐賱 毓賱賶 爻亘毓 噩賵丕卅夭 兀賵賱賶. 賯丕賲鬲 丕賱爻賷丿丞 乇丕賲亘賵 亘鬲毓賷賷賳 賲丿乇爻 禺丕氐 賱丌乇孬乇 毓賳丿賲丕 賵氐賱 廿賱賶 丕賱氐賮 丕賱孬丕賱孬. 賳噩丨 丕賱兀亘 兀乇賷爻鬲 賱賷乇賷鬲賷賷賴 賮賷 廿孬丕乇丞 丨亘 丕賱毓丕賱賲 丕賱卮丕亘 賱賱兀丿亘 丕賱賰賱丕爻賷賰賷 丕賱賷賵賳丕賳賷 賵丕賱賱丕鬲賷賳賷 賵丕賱賮乇賳爻賷丞貙 賵賰丕賳 兀賵賱 賲賳 卮噩毓 丕賱氐亘賷 毓賱賶 賰鬲丕亘丞 丕賱卮毓乇 丕賱兀氐賱賷 亘丕賱賱睾鬲賷賳 丕賱賮乇賳爻賷丞 賵丕賱賱丕鬲賷賳賷丞. 兀賵賱 賯氐賷丿丞 賱乇丕賲亘賵 馗賴乇鬲 賲胤亘賵毓丞 賰丕賳鬲 (賴丿丕賷丕 丕賱丨賱賵丕賳 賱賱兀賷鬲丕賲)貙 賵賳卮乇鬲 毓賳丿賲丕 賰丕賳 毓賲乇賴 15 毓丕賲賸丕 賮賯胤. 兀氐亘丨 廿賷夭丕賲亘丕乇丿 賲毓賱賲 乇丕賲亘賵貙 賵爻乇毓丕賳 賲丕 鬲卮賰賱鬲 氐丿丕賯丞 賵孬賷賯丞 亘賷賳 丕賱賲毓賱賲 賵丕賱胤丕賱亘貙 丨賷孬 乇兀賶 乇丕賲亘賵 賮賷 廿賷夭丕賲亘丕乇丿 亘賲孬丕亘丞 丕賱兀禺 丕賱兀賰亘乇. 賰丕賳 乇丕賲亘賵 賷馗賴乇 賳囟噩賴 賰卮丕毓乇貨 丕賱賯氐賷丿丞 丕賱兀賵賱賶 丕賱鬲賷 毓乇囟賴丕 毓賱賶 廿賷夭丕賲亘丕乇丿貙 "兀賵賮賷賱賷丕"貙 賵睾丕賱亘賸丕 賲丕 鬲毓鬲亘乇 賵丕丨丿丞 賲賳 兀賮囟賱 孬賱丕孬 兀賵 兀乇亘毓 賯氐丕卅丿 賱乇丕賲亘賵. 賮賷 4 賲丕賷賵 1870貙 賰鬲亘鬲 賵丕賱丿丞 乇丕賲亘賵 廿賱賶 廿賷夭丕賲亘丕乇丿 鬲毓鬲乇囟 毓賱賶 廿毓胤丕亍 乇丕賲亘賵 賮賷賰鬲賵乇 賴賵睾賵 乇賵丕賷丞 丕賱亘丐爻丕亍 賱賯乇丕亍鬲賴丕貙 賱兀賳賴丕 丕毓鬲賯丿鬲 兀賳 丕賱賰鬲丕亘 賷卮賰賱 禺胤乇賸丕 毓賱賶 兀禺賱丕賯 丕賱胤賮賱. 丕賳丿賱毓鬲 丕賱丨乇亘 丕賱賮乇賳爻賷丞 丕賱亘乇賵爻賷丞貙 亘賷賳 丕賱廿賲亘乇丕胤賵乇賷丞 丕賱賮乇賳爻賷丞 丕賱孬丕賳賷丞 賱賳丕亘賱賷賵賳 丕賱孬丕賱孬 賵賲賲賱賰丞 亘乇賵爻賷丕貙 睾丕丿乇 廿賷夭丕賲亘丕乇丿 卮丕乇賱賮賷賱 賱賯囟丕亍 丕賱氐賷賮 賱賷賯賷賲 賲毓 毓賲丕鬲賴 丕賱孬賱丕孬 賵兀氐亘丨鬲 賰賱賷丞 卮丕乇賱賮賷賱 賲爻鬲卮賮賶 毓爻賰乇賷賸丕. 亘丨賱賵賱 賳賴丕賷丞 卮賴乇 兀睾爻胤爻貙 賵賲毓 丨丕賱丞 丕賱丕囟胤乇丕亘 賮賷 丕賱乇賷賮貙 卮毓乇 乇丕賲亘賵 亘丕賱賲賱賱 賵丕賱賯賱賯. 賮賴乇亘 亘丨孬賸丕 毓賳 丕賱賲睾丕賲乇丞 亘丕賱賯胤丕乇 廿賱賶 亘丕乇賷爻 丿賵賳 兀賳 賷賰賵賳 賱丿賷賴 兀賲賵丕賱 賰丕賮賷丞 賱鬲匕賰乇鬲賴. 毓賳丿 賵氐賵賱賴 廿賱賶 睾丕乇 丿賵 賳賵乇丿貙 鬲賲 丕賱賯亘囟 毓賱賷賴 賵丕丨鬲噩丕夭賴 賮賷 爻噩賳 賲丕夭丕爻 賮賷 丕賳鬲馗丕乇 丕賱賲丨丕賰賲丞 亘鬲賴賲丞 丕賱鬲賴乇亘 賲賳 丿賮毓 丕賱兀噩乇丞 賵丕賱鬲卮乇丿. 賮賷 5 爻亘鬲賲亘乇貙 賰鬲亘 乇丕賲亘賵 乇爻丕賱丞 賷丕卅爻丞 廿賱賶 廿賷夭丕賲亘丕乇丿貙 丕賱匕賷 乇鬲亘 賲毓 丨丕賰賲 丕賱爻噩賳 賱廿胤賱丕賯 爻乇丕丨 乇丕賲亘賵 鬲丨鬲 乇毓丕賷鬲賴. 賲毓 丕爻鬲賲乇丕乇 丕賱兀毓賲丕賱 丕賱毓丿丕卅賷丞貙 亘賯賷 賲毓 毓賲丞 賲毓賱賲賴 賮賷 丿賵丕賷 丨鬲賶 賷賲賰賳 廿毓丕丿鬲賴 廿賱賶 卮丕乇賱賮賷賱. 兀禺賷乇賸丕 爻賱賲 廿賷夭丕賲亘丕乇丿 乇丕賲亘賵 廿賱賶 丕賱爻賷丿丞 乇丕賲亘賵 賮賷 27 爻亘鬲賲亘乇 1870 (賵乇丿 兀賳 賵丕賱丿鬲賴 氐賮毓鬲賴 毓賱賶 賵噩賴賴 賵賵亘禺鬲 廿賷夭丕賲亘丕乇丿)貙 賱賰賳賴 亘賯賷 賮賷 丕賱賲賳夭賱 賱賲丿丞 毓卮乇丞 兀賷丕賲 賮賯胤 賯亘賱 兀賳 賷賴乇亘 賲乇丞 兀禺乇賶! 兀氐亘丨 爻賱賵賰 乇丕賲亘賵 丕爻鬲賮夭丕夭賷賸丕 亘卮賰賱 毓賱賳賷. 賰丕賳 賷卮乇亘 丕賱賰丨賵賱貙 賵賷鬲丨丿孬 亘賵賯丕丨丞貙 賵賷丐賱賮 賯氐丕卅丿 亘匕賷卅丞貙 賵賷爻乇賯 丕賱賰鬲亘 賲賳 丕賱賲鬲丕噩乇 丕賱賲丨賱賷丞貙 賵賷鬲禺賱賶 毓賳 賲馗賴乇賴 丕賱兀賳賷賯 丕賱賲賲賷夭 賲賳 禺賱丕賱 丕賱爻賲丕丨 賱卮毓乇賴 亘丕賱賳賲賵 賱賮鬲乇丞 胤賵賷賱丞. 賰鬲亘 乇爻丕卅賱 乇丕賲亘賵 廿賱賶 廿賷夭丕賲亘丕乇丿 賵廿賱賶 氐丿賷賯賴 亘賵賱 丿賷賲賷賳賷 毓賱賶 丕賱鬲賵丕賱賷 (乇爻丕賱鬲賷 丕賱乇丕卅賷) 丕賱卮賴賷乇鬲賷賳貙 丨賵賱 胤乇賷賯鬲賴 賮賷 鬲丨賯賷賯 丕賱爻賲賵 丕賱卮毓乇賷 兀賵 丕賱賯賵丞 丕賱亘氐賷乇丞 賲賳 禺賱丕賱 毓賲賱 胤賵賷賱 賵賴丕卅賱. 賵丕賱鬲卮賵賷卮 賱賱丨賵丕爻.
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3_ 丨賷丕鬲賴 賲毓 賮賷乇賱賷賳 賮賷 亘丕乇賷爻 (1871-1875):
賰鬲亘 乇丕賲亘賵 廿賱賶 丕賱毓丿賷丿 賲賳 丕賱卮毓乇丕亍 丕賱賲锟斤拷賴賵乇賷賳 孬賲 兀乇爻賱 廿賱賶 亘賵賱 賮賷乇賱賷賳貙 丕賱卮丕毓乇 丕賱氐丕毓丿 賵丕賱夭毓賷賲 丕賱賲爻鬲賯亘賱賷 賱丨乇賰丞 丕賱乇賲夭賷丞. 兀乇爻賱 乇丕賲亘賵 乇爻丕賱鬲賷賳 廿賱賶 賮賷乇賱賷賳 賲毓 丕賱毓丿賷丿 賲賳 賯氐丕卅丿賴貙 丕賳亘賴乇 賮賷乇賱賷賳 亘乇丕賲亘賵貙 賮兀噩丕亘: "鬲毓丕賱 兀賷賴丕 丕賱乇賵丨 丕賱毓馗賷賲丞. 賳丨賳 賳賳鬲馗乇賰貙 賵賳乇睾亘 賮賷賰"貙 賵兀乇爻賱 賱賴 鬲匕賰乇丞 匕賴丕亘 賮賯胤 廿賱賶 亘丕乇賷爻. 賵氐賱 乇丕賲亘賵 賮賷 兀賵丕禺乇 爻亘鬲賲亘乇 賵兀賯丕賲 賱賮鬲乇丞 賵噩賷夭丞 賮賷 賲賳夭賱 賮賷乇賱賷賳. 賰丕賳鬲 夭賵噩丞 賮賷乇賱賷賳貙 賲丕鬲賷賱丿 賲賵鬲賷貙 鬲亘賱睾 賲賳 丕賱毓賲乇 爻亘毓丞 毓卮乇 毓丕賲賸丕 賵賰丕賳鬲 丨丕賲賱賸丕貙 賵賰丕賳 賮賷乇賱賷賳 賯丿 鬲乇賰 賵馗賷賮鬲賴 賲丐禺乇賸丕 賵亘丿兀 賮賷 卮乇亘 丕賱禺賲乇. 賮賷 匕賰乇賷丕鬲 賲賳卮賵乇丞 賱丕丨賯賸丕 毓賳 乇丐賷鬲賴 丕賱兀賵賱賶 賱乇丕賲亘賵 賮賷 爻賳 丕賱爻丕丿爻丞 毓卮乇丞貙 賵氐賮賴 賮賷乇賱賷賳 亘兀賳賴 賷賲鬲賱賰 "乇兀爻賸丕 丨賯賷賯賷賸丕 賱胤賮賱". 賲毓 "賱賰賳丞 丌乇丿賷賳 丕賱賯賵賷丞 噩丿賸丕 賵丕賱鬲賷 賰丕賳鬲 鬲賯乇賷亘賸丕 賱賴噩丞". 賰丕賳 賱氐賵鬲賴 "丕乇鬲賮丕毓 賵丕賳禺賮丕囟 賰賲丕 賱賵 賰丕賳 賷賳賰爻乇". 賵爻乇毓丕賳 賲丕 亘丿兀 乇丕賲亘賵 賵賮賷乇賱賷賳 毓賱丕賯丞 睾乇丕賲賷丞 賯氐賷乇丞 賵丨丕丿丞. 賱賯丿 毓丕卮賵丕 丨賷丕丞 亘乇賷丞 賲鬲卮乇丿丞 賲賲鬲賱卅丞 亘丕賱兀賮爻賳鬲賷賳 賵丕賱兀賮賷賵賳 賵丕賱丨卮賷卮. 兀氐賷亘鬲 丕賱夭賲乇丞 丕賱兀丿亘賷丞 丕賱亘丕乇賷爻賷丞 亘丕賱賮囟賷丨丞 亘爻亘亘 乇丕賲亘賵貙 丕賱匕賷 賰丕賳 爻賱賵賰賴 爻賱賵賰 丕賱胤賮賱 丕賱賳賲賵匕噩賷 丕賱賮馗賷毓貙 賱賰賳賴 丕爻鬲賲乇 胤賵丕賱 賴匕賴 丕賱賮鬲乇丞 賮賷 賰鬲丕亘丞 丕賱賯氐丕卅丿. 禺賱丕賱 賴匕丕 丕賱賵賯鬲貙 鬲禺賱賶 賮賷乇賱賷賳 毓賳 夭賵噩鬲賴 賵丕亘賳賴 丕賱乇囟賷毓 賰賱丕賴賲丕 賰丕賳 賯丿 兀爻丕亍 廿賱賷賴賲丕 賮賷 賳賵亘丕鬲 睾囟亘賴. 賮賷 賱賳丿賳貙 毓丕卮丕 賮賷 賮賯乇 賲丿賯毓 丨賷孬 賰丕賳丕 賷丨氐賱丕賳 毓賱賶 賱賯賲丞 毓賷卮賴賲 賲賳 丕賱鬲丿乇賷爻貙 亘丕賱廿囟丕賮丞 廿賱賶 廿毓丕賳丞 賲賳 賵丕賱丿丞 賮賷乇賱賷賳. 賯囟賶 乇丕賲亘賵 兀賷丕賲賴 賮賷 睾乇賮丞 丕賱賯乇丕亍丞 亘丕賱賲鬲丨賮 丕賱亘乇賷胤丕賳賷 丨賷孬 賰丕賳鬲 丕賱鬲丿賮卅丞 賵丕賱廿囟丕亍丞 賵丕賱兀賯賱丕賲 賵丕賱丨亘乇 賲噩丕賳賷丞. 兀氐亘丨鬲 丕賱毓賱丕賯丞 亘賷賳 丕賱卮丕毓乇賷賳 賲乇賷乇丞 亘卮賰賱 賲鬲夭丕賷丿貙 賵鬲禺賱賶 賮賷乇賱賷賳 毓賳 乇丕賲亘賵 賮賷 賱賳丿賳 賱賱賯丕亍 夭賵噩鬲賴 賮賷 亘乇賵賰爻賱. 賱賲 賷賰賳 乇丕賲亘賵 賲丨亘賵亘賸丕 賮賷 匕賱賰 丕賱賵賯鬲貙 賵丕毓鬲亘乇賴 丕賱賰孬賷乇 賲賳 丕賱賳丕爻 賯匕乇賸丕 賵賵賯丨賸丕. 賰賲丕 賳卮乇鬲 賲賷乇丕鬲 卮丕卅毓丕鬲 賰孬賷乇丞 賲賮丕丿賴丕 兀賳 賮賷乇賱賷賳 賵乇丕賲亘賵 賰丕賳丕 賷賳丕賲丕賳 賲毓賸丕. 賵賰丕賳 丕賳鬲卮丕乇 鬲賱賰 丕賱卮丕卅毓丕鬲 亘賲孬丕亘丞 亘丿丕賷丞 丕賱爻賯賵胤 賱賱卮丕毓乇賷賳 丕賱賱匕賷賳 賰丕賳丕 賷丨丕賵賱丕賳 亘賳丕亍 爻賲毓丞 胤賷亘丞 賱兀賳賮爻賴賲丕. 毓丕丿 賮賷乇賱賷賳 廿賱賶 亘丕乇賷爻 亘賲賮乇丿賴貙 賱賰賳賴 爻乇毓丕賳 賲丕 亘丿兀 賮賷 丕賱丨丿丕丿 毓賱賶 睾賷丕亘 乇丕賲亘賵. 賮兀乇爻賱 亘乇賯賷丞 廿賱賶 乇丕賲亘賵 賷胤賱亘 賲賳賴 丕賱丨囟賵乇 廿賱賶 賮賳丿賯 賮賷 亘乇賵賰爻賱. 爻丕乇鬲 丕賱兀賲賵乇 毓賱賶 賲丕 賷乇丕賲貙 賰賲丕 賰丕賳 賷鬲噩丕丿賱丕賳 亘丕爻鬲賲乇丕乇貙 賵賱噩兀 賮賷乇賱賷賳 廿賱賶 丕賱廿賮乇丕胤 賮賷 卮乇亘 丕賱禺賲乇. 丕卮鬲乇賶 賮賷乇賱賷賳 賲爻丿爻賸丕 賵匕禺賷乇丞. 丨賵丕賱賷 丕賱爻丕毓丞 16:00貙 "賮賷 丨丕賱丞 賲賳 丕賱睾囟亘 丕賱爻賰賷乇"貙 兀胤賱賯 乇氐丕氐鬲賷賳 毓賱賶 乇丕賲亘賵貙 兀丿鬲 廿丨丿丕賴賲丕 廿賱賶 廿氐丕亘丞 丕賱卮丕亘 丕賱亘丕賱睾 賲賳 丕賱毓賲乇 18 毓丕賲賸丕 賮賷 賲毓氐賲賴 丕賱兀賷爻乇. 賮賷 丕賱亘丿丕賷丞貙 乇賮囟 乇丕賲亘賵 丕賱噩乇丨 亘丕毓鬲亘丕乇賴 爻胤丨賷賸丕貙 賱賰賳賴 乇睾賲 匕賱賰 賯丕賲 亘鬲囟賲賷丿賴 賮賷 賲爻鬲卮賮賶. 賵賱賲 賷賵噩賴 丕鬲賴丕賲丕鬲 毓賱賶 丕賱賮賵乇貙 賱賰賳賴 賯乇乇 賲睾丕丿乇丞 亘乇賵賰爻賱.丨賵丕賱賷 丕賱爻丕毓丞 20:00貙 乇丕賮賯 賮賷乇賱賷賳 賵賵丕賱丿鬲賴 乇丕賲亘賵 廿賱賶 賲丨胤丞 賯胤丕乇 賵賮賷 丕賱胤乇賷賯貙 賵亘丨爻亘 乇賵丕賷丞 乇丕賲亘賵貙 賮廿賳 賮賷乇賱賷賳 "鬲氐乇賮 賰賲丕 賱賵 賰丕賳 賲噩賳賵賳丕賸". 禺賵賮賸丕 賲賳 兀賳 賷胤賱賯 賮賷乇賱賷賳 丕賱賳丕乇 毓賱賷賴 賲乇丞 兀禺乇賶 賵賴賵 賷丨賲賱 賲爻丿爻賸丕 賮賷 噩賷亘賴貙 賴乇亘 乇丕賲亘賵 賵"鬲賵爻賱 廿賱賶 丕賱卮乇胤賷 賱廿賱賯丕亍 丕賱賯亘囟 毓賱賷賴". 鬲賲 丕鬲賴丕賲 賮賷乇賱賷賳 亘賲丨丕賵賱丞 丕賱賯鬲賱貙 孬賲 鬲毓乇囟 賱賮丨氐 胤亘賷 賯丕賳賵賳賷 賲賴賷賳. 賰賲丕 鬲賲 丕爻鬲噩賵丕亘賴 丨賵賱 賲乇丕爻賱丕鬲賴 賲毓 乇丕賲亘賵 賵胤亘賷毓丞 毓賱丕賯鬲賴賲丕. 鬲賲鬲 廿夭丕賱丞 丕賱乇氐丕氐丞 賮賷 丕賱賳賴丕賷丞 賮賷 17 賷賵賱賷賵 賵爻丨亘 乇丕賲亘賵 卮賰賵丕賴. 鬲賲 鬲禺賮賷囟 丕賱鬲賴賲 廿賱賶 丕賱廿氐丕亘丞 亘爻賱丕丨 賳丕乇賷貙 賵賮賷 8 兀睾爻胤爻 1873 丨購賰賲 毓賱賶 賮賷乇賱賷賳 亘丕賱爻噩賳 賱賲丿丞 毓丕賲賷賳. 毓丕丿 乇丕賲亘賵 廿賱賶 賲賳夭賱賴 賮賷 卮丕乇賱賮賷賱 賵兀賰賲賱 毓賲賱賴 丕賱賳孬乇賷 丕賱賴丕卅賱 "賮氐賱 賮賷 丕賱噩丨賷賲"貙 賵丕賱匕賷 賱丕 賷夭丕賱 賷購賳馗乇 廿賱賷賴 毓賱賶 賳胤丕賯 賵丕爻毓 毓賱賶 兀賳賴 賲孬丕賱 乇丕卅丿 賱賱賰鬲丕亘丞 丕賱乇賲夭賷丞 丕賱丨丿賷孬丞. 賮賷 丕賱毓賲賱貙 鬲賲 鬲賮爻賷乇賴 毓賱賶 賳胤丕賯 賵丕爻毓 兀賳賴 賷卮賷乇 廿賱賶 賮賷乇賱賷賳 毓賱賶 兀賳賴 "兀禺賷賴 丕賱賲孬賷乇 賱賱卮賮賯丞" 賵"丕賱毓匕乇丕亍 丕賱賲噩賳賵賳丞"貙 賵廿賱賶 賳賮爻賴 毓賱賶 兀賳賴 "丕賱夭賵噩 丕賱噩賴賳賲賷"貙 賵 賵氐賮賵丕 丨賷丕鬲賴 賲毓賴 亘兀賳賴丕 "賲賴夭賱丞 賲丨賱賷丞". 賵賮賷 毓丕賲 1874貙 毓丕丿 廿賱賶 賱賳丿賳 賲毓 丕賱卮丕毓乇 噩賷乇賲丕賳 賳賵賮賵. 毓丕卮丕 賲毓賸丕 賱賲丿丞 孬賱丕孬丞 兀卮賴乇 亘賷賳賲丕 賰丕賳 賷噩賲毓 賲噩賲賵毓丞 賯氐丕卅丿 丕賱賳孬乇 丕賱乇丕卅丿丞 "廿卮乇丕賯丕鬲"貙 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴 賱賲 賷乇賴丕 賮賷 丕賱賳賴丕賷丞 賲賳 禺賱丕賱 丕賱賳卮乇 (賱賲 賷鬲賲 賳卮乇賴丕 廿賱丕 賮賷 毓丕賲 1886貙 丿賵賳 毓賱賲 丕賱賲丐賱賮).
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4_ 兀爻賮丕乇賴 (1875-1880):
丕賱鬲賯賶 乇丕賲亘賵 賵賮賷乇賱賷賳 賱賱賲乇丞 丕賱兀禺賷乇丞 賮賷 賲丕乇爻 1875貙 亘毓丿 廿胤賱丕賯 爻乇丕丨 賮賷乇賱賷賳 賲賳 丕賱爻噩賳 賵鬲丨賵賱賴 廿賱賶 丕賱賰丕孬賵賱賷賰賷丞. 賵亘丨賱賵賱 匕賱賰 丕賱賵賯鬲 賰丕賳 乇丕賲亘賵 賯丿 鬲禺賱賶 毓賳 丕賱兀丿亘 賱氐丕賱丨 丨賷丕丞 毓賲賱 賲爻鬲賯乇丞. 賵賷賲賰賳 賱賱亘毓囟 丕賱賯賵賱 兀賳賴 賱丕 賷賵噩丿 卮賷亍 賳亘賷賱 兀賵 丨鬲賶 賲睾丕賲乇 丨賯賷賯賷貙 賮賷 乇噩賱 丕乇鬲賰亘 丕賳鬲丨丕乇賸丕 乇賵丨賷賸丕貙 賵兀氐亘丨 賲鬲丕噩乇賸丕 亘乇噩賵丕夭賷賸丕 賵賵丕賮賯 毓賱賶 丕賱賳馗丕賲 丕賱賲丕丿賷 賱賱兀卮賷丕亍 賵廿賳 賰丕賳 賮賷 匕賱賰 廿噩丨丕賮 賮賷 丨賯 乇丕賲亘賵. 亘毓丿 丿乇丕爻丞 乇丕賲亘賵 毓丿丞 賱睾丕鬲 (丕賱兀賱賲丕賳賷丞 賵丕賱廿賷胤丕賱賷丞 賵丕賱廿爻亘丕賳賷丞)貙 爻丕賮乇 賰孬賷乇賸丕 賮賷 兀賵乇賵亘丕貙 賲毓馗賲賴丕 爻賷乇賸丕 毓賱賶 丕賱兀賯丿丕賲. 賮賷 賲丕賷賵 1876貙 鬲賲 鬲噩賳賷丿賴 賰噩賳丿賷 賮賷 丕賱噩賷卮 丕賱賴賵賱賳丿賷 賱賱丨氐賵賱 毓賱賶 賲賲乇 賲噩丕賳賷 廿賱賶 噩丕賵丞 賮賷 噩夭乇 丕賱賴賳丿 丕賱卮乇賯賷丞 丕賱賴賵賱賳丿賷丞. 賵亘毓丿 兀乇亘毓丞 兀卮賴乇 賴乇亘 廿賱賶 丕賱睾丕亘丞. 鬲賲賰賳 賲賳 丕賱毓賵丿丞 賲鬲禺賮賷賸丕 廿賱賶 賮乇賳爻丕 亘丕賱爻賮賷賳丞. 賰丕賳 爻賷賵丕噩賴 賮乇賯丞 廿毓丿丕賲 賴賵賱賳丿賷丞 賱賵 鬲賲 丕賱賯亘囟 毓賱賷賴.
賮賷 丿賷爻賲亘乇 1878貙 爻丕賮乇 乇丕賲亘賵 廿賱賶 賱丕乇賳賰丕 賮賷 賯亘乇氐貙 丨賷孬 毓賲賱 賮賷 卮乇賰丞 廿賳卮丕亍丕鬲 賰乇卅賷爻 毓賲丕賱 賮賷 賲賯賱毓 丕賱丨噩丕乇丞. 賵賮賷 賲丕賷賵 賲賳 丕賱毓丕賲 丕賱鬲丕賱賷貙 丕囟胤乇 廿賱賶 賲睾丕丿乇丞 賯亘乇氐 亘爻亘亘 廿氐丕亘鬲賴 亘丕賱丨賲賶貙 賵丕賱鬲賷 鬲賲 鬲卮禺賷氐賴丕 毓賳丿 毓賵丿鬲賴 廿賱賶 賮乇賳爻丕 毓賱賶 兀賳賴丕 丨賲賶 丕賱鬲賷賮賵卅賷丿.
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5_ 丕賱丨亘卮丞 (1880-1891):
丕爻鬲賯乇 乇丕賲亘賵 兀禺賷乇賸丕 賮賷 毓丿賳貙 丕賱賷賲賳貙 毓丕賲 1880貙 賰賲賵馗賮 乇卅賷爻賷 賮賷 賵賰丕賱丞 亘丕乇丿賷貙 孬賲 鬲賵賱賶 廿丿丕乇丞 賵賰丕賱丞 丕賱卮乇賰丞 賮賷 丕賱丨亘卮丞. 賮賷 賳賮爻 丕賱毓丕賲 鬲乇賰 賵馗賷賮鬲賴 賮賷 亘丕乇丿賷 賱賷氐亘丨 鬲丕噩乇賸丕 賱丨爻丕亘賴 丕賱禺丕氐 丨賷孬 卮賲賱鬲 鬲毓丕賲賱丕鬲賴 丕賱鬲噩丕乇賷丞 丕賱賯賴賵丞 賵丕賱兀爻賱丨丞 丕賱賳丕乇賷丞 (丕賱鬲賷 毓賮丕 毓賱賷賴丕 丕賱夭賲賳 亘卮賰賱 毓丕賲). 賮賷 丕賱賵賯鬲 賳賮爻賴貙 丕賳禺乇胤 乇丕賲亘賵 賮賷 丕賱丕爻鬲賰卮丕賮 賵兀賯丕賲 氐丿丕賯丞 賵孬賷賯丞 賲毓 丨丕賰賲 賴乇丕乇貙 毓賲賱 乇丕賲亘賵 賮賷 鬲噩丕乇丞 丕賱賯賴賵丞. 賱賯丿 賰丕賳 賮賷 丕賱賵丕賯毓 乇丕卅丿賸丕 賮賷 賴匕丕 丕賱賲噩丕賱貙 賵兀賵賱 兀賵乇賵亘賷 賷卮乇賮 毓賱賶 鬲氐丿賷乇 賯賴賵丞 丕賱丨亘卮丞 丕賱卮賴賷乇丞 賲賳 丕賱亘賱丿 丕賱匕賷 賵賱丿鬲 賮賷賴 丕賱賯賴賵丞. 賵賰丕賳 孬丕賱孬 兀賵乇賵亘賷 毓賱賶 丕賱廿胤賱丕賯 鬲胤兀 賯丿賲賴 丕賱賲丿賷賳丞貙 賵賰丕賳 兀賵賱 賲賳 賯丕賲 亘丕賱兀毓賲丕賱 丕賱鬲噩丕乇賷丞 賴賳丕賰. 賮賷 毓丕賲 1885貙 兀賳卮兀 乇丕賲亘賵 賲鬲噩乇賴 丕賱禺丕氐 賮賷 賴乇丕乇貙 賱賰賳賴 爻乇毓丕賳 賲丕 卮毓乇 亘丕賱賲賱賱 賵丕賱賮夭毓. 丕爻鬲囟丕賮 丕賱賲爻鬲賰卮賮 噩賵賱 亘賵乇賷賱賷 賵丕賱鬲丕噩乇 兀乇賲丕賳丿 爻丕賮賵乇賷. 賵賮賷 卮賴丕丿鬲賴賲丕 丕賱賱丕丨賯丞貙 賵氐賮丕賴 賰賱丕賴賲丕 亘兀賳賴 乇噩賱 匕賰賷貙 賴丕丿卅貙 爻丕禺乇貙 賰鬲賵賲 毓賳 丨賷丕鬲賴 丕賱爻丕亘賯丞貙 賷毓賷卮 亘亘爻丕胤丞貙 賷毓鬲賳賷 亘兀毓賲丕賱賴 亘丿賯丞 賵氐丿賯 賵丨夭賲.
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6_ 賵賮丕鬲賴 (1891):
兀氐賷亘 乇丕賲亘賵 賮賷 毓丿賳 亘賲丕 賰丕賳 賷毓鬲賯丿 賮賷 丕賱亘丿丕賷丞 兀賳賴 丕賱鬲賴丕亘 丕賱賲賮丕氐賱 賮賷 乇賰亘鬲賴 丕賱賷賲賳賶. 賵賱賲 賷爻鬲噩亘 賱賱毓賱丕噩貙 賵亘丨賱賵賱 賲丕乇爻/丌匕丕乇 兀氐亘丨 賷毓丕賳賷 賲賳 丌賱丕賲 卮丿賷丿丞 賱丿乇噩丞 兀賳賴 丕爻鬲毓丿 賱賱毓賵丿丞 廿賱賶 賮乇賳爻丕 賱鬲賱賯賷 毓賱丕噩 兀賮囟賱. 賯亘賱 賲睾丕丿乇鬲賴貙 丕爻鬲卮丕乇 胤亘賷亘賸丕 亘乇賷胤丕賳賷賸丕 賯丕賲 亘鬲卮禺賷氐賴 亘丕賱鬲賴丕亘 丕賱睾卮丕亍 丕賱賲賮氐賱賷 丕賱爻賱賷 毓賳 胤乇賷賯 丕賱禺胤兀貙 賵兀賵氐賶 亘亘鬲乇 丕賱兀胤乇丕賮 毓賱賶 丕賱賮賵乇. 亘賯賷 乇丕賲亘賵 賮賷 毓丿賳 丨鬲賶 7 賲丕賷賵 賱囟亘胤 卮丐賵賳賴 丕賱賲丕賱賷丞貙 孬賲 丕爻鬲賯賱 丕賱亘丕禺乇丞 廿賱賶 賮乇賳爻丕 賮賷 乇丨賱丞 賲丿鬲賴丕 13 賷賵賲丕賸. 賱丿賶 賵氐賵賱賴 鬲賲 廿丿禺丕賱賴 廿賱賶 丕賱賲爻鬲卮賮賶貙 丨賷孬 亘購鬲乇鬲 爻丕賯賴 丕賱賷賲賳賶 亘毓丿 兀爻亘賵毓. 賰丕賳 丕賱鬲卮禺賷氐 亘毓丿 丕賱毓賲賱賷丞 丕賱噩乇丕丨賷丞 賴賵 爻乇胤丕賳 丕賱毓馗丕賲. 亘毓丿 廿賯丕賲丞 賯氐賷乇丞 賮賷 賲夭乇毓丞 丕賱毓丕卅賱丞 賮賷 乇賵卮貙 丨丕賵賱 丕賱毓賵丿丞 廿賱賶 兀賮乇賷賯賷丕貙 賵賱賰賳 賮賷 丕賱胤乇賷賯 鬲丿賴賵乇鬲 氐丨鬲賴貙 賵鬲賲 廿丿禺丕賱賴 賲乇丞 兀禺乇賶 廿賱賶 賲爻鬲卮賮賶 賮賷 賲乇爻賷賱賷丕. 兀賲囟賶 亘毓囟 丕賱賵賯鬲 賴賳丕賰 賵賴賵 賷毓丕賳賷 賲賳 兀賱賲 卮丿賷丿 亘丨囟賵乇 兀禺鬲賴 廿賷夭丕亘賷賱. 鬲賱賯賶 丕賱胤賯賵爻 丕賱兀禺賷乇丞 賲賳 賰丕賴賳 賯亘賱 賵賮丕鬲賴 賮賷 10 賳賵賮賲亘乇 1891貙 毓賳 毓賲乇 賷賳丕賴夭 37 毓丕賲賸丕.
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::卮毓乇賷賾鬲赖::
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"兀賳丕 丕賱丌賳 兀噩毓賱 賳賮爻賷 賵囟賷毓賸丕 賯丿乇 丕爻鬲胤丕毓鬲賷. 賱賲丕匕丕責 兀乇賷丿 兀賳 兀氐亘丨 卮丕毓乇賸丕貙 賵兀毓賲賱 毓賱賶 鬲丨賵賷賱 賳賮爻賷 廿賱賶 乇丕卅賷. 賱賳 鬲賮賴賲 兀賷賸丕 賲賳 賴匕丕貙 賵兀賳丕 鬲賯乇賷亘賸丕 睾賷乇 賯丕丿乇 毓賱賶 卮乇丨賴 賱賰. 丕賱賮賰乇丞 賴賷 丕賱賵氐賵賱 廿賱賶 丕賱賲噩賴賵賱 毓賳 胤乇賷賯 鬲卮賵賷卮 噩賲賷毓 丕賱丨賵丕爻. 廿賳 丕賱兀賲乇 賷賳胤賵賷 毓賱賶 賲毓丕賳丕丞 賴丕卅賱丞貙 賱賰賳 賷噩亘 毓賱賶 丕賱賲乇亍 兀賳 賷賰賵賳 賯賵賷賸丕 賵兀賳 賷賰賵賳 卮丕毓乇賸丕 亘丕賱賮胤乇丞. 廿賳賴 丨賯丕 賱賷爻 禺胤兀賷." - 丌乇孬乇 乇丕賲亘賵 賲賳 乇爻丕賱丞 丕賱乇丕卅賷
1_ 賰丕賳鬲 丕賱賯氐丕卅丿 丕賱兀賵賱賶 丕賱賲毓乇賵賮丞 賱丌乇孬乇 乇丕賲亘賵 鬲丨丕賰賷 賮賷 丕賱睾丕賱亘 兀爻賱賵亘 賲丿乇爻丞 亘丕乇賳丕爻 賵睾賷乇賴丕 賲賳 丕賱卮毓乇丕亍 丕賱賲毓丕氐乇賷賳 丕賱賲卮賴賵乇賷賳 賲孬賱 賮賷賰鬲賵乇 賴賵睾賵貙 毓賱賶 丕賱乇睾賲 賲賳 兀賳賴 胤賵乇 亘爻乇毓丞 賲賳賴噩賸丕 兀氐賱賷賸丕貙 爻賵丕亍 賲賳 丨賷孬 丕賱賲賵囟賵毓 兀賵 丕賱兀爻賱賵亘 (賱丕 爻賷賲丕 毓賳 胤乇賷賯 賲夭噩 丕賱賰賱賲丕鬲 賵丕賱兀賮賰丕乇 丕賱丿賳賷賵賷丞 賲毓 丕賱卮毓乇 丕賱賲鬲胤賵乇. 賵賮賷 賵賯鬲 賱丕丨賯貙 丕爻鬲賵丨賶 乇丕賲亘賵 亘卮賰賱 亘丕乇夭 賲賳 兀毓賲丕賱 鬲卮丕乇賱夭 亘賵丿賱賷乇. 爻賷爻丕毓丿賴 賴匕丕 丕賱廿賱賴丕賲 賮賷 廿賳卮丕亍 兀爻賱賵亘 卮毓乇賷 鬲賲 鬲氐賳賷賮賴 賱丕丨賯賸丕 毓賱賶 兀賳賴 乇賲夭賷.
2_ 孬賲 胤乇丨 乇丕賲亘賵 賳賮爻 丕賱兀賮賰丕乇 賮賷 賯氐賷丿鬲賴 "丕賱賯丕乇亘 丕賱爻賰乇丕賳". 鬲丨賰賷 賴匕賴 丕賱賯氐賷丿丞 賯氐丞 賯丕乇亘 賷鬲丨乇乇 賲賳 丕賱賲噩鬲賲毓 丕賱亘卮乇賷 毓賳丿賲丕 賷購賯鬲賱 爻丕卅賯賵賴 毓賱賶 賷丿 丕賱賴賳賵丿 丕賱丨賲乇. 賮賷 丕賱亘丿丕賷丞貙 賷毓鬲賯丿 丕賱賯丕乇亘 兀賳賴 賷賳噩乇賮 丨賷孬 賷卮丕亍貙 賵爻乇毓丕賳 賲丕 賷丿乇賰 兀賳賴 賷鬲賲 鬲賵噩賷賴賴 亘賵丕爻胤丞 賯氐賷丿丞 丕賱亘丨乇. 鬲乇賶 丕賱乇丐賶 乇丕卅毓丞 賵賲孬賷乇丞 賱賱丕卮賲卅夭丕夭 賵賷賳鬲賴賷 丕賱兀賲乇 亘丕賱胤賮賵 賲鬲賲賳賷賸丕 賮賯胤 兀賳 賷睾乇賯 賵賷氐亘丨 賵丕丨丿賸丕 賲毓 丕賱亘丨乇.
3_ 丿賲乇 乇丕賲亘賵 丕賱賴賷丕賰賱 丕賱賲爻亘賯丞 鬲賲丕賲賸丕 賱丕爻鬲賰卮丕賮 丕賱賲賵丕乇丿 睾賷乇 丕賱賲爻鬲禺丿賲丞 丨鬲賶 丕賱丌賳 賱賱睾丞 丕賱卮毓乇賷丞貙 賵賲賳丨 賲毓馗賲 丕賱賯胤毓 氐賮丞 賲賮賰賰丞 賵賴賱賵爻丞 鬲卮亘賴 丕賱丨賱賲. 賲丕鬲 乇丕賲亘賵 丿賵賳 兀賳 賷毓乇賮 兀賳 賲禺胤賵胤丕鬲賴 賱賲 鬲購賳卮乇 賮丨爻亘貙 亘賱 鬲賲 丕賱廿卮丕丿丞 亘賴丕 賵丿乇丕爻鬲賴丕貙 亘毓丿 兀賳 賳丕賱 兀禺賷乇賸丕 丕賱鬲賯丿賷乇 丕賱匕賷 賳丕囟賱 賲賳 兀噩賱賴.
4_ 孬賲 鬲賵賯賮 毓賳 賰鬲丕亘丞 丕賱卮毓乇 賳賴丕卅賷丕賸. 亘賱 賳爻賷 鬲賲丕賲賸丕 賲丕囟賷賴 丕賱匕賷 賷賰鬲亘 賮賷賴 丕賱卮毓乇. 乇丕賲亘賵貙 兀賵賱丕賸 賵賯亘賱 賰賱 卮賷亍貙 賴賵 賴匕丕 丕賱氐賲鬲 丕賱匕賷 賱丕 賷賲賰賳 賳爻賷丕賳賴貙 賵丕賱匕賷貙 亘丕賱賳爻亘丞 賱兀賷 卮禺氐 賷丨丕賵賱 丕賱賰鬲丕亘丞 亘賳賮爻賴貙 賮賴賵 賷胤丕乇丿賳丕 丨鬲賶 兀賳賴 賷賲賳毓賳丕 賲賳 丕賱氐賲鬲 賱兀賳賴 賮毓賱 賴匕丕 兀賮囟賱 賲賳 兀賷 卮禺氐 丌禺乇.
5_ 氐乇丨 丕賱卮丕毓乇 丕賱賮乇賳爻賷 亘賵賱 賮丕賱賷乇賷 兀賳 "賰賱 丕賱兀丿亘 丕賱賲毓乇賵賮 賲賰鬲賵亘 亘賱睾丞 丕賱賮胤乇丞 丕賱爻賱賷賲丞 - 亘丕爻鬲孬賳丕亍 乇丕賲亘賵". 兀孬乇 卮毓乇賴 毓賱賶 丕賱乇賲夭賷賷賳 賵丕賱丿丕丿丕卅賷賷賳 賵丕賱爻乇賷丕賱賷賷賳貙 賵賱賲 賷毓鬲賲丿 丕賱賰鬲丕亘 丕賱賱丕丨賯賵賳 亘毓囟賸丕 賲賳 賲賵囟賵毓丕鬲賴 賮丨爻亘貙 亘賱 丕毓鬲賲丿賵丕 兀賷囟賸丕 丕爻鬲禺丿丕賲賴 丕賱賲亘鬲賰乇 賱賱卮賰賱 賵丕賱賱睾丞.
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::丕賱賯丕乇亘 丕賱爻賰乇丕賳 (1871)::
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鬲氐賮 丕賱賯氐賷丿丞 丕賳噩乇丕賮 賵睾乇賯 賯丕乇亘 囟丕卅毓 賮賷 丕賱亘丨乇 賮賷 爻乇丿 賲噩夭兀 亘囟賲賷乇 丕賱賲鬲賰賱賲 賲卮亘毓 亘丕賱氐賵乇 賵丕賱乇賲夭賷丞 丕賱丨賷丞. 鬲毓鬲亘乇 賲賳 乇賵丕卅毓 丕賱乇賲夭賷丞 丕賱賮乇賳爻賷丞. 丕賱賯氐賷丿丞 賲乇鬲亘丞 賮賷 爻賱爻賱丞 賲賳 25 乇亘丕毓賷丞 丨賵賱 丕賱乇丐賶 丕賱賴匕賷丕賳賷丞 賱賱賯丕乇亘 丕賱睾丕乇賯 賵丕賱賲賮賯賵丿 賮賷 丕賱亘丨乇. 賱賯丿 丕毓鬲亘乇 孬賵乇賷賸丕 賮賷 丕爻鬲禺丿丕賲賴 賱賱氐賵乇 賵丕賱乇賲夭賷丞. 賵丕丨丿丞 賲賳 兀胤賵賱 賵乇亘賲丕 兀賮囟賱 丕賱賯氐丕卅丿 賮賷 兀毓賲丕賱 乇丕賲亘賵. 丕賱氐賵鬲 賴賵 氐賵鬲 丕賱賯丕乇亘 丕賱賲禺賲賵乇 賳賮爻賴. 賷丨賰賷 丕賱賯丕乇亘 兀賳賴 丕賲鬲賱兀 亘丕賱賲丕亍貙 賵亘丕賱鬲丕賱賷 賴賵 爻賰乇丕賳 亘賷賳賲丕 賷氐賮 賳賮爻賴 賵賴賵 賷睾乇賯 賮賷 丕賱亘丨乇貙 乇丨賱丞 賲賳 丕賱鬲噩丕乇亘 丕賱賲鬲賳賵毓丞 丕賱鬲賷 鬲卮賲賱 賲卮丕賴丿 兀賳賯賶 賵兀賰孬乇 爻賲賵賸丕. 廿賳 丕賱鬲夭丕賵噩 亘賷賳 丕賱鬲毓馗賷賲 賵丕賱匕賱貙 賵丕賱丨爻 丕賱賲賵丕賰亘貙 賵丕賱丿賴卮丞 丕賱賲鬲氐丕毓丿丞 賷噩毓賱 賲賳 賴匕賴 丕賱賯氐賷丿丞 丕賱賲賰賵賳丞 賲賳 賲丕卅丞 亘賷鬲 鬲丨賯賷賯賸丕 賱賳馗乇賷丞 乇丕賲亘賵 丕賱卮毓乇賷丞 丕賱卮丕亘丞 亘兀賳 丕賱卮丕毓乇 賷氐亘丨 乇丕卅賷賸丕貙 賰丕卅賳賸丕 賮丕胤賷賸丕貙 賲賳 禺賱丕賱 丕囟胤乇丕亘 丕賱丨賵丕爻. 鬲氐賱 丿賴卮丞 丕賱賯丕乇亘 (賵丕賱賯丕乇卅) 丕賱賲鬲夭丕賷丿丞 廿賱賶 匕乇賵鬲賴丕 賮賷 丕賱爻胤賵乇 丕賱兀禺賷乇丞貙 亘賴匕賴 丕賱胤乇賷賯丞貙 鬲賱禺氐 丕賱賯氐賷丿丞 亘卮賰賱 丕爻鬲亘丕賯賷 賲爻賷乇丞 乇丕賲亘賵 丕賱卮毓乇賷丞貙 賵丕賱鬲賷 鬲亘丿丿鬲 毓賳丿賲丕 丕賰鬲卮賮 兀賳 丕賱卮毓乇 賱丕 賷賲賰賳賴 鬲賵賮賷乇 丕賱鬲賮丕賴賲 賵丕賱丕賳爻噩丕賲 丕賱毓丕賱賲賷 丕賱匕賷 亘丿丕 毓賱賷賴 毓賳丿賲丕 賰丕賳 兀氐睾乇 爻賳丕.
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::賮氐賱 賮賷 丕賱噩丨賷賲 (1873)::
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1_ 賴賷 賯氐賷丿丞 賳孬乇賷丞 賲賵爻毓丞 賰鬲亘賴丕 賵賳卮乇賴丕 丕賱賰丕鬲亘 丕賱賮乇賳爻賷 丌乇孬乇 乇丕賲亘賵 毓丕賲 1873. 賵賴賵 丕賱毓賲賱 丕賱賵丨賷丿 丕賱匕賷 賳卮乇賴 乇丕賲亘賵 亘賳賮爻賴. 賰丕賳 賱賱賰鬲丕亘 鬲兀孬賷乇 賰亘賷乇 毓賱賶 丕賱賮賳丕賳賷賳 賵丕賱卮毓乇丕亍 丕賱賱丕丨賯賷賳貙 亘賲丕 賮賷 匕賱賰 丕賱爻乇賷丕賱賷賷賳 丕賱乇賲夭賷賷賳. 鬲賳賯爻賲 丕賱賯氐賷丿丞 亘卮賰賱 賮囟賮丕囟 廿賱賶 鬲爻毓丞 兀噩夭丕亍貙 賲鬲賮丕賵鬲丞 丕賱胤賵賱. 賵賴賷 鬲禺鬲賱賮 亘卮賰賱 賲賱丨賵馗 賮賷 丕賱賱賴噩丞 賵丕賱爻乇丿. 賵賲毓 匕賱賰貙 賮賴賵 賳氐 鬲賲 鬲丨乇賷乇賴 賵鬲賳賯賷丨賴 亘卮賰賱 噩賷丿 賵賲鬲毓賲丿 賲賳 乇丕賲亘賵.
2_ 賴匕賴 丕賱賯氐賷丿丞 睾丕賲囟丞 亘卮賰賱 乇賴賷亘貙 賵賴賷 卮噩丕乇 卮亘賴 賴爻鬲賷乇賷 亘亘乇丕毓丞 亘賷賳 兀賳丕 丕賱卮丕毓乇 賵丕賱丌禺乇 丨賷锟斤拷 賳爻賲毓 氐賵鬲賷賳 賷毓賲賱丕賳 賮賷 丕賱爻乇丿 丕賱爻乇賷丕賱賷 : 丕賱噩夭兀賷賳 丕賱賲賳賮氐賱賷賳 賲賳 卮禺氐賷丞 乇丕賲亘賵 丕賱賮氐丕賲賷丞 - "丕賱兀賳丕" 賵賴賵 丕賱乇丕卅賷/丕賱卮丕毓乇貙 賵"丕賱兀賳丕" 賵賴賵 丕亘賳 丕賱兀乇賲賱丞 丕賱賯丕爻賷丞. 丕賱丿乇爻 丕賱賳賴丕卅賷 賱賴匕丕 丕賱賳氐 丕賱賲毓賯丿 丕賱賲夭毓噩 兀賳 丕賱卮毓乇 賴賵 賲乇丨賱丞 賲賲賰賳丞 賮賷 毓賲賱賷丞 丕賱丨賷丕丞貙 賵賮賷 丨丿賵丿 賲氐賷乇 丕賱廿賳爻丕賳貙 賮廿賳 賱睾丞 丕賱卮丕毓乇 賯丕丿乇丞 毓賱賶 丕賱鬲毓亘賷乇 毓賳 賵噩賵丿賴 毓賱賶 丕賱乇睾賲 賲賳 毓丿賲 賯丿乇鬲賴丕 毓賱賶 禺賱賯賴. 兀賰亘乇 賲氐丿乇 賱賱廿丨亘丕胤 賲孬賱 賰賱 賯氐賷丿丞 賲賴賲丞 賴賵 廿丿乇丕賰 兀賳賴 賲賳 丕賱賲爻鬲丨賷賱 毓賱賶 兀賷 賲賳丕 丕賱賴乇賵亘 賲賳 丕賱丨丿賵丿 丕賱鬲賷 賷賮乇囟賴丕 毓賱賷賳丕 丕賱賵丕賯毓.
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::廿卮乇丕賯丕鬲 (1875)::
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1_ 毓亘丕乇丞 毓賳 賲噩賲賵毓丞 睾賷乇 賲賰鬲賲賱丞 賲賳 賯氐丕卅丿 丕賱賳孬乇 鬲丨鬲 毓賳賵丕賳 廿卮乇丕賯丕鬲 丕賱匕賷 賴賵 賲賯鬲乇丨 賲賳 賯亘賱 賮賷乇賱賷賳. 賵兀賵囟丨 賮賷乇賱賷賳 賮賷 賲賯丿賲鬲賴 兀賳 丕賱毓賳賵丕賳 賲亘賳賷 毓賱賶 丕賱賰賱賲丞 丕賱廿賳噩賱賷夭賷丞 亘賲毓賳賶 丕賱賱賵丨丕鬲 丕賱賲賱賵賳丞貙 賵毓賳賵丕賳 賮乇毓賷 賰丕賳 乇丕賲亘賵 賯丿 兀毓胤丕賴 賱賱毓賲賱 亘丕賱賮毓賱. 賰鬲亘 乇丕賲亘賵 睾丕賱亘賷丞 丕賱賯氐丕卅丿 兀孬賳丕亍 廿賯丕賲鬲賴 賮賷 丕賱賲賲賱賰丞 丕賱賲鬲丨丿丞 賵賰丕賳 賮賷乇賱賷賳 廿賱賶 噩丕賳亘賴. 鬲鬲亘毓 丕賱賳氐賵氐 鬲乇丨丕賱 乇丕賲亘賵 賮賷 毓丕賲 1873 賲賳 乇賷丿賷賳睾 丨賷孬 賰丕賳 賷兀賲賱 賮賷 丕賱毓孬賵乇 毓賱賶 毓賲賱 孬丕亘鬲貙 廿賱賶 卮丕乇賱賮賷賱 賵卮鬲賵鬲睾丕乇鬲.
2_ 賷鬲賰賵賳 賲賳 丕孬賳賷賳 賵兀乇亘毓賷賳 賯氐賷丿丞. 賱賰賳 賱丕 賷賵噩丿 廿噩賲丕毓 丨賵賱 丕賱鬲乇鬲賷亘 丕賱匕賷 賰丕賳 乇丕賲亘賵 賷賳賵賷 馗賴賵乇 丕賱賯氐丕卅丿 亘賴. 賱丕 鬲賵噩丿 賯氐賷丿丞 賵丕丨丿丞 鬲毓鬲賲丿 丨賯賸丕 毓賱賶 丕賱賯氐丕卅丿 丕賱兀禺乇賶 兀賵 鬲毓賵賱 毓賱賷賴丕 賱鬲丨賯賷賯 賰賲丕賱丕鬲賴丕 丕賱禺丕氐丞. 賰賱 賲賳賴丕 噩賵賴乇賷 賮賱丕 賳毓乇賮 丕賱鬲爻賱爻賱 丕賱丿賯賷賯 賵賱丕 賳丨鬲丕噩 廿賱賶 賲毓乇賮鬲賴.
3_ 毓賱賶 丕賱乇睾賲 賲賳 鬲兀孬乇賴丕 亘賯氐丕卅丿 丕賱賳孬乇 丕賱爻丕亘賯丞 賱卮丕乇賱 亘賵丿賱賷乇貙 廿賱丕 兀賳 賯氐丕卅丿 丕賱賳孬乇 鬲禺鬲賱賮 亘卮賰賱 氐丕乇禺 毓賳 賯氐丕卅丿 亘賵丿賱賷乇 賲賳 丨賷孬 兀賳賴丕 鬲賮鬲賯乇 廿賱賶 毓賳丕氐乇 賳孬乇賷丞 賲孬賱 丕賱爻乇丿 丕賱禺胤賷 賵丕賱丕賳鬲賯丕賱丕鬲. 賵亘爻亘亘 賴匕賴 丕賱丕禺鬲賱丕賮丕鬲貙 賮廿賳 賯氐丕卅丿 乇丕賲亘賵 丕賱賳孬乇賷丞 兀賰孬乇 賰孬丕賮丞 賵兀賰孬乇 卮毓乇賷丞 賲賳 賯氐丕卅丿 亘賵丿賱賷乇. 鬲爻丕賴賲 賴匕賴 丕賱丕禺鬲賱丕賮丕鬲 兀賷囟賸丕 賮賷 丕賱噩賵丿丞 丕賱爻乇賷丕賱賷丞. 毓賱賶 丕賱乇睾賲 賲賳 兀賳 乇丕賲亘賵 爻亘賯 丕賱爻乇賷丕賱賷丞貙 廿賱丕 兀賳賴 賷賯丕賱 廿賳賴 賰鬲亘 亘兀爻賱賵亘 爻乇賷丕賱賷 亘爻亘亘 丕賱噩丕賳亘 丕賱賴賱賵爻賷 丕賱卮亘賷賴 亘丕賱丨賱賲 賮賷 丕賱毓丿賷丿 賲賳 丕賱賯氐丕卅丿. 噩丕賳亘 丌禺乇 賲賳 兀爻賱賵亘 乇丕賲亘賵貙 賵丕賱匕賷 賷爻丕賴賲 兀賷囟賸丕 賮賷 丕賱噩賵丿丞 丕賱乇丐賷賵賷丞 賱賱賯氐丕卅丿貙 賴賵 丕爻鬲禺丿丕賲賴 賱賱賰賱賲丕鬲 賱噩賵丿鬲賴丕 丕賱賲賮毓賲丞 亘丕賱丨賷賵賷丞 亘丿賱丕賸 賲賳 賲毓賳丕賴丕 丕賱丨乇賮賷. 亘丕賱廿囟丕賮丞 廿賱賶 賴匕賴 丕賱氐賮丕鬲 丕賱兀爻賱賵亘賷丞 賮賴賷 睾賳賷丞 亘丕賱氐賵乇 丕賱丨爻賷丞.
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September 12, 2017
Arthur Rimbaud is my favorite poet and I was looking for a book with all his work. I was expecting it to be good. I was not expecting it to be THIS good.
The interventions elaborated by the author made it easier to understand the artistic evolution of he poet, his youth and influences. In the last period of his life Rimbaud gave up on poetry and the book is more a biography composed of letter, business plans, pain and sickness.
I do thing that his poetry is one of the best and this book is well composed and relevant for his work. Truly recommend it.
The interventions elaborated by the author made it easier to understand the artistic evolution of he poet, his youth and influences. In the last period of his life Rimbaud gave up on poetry and the book is more a biography composed of letter, business plans, pain and sickness.
I do thing that his poetry is one of the best and this book is well composed and relevant for his work. Truly recommend it.
July 12, 2012
Rimbaud is one of my favorite poets, though I am not entirely sure how this translation stacks up against others. The opening lines in "A Season in Hell" are melodious and enticing. Among the poems contained herein, some stand out more than others, but it is, overall, an excellent work.
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