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丕賱賲賮爻乇賵賳
乇賵丕賷丞 "丕賱賲賮爻乇賵賳" 鬲賯丿賲 亘丕賳賵乇丕賲丕 賲毓賷賳丞 毓賳 丕賱賲噩鬲賲毓 丕賱賳丕賷噩賷乇賷貙 賲賳 禺賱丕賱 禺賲爻丞 賲孬賯賮賷賳 卮亘丕賳貙 賷丨丕賵賱賵賳 兀賳 賷賲賳丨賵丕 丨賷丕鬲賴賲 賵賲賵丕賴亘賴賲 賲毓賳賶貙 囟賲賳 馗乇賵賮 毓賷乇 賲賵丕鬲賷丞貙 丨賷孬 丕賱賮爻丕丿貙 賵丕賱賵氐賵賱賷丞貙 賵丕賱賲卮賰賱丕鬲 丕賱賲毓賯丿丞 賱賲噩鬲賲毓 賲丕 亘毓丿 丕賱丕爻鬲賯賱丕賱 丕賱匕賷 賱賲 賷噩丿 胤乇賷賯賴 丕賱兀賮囟賱 亘毓丿. 賴賱 亘廿賲賰丕賳 "乇賵丕賷丞 丕賱賳禺亘丞" 兀賳 鬲鬲噩丕賵夭 氐賷睾鬲賴丕 賱鬲丿禺賱 賮賷 賲賴賲丕鬲 兀賵爻毓責 乇亘賲丕 賰丕賳鬲 賴匕賴 丕賱賲爻兀賱丞 廿卮賰丕賱賷丞 "丕賱賲賮爻乇賵賳" 賵賲賷夭丕鬲賴丕 賮賷 丌賳.
328 pages, Paperback
First published January 1, 1965
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About the author
Wole Soyinka
218听books1,185听followersLibrarian Note: There is more than one author by this name in the 欧宝娱乐 database.
Akinwande Oluwole Babatunde Soyinka, known as Wole Soyinka, is a Nigerian playwright, novelist, poet, and essayist in the English language. He was awarded the 1986 Nobel Prize in Literature for his "wide cultural perspective and... poetic overtones fashioning the drama of existence", the first sub-Saharan African to be honoured in that category.
Soyinka was born into a Yoruba family in Abeokuta. In 1954, he attended Government College in Ibadan, and subsequently University College Ibadan and the University of Leeds in England. After studying in Nigeria and the UK, he worked with the Royal Court Theatre in London. He went on to write plays that were produced in both countries, in theatres and on radio. He took an active role in Nigeria's political history and its campaign for independence from British colonial rule. In 1965, he seized the Western Nigeria Broadcasting Service studio and broadcast a demand for the cancellation of the Western Nigeria Regional Elections. In 1967, during the Nigerian Civil War, he was arrested by the federal government of General Yakubu Gowon and put in solitary confinement for two years, for volunteering to be a non-government mediating actor.
Soyinka has been a strong critic of successive Nigerian (and African at large) governments, especially the country's many military dictators, as well as other political tyrannies, including the Mugabe regime in Zimbabwe. Much of his writing has been concerned with "the oppressive boot and the irrelevance of the colour of the foot that wears it". During the regime of General Sani Abacha (1993鈥�98), Soyinka escaped from Nigeria on a motorcycle via the "NADECO Route". Abacha later proclaimed a death sentence against him "in absentia". With civilian rule restored to Nigeria in 1999, Soyinka returned to his nation.
In Nigeria, Soyinka was a Professor of Comparative literature (1975 to 1999) at the Obafemi Awolowo University, then called the University of If岷固€. With civilian rule restored to Nigeria in 1999, he was made professor emeritus. While in the United States, he first taught at Cornell University as Goldwin Smith professor for African Studies and Theatre Arts from 1988 to 1991 and then at Emory University, where in 1996 he was appointed Robert W. Woodruff Professor of the Arts. Soyinka has been a Professor of Creative Writing at the University of Nevada, Las Vegas, and has served as scholar-in-residence at New York University's Institute of African American Affairs and at Loyola Marymount University in Los Angeles, California. He has also taught at the universities of Cambridge, Oxford, Harvard and Yale, and was also a Distinguished Scholar in Residence at Duke University in 2008.
In December 2017, Soyinka was awarded the Europe Theatre Prize in the "Special Prize" category, awarded to someone who has "contributed to the realization of cultural events that promote understanding and the exchange of knowledge between peoples".
Akinwande Oluwole Babatunde Soyinka, known as Wole Soyinka, is a Nigerian playwright, novelist, poet, and essayist in the English language. He was awarded the 1986 Nobel Prize in Literature for his "wide cultural perspective and... poetic overtones fashioning the drama of existence", the first sub-Saharan African to be honoured in that category.
Soyinka was born into a Yoruba family in Abeokuta. In 1954, he attended Government College in Ibadan, and subsequently University College Ibadan and the University of Leeds in England. After studying in Nigeria and the UK, he worked with the Royal Court Theatre in London. He went on to write plays that were produced in both countries, in theatres and on radio. He took an active role in Nigeria's political history and its campaign for independence from British colonial rule. In 1965, he seized the Western Nigeria Broadcasting Service studio and broadcast a demand for the cancellation of the Western Nigeria Regional Elections. In 1967, during the Nigerian Civil War, he was arrested by the federal government of General Yakubu Gowon and put in solitary confinement for two years, for volunteering to be a non-government mediating actor.
Soyinka has been a strong critic of successive Nigerian (and African at large) governments, especially the country's many military dictators, as well as other political tyrannies, including the Mugabe regime in Zimbabwe. Much of his writing has been concerned with "the oppressive boot and the irrelevance of the colour of the foot that wears it". During the regime of General Sani Abacha (1993鈥�98), Soyinka escaped from Nigeria on a motorcycle via the "NADECO Route". Abacha later proclaimed a death sentence against him "in absentia". With civilian rule restored to Nigeria in 1999, Soyinka returned to his nation.
In Nigeria, Soyinka was a Professor of Comparative literature (1975 to 1999) at the Obafemi Awolowo University, then called the University of If岷固€. With civilian rule restored to Nigeria in 1999, he was made professor emeritus. While in the United States, he first taught at Cornell University as Goldwin Smith professor for African Studies and Theatre Arts from 1988 to 1991 and then at Emory University, where in 1996 he was appointed Robert W. Woodruff Professor of the Arts. Soyinka has been a Professor of Creative Writing at the University of Nevada, Las Vegas, and has served as scholar-in-residence at New York University's Institute of African American Affairs and at Loyola Marymount University in Los Angeles, California. He has also taught at the universities of Cambridge, Oxford, Harvard and Yale, and was also a Distinguished Scholar in Residence at Duke University in 2008.
In December 2017, Soyinka was awarded the Europe Theatre Prize in the "Special Prize" category, awarded to someone who has "contributed to the realization of cultural events that promote understanding and the exchange of knowledge between peoples".
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Displaying 1 - 30 of 85 reviews
September 4, 2024
Throughout听The Interpreters, Soyinka presents a trenchant critique of Nigerian society and a sophisticated contemplation of the individual's struggle to find a tenable position. The author's satire is often directed at the superficiality of society, the unexamined contradictions inherent in the lives and conduct of many, and the pervasiveness of corruption. He grapples with the tension between traditional and modern values and practices, but it's clear that neither offers a complete solution for life's difficulties. Instead of advocating for one over the other, Soyinka insists on critically examining both, recognizing the complexity of the world and the need for a deeper understanding, thereby challenging the audience's intellect.
July 4, 2018
Wole Soyinka- one of the greatest writers Africa, and the world has ever seen. First African Nobel laureate. Celebrated poet. But also a sublime novelist, as this work proves. Actually the great man wrote this his debut novel many decades ago when he was still a young man. Here we concentrate on a coterie of articulate young men in particular as a nation - Nigeria- starts to stand on its own feet. Take a bow Sagoe, Egbo, Sekoni etc. Being Soyinka this is a brilliant, dense work with poetic undulations. From the start one might even give up when we read, "Metal on concrete jars my drink lobes". And what about the voluble Voidancy, "philosophy of shit" - the "business for latrine"? Farcical but gripping in its own way "farting like a beast " et al. A world class work indeed, this novel, with the author ventilating his wariness, his disdain for stultifying factors already pulling the African continent down from inception . Hark at the "moral turpitide", the hypocrisy, the smug sanctimonious elements already taking root. Apart from our intellectual young men here, broad strata of society is delineated here: eg the aristocracy, the hoi polloi, academics, demi-mondes, even albino.
The women in this novel are intriguing too, though the setting is many decades ago. Dehinwa, but Simi in particular. Simi comes across as an assertive, enigmatic, very seductive woman - in control even in respect of sex. Even the sexual details are brilliantly couched in poetic language here; yet Simi is in control. Life goes on here with ineluctable tragedies eg road accidents which the author has again been world famous for, for decades. Ravages on the road. Personally, unconsciously I find myself conflating this work with that of the talented SA writer, Deon Simphiwe Skade (author of A series of Undesirable events). In Deon 's work we are confronted too with young cerebral protagonists, with the author employing marmoreal poetic language echoing DH Lawrence. The Interpreters indeed...
June 19, 2007
Kind of difficult for me to get into at first, set in Nigeria, following a group of Nigerian young professionals as they try to figure out how to be the Western educated people in a post-colonial Nigeria that is split and schizophrenic culturally from the divides between its history, its indiginous culture, its western and white influences, its political upheaval and corruption, and so on... The names of people, places, indiginous mythology, and certain historical events not in the maintstream consciousness of America make this somewhat difficult to follow at first, and it is definitely something to be re-read, rather than read. It took me two attempts to get past the first forty pages before I found myself picking it up a third time (nearly a year after the post-colonial literature class I took where I was supposed to have read this book in its entirety) and finally taking the initiative and effort to keep track of unfamiliar names, to refer to notes I took in the class on relevant culture and history of Nigeria, and proceeded to read it fully over two or three days, and loved it immensely. More than immensely.
P.S. I just re-read the Interpreters, and have to say I was even more blown way by the immensity, subtlety, and gravity of this book. I know all things literature are subjective, but Soyinka's writing is so phenomenal, I highly recommend to anyone who takes the time to read this review, make it a project to read this novel with some research in order to understand the context of what is unfamiliar, and immerse yourself.
P.S. I just re-read the Interpreters, and have to say I was even more blown way by the immensity, subtlety, and gravity of this book. I know all things literature are subjective, but Soyinka's writing is so phenomenal, I highly recommend to anyone who takes the time to read this review, make it a project to read this novel with some research in order to understand the context of what is unfamiliar, and immerse yourself.
April 13, 2019
E mais um livro para o maneta...
Das setenta p谩ginas que li (e me enfadaram de morte desde o primeiro par谩grafo) creio ter percebido que as personagens s茫o um grupo de amigos que se encontram nas salas da universidade e nos clubes nocturnos, mas n茫o sei quantos s茫o, nem quais os homens e as mulheres. Quanto ao assunto, se h谩, n茫o apanhei nem um bocadinho...
_____________
Pr茅mio Nobel da Literatura 1986
Wole Soyinka nasceu na 狈颈驳茅谤颈补 em 13 de Julho de 1934.
Das setenta p谩ginas que li (e me enfadaram de morte desde o primeiro par谩grafo) creio ter percebido que as personagens s茫o um grupo de amigos que se encontram nas salas da universidade e nos clubes nocturnos, mas n茫o sei quantos s茫o, nem quais os homens e as mulheres. Quanto ao assunto, se h谩, n茫o apanhei nem um bocadinho...
_____________
Pr茅mio Nobel da Literatura 1986
Wole Soyinka nasceu na 狈颈驳茅谤颈补 em 13 de Julho de 1934.
October 5, 2016
氐賵乇丞 兀賮乇賷賯賷丞 毓乇賷囟丞 賵毓乇賷囟丞 噩丿丕 毓賳 丕賱鬲賯丕亍 丕賱兀賮丕乇賯丞 亘丕賱丨丿丕孬丞 賵丕賱丕爻鬲賯賱丕賱.. 賲賲賱丞 兀丨賷丕賳丕 賵丕賱鬲乇噩賲丞 睾賷乇 丿賯賷賯丞 兀丨賷丕賳丕
May 2, 2019
Sadly, I didn't enjoy this book as I had hoped I would. Maybe it's because of the tumultuous period I'm in right now or maybe it really is Soyinka's obfuscating style that irritated me鈥擨 can forgive him for it in his plays but in a novel, it's just unnecessary鈥攖hat I have given up on it one-third of the way through. I hope to pick it up again one day when I can focus better. Although I have to say though that the number of characters, the lack of dialog tags where relevant, and the shifting timeline are uninspiring to re-read... I don't mind difficult reads, but I'm not sure what the reward of this one would be yet.
July 15, 2024
丨丕賵賱鬲 噩丕賴丿丕 兀賳 兀噩丕乇賷賴丕貙 賱賲 兀爻鬲胤毓..
賴賱 丕賱爻亘亘 丕賱賲丐賱賮 賵 丕爻賱賵亘賴 責 兀賲 丕賱賲鬲乇噩賲 責
賱丕 兀丿乇賷 !!
賴賱 丕賱爻亘亘 丕賱賲丐賱賮 賵 丕爻賱賵亘賴 責 兀賲 丕賱賲鬲乇噩賲 責
賱丕 兀丿乇賷 !!
September 15, 2019
Wole Soyinka is a very fascinating writer who has seen it all, done it all in literature over the decades. His books, the language is quite difficult but very rewarding. We don't have to understand every single passage or paragraph he writes, anyway. One thing I appreciate about his works is the way he respects women a lot in his own way, dating back to even the books he wrote over 50 years ago! You do not get the impression that he undermines or patronises women, but quite the opposite. Look at the character of Simi here in this book for example, one might not understand her fully, but one sees how strong and awesome she is. Mysterious, very confident, sexy and dominant but not in a pushy way. Apparently she drains willing men (man), with an allure that is still African yet "western" . Very intriguing woman.
Read
January 1, 2017First novel by the
First African Nobel=Lit and my
First AWS in a year chock=full of AWS. And wouldn't you know?, there's a pretty clear whiff of something Pynchonian here too, something maybe of V, something about that whole sick crew; here, the interpreters. And too the whiff of the Voidante Philosophy ("To shit is human, to voidate divine") alone is enough to suspect the affinity (nope, no spoilers).
First African Nobel=Lit and my
First AWS in a year chock=full of AWS. And wouldn't you know?, there's a pretty clear whiff of something Pynchonian here too, something maybe of V, something about that whole sick crew; here, the interpreters. And too the whiff of the Voidante Philosophy ("To shit is human, to voidate divine") alone is enough to suspect the affinity (nope, no spoilers).
December 30, 2024
Che romanzo faticoso. Con la peggiore traduzione in cui mi sia mai imbattuta.
La storia narra di un gruppo di giovani nigeriani che rientrano in patria dopo aver studiato e lavorato all'estero. Siamo in piena decolonizzazione, ma i ragazzi, seri e pieni di speranza per una patria nuova, si scontreranno contro antichi pregiudizi, corruzione, cavilli, disonest脿.
Il romanzo alterna uno stile semplice e diretto a pagine postmoderne e oniriche in cui 猫 difficile districarsi.
La storia narra di un gruppo di giovani nigeriani che rientrano in patria dopo aver studiato e lavorato all'estero. Siamo in piena decolonizzazione, ma i ragazzi, seri e pieni di speranza per una patria nuova, si scontreranno contro antichi pregiudizi, corruzione, cavilli, disonest脿.
Il romanzo alterna uno stile semplice e diretto a pagine postmoderne e oniriche in cui 猫 difficile districarsi.
February 4, 2025
The whole Wole.
I鈥檓 sure it鈥檚 possible to read The Interpreters as a representative narrative of postcolonial Nigeria鈥檚 sociopolitical climate and the Biafran War. With a little effort we could fit each protagonist into some archetypical mentality inherited from colonial elitism. Like I notice other reviewers doing, we could thereby explore the novel as a matrix of myth creation that conglomerates traditional heritages with neocolonial mismanagement.
However, I don鈥檛 think an application of any such structuralism provides a useful apparatus for coming to terms with The Interpreters. This novel is so baffling, no guiding framework will be able to conjure meaning beyond that initial question of 鈥榟ow can I proceed forwards despite my initial state of fascination/confusion/displeasure鈥�? There鈥檚 no plot, the characters鈥� personalities are inconsistent, and the structure is totally bizarre. You never really know where or when you are. Symbolised by Voidancy- the novel鈥檚 emergent 鈥榩hilosophy of shit鈥�- Soyinka realises all interpretations are disposable. The Interpreters happily continues irrespective of your narrative. Verbose, obfuscating, schizophrenic鈥� and mesmerising.
So I tried to embrace the novel鈥檚 absurdity. If 鈥榚ducating鈥� the reader at all, Soyinka prioritises fiction鈥檚 propensity for defamiliarisation and deautomatonisation. Like Achebe, Soyinka lets 鈥橳hings Fall Apart鈥�. Shouldn鈥檛 we allow ourselves to enjoy something that arrives at no coherent interpretation? Can it be productive for the critic to move away from the interpretative fallacy? I think yes, so I鈥檓 giving this 4 stars even though it鈥檚 equally deserving of 1 or 2 or 3 or 5 or less or more. Soyinka allows us to create new knowledges of literary study, asking why something has to be interpretable for it to be 鈥榞ood鈥�, or good to be 鈥榠nterpretable鈥�. I鈥檝e been encouraged to think these questions before and it鈥檚 beautiful because Wole lets you think them all over again for the first time.
I鈥檓 sure it鈥檚 possible to read The Interpreters as a representative narrative of postcolonial Nigeria鈥檚 sociopolitical climate and the Biafran War. With a little effort we could fit each protagonist into some archetypical mentality inherited from colonial elitism. Like I notice other reviewers doing, we could thereby explore the novel as a matrix of myth creation that conglomerates traditional heritages with neocolonial mismanagement.
However, I don鈥檛 think an application of any such structuralism provides a useful apparatus for coming to terms with The Interpreters. This novel is so baffling, no guiding framework will be able to conjure meaning beyond that initial question of 鈥榟ow can I proceed forwards despite my initial state of fascination/confusion/displeasure鈥�? There鈥檚 no plot, the characters鈥� personalities are inconsistent, and the structure is totally bizarre. You never really know where or when you are. Symbolised by Voidancy- the novel鈥檚 emergent 鈥榩hilosophy of shit鈥�- Soyinka realises all interpretations are disposable. The Interpreters happily continues irrespective of your narrative. Verbose, obfuscating, schizophrenic鈥� and mesmerising.
So I tried to embrace the novel鈥檚 absurdity. If 鈥榚ducating鈥� the reader at all, Soyinka prioritises fiction鈥檚 propensity for defamiliarisation and deautomatonisation. Like Achebe, Soyinka lets 鈥橳hings Fall Apart鈥�. Shouldn鈥檛 we allow ourselves to enjoy something that arrives at no coherent interpretation? Can it be productive for the critic to move away from the interpretative fallacy? I think yes, so I鈥檓 giving this 4 stars even though it鈥檚 equally deserving of 1 or 2 or 3 or 5 or less or more. Soyinka allows us to create new knowledges of literary study, asking why something has to be interpretable for it to be 鈥榞ood鈥�, or good to be 鈥榠nterpretable鈥�. I鈥檝e been encouraged to think these questions before and it鈥檚 beautiful because Wole lets you think them all over again for the first time.
August 9, 2013
"What are you getting out of it?" "Knowledge of a new generation of interpreters."
So says one character to another in this dense, complex and challenging little novel by Wole Soyinka. Published in 1965, Nigeria was a newly independent nation and this book follows a group of young people as they grapple with questions of how to live their lives. This book is not an act of nation building, as many post independence novels tend to be, but sees characters dealing with situations in which they knowingly or unknowingly deal with life's universal questions: family, marriage, work, politics, religion and death. Death and resurrection hang persistently over the novel and bring a sense of uneasiness about the ancestral past and how to move on with that into the future. A crucial aspect of the novel is the power of people art to reorder and affect reality, as we see the artist Kola arranging his friends and other characters on the canvas into a pantheon of both indigenous deities and Christian imagery. Whether this arrangement represents or affects truly what this group of people see as their changing positions in a changing Nigeria we can't tell, because this is a novel more for those wanting to ask questions rather than receive answers.
So says one character to another in this dense, complex and challenging little novel by Wole Soyinka. Published in 1965, Nigeria was a newly independent nation and this book follows a group of young people as they grapple with questions of how to live their lives. This book is not an act of nation building, as many post independence novels tend to be, but sees characters dealing with situations in which they knowingly or unknowingly deal with life's universal questions: family, marriage, work, politics, religion and death. Death and resurrection hang persistently over the novel and bring a sense of uneasiness about the ancestral past and how to move on with that into the future. A crucial aspect of the novel is the power of people art to reorder and affect reality, as we see the artist Kola arranging his friends and other characters on the canvas into a pantheon of both indigenous deities and Christian imagery. Whether this arrangement represents or affects truly what this group of people see as their changing positions in a changing Nigeria we can't tell, because this is a novel more for those wanting to ask questions rather than receive answers.
September 24, 2021
This is a glorious mess of a debut novel. Soyinka tries to encapsulate and satirize middle-class postcolonial Nigerian life to great effect, and he usually succeeds. He writes a nonlinear "narrative" about a group of friends who are all quite different and throws out any standard novelistic form with gusto. Grand images are set up that seem to not go anywhere. Key characters die off the page without any build up. Subplots are obfuscated by Soyinka's hyperliterate prose style. The novel doesn't actually seem to end up anywhere in particular. Narrative satisfaction is subdued. And yet I didn't really want to stop reading. The language is brutally dense, but working through it feels rewarding in the moment and upon reflection. The characters have so much going on, whether they make up ridiculous voidante philosophies or randomly fail as an engineer and sculpt a masterpiece or suddenly prove themselves to be extremely homophobic, but they do, in the end feel like real people, like real people struggling to come to terms with how they should identify Nigeria as a postcolonial state. What is authentic? Integration into a "modernized" society or the maintenance of tribal traditions? Super thought-provoking stuff.
If this were published by a white American, this would be widely read academically in a way that this basically forgotten gem has not been afforded whatsoever. I'm so glad this just got reprinted.
If this were published by a white American, this would be widely read academically in a way that this basically forgotten gem has not been afforded whatsoever. I'm so glad this just got reprinted.
Read
May 3, 2008*Lazarus the albino in the field of cotton (creation of one's own myth)
*Goldman the gay white man who uses Baldwin/Another Country to pick people up
*the streetlights flicking on, fighting the electric power that's stronger than them
*Sekoni building the power plant that is rejected by authority; he later goes crazy
*Sir Derinola emerging from the hideous wardrobe in a bra and top hat (appears before Sagoe the journalist, who is nursing his hangover)
*Goldman the gay white man who uses Baldwin/Another Country to pick people up
*the streetlights flicking on, fighting the electric power that's stronger than them
*Sekoni building the power plant that is rejected by authority; he later goes crazy
*Sir Derinola emerging from the hideous wardrobe in a bra and top hat (appears before Sagoe the journalist, who is nursing his hangover)
July 22, 2018
Uma obra demasiado metaf贸rica. Com uma vis茫o pessimista. Mas 茅 normal essa vis茫o por retrar a sociedade negra.
Os 煤ltimos cap铆tulos s茫o os mais empolgantes pois s茫o feitas algumas revela莽玫es
Em geral achei um livro demasiado centrado na realidade e que n茫o deixa muito espa莽o a imagina莽茫o
Os 煤ltimos cap铆tulos s茫o os mais empolgantes pois s茫o feitas algumas revela莽玫es
Em geral achei um livro demasiado centrado na realidade e que n茫o deixa muito espa莽o a imagina莽茫o
December 30, 2014
乇賵丕賷丞 亘丕賳賵乇丕賲賷丞 賲鬲賱賵賳丞 丕噩鬲賲丕毓賷丕 鬲馗賴乇 賮卅丕鬲 賲賳 丕賱賲噩鬲賲毓 丕賱賳賷噩賷乇賷 賲毓 丕爻鬲孬賳丕亍丕鬲 亘乇夭鬲 賲毓 丕賱丨丕噩 爻賷賰賵賳賷貙 賵丕賱賲賮丕乇賯丕鬲 丕賱賲賳胤賯賷丞 賲賳 丕噩亘賵 賱賰賵賱丕 賵爻賵丕賴賲 賲賳 卮禺賵氐. 丕賱丕 丕賳 丿賴賷賳賵丕 鬲賲乇丿鬲 賰賲丕 鬲賲乇丿 爻丕噩賵 毓賱賶 丕賱毓丕丿丕鬲 賵丕賱鬲賯丕賱賷丿 賵丕賱賲賮丕賴賷賲 丕賱鬲丨乇乇賷丞 丕賷囟丕 丕賱鬲賷 兀睾囟亘鬲 賲賳 丨賵賱賴賲丕 貙 賵鬲乇賰鬲賴賲丕 賷丨丕賵賱丕賳 賲賰丕賮丨丞 氐毓賵亘丕鬲 丕賱丨賷丕丞 賰賱 毓賱賶 丨爻亘 賲賮丕賴賷賲賴 丕賱賲賰鬲爻亘丞 賲賳 丕賱亘賷卅丞 丕賱賲丨賷胤丞 賲賳 丨賵賱賴賲 賲毓 丕賱禺賵囟 賮賷 賲丕賴賷丞 丕賱賳爻丕亍 丕賱毓丕亘孬丕鬲 賵丕賱賲鬲賯賱亘丕鬲貙 賵丕賱賲賱鬲夭賲丕鬲 亘亘賷卅丞 賲毓賷賳丞 賱賷鬲爻丕亍賱 毓賱賶 賱爻丕賳 卮禺賵氐賴. " 賴賱 丕賱賳爻丕亍 賰賱賴賳 賲孬賱 賴匕賴 賯丕丿乇丕鬲 毓賱賶 賲毓乇賮丞 丕賱乇噩丕賱 亘賲噩乇丿 丕賱賳馗乇責 賯丕丿乇丕鬲 毓賱賶 噩毓賱 丿丕禺賱賴賲 禺丕乇噩賴賲責" .賮丕賱賵丕賯毓賷丞 賮賷 乇賵丕賷鬲賴 丕賲鬲夭噩鬲 賲毓 丕賱丨賵丕乇丕鬲 丕賱賲鬲孬丕賯賱丞 亘鬲鬲丕亘毓賴丕 丕賱賮賰乇賷 丕賱賲丨賲賱 亘丕賱兀賮賰丕乇 丕賱孬丕卅乇丞 毓賱賶 賰賱 丕賱鬲賯丕賱賷丿 貙 賵丨鬲賶 丕賱爻賷丕爻賷丞 賲賳賴丕 賱賷亘鬲丿毓 賮賷 丕賱乇賵丕賷丞 丕賱賮賱爻賮丞 丕賱丕賮乇丕睾賷丞 丕賱爻丕禺乇丞 賲賳 賳賵毓賷丕鬲 鬲卮賲卅夭 賲賳賴丕 丕賱賳賮賵爻 丕賱丕賳爻丕賳賷丞 丕賱鬲丕卅賯丞 丕賱賶 鬲丨賯賷賯 丕賱毓丿丕賱丞 丕賱丕賳爻丕賳賷丞 . " 丕賱丕賮乇丕睾賷丞 賱賷爻鬲 丨乇賰丞 丕丨鬲噩丕噩 貙 賱賰賳賴丕 鬲丨鬲噩 : 丕賳賴丕 賱賷爻鬲 孬賵乇賷丞 貙 賱賰賳賴丕 鬲孬賵乇貙 丕賱丕賮乇丕睾賷丞 丕賳 卮卅鬲 丕賱賯賵賱 賴賷 丕賱賰賲賷丞 丕賱賲噩賴賵賱丞貙 丕賱丕賮乇丕睾賷丞 賴賷 丌禺乇 賲賳噩賲 賱賲 鬲乇爻賲 禺丕乇胤鬲賴 亘毓丿貙 賱賱胤丕賯丕鬲 丕賱禺賱丕賯丞".
亘賳丕亍 丿乇丕賲賷 賮賷 乇賵丕賷丞 丕噩鬲賲丕毓賷丞 爻賷丕爻賷丞 賳丕賯丿丞 賱丕賮賰丕乇 鬲賵噩賴 亘賴丕 賱賱賯丕乇卅 毓賱賶 賲丿丕乇 丕賱夭賲賳 丕賱乇賵丕卅賷 賵丕賱兀賲賰賳丞 丕賱氐丕禺亘丞 . 賱賷胤乇丨 賮賱爻賮鬲賴 賵丕賱丌乇丕亍 丕賱鬲賷 鬲孬賷乇 爻禺胤賴 亘丕爻賱賵亘 丨賵丕乇賷 丿乇丕賲賷 賷賲賷賱 丕賱賶 丨亘賰 鬲賵賱賷賮丕鬲 匕丕鬲 丕爻鬲毓丕乇丕鬲 賵賰賳丕賷丕鬲 貙 賵賱賵丨丕鬲 噩賲賷賱丞 乇爻賲賴丕 亘丕賱賰賱賲丕鬲. 賱賷禺乇噩 賲賳 乇鬲丕亘丞 丕賱丨賵丕乇丕鬲 丕賱胤賵賷賱丞 賵丕賱鬲賯賱亘丕鬲 丕賱賳賮爻賷丞 亘賷賳 丕賱卮禺賵氐 丕賱鬲賷 鬲賳賵毓鬲 賲賳 賳丨丕鬲 賵氐丨賮賷 賵睾賷乇 匕賱賰 賵賰丕賳賴 賷卮賷乇 賮賷 乇賵丕賷鬲賴 丕賱賶 賮卅丞 禺丕氐丞 賲賳 丕賱卮毓亘 丕賱賲亘丿毓 丕賱匕賷 賷丨鬲丕噩 丕賱賶 乇毓丕賷丞 丿賵賱丞 賵丕賴鬲賲丕賲 丕賰亘乇 ."丨鬲賶 匕賱賰 丕賱丕禺鬲賷丕乇 賴賵 噩乇丕亍 鬲爻賱胤 賵胤睾賷丕賳. 丕賳 賴亘丞 丕賱丕賳爻丕賳 丕賱丨賷丕丞 賷噩亘 丕賳 鬲賰賵賳 賲賳賮氐賱丞貙 卮賷卅丕 睾賷乇 匕賷 毓賱丕賯丞. 賰賱 丕禺鬲賷丕乇 賷噩亘 丕賳 賷賳亘毓 賲賳 丿丕禺賱賴 賵賱賷爻 賲賳 鬲賱賯賷賳丕鬲 丕賱賲丕囟賷 . " 丕賳 卮賷賮乇丕鬲賴 丕賱爻賷丕爻賷丞 賲丿賲賵噩丞 囟賲賳 丕賱丨賵丕乇丕鬲 丕賱鬲賷 賷賯丿賲賴丕 亘丨亘賰 爻丕禺乇 丕丨賷丕賳丕 賲賳 丕賱賲噩鬲賲毓 丕賱賳賷噩賷乇賷 亘丕賱匕丕鬲貙 賵賲賳 丕賳爻丕賳賷丞 賲賯鬲賵賱丞 亘賷丿 丕賱丕賳爻丕賳 賳賮爻賴. 賱鬲賳卮兀 丕賱賲賮爻乇賵賳 毓賱賶 丕賷丿賷 丕賱賲孬賯賮賷賳 賵賲毓丕賳鬲賴賲 丕賱睾賷乇 賲賮賴賵賲丞 賮賷 丕賱丨賷丕丞.
鬲禺囟毓 乇賵丕賷丞 " 丕賱賲賮爻乇賵賳 " 丕賱賶 丕賳鬲賯丕丿丕鬲 匕丕鬲賷丞 賷賵噩賴賴丕 亘賮賳賷丞 丕賱丨賵丕乇 丕賱乇賵丕卅賷 丕賱賲鬲賷賳 丕賱賯丕丿乇 毓賱賶 賲卮丕乇賰丞 丕賱賯丕乇卅 賮賷 丕賱毓氐賮 丕賱匕賴賳賷貙 賲賳 禺賱丕賱 丕賱丕賮賰丕乇 丕賱鬲賷 賷丿爻賴丕 亘賷賳 丕賱鬲乇丕賰賷亘 丕賱賲囟賲賵賳賷丞貙 賵亘兀爻賱賵亘 卮毓亘賷 賲丨賮賵賮 亘乇賵丨 丕賱賳賰鬲丞 丕丨賷丕賳丕 貙 賵亘丕賱賲孬賱 丕賱卮毓亘賷丞 丕賱賲毓乇賵賮丞 賮賷 賳賷噩賷乇賷丕. 丕賱丕 丕賳賴 鬲乇賰 賱賱鬲賰賴賳丕鬲 丕賱賲爻鬲賯亘賱賷丞 乇丐賷丞 乇賵丕卅賷丞 賲亘賳賷丞 毓賱賶 丕賱鬲丨賱賷賱丕鬲貙 賵匕賱賰 賲賳 禺賱丕賱 亘毓囟 鬲賱賯賷賳丕鬲 丕賱賲丕囟賷 賱賱丨丕囟乇貙 賵賲丕 賷賳鬲噩 毓賳 匕賱賰 賲賳 丕賲賵乇 賲爻鬲賯亘賱賷丞 丿賵賳 丕賳 賷賳爻賶 賲賳丨 丕賱賮賳賵賳 賯賷賲丞 鬲丨賱賷賱賷丞" 賮廿賳 賱賲 鬲賰賳 賲賳丨賵鬲丞 丕賱賲氐丕乇毓 賵丕丨丿丞 賲賳 鬲賱賰 丕賱兀毓賲丕賱 丕賱鬲賷 鬲丨丿孬 賲乇丞 賮賷 丕賱毓賲乇貙 賳鬲賷噩丞 鬲賳丕爻賯丕鬲 亘賷賳 丕賱禺亘乇丞 賵丕賱鬲賮賵賯貙 賮廿賳 爻賷賰賵賳賷貙 賮賳丕賳 丕賳鬲馗乇 胤賵賷賱丕 賱賷噩丿 賳賮爻賴" .
亘毓囟 丕賱賲賮乇丿丕鬲 丕賵 丕賱丨賰賲丞 丕賱賲賵噩賵毓丞 賲賳 賲賵丕賯賮 鬲毓乇囟 賱賴丕 丕賱卮禺賵氐 貙 賵鬲乇賰鬲賴賲 亘兀爻賱賵亘 睾賷乇 賲亘丕卮乇 賯賵賱 丨賰賲丞 鬲丨賲賱 賲賳 丕賱賲毓丕賳賷 丕賱丨賷丕鬲賷丞 賲丕 賴賵 賳丕鬲噩 毓賳 賵噩毓 賱丕 賷賲賰賳 廿夭丕賱鬲賴 丕賱丕 亘賰賱賲丕鬲 鬲禺賮賮 丨乇賯丞 丕賱賵噩毓 " 丕賱賯賳丕毓丞 丕賳 鬲賰爻亘 卮賷卅丕 賲賯丕亘賱 賱丕 卮賶亍" . " 丕賱孬賵亘 賱丕 賷氐賳毓 丕賱乇噩丕賱"賲毓 丕賱氐賵乇 丕賱鬲禺賷賱賷丞 丕賱鬲賷 噩亘賱賴丕 亘丕賱賲毓丕賳賷. 賱鬲賰賵賳 亘賲孬丕亘丞 賮賳 賷賵丕夭賷 賮賳賵賳 丕賱氐丨丕賮丞 賵丕賱賳丨鬲 賵丕賱賲賵爻賷賯賶 丕賱鬲賷 賲賳丨賴丕 賱卮禺賵氐賴. 賱賷亘乇夭 賯賵丞 賮賷 賮賳賴 丕賱乇賵丕卅賷 丕賱噩丕賲毓 賱賱賮賳賵賳 賰賱賴丕 賲賳 丨賷孬 丕賱賯丿乇丞 毓賱賶 鬲乇賰 丕賱丕亘毓丕丿 賲賮鬲賵丨丞 賲賳 丨賷孬 丕賱鬲丨賱賷賱 賵丕賱丿賱丕賱丕鬲 " 丕賱丕賲賴丕鬲 丕賱丨丕賰賲丕鬲 丕賱賲賴賷丌鬲 鬲禺賱賷賳 毓賳 賰賱 賯賵鬲賴賳貙 賵鬲賲丿丿賳 賮賷 鬲乇鬲賷亘 賴賳丿爻賷 毓賳丿 賯丿賲亘賴."賱丕賳 " 賵賵賱 爻賵賷賳賰丕 " 睾賲爻 丕賱賲賮丕賴賷賲 丕賱賮賳賷丞 賲賳 丕丿亘 賵氐丨丕賮丞貙 賵賮賳 賮賷 賲噩鬲賲毓 賲丕 夭丕賱 賷賳鬲賯丿 賴匕賴 丕賱賮卅丞貙 賵賷爻禺乇 賲賳賴丕 賵賱丕 賷賯丿賲 賱賴丕 丕賱丕 丕賱賲鬲丕毓亘 丕賱賲囟丕賮丞 丕賱鬲賷 賳賯鬲賱 丕賱兀丨賱丕賲貙 賵賮賷 匕賱賰 鬲兀禺乇 丕賱賲噩鬲賲毓丕鬲 賮賷 丕賱丿賵賱 丕賱賮賯賷乇丞 丕賵 丕賱賳丕賲賷丞.
賳賲丕匕噩 賮胤乇賷丞 賵囟毓賴丕 亘賷賳 賷丿賷賳 丕賱賯丕乇卅貙 賱賷丿乇賰 丕賳 丕賱賲賵丕賴亘 丕賱賮賳賷丞 丕賳賲丕 鬲賳賲賵 賲賳 丕賱胤賮賵賱丞貙 賵賯丿乇鬲賴丕 毓賱賶 丕賲鬲氐丕氐 丕賱卮賵丕卅亘 丕賱鬲賷 鬲賯賮 賮賷 賵噩賴 丕賱賮賳丕賳 賱賷賰賲賱 丕毓賲丕賱賴 丿賵賳 丕賱丕賴鬲賲丕賲 亘丕賱丕爻亘丕亘 丕賱鬲賷 鬲噩毓賱 賲賳賴 丕賱賮賳丕賳 丕賱賲毓乇賵賮 丕毓賱丕賲賷丕 貙 賵匕賱賰 亘賲卮賴丿 睾賳賷 亘丕賱兀乇賰丕賳 丕賱鬲氐賵賷乇賷丞" 毓賱賷賰 丕賳 鬲毓乇賮 丕賱丌賳 兀賳賷 賱爻鬲 賮賳丕賳丕 丨賯丕. 賵賱賲 丕毓鬲夭賲 兀賳 兀賰賵賳. 賱賰賳賷 丕賮賴賲 胤亘賷毓丞 丕賱賮賳貙 賵賴賰匕丕 氐乇鬲 兀爻鬲丕匕 賮賳 賲賲鬲丕夭丕賸 . 賴匕丕 賰賱 賲丕 賮賷 丕賱丕賲乇. 賴匕賴 丕賱賱賵丨丞 賲孬賱丕 兀噩亘賵 賴賵 丕賱匕賷 丨乇囟賳賷 毓賱賷賴丕貙 亘丿賵賳 賮胤賳丞 胤亘毓丕貙 賵賰丕賳 賷賳亘睾賷 丕賳 賷噩賴丿 賴賵 賮賷賴丕貙 賱丕 兀賳丕 賱卮賷亍 賵丕丨丿 賴賵 丕賳賴 丕賯乇亘 丕賱賶 丕賱賲賵囟賵毓. 賮賴賱 賲賳 丕賱賴丕賲 賮賳賷 賷賵賱丿 賮噩兀丞 賵賷鬲爻亘亘 亘賴 丕賱丕禺乇賷賳責.
丨亘賰丞 丨賵丕乇賷丞 胤賵賷賱丞 貙 賵兀賮賰丕乇 賲丿賴丕 亘鬲賮丕氐賷賱 丨賷丕鬲賷丞 賵亘賮賱爻賮丞 丕賮乇丕睾賷丞 丕賷丨丕卅賷丞 賳孬賷乇 丕賱囟丨賰 貙 賵丕賱丕卮賲卅夭丕夭 賮賷 丌賳貙 賵賱賰賳賴 賱賲 賷賳爻 丕賱賲賵爻賷賯賶 賵丕賱丕賷賯丕毓 貙 賵賲丕 鬲鬲爻亘亘 亘賴 賲賳 鬲賳賲賷丞 賱賱丨爻. 丕賳 賲賳 賳丕丨賷丞 丕賱胤亘賷毓丞 丕賱睾賳丕亍 賲賳 氐賵鬲 賱賱賲胤乇 丕賵 賲賳 丨乇賰丞 丕賱賲丕亍 賮賷 賳賴乇 賷鬲兀賲賱賴. 賱賷丿賲噩 匕賱賰 賮噩兀丞 賲毓 丕賱賮賯乇 丕賱匕賷 賷賲賳毓 丕賱卮毓亘 賲賳 丕賱鬲匕賵賯" 胤睾賶 氐賵鬲 爻賵亘乇丕賳賵 毓賱賶 胤乇胤卮丞 丕賱夭賷鬲.丕賷胤丕賱賷丞 貙 丕鬲丨亘賴丕責 丕賳丕 丕丨亘 丕賱氐賵鬲 丕賱亘卮乇賷. 丕賳丕 丕毓鬲亘乇 丕賱氐賵鬲 丕賱亘卮乇賷 兀賮囟賱 丌賱丞 亘毓丿 丕賱賰賲丕賳. 丕賳丕 賱丕 丕爻鬲賲毓 丕賱賶 賲賮囟賱賷丕鬲賷 丕賱丕 丨賷賳 丕賰賵賳 賵丨賷丿丕. 賮兀賳丕 賯丿 兀亘賰賷貙 賰賲丕 鬲毓乇賮."賮賴賱 賮賷 賴匕丕 鬲禺賮賷賮 賲賳 毓亘亍 丕賱賰賲 賮賷 丕賱丕賮賰丕乇 責 丕賲 丕賳 丕賱賮賳 賵丕賱賲賵爻賷賯賶 賵丕賱賳丨鬲貙 賵賲丕 丕賱賶 匕賱賰 賴賵 賳賵毓 賲賳 丕賱鬲乇賰賷亘 丕賱乇賵丕卅賷 丕賱賴丕丿賮 丕賱賶 禺賱賯 丕爻鬲乇丕丨丕鬲 鬲乇賮賷賴賷丞 賷卮毓乇 丕賱賯丕乇卅 賮賷賴丕 亘丕賱毓丕賱賲 丕賱乇賵丕卅賷 丕賱賲鬲賰丕賲賱 賲賳 丨賷孬 丕賱鬲賳賵毓 賮賷 丕賱氐賵乇 丕賱丨賷丕鬲賷丞 丕賱鬲賷 賷賲丿賴丕 賱鬲卮賲賱 賮卅丕鬲 丕賱賲噩鬲賲毓 亘卮賰賱 毓丕賲.
賷鬲丨賰賲 丕賱乇賵丕卅賷 " 賵賵賱 爻賵賷賳賰丕 " 亘卮禺賵氐賴 囟賲賳 賲爻丕乇丕鬲 胤亘賷毓賷丞 賱賲 賷卮毓乇 丕賱賯丕乇卅 賲賳 禺賱丕賱賴丕 亘丕賱鬲丨賰賲 丕賱乇賵丕卅賷 亘丕賱賲氐丕卅乇 丕賱鬲乇丕噩賷丿賷丞 丕賵 丨鬲賶 亘丕賱爻賱賵賰賷丕鬲 丕賱睾乇賷亘丞 賮賷 亘毓囟 丕賱卮禺氐賷丕鬲 丕賱鬲賷 賯丿賲賴丕 毓賳 丕賱丕禺乇賶 . 賱賷賯賷賲 丕賱丨噩丞 賵丕賱丿賱賷賱 毓賱賶 丕賱賵噩賵丿 丕賱丕賳爻丕賳賷 丕賱賲卮亘毓 亘丕賱賮賯乇 貙 賵亘丕賱丕賴賲丕賱 丕賱丕噩鬲賲丕毓賷 丕賱賳丕噩賲 毓賳 丕賱爻賷丕爻丞 賵毓賳 丕賱孬賯丕賮丕鬲 丕賱賲丨鬲丕噩丞 丕賱賶 賳賲賵 丕賵 丕賱賶 丿毓賲 賳賮爻賷 賵賲丕丿賷 鬲賵噩賴賴 丕賱丿賵賱丞 賱賱丕亘賳丕亍 丕賱匕賷賳 賷毓丕賳賵賳 賲賳 丕賱乇卮賵丞 賵丕賱賮爻丕丿 賵賲丕 丕賱賶 匕賱賰" 亘鬲卮賳噩 毓氐賷 毓賱賶 丕賱鬲丨賯賯 丕賱賲丨丿丿 賱賱賲毓賳賶貙 卮毓乇 亘廿丨爻丕爻 丕賱爻賱胤丞 匕丕鬲 兀賴賲賷丞 賯賱賷賱丞貙 賵兀賳 丕賱賮毓賱貙 毓賱賶 賱賵丨丞 丕賱禺賷卮貙 丕賵 丕賱賲丕丿丞 丕賱亘卮乇賷丞貙 賴賵 毓賲賱賷丞 丕賱丨賷丕丞貙 賲賲丕 丕賵氐賱賴 丕賱賶 丕賱禺賵賮 丕賱賲鬲賵鬲乇 賲賳 丕賱鬲丨賯賷賯 " 賮賴賱 賲賳 禺賵賮 亘賳丕亍 賮賷 丕賱丕毓賲丕賱 丕賱賮賳賷丞 丕賱丕亘丿丕毓賷丞 丕賱賳丕鬲噩丞 毓賳 丕賱鬲賮賰乇 丕賵 丕賱禺賵賮 丕賱胤亘賷毓賷責 丕賲 賴賵 丕賱禺賵賮 丕賱爻賱亘賷 丕賱匕賷 賷乇賷丿 賲丨賵賴 賵賵賱 爻賵賷賳賰丕 賮賷 乇賵丕賷鬲賴 丕賱賲賮爻乇賵賳責.
丕賱賲賮爻乇賵賳 賴賲 丕賱卮毓亘 丕賱賲囟胤賴丿 丕賱乇丕夭丨 鬲丨鬲 賯爻賵丞 丕賱丕丨鬲賷丕噩 賵丕賱噩賴賱 貙 賵毓丿賲 丕賱賲鬲丕亘毓丞 賱賱毓賱賲 丕賵 丨鬲賶 氐賯賱 丕賱賲賵丕賴亘 丕賱賯丕丿乇丞 毓賱賶 丨賲賱 賴賵賷丞 賵胤賳賷丞 賲賳 賳賵毓 丌禺乇 賴賲 丕賱丕氐丿丕賯丕亍 丕賱匕賷賳 鬲乇毓乇毓賵丕 賮賷 夭賲賳 賵丕丨丿 賵亘賷卅丞 賵丕丨丿丞 貙 賮丕賱賮賳賵賳 毓賱賶 丕賳賵丕毓賴丕 鬲乇賮毓 賲賳 丕賱賯賷賲丞 丕賱丕賳爻丕賳賷丞 丕賱賲丨丕胤丞 亘丕賱丕丨亘丕胤丕鬲 丕賱賲鬲賰乇乇丞 賲賳 賰賱 丕賱賳賵丕丨賷 丕賱賲賲賰賳丞 賵賱賰賳 丕賱賯丕乇賶亍 孬丕亘乇 丕賱賶 丕賱賳賴丕賷丞 乇亘賲丕 賱賷丨賷丕 賲毓 丕噩亘賵 亘毓囟 賲毓丕賳丕鬲賴 丕賱卮亘賷賴丞 亘丕賱賲丕囟賷 賵丕賱丨丕囟乇 賵丕賱賲爻鬲賯亘賱 " 賱賰賳賴賲 丨賲賱賵 丕賱賱賵丨丞貙 賵毓賱賯賵賴丕 賮賷 亘賴賵 丕賱賲爻乇丨貙 丨賷孬 爻賷睾賳賷 噩賵睾賱丿乇貙 賮賷賲丕 亘毓丿貙 賱賷賱丕. 噩丕亍 丕賱爻丕丿丞 賰賱賴賲貙 賵賲賳 亘賷賳賴賲 丌賱 兀賵睾丕夭賵乇貙 賱賰賳賴賲 丕賳氐乇賮賵丕 爻乇賷毓丕貙 丨賷賳 丕亘氐乇賵丕 匕亘丕亘丞 賲賳夭賱 丕賵 匕亘丕亘鬲賷賳 鬲爻鬲亘賯丕賳 賲爻乇亘 禺賲乇 丕賱賳丨賷賱. 毓賲賱賷丞 丕賱匕亘丨貙 賵賲匕丕賯 丕賱禺賲乇貙 賲毓 丕賱乇丕卅丨丞 丕賱賳賮丕匕丞 賱賱丨賲 丕賱賲卮賵賷貙 丨賲賱鬲 丕噩亘賵 丕賱賶 丕賱賲丕囟賷" 賱賳卮毓乇 賮毓賱丕 賲毓 丕噩亘賵 丕賳賴丕 賮賳胤丕夭賷丕 禺賷丕賱賷丞 鬲囟毓 丕賱賯丕乇賶亍 丕賲丕賲 賲卮賴丿 賴乇亘 賲賳賴 丕賱爻丕丿丞 丕賵 丕賱胤亘賯丞 丕賱賲鬲毓丕賱賷丞 賮賷 丕賱賲噩鬲賲毓. 賵賲賳 孬賲 賷賳鬲賯丿 亘爻乇毓丞 丕賱爻賷丕爻丕鬲 亘毓丿 賰賱 賲卮賴丿 賲賷賱賵丿乇丕賲賷 " 丕賳 爻賷丕爻鬲賰 丕賱丿賵賱賷丞 丕賵 丕賱賯賵賲賷丞 賱丕 鬲爻丕賵賷 卮賷卅丕 丕賳 賱賲 鬲賰賳 卮丿賷丿丕 毓賱賶 亘賳賷丞 丕賱賲丕囟賷 賵賳爻賷噩賴." 賮賴賱 賳爻賷噩 丕賱賲丕囟賷 賴賵 丕賱丨亘賰丞 丕賱賲爻鬲賯亘賱賷丞 賱噩賷賱 爻賷賯乇兀 丕賱賲賮爻乇賵賳 賵賷卮毓乇 亘夭賲丕賳賴丕貙 賮賷鬲賮丕毓賱 賰賲丕 鬲賮丕毓賱 丕賱賯丕乇賶亍 賮賷 丕賱丨丕囟乇 丕賵 丕賱丕賳 賵卮毓乇 亘丕賱丕爻賶 賲賳 賲爻鬲賯亘賱 丕賱賲賮爻乇賵賳 丕賱匕賷 賷禺丕賮 賲賳賴 賰賱 賲孬賯賮 丕賵 賮賳丕賳責.
亘賳丕亍 丿乇丕賲賷 賮賷 乇賵丕賷丞 丕噩鬲賲丕毓賷丞 爻賷丕爻賷丞 賳丕賯丿丞 賱丕賮賰丕乇 鬲賵噩賴 亘賴丕 賱賱賯丕乇卅 毓賱賶 賲丿丕乇 丕賱夭賲賳 丕賱乇賵丕卅賷 賵丕賱兀賲賰賳丞 丕賱氐丕禺亘丞 . 賱賷胤乇丨 賮賱爻賮鬲賴 賵丕賱丌乇丕亍 丕賱鬲賷 鬲孬賷乇 爻禺胤賴 亘丕爻賱賵亘 丨賵丕乇賷 丿乇丕賲賷 賷賲賷賱 丕賱賶 丨亘賰 鬲賵賱賷賮丕鬲 匕丕鬲 丕爻鬲毓丕乇丕鬲 賵賰賳丕賷丕鬲 貙 賵賱賵丨丕鬲 噩賲賷賱丞 乇爻賲賴丕 亘丕賱賰賱賲丕鬲. 賱賷禺乇噩 賲賳 乇鬲丕亘丞 丕賱丨賵丕乇丕鬲 丕賱胤賵賷賱丞 賵丕賱鬲賯賱亘丕鬲 丕賱賳賮爻賷丞 亘賷賳 丕賱卮禺賵氐 丕賱鬲賷 鬲賳賵毓鬲 賲賳 賳丨丕鬲 賵氐丨賮賷 賵睾賷乇 匕賱賰 賵賰丕賳賴 賷卮賷乇 賮賷 乇賵丕賷鬲賴 丕賱賶 賮卅丞 禺丕氐丞 賲賳 丕賱卮毓亘 丕賱賲亘丿毓 丕賱匕賷 賷丨鬲丕噩 丕賱賶 乇毓丕賷丞 丿賵賱丞 賵丕賴鬲賲丕賲 丕賰亘乇 ."丨鬲賶 匕賱賰 丕賱丕禺鬲賷丕乇 賴賵 噩乇丕亍 鬲爻賱胤 賵胤睾賷丕賳. 丕賳 賴亘丞 丕賱丕賳爻丕賳 丕賱丨賷丕丞 賷噩亘 丕賳 鬲賰賵賳 賲賳賮氐賱丞貙 卮賷卅丕 睾賷乇 匕賷 毓賱丕賯丞. 賰賱 丕禺鬲賷丕乇 賷噩亘 丕賳 賷賳亘毓 賲賳 丿丕禺賱賴 賵賱賷爻 賲賳 鬲賱賯賷賳丕鬲 丕賱賲丕囟賷 . " 丕賳 卮賷賮乇丕鬲賴 丕賱爻賷丕爻賷丞 賲丿賲賵噩丞 囟賲賳 丕賱丨賵丕乇丕鬲 丕賱鬲賷 賷賯丿賲賴丕 亘丨亘賰 爻丕禺乇 丕丨賷丕賳丕 賲賳 丕賱賲噩鬲賲毓 丕賱賳賷噩賷乇賷 亘丕賱匕丕鬲貙 賵賲賳 丕賳爻丕賳賷丞 賲賯鬲賵賱丞 亘賷丿 丕賱丕賳爻丕賳 賳賮爻賴. 賱鬲賳卮兀 丕賱賲賮爻乇賵賳 毓賱賶 丕賷丿賷 丕賱賲孬賯賮賷賳 賵賲毓丕賳鬲賴賲 丕賱睾賷乇 賲賮賴賵賲丞 賮賷 丕賱丨賷丕丞.
鬲禺囟毓 乇賵丕賷丞 " 丕賱賲賮爻乇賵賳 " 丕賱賶 丕賳鬲賯丕丿丕鬲 匕丕鬲賷丞 賷賵噩賴賴丕 亘賮賳賷丞 丕賱丨賵丕乇 丕賱乇賵丕卅賷 丕賱賲鬲賷賳 丕賱賯丕丿乇 毓賱賶 賲卮丕乇賰丞 丕賱賯丕乇卅 賮賷 丕賱毓氐賮 丕賱匕賴賳賷貙 賲賳 禺賱丕賱 丕賱丕賮賰丕乇 丕賱鬲賷 賷丿爻賴丕 亘賷賳 丕賱鬲乇丕賰賷亘 丕賱賲囟賲賵賳賷丞貙 賵亘兀爻賱賵亘 卮毓亘賷 賲丨賮賵賮 亘乇賵丨 丕賱賳賰鬲丞 丕丨賷丕賳丕 貙 賵亘丕賱賲孬賱 丕賱卮毓亘賷丞 丕賱賲毓乇賵賮丞 賮賷 賳賷噩賷乇賷丕. 丕賱丕 丕賳賴 鬲乇賰 賱賱鬲賰賴賳丕鬲 丕賱賲爻鬲賯亘賱賷丞 乇丐賷丞 乇賵丕卅賷丞 賲亘賳賷丞 毓賱賶 丕賱鬲丨賱賷賱丕鬲貙 賵匕賱賰 賲賳 禺賱丕賱 亘毓囟 鬲賱賯賷賳丕鬲 丕賱賲丕囟賷 賱賱丨丕囟乇貙 賵賲丕 賷賳鬲噩 毓賳 匕賱賰 賲賳 丕賲賵乇 賲爻鬲賯亘賱賷丞 丿賵賳 丕賳 賷賳爻賶 賲賳丨 丕賱賮賳賵賳 賯賷賲丞 鬲丨賱賷賱賷丞" 賮廿賳 賱賲 鬲賰賳 賲賳丨賵鬲丞 丕賱賲氐丕乇毓 賵丕丨丿丞 賲賳 鬲賱賰 丕賱兀毓賲丕賱 丕賱鬲賷 鬲丨丿孬 賲乇丞 賮賷 丕賱毓賲乇貙 賳鬲賷噩丞 鬲賳丕爻賯丕鬲 亘賷賳 丕賱禺亘乇丞 賵丕賱鬲賮賵賯貙 賮廿賳 爻賷賰賵賳賷貙 賮賳丕賳 丕賳鬲馗乇 胤賵賷賱丕 賱賷噩丿 賳賮爻賴" .
亘毓囟 丕賱賲賮乇丿丕鬲 丕賵 丕賱丨賰賲丞 丕賱賲賵噩賵毓丞 賲賳 賲賵丕賯賮 鬲毓乇囟 賱賴丕 丕賱卮禺賵氐 貙 賵鬲乇賰鬲賴賲 亘兀爻賱賵亘 睾賷乇 賲亘丕卮乇 賯賵賱 丨賰賲丞 鬲丨賲賱 賲賳 丕賱賲毓丕賳賷 丕賱丨賷丕鬲賷丞 賲丕 賴賵 賳丕鬲噩 毓賳 賵噩毓 賱丕 賷賲賰賳 廿夭丕賱鬲賴 丕賱丕 亘賰賱賲丕鬲 鬲禺賮賮 丨乇賯丞 丕賱賵噩毓 " 丕賱賯賳丕毓丞 丕賳 鬲賰爻亘 卮賷卅丕 賲賯丕亘賱 賱丕 卮賶亍" . " 丕賱孬賵亘 賱丕 賷氐賳毓 丕賱乇噩丕賱"賲毓 丕賱氐賵乇 丕賱鬲禺賷賱賷丞 丕賱鬲賷 噩亘賱賴丕 亘丕賱賲毓丕賳賷. 賱鬲賰賵賳 亘賲孬丕亘丞 賮賳 賷賵丕夭賷 賮賳賵賳 丕賱氐丨丕賮丞 賵丕賱賳丨鬲 賵丕賱賲賵爻賷賯賶 丕賱鬲賷 賲賳丨賴丕 賱卮禺賵氐賴. 賱賷亘乇夭 賯賵丞 賮賷 賮賳賴 丕賱乇賵丕卅賷 丕賱噩丕賲毓 賱賱賮賳賵賳 賰賱賴丕 賲賳 丨賷孬 丕賱賯丿乇丞 毓賱賶 鬲乇賰 丕賱丕亘毓丕丿 賲賮鬲賵丨丞 賲賳 丨賷孬 丕賱鬲丨賱賷賱 賵丕賱丿賱丕賱丕鬲 " 丕賱丕賲賴丕鬲 丕賱丨丕賰賲丕鬲 丕賱賲賴賷丌鬲 鬲禺賱賷賳 毓賳 賰賱 賯賵鬲賴賳貙 賵鬲賲丿丿賳 賮賷 鬲乇鬲賷亘 賴賳丿爻賷 毓賳丿 賯丿賲亘賴."賱丕賳 " 賵賵賱 爻賵賷賳賰丕 " 睾賲爻 丕賱賲賮丕賴賷賲 丕賱賮賳賷丞 賲賳 丕丿亘 賵氐丨丕賮丞貙 賵賮賳 賮賷 賲噩鬲賲毓 賲丕 夭丕賱 賷賳鬲賯丿 賴匕賴 丕賱賮卅丞貙 賵賷爻禺乇 賲賳賴丕 賵賱丕 賷賯丿賲 賱賴丕 丕賱丕 丕賱賲鬲丕毓亘 丕賱賲囟丕賮丞 丕賱鬲賷 賳賯鬲賱 丕賱兀丨賱丕賲貙 賵賮賷 匕賱賰 鬲兀禺乇 丕賱賲噩鬲賲毓丕鬲 賮賷 丕賱丿賵賱 丕賱賮賯賷乇丞 丕賵 丕賱賳丕賲賷丞.
賳賲丕匕噩 賮胤乇賷丞 賵囟毓賴丕 亘賷賳 賷丿賷賳 丕賱賯丕乇卅貙 賱賷丿乇賰 丕賳 丕賱賲賵丕賴亘 丕賱賮賳賷丞 丕賳賲丕 鬲賳賲賵 賲賳 丕賱胤賮賵賱丞貙 賵賯丿乇鬲賴丕 毓賱賶 丕賲鬲氐丕氐 丕賱卮賵丕卅亘 丕賱鬲賷 鬲賯賮 賮賷 賵噩賴 丕賱賮賳丕賳 賱賷賰賲賱 丕毓賲丕賱賴 丿賵賳 丕賱丕賴鬲賲丕賲 亘丕賱丕爻亘丕亘 丕賱鬲賷 鬲噩毓賱 賲賳賴 丕賱賮賳丕賳 丕賱賲毓乇賵賮 丕毓賱丕賲賷丕 貙 賵匕賱賰 亘賲卮賴丿 睾賳賷 亘丕賱兀乇賰丕賳 丕賱鬲氐賵賷乇賷丞" 毓賱賷賰 丕賳 鬲毓乇賮 丕賱丌賳 兀賳賷 賱爻鬲 賮賳丕賳丕 丨賯丕. 賵賱賲 丕毓鬲夭賲 兀賳 兀賰賵賳. 賱賰賳賷 丕賮賴賲 胤亘賷毓丞 丕賱賮賳貙 賵賴賰匕丕 氐乇鬲 兀爻鬲丕匕 賮賳 賲賲鬲丕夭丕賸 . 賴匕丕 賰賱 賲丕 賮賷 丕賱丕賲乇. 賴匕賴 丕賱賱賵丨丞 賲孬賱丕 兀噩亘賵 賴賵 丕賱匕賷 丨乇囟賳賷 毓賱賷賴丕貙 亘丿賵賳 賮胤賳丞 胤亘毓丕貙 賵賰丕賳 賷賳亘睾賷 丕賳 賷噩賴丿 賴賵 賮賷賴丕貙 賱丕 兀賳丕 賱卮賷亍 賵丕丨丿 賴賵 丕賳賴 丕賯乇亘 丕賱賶 丕賱賲賵囟賵毓. 賮賴賱 賲賳 丕賱賴丕賲 賮賳賷 賷賵賱丿 賮噩兀丞 賵賷鬲爻亘亘 亘賴 丕賱丕禺乇賷賳責.
丨亘賰丞 丨賵丕乇賷丞 胤賵賷賱丞 貙 賵兀賮賰丕乇 賲丿賴丕 亘鬲賮丕氐賷賱 丨賷丕鬲賷丞 賵亘賮賱爻賮丞 丕賮乇丕睾賷丞 丕賷丨丕卅賷丞 賳孬賷乇 丕賱囟丨賰 貙 賵丕賱丕卮賲卅夭丕夭 賮賷 丌賳貙 賵賱賰賳賴 賱賲 賷賳爻 丕賱賲賵爻賷賯賶 賵丕賱丕賷賯丕毓 貙 賵賲丕 鬲鬲爻亘亘 亘賴 賲賳 鬲賳賲賷丞 賱賱丨爻. 丕賳 賲賳 賳丕丨賷丞 丕賱胤亘賷毓丞 丕賱睾賳丕亍 賲賳 氐賵鬲 賱賱賲胤乇 丕賵 賲賳 丨乇賰丞 丕賱賲丕亍 賮賷 賳賴乇 賷鬲兀賲賱賴. 賱賷丿賲噩 匕賱賰 賮噩兀丞 賲毓 丕賱賮賯乇 丕賱匕賷 賷賲賳毓 丕賱卮毓亘 賲賳 丕賱鬲匕賵賯" 胤睾賶 氐賵鬲 爻賵亘乇丕賳賵 毓賱賶 胤乇胤卮丞 丕賱夭賷鬲.丕賷胤丕賱賷丞 貙 丕鬲丨亘賴丕責 丕賳丕 丕丨亘 丕賱氐賵鬲 丕賱亘卮乇賷. 丕賳丕 丕毓鬲亘乇 丕賱氐賵鬲 丕賱亘卮乇賷 兀賮囟賱 丌賱丞 亘毓丿 丕賱賰賲丕賳. 丕賳丕 賱丕 丕爻鬲賲毓 丕賱賶 賲賮囟賱賷丕鬲賷 丕賱丕 丨賷賳 丕賰賵賳 賵丨賷丿丕. 賮兀賳丕 賯丿 兀亘賰賷貙 賰賲丕 鬲毓乇賮."賮賴賱 賮賷 賴匕丕 鬲禺賮賷賮 賲賳 毓亘亍 丕賱賰賲 賮賷 丕賱丕賮賰丕乇 責 丕賲 丕賳 丕賱賮賳 賵丕賱賲賵爻賷賯賶 賵丕賱賳丨鬲貙 賵賲丕 丕賱賶 匕賱賰 賴賵 賳賵毓 賲賳 丕賱鬲乇賰賷亘 丕賱乇賵丕卅賷 丕賱賴丕丿賮 丕賱賶 禺賱賯 丕爻鬲乇丕丨丕鬲 鬲乇賮賷賴賷丞 賷卮毓乇 丕賱賯丕乇卅 賮賷賴丕 亘丕賱毓丕賱賲 丕賱乇賵丕卅賷 丕賱賲鬲賰丕賲賱 賲賳 丨賷孬 丕賱鬲賳賵毓 賮賷 丕賱氐賵乇 丕賱丨賷丕鬲賷丞 丕賱鬲賷 賷賲丿賴丕 賱鬲卮賲賱 賮卅丕鬲 丕賱賲噩鬲賲毓 亘卮賰賱 毓丕賲.
賷鬲丨賰賲 丕賱乇賵丕卅賷 " 賵賵賱 爻賵賷賳賰丕 " 亘卮禺賵氐賴 囟賲賳 賲爻丕乇丕鬲 胤亘賷毓賷丞 賱賲 賷卮毓乇 丕賱賯丕乇卅 賲賳 禺賱丕賱賴丕 亘丕賱鬲丨賰賲 丕賱乇賵丕卅賷 亘丕賱賲氐丕卅乇 丕賱鬲乇丕噩賷丿賷丞 丕賵 丨鬲賶 亘丕賱爻賱賵賰賷丕鬲 丕賱睾乇賷亘丞 賮賷 亘毓囟 丕賱卮禺氐賷丕鬲 丕賱鬲賷 賯丿賲賴丕 毓賳 丕賱丕禺乇賶 . 賱賷賯賷賲 丕賱丨噩丞 賵丕賱丿賱賷賱 毓賱賶 丕賱賵噩賵丿 丕賱丕賳爻丕賳賷 丕賱賲卮亘毓 亘丕賱賮賯乇 貙 賵亘丕賱丕賴賲丕賱 丕賱丕噩鬲賲丕毓賷 丕賱賳丕噩賲 毓賳 丕賱爻賷丕爻丞 賵毓賳 丕賱孬賯丕賮丕鬲 丕賱賲丨鬲丕噩丞 丕賱賶 賳賲賵 丕賵 丕賱賶 丿毓賲 賳賮爻賷 賵賲丕丿賷 鬲賵噩賴賴 丕賱丿賵賱丞 賱賱丕亘賳丕亍 丕賱匕賷賳 賷毓丕賳賵賳 賲賳 丕賱乇卮賵丞 賵丕賱賮爻丕丿 賵賲丕 丕賱賶 匕賱賰" 亘鬲卮賳噩 毓氐賷 毓賱賶 丕賱鬲丨賯賯 丕賱賲丨丿丿 賱賱賲毓賳賶貙 卮毓乇 亘廿丨爻丕爻 丕賱爻賱胤丞 匕丕鬲 兀賴賲賷丞 賯賱賷賱丞貙 賵兀賳 丕賱賮毓賱貙 毓賱賶 賱賵丨丞 丕賱禺賷卮貙 丕賵 丕賱賲丕丿丞 丕賱亘卮乇賷丞貙 賴賵 毓賲賱賷丞 丕賱丨賷丕丞貙 賲賲丕 丕賵氐賱賴 丕賱賶 丕賱禺賵賮 丕賱賲鬲賵鬲乇 賲賳 丕賱鬲丨賯賷賯 " 賮賴賱 賲賳 禺賵賮 亘賳丕亍 賮賷 丕賱丕毓賲丕賱 丕賱賮賳賷丞 丕賱丕亘丿丕毓賷丞 丕賱賳丕鬲噩丞 毓賳 丕賱鬲賮賰乇 丕賵 丕賱禺賵賮 丕賱胤亘賷毓賷責 丕賲 賴賵 丕賱禺賵賮 丕賱爻賱亘賷 丕賱匕賷 賷乇賷丿 賲丨賵賴 賵賵賱 爻賵賷賳賰丕 賮賷 乇賵丕賷鬲賴 丕賱賲賮爻乇賵賳責.
丕賱賲賮爻乇賵賳 賴賲 丕賱卮毓亘 丕賱賲囟胤賴丿 丕賱乇丕夭丨 鬲丨鬲 賯爻賵丞 丕賱丕丨鬲賷丕噩 賵丕賱噩賴賱 貙 賵毓丿賲 丕賱賲鬲丕亘毓丞 賱賱毓賱賲 丕賵 丨鬲賶 氐賯賱 丕賱賲賵丕賴亘 丕賱賯丕丿乇丞 毓賱賶 丨賲賱 賴賵賷丞 賵胤賳賷丞 賲賳 賳賵毓 丌禺乇 賴賲 丕賱丕氐丿丕賯丕亍 丕賱匕賷賳 鬲乇毓乇毓賵丕 賮賷 夭賲賳 賵丕丨丿 賵亘賷卅丞 賵丕丨丿丞 貙 賮丕賱賮賳賵賳 毓賱賶 丕賳賵丕毓賴丕 鬲乇賮毓 賲賳 丕賱賯賷賲丞 丕賱丕賳爻丕賳賷丞 丕賱賲丨丕胤丞 亘丕賱丕丨亘丕胤丕鬲 丕賱賲鬲賰乇乇丞 賲賳 賰賱 丕賱賳賵丕丨賷 丕賱賲賲賰賳丞 賵賱賰賳 丕賱賯丕乇賶亍 孬丕亘乇 丕賱賶 丕賱賳賴丕賷丞 乇亘賲丕 賱賷丨賷丕 賲毓 丕噩亘賵 亘毓囟 賲毓丕賳丕鬲賴 丕賱卮亘賷賴丞 亘丕賱賲丕囟賷 賵丕賱丨丕囟乇 賵丕賱賲爻鬲賯亘賱 " 賱賰賳賴賲 丨賲賱賵 丕賱賱賵丨丞貙 賵毓賱賯賵賴丕 賮賷 亘賴賵 丕賱賲爻乇丨貙 丨賷孬 爻賷睾賳賷 噩賵睾賱丿乇貙 賮賷賲丕 亘毓丿貙 賱賷賱丕. 噩丕亍 丕賱爻丕丿丞 賰賱賴賲貙 賵賲賳 亘賷賳賴賲 丌賱 兀賵睾丕夭賵乇貙 賱賰賳賴賲 丕賳氐乇賮賵丕 爻乇賷毓丕貙 丨賷賳 丕亘氐乇賵丕 匕亘丕亘丞 賲賳夭賱 丕賵 匕亘丕亘鬲賷賳 鬲爻鬲亘賯丕賳 賲爻乇亘 禺賲乇 丕賱賳丨賷賱. 毓賲賱賷丞 丕賱匕亘丨貙 賵賲匕丕賯 丕賱禺賲乇貙 賲毓 丕賱乇丕卅丨丞 丕賱賳賮丕匕丞 賱賱丨賲 丕賱賲卮賵賷貙 丨賲賱鬲 丕噩亘賵 丕賱賶 丕賱賲丕囟賷" 賱賳卮毓乇 賮毓賱丕 賲毓 丕噩亘賵 丕賳賴丕 賮賳胤丕夭賷丕 禺賷丕賱賷丞 鬲囟毓 丕賱賯丕乇賶亍 丕賲丕賲 賲卮賴丿 賴乇亘 賲賳賴 丕賱爻丕丿丞 丕賵 丕賱胤亘賯丞 丕賱賲鬲毓丕賱賷丞 賮賷 丕賱賲噩鬲賲毓. 賵賲賳 孬賲 賷賳鬲賯丿 亘爻乇毓丞 丕賱爻賷丕爻丕鬲 亘毓丿 賰賱 賲卮賴丿 賲賷賱賵丿乇丕賲賷 " 丕賳 爻賷丕爻鬲賰 丕賱丿賵賱賷丞 丕賵 丕賱賯賵賲賷丞 賱丕 鬲爻丕賵賷 卮賷卅丕 丕賳 賱賲 鬲賰賳 卮丿賷丿丕 毓賱賶 亘賳賷丞 丕賱賲丕囟賷 賵賳爻賷噩賴." 賮賴賱 賳爻賷噩 丕賱賲丕囟賷 賴賵 丕賱丨亘賰丞 丕賱賲爻鬲賯亘賱賷丞 賱噩賷賱 爻賷賯乇兀 丕賱賲賮爻乇賵賳 賵賷卮毓乇 亘夭賲丕賳賴丕貙 賮賷鬲賮丕毓賱 賰賲丕 鬲賮丕毓賱 丕賱賯丕乇賶亍 賮賷 丕賱丨丕囟乇 丕賵 丕賱丕賳 賵卮毓乇 亘丕賱丕爻賶 賲賳 賲爻鬲賯亘賱 丕賱賲賮爻乇賵賳 丕賱匕賷 賷禺丕賮 賲賳賴 賰賱 賲孬賯賮 丕賵 賮賳丕賳責.
December 23, 2013
賵賵賱 爻賵賷賳賰丕-丕賱賲賮爻乇賵賳
/匕丕賰乇丞 丕賱卮毓賵亘 丕賱丕丿亘 丕賱賳賷噩賷乇賷
賵賵賱 爻賵賷賳賰丕 毓賰爻 丕賱賵丕賯毓 丕賱賳賷噩賷乇賷 亘毓丿 丕賱丕爻鬲賯賱丕賱
賲賳 禺賱丕賱 禺賲爻丞 卮亘丕賳,賱賰賱 賲賳賴賲 胤賲賵丨丕鬲 賵丕丨賱丕賲 賷爻毓賵賳 丕賱賷 鬲丨賯賷賯賴丕
鬲賳丕賵賱 賮賷 乇賵丕賷鬲賴 丕賱賲賮爻乇賵賳 賯囟丕賷丕 丕賱賮爻丕丿 賵丕賱賵氐賵賱賷丞 賱賲噩鬲賲毓 賱賲 賷亘氐乇 丕賱賳賵乇 亘毓丿
丕丨亘亘鬲 賮賷賴丕 丕噩亘賵 賵鬲乇丿丿賴
爻賷賰賵賳賷 賵賯亘鬲賴 丕賱賰賵賳賷丞
爻丕噩賵 賵賲賳胤賯賴 丕賱丕賮乇丕睾賷
賰賵賱丕 賵丕賱亘賳孬丕賷賵賳 禺丕氐鬲賴
賵丕禺賷乇丕 亘丕賳丿賷賱賷
/匕丕賰乇丞 丕賱卮毓賵亘 丕賱丕丿亘 丕賱賳賷噩賷乇賷
賵賵賱 爻賵賷賳賰丕 毓賰爻 丕賱賵丕賯毓 丕賱賳賷噩賷乇賷 亘毓丿 丕賱丕爻鬲賯賱丕賱
賲賳 禺賱丕賱 禺賲爻丞 卮亘丕賳,賱賰賱 賲賳賴賲 胤賲賵丨丕鬲 賵丕丨賱丕賲 賷爻毓賵賳 丕賱賷 鬲丨賯賷賯賴丕
鬲賳丕賵賱 賮賷 乇賵丕賷鬲賴 丕賱賲賮爻乇賵賳 賯囟丕賷丕 丕賱賮爻丕丿 賵丕賱賵氐賵賱賷丞 賱賲噩鬲賲毓 賱賲 賷亘氐乇 丕賱賳賵乇 亘毓丿
丕丨亘亘鬲 賮賷賴丕 丕噩亘賵 賵鬲乇丿丿賴
爻賷賰賵賳賷 賵賯亘鬲賴 丕賱賰賵賳賷丞
爻丕噩賵 賵賲賳胤賯賴 丕賱丕賮乇丕睾賷
賰賵賱丕 賵丕賱亘賳孬丕賷賵賳 禺丕氐鬲賴
賵丕禺賷乇丕 亘丕賳丿賷賱賷
January 28, 2019
Sebuah karya yang agak berat untuk dihadam, kekangan utama dari sudut kefahaman naratif dan juga masa. Namun, ia kaya dengan semangat 'orang muda' yang baru membina kerjaya dalam sistem pentadbiran negara mereka yang 'sakit'. Saya menggemari dialog dan peristiwa Dehinwa berhujah dengan ibu dan ibu saudaranya dan peristiwa ketika upacara di gereja.
October 17, 2007
Also read this a long time ago. It was challenging, as are all of his books.
Read
October 14, 2019A group of young Nigerian intellectuals struggle to articulate meaning amid the general squalor of modernity in post-independence Africa. Very good. Soyinka was better known as a playwrite, but this is small masterpiece. The characters are rich, humorous and tragic, the style is difficult but evocative, the setting will be foreign to most readers (or most readers reading this blog); in short, everything you'd want in a novel. Worth your time.
October 13, 2018
Wonderful book with a wild prose style, funny satire and jokes and great characterisation.
e.g.
"'Metal on concrete jars my drink lobes'. This was Sagoe, grumbling as his stuck fingers in his ears against the mad screech of iron tables. Then his neck was nearly snapped as Dehinwa leapt up and Sagoe's arm dangled in the void where her lap had been. Bandele's arms never ceased to surprise. At half-span they embraced tables and chairs, pushed them deep into the main wall as dancers dodged long chameleon tongues of the cloudburst and the wind leapt at them, visibly male-violent. In a moment only the band was left.
The 'plop' continued some time before its meaning came clear to Egbo and he looked up at the leaking roof in disgust, then threw his beer into the rain muttering.
'I don't need his pity. Someone tell God not to weep in my beer.'"
"He recalled that it had been the rainy season when he returned from Europe and America. Instead of heat he obtained electric shocks - once as he touched the faucet of a bath with his toes and another time through a finger as he dialled a number on the phone. When he told Mathias he said,
'Na austerity measure. Government wan join three ministry together -Works, Electricity and Communication' and roared away at the idea."
"The rains of May become in July slit arteries of the sacrificial bull, a million bleeding punctures of the sky-bull hidden in convulsive cloud humps, black, overfed for this one event, nourished on horizon ops of endless choice grazing, distant beyond giraffe reach. Some competition there is below, as bridges yield right of way to lorries packed to the running-board, and the wet tar spins mirages of unspeed-limits to heroic cars and their cargoes find a haven below the precipice. The blood of earth-dwellers mingles with blanched streams of the mocking bull, and flows into currents eternally below earth. The Dome cracked above Sekoni's short-sighted head one messy night. Too late he saw the insanity of a lorry parked right in his path, a swerve turned into a skid and cruel arabesques of tyres. A futile heap of metal, and Sekoni's body lay surprised across the open door, showers of laminated glass around him, his beard one fastness of blood and wet earth."
e.g.
"'Metal on concrete jars my drink lobes'. This was Sagoe, grumbling as his stuck fingers in his ears against the mad screech of iron tables. Then his neck was nearly snapped as Dehinwa leapt up and Sagoe's arm dangled in the void where her lap had been. Bandele's arms never ceased to surprise. At half-span they embraced tables and chairs, pushed them deep into the main wall as dancers dodged long chameleon tongues of the cloudburst and the wind leapt at them, visibly male-violent. In a moment only the band was left.
The 'plop' continued some time before its meaning came clear to Egbo and he looked up at the leaking roof in disgust, then threw his beer into the rain muttering.
'I don't need his pity. Someone tell God not to weep in my beer.'"
"He recalled that it had been the rainy season when he returned from Europe and America. Instead of heat he obtained electric shocks - once as he touched the faucet of a bath with his toes and another time through a finger as he dialled a number on the phone. When he told Mathias he said,
'Na austerity measure. Government wan join three ministry together -Works, Electricity and Communication' and roared away at the idea."
"The rains of May become in July slit arteries of the sacrificial bull, a million bleeding punctures of the sky-bull hidden in convulsive cloud humps, black, overfed for this one event, nourished on horizon ops of endless choice grazing, distant beyond giraffe reach. Some competition there is below, as bridges yield right of way to lorries packed to the running-board, and the wet tar spins mirages of unspeed-limits to heroic cars and their cargoes find a haven below the precipice. The blood of earth-dwellers mingles with blanched streams of the mocking bull, and flows into currents eternally below earth. The Dome cracked above Sekoni's short-sighted head one messy night. Too late he saw the insanity of a lorry parked right in his path, a swerve turned into a skid and cruel arabesques of tyres. A futile heap of metal, and Sekoni's body lay surprised across the open door, showers of laminated glass around him, his beard one fastness of blood and wet earth."
February 1, 2019
Uma certa 脕frica vista por dentro...Um grupo de jovens intelectuais nigerianos cruzam as p谩ginas do livro com a sua realidade.
August 6, 2012
A small group of young Nigerian intellectuals have a few drinks and hold pretentious philosophical conversations, in between ribbing each other about girls, jobs, getting drunk, etc. I shouldn't like this book at all, I should be thinking that no decent writer would write conversations like that, because people don't talk that way.
These characters in this situation would, and the conversations between them are perfect. So are the almost throw-away sentences at the ends of chapters which made me completely rethink what I had just read. Wole Soyinka is not a decent writer, he is a great writer.
The characters, places, corrupt society and satirical set pieces are all very well depicted. The writing is richly sensual, poetic, funny and distinctive. The author is better known as a playwright and poet than a novelist, so the plays and poems must be mind-blowing. He even makes Voidancy poetic in this little gem of a novel.
The story of how they ended up in the situation they are in for the time-frame of the novel is told obliquely, using their memories and each others, flashbacks, hallucinations and a little from the third party narrator. This means that the story is revealed through a series of images. The mixture of techniques works very well. Many of the stories are not happy ones, as the protagonist group deal with corruption, frustration, bigotry and ignorance. They are all interesting.
These characters in this situation would, and the conversations between them are perfect. So are the almost throw-away sentences at the ends of chapters which made me completely rethink what I had just read. Wole Soyinka is not a decent writer, he is a great writer.
The characters, places, corrupt society and satirical set pieces are all very well depicted. The writing is richly sensual, poetic, funny and distinctive. The author is better known as a playwright and poet than a novelist, so the plays and poems must be mind-blowing. He even makes Voidancy poetic in this little gem of a novel.
The story of how they ended up in the situation they are in for the time-frame of the novel is told obliquely, using their memories and each others, flashbacks, hallucinations and a little from the third party narrator. This means that the story is revealed through a series of images. The mixture of techniques works very well. Many of the stories are not happy ones, as the protagonist group deal with corruption, frustration, bigotry and ignorance. They are all interesting.
August 4, 2015
This was Soyinka's first novel -- he has written at least one other since; although he is better known for his plays and poetry, this is not a bad novel. The "interpreters" of the title are a group of friends who observe and satirize the corruption which was already endemic in Nigeria shortly after independence; the theme is similar to Achebe's No Longer at Ease, although the style is very different and less realistic. Like many literary novels of the sixties, the chronology is deliberately obscured by flashbacks and flashforwards to give a feeling of stasis; what's more important is the poetic, image-filled prose. As with Soyinka's plays and poetry, there is a substratum of Yoruba mythology -- partly explicit, in that one character is painting many of the others into a work called "Pantheon" as various Yoruba gods; I think that probably all the major characters, and many of the events, have analogues in the mythology, although I'm not familiar enough with this religion to identify them all. The novel has a good deal of humor, although some of it is overdone. There are many levels here and I probably didn't get all of them.
April 11, 2018
Luin Tulkit-kirjaa melkein 3 viikkoa. T盲llaiset kirjat saavat pohtimaan vakavasti, kannattaako vapaa-aikaa k盲ytt盲盲 lukemiseen vai ihan johonkin muuhun.
Voihan otsalohkoni - kyll盲 oli vaikea kirja. Muun muassa t盲llaisen kielen takia lukemisesta puuttui kaikki ilo. Sin盲ns盲 nuorten nigerialaisten hetket olivat kiinnostavia v盲l盲yksi盲 afrikkalaiseen 1960-lukuun ja ilmiselv盲盲n juurettomuuteen. Monet palasivat expat-el盲m盲st盲 ja opiskelemasta ulkomailta. Ja tapailivat Afrikassa uskonmiehi盲, Afrikan valkoisia, yliopistoeliitti盲 ja emansipoituneita naisia.
En ymm盲rt盲nyt kirjaa lainkaan. Siin盲 oli selv盲sti tarina, mutta kuka miss盲 mit盲 miksi kenen kanssa? Mik盲 oli kirjan idea? Miksi se oli kirjoitettu?
En saa t盲st盲 kirjasta selkoa ilman Googlea tai GR-arvioita. Tuskin kuitenkaan v盲lit盲n niin paljoa, ett盲 k盲ytt盲isin aikaa kumpaankaan.
Ymm盲rr盲n my枚s, ett盲 ongelmani saattaa olla se, etten lainkaan ymm盲rr盲 kontekstia. Mutta k盲盲nn枚skirjallisuuden pit盲isi auttaa lukijaa t盲ll盲 matkalla eik盲 tehd盲 siit盲 viel盲 vaikeampaa.
Voihan otsalohkoni - kyll盲 oli vaikea kirja. Muun muassa t盲llaisen kielen takia lukemisesta puuttui kaikki ilo. Sin盲ns盲 nuorten nigerialaisten hetket olivat kiinnostavia v盲l盲yksi盲 afrikkalaiseen 1960-lukuun ja ilmiselv盲盲n juurettomuuteen. Monet palasivat expat-el盲m盲st盲 ja opiskelemasta ulkomailta. Ja tapailivat Afrikassa uskonmiehi盲, Afrikan valkoisia, yliopistoeliitti盲 ja emansipoituneita naisia.
En ymm盲rt盲nyt kirjaa lainkaan. Siin盲 oli selv盲sti tarina, mutta kuka miss盲 mit盲 miksi kenen kanssa? Mik盲 oli kirjan idea? Miksi se oli kirjoitettu?
En saa t盲st盲 kirjasta selkoa ilman Googlea tai GR-arvioita. Tuskin kuitenkaan v盲lit盲n niin paljoa, ett盲 k盲ytt盲isin aikaa kumpaankaan.
Ymm盲rr盲n my枚s, ett盲 ongelmani saattaa olla se, etten lainkaan ymm盲rr盲 kontekstia. Mutta k盲盲nn枚skirjallisuuden pit盲isi auttaa lukijaa t盲ll盲 matkalla eik盲 tehd盲 siit盲 viel盲 vaikeampaa.
September 12, 2015
Interpreting "The Interpreters"
I received the copy of Wole Soyinka鈥檚 The Interpreters 2 weeks ago. Little by little, I devour its page until the nagging and persistent boredom attacks me. Bit by bit, I try to understand its meaning. Whether I鈥檓 sitting aboard the usual morning jeepney ride, or standing in the LRT, I read it as I used to read C.S. Lewis鈥� The Chronicles of Narnia. The difference is, I鈥檓 quite dead bored. I CANT interpret The Interpreters.
That I am lost somewhere in pages 40-50 after a two-week period of possessing the book is a proof that I am losing the grip of reading it.
I received the copy of Wole Soyinka鈥檚 The Interpreters 2 weeks ago. Little by little, I devour its page until the nagging and persistent boredom attacks me. Bit by bit, I try to understand its meaning. Whether I鈥檓 sitting aboard the usual morning jeepney ride, or standing in the LRT, I read it as I used to read C.S. Lewis鈥� The Chronicles of Narnia. The difference is, I鈥檓 quite dead bored. I CANT interpret The Interpreters.
That I am lost somewhere in pages 40-50 after a two-week period of possessing the book is a proof that I am losing the grip of reading it.
July 24, 2013
I am either too dumb or have forgotten too much of high school English to even begin understanding this book. I was especially excited to read it after finishing another book by a Nigerian. After reading the first 30 pages, I was completely lost. After 60, I thought it was all starting to make sense, but i'm not sure anymore. What is this book about? Something to do with being on a river and maybe some parties in leaky huts? I really just don't have a clue. Soyinka won the Nobel Prize for literature and I kind of feel like either his plays must be much more coherent or the emperor is naked.
September 14, 2008
Soyinka is my favorite African writer to date (admitting that I have only read a handful and often in translation). He is authentically funny and, most important, sensual. I taste the food, feel the rhythm and heat etc. An interesting contrast to fellow Nigerian, Ibu writer Chinua Achebe who thinks too much and tries too hard.
April 27, 2018
Ich habe das Buch f眉r meine damalige "L盲nder"-Challenge gelesen, wo es als Vertreter f眉r Nigeria fungierte. Ansonsten kann ich mich nicht mehr an sehr viel erinnern, nur dass ich es glaub ich ziemlich langweilig fand und es wohl nie zur Hand genommen h盲tte, wenn ich es nicht f眉r diese Challenge gebraucht h盲tte.
April 26, 2013
The Interpreters is one of the most complicated novels because of its fragmented structure. The very title indicates that the interpretation of the novel is never an easy task. However, the chaos in the structure reflects the chaos in Africa after the independence.
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