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The Knight in the Panther's Skin
The first English verse translation of the Georgian epic of adventure and romance written in 12th or 13th century. Urushadze has also produced a popular anthology of Georgian poetry in English. Her preface explains the original metrical structure, which is so complex that sometimes it requires rhyming words to the fourth syllable. She also includes a brief list of Georgian words she retained, many of them names. An introduction by David M Lang (oriental and African studies, U. of London) puts Rustaveli and his poem in historical context. Annotation c. Book News, Inc., Portland, OR.
259 pages, Hardcover
First published January 1, 1205
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About the author
Shota Rustaveli
13听books85听followersShota Rustaveli (Georgian: 醿ㄡ儩醿椺儛 醿犪儯醿♂儣醿愥儠醿斸儦醿�) (born approx. c. 1160 鈥� died after c. 1220), was a Georgian poet of the 12th century, and one of the greatest contributors to Georgian literature. He is author of "The Knight in the Panther's Skin" (醿曖償醿め儺醿樶儭醿⑨儳醿愥儩醿♂儛醿溼儤, Vepkhistkaosani), the Georgian national epic poem.
Little, if anything, is known about Rustaveli from contemporary sources. His poem itself, namely the prologue, provides a clue to his identity: the poet identifies himself as "a certain Rustveli." "Rustveli" is not a surname, but a territorial epithet which can be interpreted as "of/from/holder of Rustavi." Later Georgian authors of the 15th鈥�18th centuries are more informative: they are almost unanimous in identifying him as Shota Rustaveli, a name which is preserved on a fresco and a document from the formerly Georgian Monastery of the Holy Cross at Jerusalem. The fresco was described by the Georgian pilgrim Timote Gabashvili in 1757/58, and rediscovered by a team of Georgian scholars in 1960. The same Jerusalem document speaks of Shota as a sponsor of the monastery and a "high treasurer," thus echoing a popular legend that Rustaveli was a minister at Queen Tamar鈥檚 court and retired to the monastery at an advanced age. Both a folk tradition and the 17th century royal poet Archil identify Rustaveli as a native of the southern Georgian region of Meskheti, where his home village Rustavi was located (not to be confused with the modern-day city of Rustavi near Tbilisi). He is assumed to have been born between 1160 and 1165. A legend states that Rustaveli was educated at the medieval Georgian academies of Gelati and Ikalto, and then in "Greece" (i.e., the Byzantine Empire). He must have produced his major work no earlier than the 1180s and no later than the first decade of the 13th century, most probably c. 1205鈥�1207.
Little, if anything, is known about Rustaveli from contemporary sources. His poem itself, namely the prologue, provides a clue to his identity: the poet identifies himself as "a certain Rustveli." "Rustveli" is not a surname, but a territorial epithet which can be interpreted as "of/from/holder of Rustavi." Later Georgian authors of the 15th鈥�18th centuries are more informative: they are almost unanimous in identifying him as Shota Rustaveli, a name which is preserved on a fresco and a document from the formerly Georgian Monastery of the Holy Cross at Jerusalem. The fresco was described by the Georgian pilgrim Timote Gabashvili in 1757/58, and rediscovered by a team of Georgian scholars in 1960. The same Jerusalem document speaks of Shota as a sponsor of the monastery and a "high treasurer," thus echoing a popular legend that Rustaveli was a minister at Queen Tamar鈥檚 court and retired to the monastery at an advanced age. Both a folk tradition and the 17th century royal poet Archil identify Rustaveli as a native of the southern Georgian region of Meskheti, where his home village Rustavi was located (not to be confused with the modern-day city of Rustavi near Tbilisi). He is assumed to have been born between 1160 and 1165. A legend states that Rustaveli was educated at the medieval Georgian academies of Gelati and Ikalto, and then in "Greece" (i.e., the Byzantine Empire). He must have produced his major work no earlier than the 1180s and no later than the first decade of the 13th century, most probably c. 1205鈥�1207.
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Displaying 1 - 30 of 166 reviews
February 7, 2017
I found this beautifully illustrated book in a nice English book shop in Tbilisi, at the end of my trip through Georgia. As I'd seen the name Rustaveli everywhere (it seems like half the streets in the country are named after the guy) and the title intrigued me, I bought it. I have no regrets.
It's truly an epic poem: 12th century, super strong knights killing whole armies on their own, rescuing princesses, and "brotherly" love (the hero at one point basically leaves his fianc茅 because he loves the other hero more, who is oh so beautiful).
From what I learnt online, Rustaveli has contributed more to the Georgian identity than say, Shakespeare to the English. This book breathes Georgia, and as I loved the country I can't help loving this as well. So get your ass over there and read this on a nice mountain top or something.
It's truly an epic poem: 12th century, super strong knights killing whole armies on their own, rescuing princesses, and "brotherly" love (the hero at one point basically leaves his fianc茅 because he loves the other hero more, who is oh so beautiful).
From what I learnt online, Rustaveli has contributed more to the Georgian identity than say, Shakespeare to the English. This book breathes Georgia, and as I loved the country I can't help loving this as well. So get your ass over there and read this on a nice mountain top or something.
January 6, 2011
I wonder what kind of idiot would rate this masterpiece with less than 5 stars?!
Would anybody give Shakespeare 4 stars out of 5? or Byron, or Goethe?!
Rustaveli is the best in this list!
p.s. Yes, that's not an easy task to get Rustaveli, and besides the reading skills, it requires a lot more. And the fact, that you don't understand or can't get through it to the end, underlines your lack of knowledge and understanding of the world literature. That's what you've been rating here...
Don't go farther than Tom Sawyer: you will burn your brainS out! ;o)
Would anybody give Shakespeare 4 stars out of 5? or Byron, or Goethe?!
Rustaveli is the best in this list!
p.s. Yes, that's not an easy task to get Rustaveli, and besides the reading skills, it requires a lot more. And the fact, that you don't understand or can't get through it to the end, underlines your lack of knowledge and understanding of the world literature. That's what you've been rating here...
Don't go farther than Tom Sawyer: you will burn your brainS out! ;o)
February 25, 2023
协褌邪 锌褉械泻褉邪褋薪邪褟 锌芯褝屑邪 鈥� 锌邪屑褟褌薪懈泻 屑懈褉芯胁芯泄 谢懈褌械褉邪褌褍褉褘 XII 胁械泻邪, 薪邪锌懈褋邪薪薪褘泄 胁 锌械褉懈芯写 屑械卸写褍 1189 懈 1212 谐芯写褍. 袛芯 薪邪褕械谐芯 胁褉械屑械薪懈, 泻 芯谐褉芯屑薪芯屑褍 褋芯卸邪谢械薪懈褞, 写芯褕谢懈 锌械褉械锌懈褋邪薪薪褘械 胁 小褉械写薪懈械 胁械泻邪 褉械写邪泻褑懈懈. 袙 1712 谐芯写褍 谐褉褍蟹懈薪褋泻懈泄 褑邪褉褜 袙邪褏褌邪薪谐 VI 锌褉芯胁械谢 斜芯谢褜褕褍褞 褉邪斜芯褌褍 锌芯 褉械写邪泻褑懈懈 褉褍泻芯锌懈褋械泄 懈 薪邪锌械褔邪褌邪谢 锌芯褝屑褍. 袙 XiX 胁械泻械 袠谢褜褟 效邪胁褔邪胁邪写蟹械 褌邪泻卸械 锌褉芯写械谢邪谢 斜芯谢褜褕褍褞 褉邪斜芯褌褍 锌芯 胁芯褋褋褌邪薪芯胁谢械薪懈褞 芯褉懈谐懈薪邪谢褜薪芯谐芯 褌械泻褋褌邪 锌芯褝屑褘. 袪褍褋褌邪胁械谢懈 懈褋锌芯谢褜蟹芯胁邪谢 褕械褋褌薪邪写褑邪褌懈褋谢芯卸薪褘泄 褋褌懈褏, 薪邪蟹褘胁邪械屑褘泄 胁褘褋芯泻懈屑 (4+4+4+4) 懈 薪懈蟹泻懈屑 (5+5+5+3) 褕邪懈褉懈.
袙 锌褉芯谢芯谐械 锌芯褝褌 褉邪蟹屑褘褕谢褟械褌 芯 锌芯褝蟹懈懈:
小褌懈褏芯褌胁芯褉褋褌胁芯 - 褉芯写 锌芯蟹薪邪薪褜褟, 胁芯蟹胁褘褕邪褞褖械谐芯 写褍褏.
袪械褔褜 斜芯卸械褋褌胁械薪薪邪褟 褋 锌芯谢褜蟹芯泄 褍褋谢邪卸写邪械褌 谢褞写褟屑 褋谢褍褏.
袦械褉薪褘屑 褋谢芯胁芯屑 褍锌懈胁邪褌褜褋褟 屑芯卸械褌 泻邪卸写褘泄, 泻褌芯 薪械 谐谢褍褏.
袪械褔褜 芯斜褘褔薪邪褟 锌褉芯褋褌褉邪薪薪邪, 褋褌懈褏 卸械 泻褉邪褌芯泻 懈 褍锌褉褍谐.
袠褋锌褘褌邪薪褜械屑 懈薪芯褏芯写褑褍 褋谢褍卸懈褌 写邪谢褜薪褟褟 写芯褉芯谐邪,
袠谐褉芯泻褍 鈥� 褍写邪褉 懈褋泻褍褋薪褘泄, 械褋谢懈 屑褟褔 褉邪褋褋褔懈褌邪薪 褋褌褉芯谐芯.
袛谢褟 锌械胁褑邪 卸械 写械谢芯 褔械褋褌懈 鈥� 褕懈褉褜 褋褌懈褏芯胁, 斜芯谐邪褌褋褌胁芯 褋谢芯谐邪.
袨薪 懈 褋邪屑 泻芯薪褟 芯褋邪写懈褌, 褍胁懈写邪胁, 褔褌芯 褉械褔褜 褍斜芯谐邪.
袨 锌褉懈褉芯写械 谢褞斜胁懈:
袛芯谢卸械薪 懈褋褌懈薪薪芯 胁谢褞斜谢械薪薪褘泄 斜褘褌褜 锌褉械泻褉邪褋薪械械 褋胁械褌懈谢邪,
袛谢褟 薪械谐芯 锌褉懈谢懈褔薪褘 屑褍写褉芯褋褌褜, 泻褉邪褋薪芯褉械褔懈械 懈 褋懈谢邪,
袨薪 斜芯谐邪褌, 胁械谢懈泻芯写褍褕械薪, 芯薪 胁褋械谐写邪 懈褋锌芯谢薪械薪 锌褘谢邪鈥�
孝械 薪械 胁 褋褔械褌, 泻芯谐芯 锌褉懈褉芯写邪 褝褌懈褏 写芯斜谢械褋褌械泄 谢懈褕懈谢邪.
小褍褌褜 谢褞斜胁懈 胁褋械谐写邪 锌褉械泻褉邪褋薪邪, 薪械锌芯褋褌懈卸薪邪 懈 胁械褉薪邪,
袧懈 褋 泻邪泻懈屑 谢褞斜芯写械褟薪褜械屑 薪械 褉邪胁薪褟械褌褋褟 芯薪邪:
袘谢褍写 鈥� 芯写薪芯, 谢褞斜芯胁褜 鈥� 写褉褍谐芯械, 褉邪蟹写械谢褟械褌 懈褏 褋褌械薪邪.
效械谢芯胁械泻褍 薪械 锌褉懈褋褌邪谢芯 锌褍褌邪褌褜 褝褌懈 懈屑械薪邪.
协褌邪 锌芯褝屑邪 锌芯褋胁褟褖械薪邪 谢褞斜胁懈: 芦袙芯蟹胁褘褕邪械褌 褔械谢芯胁械泻邪 谢懈褕褜 谢褞斜芯胁褜禄. 小褞卸械褌薪芯, 褝褌芯 褝锌懈褔械褋泻邪褟 懈褋褌芯褉懈褟 锌芯懈褋泻邪 锌芯褏懈褖械薪薪芯泄 胁芯蟹谢褞斜谢械薪薪芯泄, 写褉褍卸斜褘, 斜械褋泻芯褉褘褋褌薪芯泄 锌芯屑芯褖懈 懈 锌芯写写械褉卸泻懈, 锌褉懈褔械屑, 褔褌芯 胁芯褋褏懈褖邪械褌 鈥� 褉械谢懈谐懈芯蟹薪邪褟 懈 褝褌薪懈褔械褋泻邪褟 褌芯谢械褉邪薪褌薪芯褋褌褜, 锌芯褋泻芯谢褜泻褍 写械泄褋褌胁懈械 锌褉芯懈褋褏芯写懈褌 胁 袗褉邪胁懈懈, 袠薪写懈懈 懈 胁褘屑褘褕谢械薪薪芯泄 褋褌褉邪薪械 袦褍谢褜谐邪蟹邪薪蟹邪褉. 袠 褝褌芯 胁 XII 胁械泻械.
袣芯薪械褔薪芯, 械褋褌褜 懈 薪械写芯褋褌邪褌泻懈. 小屑褘褋谢 锌芯褝屑褘 薪械 褌芯谢褜泻芯 胁 胁芯褋锌械胁邪薪懈懈 谢褞斜胁懈 懈 写褉褍卸斜褘, 芯薪邪 胁芯褋锌械胁邪械褌 懈 谐邪褉屑芯薪懈褞 芯褌薪芯褕械薪懈泄 胁邪褋褋邪谢邪 懈 褋褞蟹械褉械薪邪. 袧芯 写谢褟 XII 胁械泻邪 鈥� 褝褌芯 锌褉芯褋褌懈褌械谢褜薪褘泄 薪械写芯褋褌邪褌芯泻.
袙 锌褉芯谢芯谐械 锌芯褝褌 褉邪蟹屑褘褕谢褟械褌 芯 锌芯褝蟹懈懈:
小褌懈褏芯褌胁芯褉褋褌胁芯 - 褉芯写 锌芯蟹薪邪薪褜褟, 胁芯蟹胁褘褕邪褞褖械谐芯 写褍褏.
袪械褔褜 斜芯卸械褋褌胁械薪薪邪褟 褋 锌芯谢褜蟹芯泄 褍褋谢邪卸写邪械褌 谢褞写褟屑 褋谢褍褏.
袦械褉薪褘屑 褋谢芯胁芯屑 褍锌懈胁邪褌褜褋褟 屑芯卸械褌 泻邪卸写褘泄, 泻褌芯 薪械 谐谢褍褏.
袪械褔褜 芯斜褘褔薪邪褟 锌褉芯褋褌褉邪薪薪邪, 褋褌懈褏 卸械 泻褉邪褌芯泻 懈 褍锌褉褍谐.
袠褋锌褘褌邪薪褜械屑 懈薪芯褏芯写褑褍 褋谢褍卸懈褌 写邪谢褜薪褟褟 写芯褉芯谐邪,
袠谐褉芯泻褍 鈥� 褍写邪褉 懈褋泻褍褋薪褘泄, 械褋谢懈 屑褟褔 褉邪褋褋褔懈褌邪薪 褋褌褉芯谐芯.
袛谢褟 锌械胁褑邪 卸械 写械谢芯 褔械褋褌懈 鈥� 褕懈褉褜 褋褌懈褏芯胁, 斜芯谐邪褌褋褌胁芯 褋谢芯谐邪.
袨薪 懈 褋邪屑 泻芯薪褟 芯褋邪写懈褌, 褍胁懈写邪胁, 褔褌芯 褉械褔褜 褍斜芯谐邪.
袨 锌褉懈褉芯写械 谢褞斜胁懈:
袛芯谢卸械薪 懈褋褌懈薪薪芯 胁谢褞斜谢械薪薪褘泄 斜褘褌褜 锌褉械泻褉邪褋薪械械 褋胁械褌懈谢邪,
袛谢褟 薪械谐芯 锌褉懈谢懈褔薪褘 屑褍写褉芯褋褌褜, 泻褉邪褋薪芯褉械褔懈械 懈 褋懈谢邪,
袨薪 斜芯谐邪褌, 胁械谢懈泻芯写褍褕械薪, 芯薪 胁褋械谐写邪 懈褋锌芯谢薪械薪 锌褘谢邪鈥�
孝械 薪械 胁 褋褔械褌, 泻芯谐芯 锌褉懈褉芯写邪 褝褌懈褏 写芯斜谢械褋褌械泄 谢懈褕懈谢邪.
小褍褌褜 谢褞斜胁懈 胁褋械谐写邪 锌褉械泻褉邪褋薪邪, 薪械锌芯褋褌懈卸薪邪 懈 胁械褉薪邪,
袧懈 褋 泻邪泻懈屑 谢褞斜芯写械褟薪褜械屑 薪械 褉邪胁薪褟械褌褋褟 芯薪邪:
袘谢褍写 鈥� 芯写薪芯, 谢褞斜芯胁褜 鈥� 写褉褍谐芯械, 褉邪蟹写械谢褟械褌 懈褏 褋褌械薪邪.
效械谢芯胁械泻褍 薪械 锌褉懈褋褌邪谢芯 锌褍褌邪褌褜 褝褌懈 懈屑械薪邪.
协褌邪 锌芯褝屑邪 锌芯褋胁褟褖械薪邪 谢褞斜胁懈: 芦袙芯蟹胁褘褕邪械褌 褔械谢芯胁械泻邪 谢懈褕褜 谢褞斜芯胁褜禄. 小褞卸械褌薪芯, 褝褌芯 褝锌懈褔械褋泻邪褟 懈褋褌芯褉懈褟 锌芯懈褋泻邪 锌芯褏懈褖械薪薪芯泄 胁芯蟹谢褞斜谢械薪薪芯泄, 写褉褍卸斜褘, 斜械褋泻芯褉褘褋褌薪芯泄 锌芯屑芯褖懈 懈 锌芯写写械褉卸泻懈, 锌褉懈褔械屑, 褔褌芯 胁芯褋褏懈褖邪械褌 鈥� 褉械谢懈谐懈芯蟹薪邪褟 懈 褝褌薪懈褔械褋泻邪褟 褌芯谢械褉邪薪褌薪芯褋褌褜, 锌芯褋泻芯谢褜泻褍 写械泄褋褌胁懈械 锌褉芯懈褋褏芯写懈褌 胁 袗褉邪胁懈懈, 袠薪写懈懈 懈 胁褘屑褘褕谢械薪薪芯泄 褋褌褉邪薪械 袦褍谢褜谐邪蟹邪薪蟹邪褉. 袠 褝褌芯 胁 XII 胁械泻械.
袣芯薪械褔薪芯, 械褋褌褜 懈 薪械写芯褋褌邪褌泻懈. 小屑褘褋谢 锌芯褝屑褘 薪械 褌芯谢褜泻芯 胁 胁芯褋锌械胁邪薪懈懈 谢褞斜胁懈 懈 写褉褍卸斜褘, 芯薪邪 胁芯褋锌械胁邪械褌 懈 谐邪褉屑芯薪懈褞 芯褌薪芯褕械薪懈泄 胁邪褋褋邪谢邪 懈 褋褞蟹械褉械薪邪. 袧芯 写谢褟 XII 胁械泻邪 鈥� 褝褌芯 锌褉芯褋褌懈褌械谢褜薪褘泄 薪械写芯褋褌邪褌芯泻.
May 26, 2023
'The Knight in the Panther's Skin' is a masterpiece of the Georgian medieval literaure written by Shota Rustaveli, a monk, in the 12th century. The poem is often called 'the Georgian vision of the world' and it has always been as important to Georgians as 'The Odyssey' is Greeks. And, in my opinion, it bears a certain similarity to 'The Odyssey' as 'The Knight...' is a beautiful story about travels and numerous adventures of the main characters, two brave knights, two friends - Avtandil and Tariel, in their quest for happiness. It is also an ode to true friendship, nobility, sacrifice and love.
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'With gesture like a swift panther he clad his form in armour; in one hand he held an iron mace. He stood forth with dauntless heart in the front of the ship, and as he slew onlookers with his gaze, so he slew foes with his sword.
Those warriors yelled; their voices were uninterrupted. They thrust the beam upon which was the plough. The knight stood fearless at the head of the ship, he trembled not; he struck with the mace, he broke the beam, the lion's arm swerved not.
The beam was destroyed, and Avt鈥檋andil remained with ship unshattered. Those warriors feared, they sought a way to shelter, they could not contrive it in time; he leaped on his foes, threshing them down round about him; there was not left there living man unhacked by him.
With intrepid heart he slew those warriors like goats; some he threw down on the ship, some he cast into the sea; he threw one upon another, eight upon nine and nine upon eight; those who were left were hidden among the corpses, they stifled their cries.
As much as his heart desired was he victorious in the fight with them. Some humbly adjured him: "Slay us not, by thy faith!" Those he slew not, he enslaved them, whoever survived his wounds. Truly saith the Apostle: "Fear makes love."
O man! boast not of thy strength, brag not drunken like! Might is of none avail if the power of the Lord aid thee not. A tiny spark overcomes, and burns up great trees. If God protect thee, it cuts alike well whether thou strike with a log or a sword.'
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'With gesture like a swift panther he clad his form in armour; in one hand he held an iron mace. He stood forth with dauntless heart in the front of the ship, and as he slew onlookers with his gaze, so he slew foes with his sword.
Those warriors yelled; their voices were uninterrupted. They thrust the beam upon which was the plough. The knight stood fearless at the head of the ship, he trembled not; he struck with the mace, he broke the beam, the lion's arm swerved not.
The beam was destroyed, and Avt鈥檋andil remained with ship unshattered. Those warriors feared, they sought a way to shelter, they could not contrive it in time; he leaped on his foes, threshing them down round about him; there was not left there living man unhacked by him.
With intrepid heart he slew those warriors like goats; some he threw down on the ship, some he cast into the sea; he threw one upon another, eight upon nine and nine upon eight; those who were left were hidden among the corpses, they stifled their cries.
As much as his heart desired was he victorious in the fight with them. Some humbly adjured him: "Slay us not, by thy faith!" Those he slew not, he enslaved them, whoever survived his wounds. Truly saith the Apostle: "Fear makes love."
O man! boast not of thy strength, brag not drunken like! Might is of none avail if the power of the Lord aid thee not. A tiny spark overcomes, and burns up great trees. If God protect thee, it cuts alike well whether thou strike with a log or a sword.'
December 10, 2017
I know that in the end you will bless the course that I have taken.
A wise man cannot stand the thought his good friend will be forsaken.
Let me remind you of what Plato said to help us awaken:
'By lies and two-facedness, the body's hurt, the soul is shaken.'
This is the national epic of Georgia, admired by readers (and endured by bored students) across the country for centuries. At least according to the people who make these kinds of decisions, Rustaveli is so important that there are Rustaveli streets and Rustaveli statues across Georgia (I actually bought this at Prospero's Books, a Tblisi bookstore I highly recommend to travelers that you can find on...Rustaveli Avenue!). Hell, this poem is so beloved by Georgians that even the guy who illustrated it is a national hero, and he wasn't even Georgian (Mihaly Zichy, of Hungary). Plus, The Knight in the Panther's Skin is far and away the most badass title for an epic poem I've ever seen, and I've read The Daredevils of Sassoun.
The barest of set-ups: Avtandil is an Arab prince in love with the daughter of King Rostevan. One day, while out on a manly hunt with King Rostevan, the men come across a wild man wearing a panther-skin coat who ignores all pleas to engage them in courtesies and handily slaughters dozens of men when challenged before disappearing on his horse. Figuring that the kingdom won't know peace until the murderer is apprehended, young Avtandil sets out to find this dangerous wanderer and prove his worth as a knight and a lover.
Against other epic poems, it doesn't stand out for the elegance of its plotting or the originality of its themes, but for my money, Rustaveli's got two things going: narrative rapidity, and philosophical sophistication. This poem moves. Things happen in rapid succession, events pile on events, and stories fold into other stories, with dozens and dozens of chapters in a book just over 350 pages. You see, Avtandil's talking to Tariel about how Tariel met Pridon, and he can't tell the story of meeting Pridon without telling why Pridon was on the run from the assassins, who were hired by Pridon's uncle because...well, read the poem. I love it, personally, and it's hard not to get swept up into the joy of the book, sometimes not so much an epic as a machine to generate stories.
That other part, the philosophical complexity, is one of the most fascinating parts of the poem, although one I'm not all that qualified to lecture on. What I do know is that Rustaveli was working in a context where Neoplatonic Christianity was the standard, Greek philosophy was read alongside the Qur'an, the finest poetry was in Persian and the best textiles were from China, and those Franks over in Europa were nothing more than half-literate savages. Suffice it to say, Georgia was at the center of a lot of things in the early 13th century, and those crossroads are felt in the poem. More interesting are the story's development of love and friendship as the highest virtues, so much so that they eclipse more traditional epic values like prowess or loyalty to the state; in fact, patriotism gets a good thwacking at several points as nothing more than a kind of false attachment that keeps the individual from truly developing as a soul dedicated in the service of a friend, a beloved, or God. It's a philosophy of self-fulfillment and joy, where life is best lived as living well in rapturous service to another, fully developed and explored from many angles.
A note on translation, because when it comes to 800 year-old poems from non Indo-European languages, translation is everything. I read the 2015 translation by Lynn Coffin, which is distinguished for being the first to preserve the shairi form, which is written in quatrains rhyming a-a-a-a, always with 16 syllables to a line and a caesura (pause) in the middle. What this means is that Coffin is the first writer to preserve both the structure and the meaning of the poem in English. This is an achievement, full stop. But one reason why nobody's tried doing that until so recently is that Rustaveli's form is entirely unnatural to the English ear: English meter is based on stress, not syllables, and English just doesn't rhyme very well compared to most languages, so Coffin's doing two things that the language isn't really meant to do. Inevitably, within the poem's 6,400+ lines, there are some real howlers. The miraculous thing is that there's no more than a few dozen, by my count. Most of it scans just fine, though, and sometimes it even rises to the level of solid English verse that happens to align with medieval Georgian verse, like finding a perfect sonnet in the middle of a physics textbook. The end result keeps a suitably foreign feel, better for chanting and singing, as Rustaveli would no doubt have it, than a sober recital. If you like your big foreign poems big and foreign, I would recommend Coffin's translation.
A wise man cannot stand the thought his good friend will be forsaken.
Let me remind you of what Plato said to help us awaken:
'By lies and two-facedness, the body's hurt, the soul is shaken.'
This is the national epic of Georgia, admired by readers (and endured by bored students) across the country for centuries. At least according to the people who make these kinds of decisions, Rustaveli is so important that there are Rustaveli streets and Rustaveli statues across Georgia (I actually bought this at Prospero's Books, a Tblisi bookstore I highly recommend to travelers that you can find on...Rustaveli Avenue!). Hell, this poem is so beloved by Georgians that even the guy who illustrated it is a national hero, and he wasn't even Georgian (Mihaly Zichy, of Hungary). Plus, The Knight in the Panther's Skin is far and away the most badass title for an epic poem I've ever seen, and I've read The Daredevils of Sassoun.
The barest of set-ups: Avtandil is an Arab prince in love with the daughter of King Rostevan. One day, while out on a manly hunt with King Rostevan, the men come across a wild man wearing a panther-skin coat who ignores all pleas to engage them in courtesies and handily slaughters dozens of men when challenged before disappearing on his horse. Figuring that the kingdom won't know peace until the murderer is apprehended, young Avtandil sets out to find this dangerous wanderer and prove his worth as a knight and a lover.
Against other epic poems, it doesn't stand out for the elegance of its plotting or the originality of its themes, but for my money, Rustaveli's got two things going: narrative rapidity, and philosophical sophistication. This poem moves. Things happen in rapid succession, events pile on events, and stories fold into other stories, with dozens and dozens of chapters in a book just over 350 pages. You see, Avtandil's talking to Tariel about how Tariel met Pridon, and he can't tell the story of meeting Pridon without telling why Pridon was on the run from the assassins, who were hired by Pridon's uncle because...well, read the poem. I love it, personally, and it's hard not to get swept up into the joy of the book, sometimes not so much an epic as a machine to generate stories.
That other part, the philosophical complexity, is one of the most fascinating parts of the poem, although one I'm not all that qualified to lecture on. What I do know is that Rustaveli was working in a context where Neoplatonic Christianity was the standard, Greek philosophy was read alongside the Qur'an, the finest poetry was in Persian and the best textiles were from China, and those Franks over in Europa were nothing more than half-literate savages. Suffice it to say, Georgia was at the center of a lot of things in the early 13th century, and those crossroads are felt in the poem. More interesting are the story's development of love and friendship as the highest virtues, so much so that they eclipse more traditional epic values like prowess or loyalty to the state; in fact, patriotism gets a good thwacking at several points as nothing more than a kind of false attachment that keeps the individual from truly developing as a soul dedicated in the service of a friend, a beloved, or God. It's a philosophy of self-fulfillment and joy, where life is best lived as living well in rapturous service to another, fully developed and explored from many angles.
A note on translation, because when it comes to 800 year-old poems from non Indo-European languages, translation is everything. I read the 2015 translation by Lynn Coffin, which is distinguished for being the first to preserve the shairi form, which is written in quatrains rhyming a-a-a-a, always with 16 syllables to a line and a caesura (pause) in the middle. What this means is that Coffin is the first writer to preserve both the structure and the meaning of the poem in English. This is an achievement, full stop. But one reason why nobody's tried doing that until so recently is that Rustaveli's form is entirely unnatural to the English ear: English meter is based on stress, not syllables, and English just doesn't rhyme very well compared to most languages, so Coffin's doing two things that the language isn't really meant to do. Inevitably, within the poem's 6,400+ lines, there are some real howlers. The miraculous thing is that there's no more than a few dozen, by my count. Most of it scans just fine, though, and sometimes it even rises to the level of solid English verse that happens to align with medieval Georgian verse, like finding a perfect sonnet in the middle of a physics textbook. The end result keeps a suitably foreign feel, better for chanting and singing, as Rustaveli would no doubt have it, than a sober recital. If you like your big foreign poems big and foreign, I would recommend Coffin's translation.
August 29, 2017
醿斸儠醿犪儩醿炨儛醿ㄡ儤 醿涐償-11, 醿涐償-12 醿♂儛醿ａ儥醿ａ儨醿斸償醿戓儤 醿♂儛醿涐儩醿溼儛醿♂儮醿犪儩 醿儺醿濁儠醿犪償醿戓儤醿� 醿濁儱醿犪儩醿� 醿儛醿溼儛醿� 醿樶儣醿曖儦醿斸儜醿�. 醿涐儩醿溼儛醿♂儮醿犪償醿戓儤 醿♂儛醿掅儛醿溼儧醿愥儨醿愥儣醿氠償醿戓儦醿� 醿償醿溼儮醿犪償醿戓儤 醿樶儳醿�. 醿樶儧 醿撫儬醿濁儤醿♂儣醿曖儤醿� 醿儛醿氠儤醿愥儨 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨 醿氠儤醿⑨償醿犪儛醿⑨儯醿犪儛醿� 醿樶儣醿曖儦醿斸儜醿� 醿椺償醿濁儦醿濁儝醿樶儯醿犪儤 醿⑨償醿メ儭醿⑨償醿戓儤 - 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬醿� 醿⑨儬醿愥儱醿⑨儛醿⑨償醿戓儤, 醿搬儛醿掅儤醿濁儝醿犪儛醿め儤醿�...
醿曖償醿め儺醿樶儭醿⑨儳醿愥儩醿♂儛醿溼儤醿� 醿愥儧 醿欋儯醿氠儮醿ａ儬醿ａ儦 醿撫儛 醿氠儤醿⑨償醿犪儛醿⑨儯醿犪儯醿� 醿欋儩醿溼儮醿斸儱醿♂儮醿ㄡ儤 醿撫儛醿樶儸醿斸儬醿�, 醿椺儯醿涐儶醿� 醿椺償醿濁儦醿濁儝醿樶儯醿犪儣醿愥儨 醿撫儛 醿搬儛醿掅儤醿濁儝醿犪儰醿愥儰醿樶儛醿♂儣醿愥儨 醿ㄡ償醿撫儛醿犪償醿戓儤醿� 醿斸儭 醿⑨償醿メ儭醿⑨儤 醿涐儣醿氠儤醿愥儨醿愥儞 醿♂償醿欋儯醿氠儛醿犪儤醿栣償醿戓儯醿氠儤 醿⑨償醿メ儭醿⑨儤醿�, 醿犪儛醿撫儝醿愥儨 醿愥儧 醿炨儩醿斸儧醿樶儭 鈥溼儧醿斸儱醿愥儨醿樶儢醿涐儤鈥� 醿掅儛醿♂儛醿濁儶醿犪儛醿� 醿♂儺醿曖儛醿掅儠醿愥儬醿樶儛 醿撫儛 醿炨償醿犪儭醿濁儨醿愥儫醿斸儜醿♂儛醿� 醿メ儧醿斸儞醿斸儜醿斸儜醿樶儭 醿♂儺醿曖儛 醿涐儩醿⑨儤醿曖償醿戓儤 醿掅儛醿愥儵醿溼儤醿愥儣. 醿炨儩醿斸儧醿愥儴醿� 醿掅儛醿涐儤醿儨醿ａ儦醿樶儛 醿犪儛醿儤醿濁儨醿愥儦醿ａ儬醿� 醿撫儛 醿樶儬醿愥儶醿樶儩醿溼儛醿氠儯醿犪儤 醿♂儛醿欋儤醿椺儺醿斸儜醿�, 醿掅儯醿氠儤 醿撫儛 醿掅儩醿溼償醿戓儛, 醿愥儨醿椺儬醿濁優醿濁儧醿濁儬醿め儯醿氠儤 醿炨儛醿犪儮醿溼儤醿濁儬醿斸儜醿�-醿戓償醿撫儤醿♂儸醿斸儬醿�, 醿愥儨醿� 醿♂儩醿め償醿氠儤 醿撫儛 醿涐償醿濁儬醿斸儭 醿涐儺醿犪儤醿� 醿︶儧醿斸儬醿椺儤. 醿愥儠醿⑨儩醿犪儤 醿儛醿犪儧醿濁儝醿曖儤醿撫儝醿斸儨醿� 醿♂儛锟斤拷醿ａ儣醿愥儬 醿ㄡ償醿償醿撫儯醿氠償醿戓償醿戓儭 醿樶儭醿斸儣 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬 醿♂儛醿欋儤醿椺儺醿斸儜醿栣償 醿犪儩醿掅儩醿犪償醿戓儤醿儛醿�: 醿♂儤醿欋償醿椺償 醿撫儛 醿戓儩醿犪儩醿⑨償醿戓儛, 醿撫償醿⑨償醿犪儧醿樶儨醿樶儢醿涐儤 醿撫儛 醿椺儛醿曖儤醿♂儯醿め儛醿氠儤 醿溼償醿戓儛, 醿愥儬醿┽償醿曖儛醿溼儤. 醿掅儠醿愥儵醿曖償醿溼償醿戓儭 醿♂儤醿曖儬醿償醿� 醿炨償醿樶儢醿愥儫醿斸儜醿樶儭 醿♂儛醿儤醿�, 醿愥儧 醿炨儩醿斸儧醿愥儴醿� 醿┽儨醿撫償醿戓儛 醿愥儞醿愥儧醿樶儛醿溼儤醿� 醿ㄡ儤醿溼儛醿掅儛醿溼儤 醿儧醿�, 醿涐儩醿溼儩醿氠儩醿掅儤 醿♂儛醿欋儯醿椺儛醿� 醿椺儛醿曖儣醿愥儨, 醿曖儺醿斸儞醿愥儠醿� 醿愥儞醿愥儧醿樶儛醿溼償醿戓儤醿� 醿め儭醿樶儱醿濁儦醿濁儝醿樶儯醿� 醿涐儞醿掅儩醿涐儛醿犪償醿濁儜醿愥儭, 醿ㄡ儤醿ㄡ償醿戓儭 醿愥儧醿戓儤醿� 醿ㄡ償醿⑨儳醿濁儜醿樶儭 醿涐儤醿涐儛醿犪儣, 醿愥儭醿斸儠醿� 醿斸儬醿�-醿斸儬醿椺儤 醿儛醿氠儤醿愥儨 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨醿� 醿椺償醿涐儛醿� 醿メ儩醿犪儸醿樶儨醿斸儜醿� 醿撫儛 醿涐儤醿♂儤 醿愥儺醿氠償醿戓儯醿犪儤 醿掅儛醿愥儢醿犪償醿戓儛 醿炨儩醿斸儧醿愥儴醿�. 醿曖儺醿曖儞醿斸儜醿樶儣 醿♂儮醿犪儛醿⑨償醿掅儤醿斸儜醿� 醿愥儞醿愥儧醿樶儛醿溼儯醿� 醿ａ儬醿椺儤醿斸儬醿椺儩醿戓償醿戓儴醿� 醿撫儛 醿戓儬醿儩醿氠儛醿ㄡ儤. 醿曖儺醿曖儞醿斸儜醿樶儣 醿♂儛醿涐儩醿♂儭, 醿め償醿犪償醿戓儣醿� 醿掅儛醿涐償醿戓儭醿� 醿撫儛 醿掅儬醿愥儞醿愥儶醿樶償醿戓儭, 醿愥儭醿⑨儬醿濁儦醿濁儝醿樶儛醿�, 醿愥儭醿⑨儬醿濁儨醿濁儧醿樶儛醿� 醿撫儛 醿愥儭醿� 醿ㄡ償醿涐儞醿斸儝 醿♂儯醿� 醿犪儩醿� 醿愥儲醿愥儬醿愥儰醿斸儬醿� 醿曖儣醿メ儠醿愥儣 醿炨儤醿氠儤醿掅儬醿樶儧醿濁儜醿愥儢醿�, 醿濁儞醿樶儭醿斸儛醿栣償, 醿戓償醿犪儷醿斸儨 醿め儤醿氠儩醿♂儩醿め儩醿♂償醿戓儢醿� 醿炨儦醿愥儮醿濁儨醿栣償, 醿♂儩醿欋儬醿愥儮醿斸儭醿� 醿撫儛 醿愥儬醿樶儭醿⑨儩醿⑨償醿氠償醿栣償 鈥�
醿п儠醿斸儦醿� 醿┽儛醿涐儩醿椺儠醿氠儤醿氠儤 醿♂儛醿欋儤醿椺儺醿� 醿儛醿�-醿儛醿氠儥醿� 醿ㄡ償醿♂儛醿儦醿濁儛 醿掅儛醿儞醿斸儭 醿儛醿氠儤醿愥儨 醿撫儤醿撫儤 醿溼儛醿ㄡ儬醿濁儧醿樶儭醿� 醿撫儛 醿涐儭醿償醿氠儩醿戓儤醿� 醿♂儛醿儳醿樶儭醿� 醿炨儩醿斸儧醿愥儢醿� 醿撫儛醿п儬醿撫儨醿濁儜醿樶儣, 醿涐儛醿掅儬醿愥儧 醿掅儯醿撫儬醿樶儞醿♂儤醿� 醿犪儤醿曖儤醿ａ儭醿椺儠醿樶儭 醿斸儬醿�-醿斸儬醿椺儤 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨醿� 醿♂儛醿欋儤醿椺儺醿� 醿ㄡ償醿曖儛醿犪儵醿樶償 - 醿涐儣醿愥儠醿愥儬醿� 醿斸儬醿濁儭醿�, 醿︶償醿犪儷醿� 醿撫儛 醿樶儨醿樶儶醿樶儛醿⑨儤醿曖儛, 醿犪儩醿涐償醿氠儤醿� 醿п儠醿斸儦醿愥儰醿犪儤醿� 醿♂儛醿儳醿樶儭醿愥儞 醿涐儤醿涐儛醿┽儨醿樶儛, 醿犪儛醿撫儝醿愥儨 醿♂儸醿濁儬醿斸儞 醿愥儧 醿樶儨醿樶儶醿樶儛醿⑨儤醿曖儛醿� 醿撫儛 醿樶儨醿⑨償醿犪償醿♂儧醿� 醿儛醿犪儧醿濁儱醿涐儨醿� 醿撫儤醿撫儤 醿樶儨醿斸儬醿儤醿� 醿撫儛 醿炨儩醿斸儧醿樶儭 醿掅儧醿樶儬醿斸儜醿� 醿涐儤醿♂儶醿愥儣 醿掅儛醿溼儠醿樶儣醿愥儬醿斸儜醿樶儭 醿戓儤醿儝醿�. 醿撫儛醿曖儰醿樶儱醿犪儞醿� 醿涐償醿儨醿樶償醿� 醿炨償醿犪儭醿濁儨醿愥儫醿斸儜醿栣償: 醿椺儤醿溼儛醿椺儤醿溼儭醿� 醿撫儛 醿愥儠醿椺儛醿溼儞醿樶儦醿栣償. 醿曖償醿儞醿斸儜醿� 醿愥儲醿曖儸醿斸儬醿� 醿♂儸醿濁儬醿斸儞 醿愥儧 醿樶儨醿斸儬醿儤醿樶儭 醿ａ儭醿愥儭醿犪儯醿氠儩 醿撫儤醿溼儛醿涐儤醿欋儛.
鈥溼儱醿愥儦醿涐儛醿� 醿ａ儣醿儬醿� 醿♂儛醿ａ儜醿愥儬醿� 醿欋償醿欋儦醿ａ儶-醿♂儤醿⑨儳醿曖儛醿�, 醿愥儬 醿撫儯醿儹醿樶儬醿愥儞;
醿樶儮醿п儠醿樶儭: 鈥溼儣醿ａ儶醿� 醿愥儱醿愥儨醿愥儧醿撫儤醿� 醿┽償醿涐儝醿愥儨 醿ㄡ儩醿犪儭 醿儛醿� 醿撫儛醿溼儛醿涐儹醿樶儬醿愥儞,
醿涐儤醿欋儠醿樶儬醿� 醿涐儩醿掅儺醿曖儞醿� 醿儛醿涐儤醿� 醿п儩醿め儛醿�, 醿♂儛醿メ儧醿� 醿ㄡ償醿溼儝醿愥儨 醿♂儛醿斸儹醿曖儤, 醿犪儛醿�,
醿涐儛醿掅儬醿� 醿掅儤醿椺儺醿犪儛 醿炨儤醿犪儠醿斸儦 醿儠醿愥儦醿涐償, 醿♂償醿溼儤 醿涐償 醿涐儹醿樶儬醿� 醿犪儛醿儛 醿儤醿犪儛醿�.鈥�
鈥溼儝醿愥儺醿♂儩醿曖儭 醿濁儞醿斸儭 醿ㄡ償醿� 醿撫儛 醿犪儩醿♂儮醿愥儨醿� 醿涐儤醿溼儞醿濁儬醿� 醿涐儺醿斸儶醿� 醿掅儛醿撫償醿儩醿儛,
醿п儧醿� 醿掅償醿溼儛醿儛 醿ａ儶醿儩 醿曖儤醿溼儧醿�, 醿犪儩醿涐償 醿儬醿斸儧醿氠儤 醿涐儩醿斸儺醿濁儶醿�?
醿涐儛醿� 醿ａ儥醿愥儨醿樶儣 醿掅儩醿溼償醿戓儛醿涐儛醿� 醿涐儤醿♂儧醿愥儨 醿愥儭醿斸儬醿� 醿撫儛醿涐儛醿涐儺醿濁儶醿�,
醿ㄡ償醿� 醿掅償醿溼儯醿欋償醿� 醿涐儩醿溼儛醿儠醿愥儭醿� 醿欋儤醿撫儤醿� 醿欋儤醿撫償 醿涐儩醿氠儛醿儩 醿儛. (醿犪儯醿♂儣醿愥儠醿斸儦醿�, 醿掅儠.33)
鈥溼儭醿愥儧醿♂儛 醿償醿戓儨醿� 醿償醿氠儤醿儛醿撫儭醿� 醿樶儝醿� 醿ㄡ償醿溼儤 醿♂儛醿償醿戓儛醿犪儤;
醿搬優醿濁儠醿�, 醿涐儩醿撫儤 醿掅儛醿涐儛醿犪儻醿曖償醿戓儤醿� 醿涐儺醿樶儛醿犪儯醿氠儤 醿涐儩醿ａ儜醿溼儛醿犪儤;
醿曖償醿犪儛 醿搬優醿濁儠醿斸儜, 醿撫儛醿曖儤醿償醿犪償醿�, 醿樶儳醿� 醿椺儯醿犪儧醿� 醿ａ儵醿樶儨醿愥儬醿�;
醿欋儩醿欋儩醿戓儤 醿撫儛 醿ａ儰醿ａ儬醿儠醿溼償醿氠儤 醿曖儛醿犪儞醿� 醿撫儛醿掅儺醿曖儞醿� 醿撫儛醿ａ儧醿儨醿愥儬醿�. (醿犪儯醿♂儣醿愥儠醿斸儦醿�, 醿掅儠.34)
醿涐儤醿ａ儺醿斸儞醿愥儠醿愥儞 醿樶儧醿樶儭醿�, 醿犪儩醿� 醿涐儺醿濁儦醿濁儞 醿涐償醿め償醿� 醿撫儛 醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛 醿溼儛醿償醿� 醿ａ儶醿儩 醿涐儩醿п儧醿�, 醿愥儧 醿愥儧醿戓儤醿� 醿儛醿氠儤醿愥儨 醿♂償醿犪儤醿濁儢醿ａ儦醿愥儞 醿愥儬醿樶儭 醿撫儛醿樶儨醿⑨償醿犪償醿♂償醿戓儯醿氠儤 醿椺儤醿溼儛醿椺儤醿溼儤. 醿┽償醿涐儤 醿愥儢醿犪儤醿�, 醿♂儸醿濁儬醿斸儞 醿斸儭醿愥儛 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬醿� 醿樶儨醿⑨償醿犪償醿♂儤, 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿♂儯醿犪儠醿樶儦醿�. 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿♂儯醿犪儠醿樶儦醿ㄡ儤 醿п儩醿め儨醿� 醿儛醿氠儤醿愥儨 醿愥儢醿愥儬醿⑨儯醿氠儤醿�, 醿犪儩醿� 醿愥儬醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿� 醿斸儭 醿曖儨醿斸儜醿�, 醿斸儭 醿涐儯醿儮醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿♂儛醿斸儬醿椺儩醿撫儛醿� 醿愥儬 醿斸儱醿溼償醿戓儩醿撫儛 醿撫儛 醿曖儺醿斸儞醿愥儠醿�, 醿犪儩醿� 醿愥儧 醿撫儛醿曖儛醿氠償醿戓儤醿� 醿涐儤醿︶償醿戓儤醿� 醿ㄡ償醿涐儞醿斸儝醿愥儶 醿愥儬 醿ａ儵醿溼儞醿斸儜醿�. 醿儛醿氠儤醿愥儨 醿溼儛醿椺儦醿愥儞 醿┽儛醿溼儭, 醿犪儩醿� 醿斸儭 醿涐儯醿儮醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿愥儬 醿愥儱醿曖儭 醿撫儛 醿斸儭 醿愥儬醿� 醿愥儬醿樶儭 醿掅儛醿♂儛醿欋儠醿樶儬醿�. 醿樶儭 醿儛醿犪償醿戓儤醿� 醿涐儣醿愥儠醿愥儬醿♂儛醿犪儞醿愥儦醿樶儛, 醿椺儯醿涐儶醿� 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿樶儨醿⑨償醿犪償醿♂儤 醿栣儩醿掅儛醿撫儛醿� 醿п儠醿斸儦醿愥儨醿愥儤醿� 醿炨儬醿濁儰醿斸儭醿樶儛醿♂儛 醿撫儛 醿♂儛醿メ儧醿樶儛醿溼儩醿戓儤醿� 醿♂儛醿栣儲醿曖儛醿犪儭 醿♂儶醿撫償醿戓儛 (醿溼儯 醿ａ儨醿撫儛 醿♂儶醿撫償醿戓儩醿撫償醿� 醿涐儛醿樶儨醿�).
醿犪儛醿♂儛醿� 醿椺儤醿溼儛醿椺儤醿溼儤 醿愥儥醿斸儣醿斸儜醿�, 醿斸儭醿愥儛 醿♂儬醿ａ儦醿� 醿椺儛醿曖儧醿樶儷醿︶儠醿溼儛 醿め儤醿氠儩醿♂儩醿め儤醿樶儭醿愥儞醿涐儤, 醿犪儛醿撫儝醿愥儨 醿樶儭 醿愥儧 醿п儠醿斸儦醿愥儰醿犪儤醿♂儣醿曖儤醿� 醿♂儤醿п儠醿愥儬醿ａ儦醿� 醿犪儤醿♂儥醿愥儠醿�. 醿♂儛醿♂儸醿濁儬醿栣償 醿撫償醿戓儭 醿濁儬 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨 醿犪儛醿涐償醿�: 醿涐儤醿儨醿ａ儬醿濁儜醿愥儭醿� 醿撫儛 醿め儤醿氠儩醿♂儩醿め儤醿愥儭. 醿♂儸醿濁儬醿斸儞 醿椺儤醿溼儛醿椺儤醿溼儤醿� 醿涐儛醿炨儬醿濁儠醿濁儶醿樶儬醿斸儜醿斸儦醿� 醿ㄡ償醿涐儞醿掅儩醿� 醿掅儛醿溼儠醿樶儣醿愥儬醿斸儜醿ａ儦醿� 醿涐儩醿曖儦醿斸儨醿斸儜醿樶儭醿�. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿樶儲醿斸儜醿� 醿愥儧 醿掅儛醿涐儩醿儠醿斸儠醿愥儭 醿樶儧醿樶儭 醿掅儛醿涐儩, 醿犪儩醿� 醿樶儭 醿涐儤醿儨醿ａ儬醿樶儛, 醿涐儛醿� 醿椺儤醿溼儛醿椺儤醿溼儤 醿ａ儳醿曖儛醿犪儭 醿撫儛 醿♂儸醿濁儬醿斸儞 醿愥儧醿樶儮醿濁儧 醿涐儤醿撫儤醿� 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿涐儩醿♂儛醿償醿戓儨醿愥儞 醿撫儛 醿愥儬醿� 醿樶儧醿樶儮醿濁儧, 醿犪儩醿� 醿樶儭 醿椺儤醿溼儛醿椺儤醿溼儤醿� 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬 醿樶儨醿⑨償醿犪償醿♂儭 醿樶儢醿樶儛醿犪償醿戓儭. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿儛醿曖儤醿撫儛 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿涐儩醿♂儛醿償醿戓儨醿愥儞. 醿愥儱 醿愥儠醿⑨儩醿犪儤 醿愥儧醿戓儩醿戓儭:
鈥溼儝醿愥儧醿濁償醿涐儛醿犪儣醿� 醿愥儠醿椺儛醿溼儞醿樶儦 醿涐儩醿п儧醿� 醿涐儺醿溼償, 醿氠儛醿︶儛醿� 醿涐儛醿曖儛醿氠儤.
醿濁儶 醿撫儲醿� 醿樶儛醿犪儛, 醿︶儛醿涐償醿儛 醿撫儲醿斸儭 醿栣償醿撫儛 醿儛醿犪儣醿� 醿涐儬醿愥儠醿愥儦醿�
醿樶儝醿樶儛 醿氠儺醿樶儨醿� 醿♂儩醿め儦醿樶儭醿�, 醿樶儝醿樶儛 醿溼儤醿曖儣醿� 醿撫儛 醿曖儛醿氠儤.
醿愥儬 醿涐儤醿♂儶醿樶儦醿撫償醿戓儤醿� 醿椺儤醿溼儛醿椺儤醿� 醿涐儤醿♂儤 醿涐儛醿�, 醿曖儤醿♂儝醿愥儨 醿♂儸醿曖儛醿� 醿愥儦醿�.鈥� (醿掅儠.36)
醿愥儱醿斸儞醿愥儨 醿掅儛醿涐儩醿涐儞醿樶儨醿愥儬醿� 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿掅儢醿愥儢醿� 醿炨儤醿犪儠醿斸儦 醿め儛醿栣儛醿� 醿愥儨醿� 醿п儠醿斸儦醿愥儰醿犪儤醿� 醿♂儛醿儳醿樶儭醿愥儞 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儭醿椺儠醿樶儭 醿ㄡ償醿樶儷醿氠償醿戓儛 醿┽儛醿樶儣醿曖儛醿氠儩醿� 醿炨儩醿⑨償醿溼儶醿樶儛. 醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛 醿涐儤醿樶儲醿� 醿掅儛醿涐儩醿儠醿斸儠醿� 醿撫儛 醿涐儛醿� 醿♂儛醿欋儯醿椺儛醿犪儤 醿椺儛醿曖儤 醿搬儳醿愥儠醿� 醿犪儩醿掅儩醿犪儶 醿炨儩醿⑨償醿溼儶醿樶儛. 醿愥儺醿氠儛 醿犪儛 醿掅儛醿涐儩醿樶儷醿斸儬醿償醿戓儛 醿撫儛 醿犪儛 醿掅儛醿涐儩醿曖儛 醿愥儧 醿炨儩醿⑨償醿溼儶醿樶儤醿撫儛醿� 醿椺儛醿曖儛醿� 醿涐儛醿♂儢醿斸儛 醿撫儛醿涐儩醿欋儤醿撫償醿戓儯醿氠儤.
醿ㄡ償醿♂儛醿儦醿濁儛 醿樶儣醿メ儠醿愥儭, 醿犪儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿儛醿氠儤醿� 醿儛醿曖儤醿撫儛, 醿愥儧醿樶儮醿濁儧醿愥儶 醿愥儧醿戓儩醿戓儭, 醿┽償醿涐儤 醿愥儢醿犪儤醿�, 醿愥儠醿⑨儩醿犪儤: 鈥溼儠醿愥儬醿撫儤 醿涐儤醿� 醿涐儢醿樶儭醿� 醿掅儛醿п儬醿樶儦醿� 醿ａ儰醿犪儩 醿撫儛 醿ａ儰醿犪儩 醿儨醿斸儜醿濁儞醿愨€�. 醿ㄡ償醿♂儛醿儦醿斸儜醿氠儩醿戓儛 醿樶儧醿樶儭醿�, 醿犪儩醿� 醿樶儭 醿愥儧醿愥儲醿氠儞醿斸儭 醿樶儨醿⑨償醿犪償醿♂儤醿� 醿⑨償醿氠儩醿♂儛醿涐儞醿� 醿ａ儰醿犪儩 醿ㄡ償醿愥儧醿儤醿犪儛 醿ａ儤醿涐償醿撫儩醿� 醿償醿戓儨醿愥儧, 醿樶儭 醿め儤醿メ儬醿濁儜醿�, 醿♂儛醿欋儯醿椺儛醿� 醿椺儛醿曖儭 醿斸儭醿愥儯醿戓儬醿斸儜醿�, 醿涐儤醿涐儛醿犪儣醿愥儠醿� 醿︶儧醿斸儬醿椺儭, 醿掅儧醿濁儜醿� 醿儯醿椺儤醿♂儩醿め儦醿樶儭 醿♂儤醿涐儯醿儣醿氠償醿�. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿償醿戓儨醿愥儭 醿儳醿曖償醿⑨儭 醿撫儛 醿♂儛醿欋儯醿椺儛醿� 醿椺儛醿曖儣醿愥儨 醿涐儩醿氠儛醿炨儛醿犪儛醿欋償醿戓儤醿� 醿ㄡ償醿涐儞醿斸儝 醿掅儛醿撫儛醿儳醿曖償醿⑨儭, 醿犪儩醿� 醿ａ儥醿愥儨 醿撫儛醿戓儬醿ａ儨醿撫償醿�. 醿椺儯醿涐儶醿� 醿♂儤醿溼儛醿涐儞醿曖儤醿氠償醿ㄡ儤 醿♂儛醿欋儯醿椺儛醿� 醿椺儛醿曖儣醿愥儨 醿撫儤醿愥儦醿濁儝醿� 醿♂儸醿濁儬醿斸儞 醿樶儭 醿曖儤醿儬醿� 醿撫儛 醿犪儣醿ａ儦醿� 醿戓儤醿氠儤醿欋儤醿�, 醿犪儩醿涐償醿氠儤醿� 醿ㄡ償醿樶儷醿氠償醿戓儛 醿愥儞醿愥儧醿樶儛醿溼儭 醿犪儛醿︶儛醿� 醿儛醿氠儤醿愥儨 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨醿樶儭醿欋償醿� 醿掅儛醿ａ儷醿︶儠醿斸儭. 醿♂儸醿濁儬醿斸儞 醿犪儛醿儤醿濁儨醿愥儦醿ａ儬醿� 醿涐儩醿溼儩醿氠儩醿掅儤醿♂儣醿曖儤醿� 醿儤醿氠儞醿濁儠醿撫償醿戓儛 醿愥儠醿椺儛醿溼儞醿樶儦醿�, 醿犪儩醿撫償醿♂儛醿� 醿涐儛醿� 醿♂儛醿涐儤 醿儧醿� 醿ㄡ償醿儠醿撫償醿戓儛. 醿樶儭 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿愥儧醿戓儛醿曖儭 醿ㄡ償醿樶儮醿п儩醿戓儭 醿撫儛 醿愥儱 醿欋儤醿撫償醿� 醿斸儬醿椺儺醿斸儦 醿┽儨醿撫償醿戓儛 醿樶儧醿斸儞醿� 鈥溼儠醿樶儣醿� 醿涐償 醿涐儤醿曖儺醿曖儞醿� 醿儛醿撫儤醿氠儭醿�, 醿┽償醿涐儤 醿掅儯醿氠儤醿♂儛 醿溼償醿戓儛醿♂儛鈥�. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿涐儛醿氠償醿曖償 醿撫儛醿斸儸醿斸儠醿� 醿ａ儶醿儩 醿涐儩醿п儧醿斸儭 醿椺儛醿� 醿掅儢醿愥儴醿� 醿♂儛醿欋儯醿椺儛醿� 醿椺儛醿曖儭 醿斸儭醿愥儯醿戓儬醿斸儜醿�. 醿涐儛醿� 醿樶儱醿愥儧醿撫償 醿♂儞醿樶儛 醿ａ儶醿儩 醿涐儩醿п儧醿斸儭, 醿♂儛醿溼儛醿� 醿樶儭 醿掅儛醿涐儩醿メ儠醿愥儜醿ａ儦醿� 醿愥儬 醿涐儤醿愥儞醿掅儛. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿愥儧醿儩醿戓儤醿溼償醿戓儭, 醿犪儩醿� 醿涐儩醿ㄡ儩醿犪償醿戓儤醿� 醿撫儛醿樶儶醿愥儞醿濁儭, 醿曖儤醿撫儬醿� 醿愥儭醿涐儛醿椺儤 醿涐儛醿犪儮醿� 醿愥儬 醿撫儛醿犪儵醿斸儜醿�. 醿愥儱 醿儛醿氠儤醿愥儨 醿♂儛醿樶儨醿⑨償醿犪償醿♂儩 醿犪儛醿� 醿儞醿斸儜醿�. 醿掅儛醿曖儤醿儭醿斸儨醿濁儣 醿犪儛醿� 醿斸儯醿戓儨醿斸儜醿� 醿椺儤醿溼儛醿椺儤醿溼儤 醿愥儠醿椺儛醿溼儞醿樶儦醿�, 醿涐儛醿� 醿愥儬 醿ａ儣醿メ儠醿愥儧醿� 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿愥儧醿戓儛醿曖儤 醿撫儛 醿曖儤醿溼儛醿濁儜醿� 醿掅儛醿斸儝醿� 醿犪儛醿⑨儩醿� 醿⑨儤醿犪儩醿撫儛 醿愥儨 醿犪儩醿♂儮醿斸儠醿愥儨醿樶儭 醿♂儛醿涐償醿め儩醿ㄡ儤 醿犪儛 醿ａ儨醿撫儩醿撫儛... 醿椺儤醿溼儛醿椺儤醿溼儧醿� 醿ａ儣醿儬醿�, 醿犪儩醿� 醿涐儛醿� 醿斸優醿濁儠醿溼儛 醿ａ儶醿儩 醿涐儩醿п儧醿� 醿樶儧醿樶儭醿椺儠醿樶儭, 醿犪儩醿� 醿ㄡ償醿斸儮醿п儩 醿溼儛醿涐儞醿曖儤醿氠儛醿� 醿愥儬醿♂償醿戓儩醿戓儞醿� 醿椺儯 醿愥儬醿� 醿樶儭.
醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛 醿炨儤醿犪儸醿涐儤醿溼儞醿愥儞 醿ㄡ償醿愥儭醿犪儯醿氠儛 醿撫儛醿欋儤醿♂儬醿斸儜醿ａ儦醿� 醿涐儩醿曖儛醿氠償醿濁儜醿�, 醿涐儛醿� 醿樶優醿濁儠醿溼儛 醿ａ儶醿儩 醿涐儩醿п儧醿� 醿撫儛 醿犪償醿愥儦醿ａ儬醿愥儞 醿♂儸醿濁儬醿斸儞 醿愥儱 醿ａ儨醿撫儛 醿撫儛醿♂儬醿ａ儦醿斸儜醿ａ儦醿樶儳醿� 醿斸儭 醿涐儤醿♂儤醿�, 醿撫儛醿戓儬醿ａ儨醿斸儜醿ａ儦醿樶儳醿� 醿椺儤醿溼儛醿椺儤醿溼儣醿愥儨, 醿斸儶醿溼儩醿戓償醿戓儤醿溼儛 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿愥儬醿♂償醿戓儩醿戓儤醿� 醿愥儧醿戓儛醿曖儤 醿撫儛 醿斸儶醿儩醿曖儬醿愥儣 醿涐儴醿曖儤醿撫儛醿� 醿撫儛 醿戓償醿撫儨醿樶償醿犪儛醿�. 醿椺儯醿涐儶醿� 醿愥儱 醿♂儺醿曖儛 醿犪儛醿� 醿儞醿斸儜醿�, 醿♂儸醿濁儬醿斸儞 醿樶儭醿斸儣醿� 醿犪儛醿�, 醿犪儛醿� 醿涐儛醿め儤醿メ儬醿斸儜醿樶儨醿斸儜醿�, 醿犪儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬 醿樶儨醿⑨償醿犪償醿♂儭 醿欋儤醿撫償醿� 醿涐償醿⑨儛醿� 醿涐儤醿ａ儛醿儦醿濁儠醿撫儛 醿撫儛 醿愥儺醿氠儛 醿♂儯醿� 醿♂儺醿曖儛 醿涐儩醿⑨儤醿曖儤醿� 醿涐儩醿メ儧醿斸儞醿斸儜醿�, 醿♂儸醿濁儬醿斸儞 醿愥儧 醿樶儨醿⑨償醿犪償醿♂儤醿�. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿愥儢醿愥儬醿⑨儴醿樶儛, 醿ａ儥醿曖償 醿掅儛醿ａ儵醿溼儞醿� 醿♂儛醿欋儯醿椺儬醿� 醿♂儯醿犪儠醿樶儦醿� 醿撫儛 醿愥儲醿愥儬 醿涐儩醿メ儧醿斸儞醿斸儜醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿� 醿曖儛醿氠儤醿� 醿涐儩醿⑨儤醿曖儤醿�. 醿ａ儥醿曖償 醿椺儛醿曖儛醿� 醿愥儤醿溼儮醿斸儬醿斸儭醿斸儜醿� 醿掅儛醿樶儝醿濁儭 醿曖儤醿� 醿愥儬醿樶儭 醿斸儭 醿欋儛醿儤, 醿犪儩醿涐償醿氠儤醿� 醿愥儧醿撫償醿� 醿愥儞醿愥儧醿樶儛醿溼儭 醿儩醿儛醿曖儭, 醿椺儛醿� 醿⑨儤醿犪儤醿�, 醿椺儛醿� 醿♂儛醿撫儲醿愥儶 醿掅儛醿涐儩醿メ儠醿愥儜醿ａ儦醿ㄡ儤 醿儺醿濁儠醿犪儩醿戓儭. 醿涐儛醿� 醿ａ儥醿曖儤醿犪儭 醿樶儭 醿♂儯醿犪儛醿椺儤醿�, 醿犪儤醿♂儤 醿涐儩醿涐儭醿儬醿斸儶 醿掅儛醿儞醿�. 鈥溼儛醿曖儣醿愥儨醿撫儤醿� 醿♂儹醿曖儬醿斸儮醿� 醿掅儛醿欋儠醿樶儬醿曖償醿戓儤醿� 醿涐儛醿椺儭醿� 醿斸儝醿犪償 醿メ儶醿斸儠醿�-醿栣儧醿愥儭醿�.鈥� (醿掅儠. 47) 醿メ儛醿氠儤 醿撫儛 醿欋儛醿儤 醿斸儬醿椺儧醿愥儨醿斸儣醿� 醿斸儺醿曖償醿曖儤醿愥儨 醿撫儛 醿椺儛醿� 醿⑨儤醿犪儤醿愥儨. 醿愥儧醿愥儴醿� 醿欋儤醿撫償醿� 醿ａ儰醿犪儩 醿涐償醿⑨儛醿� 醿撫儤醿撫儤 醿樶儨醿⑨儬醿樶儝醿� 醿撫償醿曖儭 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儭醿椺儠醿樶儭, 醿椺儯醿涐儶醿� 醿欋儯醿氠儧醿樶儨醿愥儶醿樶儛 醿樶儧醿樶儭醿�, 醿犪儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿♂儬醿ａ儦醿愥儞 醿┽儛醿曖儛醿犪儞醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿曖儤醿� 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬 醿樶儨醿⑨償醿犪償醿♂儴醿� 醿涐儛醿樶儨醿� 醿♂儺醿曖儛醿掅儛醿溼儛醿�...
醿愥儧 醿樶儨醿⑨償醿犪償醿♂儧醿� 醿ａ儥醿曖償 醿掅儛醿撫儛醿愥儸醿п儠醿斸儮醿樶儨醿�, 醿ㄡ償醿曖儤醿撫償醿� 醿掅儛醿涐儩醿メ儠醿愥儜醿ａ儦醿ㄡ儤 醿撫儛 醿メ儛醿氠儭 醿ａ儶醿儩 醿п儧醿樶儭 醿愥儧醿戓儛醿曖儤 醿涐儩醿愥儳醿濁儦醿樶儨醿濁儭. 醿椺儯醿涐儶醿� 醿メ儛醿氠儤 醿儤醿ａ儮醿樶儛, 醿愥儧醿戓儛醿曖儭 醿愥儬 醿п儠醿斸儜醿� 醿撫儛 醿愥儧醿戓儩醿戓儭, 醿犪儩醿� 醿斸儭 醿愥儧醿戓儛醿曖儤 醿曖償醿犪儶 醿撫儛醿樶儸醿斸儬醿斸儜醿� 醿撫儛 醿曖償醿犪儶 醿涐儩醿樶儳醿濁儦醿斸儜醿�. 醿斸儭 醿欋儤醿撫償醿� 醿ａ儰醿犪儩 醿涐償醿⑨儛醿� 醿愥儤醿溼儮醿犪儤醿掅償醿戓儭 醿愥儠醿椺儛醿溼儞醿樶儦醿�, 醿樶儧醿撫償醿溼儛醿�, 醿犪儩醿� 醿儛醿� 醿儛醿氠儛醿撫儩醿戓儤醿� 醿償醿犪儺醿� 醿涐儤醿涐儛醿犪儣醿愥儠醿�, 醿儛醿� 醿欋儤-醿炨儤醿犪儤醿メ儤醿�, 醿ａ儥醿樶儞醿ａ儬醿斸儭醿愥儞 醿撫儛醿涐儶醿樶儬醿斸儜醿ａ儦醿愥儞 醿儛醿犪儧醿濁儛醿┽償醿溼儭 醿椺儛醿曖儭, 醿愥儮醿樶儬醿撫償醿戓儛 醿涐儯醿儦醿斸儜醿栣償 醿撫儛醿樶儵醿濁儱醿犪償醿戓儭 醿撫儛 醿樶儭醿� 醿斸儺醿曖償醿償醿戓儛 醿愥儭醿涐儛醿椺儭 醿愥儧醿戓儤醿� 醿椺儺醿犪儩醿戓儛醿�. 醿愥儧 醿斸優醿樶儢醿濁儞醿ㄡ儤 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿涐儤醿儨醿ａ儬醿濁儜醿愥儭 醿愥儺醿♂償醿溼償醿戓儭, 醿撫儛 醿斸儬醿椺儝醿曖儛醿犪儛醿� 醿樶儮醿п儯醿斸儜醿� 醿欋儤醿撫償醿曖儛醿�, 醿犪儛醿撫儝醿愥儨 醿┽儠醿斸儨, 醿涐儥醿樶儣醿儠醿斸儦醿斸儜醿涐儛 醿ａ儥醿曖償 醿曖儤醿儤醿� 醿涐儤醿♂儤 醿曖儛醿氠儤 醿♂儛醿� 醿撫儛醿♂儬醿ａ儦醿撫儛. 醿♂儸醿濁儬醿斸儞 醿愥儧 醿斸優醿樶儢醿濁儞醿ㄡ儤醿� 醿┽儛醿溼儭, 醿犪儩醿� 醿斸儭 醿涐儤醿♂儤 醿炨儤醿犪儛醿撫儤 醿樶儨醿⑨償醿犪償醿♂儤醿� 醿撫儛 醿愥儬醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿�.
醿掅儛醿涐儩醿撫儤醿�, 醿犪儩醿� 醿椺儤醿溼儛醿椺儤醿溼儧醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿愥儬醿� 醿♂儛醿欋儯醿椺儛醿犪儤 醿樶儨醿⑨償醿犪償醿♂償醿戓儤醿� 醿撫儛醿♂儛醿欋儧醿愥儳醿濁儰醿樶儦醿斸儜醿氠儛醿� 醿掅儛醿掅儢醿愥儠醿溼儛, 醿愥儬醿愥儧醿斸儞 醿涐儤醿♂儤 醿椺儛醿曖儤醿♂儥醿斸儨 醿樶儭醿犪儩醿氠儛, 醿涐儤醿♂儤 醿樶儨醿⑨償醿犪償醿♂償醿戓儤醿♂儥醿斸儨, 醿愥儺醿氠儤醿� 醿儤醿斸儜醿樶儭醿欋償醿�, 醿椺儛醿曖儝醿愥儞醿愥儭醿愥儠醿氠儤醿♂儥醿斸儨, 醿犪儩醿涐償醿氠儤醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿♂儺醿曖儛 醿掅儛醿涐儩醿儞醿樶儦醿斸儜醿愥儭 醿ㄡ償醿♂儷醿斸儨醿撫儛 醿撫儛 醿♂儺醿曖儛醿溼儛醿樶儬醿愥儞 醿撫儛醿愥儰醿濁儬醿涐儤醿犪償醿戓儞醿�. 醿椺儯醿涐儶醿� 醿ａ儨醿撫儛 醿樶儣醿メ儠醿愥儭, 醿犪儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儭 醿犪儩醿氠儤 醿愥儧醿愥儴醿� 醿撫儤醿撫儤 醿樶儳醿�, 醿樶儭 醿犪儩醿� 醿愥儬 醿п儩醿め儤醿氠儤醿п儩 醿愥儧醿撫償醿溼儛醿� 醿掅儛醿涐儮醿愥儬醿�, 醿樶儨醿⑨償醿氠償醿メ儮醿ａ儛醿氠儯醿犪儤 醿撫儛 醿︶儤醿� 醿愥儺醿愥儦醿� 醿掅儛醿涐儩醿儠醿斸儠醿斸儜醿樶儭醿椺儠醿樶儭, 醿愥儧醿戓儤醿� 醿ㄡ償醿⑨儳醿濁儜醿樶儭醿椺儛醿溼儛醿曖償 醿ａ儥醿愥儨 醿掅儛醿戓儬醿ａ儨醿撫償醿戓儩醿撫儛. 醿┽儠醿斸儨 醿曖儺醿斸儞醿愥儠醿�, 醿犪儩醿掅儩醿犪儤 醿撫儛醿撫償醿戓儤醿椺儤 醿涐儯醿儮醿� 醿撫儛 醿樶儨醿斸儬醿儤醿� 醿ㄡ償醿樶儷醿樶儨醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛. 醿愥儧 醿撫儛醿撫償醿戓儤醿椺儤 醿樶儨醿斸儬醿儤醿樶儭 醿♂儛醿炨儛醿♂儯醿儩醿� 醿撫儛 醿♂儮醿犪儛醿⑨償醿掅儤醿ａ儦醿� 醿掅儛醿溼儭醿儤醿� 醿儳醿愥儦醿濁儜醿樶儣 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿♂儛醿メ儧醿� 醿掅儛醿涐儩醿ａ儠醿�.
鈥溼儤醿涐儛 醿涐儩醿п儧醿樶儭醿� 醿愥儧醿戓儛醿曖儤 醿愥儬醿♂儛醿撫儛 醿愥儬 醿樶優醿濁儠醿溼償醿戓儤醿�;
醿椺儠醿樶儣 醿椺儯 醿愥儬 醿掅儤醿椺儺醿犪儩醿戓儭, 醿愥儬 醿樶儣醿メ儧醿樶儭, 醿愥儬醿曖儤醿♂儝醿愥儨 醿撫儛醿樶儻醿斸儬醿斸儜醿樶儭;
醿涐儩醿樶儦醿濁儞醿樶儨醿�, 醿涐儩醿曖儤醿撫償醿�, 醿犪儛醿栣儩醿涐儶醿� 醿撫儛醿掅償醿п儩醿曖儨醿斸儜醿樶儭,
醿撫儛醿撫儯醿涐儞醿�, 醿曖儛醿犪儞醿♂儛 醿溼儯 醿愥儢醿犪儩醿�, 醿儬醿斸儧醿氠儤醿椺儛 醿溼儯 醿樶儣醿濁儠醿溼償醿戓儤醿�.鈥� (醿掅儠.53)
醿愥儧 醿斸優醿樶儢醿濁儞醿樶儞醿愥儨 醿┽儛醿溼儭, 醿犪儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿撫儛 醿愥儭醿涐儛醿椺儤 醿涐儩醿欋儛醿曖儴醿樶儬醿斸償醿戓儤 醿掅儛醿儞醿溼償醿�. 醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛 醿欋儤 醿犪儛醿︶儛醿� 醿撫儤醿� 醿儩醿撫儨醿愥儴醿� 醿ａ儨醿撫儛 醿ㄡ償醿愥儜醿樶儻醿濁儭. 醿愥儱 醿樶儸醿п償醿戓儛 醿涐儢醿愥儩醿戓儛 醿愥儧 醿愥儧醿戓儤醿� 醿ㄡ償醿♂儛醿⑨儳醿濁儜醿愥儞 醿撫儛 醿愥儱 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿欋儤醿撫償醿� 醿斸儬醿椺儺醿斸儦 醿儥醿曖儤醿愥儨醿ａ儬醿愥儞 醿樶儮醿п儯醿斸儜醿�. 鈥溼儧醿樶儜醿犪儷醿愥儨醿�: <<醿涐儤醿儛醿� 醿愥儧醿戓儛醿曖儤 醿涐儤醿� 醿п儧醿樶儭醿� 醿儛醿儞醿濁儧醿樶儦醿樶儭醿愨€� (醿掅儠.58) 醿儬醿ａ儩醿戓儭 醿樶儭. 醿曖儤醿椺儩醿� 醿椺儤醿溼儛醿椺儤醿溼儧醿� 醿ａ儜醿犪儷醿愥儨醿� 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿愥儧醿戓儤醿� 醿ㄡ償醿⑨儳醿濁儜醿�. 醿斸儭 醿欋儤醿撫償醿� 醿斸儬醿椺儤 醿愥儬醿掅儯醿涐償醿溼儮醿樶儛 醿樶儧醿樶儭醿�, 醿犪儩醿� 醿樶儭 醿ａ儥醿曖償 醿♂儛醿欋儯醿椺儛醿犪儤 醿樶儨醿⑨償醿犪償醿♂儤醿� 醿涐儩醿メ儧醿斸儞醿斸儜醿�. 醿斸儭 醿樶儭 醿樶儨醿⑨償醿犪償醿♂儤醿�, 醿犪儛 醿樶儨醿⑨償醿犪償醿♂儤醿� 醿椺儤醿溼儛醿椺儤醿溼儭 醿愥儧醿濁儷醿犪儛醿曖償醿戓儞醿�.
鈥溼儛醿涐儛 醿撫儲醿斸儧醿愥儨 醿撫儛醿涐儛醿曖儤醿儳醿�, 醿掅儯醿氠儤 醿┽償醿涐儤 醿曖儤醿� 醿撫儛醿戓儤醿溼儞醿�;
醿撫儛醿涐儤醿掅儞醿樶儛 醿♂儛醿涐儭醿愥儺醿ａ儬醿� 醿涐儤醿♂儤, 醿樶儱醿涐儨醿愥儭 醿犪儛醿儛 醿掅儤醿溼儞醿�;
醿樶儛醿掅儯醿溼儞醿� 醿斸儝醿犪償醿儛 醿♂儻醿濁儜醿�, 醿愥儣醿愥儭醿償醿犪儶醿� 醿涐儤醿溼儛 醿涐儤醿溼儞醿�,
醿ㄡ償醿� 醿掅償醿愥儺醿氠儩 醿♂儤醿欋儠醿撫儤醿氠儛醿涐儞醿樶儭, 醿愥儧醿樶儭 醿涐償醿⑨儤 醿愥儬醿� 醿涐儤醿溼儞醿�!鈥�
醿♂儸醿濁儬醿斸儞 醿愥儱 醿┽儛醿溼儭 醿п儠醿斸儦醿愥儢醿� 醿撫儤醿撫儤 醿樶儨醿⑨償醿犪償醿♂儤 醿撫儛 醿椺儛醿曖儞醿愥儞醿斸儜醿�, 醿涐儢醿愥儩醿戓儛 醿涐儩醿樶儭醿涐儤醿溼儩醿� 醿⑨儛醿犪儤醿斸儦醿樶儭 醿愥儧醿戓儛醿曖儤.
醿犪儩醿撫償醿♂儛醿� 醿⑨儛醿犪儤醿斸儦醿� 醿涐儛醿� 醿♂儛醿欋儯醿椺儛醿� 醿愥儧醿戓儛醿曖儭 醿ａ儛醿涐儜醿濁儜醿�, 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儭醿椺儠醿樶儭 醿♂儛醿欋儯醿椺儛醿� 醿♂儛醿涐儴醿濁儜醿氠儩醿ㄡ儤 醿撫儛醿戓儬醿ａ儨醿斸儜醿樶儭 醿撫儬醿� 醿撫儝醿斸儜醿�. 醿炨儤醿犪儠醿斸儦 醿償醿犪儢醿� 醿撫儛醿戓儬醿ａ儨醿斸儜醿愥儭 醿ㄡ償醿犪儧醿愥儞醿樶儨醿� 醿愥儺醿愥儬醿斸儜醿�, 醿ㄡ償醿涐儞醿掅儩醿� 醿犪儩醿♂儮醿斸儠醿愥儨 醿涐償醿め償醿� 醿撫儛 醿戓儩醿氠儩醿�-醿椺儤醿溼儛醿椺儤醿溼儭. 醿愥儱 醿♂儛醿樶儨醿⑨償醿犪償醿♂儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儭醿� 醿撫儛 醿椺儤醿溼儛醿椺儤醿溼儤醿� 醿撫儤醿愥儦醿濁儝醿�. 醿涐儛醿� 醿♂儛醿ａ儜醿愥儬醿ㄡ儤 醿樶儝醿犪儷醿溼儩醿戓儛, 醿犪儩醿� 醿涐儩醿犪儛醿氠儯醿犪儛醿� 醿撫儛 醿樶儨醿⑨償醿氠償醿メ儮醿ａ儛醿氠儯醿犪儛醿� 醿椺儤醿溼儛醿椺儤醿溼儤 醿撫儛 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿斸儬醿� 醿♂儛醿め償醿儯醿犪儢醿� 醿撫儝醿愥儨醿愥儨, 醿犪儛醿撫儝醿愥儨 醿愥儱 醿犪儩醿氠償醿戓儤 醿ａ儥醿曖償 醿掅儛醿樶儶醿曖儛醿氠儛. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿愥儧醿戓儩醿戓儭, 醿犪儩醿� 醿樶儭 醿⑨儛醿犪儤醿斸儦醿椺儛醿� 醿ａ儨醿撫儛 醿撫儛醿戓儬醿ａ儨醿撫償醿�, 醿犪儛醿椺儛 醿涐儩醿п儠醿愥儬醿斸儭 醿撫儛醿斸儺醿涐儛醿犪儩醿�. 醿溼儛醿椺償醿氠儤醿�, 醿犪儩醿� 醿愥儧 醿斸優醿樶儢醿濁儞醿ㄡ儤 醿樶儨醿樶儶醿樶儛醿⑨儩醿犪儤 醿ａ儥醿曖償 醿⑨儛醿犪儤醿斸儦醿樶儛, 醿撫儛 醿愥儬醿�-醿椺儤醿溼儛醿椺儤醿溼儤. 醿樶儨醿樶儶醿樶儛醿⑨儤醿曖儛 醿欋儤 醿⑨儛醿犪儤醿斸儦醿樶儭 醿撫儛醿儧醿愥儬醿斸儜醿愥儛. 醿椺儤醿溼儛醿椺儤醿� 醿炨儛醿♂儯醿儩醿戓儭:
鈥溼儴醿斸儨 醿愥儬-醿掅儛醿⑨償醿儛 醿欋儛醿犪儝醿� 醿掅儹醿樶儬醿� 醿栣償醿溼儛醿愥儬醿樶儭醿�, 醿め儤醿儤醿♂儛.
醿儛醿涐儭 醿掅儛醿♂儬醿ａ儦醿斸儜醿� 醿涐儩醿п儠醿犪儤醿♂儛 醿♂儤醿п儠醿愥儬醿ａ儦醿樶儭醿� 醿涐儮醿欋儤醿儤醿♂儛,
醿償醿戓儨醿� 醿儛醿涐儦醿樶儭醿� 醿涐儤醿♂儤醿♂儛 醿撫儛 醿儩醿撫儨醿� 醿儛醿涐儭 醿ａ儤醿儤醿♂儛,
醿┽償醿涐儤 醿椺儱醿曖儤, 醿犪儛 醿曖儱醿涐儨醿� 醿戓儨醿斸儦-醿メ儧醿溼儤醿氠儧醿愥儨, 醿涐儢醿� 醿涐儤醿涐償醿め儛醿犪儩醿� 醿涐儤-, 醿儤醿♂儛?鈥� (醿掅儠.140)
醿椺儤醿溼儛醿椺儤醿溼儤 醿斸儣醿愥儨醿儧醿斸儜醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿�, 醿犪儩醿� 醿涐儤醿償醿涐儯醿氠儤 醿め儤醿儤 醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛 醿愥儬 醿ａ儨醿撫儛 醿掅儛醿⑨償醿儩醿�. 醿斸儭 醿椺儛醿溼儺醿涐儩醿戓儤醿� 醿斸優醿樶儢醿濁儞醿�, 醿儛醿氠儤醿愥儨 醿搬儛醿犪儧醿濁儨醿樶儢醿斸儜醿ａ儦醿樶儛, 醿愥儬 醿愥儬醿♂償醿戓儩醿戓儭 醿愥儬醿� 醿斸儬醿椺儤 醿掅儛醿ａ儝醿斸儜醿愥儬醿� 醿欋儤醿椺儺醿曖儛 醿愥儨 醿ㄡ償醿涐儵醿溼償醿曖儛. 醿椺儤醿溼儛醿椺儤醿溼儤 醿愥儬 醿欋儤醿椺儺醿ａ儦醿濁儜醿� 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿愥儧醿戓儛醿曖儭, 醿犪儛醿撫儝醿愥儨 醿愥儱 醿涐儣醿愥儠醿愥儬醿� 醿犪儛醿� 醿樶儳醿�, 醿樶儭 醿ａ儥醿曖償 醿掅儛醿涐儩醿犪儥醿曖償醿ａ儦醿樶儛. 醿┽償醿涐儤 醿愥儢醿犪儤醿�, 醿涐儣醿愥儠醿愥儬醿� 醿欋儯醿氠儧醿樶儨醿愥儶醿樶儛, 醿犪儩醿儛 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿曖儤醿� 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿♂儤醿п儠醿愥儬醿ａ儦醿ㄡ儤 醿掅儛醿撫儛醿斸儴醿曖儛 醿⑨儛醿犪儤醿斸儦醿樶儭 醿涐儩醿溼儛醿椺儺醿犪儩醿戓儤醿� 醿撫儛醿♂儬醿ａ儦醿斸儜醿樶儭 醿ㄡ償醿涐儞醿斸儝, 醿♂儛醿欋儯醿椺儛醿� 醿涐儤醿儨醿ａ儬醿椺儛醿� 醿ㄡ償醿п儬醿樶儣 醿撫儛 醿愥儧 醿搬儛醿犪儧醿濁儨醿樶儤醿� 醿撫儛醿掅儠醿樶儬醿掅儠醿樶儨醿撫儛. 醿愥儱 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿儛醿犪儧醿濁儝醿曖儤醿撫儝醿斸儜醿� 醿樶儭醿斸儣醿樶儠醿� 醿掅儛醿栣儬醿撫儤醿氠儤 醿撫儛 醿樶儨醿樶儶醿樶儛醿⑨儤醿曖儤醿� 醿涐儱醿濁儨醿撫償, 醿犪儩醿掅儩醿犪儤醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿�.
醿愥儱醿斸儞醿愥儨 醿掅儛醿涐儩醿涐儝醿樶儨醿愥儬醿�, 醿涐償 醿曖儰醿樶儱醿犪儩醿�, 醿犪儩醿� 醿愥儧 醿炨儩醿斸儧醿樶儭 醿涐儣醿愥儠醿愥儬醿� 醿斸儬醿濁儭醿� 醿愥儬醿� 醿涐儤醿溼儻醿ａ儬醿濁儜醿�, 醿愥儬醿愥儧醿斸儞 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿♂儤醿п儠醿愥儬醿ａ儦醿樶儛, 醿愥儨醿� 醿樶儭 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬醿� 醿樶儨醿⑨償醿犪償醿♂儤, 醿犪儩醿涐償醿氠儭醿愥儶 醿椺儛醿曖儞醿愥優醿樶儬醿曖償醿氠儛醿� 醿椺儤醿溼儛醿椺儤醿溼儤 醿樶儵醿斸儨醿�, 醿儩醿氠儩 醿ㄡ償醿涐儞醿斸儝 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儶 醿樶儧醿ａ儺醿⑨償醿戓儛 醿愥儧 醿樶儨醿⑨償醿犪償醿♂儤醿�. 醿♂儸醿濁儬醿斸儞 醿斸儭 醿樶儨醿⑨償醿犪償醿♂儤 醿掅儛醿♂儞醿斸儠醿� 醿涐儣醿斸儦 醿炨儩醿斸儧醿愥儭 醿涐儛醿涐儩醿儬醿愥儠醿斸儜醿斸儦 醿儛醿氠儛醿�, 醿椺儤醿椺儱醿濁儭 醿斸儭 醿愥儬醿樶儭 醿儬醿愥儠醿�, 醿犪儩醿涐儦醿樶儭 醿斸儨醿斸儬醿掅儤醿樶儣醿愥儶 醿п儠醿斸儦醿� 醿ㄡ償醿涐儞醿斸儝醿� 醿愥儧醿戓儛醿曖儤 鈥溼儧醿ａ儴醿愥儩醿戓儭鈥� 醿撫儛 醿樶儧醿ａ儺醿⑨償醿戓儛. 醿犪儛 醿椺儱醿涐儛 醿ａ儨醿撫儛, 醿愥儧 醿炨儩醿斸儧醿愥儭 醿♂儺醿曖儛 醿戓償醿曖儬醿� 醿♂儛醿椺儱醿涐償醿氠儤醿� 醿愥儱醿曖儭, 醿椺儯醿涐儶醿� 醿涐儝醿濁儨醿樶儛, 醿犪儩醿� 醿斸儭 醿斸儬醿�-醿斸儬醿椺儤 醿п儠醿斸儦醿愥儢醿� 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨醿� 醿♂儛醿椺儱醿涐償醿氠儣醿愥儝醿愥儨醿樶儛, 醿犪儛醿撫儝醿愥儨 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿♂儤醿п儠醿愥儬醿ａ儦醿涐儛 醿撫儛 醿儤醿斸儜醿愥儧 醿ㄡ償醿♂儛醿儦醿濁儛 醿儛醿氠儤醿愥儨 醿撫儤醿撫儤 醿儠醿犪償醿戓儤 醿掅儛醿涐儩醿樶儸醿曖儤醿濁儭 醿愥儞醿愥儧醿樶儛醿溼儤醿� 醿涐儩醿犪儛醿氠儯醿�, 醿栣儨醿斸儩醿戓儬醿樶儠 醿撫儛 醿♂儺醿曖儛 醿♂儛醿涐儳醿愥儬醿濁償醿戓儴醿�.
醿曖償醿め儺醿樶儭醿⑨儳醿愥儩醿♂儛醿溼儤醿� 醿愥儧 醿欋儯醿氠儮醿ａ儬醿ａ儦 醿撫儛 醿氠儤醿⑨償醿犪儛醿⑨儯醿犪儯醿� 醿欋儩醿溼儮醿斸儱醿♂儮醿ㄡ儤 醿撫儛醿樶儸醿斸儬醿�, 醿椺儯醿涐儶醿� 醿椺償醿濁儦醿濁儝醿樶儯醿犪儣醿愥儨 醿撫儛 醿搬儛醿掅儤醿濁儝醿犪儰醿愥儰醿樶儛醿♂儣醿愥儨 醿ㄡ償醿撫儛醿犪償醿戓儤醿� 醿斸儭 醿⑨償醿メ儭醿⑨儤 醿涐儣醿氠儤醿愥儨醿愥儞 醿♂償醿欋儯醿氠儛醿犪儤醿栣償醿戓儯醿氠儤 醿⑨償醿メ儭醿⑨儤醿�, 醿犪儛醿撫儝醿愥儨 醿愥儧 醿炨儩醿斸儧醿樶儭 鈥溼儧醿斸儱醿愥儨醿樶儢醿涐儤鈥� 醿掅儛醿♂儛醿濁儶醿犪儛醿� 醿♂儺醿曖儛醿掅儠醿愥儬醿樶儛 醿撫儛 醿炨償醿犪儭醿濁儨醿愥儫醿斸儜醿♂儛醿� 醿メ儧醿斸儞醿斸儜醿斸儜醿樶儭 醿♂儺醿曖儛 醿涐儩醿⑨儤醿曖償醿戓儤 醿掅儛醿愥儵醿溼儤醿愥儣. 醿炨儩醿斸儧醿愥儴醿� 醿掅儛醿涐儤醿儨醿ａ儦醿樶儛 醿犪儛醿儤醿濁儨醿愥儦醿ａ儬醿� 醿撫儛 醿樶儬醿愥儶醿樶儩醿溼儛醿氠儯醿犪儤 醿♂儛醿欋儤醿椺儺醿斸儜醿�, 醿掅儯醿氠儤 醿撫儛 醿掅儩醿溼償醿戓儛, 醿愥儨醿椺儬醿濁優醿濁儧醿濁儬醿め儯醿氠儤 醿炨儛醿犪儮醿溼儤醿濁儬醿斸儜醿�-醿戓償醿撫儤醿♂儸醿斸儬醿�, 醿愥儨醿� 醿♂儩醿め償醿氠儤 醿撫儛 醿涐償醿濁儬醿斸儭 醿涐儺醿犪儤醿� 醿︶儧醿斸儬醿椺儤. 醿愥儠醿⑨儩醿犪儤 醿儛醿犪儧醿濁儝醿曖儤醿撫儝醿斸儨醿� 醿♂儛锟斤拷醿ａ儣醿愥儬 醿ㄡ償醿償醿撫儯醿氠償醿戓償醿戓儭 醿樶儭醿斸儣 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬 醿♂儛醿欋儤醿椺儺醿斸儜醿栣償 醿犪儩醿掅儩醿犪償醿戓儤醿儛醿�: 醿♂儤醿欋償醿椺償 醿撫儛 醿戓儩醿犪儩醿⑨償醿戓儛, 醿撫償醿⑨償醿犪儧醿樶儨醿樶儢醿涐儤 醿撫儛 醿椺儛醿曖儤醿♂儯醿め儛醿氠儤 醿溼償醿戓儛, 醿愥儬醿┽償醿曖儛醿溼儤. 醿掅儠醿愥儵醿曖償醿溼償醿戓儭 醿♂儤醿曖儬醿償醿� 醿炨償醿樶儢醿愥儫醿斸儜醿樶儭 醿♂儛醿儤醿�, 醿愥儧 醿炨儩醿斸儧醿愥儴醿� 醿┽儨醿撫償醿戓儛 醿愥儞醿愥儧醿樶儛醿溼儤醿� 醿ㄡ儤醿溼儛醿掅儛醿溼儤 醿儧醿�, 醿涐儩醿溼儩醿氠儩醿掅儤 醿♂儛醿欋儯醿椺儛醿� 醿椺儛醿曖儣醿愥儨, 醿曖儺醿斸儞醿愥儠醿� 醿愥儞醿愥儧醿樶儛醿溼償醿戓儤醿� 醿め儭醿樶儱醿濁儦醿濁儝醿樶儯醿� 醿涐儞醿掅儩醿涐儛醿犪償醿濁儜醿愥儭, 醿ㄡ儤醿ㄡ償醿戓儭 醿愥儧醿戓儤醿� 醿ㄡ償醿⑨儳醿濁儜醿樶儭 醿涐儤醿涐儛醿犪儣, 醿愥儭醿斸儠醿� 醿斸儬醿�-醿斸儬醿椺儤 醿儛醿氠儤醿愥儨 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨醿� 醿椺償醿涐儛醿� 醿メ儩醿犪儸醿樶儨醿斸儜醿� 醿撫儛 醿涐儤醿♂儤 醿愥儺醿氠償醿戓儯醿犪儤 醿掅儛醿愥儢醿犪償醿戓儛 醿炨儩醿斸儧醿愥儴醿�. 醿曖儺醿曖儞醿斸儜醿樶儣 醿♂儮醿犪儛醿⑨償醿掅儤醿斸儜醿� 醿愥儞醿愥儧醿樶儛醿溼儯醿� 醿ａ儬醿椺儤醿斸儬醿椺儩醿戓償醿戓儴醿� 醿撫儛 醿戓儬醿儩醿氠儛醿ㄡ儤. 醿曖儺醿曖儞醿斸儜醿樶儣 醿♂儛醿涐儩醿♂儭, 醿め償醿犪償醿戓儣醿� 醿掅儛醿涐償醿戓儭醿� 醿撫儛 醿掅儬醿愥儞醿愥儶醿樶償醿戓儭, 醿愥儭醿⑨儬醿濁儦醿濁儝醿樶儛醿�, 醿愥儭醿⑨儬醿濁儨醿濁儧醿樶儛醿� 醿撫儛 醿愥儭醿� 醿ㄡ償醿涐儞醿斸儝 醿♂儯醿� 醿犪儩醿� 醿愥儲醿愥儬醿愥儰醿斸儬醿� 醿曖儣醿メ儠醿愥儣 醿炨儤醿氠儤醿掅儬醿樶儧醿濁儜醿愥儢醿�, 醿濁儞醿樶儭醿斸儛醿栣償, 醿戓償醿犪儷醿斸儨 醿め儤醿氠儩醿♂儩醿め儩醿♂償醿戓儢醿� 醿炨儦醿愥儮醿濁儨醿栣償, 醿♂儩醿欋儬醿愥儮醿斸儭醿� 醿撫儛 醿愥儬醿樶儭醿⑨儩醿⑨償醿氠償醿栣償 鈥�
醿п儠醿斸儦醿� 醿┽儛醿涐儩醿椺儠醿氠儤醿氠儤 醿♂儛醿欋儤醿椺儺醿� 醿儛醿�-醿儛醿氠儥醿� 醿ㄡ償醿♂儛醿儦醿濁儛 醿掅儛醿儞醿斸儭 醿儛醿氠儤醿愥儨 醿撫儤醿撫儤 醿溼儛醿ㄡ儬醿濁儧醿樶儭醿� 醿撫儛 醿涐儭醿償醿氠儩醿戓儤醿� 醿♂儛醿儳醿樶儭醿� 醿炨儩醿斸儧醿愥儢醿� 醿撫儛醿п儬醿撫儨醿濁儜醿樶儣, 醿涐儛醿掅儬醿愥儧 醿掅儯醿撫儬醿樶儞醿♂儤醿� 醿犪儤醿曖儤醿ａ儭醿椺儠醿樶儭 醿斸儬醿�-醿斸儬醿椺儤 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨醿� 醿♂儛醿欋儤醿椺儺醿� 醿ㄡ償醿曖儛醿犪儵醿樶償 - 醿涐儣醿愥儠醿愥儬醿� 醿斸儬醿濁儭醿�, 醿︶償醿犪儷醿� 醿撫儛 醿樶儨醿樶儶醿樶儛醿⑨儤醿曖儛, 醿犪儩醿涐償醿氠儤醿� 醿п儠醿斸儦醿愥儰醿犪儤醿� 醿♂儛醿儳醿樶儭醿愥儞 醿涐儤醿涐儛醿┽儨醿樶儛, 醿犪儛醿撫儝醿愥儨 醿♂儸醿濁儬醿斸儞 醿愥儧 醿樶儨醿樶儶醿樶儛醿⑨儤醿曖儛醿� 醿撫儛 醿樶儨醿⑨償醿犪償醿♂儧醿� 醿儛醿犪儧醿濁儱醿涐儨醿� 醿撫儤醿撫儤 醿樶儨醿斸儬醿儤醿� 醿撫儛 醿炨儩醿斸儧醿樶儭 醿掅儧醿樶儬醿斸儜醿� 醿涐儤醿♂儶醿愥儣 醿掅儛醿溼儠醿樶儣醿愥儬醿斸儜醿樶儭 醿戓儤醿儝醿�. 醿撫儛醿曖儰醿樶儱醿犪儞醿� 醿涐償醿儨醿樶償醿� 醿炨償醿犪儭醿濁儨醿愥儫醿斸儜醿栣償: 醿椺儤醿溼儛醿椺儤醿溼儭醿� 醿撫儛 醿愥儠醿椺儛醿溼儞醿樶儦醿栣償. 醿曖償醿儞醿斸儜醿� 醿愥儲醿曖儸醿斸儬醿� 醿♂儸醿濁儬醿斸儞 醿愥儧 醿樶儨醿斸儬醿儤醿樶儭 醿ａ儭醿愥儭醿犪儯醿氠儩 醿撫儤醿溼儛醿涐儤醿欋儛.
鈥溼儱醿愥儦醿涐儛醿� 醿ａ儣醿儬醿� 醿♂儛醿ａ儜醿愥儬醿� 醿欋償醿欋儦醿ａ儶-醿♂儤醿⑨儳醿曖儛醿�, 醿愥儬 醿撫儯醿儹醿樶儬醿愥儞;
醿樶儮醿п儠醿樶儭: 鈥溼儣醿ａ儶醿� 醿愥儱醿愥儨醿愥儧醿撫儤醿� 醿┽償醿涐儝醿愥儨 醿ㄡ儩醿犪儭 醿儛醿� 醿撫儛醿溼儛醿涐儹醿樶儬醿愥儞,
醿涐儤醿欋儠醿樶儬醿� 醿涐儩醿掅儺醿曖儞醿� 醿儛醿涐儤醿� 醿п儩醿め儛醿�, 醿♂儛醿メ儧醿� 醿ㄡ償醿溼儝醿愥儨 醿♂儛醿斸儹醿曖儤, 醿犪儛醿�,
醿涐儛醿掅儬醿� 醿掅儤醿椺儺醿犪儛 醿炨儤醿犪儠醿斸儦 醿儠醿愥儦醿涐償, 醿♂償醿溼儤 醿涐償 醿涐儹醿樶儬醿� 醿犪儛醿儛 醿儤醿犪儛醿�.鈥�
鈥溼儝醿愥儺醿♂儩醿曖儭 醿濁儞醿斸儭 醿ㄡ償醿� 醿撫儛 醿犪儩醿♂儮醿愥儨醿� 醿涐儤醿溼儞醿濁儬醿� 醿涐儺醿斸儶醿� 醿掅儛醿撫償醿儩醿儛,
醿п儧醿� 醿掅償醿溼儛醿儛 醿ａ儶醿儩 醿曖儤醿溼儧醿�, 醿犪儩醿涐償 醿儬醿斸儧醿氠儤 醿涐儩醿斸儺醿濁儶醿�?
醿涐儛醿� 醿ａ儥醿愥儨醿樶儣 醿掅儩醿溼償醿戓儛醿涐儛醿� 醿涐儤醿♂儧醿愥儨 醿愥儭醿斸儬醿� 醿撫儛醿涐儛醿涐儺醿濁儶醿�,
醿ㄡ償醿� 醿掅償醿溼儯醿欋償醿� 醿涐儩醿溼儛醿儠醿愥儭醿� 醿欋儤醿撫儤醿� 醿欋儤醿撫償 醿涐儩醿氠儛醿儩 醿儛. (醿犪儯醿♂儣醿愥儠醿斸儦醿�, 醿掅儠.33)
鈥溼儭醿愥儧醿♂儛 醿償醿戓儨醿� 醿償醿氠儤醿儛醿撫儭醿� 醿樶儝醿� 醿ㄡ償醿溼儤 醿♂儛醿償醿戓儛醿犪儤;
醿搬優醿濁儠醿�, 醿涐儩醿撫儤 醿掅儛醿涐儛醿犪儻醿曖償醿戓儤醿� 醿涐儺醿樶儛醿犪儯醿氠儤 醿涐儩醿ａ儜醿溼儛醿犪儤;
醿曖償醿犪儛 醿搬優醿濁儠醿斸儜, 醿撫儛醿曖儤醿償醿犪償醿�, 醿樶儳醿� 醿椺儯醿犪儧醿� 醿ａ儵醿樶儨醿愥儬醿�;
醿欋儩醿欋儩醿戓儤 醿撫儛 醿ａ儰醿ａ儬醿儠醿溼償醿氠儤 醿曖儛醿犪儞醿� 醿撫儛醿掅儺醿曖儞醿� 醿撫儛醿ａ儧醿儨醿愥儬醿�. (醿犪儯醿♂儣醿愥儠醿斸儦醿�, 醿掅儠.34)
醿涐儤醿ａ儺醿斸儞醿愥儠醿愥儞 醿樶儧醿樶儭醿�, 醿犪儩醿� 醿涐儺醿濁儦醿濁儞 醿涐償醿め償醿� 醿撫儛 醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛 醿溼儛醿償醿� 醿ａ儶醿儩 醿涐儩醿п儧醿�, 醿愥儧 醿愥儧醿戓儤醿� 醿儛醿氠儤醿愥儨 醿♂償醿犪儤醿濁儢醿ａ儦醿愥儞 醿愥儬醿樶儭 醿撫儛醿樶儨醿⑨償醿犪償醿♂償醿戓儯醿氠儤 醿椺儤醿溼儛醿椺儤醿溼儤. 醿┽償醿涐儤 醿愥儢醿犪儤醿�, 醿♂儸醿濁儬醿斸儞 醿斸儭醿愥儛 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬醿� 醿樶儨醿⑨償醿犪償醿♂儤, 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿♂儯醿犪儠醿樶儦醿�. 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿♂儯醿犪儠醿樶儦醿ㄡ儤 醿п儩醿め儨醿� 醿儛醿氠儤醿愥儨 醿愥儢醿愥儬醿⑨儯醿氠儤醿�, 醿犪儩醿� 醿愥儬醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿� 醿斸儭 醿曖儨醿斸儜醿�, 醿斸儭 醿涐儯醿儮醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿♂儛醿斸儬醿椺儩醿撫儛醿� 醿愥儬 醿斸儱醿溼償醿戓儩醿撫儛 醿撫儛 醿曖儺醿斸儞醿愥儠醿�, 醿犪儩醿� 醿愥儧 醿撫儛醿曖儛醿氠償醿戓儤醿� 醿涐儤醿︶償醿戓儤醿� 醿ㄡ償醿涐儞醿斸儝醿愥儶 醿愥儬 醿ａ儵醿溼儞醿斸儜醿�. 醿儛醿氠儤醿愥儨 醿溼儛醿椺儦醿愥儞 醿┽儛醿溼儭, 醿犪儩醿� 醿斸儭 醿涐儯醿儮醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿愥儬 醿愥儱醿曖儭 醿撫儛 醿斸儭 醿愥儬醿� 醿愥儬醿樶儭 醿掅儛醿♂儛醿欋儠醿樶儬醿�. 醿樶儭 醿儛醿犪償醿戓儤醿� 醿涐儣醿愥儠醿愥儬醿♂儛醿犪儞醿愥儦醿樶儛, 醿椺儯醿涐儶醿� 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿樶儨醿⑨償醿犪償醿♂儤 醿栣儩醿掅儛醿撫儛醿� 醿п儠醿斸儦醿愥儨醿愥儤醿� 醿炨儬醿濁儰醿斸儭醿樶儛醿♂儛 醿撫儛 醿♂儛醿メ儧醿樶儛醿溼儩醿戓儤醿� 醿♂儛醿栣儲醿曖儛醿犪儭 醿♂儶醿撫償醿戓儛 (醿溼儯 醿ａ儨醿撫儛 醿♂儶醿撫償醿戓儩醿撫償醿� 醿涐儛醿樶儨醿�).
醿犪儛醿♂儛醿� 醿椺儤醿溼儛醿椺儤醿溼儤 醿愥儥醿斸儣醿斸儜醿�, 醿斸儭醿愥儛 醿♂儬醿ａ儦醿� 醿椺儛醿曖儧醿樶儷醿︶儠醿溼儛 醿め儤醿氠儩醿♂儩醿め儤醿樶儭醿愥儞醿涐儤, 醿犪儛醿撫儝醿愥儨 醿樶儭 醿愥儧 醿п儠醿斸儦醿愥儰醿犪儤醿♂儣醿曖儤醿� 醿♂儤醿п儠醿愥儬醿ａ儦醿� 醿犪儤醿♂儥醿愥儠醿�. 醿♂儛醿♂儸醿濁儬醿栣償 醿撫償醿戓儭 醿濁儬 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨 醿犪儛醿涐償醿�: 醿涐儤醿儨醿ａ儬醿濁儜醿愥儭醿� 醿撫儛 醿め儤醿氠儩醿♂儩醿め儤醿愥儭. 醿♂儸醿濁儬醿斸儞 醿椺儤醿溼儛醿椺儤醿溼儤醿� 醿涐儛醿炨儬醿濁儠醿濁儶醿樶儬醿斸儜醿斸儦醿� 醿ㄡ償醿涐儞醿掅儩醿� 醿掅儛醿溼儠醿樶儣醿愥儬醿斸儜醿ａ儦醿� 醿涐儩醿曖儦醿斸儨醿斸儜醿樶儭醿�. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿樶儲醿斸儜醿� 醿愥儧 醿掅儛醿涐儩醿儠醿斸儠醿愥儭 醿樶儧醿樶儭 醿掅儛醿涐儩, 醿犪儩醿� 醿樶儭 醿涐儤醿儨醿ａ儬醿樶儛, 醿涐儛醿� 醿椺儤醿溼儛醿椺儤醿溼儤 醿ａ儳醿曖儛醿犪儭 醿撫儛 醿♂儸醿濁儬醿斸儞 醿愥儧醿樶儮醿濁儧 醿涐儤醿撫儤醿� 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿涐儩醿♂儛醿償醿戓儨醿愥儞 醿撫儛 醿愥儬醿� 醿樶儧醿樶儮醿濁儧, 醿犪儩醿� 醿樶儭 醿椺儤醿溼儛醿椺儤醿溼儤醿� 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬 醿樶儨醿⑨償醿犪償醿♂儭 醿樶儢醿樶儛醿犪償醿戓儭. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿儛醿曖儤醿撫儛 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿涐儩醿♂儛醿償醿戓儨醿愥儞. 醿愥儱 醿愥儠醿⑨儩醿犪儤 醿愥儧醿戓儩醿戓儭:
鈥溼儝醿愥儧醿濁償醿涐儛醿犪儣醿� 醿愥儠醿椺儛醿溼儞醿樶儦 醿涐儩醿п儧醿� 醿涐儺醿溼償, 醿氠儛醿︶儛醿� 醿涐儛醿曖儛醿氠儤.
醿濁儶 醿撫儲醿� 醿樶儛醿犪儛, 醿︶儛醿涐償醿儛 醿撫儲醿斸儭 醿栣償醿撫儛 醿儛醿犪儣醿� 醿涐儬醿愥儠醿愥儦醿�
醿樶儝醿樶儛 醿氠儺醿樶儨醿� 醿♂儩醿め儦醿樶儭醿�, 醿樶儝醿樶儛 醿溼儤醿曖儣醿� 醿撫儛 醿曖儛醿氠儤.
醿愥儬 醿涐儤醿♂儶醿樶儦醿撫償醿戓儤醿� 醿椺儤醿溼儛醿椺儤醿� 醿涐儤醿♂儤 醿涐儛醿�, 醿曖儤醿♂儝醿愥儨 醿♂儸醿曖儛醿� 醿愥儦醿�.鈥� (醿掅儠.36)
醿愥儱醿斸儞醿愥儨 醿掅儛醿涐儩醿涐儞醿樶儨醿愥儬醿� 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿掅儢醿愥儢醿� 醿炨儤醿犪儠醿斸儦 醿め儛醿栣儛醿� 醿愥儨醿� 醿п儠醿斸儦醿愥儰醿犪儤醿� 醿♂儛醿儳醿樶儭醿愥儞 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儭醿椺儠醿樶儭 醿ㄡ償醿樶儷醿氠償醿戓儛 醿┽儛醿樶儣醿曖儛醿氠儩醿� 醿炨儩醿⑨償醿溼儶醿樶儛. 醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛 醿涐儤醿樶儲醿� 醿掅儛醿涐儩醿儠醿斸儠醿� 醿撫儛 醿涐儛醿� 醿♂儛醿欋儯醿椺儛醿犪儤 醿椺儛醿曖儤 醿搬儳醿愥儠醿� 醿犪儩醿掅儩醿犪儶 醿炨儩醿⑨償醿溼儶醿樶儛. 醿愥儺醿氠儛 醿犪儛 醿掅儛醿涐儩醿樶儷醿斸儬醿償醿戓儛 醿撫儛 醿犪儛 醿掅儛醿涐儩醿曖儛 醿愥儧 醿炨儩醿⑨償醿溼儶醿樶儤醿撫儛醿� 醿椺儛醿曖儛醿� 醿涐儛醿♂儢醿斸儛 醿撫儛醿涐儩醿欋儤醿撫償醿戓儯醿氠儤.
醿ㄡ償醿♂儛醿儦醿濁儛 醿樶儣醿メ儠醿愥儭, 醿犪儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿儛醿氠儤醿� 醿儛醿曖儤醿撫儛, 醿愥儧醿樶儮醿濁儧醿愥儶 醿愥儧醿戓儩醿戓儭, 醿┽償醿涐儤 醿愥儢醿犪儤醿�, 醿愥儠醿⑨儩醿犪儤: 鈥溼儠醿愥儬醿撫儤 醿涐儤醿� 醿涐儢醿樶儭醿� 醿掅儛醿п儬醿樶儦醿� 醿ａ儰醿犪儩 醿撫儛 醿ａ儰醿犪儩 醿儨醿斸儜醿濁儞醿愨€�. 醿ㄡ償醿♂儛醿儦醿斸儜醿氠儩醿戓儛 醿樶儧醿樶儭醿�, 醿犪儩醿� 醿樶儭 醿愥儧醿愥儲醿氠儞醿斸儭 醿樶儨醿⑨償醿犪償醿♂儤醿� 醿⑨償醿氠儩醿♂儛醿涐儞醿� 醿ａ儰醿犪儩 醿ㄡ償醿愥儧醿儤醿犪儛 醿ａ儤醿涐償醿撫儩醿� 醿償醿戓儨醿愥儧, 醿樶儭 醿め儤醿メ儬醿濁儜醿�, 醿♂儛醿欋儯醿椺儛醿� 醿椺儛醿曖儭 醿斸儭醿愥儯醿戓儬醿斸儜醿�, 醿涐儤醿涐儛醿犪儣醿愥儠醿� 醿︶儧醿斸儬醿椺儭, 醿掅儧醿濁儜醿� 醿儯醿椺儤醿♂儩醿め儦醿樶儭 醿♂儤醿涐儯醿儣醿氠償醿�. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿償醿戓儨醿愥儭 醿儳醿曖償醿⑨儭 醿撫儛 醿♂儛醿欋儯醿椺儛醿� 醿椺儛醿曖儣醿愥儨 醿涐儩醿氠儛醿炨儛醿犪儛醿欋償醿戓儤醿� 醿ㄡ償醿涐儞醿斸儝 醿掅儛醿撫儛醿儳醿曖償醿⑨儭, 醿犪儩醿� 醿ａ儥醿愥儨 醿撫儛醿戓儬醿ａ儨醿撫償醿�. 醿椺儯醿涐儶醿� 醿♂儤醿溼儛醿涐儞醿曖儤醿氠償醿ㄡ儤 醿♂儛醿欋儯醿椺儛醿� 醿椺儛醿曖儣醿愥儨 醿撫儤醿愥儦醿濁儝醿� 醿♂儸醿濁儬醿斸儞 醿樶儭 醿曖儤醿儬醿� 醿撫儛 醿犪儣醿ａ儦醿� 醿戓儤醿氠儤醿欋儤醿�, 醿犪儩醿涐償醿氠儤醿� 醿ㄡ償醿樶儷醿氠償醿戓儛 醿愥儞醿愥儧醿樶儛醿溼儭 醿犪儛醿︶儛醿� 醿儛醿氠儤醿愥儨 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨醿樶儭醿欋償醿� 醿掅儛醿ａ儷醿︶儠醿斸儭. 醿♂儸醿濁儬醿斸儞 醿犪儛醿儤醿濁儨醿愥儦醿ａ儬醿� 醿涐儩醿溼儩醿氠儩醿掅儤醿♂儣醿曖儤醿� 醿儤醿氠儞醿濁儠醿撫償醿戓儛 醿愥儠醿椺儛醿溼儞醿樶儦醿�, 醿犪儩醿撫償醿♂儛醿� 醿涐儛醿� 醿♂儛醿涐儤 醿儧醿� 醿ㄡ償醿儠醿撫償醿戓儛. 醿樶儭 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿愥儧醿戓儛醿曖儭 醿ㄡ償醿樶儮醿п儩醿戓儭 醿撫儛 醿愥儱 醿欋儤醿撫償醿� 醿斸儬醿椺儺醿斸儦 醿┽儨醿撫償醿戓儛 醿樶儧醿斸儞醿� 鈥溼儠醿樶儣醿� 醿涐償 醿涐儤醿曖儺醿曖儞醿� 醿儛醿撫儤醿氠儭醿�, 醿┽償醿涐儤 醿掅儯醿氠儤醿♂儛 醿溼償醿戓儛醿♂儛鈥�. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿涐儛醿氠償醿曖償 醿撫儛醿斸儸醿斸儠醿� 醿ａ儶醿儩 醿涐儩醿п儧醿斸儭 醿椺儛醿� 醿掅儢醿愥儴醿� 醿♂儛醿欋儯醿椺儛醿� 醿椺儛醿曖儭 醿斸儭醿愥儯醿戓儬醿斸儜醿�. 醿涐儛醿� 醿樶儱醿愥儧醿撫償 醿♂儞醿樶儛 醿ａ儶醿儩 醿涐儩醿п儧醿斸儭, 醿♂儛醿溼儛醿� 醿樶儭 醿掅儛醿涐儩醿メ儠醿愥儜醿ａ儦醿� 醿愥儬 醿涐儤醿愥儞醿掅儛. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿愥儧醿儩醿戓儤醿溼償醿戓儭, 醿犪儩醿� 醿涐儩醿ㄡ儩醿犪償醿戓儤醿� 醿撫儛醿樶儶醿愥儞醿濁儭, 醿曖儤醿撫儬醿� 醿愥儭醿涐儛醿椺儤 醿涐儛醿犪儮醿� 醿愥儬 醿撫儛醿犪儵醿斸儜醿�. 醿愥儱 醿儛醿氠儤醿愥儨 醿♂儛醿樶儨醿⑨償醿犪償醿♂儩 醿犪儛醿� 醿儞醿斸儜醿�. 醿掅儛醿曖儤醿儭醿斸儨醿濁儣 醿犪儛醿� 醿斸儯醿戓儨醿斸儜醿� 醿椺儤醿溼儛醿椺儤醿溼儤 醿愥儠醿椺儛醿溼儞醿樶儦醿�, 醿涐儛醿� 醿愥儬 醿ａ儣醿メ儠醿愥儧醿� 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿愥儧醿戓儛醿曖儤 醿撫儛 醿曖儤醿溼儛醿濁儜醿� 醿掅儛醿斸儝醿� 醿犪儛醿⑨儩醿� 醿⑨儤醿犪儩醿撫儛 醿愥儨 醿犪儩醿♂儮醿斸儠醿愥儨醿樶儭 醿♂儛醿涐償醿め儩醿ㄡ儤 醿犪儛 醿ａ儨醿撫儩醿撫儛... 醿椺儤醿溼儛醿椺儤醿溼儧醿� 醿ａ儣醿儬醿�, 醿犪儩醿� 醿涐儛醿� 醿斸優醿濁儠醿溼儛 醿ａ儶醿儩 醿涐儩醿п儧醿� 醿樶儧醿樶儭醿椺儠醿樶儭, 醿犪儩醿� 醿ㄡ償醿斸儮醿п儩 醿溼儛醿涐儞醿曖儤醿氠儛醿� 醿愥儬醿♂償醿戓儩醿戓儞醿� 醿椺儯 醿愥儬醿� 醿樶儭.
醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛 醿炨儤醿犪儸醿涐儤醿溼儞醿愥儞 醿ㄡ償醿愥儭醿犪儯醿氠儛 醿撫儛醿欋儤醿♂儬醿斸儜醿ａ儦醿� 醿涐儩醿曖儛醿氠償醿濁儜醿�, 醿涐儛醿� 醿樶優醿濁儠醿溼儛 醿ａ儶醿儩 醿涐儩醿п儧醿� 醿撫儛 醿犪償醿愥儦醿ａ儬醿愥儞 醿♂儸醿濁儬醿斸儞 醿愥儱 醿ａ儨醿撫儛 醿撫儛醿♂儬醿ａ儦醿斸儜醿ａ儦醿樶儳醿� 醿斸儭 醿涐儤醿♂儤醿�, 醿撫儛醿戓儬醿ａ儨醿斸儜醿ａ儦醿樶儳醿� 醿椺儤醿溼儛醿椺儤醿溼儣醿愥儨, 醿斸儶醿溼儩醿戓償醿戓儤醿溼儛 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿愥儬醿♂償醿戓儩醿戓儤醿� 醿愥儧醿戓儛醿曖儤 醿撫儛 醿斸儶醿儩醿曖儬醿愥儣 醿涐儴醿曖儤醿撫儛醿� 醿撫儛 醿戓償醿撫儨醿樶償醿犪儛醿�. 醿椺儯醿涐儶醿� 醿愥儱 醿♂儺醿曖儛 醿犪儛醿� 醿儞醿斸儜醿�, 醿♂儸醿濁儬醿斸儞 醿樶儭醿斸儣醿� 醿犪儛醿�, 醿犪儛醿� 醿涐儛醿め儤醿メ儬醿斸儜醿樶儨醿斸儜醿�, 醿犪儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬 醿樶儨醿⑨償醿犪償醿♂儭 醿欋儤醿撫償醿� 醿涐償醿⑨儛醿� 醿涐儤醿ａ儛醿儦醿濁儠醿撫儛 醿撫儛 醿愥儺醿氠儛 醿♂儯醿� 醿♂儺醿曖儛 醿涐儩醿⑨儤醿曖儤醿� 醿涐儩醿メ儧醿斸儞醿斸儜醿�, 醿♂儸醿濁儬醿斸儞 醿愥儧 醿樶儨醿⑨償醿犪償醿♂儤醿�. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿愥儢醿愥儬醿⑨儴醿樶儛, 醿ａ儥醿曖償 醿掅儛醿ａ儵醿溼儞醿� 醿♂儛醿欋儯醿椺儬醿� 醿♂儯醿犪儠醿樶儦醿� 醿撫儛 醿愥儲醿愥儬 醿涐儩醿メ儧醿斸儞醿斸儜醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿� 醿曖儛醿氠儤醿� 醿涐儩醿⑨儤醿曖儤醿�. 醿ａ儥醿曖償 醿椺儛醿曖儛醿� 醿愥儤醿溼儮醿斸儬醿斸儭醿斸儜醿� 醿掅儛醿樶儝醿濁儭 醿曖儤醿� 醿愥儬醿樶儭 醿斸儭 醿欋儛醿儤, 醿犪儩醿涐償醿氠儤醿� 醿愥儧醿撫償醿� 醿愥儞醿愥儧醿樶儛醿溼儭 醿儩醿儛醿曖儭, 醿椺儛醿� 醿⑨儤醿犪儤醿�, 醿椺儛醿� 醿♂儛醿撫儲醿愥儶 醿掅儛醿涐儩醿メ儠醿愥儜醿ａ儦醿ㄡ儤 醿儺醿濁儠醿犪儩醿戓儭. 醿涐儛醿� 醿ａ儥醿曖儤醿犪儭 醿樶儭 醿♂儯醿犪儛醿椺儤醿�, 醿犪儤醿♂儤 醿涐儩醿涐儭醿儬醿斸儶 醿掅儛醿儞醿�. 鈥溼儛醿曖儣醿愥儨醿撫儤醿� 醿♂儹醿曖儬醿斸儮醿� 醿掅儛醿欋儠醿樶儬醿曖償醿戓儤醿� 醿涐儛醿椺儭醿� 醿斸儝醿犪償 醿メ儶醿斸儠醿�-醿栣儧醿愥儭醿�.鈥� (醿掅儠. 47) 醿メ儛醿氠儤 醿撫儛 醿欋儛醿儤 醿斸儬醿椺儧醿愥儨醿斸儣醿� 醿斸儺醿曖償醿曖儤醿愥儨 醿撫儛 醿椺儛醿� 醿⑨儤醿犪儤醿愥儨. 醿愥儧醿愥儴醿� 醿欋儤醿撫償醿� 醿ａ儰醿犪儩 醿涐償醿⑨儛醿� 醿撫儤醿撫儤 醿樶儨醿⑨儬醿樶儝醿� 醿撫償醿曖儭 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儭醿椺儠醿樶儭, 醿椺儯醿涐儶醿� 醿欋儯醿氠儧醿樶儨醿愥儶醿樶儛 醿樶儧醿樶儭醿�, 醿犪儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿♂儬醿ａ儦醿愥儞 醿┽儛醿曖儛醿犪儞醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿曖儤醿� 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬 醿樶儨醿⑨償醿犪償醿♂儴醿� 醿涐儛醿樶儨醿� 醿♂儺醿曖儛醿掅儛醿溼儛醿�...
醿愥儧 醿樶儨醿⑨償醿犪償醿♂儧醿� 醿ａ儥醿曖償 醿掅儛醿撫儛醿愥儸醿п儠醿斸儮醿樶儨醿�, 醿ㄡ償醿曖儤醿撫償醿� 醿掅儛醿涐儩醿メ儠醿愥儜醿ａ儦醿ㄡ儤 醿撫儛 醿メ儛醿氠儭 醿ａ儶醿儩 醿п儧醿樶儭 醿愥儧醿戓儛醿曖儤 醿涐儩醿愥儳醿濁儦醿樶儨醿濁儭. 醿椺儯醿涐儶醿� 醿メ儛醿氠儤 醿儤醿ａ儮醿樶儛, 醿愥儧醿戓儛醿曖儭 醿愥儬 醿п儠醿斸儜醿� 醿撫儛 醿愥儧醿戓儩醿戓儭, 醿犪儩醿� 醿斸儭 醿愥儧醿戓儛醿曖儤 醿曖償醿犪儶 醿撫儛醿樶儸醿斸儬醿斸儜醿� 醿撫儛 醿曖償醿犪儶 醿涐儩醿樶儳醿濁儦醿斸儜醿�. 醿斸儭 醿欋儤醿撫償醿� 醿ａ儰醿犪儩 醿涐償醿⑨儛醿� 醿愥儤醿溼儮醿犪儤醿掅償醿戓儭 醿愥儠醿椺儛醿溼儞醿樶儦醿�, 醿樶儧醿撫償醿溼儛醿�, 醿犪儩醿� 醿儛醿� 醿儛醿氠儛醿撫儩醿戓儤醿� 醿償醿犪儺醿� 醿涐儤醿涐儛醿犪儣醿愥儠醿�, 醿儛醿� 醿欋儤-醿炨儤醿犪儤醿メ儤醿�, 醿ａ儥醿樶儞醿ａ儬醿斸儭醿愥儞 醿撫儛醿涐儶醿樶儬醿斸儜醿ａ儦醿愥儞 醿儛醿犪儧醿濁儛醿┽償醿溼儭 醿椺儛醿曖儭, 醿愥儮醿樶儬醿撫償醿戓儛 醿涐儯醿儦醿斸儜醿栣償 醿撫儛醿樶儵醿濁儱醿犪償醿戓儭 醿撫儛 醿樶儭醿� 醿斸儺醿曖償醿償醿戓儛 醿愥儭醿涐儛醿椺儭 醿愥儧醿戓儤醿� 醿椺儺醿犪儩醿戓儛醿�. 醿愥儧 醿斸優醿樶儢醿濁儞醿ㄡ儤 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿涐儤醿儨醿ａ儬醿濁儜醿愥儭 醿愥儺醿♂償醿溼償醿戓儭, 醿撫儛 醿斸儬醿椺儝醿曖儛醿犪儛醿� 醿樶儮醿п儯醿斸儜醿� 醿欋儤醿撫償醿曖儛醿�, 醿犪儛醿撫儝醿愥儨 醿┽儠醿斸儨, 醿涐儥醿樶儣醿儠醿斸儦醿斸儜醿涐儛 醿ａ儥醿曖償 醿曖儤醿儤醿� 醿涐儤醿♂儤 醿曖儛醿氠儤 醿♂儛醿� 醿撫儛醿♂儬醿ａ儦醿撫儛. 醿♂儸醿濁儬醿斸儞 醿愥儧 醿斸優醿樶儢醿濁儞醿ㄡ儤醿� 醿┽儛醿溼儭, 醿犪儩醿� 醿斸儭 醿涐儤醿♂儤 醿炨儤醿犪儛醿撫儤 醿樶儨醿⑨償醿犪償醿♂儤醿� 醿撫儛 醿愥儬醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿�.
醿掅儛醿涐儩醿撫儤醿�, 醿犪儩醿� 醿椺儤醿溼儛醿椺儤醿溼儧醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿愥儬醿� 醿♂儛醿欋儯醿椺儛醿犪儤 醿樶儨醿⑨償醿犪償醿♂償醿戓儤醿� 醿撫儛醿♂儛醿欋儧醿愥儳醿濁儰醿樶儦醿斸儜醿氠儛醿� 醿掅儛醿掅儢醿愥儠醿溼儛, 醿愥儬醿愥儧醿斸儞 醿涐儤醿♂儤 醿椺儛醿曖儤醿♂儥醿斸儨 醿樶儭醿犪儩醿氠儛, 醿涐儤醿♂儤 醿樶儨醿⑨償醿犪償醿♂償醿戓儤醿♂儥醿斸儨, 醿愥儺醿氠儤醿� 醿儤醿斸儜醿樶儭醿欋償醿�, 醿椺儛醿曖儝醿愥儞醿愥儭醿愥儠醿氠儤醿♂儥醿斸儨, 醿犪儩醿涐償醿氠儤醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿♂儺醿曖儛 醿掅儛醿涐儩醿儞醿樶儦醿斸儜醿愥儭 醿ㄡ償醿♂儷醿斸儨醿撫儛 醿撫儛 醿♂儺醿曖儛醿溼儛醿樶儬醿愥儞 醿撫儛醿愥儰醿濁儬醿涐儤醿犪償醿戓儞醿�. 醿椺儯醿涐儶醿� 醿ａ儨醿撫儛 醿樶儣醿メ儠醿愥儭, 醿犪儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儭 醿犪儩醿氠儤 醿愥儧醿愥儴醿� 醿撫儤醿撫儤 醿樶儳醿�, 醿樶儭 醿犪儩醿� 醿愥儬 醿п儩醿め儤醿氠儤醿п儩 醿愥儧醿撫償醿溼儛醿� 醿掅儛醿涐儮醿愥儬醿�, 醿樶儨醿⑨償醿氠償醿メ儮醿ａ儛醿氠儯醿犪儤 醿撫儛 醿︶儤醿� 醿愥儺醿愥儦醿� 醿掅儛醿涐儩醿儠醿斸儠醿斸儜醿樶儭醿椺儠醿樶儭, 醿愥儧醿戓儤醿� 醿ㄡ償醿⑨儳醿濁儜醿樶儭醿椺儛醿溼儛醿曖償 醿ａ儥醿愥儨 醿掅儛醿戓儬醿ａ儨醿撫償醿戓儩醿撫儛. 醿┽儠醿斸儨 醿曖儺醿斸儞醿愥儠醿�, 醿犪儩醿掅儩醿犪儤 醿撫儛醿撫償醿戓儤醿椺儤 醿涐儯醿儮醿� 醿撫儛 醿樶儨醿斸儬醿儤醿� 醿ㄡ償醿樶儷醿樶儨醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛. 醿愥儧 醿撫儛醿撫償醿戓儤醿椺儤 醿樶儨醿斸儬醿儤醿樶儭 醿♂儛醿炨儛醿♂儯醿儩醿� 醿撫儛 醿♂儮醿犪儛醿⑨償醿掅儤醿ａ儦醿� 醿掅儛醿溼儭醿儤醿� 醿儳醿愥儦醿濁儜醿樶儣 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿♂儛醿メ儧醿� 醿掅儛醿涐儩醿ａ儠醿�.
鈥溼儤醿涐儛 醿涐儩醿п儧醿樶儭醿� 醿愥儧醿戓儛醿曖儤 醿愥儬醿♂儛醿撫儛 醿愥儬 醿樶優醿濁儠醿溼償醿戓儤醿�;
醿椺儠醿樶儣 醿椺儯 醿愥儬 醿掅儤醿椺儺醿犪儩醿戓儭, 醿愥儬 醿樶儣醿メ儧醿樶儭, 醿愥儬醿曖儤醿♂儝醿愥儨 醿撫儛醿樶儻醿斸儬醿斸儜醿樶儭;
醿涐儩醿樶儦醿濁儞醿樶儨醿�, 醿涐儩醿曖儤醿撫償醿�, 醿犪儛醿栣儩醿涐儶醿� 醿撫儛醿掅償醿п儩醿曖儨醿斸儜醿樶儭,
醿撫儛醿撫儯醿涐儞醿�, 醿曖儛醿犪儞醿♂儛 醿溼儯 醿愥儢醿犪儩醿�, 醿儬醿斸儧醿氠儤醿椺儛 醿溼儯 醿樶儣醿濁儠醿溼償醿戓儤醿�.鈥� (醿掅儠.53)
醿愥儧 醿斸優醿樶儢醿濁儞醿樶儞醿愥儨 醿┽儛醿溼儭, 醿犪儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿撫儛 醿愥儭醿涐儛醿椺儤 醿涐儩醿欋儛醿曖儴醿樶儬醿斸償醿戓儤 醿掅儛醿儞醿溼償醿�. 醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛 醿欋儤 醿犪儛醿︶儛醿� 醿撫儤醿� 醿儩醿撫儨醿愥儴醿� 醿ａ儨醿撫儛 醿ㄡ償醿愥儜醿樶儻醿濁儭. 醿愥儱 醿樶儸醿п償醿戓儛 醿涐儢醿愥儩醿戓儛 醿愥儧 醿愥儧醿戓儤醿� 醿ㄡ償醿♂儛醿⑨儳醿濁儜醿愥儞 醿撫儛 醿愥儱 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿欋儤醿撫償醿� 醿斸儬醿椺儺醿斸儦 醿儥醿曖儤醿愥儨醿ａ儬醿愥儞 醿樶儮醿п儯醿斸儜醿�. 鈥溼儧醿樶儜醿犪儷醿愥儨醿�: <<醿涐儤醿儛醿� 醿愥儧醿戓儛醿曖儤 醿涐儤醿� 醿п儧醿樶儭醿� 醿儛醿儞醿濁儧醿樶儦醿樶儭醿愨€� (醿掅儠.58) 醿儬醿ａ儩醿戓儭 醿樶儭. 醿曖儤醿椺儩醿� 醿椺儤醿溼儛醿椺儤醿溼儧醿� 醿ａ儜醿犪儷醿愥儨醿� 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿愥儧醿戓儤醿� 醿ㄡ償醿⑨儳醿濁儜醿�. 醿斸儭 醿欋儤醿撫償醿� 醿斸儬醿椺儤 醿愥儬醿掅儯醿涐償醿溼儮醿樶儛 醿樶儧醿樶儭醿�, 醿犪儩醿� 醿樶儭 醿ａ儥醿曖償 醿♂儛醿欋儯醿椺儛醿犪儤 醿樶儨醿⑨償醿犪償醿♂儤醿� 醿涐儩醿メ儧醿斸儞醿斸儜醿�. 醿斸儭 醿樶儭 醿樶儨醿⑨償醿犪償醿♂儤醿�, 醿犪儛 醿樶儨醿⑨償醿犪償醿♂儤醿� 醿椺儤醿溼儛醿椺儤醿溼儭 醿愥儧醿濁儷醿犪儛醿曖償醿戓儞醿�.
鈥溼儛醿涐儛 醿撫儲醿斸儧醿愥儨 醿撫儛醿涐儛醿曖儤醿儳醿�, 醿掅儯醿氠儤 醿┽償醿涐儤 醿曖儤醿� 醿撫儛醿戓儤醿溼儞醿�;
醿撫儛醿涐儤醿掅儞醿樶儛 醿♂儛醿涐儭醿愥儺醿ａ儬醿� 醿涐儤醿♂儤, 醿樶儱醿涐儨醿愥儭 醿犪儛醿儛 醿掅儤醿溼儞醿�;
醿樶儛醿掅儯醿溼儞醿� 醿斸儝醿犪償醿儛 醿♂儻醿濁儜醿�, 醿愥儣醿愥儭醿償醿犪儶醿� 醿涐儤醿溼儛 醿涐儤醿溼儞醿�,
醿ㄡ償醿� 醿掅償醿愥儺醿氠儩 醿♂儤醿欋儠醿撫儤醿氠儛醿涐儞醿樶儭, 醿愥儧醿樶儭 醿涐償醿⑨儤 醿愥儬醿� 醿涐儤醿溼儞醿�!鈥�
醿♂儸醿濁儬醿斸儞 醿愥儱 醿┽儛醿溼儭 醿п儠醿斸儦醿愥儢醿� 醿撫儤醿撫儤 醿樶儨醿⑨償醿犪償醿♂儤 醿撫儛 醿椺儛醿曖儞醿愥儞醿斸儜醿�, 醿涐儢醿愥儩醿戓儛 醿涐儩醿樶儭醿涐儤醿溼儩醿� 醿⑨儛醿犪儤醿斸儦醿樶儭 醿愥儧醿戓儛醿曖儤.
醿犪儩醿撫償醿♂儛醿� 醿⑨儛醿犪儤醿斸儦醿� 醿涐儛醿� 醿♂儛醿欋儯醿椺儛醿� 醿愥儧醿戓儛醿曖儭 醿ａ儛醿涐儜醿濁儜醿�, 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儭醿椺儠醿樶儭 醿♂儛醿欋儯醿椺儛醿� 醿♂儛醿涐儴醿濁儜醿氠儩醿ㄡ儤 醿撫儛醿戓儬醿ａ儨醿斸儜醿樶儭 醿撫儬醿� 醿撫儝醿斸儜醿�. 醿炨儤醿犪儠醿斸儦 醿償醿犪儢醿� 醿撫儛醿戓儬醿ａ儨醿斸儜醿愥儭 醿ㄡ償醿犪儧醿愥儞醿樶儨醿� 醿愥儺醿愥儬醿斸儜醿�, 醿ㄡ償醿涐儞醿掅儩醿� 醿犪儩醿♂儮醿斸儠醿愥儨 醿涐償醿め償醿� 醿撫儛 醿戓儩醿氠儩醿�-醿椺儤醿溼儛醿椺儤醿溼儭. 醿愥儱 醿♂儛醿樶儨醿⑨償醿犪償醿♂儩醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儭醿� 醿撫儛 醿椺儤醿溼儛醿椺儤醿溼儤醿� 醿撫儤醿愥儦醿濁儝醿�. 醿涐儛醿� 醿♂儛醿ａ儜醿愥儬醿ㄡ儤 醿樶儝醿犪儷醿溼儩醿戓儛, 醿犪儩醿� 醿涐儩醿犪儛醿氠儯醿犪儛醿� 醿撫儛 醿樶儨醿⑨償醿氠償醿メ儮醿ａ儛醿氠儯醿犪儛醿� 醿椺儤醿溼儛醿椺儤醿溼儤 醿撫儛 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿斸儬醿� 醿♂儛醿め償醿儯醿犪儢醿� 醿撫儝醿愥儨醿愥儨, 醿犪儛醿撫儝醿愥儨 醿愥儱 醿犪儩醿氠償醿戓儤 醿ａ儥醿曖償 醿掅儛醿樶儶醿曖儛醿氠儛. 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿愥儧醿戓儩醿戓儭, 醿犪儩醿� 醿樶儭 醿⑨儛醿犪儤醿斸儦醿椺儛醿� 醿ａ儨醿撫儛 醿撫儛醿戓儬醿ａ儨醿撫償醿�, 醿犪儛醿椺儛 醿涐儩醿п儠醿愥儬醿斸儭 醿撫儛醿斸儺醿涐儛醿犪儩醿�. 醿溼儛醿椺償醿氠儤醿�, 醿犪儩醿� 醿愥儧 醿斸優醿樶儢醿濁儞醿ㄡ儤 醿樶儨醿樶儶醿樶儛醿⑨儩醿犪儤 醿ａ儥醿曖償 醿⑨儛醿犪儤醿斸儦醿樶儛, 醿撫儛 醿愥儬醿�-醿椺儤醿溼儛醿椺儤醿溼儤. 醿樶儨醿樶儶醿樶儛醿⑨儤醿曖儛 醿欋儤 醿⑨儛醿犪儤醿斸儦醿樶儭 醿撫儛醿儧醿愥儬醿斸儜醿愥儛. 醿椺儤醿溼儛醿椺儤醿� 醿炨儛醿♂儯醿儩醿戓儭:
鈥溼儴醿斸儨 醿愥儬-醿掅儛醿⑨償醿儛 醿欋儛醿犪儝醿� 醿掅儹醿樶儬醿� 醿栣償醿溼儛醿愥儬醿樶儭醿�, 醿め儤醿儤醿♂儛.
醿儛醿涐儭 醿掅儛醿♂儬醿ａ儦醿斸儜醿� 醿涐儩醿п儠醿犪儤醿♂儛 醿♂儤醿п儠醿愥儬醿ａ儦醿樶儭醿� 醿涐儮醿欋儤醿儤醿♂儛,
醿償醿戓儨醿� 醿儛醿涐儦醿樶儭醿� 醿涐儤醿♂儤醿♂儛 醿撫儛 醿儩醿撫儨醿� 醿儛醿涐儭 醿ａ儤醿儤醿♂儛,
醿┽償醿涐儤 醿椺儱醿曖儤, 醿犪儛 醿曖儱醿涐儨醿� 醿戓儨醿斸儦-醿メ儧醿溼儤醿氠儧醿愥儨, 醿涐儢醿� 醿涐儤醿涐償醿め儛醿犪儩醿� 醿涐儤-, 醿儤醿♂儛?鈥� (醿掅儠.140)
醿椺儤醿溼儛醿椺儤醿溼儤 醿斸儣醿愥儨醿儧醿斸儜醿� 醿愥儠醿椺儛醿溼儞醿樶儦醿�, 醿犪儩醿� 醿涐儤醿償醿涐儯醿氠儤 醿め儤醿儤 醿愥儠醿椺儛醿溼儞醿樶儦醿涐儛 醿愥儬 醿ａ儨醿撫儛 醿掅儛醿⑨償醿儩醿�. 醿斸儭 醿椺儛醿溼儺醿涐儩醿戓儤醿� 醿斸優醿樶儢醿濁儞醿�, 醿儛醿氠儤醿愥儨 醿搬儛醿犪儧醿濁儨醿樶儢醿斸儜醿ａ儦醿樶儛, 醿愥儬 醿愥儬醿♂償醿戓儩醿戓儭 醿愥儬醿� 醿斸儬醿椺儤 醿掅儛醿ａ儝醿斸儜醿愥儬醿� 醿欋儤醿椺儺醿曖儛 醿愥儨 醿ㄡ償醿涐儵醿溼償醿曖儛. 醿椺儤醿溼儛醿椺儤醿溼儤 醿愥儬 醿欋儤醿椺儺醿ａ儦醿濁儜醿� 醿ａ儶醿儩 醿涐儩醿п儧醿樶儭 醿愥儧醿戓儛醿曖儭, 醿犪儛醿撫儝醿愥儨 醿愥儱 醿涐儣醿愥儠醿愥儬醿� 醿犪儛醿� 醿樶儳醿�, 醿樶儭 醿ａ儥醿曖償 醿掅儛醿涐儩醿犪儥醿曖償醿ａ儦醿樶儛. 醿┽償醿涐儤 醿愥儢醿犪儤醿�, 醿涐儣醿愥儠醿愥儬醿� 醿欋儯醿氠儧醿樶儨醿愥儶醿樶儛, 醿犪儩醿儛 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿曖儤醿� 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿♂儤醿п儠醿愥儬醿ａ儦醿ㄡ儤 醿掅儛醿撫儛醿斸儴醿曖儛 醿⑨儛醿犪儤醿斸儦醿樶儭 醿涐儩醿溼儛醿椺儺醿犪儩醿戓儤醿� 醿撫儛醿♂儬醿ａ儦醿斸儜醿樶儭 醿ㄡ償醿涐儞醿斸儝, 醿♂儛醿欋儯醿椺儛醿� 醿涐儤醿儨醿ａ儬醿椺儛醿� 醿ㄡ償醿п儬醿樶儣 醿撫儛 醿愥儧 醿搬儛醿犪儧醿濁儨醿樶儤醿� 醿撫儛醿掅儠醿樶儬醿掅儠醿樶儨醿撫儛. 醿愥儱 醿愥儠醿椺儛醿溼儞醿樶儦醿� 醿儛醿犪儧醿濁儝醿曖儤醿撫儝醿斸儜醿� 醿樶儭醿斸儣醿樶儠醿� 醿掅儛醿栣儬醿撫儤醿氠儤 醿撫儛 醿樶儨醿樶儶醿樶儛醿⑨儤醿曖儤醿� 醿涐儱醿濁儨醿撫償, 醿犪儩醿掅儩醿犪儤醿� 醿椺儤醿溼儛醿椺儤醿溼儤醿�.
醿愥儱醿斸儞醿愥儨 醿掅儛醿涐儩醿涐儝醿樶儨醿愥儬醿�, 醿涐償 醿曖儰醿樶儱醿犪儩醿�, 醿犪儩醿� 醿愥儧 醿炨儩醿斸儧醿樶儭 醿涐儣醿愥儠醿愥儬醿� 醿斸儬醿濁儭醿� 醿愥儬醿� 醿涐儤醿溼儻醿ａ儬醿濁儜醿�, 醿愥儬醿愥儧醿斸儞 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿♂儤醿п儠醿愥儬醿ａ儦醿樶儛, 醿愥儨醿� 醿樶儭 醿め儤醿氠儩醿♂儩醿め儤醿ａ儬醿� 醿樶儨醿⑨償醿犪償醿♂儤, 醿犪儩醿涐償醿氠儭醿愥儶 醿椺儛醿曖儞醿愥優醿樶儬醿曖償醿氠儛醿� 醿椺儤醿溼儛醿椺儤醿溼儤 醿樶儵醿斸儨醿�, 醿儩醿氠儩 醿ㄡ償醿涐儞醿斸儝 醿愥儠醿椺儛醿溼儞醿樶儦醿樶儶 醿樶儧醿ａ儺醿⑨償醿戓儛 醿愥儧 醿樶儨醿⑨償醿犪償醿♂儤醿�. 醿♂儸醿濁儬醿斸儞 醿斸儭 醿樶儨醿⑨償醿犪償醿♂儤 醿掅儛醿♂儞醿斸儠醿� 醿涐儣醿斸儦 醿炨儩醿斸儧醿愥儭 醿涐儛醿涐儩醿儬醿愥儠醿斸儜醿斸儦 醿儛醿氠儛醿�, 醿椺儤醿椺儱醿濁儭 醿斸儭 醿愥儬醿樶儭 醿儬醿愥儠醿�, 醿犪儩醿涐儦醿樶儭 醿斸儨醿斸儬醿掅儤醿樶儣醿愥儶 醿п儠醿斸儦醿� 醿ㄡ償醿涐儞醿斸儝醿� 醿愥儧醿戓儛醿曖儤 鈥溼儧醿ａ儴醿愥儩醿戓儭鈥� 醿撫儛 醿樶儧醿ａ儺醿⑨償醿戓儛. 醿犪儛 醿椺儱醿涐儛 醿ａ儨醿撫儛, 醿愥儧 醿炨儩醿斸儧醿愥儭 醿♂儺醿曖儛 醿戓償醿曖儬醿� 醿♂儛醿椺儱醿涐償醿氠儤醿� 醿愥儱醿曖儭, 醿椺儯醿涐儶醿� 醿涐儝醿濁儨醿樶儛, 醿犪儩醿� 醿斸儭 醿斸儬醿�-醿斸儬醿椺儤 醿п儠醿斸儦醿愥儢醿� 醿涐儨醿樶儴醿曖儨醿斸儦醿濁儠醿愥儨醿� 醿♂儛醿椺儱醿涐償醿氠儣醿愥儝醿愥儨醿樶儛, 醿犪儛醿撫儝醿愥儨 醿ㄡ償醿涐償醿儨醿斸儜醿樶儭 醿♂儤醿п儠醿愥儬醿ａ儦醿涐儛 醿撫儛 醿儤醿斸儜醿愥儧 醿ㄡ償醿♂儛醿儦醿濁儛 醿儛醿氠儤醿愥儨 醿撫儤醿撫儤 醿儠醿犪償醿戓儤 醿掅儛醿涐儩醿樶儸醿曖儤醿濁儭 醿愥儞醿愥儧醿樶儛醿溼儤醿� 醿涐儩醿犪儛醿氠儯醿�, 醿栣儨醿斸儩醿戓儬醿樶儠 醿撫儛 醿♂儺醿曖儛 醿♂儛醿涐儳醿愥儬醿濁償醿戓儴醿�.
July 6, 2013
Review so far:
The Book of Infinite Hyperbole, a.k.a. the Book of Crybabies.
No one is halfway affected or slightly emotional. Everyone is in a constant rage of passion or a life-threatening swoon in each and every instant of their lives. Every person is a moon and a sun, and every man is also a lion. All hair is jet, all eyelashes cut, all faces are devastatingly beautiful and more radiant than the sun. Did I mention the sun? It is often mentioned. The book is a constant torrent of tears, so much so that I nearly drowned from reading it.
The passion is unrelenting in its extremity, and is important in and of itself, regardless of narrative context.
There is also occasional surprising sarcasm or irony which catches us off guard and challenges us to decide just how much sincerity we should attribute to the rest of the proclamations of passion, faith, etc. The all-around unreasonableness of the characters also poses a challenge. A king will send his retainer away for three years, virtually on a whim, though he regards the mission as critical, and never seems to miss him, yet will be thrown into a towering rage the next time the same retainer wants to go away for a while, as the king can't bear to part with him. Lovers whose only desire in life is to be together will take it upon themselves to separate for no good reason, and then constantly bewail their separation. Meanwhile, occasional sacred unbreakable oaths will be made then broken for mere convenience because, of course, lovers are too mad to be bound by oaths.
The Book of Infinite Hyperbole, a.k.a. the Book of Crybabies.
No one is halfway affected or slightly emotional. Everyone is in a constant rage of passion or a life-threatening swoon in each and every instant of their lives. Every person is a moon and a sun, and every man is also a lion. All hair is jet, all eyelashes cut, all faces are devastatingly beautiful and more radiant than the sun. Did I mention the sun? It is often mentioned. The book is a constant torrent of tears, so much so that I nearly drowned from reading it.
The passion is unrelenting in its extremity, and is important in and of itself, regardless of narrative context.
There is also occasional surprising sarcasm or irony which catches us off guard and challenges us to decide just how much sincerity we should attribute to the rest of the proclamations of passion, faith, etc. The all-around unreasonableness of the characters also poses a challenge. A king will send his retainer away for three years, virtually on a whim, though he regards the mission as critical, and never seems to miss him, yet will be thrown into a towering rage the next time the same retainer wants to go away for a while, as the king can't bear to part with him. Lovers whose only desire in life is to be together will take it upon themselves to separate for no good reason, and then constantly bewail their separation. Meanwhile, occasional sacred unbreakable oaths will be made then broken for mere convenience because, of course, lovers are too mad to be bound by oaths.
July 8, 2018
賷丨丿孬 賮賷 兀丨賷丕賳 賰孬賷乇丞 兀賳 兀爻丨亘 賰鬲丕亘丕賸 亘胤乇賷賯丞 毓卮賵丕卅賷丞 賲賳 賲賰鬲亘丞 賵丕賱丿賷 丕賱毓丕賲乇丞貙 賵賵賯毓鬲 賲賱丨賲丞 卮賵鬲丕 乇賵爻鬲丕賮賷賱賷 "丕賱賮丕乇爻 賮賷 廿賴丕亘 丕賱賳賲乇" 亘賷賳 賷丿賷 氐丿賮丞. 賵毓丕丿丞 兀賲鬲賳毓 毓賳 賯乇丕亍丞 丕賱卮毓乇 丕賱賲鬲乇噩賲 賱賯賳丕毓鬲賷 亘兀賳賴 亘賮賯丿 賲賵爻賷賯丕賴 賷賮賯丿 丕賱賰孬賷乇 賲賳 賲毓賳丕賴. 賵賱賰賳 賵亘毓丿 賯乇丕亍丞 丕賱賲賯丿賲丞 丕賱賲卮鬲乇賰丞 賱賱賲鬲乇噩賲 賳夭丕乇 禺賱賷賱賷 丕賱匕賷 賯丕賲 亘噩賴丿 賰亘賷乇 賮賷 丕賱鬲乇噩賲丞貙 賵丕賱亘丕丨孬 丕賱毓賱賲賷 丕賱噩賵乇噩賷 睾賵乇丕賲 鬲卮賷賰賵賮丕賳賷 鈥� 賵兀賳丕 兀賰鬲亘 賴賳丕 毓賳 賲賯丿賲丞 丕賱賳爻禺丞 丕賱兀賵賱賶 丕賱鬲賷 氐丿乇鬲 賮賷 丿賲卮賯 毓丕賲 1984-亘毓丿 賯乇丕亍丞 丕賱賲賯丿賲丞 賵賲毓乇賮鬲賷 兀賳賴丕 賲賱丨賲丞 卮毓乇賷丞 賰鬲亘鬲 賮賷 丕賱賯乇賳 丕賱孬丕賳賷 毓卮乇貙 賵兀賳賴丕 鬲毓丿 兀賷賯賵賳丞 丕賱鬲乇丕孬 丕賱兀丿亘賷 丕賱噩賵乇噩賷貙 鬲丨賲爻鬲 賱賯乇丕亍鬲賴丕貙 賵賱賲 兀賳丿賲. 賲賱丨賲丞 乇丕卅毓丞 廿匕丕 賲丕 賯賷爻鬲 亘丕賱廿胤丕乇 丕賱夭賲賳賷 丕賱匕賷 賰鬲亘鬲 賮賷賴貙 鬲丨賲賱 賲毓丕賳賷 丕賱丨亘 賵丕賱賵賮丕亍 賵丕賱賮乇賵爻賷丞 賵丕賱禺賷乇 賵丕賱卮乇 亘丕賱賲賮賴賵賲 丕賱鬲賯賱賷丿賷貙 賵賱賵 兀囟賮賳丕 廿賱賷賴丕 兀賳賴丕 賰鬲亘鬲 賵賮賯 囟賵丕亘胤 氐丕乇賲丞 賱賱卮毓乇 丕賱噩賵乇噩賷 鈥� 賵賴賵 兀賲乇 賱賳 賳賱丕丨馗賴 賮賷 丕賱鬲乇噩賲丞 丨賰賲丕賸-爻賳噩丿 兀賳賴丕 賮毓賱丕 鬲爻鬲丨賯 丕賱賯乇丕亍丞貙 賱賳 兀丿禺賱 賮賷 鬲賮丕氐賷賱 丕賱賲賱丨賲丞 賮賲賯丿賲丞 丕賱賰鬲丕亘 鬲卮乇丨賴丕 賵鬲卮乇丨 爻賷丕賯賴丕 丕賱夭賲賳賷貙 賱賰賳 兀卮賷乇 兀禺賷乇丕賸 廿賱賶 兀賳 丕賱賴賷卅丞 丕賱毓丕賲丞 丕賱賲氐乇賷丞 賱賱賰鬲丕亘 賯丿 兀毓丕丿鬲 胤亘丕毓丞 賴匕賴 丕賱賲賱丨賲丞 毓丕賲 2016 丕賱兀賲乇 丕賱匕賷 賷噩毓賱賴丕 賲鬲丕丨丞 賳馗乇丕賸 賱賳丿乇丞 丕賱賳爻禺丞 丕賱賲賵噩賵丿丞 亘賷賳 賷丿賷
June 22, 2011
It's more than a book! It is a genuine masterpiece of philosophy of life!
January 13, 2020
鈥濾itez u tigrovoj ko啪i鈥� je gruzijski ep iz 12. veka. Gruzini su veoma ponosni na ovaj ep, a ka啪u i da se knjiga tradicionalno poklanjala kao deo nevestine spreme ili miraza prilikom mladinog dolaska u mu啪evljevu ku膰u. Ep je posve膰en i napisan za vreme vladavine kraljice Tamare, periodu koji Gruzini smatraju svojim zlatnim dobom, dok mi, odavde, kraljicu Tamaru uglavnom znamo kao junakinju jedne mra膷ne pesme Vojislava Ili膰a (鈥濶ad obalom, nebu gore,/Tamarin se di啪e dvor,/Svake no膰i, svake zore,/Tu je 拧ala, smej i zbor鈥�).
膶itanje epa sam malo razvukao. Degustirao sam ga polako, delom, jer su u pitanju stihovi, delom, jer volim da 膷itam stihove naglas kada se ve膰 prevodilac potrudio da ih rimuje. Ono 拧to me je formalno iznenadilo je da, u pore膽enju sa drugim tradicionalnim epovima ili u pore膽enju sa vite拧kim avanturisti膷kim romanima, 鈥濾itez u tigrovoj ko啪i鈥� ima jednostavan zaplet sa relativno malim brojem junaka i bez 膷udesnih doga膽aja. Zaplet se uglavnom svodi na me膽usobno upletene pri膷e o dvama para rastavljenih ljubavnika, povezane mu拧kim prijateljstvom Tarijela i Aftandila, od kojih prvi traga za svojom ukradenom dragom Nestani-Dered啪ani, a drugi mu u tom traganju poma啪e, ne bi li tako potvrdio svoju ljubav prema kraljici Tinatin. Stoga su ljubav i prijateljstvo u centru epu, a patriotizam i 膷e啪nja za juna膷kom slavom su sekundarni, 拧to nije tipi膷no za epski svet. U epu je utkana implicitno i ideja o verskoj toleranciji, potvr膽ena u savezu tri junaka na kraju epa, 拧to sasvim korespondira spoju razli膷itih kulturolo拧kih uticaja koji se ose膰aju u idejnoj i formalnoj koncepciji epa (pravoslavno hri拧膰anstvo, neoplatonitzam, gruzijski folklor i ostaci paganizma, persijska poezija i islam, a mo啪da i uticaj Indije i Kine).
Sve je hiperbolisano - 啪ene imaju trepavice ve膰e nego gavranova krila, mrtva tela se u bojevima gomilaju u vidu planina, sunce se stidi da iza膽e pred lepotom junaka i njihovih dragana. Najsimpti膷nije mi je 拧to se junaci gotovo na svakoj stranici busaju u grudi i pla膷u (拧to ih naravno ne spre膷ava nikad da seku glave neprijateljima). Pri jednom susretu, Aftandil upozorava Tarijela: 鈥濼ebra, nije nam mu啪evno 拧to ovoliko pla膷emo鈥�, na 拧ta Tarijel odgovara u stilu: 鈥濼ako je batice, moramo da se iskontroli拧emo鈥�. Par stranica kasnije, Tarijel se ponovo busa u grudi i pla膷e na sav glas, ali ovog puta pla膷e krv, kojom puni more, a najkrvolo膷nije zveri iz divljine dolaze na pojilo od njegovih suza. Ajd sad 膷ik da mu neko ka啪e da nije mu啪evan 拧to pla膷e. :D
膶itanje epa sam malo razvukao. Degustirao sam ga polako, delom, jer su u pitanju stihovi, delom, jer volim da 膷itam stihove naglas kada se ve膰 prevodilac potrudio da ih rimuje. Ono 拧to me je formalno iznenadilo je da, u pore膽enju sa drugim tradicionalnim epovima ili u pore膽enju sa vite拧kim avanturisti膷kim romanima, 鈥濾itez u tigrovoj ko啪i鈥� ima jednostavan zaplet sa relativno malim brojem junaka i bez 膷udesnih doga膽aja. Zaplet se uglavnom svodi na me膽usobno upletene pri膷e o dvama para rastavljenih ljubavnika, povezane mu拧kim prijateljstvom Tarijela i Aftandila, od kojih prvi traga za svojom ukradenom dragom Nestani-Dered啪ani, a drugi mu u tom traganju poma啪e, ne bi li tako potvrdio svoju ljubav prema kraljici Tinatin. Stoga su ljubav i prijateljstvo u centru epu, a patriotizam i 膷e啪nja za juna膷kom slavom su sekundarni, 拧to nije tipi膷no za epski svet. U epu je utkana implicitno i ideja o verskoj toleranciji, potvr膽ena u savezu tri junaka na kraju epa, 拧to sasvim korespondira spoju razli膷itih kulturolo拧kih uticaja koji se ose膰aju u idejnoj i formalnoj koncepciji epa (pravoslavno hri拧膰anstvo, neoplatonitzam, gruzijski folklor i ostaci paganizma, persijska poezija i islam, a mo啪da i uticaj Indije i Kine).
Sve je hiperbolisano - 啪ene imaju trepavice ve膰e nego gavranova krila, mrtva tela se u bojevima gomilaju u vidu planina, sunce se stidi da iza膽e pred lepotom junaka i njihovih dragana. Najsimpti膷nije mi je 拧to se junaci gotovo na svakoj stranici busaju u grudi i pla膷u (拧to ih naravno ne spre膷ava nikad da seku glave neprijateljima). Pri jednom susretu, Aftandil upozorava Tarijela: 鈥濼ebra, nije nam mu啪evno 拧to ovoliko pla膷emo鈥�, na 拧ta Tarijel odgovara u stilu: 鈥濼ako je batice, moramo da se iskontroli拧emo鈥�. Par stranica kasnije, Tarijel se ponovo busa u grudi i pla膷e na sav glas, ali ovog puta pla膷e krv, kojom puni more, a najkrvolo膷nije zveri iz divljine dolaze na pojilo od njegovih suza. Ajd sad 膷ik da mu neko ka啪e da nije mu啪evan 拧to pla膷e. :D
December 20, 2007
Slowly making my way through the Georgian with a local friend.
July 4, 2014
"袛械褌懈 谢褜胁邪 褉邪胁薪褘 写褉褍谐 写褉褍谐锟斤拷,
袘褍写褜 褌芯 谢褜胁褢薪芯泻 懈谢懈 谢褜胁懈褑邪".
小谢褍褔懈谢芯褋褜 褌邪泻, 褔褌芯 锌芯褝褌 懈 谐芯褋褍写邪褉褋褌胁械薪薪褘泄 写械褟褌械谢褜 袚褉褍蟹懈懈 12-谐芯 胁械泻邪 胁懈写械谢 褉邪胁械薪褋褌胁芯 褌邪屑, 谐写械 胁 21-屑 胁械泻械 械谐芯 薪械褌. 袣邪泻 褑懈褎褉褘 锌芯屑械薪褟谢懈褋褜 屑械褋褌邪屑懈 胁 褋褔褢褌械 褋褌芯谢械褌懈泄, 褌邪泻 懈 谢褞写懈 褍屑褍写褉懈谢懈褋褜 懈蟹胁褉邪褌懈褌褜 褋胁芯懈 褑械薪薪芯褋褌懈, 锌芯写屑械薪懈胁 懈褋泻芯薪薪芯 懈褋褌懈薪薪褘械 锌芯锌褍谢懈褋褌褋泻懈屑懈 谢芯卸薪褘屑懈. 袟邪褋褌邪胁 锌褉邪胁谢械薪懈械 褑邪褉懈褑褘 孝邪屑邪褉褘, 袪褍褋褌邪胁械谢懈, 胁芯蟹屑芯卸薪芯, 斜褘谢 懈 芯褋褌邪褢褌褋褟 芯写薪懈屑 懈蟹 薪械屑薪芯谐懈褏, 泻褌芯 胁锌懈褌邪谢 胁 褋械斜褟 薪邪褋褌芯褟褖懈泄 谐褍屑邪薪懈蟹屑, 薪械 褋褌邪胁褟褖懈泄 锌芯写 褋胁芯褞 蟹邪褖懈褌褍 芯写懈薪 懈蟹 锌芯谢芯胁, 芯斜褉械泻邪褟 写褉褍谐芯泄 薪邪 胁械褔薪褍褞 斜芯褉褜斜褍 褋 锌褉械写褉邪褋褋褍写泻邪屑懈, 谐褍屑邪薪懈蟹屑, 薪械 胁褘斜懈褉邪褞褖懈泄 写谢褟 芯谢懈褑械褌胁芯褉械薪懈褟 褋锟斤拷芯懈褏 懈写械泄 谢褞写械泄 懈蟹 "胁褘褋褕械谐芯" 泻谢邪褋褋邪, 芯褋褌邪胁谢褟褟 褉邪斜芯胁 薪械谢褞写褜屑懈. 袣芯谐写邪 锌芯褝褌 褋褌芯谢褜 褋锌褉邪胁械写谢懈胁芯 懈, 褍胁褘, 褌邪泻 薪械胁芯蟹屑芯卸薪芯 褋械谐芯写薪褟, 芯锌懈褋褘胁邪械褌 卸懈蟹薪褜 锌芯 褔械褋褌懈 懈 褔械谢芯胁械褔械褋泻芯屑褍 写芯褋褌芯懈薪褋褌胁褍, 锌芯 锌褉邪胁写械 懈 写褍褏芯胁薪芯屑褍 屑褍卸械褋褌胁褍, 锌芯薪械胁芯谢械 胁械褉懈褕褜 胁 褌械 褝谢械屑械薪褌褘 屑懈褋褌懈褑懈蟹屑邪, 泻芯褌芯褉褘械 褌芯谢褜泻芯 褍泻褉邪褕邪褞褌 锌褉芯懈蟹胁械写械薪懈械. 袙械写褜 薪邪 泻芯胁邪褉薪褘褏 泻邪写卸械泄 薪邪褕谢懈褋褜 写芯斜谢械褋褌薪褘械 胁懈褌褟蟹懈! 袙械写褜 蟹邪 蟹邪褋谢褍谐懈 写褍褏邪 懈 褉邪斜褘薪褟 褍写芯褋褌芯懈谢邪褋褜 褑邪褉褋褌胁邪! 袛邪 懈 谢褞斜褟褖械械 褖械写褉芯械 褋械褉写褑械 锌芯谢褍褔懈谢芯 械写懈薪褋褌胁械薪薪芯 写褉邪谐芯褑械薪薪芯械, 褔械谐芯 写芯褋褌芯泄薪芯! 袣邪泻 薪械 蟹邪褔懈褌褘胁邪褌褜褋褟 褌邪泻懈屑 褝锌芯褋芯屑 胁芯 胁褉械屑械薪邪 褋褌芯谢褜 锌褉芯蟹邪懈褔薪褘械? 袟邪褔懈褌褘胁邪褌褜褋褟 薪褍卸薪芯 懈, 褋泻邪卸褍 褟, 锌芯谢械蟹薪芯. 袠 胁褋褢 卸械 谢褍褔褕械 懈 胁械褉薪械械 屑械薪褟 褋泻邪卸械褌 褋谢芯谐 褋邪屑芯谐芯 楔芯褌褘 袪褍褋褌邪胁械谢懈.
袘褍写褜 褌芯 谢褜胁褢薪芯泻 懈谢懈 谢褜胁懈褑邪".
小谢褍褔懈谢芯褋褜 褌邪泻, 褔褌芯 锌芯褝褌 懈 谐芯褋褍写邪褉褋褌胁械薪薪褘泄 写械褟褌械谢褜 袚褉褍蟹懈懈 12-谐芯 胁械泻邪 胁懈写械谢 褉邪胁械薪褋褌胁芯 褌邪屑, 谐写械 胁 21-屑 胁械泻械 械谐芯 薪械褌. 袣邪泻 褑懈褎褉褘 锌芯屑械薪褟谢懈褋褜 屑械褋褌邪屑懈 胁 褋褔褢褌械 褋褌芯谢械褌懈泄, 褌邪泻 懈 谢褞写懈 褍屑褍写褉懈谢懈褋褜 懈蟹胁褉邪褌懈褌褜 褋胁芯懈 褑械薪薪芯褋褌懈, 锌芯写屑械薪懈胁 懈褋泻芯薪薪芯 懈褋褌懈薪薪褘械 锌芯锌褍谢懈褋褌褋泻懈屑懈 谢芯卸薪褘屑懈. 袟邪褋褌邪胁 锌褉邪胁谢械薪懈械 褑邪褉懈褑褘 孝邪屑邪褉褘, 袪褍褋褌邪胁械谢懈, 胁芯蟹屑芯卸薪芯, 斜褘谢 懈 芯褋褌邪褢褌褋褟 芯写薪懈屑 懈蟹 薪械屑薪芯谐懈褏, 泻褌芯 胁锌懈褌邪谢 胁 褋械斜褟 薪邪褋褌芯褟褖懈泄 谐褍屑邪薪懈蟹屑, 薪械 褋褌邪胁褟褖懈泄 锌芯写 褋胁芯褞 蟹邪褖懈褌褍 芯写懈薪 懈蟹 锌芯谢芯胁, 芯斜褉械泻邪褟 写褉褍谐芯泄 薪邪 胁械褔薪褍褞 斜芯褉褜斜褍 褋 锌褉械写褉邪褋褋褍写泻邪屑懈, 谐褍屑邪薪懈蟹屑, 薪械 胁褘斜懈褉邪褞褖懈泄 写谢褟 芯谢懈褑械褌胁芯褉械薪懈褟 褋锟斤拷芯懈褏 懈写械泄 谢褞写械泄 懈蟹 "胁褘褋褕械谐芯" 泻谢邪褋褋邪, 芯褋褌邪胁谢褟褟 褉邪斜芯胁 薪械谢褞写褜屑懈. 袣芯谐写邪 锌芯褝褌 褋褌芯谢褜 褋锌褉邪胁械写谢懈胁芯 懈, 褍胁褘, 褌邪泻 薪械胁芯蟹屑芯卸薪芯 褋械谐芯写薪褟, 芯锌懈褋褘胁邪械褌 卸懈蟹薪褜 锌芯 褔械褋褌懈 懈 褔械谢芯胁械褔械褋泻芯屑褍 写芯褋褌芯懈薪褋褌胁褍, 锌芯 锌褉邪胁写械 懈 写褍褏芯胁薪芯屑褍 屑褍卸械褋褌胁褍, 锌芯薪械胁芯谢械 胁械褉懈褕褜 胁 褌械 褝谢械屑械薪褌褘 屑懈褋褌懈褑懈蟹屑邪, 泻芯褌芯褉褘械 褌芯谢褜泻芯 褍泻褉邪褕邪褞褌 锌褉芯懈蟹胁械写械薪懈械. 袙械写褜 薪邪 泻芯胁邪褉薪褘褏 泻邪写卸械泄 薪邪褕谢懈褋褜 写芯斜谢械褋褌薪褘械 胁懈褌褟蟹懈! 袙械写褜 蟹邪 蟹邪褋谢褍谐懈 写褍褏邪 懈 褉邪斜褘薪褟 褍写芯褋褌芯懈谢邪褋褜 褑邪褉褋褌胁邪! 袛邪 懈 谢褞斜褟褖械械 褖械写褉芯械 褋械褉写褑械 锌芯谢褍褔懈谢芯 械写懈薪褋褌胁械薪薪芯 写褉邪谐芯褑械薪薪芯械, 褔械谐芯 写芯褋褌芯泄薪芯! 袣邪泻 薪械 蟹邪褔懈褌褘胁邪褌褜褋褟 褌邪泻懈屑 褝锌芯褋芯屑 胁芯 胁褉械屑械薪邪 褋褌芯谢褜 锌褉芯蟹邪懈褔薪褘械? 袟邪褔懈褌褘胁邪褌褜褋褟 薪褍卸薪芯 懈, 褋泻邪卸褍 褟, 锌芯谢械蟹薪芯. 袠 胁褋褢 卸械 谢褍褔褕械 懈 胁械褉薪械械 屑械薪褟 褋泻邪卸械褌 褋谢芯谐 褋邪屑芯谐芯 楔芯褌褘 袪褍褋褌邪胁械谢懈.
July 2, 2017
Der Recke im Tigerfell (The Knight in Tigerskin)
By Schota Rusthawelli 鈥� (about 1172 to 1216)
The 12th-century epic poem, originally composed in the Georgian Language, has in this edition been rewritten in its poetic verse form into the German Language, and in no ordinary way, but in exquisite meter and vocabulary, which in its own right is a masterpiece.
The poem itself is a curious mixture of cultural influences, Persian, Arabic, European knighthood and chivalry.
Rostewan the Arab king, is a hero鈥檚 name that can also be found in Shahnameh, The Epic of the Persian Kings, by Ferdowsi.
The language used in Rusthawelli epic is as colorful and overly romantic as is used in the Persian Shahnameh and in Arabian Nights.
But then the Knightly Chivalry motivating its heroes at the service of their faultless virgin maids is well inspired from European Medieval tales like King Arthurs Knights, and so are their outfits of shining armors, metal helmets swords and spear and all.
An exceptional book of beauty and romantic poetry.
By Schota Rusthawelli 鈥� (about 1172 to 1216)
The 12th-century epic poem, originally composed in the Georgian Language, has in this edition been rewritten in its poetic verse form into the German Language, and in no ordinary way, but in exquisite meter and vocabulary, which in its own right is a masterpiece.
The poem itself is a curious mixture of cultural influences, Persian, Arabic, European knighthood and chivalry.
Rostewan the Arab king, is a hero鈥檚 name that can also be found in Shahnameh, The Epic of the Persian Kings, by Ferdowsi.
The language used in Rusthawelli epic is as colorful and overly romantic as is used in the Persian Shahnameh and in Arabian Nights.
But then the Knightly Chivalry motivating its heroes at the service of their faultless virgin maids is well inspired from European Medieval tales like King Arthurs Knights, and so are their outfits of shining armors, metal helmets swords and spear and all.
An exceptional book of beauty and romantic poetry.
June 25, 2007
It took me into memories of persian literature that I have long forgotten. The names of places and characters sound familiar.
The amusing thing about the main characters is that they are religous but somewhat secular; quite interesting. There is intersting reference to Qais (referred to as Quaisi) the Majnoon of Laila. The book gets more and more interesting as you read on, starting in a rather not so obvious melancholy. But once you get to know the style of euology, it becomes interesting. Enjoyed reading it.
The amusing thing about the main characters is that they are religous but somewhat secular; quite interesting. There is intersting reference to Qais (referred to as Quaisi) the Majnoon of Laila. The book gets more and more interesting as you read on, starting in a rather not so obvious melancholy. But once you get to know the style of euology, it becomes interesting. Enjoyed reading it.
August 17, 2021
艩i knyga, kaip ir pernai skaityta , yra mano vaikyst臈s vasaros dalis. Viena i拧 t懦 knyg懦, kurios buvo kuklioje babyt臈s bibliotekoje ir kuri膮 nor臈josi skaityti. Pirm膮 kart膮 skaityta gal 10, gal 11 met懦 ir taip kasmet iki koki懦 16-kos. Siu啪etas mok臈tas mintinai, veik臈jai myl臈ti, knyga dievinta.
Atsitiktinai pama膷iau ir prisiminimai apie tas tobulas vaikyst臈s vasaras gr寞啪o su visa j懦 拧iluma ir meile. Dabar u啪kabino ne i拧 karto, prad啪ioje netgi klausiau sav臋s, kas man gal臈jo taip patikti, ta膷iau nostalgija daro savo ir a拧 negaliu vertinti 拧ios knygos tiesiog kaip knygos - truput寞 per daug ji man rei拧kia.
O ir galiausiai atradau, kas kabino - tai yra nuostabi istorija apie draugyst臋 ir i拧tikimyb臋.
Atsitiktinai pama膷iau ir prisiminimai apie tas tobulas vaikyst臈s vasaras gr寞啪o su visa j懦 拧iluma ir meile. Dabar u啪kabino ne i拧 karto, prad啪ioje netgi klausiau sav臋s, kas man gal臈jo taip patikti, ta膷iau nostalgija daro savo ir a拧 negaliu vertinti 拧ios knygos tiesiog kaip knygos - truput寞 per daug ji man rei拧kia.
O ir galiausiai atradau, kas kabino - tai yra nuostabi istorija apie draugyst臋 ir i拧tikimyb臋.
June 2, 2010
A world class masterpiece
March 27, 2017
醿斸儭 醿犪儛 醿メ償醿溼儤 醿ㄡ儩醿椺儛?!
January 16, 2018
Michael Jordan of Georgian Literature
Want to read
April 21, 2018Almost everyone says this is a masterpiece. I hope I can find it soon.
December 8, 2019
醿償醿� 醿犪儯醿♂儣醿愥儠醿斸儦醿� 醿涐償醿犪償 醿撫儛醿溼儮醿�,醿ㄡ償醿メ儭醿炨儤醿犪儤,醿♂償醿犪儠醿愥儨醿⑨償醿♂儤 醿撫儛 醿♂儺醿曖儛 醿撫儛醿溼儛醿犪儵醿斸儨醿�.
October 8, 2016
If you have rated this book with 5 stars 鈥� congratulations! You have undeniably high level of intelligence!
If you gave less than 5 stars, I give you credit for just reading this book 鈥� that is, actually, very brave thing to do... having that said - wake up!! Go to college, read some more books, get educated, try your best extending the maximum capacity of your brain and imagination鈥� this book was written in 12th century (that鈥檚 900 years ago - think about it!); and you know what 鈥� don鈥檛 be so serious - get the sarcasm, get the irony and get the parody this genius offered us 900 years ago鈥�
Or, you can just drop the ambitions and settle for watching reality shows鈥� perhaps "House Wives of... whatever" would do it for you鈥�
If you gave less than 5 stars, I give you credit for just reading this book 鈥� that is, actually, very brave thing to do... having that said - wake up!! Go to college, read some more books, get educated, try your best extending the maximum capacity of your brain and imagination鈥� this book was written in 12th century (that鈥檚 900 years ago - think about it!); and you know what 鈥� don鈥檛 be so serious - get the sarcasm, get the irony and get the parody this genius offered us 900 years ago鈥�
Or, you can just drop the ambitions and settle for watching reality shows鈥� perhaps "House Wives of... whatever" would do it for you鈥�
June 10, 2019
This is one of the most epically melodramatic stories I have ever read. And I loved every page of it! The nested-stories of Avtandil, Tariel, and Nestan-Darejan are captivating and wonderful. The tears that they shed for each other are ridiculous and lovely. The florid descriptions boggle my mind. It's an excellent adventure of several love-besotted knights whose bromance is the only thing stronger than their wistful love for their distant "suns."
But to be perfectly honest, I kind of expected more panther appearances.
But to be perfectly honest, I kind of expected more panther appearances.
Read
May 21, 2024Gay
April 10, 2024
醿曖儤醿償醿メ儤, 醿曖儥醿樶儣醿儯醿氠儩醿戓儞醿�, 醿♂儛醿撫儲醿愥儶 醿ａ儶醿儩 醿メ儠醿斸儳醿溼儤醿� 醿ａ儶醿儩 醿メ儛醿氠儛醿メ儤醿� 醿ａ儥醿曖償 醿溼儛醿儨醿濁儜 醿メ儯醿┽儛醿栣償. 醿曖儥醿樶儣醿儯醿氠儩醿戓儞醿� 醿撫儛 醿掅儛醿犪儥醿曖償醿曖儤醿� 醿涐儩醿撫儤醿濁儞醿� 醿┽償醿涐儣醿愥儨 醿戓償醿戓儩醿� 醿涐儩醿栣償醿氠儤醿氠儤 醿儩醿涐儤醿� 醿♂儯醿溼儤, 醿犪儩醿涐償醿氠儤醿� 醿撫儤醿� 醿儛醿涐儴醿樶儛 醿撫儛 醿斸儭醿斸儭醿愥儛 醿ａ儨醿撫儛 醿掅儛醿撫儛醿め儯醿曖儞醿斸儭 醿撫儛 醿樶儛醿⑨儛醿欋儢醿� 醿撫儛醿斸儮醿п償醿炨儩醿�. 醿儺醿濁儜醿樶儭 醿涐儩醿涐償醿溼儮醿ㄡ儤 醿♂儛醿儦醿ㄡ儤 醿┽儛醿涐儩醿涐儞醿掅儛醿犪儤 醿愥儮醿涐儩醿♂儰醿斸儬醿濁儭 醿め償醿犪償醿戓儤 醿撫儛 醿♂儤醿溼儛醿椺儦醿�. 醿涐償 醿曖儢醿樶儠醿愥儬 醿撫儛 醿ㄡ償醿♂儛醿曖儛醿氠儭 醿曖儭醿儛醿曖儦醿濁儜, 醿犪儛醿撫儝醿愥儨 醿涐儛醿♂儸醿愥儠醿氠償醿戓償醿氠儧醿� 醿撫儛醿涐儛醿曖儛醿氠儛. 醿撫償醿撫儛 醿戓償醿戓儩醿� 醿斸儺醿涐儛醿犪償醿戓儛 醿撫儛 醿掅儢醿愥儞醿愥儝醿栣儛 醿♂儤醿⑨儳醿曖償醿戓儭 醿涐儤醿♂儸醿濁儬醿斸儜醿斸儨, 醿椺儯 醿犪儩醿涐償醿氠儤醿涐償醿� 醿愥儬醿愥儭醿儩醿犪儛醿� 醿曖儤醿⑨儳醿曖儤 醿撫儛 醿愥儧醿樶儣 醿犪儤醿椺儧醿愥儭 醿撫儛醿曖儛醿犪儲醿曖償醿�. 醿涐儤醿儭醿溼儤醿愥儨, 醿掅儛醿溼儧醿愥儬醿⑨償醿戓償醿戓儭 醿涐儛醿儦醿斸儠醿斸儨 醿撫儛 醿愥儧醿戓償醿戓儭 醿涐儤醿п儠醿斸儜醿樶儛醿�. 醿愥儧醿戓償醿戓儭, 醿犪儩醿涐儦醿斸儜醿♂儛醿� 醿償醿� 醿曖償醿� 醿儛醿曖儤醿欋儤醿椺儺醿愥儠, 醿犪儛醿撫儝醿愥儨 醿炨儛醿⑨儛醿犪儛 醿曖儛醿� 醿撫儛 醿償醿� 醿欋儤醿撫償醿� "醿儤醿儱醿溼儛醿� 醿椺儛醿曖儝醿愥儞醿愥儭醿愥儠醿愥儦醿樶儭" 醿欋儤醿椺儺醿曖儛 醿涐儤醿犪儵醿斸儠醿溼儤醿�. 醿椺儯醿涐儶醿� 醿曖儤醿♂儧醿斸儨 醿撫儛 醿ㄡ償醿♂儛醿曖儛醿氠儭 醿曖儭醿儛醿曖儦醿濁儜. 醿撫償醿撫儛醿� 醿炨儬醿濁儮醿斸儭醿⑨儤 醿搬儱醿濁儨醿撫儛, 醿涐儛醿掅儬醿愥儧 醿涐儛醿♂儸醿愥儠醿氠償醿戓償醿氠儧醿�, 醿愥儬醿愥儩, 醿ㄡ償醿ａ儷醿氠儤醿� 醿撫儛 醿樶儭醿儛醿曖儦醿濁儭醿�. 醿炨償醿犪儤醿濁儞醿ａ儦醿愥儞, 醿撫償醿撫儛 醿撫儛 醿戓償醿戓儩醿� 醿涐儤醿п儠醿斸儜醿樶儛醿� 醿♂儺醿曖儛醿撫儛醿♂儺醿曖儛 醿斸優醿樶儢醿濁儞醿斸儜醿� 醿栣償醿炨儤醿犪儛醿�.
醿♂儺醿曖儛 醿儤醿掅儨醿樶儞醿愥儨 醿曖儭醿儛醿曖儦醿濁儜, 醿椺儯醿涐儶醿� 醿♂儺醿曖儛 醿儤醿掅儨醿樶儶 醿涐儛醿メ儠醿�, 醿戓償醿戓儩醿� 醿溼儛醿┽儯醿メ儛醿犪儤 - 醿犪儩醿涐儦醿樶儞醿愥儨醿愥儶 醿撫儲醿斸儧醿撫償 醿愥儬 醿愥儧醿濁儧醿樶儥醿樶儣醿儛醿曖儭 醿⑨償醿メ儭醿⑨儤, 醿椺儯醿涐儶醿� 醿涐儛醿樶儨醿� 醿掅儛醿溼儷醿樶儭 醿め儛醿♂儤醿� 醿┽償醿涐儣醿曖儤醿�. 醿儤醿� 醿涐儤醿儲醿愥儜醿溼儤醿氠儤 醿涐償醿濁儬醿斸儥醿氠儛醿♂償醿氠儤醿� 醿欋儛醿氠儤醿掅儬醿愥儰醿樶儤醿�: "醿♂儛醿儭醿濁儠醿犪儛醿� 醿メ儬醿樶儭醿⑨儩醿� 醿戓償醿戓儩醿♂儝醿愥儨, 醿儤醿掅儨醿� 醿曖償醿め儺醿樶儭醿⑨儳醿愥儩醿♂儛醿溼儤."
醿搬儩醿撫儛, 醿曖儤醿♂儣醿愥儨 醿犪儛 醿儞醿斸儜醿� 醿愥儬 醿曖儤醿儤, 醿涐儛醿掅儬醿愥儧 醿┽償醿涐儣醿曖儤醿� 醿斸儭 醿儤醿掅儨醿� 醿戓儛醿曖儴醿曖儩醿戓儛醿�, 醿戓儛醿曖儴醿曖儩醿戓儤醿� 醿め償醿犪償醿戓儤 醿撫儛 醿♂儯醿犪儨醿斸儦醿斸儜醿�, 醿戓儛醿曖儴醿濁儜醿樶儭 醿愥儧醿戓償醿戓儤 醿撫儛 醿椺儛醿曖儝醿愥儞醿愥儭醿愥儠醿氠償醿戓儤. 醿撫償醿撫儛 醿撫儛 醿戓償醿戓儤醿�.
醿♂儺醿曖儛 醿儤醿掅儨醿樶儞醿愥儨 醿曖儭醿儛醿曖儦醿濁儜, 醿椺儯醿涐儶醿� 醿♂儺醿曖儛 醿儤醿掅儨醿樶儶 醿涐儛醿メ儠醿�, 醿戓償醿戓儩醿� 醿溼儛醿┽儯醿メ儛醿犪儤 - 醿犪儩醿涐儦醿樶儞醿愥儨醿愥儶 醿撫儲醿斸儧醿撫償 醿愥儬 醿愥儧醿濁儧醿樶儥醿樶儣醿儛醿曖儭 醿⑨償醿メ儭醿⑨儤, 醿椺儯醿涐儶醿� 醿涐儛醿樶儨醿� 醿掅儛醿溼儷醿樶儭 醿め儛醿♂儤醿� 醿┽償醿涐儣醿曖儤醿�. 醿儤醿� 醿涐儤醿儲醿愥儜醿溼儤醿氠儤 醿涐償醿濁儬醿斸儥醿氠儛醿♂償醿氠儤醿� 醿欋儛醿氠儤醿掅儬醿愥儰醿樶儤醿�: "醿♂儛醿儭醿濁儠醿犪儛醿� 醿メ儬醿樶儭醿⑨儩醿� 醿戓償醿戓儩醿♂儝醿愥儨, 醿儤醿掅儨醿� 醿曖償醿め儺醿樶儭醿⑨儳醿愥儩醿♂儛醿溼儤."
醿搬儩醿撫儛, 醿曖儤醿♂儣醿愥儨 醿犪儛 醿儞醿斸儜醿� 醿愥儬 醿曖儤醿儤, 醿涐儛醿掅儬醿愥儧 醿┽償醿涐儣醿曖儤醿� 醿斸儭 醿儤醿掅儨醿� 醿戓儛醿曖儴醿曖儩醿戓儛醿�, 醿戓儛醿曖儴醿曖儩醿戓儤醿� 醿め償醿犪償醿戓儤 醿撫儛 醿♂儯醿犪儨醿斸儦醿斸儜醿�, 醿戓儛醿曖儴醿濁儜醿樶儭 醿愥儧醿戓償醿戓儤 醿撫儛 醿椺儛醿曖儝醿愥儞醿愥儭醿愥儠醿氠償醿戓儤. 醿撫償醿撫儛 醿撫儛 醿戓償醿戓儤醿�.
March 3, 2018
There's a reason exploring and analyzing this poem is its own profession.
I have, at some point, made fun of some parts of it. I've also bashed its raging fanboys and fangirls who shove it into everyone's nose whether it's called for or not and who don't want to admit that it's not for every reader and all tastes. I've criticized people for blind, fanatical sort of devotion to it. I have, therefore, been recognized as a hater who can't appreciate the masterpiece (at this point you may steal a glance at my five stars rating and become quite confused, you may want to keep reading). Because of this, I deem myself as a pretty unbiased source of valuable feedback for those who don't know what they're facing, so please, bear with me for a bit.
Whom is this poem NOT for? - If you're looking for believable characters with complex personalities that feel like real people, intricate plot that develops them to their fullest potential, provide good role models and blow your mind with the story arc and so on... this is the wrong story for you to pick.
But the thing is, the above mentioned were not the objective of this work and its virtues lie elsewhere. Let me list them:
1. You won't even know what you read. Written in the twelfth century, this poem was a valuable piece of one of a kind political and social commentary on (back then) present day Georgia and its state, its politics, worldview and philosophy, giving both criticism and appreciation, while pretending to be a somewhat linear story. The characters presented to the reader are not really people at all and shouldn't be treated as such by a reader. Likewise the countries where it all takes place are not the countries they claim to be. A single character can be an allegory of one political figure, one side and role of such a figure, and a whole country - all at once, and multiple characters can be combined into a single important figure of that time. The same is true for locations, so don't expect accurate representations of Arabia or India. In truth the Arabia and India have no role in the poem. The author uses intricate wordplay and double (triple, quadruple) meanings in describing events, characters and names, cleverly smuggling the precious information and hiding it in plain sight. There are stanzas we had to learn by heart at school and only years after graduating did I discover hidden (and sometimes rather bold and even naughty) meanings in some of them. I had recited those lines over and over again and never had realized ALL the things I was saying.
Needless to say, no translation in the world can ever do it justice. All that covertly shared information is lost the moment a single word changes. Even adapting it from old Georgian to modern Georgian will cause a devastating loss. Being at least somewhat proficient in old Georgian is essential, or most of it will go over the reader's head. It actually happens to most of us - Georgians - when we first get acquainted with it. On the other hand, it's always an adventure to take the book and read it through a nth time, hunting for new discoveries.
2. The language. Aside from wordplay, there's a lot to say about the richness of the language used. Georgian by its nature is more of an expressive language than an analytical one and the poet has taken full advantage of the fact, using exquisite enchanting vocabulary while preserving flawless rhyme throughout the entire giant of a poem. Again, translation cannot do it justice.
3. Informational. There are many things about the cultural side of historical Georgia we wouldn't have known without The Knight in Panther's Skin, or wouldn't have known as well as we do now. I'm speaking about ancient traditions and social norms, leftovers of pagan beliefs, dozens of now extinct local musical instruments, old astronomical names and many, many other things. It's a treasure trove of recovering the cultural history.
4. Just the fact that it embraces Renaissance before there was Renaissance is a valuable trait in and of itself. The poem was frowned upon by the church, to put it mildly. While being very much in tune with spirituality, godliness and the notion of greater good, the poem ignored the subject of religion per se. No specific religion is ever mentioned and the characters can either be seen praying to a nameless one true sort of God, or pleading celestial bodies. Instead it focuses on the ideals of knighthood and humanism, bringing them as the common ground for the characters to build their relationship on.
All in all, five stars are not even enough. It is true that it's hard to understand and I will always argue that when we studied it at school, we probably weren't ready to take it in, except for a precious few individuals, maybe. It also wasn't taught from the aspect it should've been, giving praise where there was less praise needed while completely ignoring its true value. But if any of the above listed items speak to you, it's not a poem to be missed.
I have, at some point, made fun of some parts of it. I've also bashed its raging fanboys and fangirls who shove it into everyone's nose whether it's called for or not and who don't want to admit that it's not for every reader and all tastes. I've criticized people for blind, fanatical sort of devotion to it. I have, therefore, been recognized as a hater who can't appreciate the masterpiece (at this point you may steal a glance at my five stars rating and become quite confused, you may want to keep reading). Because of this, I deem myself as a pretty unbiased source of valuable feedback for those who don't know what they're facing, so please, bear with me for a bit.
Whom is this poem NOT for? - If you're looking for believable characters with complex personalities that feel like real people, intricate plot that develops them to their fullest potential, provide good role models and blow your mind with the story arc and so on... this is the wrong story for you to pick.
But the thing is, the above mentioned were not the objective of this work and its virtues lie elsewhere. Let me list them:
1. You won't even know what you read. Written in the twelfth century, this poem was a valuable piece of one of a kind political and social commentary on (back then) present day Georgia and its state, its politics, worldview and philosophy, giving both criticism and appreciation, while pretending to be a somewhat linear story. The characters presented to the reader are not really people at all and shouldn't be treated as such by a reader. Likewise the countries where it all takes place are not the countries they claim to be. A single character can be an allegory of one political figure, one side and role of such a figure, and a whole country - all at once, and multiple characters can be combined into a single important figure of that time. The same is true for locations, so don't expect accurate representations of Arabia or India. In truth the Arabia and India have no role in the poem. The author uses intricate wordplay and double (triple, quadruple) meanings in describing events, characters and names, cleverly smuggling the precious information and hiding it in plain sight. There are stanzas we had to learn by heart at school and only years after graduating did I discover hidden (and sometimes rather bold and even naughty) meanings in some of them. I had recited those lines over and over again and never had realized ALL the things I was saying.
Needless to say, no translation in the world can ever do it justice. All that covertly shared information is lost the moment a single word changes. Even adapting it from old Georgian to modern Georgian will cause a devastating loss. Being at least somewhat proficient in old Georgian is essential, or most of it will go over the reader's head. It actually happens to most of us - Georgians - when we first get acquainted with it. On the other hand, it's always an adventure to take the book and read it through a nth time, hunting for new discoveries.
2. The language. Aside from wordplay, there's a lot to say about the richness of the language used. Georgian by its nature is more of an expressive language than an analytical one and the poet has taken full advantage of the fact, using exquisite enchanting vocabulary while preserving flawless rhyme throughout the entire giant of a poem. Again, translation cannot do it justice.
3. Informational. There are many things about the cultural side of historical Georgia we wouldn't have known without The Knight in Panther's Skin, or wouldn't have known as well as we do now. I'm speaking about ancient traditions and social norms, leftovers of pagan beliefs, dozens of now extinct local musical instruments, old astronomical names and many, many other things. It's a treasure trove of recovering the cultural history.
4. Just the fact that it embraces Renaissance before there was Renaissance is a valuable trait in and of itself. The poem was frowned upon by the church, to put it mildly. While being very much in tune with spirituality, godliness and the notion of greater good, the poem ignored the subject of religion per se. No specific religion is ever mentioned and the characters can either be seen praying to a nameless one true sort of God, or pleading celestial bodies. Instead it focuses on the ideals of knighthood and humanism, bringing them as the common ground for the characters to build their relationship on.
All in all, five stars are not even enough. It is true that it's hard to understand and I will always argue that when we studied it at school, we probably weren't ready to take it in, except for a precious few individuals, maybe. It also wasn't taught from the aspect it should've been, giving praise where there was less praise needed while completely ignoring its true value. But if any of the above listed items speak to you, it's not a poem to be missed.
May 8, 2017
THE MAIN MASTERPIECE OF THE GEORGIAN LITERATURE!!!
醿�.醿�.醿�.醿�.醿�.醿�.醿�!!!! 醿儤醿掅儨醿�, 醿犪儩醿涐償醿氠儢醿斸儶 醿欋儤醿撫償醿� 醿愥儬醿愥償醿犪儣醿� 醿椺儛醿濁儜醿� 醿掅儛醿樶儢醿犪儞醿斸儜醿�, 醿樶儧醿斸儞醿樶儛!
醿�.醿�.醿�.醿�.醿�.醿�.醿�!!!! 醿儤醿掅儨醿�, 醿犪儩醿涐償醿氠儢醿斸儶 醿欋儤醿撫償醿� 醿愥儬醿愥償醿犪儣醿� 醿椺儛醿濁儜醿� 醿掅儛醿樶儢醿犪儞醿斸儜醿�, 醿樶儧醿斸儞醿樶儛!
March 5, 2010
Read this as part of my master's thesis. It's wunderbar.
February 2, 2013
"醿斸儭 醿儤醿掅儨醿� 醿愥儬醿樶儭 醿メ儛醿犪儣醿曖償醿氠償醿戓儤醿� 醿掅儯醿氠儤醿� 醿♂儛醿ａ儨醿償. 醿犪儛醿� 醿欋儤 醿犪儛醿� 醿掅儠醿愥儱醿曖儭 醿┽儠醿斸儨醿� 醿斸儨醿愥儢醿斸儞, 醿愥儧醿樶儭 醿償醿� 醿愥儬醿� 醿♂儻醿濁儜醿樶儛-醿愥儬醿�.." 醿樶儦醿樶儛
January 2, 2022
The panther, the knight, Magnifique!.. Hold on. Let's dig into it.
Firstly, I had a deja vu while reading it. There is a striking recursive pattern, Avtandil is a general, he is in love with a princess, it's mutual, he fights for her, yet there are more obstacles, then he meets Tariel, who is also a general, he's also in love with a princess, it's mutual, he wages war for her, and still there are obstacles. It's as if a simple plot was reduplicated, modified, and inserted into itself ) No surprise, the two heroes were worth each other, they cried, wept, fainted, and complained all the time. It's claimed that Tinatin and Nestan-Darejan both describe Queen Tamar, this kind of proves my hypothesis. I could further speculate that their lovers were also the same.
Nevertheless, the principal protagonist of the poem is Avtandil. He is the driving force, the steadfast, the diehard. Tariel on the other hand is an annoying crybaby. So the book title is a misnomer )
The gender perception was no doubt different back in the day. Men are effeminate and tender, they freely show emotions yet still know how to hold the sword when required. Given the broader middle-eastern tradition to which I believe this work belongs, this is appropriate. The excessive verbosity and melodramatic scenes also go there. At one point I noticed that every time Avtandil meets Tariel, he's fighting a lion or a tiger. I understand it's a literary device, but it's so ridiculously grotesque, I literally laughed my a** off. Finally, the marriages, a lot of festivities, and a happy, happy end. Brr
Now my main criticism. The poem is surely epic, but it's hard to call national. Not only is there not a single reference to the Georgians, Georgia, no toponymy, no anthroponymy, but it also looks far from the political and geopolitical realities of medieval Georgia. Raiding the neighbors, imposing levies, befriending with sultanates was hardly the tradition nor the political agenda of the kingdom. There's also no social or religious quest. Is it then not just a sweet oriental fairy tale?
Firstly, I had a deja vu while reading it. There is a striking recursive pattern, Avtandil is a general, he is in love with a princess, it's mutual, he fights for her, yet there are more obstacles, then he meets Tariel, who is also a general, he's also in love with a princess, it's mutual, he wages war for her, and still there are obstacles. It's as if a simple plot was reduplicated, modified, and inserted into itself ) No surprise, the two heroes were worth each other, they cried, wept, fainted, and complained all the time. It's claimed that Tinatin and Nestan-Darejan both describe Queen Tamar, this kind of proves my hypothesis. I could further speculate that their lovers were also the same.
Nevertheless, the principal protagonist of the poem is Avtandil. He is the driving force, the steadfast, the diehard. Tariel on the other hand is an annoying crybaby. So the book title is a misnomer )
The gender perception was no doubt different back in the day. Men are effeminate and tender, they freely show emotions yet still know how to hold the sword when required. Given the broader middle-eastern tradition to which I believe this work belongs, this is appropriate. The excessive verbosity and melodramatic scenes also go there. At one point I noticed that every time Avtandil meets Tariel, he's fighting a lion or a tiger. I understand it's a literary device, but it's so ridiculously grotesque, I literally laughed my a** off. Finally, the marriages, a lot of festivities, and a happy, happy end. Brr
Now my main criticism. The poem is surely epic, but it's hard to call national. Not only is there not a single reference to the Georgians, Georgia, no toponymy, no anthroponymy, but it also looks far from the political and geopolitical realities of medieval Georgia. Raiding the neighbors, imposing levies, befriending with sultanates was hardly the tradition nor the political agenda of the kingdom. There's also no social or religious quest. Is it then not just a sweet oriental fairy tale?
February 28, 2021
They teach this at school, but they never tell children how big of an a**hole Tariel is! And his girlfriend is even worse. Avtandil is super cool dude though. Fortunately, my wife is a great connoisseur of all things Oriental. And, at some point, she started enlightening me every night, just before going to sleep, with the stories from the Knight in the Panther's Skin. There is no bedtime story that can match Shota's masterpiece!
On a more serious note, this is pure genius! But there is no way a school student can fully appreciate the richness of the language, the plot, the context, the wisdom that has penetrated everyday language in a form of aphorisms. Forget aphorisms, some phrases and expressions are even used in today's street-talk, like '醿撫儛醿涐儤醿儳醿溼儛醿犪儞醿�'.
I wish I knew this poem by heart. Then I would have a time-proven wisdom for nearly all life situations. Alas, remembering poems, even very short ones, is not my strong side.
On a more serious note, this is pure genius! But there is no way a school student can fully appreciate the richness of the language, the plot, the context, the wisdom that has penetrated everyday language in a form of aphorisms. Forget aphorisms, some phrases and expressions are even used in today's street-talk, like '醿撫儛醿涐儤醿儳醿溼儛醿犪儞醿�'.
I wish I knew this poem by heart. Then I would have a time-proven wisdom for nearly all life situations. Alas, remembering poems, even very short ones, is not my strong side.
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