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丕賱賲丌爻賷 丕賱賰亘乇賶: 賴丕賲賱鬲 - 毓胤賷賱 - 丕賱賲賱賰 賱賷乇 - 賲賰亘孬
BBC Radio has a unique heritage when it comes to Shakespeare. Since 1923, when the newly formed company broadcast its first full-length play, generations of actors and producers have honed and perfected the craft of making Shakespeare to be heard. Titles include Othello, Hamlet, King Lear, and Macbeth. Revitalized, original, and comprehensive, this is Shakespeare for the new millennium.
830 pages, Hardcover
First published January 1, 1606
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About the author
William Shakespeare
22.2k听books45.8k听followersWilliam Shakespeare was an English playwright, poet, and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "the Bard"). His extant works, including collaborations, consist of some 39 plays, 154 sonnets, three long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare remains arguably the most influential writer in the English language, and his works continue to be studied and reinterpreted.
Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner ("sharer") of a playing company called the Lord Chamberlain's Men, later known as the King's Men after the ascension of King James VI and I of Scotland to the English throne. At age 49 (around 1613), he appears to have retired to Stratford, where he died three years later. Few records of Shakespeare's private life survive; this has stimulated considerable speculation about such matters as his physical appearance, his sexuality, his religious beliefs, and even certain fringe theories as to whether the works attributed to him were written by others.
Shakespeare produced most of his known works between 1589 and 1613. His early plays were primarily comedies and histories and are regarded as some of the best works produced in these genres. He then wrote mainly tragedies until 1608, among them Hamlet, Romeo and Juliet, Othello, King Lear, and Macbeth, all considered to be among the finest works in the English language. In the last phase of his life, he wrote tragicomedies (also known as romances) and collaborated with other playwrights.
Many of Shakespeare's plays were published in editions of varying quality and accuracy during his lifetime. However, in 1623, John Heminge and Henry Condell, two fellow actors and friends of Shakespeare's, published a more definitive text known as the First Folio, a posthumous collected edition of Shakespeare's dramatic works that includes 36 of his plays. Its Preface was a prescient poem by Ben Jonson, a former rival of Shakespeare, that hailed Shakespeare with the now famous epithet: "not of an age, but for all time".
Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner ("sharer") of a playing company called the Lord Chamberlain's Men, later known as the King's Men after the ascension of King James VI and I of Scotland to the English throne. At age 49 (around 1613), he appears to have retired to Stratford, where he died three years later. Few records of Shakespeare's private life survive; this has stimulated considerable speculation about such matters as his physical appearance, his sexuality, his religious beliefs, and even certain fringe theories as to whether the works attributed to him were written by others.
Shakespeare produced most of his known works between 1589 and 1613. His early plays were primarily comedies and histories and are regarded as some of the best works produced in these genres. He then wrote mainly tragedies until 1608, among them Hamlet, Romeo and Juliet, Othello, King Lear, and Macbeth, all considered to be among the finest works in the English language. In the last phase of his life, he wrote tragicomedies (also known as romances) and collaborated with other playwrights.
Many of Shakespeare's plays were published in editions of varying quality and accuracy during his lifetime. However, in 1623, John Heminge and Henry Condell, two fellow actors and friends of Shakespeare's, published a more definitive text known as the First Folio, a posthumous collected edition of Shakespeare's dramatic works that includes 36 of his plays. Its Preface was a prescient poem by Ben Jonson, a former rival of Shakespeare, that hailed Shakespeare with the now famous epithet: "not of an age, but for all time".
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December 3, 2019
Four Great Tragedies: Hamlet / Othello / King Lear / Macbeth, William Shakespeare
Hamlet: One of the most famous plays of all time, the compelling tragedy of the young prince of Denmark who must reconcile his longing for oblivion with his duty to avenge his father鈥檚 murder is one of Shakespeare鈥檚 greatest works. The ghost, Ophelia鈥檚 death and burial, the play within a play, and the breathtaking swordplay are just some of the elements that make Hamlet a masterpiece of the theater.
Othello:This great tragedy of unsurpassed intensity and emotion is played out against Renaissance splendor. The doomed marriage of Desdemona to the Moor Othello is the focus of a storm of tension, incited by the consummately evil villain Iago, that culminates in one of the most deeply moving scenes in theatrical history.
King Lear: Here is the famous and moving tragedy of a king who foolishly divides his kingdom between his two wicked daughters and estranges himself from the young daughter who loves him鈥揳 theatrical spectacle of outstanding proportions.
Macbeth: No dramatist has ever seen with more frightening clarity into the heart and mind of a murderer than has Shakespeare in this brilliant and bloody tragedy of evil. Taunted into asserting his 鈥渕asculinity鈥� by his ambitious wife, Macbeth chooses to embrace the Weird Sisters鈥� prophecy and kill his king鈥揳nd thus, seals his own doom.
Hamlet: One of the most famous plays of all time, the compelling tragedy of the young prince of Denmark who must reconcile his longing for oblivion with his duty to avenge his father鈥檚 murder is one of Shakespeare鈥檚 greatest works. The ghost, Ophelia鈥檚 death and burial, the play within a play, and the breathtaking swordplay are just some of the elements that make Hamlet a masterpiece of the theater.
Othello:This great tragedy of unsurpassed intensity and emotion is played out against Renaissance splendor. The doomed marriage of Desdemona to the Moor Othello is the focus of a storm of tension, incited by the consummately evil villain Iago, that culminates in one of the most deeply moving scenes in theatrical history.
King Lear: Here is the famous and moving tragedy of a king who foolishly divides his kingdom between his two wicked daughters and estranges himself from the young daughter who loves him鈥揳 theatrical spectacle of outstanding proportions.
Macbeth: No dramatist has ever seen with more frightening clarity into the heart and mind of a murderer than has Shakespeare in this brilliant and bloody tragedy of evil. Taunted into asserting his 鈥渕asculinity鈥� by his ambitious wife, Macbeth chooses to embrace the Weird Sisters鈥� prophecy and kill his king鈥揳nd thus, seals his own doom.
March 2, 2013
丕賱賲丌爻賷 丕賱賰亘乇賶
賮賷 賮賷賱賲 (Anonymous) 賰丕賳 賴賳丕賰 賲卮賴丿 賷馗賴乇 毓馗賲丞 丕賱賲爻乇丨 賵賲丿賶 鬲兀孬賷乇賴 毓賱賶 丕賱賳丕爻貙 賰丕賳鬲 賲爻乇丨賷丞 賲賳 賲爻乇丨賷丕鬲 卮賰爻亘賷乇 丕賱鬲丕乇賷禺賷丞 鬲毓乇囟 兀賲丕賲 丕賱噩賲賴賵乇貙 賵賮賷 兀丨丿 賲卮丕賴丿賴丕 賰丕賳 丕賱噩賳賵丿 丕賱廿賳噩賱賷夭 賷賵丕噩賴賵賳 丕賱賮乇賳爻賷賷賳貙 賵兀賲丕賲 丕賱禺胤亘 丕賱丨賲丕爻賷丞 賱賱賲賲孬賱賷賳 賵賲毓丕乇賰 丕賱爻賷賵賮貙 賮賯丿 丕賱噩賲賴賵乇 丕賱廿丨爻丕爻 亘丕賱賵丕賯毓 賮鬲丿丕禺賱 賲毓 丕賱賲爻乇丨賷丞貙 賴丕噩賲 丕賱匕賷賳 賷賲孬賱賵賳 丿賵乇 丕賱賮乇賳爻賷賷賳貙 賵丨賲賱 兀亘胤丕賱賴 毓丕賱賷丕賸貙 賳賮賴賲 賳丨賳 賴匕賴 丕賱鬲兀孬賷乇賷丞 鬲賲丕賲丕賸 毓賳丿賲丕 賳賮賰乇 亘鬲兀孬賷乇 丕賱卮丕卮丞 丕賱囟禺賲丞 (丕賱爻賷賳賲丕) 毓賱賷賳丕貙 毓賳丿賲丕 賳卮丕賴丿 賮賷賱賲丕賸 鬲丕乇賷禺賷丕賸 兀賵 丿乇丕賲賷丕賸 賳卮毓乇 亘賱丨馗丕鬲 丕賱丕賳賮氐丕賱 賴匕賴 毓賳丿賲丕 賳賮賯丿 丕賱廿丨爻丕爻 亘丕賱賵丕賯毓 賵賳丨胤 賮賷 丕賱毓丕賱賲 丕賱匕賷 賷鬲丿賮賯 廿賱賶 兀亘氐丕乇賳丕.
賮賷 賴匕賴 丕賱賲丌爻賷 丕賱兀乇亘毓丞 丕噩鬲賲毓鬲 賰賱 丕賱鬲兀孬賷乇賷丞貙 賵賴匕丕 賲丕 噩毓賱賴丕 兀卮賴乇 兀毓賲丕賱 卮賰爻亘賷乇貙 賵兀賰孬乇賴丕 鬲賲孬賷賱丕賸 毓賱賶 丕賱賲爻乇丨貙 賵鬲兀孬賷乇丕賸 毓賱賶 丕賱兀丿亘丕亍貙 賮賲賳 賲賳丕 賲賳 賱賲 賷爻賲毓 亘賴丕賲賱鬲 賵毓亘丕乇鬲賴 丕賱卮賴賷乇丞 "兀賰賵賳 兀賵 賱丕 兀賰賵賳 ! 賴匕賴 賴賷 丕賱賲爻兀賱丞 !" 賵毓胤賷賱 丕賱睾賷賵乇責 賵賲賰亘孬 丕賱禺丕卅賳責 賵丕賱賲賱賰 賱賷乇 賵賴賵 賷乇賰囟 賮賷 丕賱毓丕氐賮丞責 兀賵 賯乇兀 賲賳 賷卮賷乇 廿賱賷賴賲責 賱賯丿 賯乇兀賳丕 丨賵賱賴賲 賰孬賷乇丕賸 丨鬲賶 氐乇賳丕 賳丨爻亘 兀賳賳丕 賳毓乇賮賴賲 丨鬲賶 賵賱賵 賱賲 賳賯乇兀 毓賳賴賲.
賯亘賱 丕賱亘丿亍貙 爻兀鬲丨丿孬 亘卮賰賱 爻乇賷毓 毓賳 丕賱鬲乇噩賲丞貙 丕賱賳爻禺丞 丕賱鬲賷 賰賳鬲 兀丐賲賱 毓賱賷賴丕 丕賱賰孬賷乇貙 賵賴賷 鬲乇噩賲丞 噩亘乇丕 廿亘乇丕賴賷賲 噩亘乇丕 賵胤亘丕毓丞 丕賱賲丐爻爻丞 丕賱毓乇亘賷丞 賱賱丿乇丕爻丕鬲 賵丕賱賳卮乇 禺賷亘鬲賳賷 賱賱兀爻賮貙 賮賱匕丕 丨丕賵賱鬲 丕賱賯乇丕亍丞 賮賷 鬲乇噩賲丞 丕賱丿賰鬲賵乇 賲丨賲丿 毓賵囟 賱賴丕賲賱鬲貙 賵禺賱賷賱 賲胤乇丕賳 賱賲賰亘孬貙 賵賱賰賳賷 毓丕夭賲 毓賱賶 丕賱丨氐賵賱 毓賱賶 鬲乇噩賲丕鬲 丕賱丿賰鬲賵乇 賲丨賲丿 毓賳丕賳賷 賱賴匕賴 丕賱賲爻乇丨賷丕鬲 丕賱兀乇亘毓 賵廿毓丕丿丞 賯乇丕亍鬲賴丕 賱鬲毓賵賷囟 賲丕 賮賯丿鬲賴 賲賳 賲鬲毓丞.
賵丕賱丌賳 賱賳賳鬲賯賱 廿賱賶 丕賱丿丕賳賲丕乇賰貙 廿賱賶 賯賱毓丞 兀賱爻賷賳賵乇 賮賷 賱賷賱丞 賯丕乇爻丞 丨賷孬 賷鬲噩賵賱 卮亘丨 睾乇賷亘.
賴丕賲賱鬲: 兀賰賵賳 兀賵 賱丕 兀賰賵賳 ! 賴匕賴 賴賷 丕賱賲爻兀賱丞 !!
賷卮鬲賴乇 賴丕賲賱鬲 亘爻丐丕賱賴 賴匕丕貙 賵丕賱匕賷 賷亘丿賵 賱賳丕 爻丐丕賱丕賸 賵噩賵丿賷丕賸貙 賵廿賳 賰丕賳 亘毓囟 丕賱賳賯丕丿 賷乇賵賳 賮賷賴 廿卮丕乇丞 廿賱賶 乇睾亘丞 丿丕禺賱賷丞 亘丕賱丕賳鬲丨丕乇貙 賵賱賰賳 賱賲賻 賴匕丕 賰賱賴責 賲丕 丕賱匕賷 賷丿賮毓 兀賲賷乇 丕賱丿丕賳賲丕乇賰 廿賱賶 丕賱鬲賮賰賷乇 亘丕賱丕賳鬲丨丕乇責
賴賳丕 鬲鬲噩賱賶 毓馗賲丞 賵噩賲丕賱 賴匕賴 丕賱賲爻乇丨賷丞 丕賱賲匕賴賱丞貙 賴丕賲賱鬲 賵賴賵 丕亘賳 賱賲賱賰 丕賱丿丕賳賲丕乇賰 賷毓丕賳賷 賲賳 丕賰鬲卅丕亘 丨丕丿 亘爻亘亘 賵賮丕丞 賵丕賱丿賴 丕賱賲賱賰貙 賵夭賵丕噩 兀賲賴 賲賳 丕賱賲賱賰 丕賱噩丿賷丿 (賰賱丕賵丿賷賵爻)貙 賵賴賵 毓賲 賴丕賲賱鬲 賮賷 匕丕鬲 丕賱賵賯鬲貙 賲丕 賷卮毓乇 亘賴 賴丕賲賱鬲 賴賵 兀賳 賵丕賱丿賴 氐丕乇 賲賳爻賷丕賸 賮賷 馗乇賮 卮賴乇賷賳 賮賯胤貙 賱賯丿 氐丕乇 賴賳丕賰 賲賱賰 噩丿賷丿貙 賵夭賵噩 噩丿賷丿 賱兀賲賴貙 賴匕賴 丕賱賲卮丕毓乇 賷賮噩乇賴丕 馗賴賵乇 賱卮亘丨 賵丕賱丿賴 賮賷 廿丨丿賶 丕賱賱賷丕賱賷貙 賷禺亘乇賴 丕賱卮亘丨 亘兀賳賴 賯鬲賱 睾丿乇丕賸 賵兀賳 賯丕鬲賱賴 賴賵 丕賱賲賱賰 丕賱噩丿賷丿 賰賱丕賵丿賷賵爻貙 賵賷胤丕賱亘賴 亘丕賱孬兀乇 賱賴貙 賴賳丕 賷賯毓 賴丕賲賱鬲 賮賷 丨賷乇丞 賰亘賷乇丞貙 賴賱 賷賲賰賳賴 兀賳 賷兀禺匕 亘賰賱丕賲 卮亘丨貙 賵賷賯賵賲 毓賱賶 兀爻丕爻賴 亘賯鬲賱 毓賲賴責 丕賱賲賱賰責 賰孬賷乇丕賸 賲丕 賷毓乇囟 賱賳丕 丕賱賳賯丕丿 賴丕賲賱鬲 賮賷 卮禺氐賷丞 丕賱賲鬲乇丿丿貙 丕賱囟毓賷賮貙 賵賷賯丕乇賳賵賳 亘賷賳賴 賵亘賷賳 賱丕賷乇鬲爻 丕亘賳 亘賵賱賵賳賷賵爻 丕賱匕賷 賱賲 賷鬲爻丕亍賱 賰孬賷乇丕賸 賵賱賲 賷賯賲 亘兀賷 禺胤賵丕鬲 丨匕乇丞 賵廿賳賲丕 爻丕乇毓 賱賷賳鬲賯賲 賱賲賯鬲賱 賵丕賱丿賴貙 賵賱賰賳 亘乇兀賷賷 賴匕丕 賯氐賵乇 賮賷 賮賴賲 卮禺氐賷丞 賴丕賲賱鬲貙 賮賴賵 賱賲 賷賰賳 囟毓賷賮丕賸 賵賲丕 鬲賲 賲賳 兀丨丿丕孬 賮賷 丕賱賲爻乇丨賷丞 賷孬亘鬲 匕賱賰貙 賴賵 賰丕賳 毓賯賱丕賳賷丕賸貙 丕賱氐乇丕毓 亘賷賳 毓賯賱賴 賵賲卮丕毓乇賴 賷丐禺乇 賯乇丕乇丕鬲賴 賵賷噩毓賱賴丕 鬲兀鬲賷 賮賷 賳馗乇 毓氐乇 卮賰爻亘賷乇 賲鬲兀禺乇丞 噩丿丕賸貙 賵丕賱賲卮賴丿 丕賱匕賷 賷賯賮 賮賷賴 賴丕賲賱鬲 亘丕賱賯乇亘 賲賳 賰賱丕賵丿賷賵爻 丕賱乇丕賰毓 賵賷丨丿孬 賳賮爻賴 亘賯鬲賱賴貙 賵賱賰賳 賷丐噩賱 匕賱賰 賱兀爻亘丕亘 賷夭賳賴丕 亘毓賯賱賴 噩賷丿丕賸 賴賷 丿賱賷賱 毓賱賶 賴匕丕 丕賱氐乇丕毓 丕賱乇賴賷亘 丕賱匕賷 賷丿賵乇 丿丕禺賱 賴丕賲賱鬲貙 賷丨丕賵賱 賴丕賲賱鬲 丕賱丨氐賵賱 毓賱賶 丿賱賷賱 毓賱賶 賲丕 賯丕賱賴 丕賱卮亘丨貙 賮賷賳馗賲 賲爻乇丨賷丞 鬲毓乇囟 賮賷 丕賱賯氐乇貙 賵賷噩毓賱 賯氐鬲賴丕 賯氐丞 賲賯鬲賱 賵丕賱丿賴貙 賵賴丿賮賴 賴賵 丕賰鬲卮丕賮 鬲兀孬賷乇 匕賱賰 毓賱賶 毓賲賴貙 賴賱 爻賷乇鬲亘賰 賵賷鬲兀孬乇 毓賳丿賲丕 賷乇賶 噩乇賷賲鬲賴 鬲賲孬賱 兀賲丕賲賴貙 廿賳 丨丿孬 賴匕丕 賮賴賵 丿賱賷賱 毓賱賶 噩乇賲賴貙 賵亘丕賱賮毓賱 賷氐丿賯 賰賱丕賲 丕賱卮亘丨貙 鬲亘丿賵 賱賳丕 丕賱兀賲賵乇 賲賳 賴賳丕 亘爻賷胤丞貙 賵賱賰賳 賰兀賷 賲爻乇丨賷丞 丿乇丕賲賷丞 賴賳丕賰 鬲毓賯賷丿丕鬲 兀禺乇賶貙 賮賴丕賲賱鬲 丕賱匕賷 賰丕賳 賷丿毓賷 禺賱丕賱 賴匕賴 丕賱賮鬲乇丞 賰賱賴丕 丕賱噩賳賵賳 丨鬲賶 賱丕 賷爻毓賶 毓賲賴 賱賱鬲禺賱氐 賲賳賴貙 賷賯鬲賱 禺胤卅丕賸 丕賱賵夭賷乇 亘賵賱賵賳賷賵爻 丕賱匕賷 賰丕賳 賷禺鬲賮賷 賮賷 睾乇賮丞 丕賱賲賱賰丞 賵乇丕亍 爻鬲丕乇丞貙 賱賷鬲賳氐鬲 毓賱賶 丨丿賷孬賴丕 賲毓 賴丕賲賱鬲貙 賴匕丕 賷噩毓賱 丕亘賳丞 亘賵賱賵賳賷賵爻 兀賵賮賷賱賷丕 丕賱鬲賷 鬲毓卮賯 賴丕賲賱鬲貙 鬲噩賳 賵鬲賲賵鬲 睾乇賯丕賸貙 賵賷噩毓賱 丕亘賳賴 賱丕賷乇鬲爻 賷兀鬲賷 爻丕毓賷丕賸 賱賱丕賳鬲賯丕賲貙 賷賯賳毓 丕賱賲賱賰 賱丕賷乇鬲爻 亘丕賱鬲馗丕賴乇 亘兀賳賴 爻丕賲丨 賴丕賲賱鬲貙 賵兀賳 賷賯賵賲 亘賲賳丕夭賱鬲賴 賮賷 賲毓乇賰丞 亘丕賱爻賷賵賮 丨賷孬 賷賲賰賳賴 兀賳 賷噩乇丨賴 亘爻賷賮 賲爻賲賵賲貙 賵丨鬲賶 賷鬲兀賰丿 丕賱賲賱賰 賲賳 賲賯鬲賱 賴丕賲賱鬲 賷囟毓 兀賷囟丕賸 爻賲丕賸 賮賷 卮乇丕亘賴貙 鬲亘丿兀 丕賱賲賳丕夭賱丞貙 賮鬲卮乇亘 丕賱賲賱賰丞 賮賷 賱丨馗丞 丨賲丕爻 賲賳 賰兀爻 賴丕賲賱鬲 賮鬲亘丿兀 亘丕賱丕丨鬲囟丕乇貙 賷噩乇丨 賱丕賷乇鬲爻 賴丕賲賱鬲貙 賵兀孬賳丕亍 丕賱賳夭丕賱 鬲爻賯胤 爻賷賵賮賴賲丕貙 賮賷丨氐賱 賴丕賲賱鬲 毓賱賶 爻賷賮 賱丕賷乇鬲爻 賵賷噩乇丨賴 亘賴貙 賷鬲亘賷賳 賱賱噩賲賷毓 賵噩賵丿 禺賷丕賳丞 毓賳丿賲丕 鬲賲賵鬲 丕賱賲賱賰丞 賵賴賷 鬲乇丿丿 兀賳賴 鬲賲 鬲爻賲賷賲賴丕貙 賱丕賷乇鬲爻 丕賱匕賷 賷毓乇賮 兀賳賴 爻賷賲賵鬲 丕賱丌賳 賷禺亘乇 賴丕賲賱鬲 亘賲丐丕賲乇丞 丕賱賲賱賰 囟丿賴貙 賮賷胤毓賳 賴丕賲賱鬲 丕賱賲賱賰 亘丕賱爻賷賮 丕賱賲爻賲賵賲 賵賱丕 賷賰鬲賮賷 亘賴匕丕貙 亘賱 賷爻賯賷賴 賲賳 丕賱賰兀爻 丕賱賲爻賲賵賲貙 賵賴賰匕丕 鬲賳鬲賴賷 丕賱賲爻乇丨賷丞 亘賲賯鬲賱 噩賲賷毓 兀亘胤丕賱賴丕.
廿賳 丕賱爻丐丕賱 丕賱匕賷 爻賷孬賵乇 賱丿賷賳丕 賰賯乇丕亍 兀賵 賲鬲丕亘毓賷賳貙 賴賵 賴賱 兀禺胤兀 賴丕賲賱鬲 亘毓賯賱丕賳賷鬲賴責 賴賱 賰丕賳 賷噩亘 兀賳 賷賳丿賮毓 賵乇丕亍 毓賵丕胤賮賴 賵賷賯囟賷 毓賱賶 丕賱賲賱賰 賲賳匕 丕賱亘丿丕賷丞責 賴賱 賴賵 亘鬲兀禺乇賴 賲爻丐賵賱 毓賳 賴匕賴 丕賱賲匕亘丨丞責 廿賳 丕賱丨囟丕乇丞 丕賱丨丿賷孬丞 賰賱賴丕 亘賳賷鬲 毓賱賶 鬲兀噩賷賱賷賳貙 鬲兀噩賷賱 丕賱賱匕丞 亘丕賱毓賲賱 丕賱卮丕賯貙 賵鬲兀噩賷賱 丕賱丕賳鬲賯丕賲 亘丕賱賲丨丕賰賲 賵丕賱毓丿丕賱丞 丕賱鬲賷 賷噩亘 兀賳 賷胤亘賯賴丕 丕賱賲噩鬲賲毓貙 賱賯丿 賮賯丿 賴丕賲賱鬲 丕賱毓丿丕賱丞 賱兀賳賴 賰丕賳 賷毓賷卮 賮賷 丿賵賱丞 賯乇賵爻胤賷丞貙 丕賱賲賱賰 賮賷賴丕 賲胤賱賯 丕賱爻賱胤丞貙 賮賱匕丕 丕賱丕賳鬲賯丕賲 賱丕 賷賲賰賳 兀賳 賷鬲賲 廿賱丕 毓賱賶 賷丿 丕賱賲睾丿賵乇 亘賴貙 賵賴丕賲賱鬲 睾丿乇 亘賴 毓賲賴 賲乇鬲賷賳貙 亘賯鬲賱賴 賵丕賱丿賴 賵夭賵丕噩賴 賲賳 賵丕賱丿鬲賴貙 賵賱兀賳 賴丕賲賱鬲 賱賲 賷爻丕乇毓 賮賷 丕賳鬲賯丕賲賴貙 賲丕鬲鬲 兀賵賮賷賱賷丕 賵亘賵賱賵賳賷賵爻 賵賱丕賷乇鬲爻 賵兀禺賷乇丕賸 賲丕鬲鬲 兀賲賴 丕賱賲賱賰丞 賵賲丕鬲 賴賵貙 賰賱 賴匕丕 賯亘賱 兀賳 賷賲賵鬲 丕賱賲噩乇賲 丕賱丨賯賷賯賷.
丕賱賲賱賰 賱賷乇
廿匕丕 賰丕賳鬲 賲賵囟賵毓丞 賴丕賲賱鬲 賴賷 丕賱丕賳鬲賯丕賲 兀賵 丕賱氐乇丕毓 亘賷賳 丕賱毓丕胤賮丞 賵丕賱毓賯賱貙 賮廿賳 賲賵囟賵毓丞 丕賱賲賱賰 賱賷乇 賴賷 丕賱爻匕丕噩丞貙 鬲氐丿賷賯 丕賱廿賳爻丕賳 丕賱賰賱丕賲 丕賱匕賷 賷賯丕賱 賱賴 賱賲噩乇丿 兀賳賴 賷乇賷丿賴貙 賵丕賱睾囟亘 賲賳 丕賱賰賱賲丕鬲 丕賱氐丕丿賯丞 丕賱鬲賷 賷賯賵賱賴丕 賱賳丕 賲賳 賷丨亘賵賳賳丕貙 廿匕丕 賰丕賳 賴匕丕 賮賷 丨賯 丕賱賳丕爻 丕賱毓丕丿賷賷賳 賳賯賷氐丞貙 賮賴賵 賮賷 丨賯 賲賱賰 賰丕乇孬丞貙 賮賴丕 賳丨賳 兀賲丕賲 賲賱賰 爻丕匕噩 賷賯乇乇 毓賳丿賲丕 賰亘乇 賮賷 丕賱爻賳 丕賱鬲賳丕夭賱 毓賳 丕賱丨賰賲貙 賵鬲爻賱賷賲 賲賲賱賰鬲賴 賱亘賳丕鬲賴 丕賱孬賱丕孬貙 乇賷噩賳 賵睾賵賳乇賷賱 賵賰賵乇丿賷賱賷丕貙 賮賷爻兀賱賴賳 毓賳 賲賯丿丕乇 丨亘賴賳 賱賴 賮鬲賯賵賱 賱賴 丕賱兀賵賱賶 賵丕賱孬丕賳賷丞 賰賱丕賲丕賸 夭丕卅賮丕賸 賵賱賰賳賴 賷乇囟賷賴貙 亘賷賳賲丕 鬲賯賵賱 賰賵乇丿賷賱賷丕 丕賱鬲賷 鬲丨亘賴 賮毓賱丕賸 賰賱丕賲丕賸 毓丕丿賷丕賸 亘賱丕 賲亘丕賱睾丕鬲 賵亘丿賱 兀賳 賷毓噩亘賴 氐丿賯賴丕貙 賷睾囟亘 賵賷賯乇乇 丨乇賲丕賳賴丕 賲賳 丕賱廿乇孬貙 賵賷賯爻賲 丕賱賲賲賱賰丞 亘賷賳 乇賷噩賳 賵睾賵賳乇賷賱貙 賵毓賳丿賲丕 賷毓鬲乇囟 兀禺賱氐 乇噩丕賱賴 (廿賷乇賱 賰賳鬲) 賷賳賮賷賴貙 賵賱丨爻賳 丨馗 賰賵乇丿賷賱賷丕 兀賳賴 賰丕賳 賯丿 鬲賯丿賲 賱賴丕 丕孬賳丕賳 賯亘賱 賴匕賴 丕賱兀丨丿丕孬貙 賷鬲乇丕噩毓 兀丨丿賴賲丕 亘毓丿賲丕 丨乇賲鬲 丕賱廿乇孬 亘賷賳賲丕 賷亘賯賶 丕賱孬丕賳賷 賵賴賵 賲賱賰 賮乇賳爻丕 賵賷鬲夭賵噩賴丕 賲毓噩亘丕賸 亘氐丿賯賴丕.
鬲亘丿兀 賲兀爻丕丞 丕賱賲賱賰 賱賷乇貙 賮賲毓 賮賯丿丕賳賴 賱賱爻賱胤丞 鬲亘丿兀 乇賷噩賳 賵睾賵賳乇賷賱 亘鬲噩乇賷丿賴 賲賳 賰賱 賲丕 兀亘賯丕賴 賱賳賮爻賴 賲賳 乇噩丕賱 賵賲丕賱貙 廿賳賴 賮賷 賳馗乇賴賲丕 毓噩賵夭 禺乇賮 賲鬲賱丕賮貙 賴賰匕丕 賷賮賯丿 賱賷乇 丕丨鬲乇丕賲賴貙 賱賯丿 氐丕乇 賲賱賰丕賸 爻丕亘賯丕賸貙 亘賱 氐丕乇 鬲賯乇賷亘丕賸 賱丕 卮賷亍.
賵賮賷賲丕 賰丕賳 丕賱賲賱賰 賱賷乇 賷鬲毓乇囟 賱賱毓賯賵賯 賲賳 丕亘賳鬲賷賴貙 賴丕 賴賵 毓賱賶 丕賱噩丕賳亘 丕賱丌禺乇 廿賷乇賱 睾賱賵爻鬲乇 賷鬲毓乇囟 賱賲賰賷丿丞 賲賳 丕亘賳賴 睾賷乇 丕賱卮乇毓賷 廿丿賲賵賳丿貙 賷亘丿兀 廿丿賲賵賳丿 亘丕賱丕丨鬲賷丕賱 毓賱賶 賵丕賱丿賴 賵廿賷賴丕賲賴 兀賳 丕亘賳賴 丕賱卮乇毓賷 賵賵乇賷孬賴 廿丿睾丕乇 賷乇睾亘 亘賯鬲賱賴 賵丕賱丕爻鬲賷賱丕亍 毓賱賶 兀賲賱丕賰賴貙 賵賷夭賵乇 賮賷 爻亘賷賱 匕賱賰 乇爻丕賱丞 賵賴噩賵賲丕賸 毓賱賶 丕賱賯氐乇貙 毓賳丿賴丕 賷賯鬲賳毓 丕賱兀亘 賮賷 爻匕丕噩丞 鬲卮丕亘賴 爻匕丕噩丞 丕賱賲賱賰 賱賷乇貙 賮賷毓賱賳 丕亘賳賴 廿丿睾丕乇 禺丕乇噩丕賸貙 賵廿丿賲賵賳丿 賵乇賷孬賴 丕賱賵丨賷丿.
廿賷乇賱 賰賳鬲 丕賱匕賷 賷毓賵丿 賲鬲賳賰乇丕賸 賷賯丿賲 賳賮爻賴 禺丕丿賲丕賸 賱賱賲賱賰 賱賷乇 丕賱匕賷 賷禺乇噩 賮賷 賲卮賴丿 卮賴賷乇 亘毓丿 賰賲 賲賳 丕賱廿賴丕賳丕鬲 丕賱鬲賷 鬲賱賯丕賴丕 賴丕卅賲丕賸 毓賱賶 賵噩賴賴 賮賷 丕賱亘乇賷丞 賮賷 噩賵 毓丕氐賮貙 賮賷賲丕 賷賰賲賱 廿丿賲賵賳丿 賲丐丕賲乇鬲賴 囟丿 賵丕賱丿賴貙 賵賷鬲賲賰賳 賲賳 廿賯賳丕毓 乇賷噩賳 賵夭賵噩賴丕 丿賵賯 賰賵乇賳賵賵賱 賵睾賵賳乇賷賱 亘兀賳 賵丕賱丿賴 禺丕卅賳貙 賵兀賳賴 賷乇丕爻賱 賲賱賰 賮乇賳爻丕 丿丕毓賷丕賸 廿賷丕賴 賱睾夭賵 廿賳噩賱鬲乇丕貙 賵賴賵 賲丕 賷鬲賵丕賮賯 亘丕賱賮毓賱 賲毓 廿賳夭丕賱 賱賱噩賷卮 丕賱賮乇賳爻賷 毓賱賶 丕賱卮賵丕胤卅 丕賱廿賳噩賱賷夭賷丞貙 賷鬲賲 丕賱賯亘囟 毓賱賶 睾賱賵爻鬲乇 賵賷爻賲賱 丿賵賯 賰賵乇賳賵賵賱 夭賵噩 乇賷噩賳 毓賷賳丕賴貙 賮賷賴丕噩賲 禺丕丿賲 賰賵乇賳賵賵賱 賵賷賯囟賷 毓賱賷賴貙 亘賷賳賲丕 賷鬲乇賰 睾賱賵爻鬲乇 賱賷賴賷賲 亘丿賵乇賴 毓賱賶 賵噩賴賴 賮賷 丕賱亘乇賷丞 丨賷孬 賷賱鬲賯賷 亘丕亘賳賴 廿丿睾丕乇 丕賱賲鬲賳賰乇 賵賱賰賳賴 賱丕 賷鬲毓乇賮 毓賱賷賴.
賴丕 賴賲 丕賱丌亘丕亍 丕賱爻匕噩貙 賷賴賷賲賵賳 賮賷 丕賱亘乇賷丞貙 賮賯丿 賱賷乇 賲賱賰賴 賵賯賷賲鬲賴貙 賵賮賯丿 睾賱賵爻鬲乇 兀賲賱丕賰賴 賵亘氐乇賴貙 亘毓丿賲丕 兀毓賲賶 丕賱賲購賱賰 賵丕賱胤賲毓 兀亘賳丕卅賴賲貙 賵賮賷 賴匕賴 丕賱賵丨卮丞 賱賲 賷賰賳 賲毓賴賲 廿賱丕 丕賱賲禺賱氐賷賳 賱賴賲.
毓賱賶 噩丕賳亘 丌禺乇 賰丕賳鬲 丕賱兀禺鬲丕賳 鬲鬲丌賲乇丕賳 毓賱賶 亘毓囟賴賲丕 賮賷 爻亘賷賱 丕賱夭賵丕噩 賲賳 廿丿賲賵賳丿貙 賮乇賷噩賳 丕賱兀乇賲賱丞 丕賱丌賳 亘毓丿 賲賯鬲賱 夭賵噩賴丕 賴賷 丕賱兀賯乇亘貙 賮賱匕丕 鬲禺胤胤 睾賵賳乇賷賱 賱賱鬲禺賱氐 賲賳 夭賵噩賴丕 丿賵賯 丌賱亘賳賷貙 賵賱賰賳 賷賰卮賮 夭賵噩賴丕 賲丨丕賵賱鬲賴丕 賴匕賴.
鬲鬲爻丕乇毓 丕賱兀賲賵乇 賷兀禺匕 (廿賷乇賱 賰賳鬲) 丕賱賲賱賰 賱賷乇 廿賱賶 丕賱噩賷卮 丕賱賮乇賳爻賷 丕賱匕賷 鬲賯賵丿賴 丕亘賳鬲賴 賰賵乇丿賷賱賷丕貙 鬲亘丿兀 丕賱賲毓乇賰丞 賵賱賰賳 賷賴夭賲 丕賱噩賷卮 丕賱賮乇賳爻賷 賵賷賯毓 丕賱賲賱賰 賱賷乇 賵丕亘賳鬲賴 兀爻賷乇丕賳貙 賮賷兀賲乇 廿丿賲賵賳丿 亘廿毓丿丕賲賴賲丕貙 亘毓丿 丕賱賲毓乇賰丞 鬲丨丿孬 丕賱賲賵丕噩賴丞 亘賷賳 丕賱賲賳鬲氐乇賷賳 賮丿賵賯 丌賱亘賳賷 賷賵丕噩賴 夭賵噩鬲賴 亘賲丨丕賵賱鬲賴丕 丕賱鬲禺賱氐 賲賳賴貙 賮鬲賴乇亘 賵鬲賳鬲丨乇 賮賷賲丕 亘毓丿貙 賵賱賰賳賴丕 鬲爻賲賲 兀禺鬲賴丕 賯亘賱 賴匕丕貙 廿丿睾丕乇 丕賱匕賷 賮賯丿 賵丕賱丿賴 賵丕賱匕賷 爻丕毓丿 丿賵賯 丌賱亘賳賷 賮賷 賰卮賮 賲丐丕賲乇丞 夭賵噩鬲賴 毓賱賷賴 賷鬲賯丕鬲賱 賲毓 廿丿賲賵賳丿 賵賷賯囟賷 毓賱賷賴貙 賷丨丕賵賱 丿賵賯 丌賱亘賳賷 廿賳賯丕匕 賱賷乇 賵丕亘賳鬲賴 賲賳 丨賰賲 丕賱廿毓丿丕賲 賵賱賰賳 賰賵乇丿賷賱賷丕 賯鬲賱鬲 賵賱賷乇 賲丕鬲 丨夭賳丕賸 毓賱賷賴丕貙 賷丕賴... 兀賷 噩孬孬 禺賱賮鬲賴丕 丕賱爻匕丕噩丞 !!
毓胤賷賱
賲賵囟賵毓丞 毓胤賷賱 賴賷 丕賱睾賷乇丞 賵丕賱爻匕丕噩丞 賰匕賱賰貙 賮毓胤賷賱 丕賱賯丕卅丿 丕賱賲睾乇亘賷 賮賷 噩賷卮 丕賱亘賳丿賯賷丞貙 賷爻鬲爻賱賲 亘卮賰賱 睾乇賷亘 賱賵爻丕賵爻 丨丕賲賱 乇丕賷鬲賴 賷丕睾賵 丕賱匕賷 賷賯賳毓賴 兀賳 夭賵噩鬲賴 丕賱噩賲賷賱丞 丿賷丿賲賵賳丞 鬲禺賵賳賴 賲毓 囟丕亘胤賴 賰丕爻賷賵貙 賷賮毓賱 賷丕睾賵 匕賱賰 賰賷 賷賳鬲賯賲 賲賳 鬲賮囟賷賱 毓胤賷賱 賱賰丕爻賷賵 毓賱賷賴貙 賵賷爻鬲禺丿賲 賮賷 鬲丨賯賷賯 兀賴丿丕賮賴 爻賷丿丕賸 亘賳丿賯賷丕賸 賷丿毓賶 乇賵丿乇賷睾賵 賷毓卮賯 丿賷丿賲賵賳丞 賵賷鬲賲賳賶 丕賱賵氐賵賱 廿賱賷賴丕貙 賵賷丨賯丿 賮賷 匕丕鬲 丕賱賵賯鬲 毓賱賶 毓胤賷賱 賱兀賳賴 賷卮賰 亘兀賳 夭賵噩鬲賴 禺丕賳鬲賴 賲毓賴.
鬲丿賵乇 兀丨丿丕孬 丕賱賯氐丞 賮賷賲丕 亘賷賳 丕賱亘賳丿賯賷丞 賵賯亘乇氐貙 丨賷孬 賷匕賴亘 毓胤賷賱 賱賷乇丿 睾夭賵丕賸 毓孬賲丕賳賷丕賸貙 賯乇丕亍丞 丕賱兀丨丿丕孬 丕賱鬲賷 鬲賯賵丿 廿賱賶 賯鬲賱 毓胤賷賱 賱夭賵噩鬲賴 丿賷丿賲賵賳丞貙 賵丕賳賰卮丕賮 兀賱丕毓賷亘 賷丕睾賵 賵丕賱丨賰賲 毓賱賷賴 亘丕賱廿毓丿丕賲貙 鬲噩毓賱賳丕 賳卮毓乇 亘兀賳 賴匕賴 丕賱賲爻乇丨賷丞 賴賷 兀賰孬乇 丕賱賲丌爻賷 丕賮鬲毓丕賱丕賸 賱賱兀丨丿丕孬貙 賮卮賰爻亘賷乇 賲孬賱丕賸 賷噩毓賱 賷丕睾賵 賷鬲丨丿孬 賲毓 賰丕爻賷賵 毓賳 賮鬲丕丞 鬲丿毓賶 亘賷丕賳賰丕貙 鬲胤丕乇丿賴 胤賷賱丞 丕賱賵賯鬲 賵賴賵 賱丕 賷乇賷丿賴丕貙 賮賷賲丕 賷禺鬲賮賷 毓胤賷賱 賱賷爻鬲賲毓 賱賴賲丕貙 賵乇睾賲 賰賱 賴匕丕 賵乇睾賲 兀賳 亘賷丕賳賰丕 鬲馗賴乇 賵鬲鬲丿禺賱 廿賱丕 兀賳 毓胤賷賱 賷氐賱 廿賱賶 丕賯鬲賳丕毓 兀賳 賰丕爻賷賵 賷鬲丨丿孬 毓賳 丿賷丿賲賵賳丞貙 賵兀賳賴丕 鬲禺賵賳賴 亘丕賱賮毓賱貙 賮賷賯鬲賱賴丕 睾賷乇丞貙 孬賲 賷賯鬲賱 賳賮爻賴 亘毓丿 匕賱賰.
賲賰亘孬
賲賵囟賵毓丞 賲賰亘孬 賴賷 丕賱胤賲賵丨 丕賱匕賷 賷賯賵丿 氐丕丨亘賴 廿賱賶 丕賱賴丕賵賷丞貙 賲賰亘孬 賯丕卅丿 丕賱噩賷卮 丕賱丕爻賰鬲賱賳丿賷 丕賱匕賷 乇亘丨 賱鬲賵賴 賲毓乇賰丞 賲賴賲丞貙 賷賱鬲賯賷 賮賷 胤乇賷賯 毓賵丿鬲賴 賲毓 氐丕丨亘賴 亘丕賳賰賵 丕賱賯丕卅丿 丕賱丌禺乇 賱賱噩賷卮 丕賱丕爻賰鬲賱賳丿賷 亘孬賱丕孬 爻丕丨乇丕鬲貙 鬲賱賯賷 賱賴賲 丕賱爻丕丨乇丕鬲 亘賳亘賵亍丞貙 賷鬲賳亘卅賳 亘兀賳 賲賰亘孬 爻賷氐亘丨 兀賲賷乇丕賸 賱賰賵丿賵乇 賵賲賳 孬賲 賲賱賰丕賸貙 賵賷鬲賳亘卅賳 賱亘丕賳賰賵 亘兀賳賴 賵丕賱丿 賱爻賱爻賱丞 賲賳 丕賱賲賱賵賰 賵賱賰賳賴 賴賵 賳賮爻賴 賱賳 賷氐亘丨 賲賱賰丕賸貙 賴匕賴 丕賱賳亘賵亍丞 鬲鬲賱亘爻 賲賰亘孬 鬲賲丕賲丕賸 毓賳丿賲丕 賷氐賱 廿賱賷賴 賲亘毓賵孬 賲賳 丕賱賲賱賰 丿賳賰賳 賷亘賱睾賴 亘兀賳賴 毓賷賳 兀賲賷乇丕賸 賱賰賵丿賵乇 賲賰丕賮卅丞 賱丕賳鬲氐丕乇賴貙 賱賯丿 鬲丨賯賯鬲 丕賱賳亘賵亍丞 丕賱兀賵賱賶.
丕賱賲賱賰 丕賱賮禺賵乇 亘賯丕卅丿賴 丕賱賰亘賷乇 賷賯乇乇 兀賳 賷亘丕鬲 賱賷賱鬲賴 賮賷 賯賱毓丞 賲賰亘孬貙 賴賳丕 鬲亘丿兀 夭賵噩丞 賲賰亘孬 丕賱鬲賷 兀禺亘乇賴丕 夭賵噩賴丕 亘賳亘賵亍丞 丕賱爻丕丨乇丕鬲 賮賷 廿賯賳丕毓賴 亘丕睾鬲賷丕賱 丕賱賲賱賰 賵丕賱丨氐賵賱 毓賱賶 丕賱毓乇卮 毓丕噩賱丕賸貙 賷丨丕賵賱 賲賰亘孬 賲丿丕賮毓鬲賴丕 賵賱賰賳賴丕 鬲賯賳毓賴貙 賮賷賯賵賲 亘胤毓賳 丕賱賲賱賰 賵廿賱氐丕賯 丕賱鬲賴賲丞 亘丨乇丕爻 丕賱賲賱賰 丕賱爻賰丕乇賶 鬲賱賰 丕賱賱賷賱丞貙 賵賷賯鬲賱賴賲 亘毓丿 丕賰鬲卮丕賮 丕賱噩乇賷賲丞 丨鬲賶 賱丕 賷孬亘鬲賵丕 亘乇丕亍鬲賴賲貙 丕亘賳丕 丕賱賲賱賰 丕賱賱匕丕賳 毓乇賮丕 亘賲賯鬲賱 賵丕賱丿賴賲丕 賷賴乇亘丕賳 禺賵賮丕賸 賲賳 賷賯鬲賱丕 賴賲丕 亘丿賵乇賴賲丕貙 毓賳丿賴丕 賷禺賱賵 丕賱胤乇賷賯 賱賱毓乇卮 賵賷氐亘丨 賲賰亘孬 丕賱賲賱賰 丕賱噩丿賷丿.
賷鬲匕賰乇 賲賰亘孬 兀賳 賳亘賵亍鬲賴 鬲丨賯賯鬲貙 賮賱匕丕 爻鬲鬲丨賯賯 賳亘賵亍丞 亘丕賳賰賵 兀賷囟丕賸 賮賷禺胤胤 賱丕睾鬲賷丕賱賴 賴賵 賵丕亘賳賴 賮賱賷丕賳爻貙 賮賷丿毓賵賴賲 廿賱賶 丨賮賱丞 賷賯賷賲賴丕 賵賷囟毓 賮賷 胤乇賷賯賴賲 賯鬲賱丞貙 賵亘丕賱賮毓賱 賷賯鬲賱 亘丕賳賰賵 賮賷賲丕 賷賮乇 丕亘賳賴貙 賵賷亘丿賵 兀賳 卮賰爻亘賷乇 氐丕乇 賲睾乇賲丕賸 亘丕賱兀卮亘丕丨 賱兀賳 卮亘丨 亘丕賳賰賵 賷馗賴乇 賮賷 丕賱賯氐乇 賵賷鬲賱丕毓亘 亘兀毓氐丕亘 賲賰亘孬 丨鬲賶 鬲囟胤乇 夭賵噩鬲賴 廿賱賶 廿賷賯丕賮 丕賱丨賮賱.
賷匕賴亘 賲賰亘孬 賱賱賯丕亍 丕賱爻丕丨乇丕鬲 賵賷胤賱亘 賲賳賴賳 兀賳 賷禺亘乇賳賴 亘賲爻鬲賯亘賱賴貙 賮鬲禺亘乇賴 賰賱 賲賳賴賳 亘賳亘賵亍丞貙 丕賱兀賵賱賶 兀賳 賷丨匕乇 賲賳 賲賰丿賮 鈥� 賵賴賵 兀賲賷乇 賵兀丨丿 乇噩丕賱 丕賱賲賱賰 丕賱爻丕亘賯貙 賷卮賰 賮賷 賲賰亘孬 -貙 賵丕賱孬丕賳賷丞 兀賳賴 賲丕 賲賳 賵賱賷丿 賱丕賲乇兀丞 爻賷丐匕賷賴貙 賵丕賱孬丕賱孬丞 兀賳賴 賱賳 賷賯賴乇 兀亘丿丕賸 丨鬲賶 鬲夭丨賮 睾丕亘丞 亘賷乇賳丕賲 廿賱賶 鬲賱丞 丿賳爻賷賳丕賳貙 丕賱賳亘賵亍鬲賷賳 丕賱兀禺賷乇鬲賷賳 鬲噩毓賱丕賳 賲賰亘孬 賷乇鬲丕丨貙 賲丕 賲賳 廿賳爻丕賳 廿賱丕 賵賴賵 賵賱賷丿 賱丕賲乇兀丞貙 賵賰賷賮 賷賲賰賳 賱睾丕亘丞 兀賳 鬲鬲丨乇賰 賲賳 賲賰丕賳賴丕責
賷亘丕卮乇 賲賰亘孬 丕賱鬲禺賱氐 賲賳 丕賱鬲賴丿賷丿 丕賱賵丨賷丿貙 賵賴賵 賲賰丿賮 丕賱賴丕乇亘 廿賱賶 廿賳噩賱鬲乇丕貙 賮賷乇爻賱 賲賳 賷賯鬲賱 夭賵噩鬲賴 賵兀胤賮丕賱賴貙 賲賲丕 賷噩毓賱 賲賰丿賮 賷賳囟賲 廿賱賶 噩賷卮 賷夭丨賮 賲賳 廿賳噩賱鬲乇丕 毓賱賶 丕爻賰鬲賱賳丿丕 賰賵賳賴 賲丕賱賰賵賲 丕亘賳 丕賱賲賱賰 丕賱賲睾丿賵乇貙 賷氐賱 丕賱噩賷卮 廿賱賶 睾丕亘丞 亘賷乇賳丕賲貙 賮賷賯賵賲 丕賱噩賷卮 亘賯胤毓 丕賱兀卮噩丕乇 賵丕賱夭丨賮 賵賴賵 賲禺鬲賮賺 禺賱賮賴丕貙 賴丕 賴賷 睾丕亘丞 亘賷乇賳丕賲 鬲鬲丨乇賰 賰賲丕 賯丕賱鬲 丕賱賳亘賵亍丞.
兀孬賳丕亍 賴匕賴 丕賱兀丨丿丕孬 鬲鬲毓匕亘 夭賵噩丞 賲賰亘孬 亘匕賰乇賶 丕賱噩乇丕卅賲 丕賱鬲賷 丕乇鬲賰亘鬲賴丕 賴賷 賵夭賵噩賴丕貙 賮鬲亘丿兀 亘丕賱爻賷乇 賵賴賷 賳丕卅賲丞貙 賵賲丨丕賵賱丞 睾爻賱 賷丿賷賴丕 賲賳 丿賲丕亍 賵賴賲賷丞 鬲乇賶 兀賳賴丕 鬲賱胤禺賴丕 丨鬲賶 鬲噩賳 賵鬲賳鬲丨乇.
賱賯丿 鬲丨賯賯 賳氐賮 丕賱毓丿丕賱丞 賵亘賯賷 賳氐賮賴丕 丕賱丌禺乇貙 賷鬲賵丕噩賴 丕賱噩賷卮丕賳 賮賷賴夭賲 丕賱噩賷卮 丕賱丕爻賰鬲賱賳丿賷貙 賲賰亘孬 丕賱匕賷 賷乇賶 兀賳賴 賱丕 賷賲賰賳 兀賳 賷賯鬲賱賴 賲賵賱賵丿 賲賳 丕賲乇兀丞 賰賲丕 鬲賯賵賱 丕賱賳亘賵亍丞 賷鬲丨丿賶 賲賰丿賮貙 丕賱匕賷 賷賮丕噩卅賴 亘兀賳賴 賱賲 鬲賱丿賴 兀賲賴 賮毓賱賷丕賸 賱兀賳賴 賵賱丿 亘賯賷氐乇賷丞貙 賵賴賰匕丕 賷賯鬲賱 賲賰亘孬貙 賵賷爻鬲毓賷丿 賲丕賱賰賵賲 丨賰賲 賵丕賱丿賴.
賰賲丕 賳賱丕丨馗 賰丕賳鬲 賰賱 賲丌爻賷 卮賰爻亘賷乇貙 賲丌爻賷 賯氐賵乇貙 氐乇丕毓丕鬲 毓賱賶 丕賱爻賱胤丞貙 兀禺 賷賯鬲賱 兀禺賵賴貙 兀賵 賲賱賰 鬲鬲賳賰乇 賱賴 亘賳丕鬲賴貙 兀賵 賯丕卅丿 毓爻賰乇賷 賰亘賷乇 賷賯鬲賱 夭賵噩鬲賴 丕賱賲爻賰賷賳丞貙 兀賵 賯丕卅丿 毓爻賰乇賷 丌禺乇 賷鬲禺賱氐 賲賳 丕賱賲賱賰 賱賷氐賱 廿賱賶 丕賱毓乇卮貙 賵鬲賵夭毓鬲 賲賵囟賵毓丕鬲賴丕 賲丕 亘賷賳 氐乇丕毓 丕賱毓賯賱 賵丕賱毓丕胤賮丞貙 賵丕賱爻匕丕噩丞 賵丕賱毓賯賵賯貙 賵丕賱睾賷乇丞 賵丕賱禺賷丕賳丞貙 廿賳賴丕 賲鬲毓丞 賱賱賯乇丕亍丞貙 賵廿賳賴丕 兀賲鬲毓 毓賳丿賲丕 鬲卮丕賴丿 毓賱賶 賲爻乇丨 丨賷孬 賷賳賮禺 賲賲孬賱 亘丕乇毓 丕賱乇賵丨 賮賷 丕賱賰賱賲丕鬲貙 丨賷孬 鬲乇賶 兀賲丕賲賰 賴丕賲賱鬲 賵鬲爻丕丐賱丕鬲賴貙 丕賱賲賱賰 賱賷乇 賵睾囟亘賴 賵噩賳賵賳賴貙 毓胤賷賱 賵丕賱睾賷乇丞 賵丕賱睾囟亘 鬲兀賰賱賴 賵鬲丿賮毓賴 賱賯鬲賱 丨亘賷亘鬲賴貙 丕賱賱賷丿賷 賲賰亘孬 賵賴賷 鬲丨丕賵賱 睾爻賱 賷丿賷賴丕 賲賳 丕賱丿賲丕亍 丕賱賵賴賲賷丞 丕賱鬲賷 鬲睾胤賷賴丕貙 賱賱兀爻賮 兀賳 胤睾丕丞 賴匕賴 丕賱兀賷丕賲 賱賷爻 賱賴賲 賲丕 賱賱賷丿賷 賲賰亘孬 賲賳 囟賲賷乇貙 賮賱匕丕 鬲亘丿賵 賱賴賲 兀賷丿賷賴賲 賳丕氐毓丞 賰賷丿 胤賮賱 賵賱賷丿.
賮賷 賮賷賱賲 (Anonymous) 賰丕賳 賴賳丕賰 賲卮賴丿 賷馗賴乇 毓馗賲丞 丕賱賲爻乇丨 賵賲丿賶 鬲兀孬賷乇賴 毓賱賶 丕賱賳丕爻貙 賰丕賳鬲 賲爻乇丨賷丞 賲賳 賲爻乇丨賷丕鬲 卮賰爻亘賷乇 丕賱鬲丕乇賷禺賷丞 鬲毓乇囟 兀賲丕賲 丕賱噩賲賴賵乇貙 賵賮賷 兀丨丿 賲卮丕賴丿賴丕 賰丕賳 丕賱噩賳賵丿 丕賱廿賳噩賱賷夭 賷賵丕噩賴賵賳 丕賱賮乇賳爻賷賷賳貙 賵兀賲丕賲 丕賱禺胤亘 丕賱丨賲丕爻賷丞 賱賱賲賲孬賱賷賳 賵賲毓丕乇賰 丕賱爻賷賵賮貙 賮賯丿 丕賱噩賲賴賵乇 丕賱廿丨爻丕爻 亘丕賱賵丕賯毓 賮鬲丿丕禺賱 賲毓 丕賱賲爻乇丨賷丞貙 賴丕噩賲 丕賱匕賷賳 賷賲孬賱賵賳 丿賵乇 丕賱賮乇賳爻賷賷賳貙 賵丨賲賱 兀亘胤丕賱賴 毓丕賱賷丕賸貙 賳賮賴賲 賳丨賳 賴匕賴 丕賱鬲兀孬賷乇賷丞 鬲賲丕賲丕賸 毓賳丿賲丕 賳賮賰乇 亘鬲兀孬賷乇 丕賱卮丕卮丞 丕賱囟禺賲丞 (丕賱爻賷賳賲丕) 毓賱賷賳丕貙 毓賳丿賲丕 賳卮丕賴丿 賮賷賱賲丕賸 鬲丕乇賷禺賷丕賸 兀賵 丿乇丕賲賷丕賸 賳卮毓乇 亘賱丨馗丕鬲 丕賱丕賳賮氐丕賱 賴匕賴 毓賳丿賲丕 賳賮賯丿 丕賱廿丨爻丕爻 亘丕賱賵丕賯毓 賵賳丨胤 賮賷 丕賱毓丕賱賲 丕賱匕賷 賷鬲丿賮賯 廿賱賶 兀亘氐丕乇賳丕.
賮賷 賴匕賴 丕賱賲丌爻賷 丕賱兀乇亘毓丞 丕噩鬲賲毓鬲 賰賱 丕賱鬲兀孬賷乇賷丞貙 賵賴匕丕 賲丕 噩毓賱賴丕 兀卮賴乇 兀毓賲丕賱 卮賰爻亘賷乇貙 賵兀賰孬乇賴丕 鬲賲孬賷賱丕賸 毓賱賶 丕賱賲爻乇丨貙 賵鬲兀孬賷乇丕賸 毓賱賶 丕賱兀丿亘丕亍貙 賮賲賳 賲賳丕 賲賳 賱賲 賷爻賲毓 亘賴丕賲賱鬲 賵毓亘丕乇鬲賴 丕賱卮賴賷乇丞 "兀賰賵賳 兀賵 賱丕 兀賰賵賳 ! 賴匕賴 賴賷 丕賱賲爻兀賱丞 !" 賵毓胤賷賱 丕賱睾賷賵乇責 賵賲賰亘孬 丕賱禺丕卅賳責 賵丕賱賲賱賰 賱賷乇 賵賴賵 賷乇賰囟 賮賷 丕賱毓丕氐賮丞責 兀賵 賯乇兀 賲賳 賷卮賷乇 廿賱賷賴賲責 賱賯丿 賯乇兀賳丕 丨賵賱賴賲 賰孬賷乇丕賸 丨鬲賶 氐乇賳丕 賳丨爻亘 兀賳賳丕 賳毓乇賮賴賲 丨鬲賶 賵賱賵 賱賲 賳賯乇兀 毓賳賴賲.
賯亘賱 丕賱亘丿亍貙 爻兀鬲丨丿孬 亘卮賰賱 爻乇賷毓 毓賳 丕賱鬲乇噩賲丞貙 丕賱賳爻禺丞 丕賱鬲賷 賰賳鬲 兀丐賲賱 毓賱賷賴丕 丕賱賰孬賷乇貙 賵賴賷 鬲乇噩賲丞 噩亘乇丕 廿亘乇丕賴賷賲 噩亘乇丕 賵胤亘丕毓丞 丕賱賲丐爻爻丞 丕賱毓乇亘賷丞 賱賱丿乇丕爻丕鬲 賵丕賱賳卮乇 禺賷亘鬲賳賷 賱賱兀爻賮貙 賮賱匕丕 丨丕賵賱鬲 丕賱賯乇丕亍丞 賮賷 鬲乇噩賲丞 丕賱丿賰鬲賵乇 賲丨賲丿 毓賵囟 賱賴丕賲賱鬲貙 賵禺賱賷賱 賲胤乇丕賳 賱賲賰亘孬貙 賵賱賰賳賷 毓丕夭賲 毓賱賶 丕賱丨氐賵賱 毓賱賶 鬲乇噩賲丕鬲 丕賱丿賰鬲賵乇 賲丨賲丿 毓賳丕賳賷 賱賴匕賴 丕賱賲爻乇丨賷丕鬲 丕賱兀乇亘毓 賵廿毓丕丿丞 賯乇丕亍鬲賴丕 賱鬲毓賵賷囟 賲丕 賮賯丿鬲賴 賲賳 賲鬲毓丞.
賵丕賱丌賳 賱賳賳鬲賯賱 廿賱賶 丕賱丿丕賳賲丕乇賰貙 廿賱賶 賯賱毓丞 兀賱爻賷賳賵乇 賮賷 賱賷賱丞 賯丕乇爻丞 丨賷孬 賷鬲噩賵賱 卮亘丨 睾乇賷亘.
賴丕賲賱鬲: 兀賰賵賳 兀賵 賱丕 兀賰賵賳 ! 賴匕賴 賴賷 丕賱賲爻兀賱丞 !!
賷卮鬲賴乇 賴丕賲賱鬲 亘爻丐丕賱賴 賴匕丕貙 賵丕賱匕賷 賷亘丿賵 賱賳丕 爻丐丕賱丕賸 賵噩賵丿賷丕賸貙 賵廿賳 賰丕賳 亘毓囟 丕賱賳賯丕丿 賷乇賵賳 賮賷賴 廿卮丕乇丞 廿賱賶 乇睾亘丞 丿丕禺賱賷丞 亘丕賱丕賳鬲丨丕乇貙 賵賱賰賳 賱賲賻 賴匕丕 賰賱賴責 賲丕 丕賱匕賷 賷丿賮毓 兀賲賷乇 丕賱丿丕賳賲丕乇賰 廿賱賶 丕賱鬲賮賰賷乇 亘丕賱丕賳鬲丨丕乇責
賴賳丕 鬲鬲噩賱賶 毓馗賲丞 賵噩賲丕賱 賴匕賴 丕賱賲爻乇丨賷丞 丕賱賲匕賴賱丞貙 賴丕賲賱鬲 賵賴賵 丕亘賳 賱賲賱賰 丕賱丿丕賳賲丕乇賰 賷毓丕賳賷 賲賳 丕賰鬲卅丕亘 丨丕丿 亘爻亘亘 賵賮丕丞 賵丕賱丿賴 丕賱賲賱賰貙 賵夭賵丕噩 兀賲賴 賲賳 丕賱賲賱賰 丕賱噩丿賷丿 (賰賱丕賵丿賷賵爻)貙 賵賴賵 毓賲 賴丕賲賱鬲 賮賷 匕丕鬲 丕賱賵賯鬲貙 賲丕 賷卮毓乇 亘賴 賴丕賲賱鬲 賴賵 兀賳 賵丕賱丿賴 氐丕乇 賲賳爻賷丕賸 賮賷 馗乇賮 卮賴乇賷賳 賮賯胤貙 賱賯丿 氐丕乇 賴賳丕賰 賲賱賰 噩丿賷丿貙 賵夭賵噩 噩丿賷丿 賱兀賲賴貙 賴匕賴 丕賱賲卮丕毓乇 賷賮噩乇賴丕 馗賴賵乇 賱卮亘丨 賵丕賱丿賴 賮賷 廿丨丿賶 丕賱賱賷丕賱賷貙 賷禺亘乇賴 丕賱卮亘丨 亘兀賳賴 賯鬲賱 睾丿乇丕賸 賵兀賳 賯丕鬲賱賴 賴賵 丕賱賲賱賰 丕賱噩丿賷丿 賰賱丕賵丿賷賵爻貙 賵賷胤丕賱亘賴 亘丕賱孬兀乇 賱賴貙 賴賳丕 賷賯毓 賴丕賲賱鬲 賮賷 丨賷乇丞 賰亘賷乇丞貙 賴賱 賷賲賰賳賴 兀賳 賷兀禺匕 亘賰賱丕賲 卮亘丨貙 賵賷賯賵賲 毓賱賶 兀爻丕爻賴 亘賯鬲賱 毓賲賴責 丕賱賲賱賰責 賰孬賷乇丕賸 賲丕 賷毓乇囟 賱賳丕 丕賱賳賯丕丿 賴丕賲賱鬲 賮賷 卮禺氐賷丞 丕賱賲鬲乇丿丿貙 丕賱囟毓賷賮貙 賵賷賯丕乇賳賵賳 亘賷賳賴 賵亘賷賳 賱丕賷乇鬲爻 丕亘賳 亘賵賱賵賳賷賵爻 丕賱匕賷 賱賲 賷鬲爻丕亍賱 賰孬賷乇丕賸 賵賱賲 賷賯賲 亘兀賷 禺胤賵丕鬲 丨匕乇丞 賵廿賳賲丕 爻丕乇毓 賱賷賳鬲賯賲 賱賲賯鬲賱 賵丕賱丿賴貙 賵賱賰賳 亘乇兀賷賷 賴匕丕 賯氐賵乇 賮賷 賮賴賲 卮禺氐賷丞 賴丕賲賱鬲貙 賮賴賵 賱賲 賷賰賳 囟毓賷賮丕賸 賵賲丕 鬲賲 賲賳 兀丨丿丕孬 賮賷 丕賱賲爻乇丨賷丞 賷孬亘鬲 匕賱賰貙 賴賵 賰丕賳 毓賯賱丕賳賷丕賸貙 丕賱氐乇丕毓 亘賷賳 毓賯賱賴 賵賲卮丕毓乇賴 賷丐禺乇 賯乇丕乇丕鬲賴 賵賷噩毓賱賴丕 鬲兀鬲賷 賮賷 賳馗乇 毓氐乇 卮賰爻亘賷乇 賲鬲兀禺乇丞 噩丿丕賸貙 賵丕賱賲卮賴丿 丕賱匕賷 賷賯賮 賮賷賴 賴丕賲賱鬲 亘丕賱賯乇亘 賲賳 賰賱丕賵丿賷賵爻 丕賱乇丕賰毓 賵賷丨丿孬 賳賮爻賴 亘賯鬲賱賴貙 賵賱賰賳 賷丐噩賱 匕賱賰 賱兀爻亘丕亘 賷夭賳賴丕 亘毓賯賱賴 噩賷丿丕賸 賴賷 丿賱賷賱 毓賱賶 賴匕丕 丕賱氐乇丕毓 丕賱乇賴賷亘 丕賱匕賷 賷丿賵乇 丿丕禺賱 賴丕賲賱鬲貙 賷丨丕賵賱 賴丕賲賱鬲 丕賱丨氐賵賱 毓賱賶 丿賱賷賱 毓賱賶 賲丕 賯丕賱賴 丕賱卮亘丨貙 賮賷賳馗賲 賲爻乇丨賷丞 鬲毓乇囟 賮賷 丕賱賯氐乇貙 賵賷噩毓賱 賯氐鬲賴丕 賯氐丞 賲賯鬲賱 賵丕賱丿賴貙 賵賴丿賮賴 賴賵 丕賰鬲卮丕賮 鬲兀孬賷乇 匕賱賰 毓賱賶 毓賲賴貙 賴賱 爻賷乇鬲亘賰 賵賷鬲兀孬乇 毓賳丿賲丕 賷乇賶 噩乇賷賲鬲賴 鬲賲孬賱 兀賲丕賲賴貙 廿賳 丨丿孬 賴匕丕 賮賴賵 丿賱賷賱 毓賱賶 噩乇賲賴貙 賵亘丕賱賮毓賱 賷氐丿賯 賰賱丕賲 丕賱卮亘丨貙 鬲亘丿賵 賱賳丕 丕賱兀賲賵乇 賲賳 賴賳丕 亘爻賷胤丞貙 賵賱賰賳 賰兀賷 賲爻乇丨賷丞 丿乇丕賲賷丞 賴賳丕賰 鬲毓賯賷丿丕鬲 兀禺乇賶貙 賮賴丕賲賱鬲 丕賱匕賷 賰丕賳 賷丿毓賷 禺賱丕賱 賴匕賴 丕賱賮鬲乇丞 賰賱賴丕 丕賱噩賳賵賳 丨鬲賶 賱丕 賷爻毓賶 毓賲賴 賱賱鬲禺賱氐 賲賳賴貙 賷賯鬲賱 禺胤卅丕賸 丕賱賵夭賷乇 亘賵賱賵賳賷賵爻 丕賱匕賷 賰丕賳 賷禺鬲賮賷 賮賷 睾乇賮丞 丕賱賲賱賰丞 賵乇丕亍 爻鬲丕乇丞貙 賱賷鬲賳氐鬲 毓賱賶 丨丿賷孬賴丕 賲毓 賴丕賲賱鬲貙 賴匕丕 賷噩毓賱 丕亘賳丞 亘賵賱賵賳賷賵爻 兀賵賮賷賱賷丕 丕賱鬲賷 鬲毓卮賯 賴丕賲賱鬲貙 鬲噩賳 賵鬲賲賵鬲 睾乇賯丕賸貙 賵賷噩毓賱 丕亘賳賴 賱丕賷乇鬲爻 賷兀鬲賷 爻丕毓賷丕賸 賱賱丕賳鬲賯丕賲貙 賷賯賳毓 丕賱賲賱賰 賱丕賷乇鬲爻 亘丕賱鬲馗丕賴乇 亘兀賳賴 爻丕賲丨 賴丕賲賱鬲貙 賵兀賳 賷賯賵賲 亘賲賳丕夭賱鬲賴 賮賷 賲毓乇賰丞 亘丕賱爻賷賵賮 丨賷孬 賷賲賰賳賴 兀賳 賷噩乇丨賴 亘爻賷賮 賲爻賲賵賲貙 賵丨鬲賶 賷鬲兀賰丿 丕賱賲賱賰 賲賳 賲賯鬲賱 賴丕賲賱鬲 賷囟毓 兀賷囟丕賸 爻賲丕賸 賮賷 卮乇丕亘賴貙 鬲亘丿兀 丕賱賲賳丕夭賱丞貙 賮鬲卮乇亘 丕賱賲賱賰丞 賮賷 賱丨馗丞 丨賲丕爻 賲賳 賰兀爻 賴丕賲賱鬲 賮鬲亘丿兀 亘丕賱丕丨鬲囟丕乇貙 賷噩乇丨 賱丕賷乇鬲爻 賴丕賲賱鬲貙 賵兀孬賳丕亍 丕賱賳夭丕賱 鬲爻賯胤 爻賷賵賮賴賲丕貙 賮賷丨氐賱 賴丕賲賱鬲 毓賱賶 爻賷賮 賱丕賷乇鬲爻 賵賷噩乇丨賴 亘賴貙 賷鬲亘賷賳 賱賱噩賲賷毓 賵噩賵丿 禺賷丕賳丞 毓賳丿賲丕 鬲賲賵鬲 丕賱賲賱賰丞 賵賴賷 鬲乇丿丿 兀賳賴 鬲賲 鬲爻賲賷賲賴丕貙 賱丕賷乇鬲爻 丕賱匕賷 賷毓乇賮 兀賳賴 爻賷賲賵鬲 丕賱丌賳 賷禺亘乇 賴丕賲賱鬲 亘賲丐丕賲乇丞 丕賱賲賱賰 囟丿賴貙 賮賷胤毓賳 賴丕賲賱鬲 丕賱賲賱賰 亘丕賱爻賷賮 丕賱賲爻賲賵賲 賵賱丕 賷賰鬲賮賷 亘賴匕丕貙 亘賱 賷爻賯賷賴 賲賳 丕賱賰兀爻 丕賱賲爻賲賵賲貙 賵賴賰匕丕 鬲賳鬲賴賷 丕賱賲爻乇丨賷丞 亘賲賯鬲賱 噩賲賷毓 兀亘胤丕賱賴丕.
廿賳 丕賱爻丐丕賱 丕賱匕賷 爻賷孬賵乇 賱丿賷賳丕 賰賯乇丕亍 兀賵 賲鬲丕亘毓賷賳貙 賴賵 賴賱 兀禺胤兀 賴丕賲賱鬲 亘毓賯賱丕賳賷鬲賴責 賴賱 賰丕賳 賷噩亘 兀賳 賷賳丿賮毓 賵乇丕亍 毓賵丕胤賮賴 賵賷賯囟賷 毓賱賶 丕賱賲賱賰 賲賳匕 丕賱亘丿丕賷丞責 賴賱 賴賵 亘鬲兀禺乇賴 賲爻丐賵賱 毓賳 賴匕賴 丕賱賲匕亘丨丞責 廿賳 丕賱丨囟丕乇丞 丕賱丨丿賷孬丞 賰賱賴丕 亘賳賷鬲 毓賱賶 鬲兀噩賷賱賷賳貙 鬲兀噩賷賱 丕賱賱匕丞 亘丕賱毓賲賱 丕賱卮丕賯貙 賵鬲兀噩賷賱 丕賱丕賳鬲賯丕賲 亘丕賱賲丨丕賰賲 賵丕賱毓丿丕賱丞 丕賱鬲賷 賷噩亘 兀賳 賷胤亘賯賴丕 丕賱賲噩鬲賲毓貙 賱賯丿 賮賯丿 賴丕賲賱鬲 丕賱毓丿丕賱丞 賱兀賳賴 賰丕賳 賷毓賷卮 賮賷 丿賵賱丞 賯乇賵爻胤賷丞貙 丕賱賲賱賰 賮賷賴丕 賲胤賱賯 丕賱爻賱胤丞貙 賮賱匕丕 丕賱丕賳鬲賯丕賲 賱丕 賷賲賰賳 兀賳 賷鬲賲 廿賱丕 毓賱賶 賷丿 丕賱賲睾丿賵乇 亘賴貙 賵賴丕賲賱鬲 睾丿乇 亘賴 毓賲賴 賲乇鬲賷賳貙 亘賯鬲賱賴 賵丕賱丿賴 賵夭賵丕噩賴 賲賳 賵丕賱丿鬲賴貙 賵賱兀賳 賴丕賲賱鬲 賱賲 賷爻丕乇毓 賮賷 丕賳鬲賯丕賲賴貙 賲丕鬲鬲 兀賵賮賷賱賷丕 賵亘賵賱賵賳賷賵爻 賵賱丕賷乇鬲爻 賵兀禺賷乇丕賸 賲丕鬲鬲 兀賲賴 丕賱賲賱賰丞 賵賲丕鬲 賴賵貙 賰賱 賴匕丕 賯亘賱 兀賳 賷賲賵鬲 丕賱賲噩乇賲 丕賱丨賯賷賯賷.
丕賱賲賱賰 賱賷乇
廿匕丕 賰丕賳鬲 賲賵囟賵毓丞 賴丕賲賱鬲 賴賷 丕賱丕賳鬲賯丕賲 兀賵 丕賱氐乇丕毓 亘賷賳 丕賱毓丕胤賮丞 賵丕賱毓賯賱貙 賮廿賳 賲賵囟賵毓丞 丕賱賲賱賰 賱賷乇 賴賷 丕賱爻匕丕噩丞貙 鬲氐丿賷賯 丕賱廿賳爻丕賳 丕賱賰賱丕賲 丕賱匕賷 賷賯丕賱 賱賴 賱賲噩乇丿 兀賳賴 賷乇賷丿賴貙 賵丕賱睾囟亘 賲賳 丕賱賰賱賲丕鬲 丕賱氐丕丿賯丞 丕賱鬲賷 賷賯賵賱賴丕 賱賳丕 賲賳 賷丨亘賵賳賳丕貙 廿匕丕 賰丕賳 賴匕丕 賮賷 丨賯 丕賱賳丕爻 丕賱毓丕丿賷賷賳 賳賯賷氐丞貙 賮賴賵 賮賷 丨賯 賲賱賰 賰丕乇孬丞貙 賮賴丕 賳丨賳 兀賲丕賲 賲賱賰 爻丕匕噩 賷賯乇乇 毓賳丿賲丕 賰亘乇 賮賷 丕賱爻賳 丕賱鬲賳丕夭賱 毓賳 丕賱丨賰賲貙 賵鬲爻賱賷賲 賲賲賱賰鬲賴 賱亘賳丕鬲賴 丕賱孬賱丕孬貙 乇賷噩賳 賵睾賵賳乇賷賱 賵賰賵乇丿賷賱賷丕貙 賮賷爻兀賱賴賳 毓賳 賲賯丿丕乇 丨亘賴賳 賱賴 賮鬲賯賵賱 賱賴 丕賱兀賵賱賶 賵丕賱孬丕賳賷丞 賰賱丕賲丕賸 夭丕卅賮丕賸 賵賱賰賳賴 賷乇囟賷賴貙 亘賷賳賲丕 鬲賯賵賱 賰賵乇丿賷賱賷丕 丕賱鬲賷 鬲丨亘賴 賮毓賱丕賸 賰賱丕賲丕賸 毓丕丿賷丕賸 亘賱丕 賲亘丕賱睾丕鬲 賵亘丿賱 兀賳 賷毓噩亘賴 氐丿賯賴丕貙 賷睾囟亘 賵賷賯乇乇 丨乇賲丕賳賴丕 賲賳 丕賱廿乇孬貙 賵賷賯爻賲 丕賱賲賲賱賰丞 亘賷賳 乇賷噩賳 賵睾賵賳乇賷賱貙 賵毓賳丿賲丕 賷毓鬲乇囟 兀禺賱氐 乇噩丕賱賴 (廿賷乇賱 賰賳鬲) 賷賳賮賷賴貙 賵賱丨爻賳 丨馗 賰賵乇丿賷賱賷丕 兀賳賴 賰丕賳 賯丿 鬲賯丿賲 賱賴丕 丕孬賳丕賳 賯亘賱 賴匕賴 丕賱兀丨丿丕孬貙 賷鬲乇丕噩毓 兀丨丿賴賲丕 亘毓丿賲丕 丨乇賲鬲 丕賱廿乇孬 亘賷賳賲丕 賷亘賯賶 丕賱孬丕賳賷 賵賴賵 賲賱賰 賮乇賳爻丕 賵賷鬲夭賵噩賴丕 賲毓噩亘丕賸 亘氐丿賯賴丕.
鬲亘丿兀 賲兀爻丕丞 丕賱賲賱賰 賱賷乇貙 賮賲毓 賮賯丿丕賳賴 賱賱爻賱胤丞 鬲亘丿兀 乇賷噩賳 賵睾賵賳乇賷賱 亘鬲噩乇賷丿賴 賲賳 賰賱 賲丕 兀亘賯丕賴 賱賳賮爻賴 賲賳 乇噩丕賱 賵賲丕賱貙 廿賳賴 賮賷 賳馗乇賴賲丕 毓噩賵夭 禺乇賮 賲鬲賱丕賮貙 賴賰匕丕 賷賮賯丿 賱賷乇 丕丨鬲乇丕賲賴貙 賱賯丿 氐丕乇 賲賱賰丕賸 爻丕亘賯丕賸貙 亘賱 氐丕乇 鬲賯乇賷亘丕賸 賱丕 卮賷亍.
賵賮賷賲丕 賰丕賳 丕賱賲賱賰 賱賷乇 賷鬲毓乇囟 賱賱毓賯賵賯 賲賳 丕亘賳鬲賷賴貙 賴丕 賴賵 毓賱賶 丕賱噩丕賳亘 丕賱丌禺乇 廿賷乇賱 睾賱賵爻鬲乇 賷鬲毓乇囟 賱賲賰賷丿丞 賲賳 丕亘賳賴 睾賷乇 丕賱卮乇毓賷 廿丿賲賵賳丿貙 賷亘丿兀 廿丿賲賵賳丿 亘丕賱丕丨鬲賷丕賱 毓賱賶 賵丕賱丿賴 賵廿賷賴丕賲賴 兀賳 丕亘賳賴 丕賱卮乇毓賷 賵賵乇賷孬賴 廿丿睾丕乇 賷乇睾亘 亘賯鬲賱賴 賵丕賱丕爻鬲賷賱丕亍 毓賱賶 兀賲賱丕賰賴貙 賵賷夭賵乇 賮賷 爻亘賷賱 匕賱賰 乇爻丕賱丞 賵賴噩賵賲丕賸 毓賱賶 丕賱賯氐乇貙 毓賳丿賴丕 賷賯鬲賳毓 丕賱兀亘 賮賷 爻匕丕噩丞 鬲卮丕亘賴 爻匕丕噩丞 丕賱賲賱賰 賱賷乇貙 賮賷毓賱賳 丕亘賳賴 廿丿睾丕乇 禺丕乇噩丕賸貙 賵廿丿賲賵賳丿 賵乇賷孬賴 丕賱賵丨賷丿.
廿賷乇賱 賰賳鬲 丕賱匕賷 賷毓賵丿 賲鬲賳賰乇丕賸 賷賯丿賲 賳賮爻賴 禺丕丿賲丕賸 賱賱賲賱賰 賱賷乇 丕賱匕賷 賷禺乇噩 賮賷 賲卮賴丿 卮賴賷乇 亘毓丿 賰賲 賲賳 丕賱廿賴丕賳丕鬲 丕賱鬲賷 鬲賱賯丕賴丕 賴丕卅賲丕賸 毓賱賶 賵噩賴賴 賮賷 丕賱亘乇賷丞 賮賷 噩賵 毓丕氐賮貙 賮賷賲丕 賷賰賲賱 廿丿賲賵賳丿 賲丐丕賲乇鬲賴 囟丿 賵丕賱丿賴貙 賵賷鬲賲賰賳 賲賳 廿賯賳丕毓 乇賷噩賳 賵夭賵噩賴丕 丿賵賯 賰賵乇賳賵賵賱 賵睾賵賳乇賷賱 亘兀賳 賵丕賱丿賴 禺丕卅賳貙 賵兀賳賴 賷乇丕爻賱 賲賱賰 賮乇賳爻丕 丿丕毓賷丕賸 廿賷丕賴 賱睾夭賵 廿賳噩賱鬲乇丕貙 賵賴賵 賲丕 賷鬲賵丕賮賯 亘丕賱賮毓賱 賲毓 廿賳夭丕賱 賱賱噩賷卮 丕賱賮乇賳爻賷 毓賱賶 丕賱卮賵丕胤卅 丕賱廿賳噩賱賷夭賷丞貙 賷鬲賲 丕賱賯亘囟 毓賱賶 睾賱賵爻鬲乇 賵賷爻賲賱 丿賵賯 賰賵乇賳賵賵賱 夭賵噩 乇賷噩賳 毓賷賳丕賴貙 賮賷賴丕噩賲 禺丕丿賲 賰賵乇賳賵賵賱 賵賷賯囟賷 毓賱賷賴貙 亘賷賳賲丕 賷鬲乇賰 睾賱賵爻鬲乇 賱賷賴賷賲 亘丿賵乇賴 毓賱賶 賵噩賴賴 賮賷 丕賱亘乇賷丞 丨賷孬 賷賱鬲賯賷 亘丕亘賳賴 廿丿睾丕乇 丕賱賲鬲賳賰乇 賵賱賰賳賴 賱丕 賷鬲毓乇賮 毓賱賷賴.
賴丕 賴賲 丕賱丌亘丕亍 丕賱爻匕噩貙 賷賴賷賲賵賳 賮賷 丕賱亘乇賷丞貙 賮賯丿 賱賷乇 賲賱賰賴 賵賯賷賲鬲賴貙 賵賮賯丿 睾賱賵爻鬲乇 兀賲賱丕賰賴 賵亘氐乇賴貙 亘毓丿賲丕 兀毓賲賶 丕賱賲購賱賰 賵丕賱胤賲毓 兀亘賳丕卅賴賲貙 賵賮賷 賴匕賴 丕賱賵丨卮丞 賱賲 賷賰賳 賲毓賴賲 廿賱丕 丕賱賲禺賱氐賷賳 賱賴賲.
毓賱賶 噩丕賳亘 丌禺乇 賰丕賳鬲 丕賱兀禺鬲丕賳 鬲鬲丌賲乇丕賳 毓賱賶 亘毓囟賴賲丕 賮賷 爻亘賷賱 丕賱夭賵丕噩 賲賳 廿丿賲賵賳丿貙 賮乇賷噩賳 丕賱兀乇賲賱丞 丕賱丌賳 亘毓丿 賲賯鬲賱 夭賵噩賴丕 賴賷 丕賱兀賯乇亘貙 賮賱匕丕 鬲禺胤胤 睾賵賳乇賷賱 賱賱鬲禺賱氐 賲賳 夭賵噩賴丕 丿賵賯 丌賱亘賳賷貙 賵賱賰賳 賷賰卮賮 夭賵噩賴丕 賲丨丕賵賱鬲賴丕 賴匕賴.
鬲鬲爻丕乇毓 丕賱兀賲賵乇 賷兀禺匕 (廿賷乇賱 賰賳鬲) 丕賱賲賱賰 賱賷乇 廿賱賶 丕賱噩賷卮 丕賱賮乇賳爻賷 丕賱匕賷 鬲賯賵丿賴 丕亘賳鬲賴 賰賵乇丿賷賱賷丕貙 鬲亘丿兀 丕賱賲毓乇賰丞 賵賱賰賳 賷賴夭賲 丕賱噩賷卮 丕賱賮乇賳爻賷 賵賷賯毓 丕賱賲賱賰 賱賷乇 賵丕亘賳鬲賴 兀爻賷乇丕賳貙 賮賷兀賲乇 廿丿賲賵賳丿 亘廿毓丿丕賲賴賲丕貙 亘毓丿 丕賱賲毓乇賰丞 鬲丨丿孬 丕賱賲賵丕噩賴丞 亘賷賳 丕賱賲賳鬲氐乇賷賳 賮丿賵賯 丌賱亘賳賷 賷賵丕噩賴 夭賵噩鬲賴 亘賲丨丕賵賱鬲賴丕 丕賱鬲禺賱氐 賲賳賴貙 賮鬲賴乇亘 賵鬲賳鬲丨乇 賮賷賲丕 亘毓丿貙 賵賱賰賳賴丕 鬲爻賲賲 兀禺鬲賴丕 賯亘賱 賴匕丕貙 廿丿睾丕乇 丕賱匕賷 賮賯丿 賵丕賱丿賴 賵丕賱匕賷 爻丕毓丿 丿賵賯 丌賱亘賳賷 賮賷 賰卮賮 賲丐丕賲乇丞 夭賵噩鬲賴 毓賱賷賴 賷鬲賯丕鬲賱 賲毓 廿丿賲賵賳丿 賵賷賯囟賷 毓賱賷賴貙 賷丨丕賵賱 丿賵賯 丌賱亘賳賷 廿賳賯丕匕 賱賷乇 賵丕亘賳鬲賴 賲賳 丨賰賲 丕賱廿毓丿丕賲 賵賱賰賳 賰賵乇丿賷賱賷丕 賯鬲賱鬲 賵賱賷乇 賲丕鬲 丨夭賳丕賸 毓賱賷賴丕貙 賷丕賴... 兀賷 噩孬孬 禺賱賮鬲賴丕 丕賱爻匕丕噩丞 !!
毓胤賷賱
賲賵囟賵毓丞 毓胤賷賱 賴賷 丕賱睾賷乇丞 賵丕賱爻匕丕噩丞 賰匕賱賰貙 賮毓胤賷賱 丕賱賯丕卅丿 丕賱賲睾乇亘賷 賮賷 噩賷卮 丕賱亘賳丿賯賷丞貙 賷爻鬲爻賱賲 亘卮賰賱 睾乇賷亘 賱賵爻丕賵爻 丨丕賲賱 乇丕賷鬲賴 賷丕睾賵 丕賱匕賷 賷賯賳毓賴 兀賳 夭賵噩鬲賴 丕賱噩賲賷賱丞 丿賷丿賲賵賳丞 鬲禺賵賳賴 賲毓 囟丕亘胤賴 賰丕爻賷賵貙 賷賮毓賱 賷丕睾賵 匕賱賰 賰賷 賷賳鬲賯賲 賲賳 鬲賮囟賷賱 毓胤賷賱 賱賰丕爻賷賵 毓賱賷賴貙 賵賷爻鬲禺丿賲 賮賷 鬲丨賯賷賯 兀賴丿丕賮賴 爻賷丿丕賸 亘賳丿賯賷丕賸 賷丿毓賶 乇賵丿乇賷睾賵 賷毓卮賯 丿賷丿賲賵賳丞 賵賷鬲賲賳賶 丕賱賵氐賵賱 廿賱賷賴丕貙 賵賷丨賯丿 賮賷 匕丕鬲 丕賱賵賯鬲 毓賱賶 毓胤賷賱 賱兀賳賴 賷卮賰 亘兀賳 夭賵噩鬲賴 禺丕賳鬲賴 賲毓賴.
鬲丿賵乇 兀丨丿丕孬 丕賱賯氐丞 賮賷賲丕 亘賷賳 丕賱亘賳丿賯賷丞 賵賯亘乇氐貙 丨賷孬 賷匕賴亘 毓胤賷賱 賱賷乇丿 睾夭賵丕賸 毓孬賲丕賳賷丕賸貙 賯乇丕亍丞 丕賱兀丨丿丕孬 丕賱鬲賷 鬲賯賵丿 廿賱賶 賯鬲賱 毓胤賷賱 賱夭賵噩鬲賴 丿賷丿賲賵賳丞貙 賵丕賳賰卮丕賮 兀賱丕毓賷亘 賷丕睾賵 賵丕賱丨賰賲 毓賱賷賴 亘丕賱廿毓丿丕賲貙 鬲噩毓賱賳丕 賳卮毓乇 亘兀賳 賴匕賴 丕賱賲爻乇丨賷丞 賴賷 兀賰孬乇 丕賱賲丌爻賷 丕賮鬲毓丕賱丕賸 賱賱兀丨丿丕孬貙 賮卮賰爻亘賷乇 賲孬賱丕賸 賷噩毓賱 賷丕睾賵 賷鬲丨丿孬 賲毓 賰丕爻賷賵 毓賳 賮鬲丕丞 鬲丿毓賶 亘賷丕賳賰丕貙 鬲胤丕乇丿賴 胤賷賱丞 丕賱賵賯鬲 賵賴賵 賱丕 賷乇賷丿賴丕貙 賮賷賲丕 賷禺鬲賮賷 毓胤賷賱 賱賷爻鬲賲毓 賱賴賲丕貙 賵乇睾賲 賰賱 賴匕丕 賵乇睾賲 兀賳 亘賷丕賳賰丕 鬲馗賴乇 賵鬲鬲丿禺賱 廿賱丕 兀賳 毓胤賷賱 賷氐賱 廿賱賶 丕賯鬲賳丕毓 兀賳 賰丕爻賷賵 賷鬲丨丿孬 毓賳 丿賷丿賲賵賳丞貙 賵兀賳賴丕 鬲禺賵賳賴 亘丕賱賮毓賱貙 賮賷賯鬲賱賴丕 睾賷乇丞貙 孬賲 賷賯鬲賱 賳賮爻賴 亘毓丿 匕賱賰.
賲賰亘孬
賲賵囟賵毓丞 賲賰亘孬 賴賷 丕賱胤賲賵丨 丕賱匕賷 賷賯賵丿 氐丕丨亘賴 廿賱賶 丕賱賴丕賵賷丞貙 賲賰亘孬 賯丕卅丿 丕賱噩賷卮 丕賱丕爻賰鬲賱賳丿賷 丕賱匕賷 乇亘丨 賱鬲賵賴 賲毓乇賰丞 賲賴賲丞貙 賷賱鬲賯賷 賮賷 胤乇賷賯 毓賵丿鬲賴 賲毓 氐丕丨亘賴 亘丕賳賰賵 丕賱賯丕卅丿 丕賱丌禺乇 賱賱噩賷卮 丕賱丕爻賰鬲賱賳丿賷 亘孬賱丕孬 爻丕丨乇丕鬲貙 鬲賱賯賷 賱賴賲 丕賱爻丕丨乇丕鬲 亘賳亘賵亍丞貙 賷鬲賳亘卅賳 亘兀賳 賲賰亘孬 爻賷氐亘丨 兀賲賷乇丕賸 賱賰賵丿賵乇 賵賲賳 孬賲 賲賱賰丕賸貙 賵賷鬲賳亘卅賳 賱亘丕賳賰賵 亘兀賳賴 賵丕賱丿 賱爻賱爻賱丞 賲賳 丕賱賲賱賵賰 賵賱賰賳賴 賴賵 賳賮爻賴 賱賳 賷氐亘丨 賲賱賰丕賸貙 賴匕賴 丕賱賳亘賵亍丞 鬲鬲賱亘爻 賲賰亘孬 鬲賲丕賲丕賸 毓賳丿賲丕 賷氐賱 廿賱賷賴 賲亘毓賵孬 賲賳 丕賱賲賱賰 丿賳賰賳 賷亘賱睾賴 亘兀賳賴 毓賷賳 兀賲賷乇丕賸 賱賰賵丿賵乇 賲賰丕賮卅丞 賱丕賳鬲氐丕乇賴貙 賱賯丿 鬲丨賯賯鬲 丕賱賳亘賵亍丞 丕賱兀賵賱賶.
丕賱賲賱賰 丕賱賮禺賵乇 亘賯丕卅丿賴 丕賱賰亘賷乇 賷賯乇乇 兀賳 賷亘丕鬲 賱賷賱鬲賴 賮賷 賯賱毓丞 賲賰亘孬貙 賴賳丕 鬲亘丿兀 夭賵噩丞 賲賰亘孬 丕賱鬲賷 兀禺亘乇賴丕 夭賵噩賴丕 亘賳亘賵亍丞 丕賱爻丕丨乇丕鬲 賮賷 廿賯賳丕毓賴 亘丕睾鬲賷丕賱 丕賱賲賱賰 賵丕賱丨氐賵賱 毓賱賶 丕賱毓乇卮 毓丕噩賱丕賸貙 賷丨丕賵賱 賲賰亘孬 賲丿丕賮毓鬲賴丕 賵賱賰賳賴丕 鬲賯賳毓賴貙 賮賷賯賵賲 亘胤毓賳 丕賱賲賱賰 賵廿賱氐丕賯 丕賱鬲賴賲丞 亘丨乇丕爻 丕賱賲賱賰 丕賱爻賰丕乇賶 鬲賱賰 丕賱賱賷賱丞貙 賵賷賯鬲賱賴賲 亘毓丿 丕賰鬲卮丕賮 丕賱噩乇賷賲丞 丨鬲賶 賱丕 賷孬亘鬲賵丕 亘乇丕亍鬲賴賲貙 丕亘賳丕 丕賱賲賱賰 丕賱賱匕丕賳 毓乇賮丕 亘賲賯鬲賱 賵丕賱丿賴賲丕 賷賴乇亘丕賳 禺賵賮丕賸 賲賳 賷賯鬲賱丕 賴賲丕 亘丿賵乇賴賲丕貙 毓賳丿賴丕 賷禺賱賵 丕賱胤乇賷賯 賱賱毓乇卮 賵賷氐亘丨 賲賰亘孬 丕賱賲賱賰 丕賱噩丿賷丿.
賷鬲匕賰乇 賲賰亘孬 兀賳 賳亘賵亍鬲賴 鬲丨賯賯鬲貙 賮賱匕丕 爻鬲鬲丨賯賯 賳亘賵亍丞 亘丕賳賰賵 兀賷囟丕賸 賮賷禺胤胤 賱丕睾鬲賷丕賱賴 賴賵 賵丕亘賳賴 賮賱賷丕賳爻貙 賮賷丿毓賵賴賲 廿賱賶 丨賮賱丞 賷賯賷賲賴丕 賵賷囟毓 賮賷 胤乇賷賯賴賲 賯鬲賱丞貙 賵亘丕賱賮毓賱 賷賯鬲賱 亘丕賳賰賵 賮賷賲丕 賷賮乇 丕亘賳賴貙 賵賷亘丿賵 兀賳 卮賰爻亘賷乇 氐丕乇 賲睾乇賲丕賸 亘丕賱兀卮亘丕丨 賱兀賳 卮亘丨 亘丕賳賰賵 賷馗賴乇 賮賷 丕賱賯氐乇 賵賷鬲賱丕毓亘 亘兀毓氐丕亘 賲賰亘孬 丨鬲賶 鬲囟胤乇 夭賵噩鬲賴 廿賱賶 廿賷賯丕賮 丕賱丨賮賱.
賷匕賴亘 賲賰亘孬 賱賱賯丕亍 丕賱爻丕丨乇丕鬲 賵賷胤賱亘 賲賳賴賳 兀賳 賷禺亘乇賳賴 亘賲爻鬲賯亘賱賴貙 賮鬲禺亘乇賴 賰賱 賲賳賴賳 亘賳亘賵亍丞貙 丕賱兀賵賱賶 兀賳 賷丨匕乇 賲賳 賲賰丿賮 鈥� 賵賴賵 兀賲賷乇 賵兀丨丿 乇噩丕賱 丕賱賲賱賰 丕賱爻丕亘賯貙 賷卮賰 賮賷 賲賰亘孬 -貙 賵丕賱孬丕賳賷丞 兀賳賴 賲丕 賲賳 賵賱賷丿 賱丕賲乇兀丞 爻賷丐匕賷賴貙 賵丕賱孬丕賱孬丞 兀賳賴 賱賳 賷賯賴乇 兀亘丿丕賸 丨鬲賶 鬲夭丨賮 睾丕亘丞 亘賷乇賳丕賲 廿賱賶 鬲賱丞 丿賳爻賷賳丕賳貙 丕賱賳亘賵亍鬲賷賳 丕賱兀禺賷乇鬲賷賳 鬲噩毓賱丕賳 賲賰亘孬 賷乇鬲丕丨貙 賲丕 賲賳 廿賳爻丕賳 廿賱丕 賵賴賵 賵賱賷丿 賱丕賲乇兀丞貙 賵賰賷賮 賷賲賰賳 賱睾丕亘丞 兀賳 鬲鬲丨乇賰 賲賳 賲賰丕賳賴丕責
賷亘丕卮乇 賲賰亘孬 丕賱鬲禺賱氐 賲賳 丕賱鬲賴丿賷丿 丕賱賵丨賷丿貙 賵賴賵 賲賰丿賮 丕賱賴丕乇亘 廿賱賶 廿賳噩賱鬲乇丕貙 賮賷乇爻賱 賲賳 賷賯鬲賱 夭賵噩鬲賴 賵兀胤賮丕賱賴貙 賲賲丕 賷噩毓賱 賲賰丿賮 賷賳囟賲 廿賱賶 噩賷卮 賷夭丨賮 賲賳 廿賳噩賱鬲乇丕 毓賱賶 丕爻賰鬲賱賳丿丕 賰賵賳賴 賲丕賱賰賵賲 丕亘賳 丕賱賲賱賰 丕賱賲睾丿賵乇貙 賷氐賱 丕賱噩賷卮 廿賱賶 睾丕亘丞 亘賷乇賳丕賲貙 賮賷賯賵賲 丕賱噩賷卮 亘賯胤毓 丕賱兀卮噩丕乇 賵丕賱夭丨賮 賵賴賵 賲禺鬲賮賺 禺賱賮賴丕貙 賴丕 賴賷 睾丕亘丞 亘賷乇賳丕賲 鬲鬲丨乇賰 賰賲丕 賯丕賱鬲 丕賱賳亘賵亍丞.
兀孬賳丕亍 賴匕賴 丕賱兀丨丿丕孬 鬲鬲毓匕亘 夭賵噩丞 賲賰亘孬 亘匕賰乇賶 丕賱噩乇丕卅賲 丕賱鬲賷 丕乇鬲賰亘鬲賴丕 賴賷 賵夭賵噩賴丕貙 賮鬲亘丿兀 亘丕賱爻賷乇 賵賴賷 賳丕卅賲丞貙 賵賲丨丕賵賱丞 睾爻賱 賷丿賷賴丕 賲賳 丿賲丕亍 賵賴賲賷丞 鬲乇賶 兀賳賴丕 鬲賱胤禺賴丕 丨鬲賶 鬲噩賳 賵鬲賳鬲丨乇.
賱賯丿 鬲丨賯賯 賳氐賮 丕賱毓丿丕賱丞 賵亘賯賷 賳氐賮賴丕 丕賱丌禺乇貙 賷鬲賵丕噩賴 丕賱噩賷卮丕賳 賮賷賴夭賲 丕賱噩賷卮 丕賱丕爻賰鬲賱賳丿賷貙 賲賰亘孬 丕賱匕賷 賷乇賶 兀賳賴 賱丕 賷賲賰賳 兀賳 賷賯鬲賱賴 賲賵賱賵丿 賲賳 丕賲乇兀丞 賰賲丕 鬲賯賵賱 丕賱賳亘賵亍丞 賷鬲丨丿賶 賲賰丿賮貙 丕賱匕賷 賷賮丕噩卅賴 亘兀賳賴 賱賲 鬲賱丿賴 兀賲賴 賮毓賱賷丕賸 賱兀賳賴 賵賱丿 亘賯賷氐乇賷丞貙 賵賴賰匕丕 賷賯鬲賱 賲賰亘孬貙 賵賷爻鬲毓賷丿 賲丕賱賰賵賲 丨賰賲 賵丕賱丿賴.
賰賲丕 賳賱丕丨馗 賰丕賳鬲 賰賱 賲丌爻賷 卮賰爻亘賷乇貙 賲丌爻賷 賯氐賵乇貙 氐乇丕毓丕鬲 毓賱賶 丕賱爻賱胤丞貙 兀禺 賷賯鬲賱 兀禺賵賴貙 兀賵 賲賱賰 鬲鬲賳賰乇 賱賴 亘賳丕鬲賴貙 兀賵 賯丕卅丿 毓爻賰乇賷 賰亘賷乇 賷賯鬲賱 夭賵噩鬲賴 丕賱賲爻賰賷賳丞貙 兀賵 賯丕卅丿 毓爻賰乇賷 丌禺乇 賷鬲禺賱氐 賲賳 丕賱賲賱賰 賱賷氐賱 廿賱賶 丕賱毓乇卮貙 賵鬲賵夭毓鬲 賲賵囟賵毓丕鬲賴丕 賲丕 亘賷賳 氐乇丕毓 丕賱毓賯賱 賵丕賱毓丕胤賮丞貙 賵丕賱爻匕丕噩丞 賵丕賱毓賯賵賯貙 賵丕賱睾賷乇丞 賵丕賱禺賷丕賳丞貙 廿賳賴丕 賲鬲毓丞 賱賱賯乇丕亍丞貙 賵廿賳賴丕 兀賲鬲毓 毓賳丿賲丕 鬲卮丕賴丿 毓賱賶 賲爻乇丨 丨賷孬 賷賳賮禺 賲賲孬賱 亘丕乇毓 丕賱乇賵丨 賮賷 丕賱賰賱賲丕鬲貙 丨賷孬 鬲乇賶 兀賲丕賲賰 賴丕賲賱鬲 賵鬲爻丕丐賱丕鬲賴貙 丕賱賲賱賰 賱賷乇 賵睾囟亘賴 賵噩賳賵賳賴貙 毓胤賷賱 賵丕賱睾賷乇丞 賵丕賱睾囟亘 鬲兀賰賱賴 賵鬲丿賮毓賴 賱賯鬲賱 丨亘賷亘鬲賴貙 丕賱賱賷丿賷 賲賰亘孬 賵賴賷 鬲丨丕賵賱 睾爻賱 賷丿賷賴丕 賲賳 丕賱丿賲丕亍 丕賱賵賴賲賷丞 丕賱鬲賷 鬲睾胤賷賴丕貙 賱賱兀爻賮 兀賳 胤睾丕丞 賴匕賴 丕賱兀賷丕賲 賱賷爻 賱賴賲 賲丕 賱賱賷丿賷 賲賰亘孬 賲賳 囟賲賷乇貙 賮賱匕丕 鬲亘丿賵 賱賴賲 兀賷丿賷賴賲 賳丕氐毓丞 賰賷丿 胤賮賱 賵賱賷丿.
May 18, 2018
兀賳丕 賲孬賱 噩賵丿賷 兀亘賵鬲 丨賷賳 鬲賯賵賱: "賰賳鬲 兀爻賲毓 亘卮賰爻亘賷乇 丿賵賲賸丕貙 賱賰賳賷 賱賲 兀賰賳 兀毓乇賮 兀賳賴 賷賰鬲亘 亘賴匕賴 丕賱噩賵丿丞. 賰賳鬲 兀禺卮賶 兀賳 鬲賰賵賳 卮賴乇鬲賴 兀賰亘乇 賲賲丕 賷爻鬲丨賯!" 賵毓賱賶 丕賱乇睾賲 賲賳 兀賳賳賷 賯乇兀鬲貙 毓賱賶 丕賱毓賰爻 賲賳 噩賵丿賷貙 亘毓囟 兀毓賲丕賱 卮賰爻亘賷乇 賮賷 氐亘丕賷 賲孬賱 賷賵賱賷賵爻 賯賷氐乇 賵鬲賷鬲賵爻 兀賳丿乇賳賷賰賵爻 賵丕賱賲賱賰 賴賳乇賷 丕賱禺丕賲爻 (賵賱丕 兀匕賰乇 賲賳賴丕 卮賷卅賸丕 爻賵賶 毓賳丕賵賷賳賴丕) 賵丿乇爻鬲 賮賷 丕賱氐賮 丕賱毓丕卮乇 賲爻乇丨賷丞 鬲丕噩乇 丕賱亘賳丿賯賷丞 -賵丿乇賾爻鬲賴丕 賱胤賱丕亘賷 賱丕丨賯賸丕- 廿賱丕 兀賳賳賷 賲毓 賴匕丕 丕賱賰鬲丕亘貙 賵丕賱賮囟賱 賱噩賵丿賷貙 丕賰鬲卮賮鬲 卮賰爻亘賷乇 丨賯賸丕貙 賱賱丨丿 丕賱匕賷 噩毓賱賳賷 兀鬲丕亘毓 賲爻賱爻賱 丿賴卮丞 賱賷丨賷賶 丕賱賮禺乇丕賳賷貙 丕賱賲兀禺賵匕 毓賳 丕賱賲賱賰 賱賷乇. 賯丿 賱丕 鬲賰賵賳 賴匕賴 賲乇丕噩毓丞 賱兀毓賲丕賱 卮賰爻亘賷乇 賰賲丕 賷噩亘貙 賱賰賳賴丕 賷賲賰賳 兀賳 鬲賰賵賳 鬲賵氐賷丞 賲賳賷 賵賲賳 噩賵丿賷 兀賷囟賸丕 :)
August 5, 2018
HAMLET
"Sumnjaj da l麓 su zbilja sjajne zvezde ove,
Sumnjaj da li sunce zna putanju svoju;
Sumnjaj da li la啪 se istinom zove;
Ali u ljubav ne posumnjaj moju..."
Mislim da su ovi stihovi, pored
Biti il` ne biti? - pitanje je sad.
jedni od najpoznatijih izjava Hamletovih.
Prvo 膷itanje je bilo obavezno, za 拧kolu, ovo drugo, to je samo za mene.
I dalje nalazim da je poezija, kako anti膷ka, tako i srednjevekovna, 艩ekspirovska, bila prepuna jakih ose膰anja i slabih du拧a i umova. Sumnjam da 膰e se na膰i i jedna pri膷a, pesma, zapis ili 拧ta drugo u kojoj bar neko nije poludeo ili se ubio.
Mada opet, ne zovu se tragedije uzalud.
Mo啪da je ovo ipak komad koji treba i gledati, a ne samo 膷itati ali evo ja, i godinama kasnije, smatram da su mnoge stvari presko膷ene (a trebale su biti ispri膷ane, kako bi se pri膷a bolje do啪ivela);
kako je motiv, u trenutku kazivanja ovog dela, kralja Danske i dalje nepotpuno razja拧njen (bilo je spomena o manjku ose膰anja, ali da li o nedostatku potpunom ili samo u pogledu njegovog brata ne zna se. On tra啪i opro拧taj, zna da je po膷inio greh, a opet ne nalazi dovoljno 膷ove膷nosti u sebi da se kaje. Govori o svojoj kraljici i sre膰i 拧to je sada njegova, a ne njegovog brata, a opet mu je svejedno kada uzima otrovanu 膷a拧u...primera je mnogo, jednostavno nije ostavio dovoljno jak utisak na mene kao zlikovac ove pri膷e);
pojavljivanje duha, na po膷etku tako zna膷ajno, a kasnije mu nema ni traga, pa ni da zahteva osvetu ni da se njome, na posletku, kona膷no zadovolji;
Kraljica je ostala toliko nedore膷en lik, a imala je potencijala biti i sjajan zlikovac (realno je plot twist mogao biti da je ona u膷estvovala u zaveri da joj se prvi mu啪 ubije kada se, nakon samo dva meseca, preudala za njegovog brata i ubicu) ali i neko sposoban za pokajanje ali avaj, za拧to tro拧iti re膷i na 啪enu?
艩to me opet dovodi do Ofelije, devojke koja je bila spremna odre膰i se Hamleta na prvu o膷evu re膷 a opet, nakon o膷eve smrti i svog pada u ludilo, nari膷e za njim i utapa se zbog prezrene ljubavi?
A sam Hamlet...na po膷etku spreman da ubije, zatim se neprestano premi拧lja i mu膷i sebe a onda ni okom ne trepne kada gre拧kom ubije Polonija, u naletu psihi膷kog rastrojstva? Pa ga jo拧 i hladnokrvno negde odvu膷e i sakrije, da bi potom malo plakao pa opet sve zaboravio i 膷udio se Laertovom gnevu?
Uh, mnogo zamerki, ali nije da mi se nije uop拧te dopao, 艩ekspirov na膷in pisanja je jedinstven (mada mi, opet, gorepomenut stih mnogo lep拧e zvu膷i u svom prevodu nego u originalu).
3/5 zvezdica od mene.
KRALJ LIR
膶itano puta - jedan.
Prvi utisci:
Pri膷a po膷inje kao bajka o starom kralju koji ima tri k膰eri pa pita koja ga voli najvi拧e, da mu opi拧e kako i koliko i 拧ta bi u膷inila. Dok se prve dve utrkuju u naki膰enim i pritvornim hvalama, najmla膽a mu odgovara da ga voli taman koliko treba k膰er da voli oca, da ga ne膰e i ne mo啪e lagati. Razgnevljen, kralj (Lir) je odbacuje.
Tada proteruje i Grofa od Kenta, 膷oveka koji se usprotivio kralju govore膰i mu da treba da poslu拧a svoju najmla膽u 膰erku, svoju mezimicu i spozna istinu u njenim re膷ima jer zaista, ona ga voli najvi拧e. Moram priznati da sam ovde po啪elela da on bude glavni junak na拧e pri膷e ali, avaj, vide膰emo.
Predstavljeni su nam i Kralj Francuske i Vojvoda od Burgundije kao Kordelijini (najmla膽a k膰i) prosci. Burgundija je odbacuje nakon 拧to 膷uje da kralj ne膰e dati nikakav miraz za nju ali je zato Kralj Francuske odu拧evljen mladom devojkom i njenom iskreno拧膰i i drage volje je uzima za svoju kraljicu (ovo mi je, moram priznati, bio mali 拧ok, za to doba).
Dalje imamo Edmunda, nezakonitog sina (srednji vek/novi vek, pa 膷ak i ovo na拧e 鈥渕oderno doba鈥� i njihove etikete) Grofa od Glostera.
Izvrsna je ta ludost ovog sveta: kad se na拧oj sre膰i smu膷i, 膷esto usled njene presi膰enosti na拧im vlastitim postupcima, mi krivimo za na拧e neda膰e Sunce, Mesec i zvezde; kao da smo mi nitkovi po nekoj neminovnosti; budale po nebeskoj prinudi; nevaljalci, lopovi i izdajnici zbog nadmo膰i sfera; pijanice, la啪ovi i bludnici zbog nametnute nam pokornosti uticaju planeta; i kao da je sve u 膷emu smo zli podstaknuto nekom natprirodnom silom. Divan izgovor za arhibludnog 膷oveka da svoju pohotljivu sklonost baci na teret neke zvezde! Moj otac se sjedinio sa mojom majkom pod Zmajevim repom; moje ro膽enje se dogodilo pod sazve啪膽em Velikog medveda; iz toga sleduje da sam surov i pohotljiv. Koje拧ta! Bio bih ono 拧to sam 膷ak i da je najdevi膷anskija zvezda na nebeskom svodu svetlucala kad sam se kopilio.
Amin, dru啪e.
Zatim 鈥� Budala, definitivno najgotivniji lik. Sve ti ka啪e, ako si voljan pa啪ljivo da slu拧a拧 i 膷uje拧. Bez dlake na jeziku. 沤ao mi je 拧to je na kraju ostao potpuno zaboravljen.
Edgar, zakoniti sin Grofa od Glostera, nepravedno optu啪en i osu膽en na lutanje. Te拧ko je slu拧ati ga u ulozi lude i prosjaka.
Premda sam na po膷etku razumela Reganu i Gonerilu (dve starije k膰eri) njihovi kasniji postupci su dokazali da su zaista Kordelijine sumnje i strahovi bili opravdani, kao i Budaline i Kentove.
Smenjivanje ludosti i lucidnosti je toliko suptilno da se nekad ne mo啪e ni naslutiti gde jedno zavr拧ava a drugo po膷inje.
Sve u svemu, 4/5 zvezdica.
Magbet
3/5 zvezdica.
Otelo
3/5 zvezdica.
Sveukupno 3-3.5/5 zvezdica.
"Sumnjaj da l麓 su zbilja sjajne zvezde ove,
Sumnjaj da li sunce zna putanju svoju;
Sumnjaj da li la啪 se istinom zove;
Ali u ljubav ne posumnjaj moju..."
Mislim da su ovi stihovi, pored
Biti il` ne biti? - pitanje je sad.
jedni od najpoznatijih izjava Hamletovih.
Prvo 膷itanje je bilo obavezno, za 拧kolu, ovo drugo, to je samo za mene.
I dalje nalazim da je poezija, kako anti膷ka, tako i srednjevekovna, 艩ekspirovska, bila prepuna jakih ose膰anja i slabih du拧a i umova. Sumnjam da 膰e se na膰i i jedna pri膷a, pesma, zapis ili 拧ta drugo u kojoj bar neko nije poludeo ili se ubio.
Mada opet, ne zovu se tragedije uzalud.
Mo啪da je ovo ipak komad koji treba i gledati, a ne samo 膷itati ali evo ja, i godinama kasnije, smatram da su mnoge stvari presko膷ene (a trebale su biti ispri膷ane, kako bi se pri膷a bolje do啪ivela);
kako je motiv, u trenutku kazivanja ovog dela, kralja Danske i dalje nepotpuno razja拧njen (bilo je spomena o manjku ose膰anja, ali da li o nedostatku potpunom ili samo u pogledu njegovog brata ne zna se. On tra啪i opro拧taj, zna da je po膷inio greh, a opet ne nalazi dovoljno 膷ove膷nosti u sebi da se kaje. Govori o svojoj kraljici i sre膰i 拧to je sada njegova, a ne njegovog brata, a opet mu je svejedno kada uzima otrovanu 膷a拧u...primera je mnogo, jednostavno nije ostavio dovoljno jak utisak na mene kao zlikovac ove pri膷e);
pojavljivanje duha, na po膷etku tako zna膷ajno, a kasnije mu nema ni traga, pa ni da zahteva osvetu ni da se njome, na posletku, kona膷no zadovolji;
Kraljica je ostala toliko nedore膷en lik, a imala je potencijala biti i sjajan zlikovac (realno je plot twist mogao biti da je ona u膷estvovala u zaveri da joj se prvi mu啪 ubije kada se, nakon samo dva meseca, preudala za njegovog brata i ubicu) ali i neko sposoban za pokajanje ali avaj, za拧to tro拧iti re膷i na 啪enu?
艩to me opet dovodi do Ofelije, devojke koja je bila spremna odre膰i se Hamleta na prvu o膷evu re膷 a opet, nakon o膷eve smrti i svog pada u ludilo, nari膷e za njim i utapa se zbog prezrene ljubavi?
A sam Hamlet...na po膷etku spreman da ubije, zatim se neprestano premi拧lja i mu膷i sebe a onda ni okom ne trepne kada gre拧kom ubije Polonija, u naletu psihi膷kog rastrojstva? Pa ga jo拧 i hladnokrvno negde odvu膷e i sakrije, da bi potom malo plakao pa opet sve zaboravio i 膷udio se Laertovom gnevu?
Uh, mnogo zamerki, ali nije da mi se nije uop拧te dopao, 艩ekspirov na膷in pisanja je jedinstven (mada mi, opet, gorepomenut stih mnogo lep拧e zvu膷i u svom prevodu nego u originalu).
3/5 zvezdica od mene.
KRALJ LIR
膶itano puta - jedan.
Prvi utisci:
Pri膷a po膷inje kao bajka o starom kralju koji ima tri k膰eri pa pita koja ga voli najvi拧e, da mu opi拧e kako i koliko i 拧ta bi u膷inila. Dok se prve dve utrkuju u naki膰enim i pritvornim hvalama, najmla膽a mu odgovara da ga voli taman koliko treba k膰er da voli oca, da ga ne膰e i ne mo啪e lagati. Razgnevljen, kralj (Lir) je odbacuje.
Tada proteruje i Grofa od Kenta, 膷oveka koji se usprotivio kralju govore膰i mu da treba da poslu拧a svoju najmla膽u 膰erku, svoju mezimicu i spozna istinu u njenim re膷ima jer zaista, ona ga voli najvi拧e. Moram priznati da sam ovde po啪elela da on bude glavni junak na拧e pri膷e ali, avaj, vide膰emo.
Predstavljeni su nam i Kralj Francuske i Vojvoda od Burgundije kao Kordelijini (najmla膽a k膰i) prosci. Burgundija je odbacuje nakon 拧to 膷uje da kralj ne膰e dati nikakav miraz za nju ali je zato Kralj Francuske odu拧evljen mladom devojkom i njenom iskreno拧膰i i drage volje je uzima za svoju kraljicu (ovo mi je, moram priznati, bio mali 拧ok, za to doba).
Dalje imamo Edmunda, nezakonitog sina (srednji vek/novi vek, pa 膷ak i ovo na拧e 鈥渕oderno doba鈥� i njihove etikete) Grofa od Glostera.
Izvrsna je ta ludost ovog sveta: kad se na拧oj sre膰i smu膷i, 膷esto usled njene presi膰enosti na拧im vlastitim postupcima, mi krivimo za na拧e neda膰e Sunce, Mesec i zvezde; kao da smo mi nitkovi po nekoj neminovnosti; budale po nebeskoj prinudi; nevaljalci, lopovi i izdajnici zbog nadmo膰i sfera; pijanice, la啪ovi i bludnici zbog nametnute nam pokornosti uticaju planeta; i kao da je sve u 膷emu smo zli podstaknuto nekom natprirodnom silom. Divan izgovor za arhibludnog 膷oveka da svoju pohotljivu sklonost baci na teret neke zvezde! Moj otac se sjedinio sa mojom majkom pod Zmajevim repom; moje ro膽enje se dogodilo pod sazve啪膽em Velikog medveda; iz toga sleduje da sam surov i pohotljiv. Koje拧ta! Bio bih ono 拧to sam 膷ak i da je najdevi膷anskija zvezda na nebeskom svodu svetlucala kad sam se kopilio.
Amin, dru啪e.
Zatim 鈥� Budala, definitivno najgotivniji lik. Sve ti ka啪e, ako si voljan pa啪ljivo da slu拧a拧 i 膷uje拧. Bez dlake na jeziku. 沤ao mi je 拧to je na kraju ostao potpuno zaboravljen.
Edgar, zakoniti sin Grofa od Glostera, nepravedno optu啪en i osu膽en na lutanje. Te拧ko je slu拧ati ga u ulozi lude i prosjaka.
Premda sam na po膷etku razumela Reganu i Gonerilu (dve starije k膰eri) njihovi kasniji postupci su dokazali da su zaista Kordelijine sumnje i strahovi bili opravdani, kao i Budaline i Kentove.
Smenjivanje ludosti i lucidnosti je toliko suptilno da se nekad ne mo啪e ni naslutiti gde jedno zavr拧ava a drugo po膷inje.
Sve u svemu, 4/5 zvezdica.
Magbet
3/5 zvezdica.
Otelo
3/5 zvezdica.
Sveukupno 3-3.5/5 zvezdica.
March 29, 2021
賲賳 兀賴賲 廿賳鬲丕噩丕鬲 卮賰爻亘賷乇 丕賱賲爻乇丨賷丞 丕賱鬲賷 兀孬丕乇鬲 丕賱賰孬賷乇 賲賳 丕賱噩丿賱 賵丕賱賳賯丕卮丕鬲 毓亘乇 丕賱鬲丕乇賷禺 賱丕丨鬲賵丕卅賴丕 毓賱賶 毓丿丞 賲毓囟賱丕鬲 兀禺賱丕賯賷丞 賵爻賷丕爻賷丞 賵廿賳爻丕賳賷丞貙 賵睾賷乇賴丕. 卮賲賱鬲 丕賱賲爻乇丨賷丕鬲 丿乇丕爻丕鬲 賳賯丿賷丞 毓丿丞貙 賷賮賰賰 毓亘乇賴丕 丕賱賳賯丕丿 賵賷丨賱賱賵丕 丕賱賲丨鬲賵賶 亘賰丕賮丞 鬲賮丕氐賷賱賴 丕賱賲賳賴噩賷丞貙 (丕賱賮賰乇丞貙 丕賱卮禺氐賷丞貙 丕賱氐乇丕毓,貙 丕賱丨賵丕乇貙 丕賱亘賳丕亍 丕賱丿乇丕賲賷貙 丕賱兀丨丿丕孬 丕賱賲爻乇丨賷丞.) 賵賰匕丕 丕賱兀爻賱賵亘.
丕匕 賷賰卮賮 丕賱亘毓囟 毓賳 丕賱賮氐賵賱 兀賵 丕賱噩賲賱 丕賱賲賳丨賵賱丞 賮賷 丕賱賲爻乇丨賷丕鬲 兀賵 丕賱鬲賷 鬲賲鬲 廿囟丕賮鬲賴丕 毓賳 胤乇賷賯 賲賳賮匕賵賴丕/ 丕賱賲禺乇噩賷賳 賰賳賵毓 賲賳 鬲爻賱賷丞 丕賱噩賲賴賵乇 兀賵 賱亘毓囟 丕賱囟乇賵乇丕鬲 丕賱兀禺乇賶. 兀賵 亘賲毓賳賶 丌禺乇 : 賴賱 賴賷 賲賰鬲賵亘丞 賲賳 賯亘賱 丕賱丌禺乇賷賳 兀賲 賱丕責 / (丕賱鬲卮賰賷賰 賮賷 兀氐丕賱丞 卮賰爻亘賷乇)貨 廿匕 賰丕賳 賷卮賷毓 丕賱亘毓囟 亘兀賳 卮賰爻亘賷乇 賱賲 賷賰鬲亘 賲爻乇丨賷丕鬲賴 賱賵丨丿賴?!貨 賵丕賱乇丿 毓賱賶 賲孬賱 賴匕賴 丕賱廿丿毓丕亍丕鬲. 廿囟丕賮丞 廿賱賶 丕賱賮氐賱 / 丕賱賲卮賴丿貨 丕賱匕賷 賷乇噩丨 兀賳賴 丨匕賮 兀賵 兀爻賯胤 賮賷 丕賱賳賯賱 兀賵丕賱鬲乇噩賲丞. 賲毓 丕爻鬲賯乇丕亍 鬲丕乇賷禺 賰鬲丕亘丞 丕賱賲爻乇丨賷丕鬲 ( 丕賱廿胤丕乇 丕賱賲賳賴噩賷 賱賱亘丨孬貙 賵丕賱廿胤丕乇 丕賱賳馗乇賷)貙 賵賰賷賮 鬲兀孬乇 卮賰爻亘賷乇 亘亘毓囟 賲毓丕氐乇賷賴 兀賵 亘亘毓囟 賰鬲丕亘 丕賱兀丿亘 丕賱爻丕亘賯賷賳 賱毓氐乇賴貨 賰噩丨賷賲 丿丕賳鬲賷貙 丨賷孬 丕爻鬲賵丨賶 亘毓囟 賲賳 卮禺氐賷丕鬲賴 賵兀賮賰丕乇賴 賲賳賴丕 賵亘賳賶 毓賱賷賴丕貙 廿囟丕賮丞 廿賱賶 丕賱兀賳丕噩賷賱 賵鬲賵馗賷賮賴丕 賮賷 丕賱毓賲賱 ( 賲毓鬲賯丿丕鬲 卮賰爻亘賷乇 丕賱丿賷賳賷丞.)貙 賲毓 丕賴鬲賲丕賲 丕賱賳賯丕丿 亘 賮毓賱 ( 丕賱禺賷丕賳丞) 賮賷 賲爻乇丨賷丕鬲賴 賵兀孬乇賴丕 毓賱賶 爻賷丕賯丕鬲 毓丿丞貨 賳賮爻賷丞貙 爻賷丕爻賷丞貙 丕噩鬲賲丕毓賷丞貙 廿賳爻丕賳賷丞貙 賵丿賷賳賷丞.
丕賱卮賷亍 丕賱賵丨賷丿 丕賱賷 兀夭毓噩賳賷 賮賷 賯乇丕亍丞 丕賱賰鬲丕亘貙 賴賵 丨噩賲 丕賱禺胤 丕賱賲爻鬲禺丿賲 賮賷 丕賱胤亘丕毓丞貨 賲乇賴賯 賰賲丕 賱賲 賷賰賳 賲鬲爻賯 毓賱賶 胤賵賱 丕賱賰鬲丕亘 賲賲丕 兀亘胤兀 賲賳 賵鬲賷乇丞 丕賱賯乇丕亍丞 毓賳丿賷.
丕匕 賷賰卮賮 丕賱亘毓囟 毓賳 丕賱賮氐賵賱 兀賵 丕賱噩賲賱 丕賱賲賳丨賵賱丞 賮賷 丕賱賲爻乇丨賷丕鬲 兀賵 丕賱鬲賷 鬲賲鬲 廿囟丕賮鬲賴丕 毓賳 胤乇賷賯 賲賳賮匕賵賴丕/ 丕賱賲禺乇噩賷賳 賰賳賵毓 賲賳 鬲爻賱賷丞 丕賱噩賲賴賵乇 兀賵 賱亘毓囟 丕賱囟乇賵乇丕鬲 丕賱兀禺乇賶. 兀賵 亘賲毓賳賶 丌禺乇 : 賴賱 賴賷 賲賰鬲賵亘丞 賲賳 賯亘賱 丕賱丌禺乇賷賳 兀賲 賱丕責 / (丕賱鬲卮賰賷賰 賮賷 兀氐丕賱丞 卮賰爻亘賷乇)貨 廿匕 賰丕賳 賷卮賷毓 丕賱亘毓囟 亘兀賳 卮賰爻亘賷乇 賱賲 賷賰鬲亘 賲爻乇丨賷丕鬲賴 賱賵丨丿賴?!貨 賵丕賱乇丿 毓賱賶 賲孬賱 賴匕賴 丕賱廿丿毓丕亍丕鬲. 廿囟丕賮丞 廿賱賶 丕賱賮氐賱 / 丕賱賲卮賴丿貨 丕賱匕賷 賷乇噩丨 兀賳賴 丨匕賮 兀賵 兀爻賯胤 賮賷 丕賱賳賯賱 兀賵丕賱鬲乇噩賲丞. 賲毓 丕爻鬲賯乇丕亍 鬲丕乇賷禺 賰鬲丕亘丞 丕賱賲爻乇丨賷丕鬲 ( 丕賱廿胤丕乇 丕賱賲賳賴噩賷 賱賱亘丨孬貙 賵丕賱廿胤丕乇 丕賱賳馗乇賷)貙 賵賰賷賮 鬲兀孬乇 卮賰爻亘賷乇 亘亘毓囟 賲毓丕氐乇賷賴 兀賵 亘亘毓囟 賰鬲丕亘 丕賱兀丿亘 丕賱爻丕亘賯賷賳 賱毓氐乇賴貨 賰噩丨賷賲 丿丕賳鬲賷貙 丨賷孬 丕爻鬲賵丨賶 亘毓囟 賲賳 卮禺氐賷丕鬲賴 賵兀賮賰丕乇賴 賲賳賴丕 賵亘賳賶 毓賱賷賴丕貙 廿囟丕賮丞 廿賱賶 丕賱兀賳丕噩賷賱 賵鬲賵馗賷賮賴丕 賮賷 丕賱毓賲賱 ( 賲毓鬲賯丿丕鬲 卮賰爻亘賷乇 丕賱丿賷賳賷丞.)貙 賲毓 丕賴鬲賲丕賲 丕賱賳賯丕丿 亘 賮毓賱 ( 丕賱禺賷丕賳丞) 賮賷 賲爻乇丨賷丕鬲賴 賵兀孬乇賴丕 毓賱賶 爻賷丕賯丕鬲 毓丿丞貨 賳賮爻賷丞貙 爻賷丕爻賷丞貙 丕噩鬲賲丕毓賷丞貙 廿賳爻丕賳賷丞貙 賵丿賷賳賷丞.
丕賱卮賷亍 丕賱賵丨賷丿 丕賱賷 兀夭毓噩賳賷 賮賷 賯乇丕亍丞 丕賱賰鬲丕亘貙 賴賵 丨噩賲 丕賱禺胤 丕賱賲爻鬲禺丿賲 賮賷 丕賱胤亘丕毓丞貨 賲乇賴賯 賰賲丕 賱賲 賷賰賳 賲鬲爻賯 毓賱賶 胤賵賱 丕賱賰鬲丕亘 賲賲丕 兀亘胤兀 賲賳 賵鬲賷乇丞 丕賱賯乇丕亍丞 毓賳丿賷.
Read
April 8, 2023This is a mass-market-sized edition I keep at my desk at work. One can dip into any of these pages and find a healing salve amidst the incessant streams of bowdlerized corporate-speak.
December 18, 2008
If there is a lesson common to all of these tragedies, it is not to go jumping to conclusions. You may have an enemy muddying the waters (Othello). You may have mispercieved the situation because your ego is in the way (King Lear). You may think you are avoiding fate, when actually you are placing yourself right in the way of it by doing something ethically questionable (Macbeth). Or you may just be a little to self-righteous for your own good (Hamlet). Tragedy in these works is usually brought about by the protagonists own misuse of power or action. Shakespeare gives some good warning here to check yourself before you go off on a tangent.
October 3, 2019
3/5stars
idk why we had to get this specific edition for my class since we only read Othello - but it did have some extra info and the source material Shakespeare stole from so that was helpful.
I'm sick of Othello though like wow. if i ever have to read this again it'll be too soon.
idk why we had to get this specific edition for my class since we only read Othello - but it did have some extra info and the source material Shakespeare stole from so that was helpful.
I'm sick of Othello though like wow. if i ever have to read this again it'll be too soon.
November 11, 2022
"Hamlet" review:
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"Othello" review:
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"King Lear" review:
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"Macbeth" review:
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4 stars average for the plays.
5 stars for the book. I liked that this one had the footnotes at the bottom of each page by line number, and the notes not only provided definitions of obscure words or words that no longer mean the same thing, but historical context as well. There are further notes at the back for changes that have been made over the years to the text, and they even group the popular quotes from each play at the end.
I only gave the introductory material for each play a cursory glance, but what I did read was interesting and for those who want to know more about the history of the plays and their productions and inspirations, it's good stuff to go through. At the end of each play is additional information about Shakespeare's sources. The true Shakespeare scholar would appreciate all that stuff.
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"Othello" review:
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"King Lear" review:
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"Macbeth" review:
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4 stars average for the plays.
5 stars for the book. I liked that this one had the footnotes at the bottom of each page by line number, and the notes not only provided definitions of obscure words or words that no longer mean the same thing, but historical context as well. There are further notes at the back for changes that have been made over the years to the text, and they even group the popular quotes from each play at the end.
I only gave the introductory material for each play a cursory glance, but what I did read was interesting and for those who want to know more about the history of the plays and their productions and inspirations, it's good stuff to go through. At the end of each play is additional information about Shakespeare's sources. The true Shakespeare scholar would appreciate all that stuff.
May 13, 2016
This book is great in that it compiles Shakespeare's four main tragedies, but its font is very small, its pages are short, and putting together all of these texts makes it difficult to hold the book and flip the pages. The notes that go along with the plays are difficult to read because they are listed beneath each page of the play, and the formatting is just awkward. Definitely much harder to read than the Barnes & Noble Editions of Shakespeare's works.
I think that the plays in this book are great, but the format and structure of the book make it difficult to read it. This edition would be something you could have to save room on your shelf (rather than having four separate books), and you could use this copy as a reference book and look up certain parts of the plays when you need to, but I wouldn't recommend this edition for pleasure reading.
I think that the plays in this book are great, but the format and structure of the book make it difficult to read it. This edition would be something you could have to save room on your shelf (rather than having four separate books), and you could use this copy as a reference book and look up certain parts of the plays when you need to, but I wouldn't recommend this edition for pleasure reading.
September 24, 2015
兀毓鬲賯丿 兀賳 噩亘乇丕 丕亘乇丕賴賷賲 噩亘乇丕 兀賮囟賱 賲賳 鬲乇噩賲 賵賯丿賲 賲爻乇丨賷丕鬲 卮賰爻亘賷乇貙 賮賷 賴匕丕 丕賱賰鬲丕亘 賳噩丿 賲丌爻賷 卮賰爻亘賷乇 丕賱兀乇亘毓丞 賲賯丿賲丞 賱賱賯丕乇卅 賲毓 丿乇丕爻丕鬲 賵賲賱丕丨賯 丨賵賱 賰賱 賲賳賴丕.. 乇亘賲丕 兀禺胤兀 噩亘乇丕 亘鬲賯丿賷賲 丕賱丿乇丕爻丞 賯亘賱 賰賱 賲爻乇丨賷丞 賮賰卮賮 禺賮丕賷丕賴丕 賲賳 賷丿賵賳 兀賳 賷鬲乇賰 賱賳丕 丨乇賷丞 丕賱鬲賲毓賳 賮賷賴丕 亘賲賳兀賶 毓賳 丕賱兀丨賰丕賲 丕賱賲爻亘賯丞貙 亘丕賱廿囟丕賮丞 廿賱賶 兀賳賴 亘賴匕丕 丕賱兀爻賱賵亘 兀囟丕毓 毓賳氐乇 丕賱鬲卮賵賷賯 賱丿賶 丕賱賯丕乇卅.. 毓賳 丕賱賲爻乇丨賷丕鬲 乇丕卅毓丞 賵兀乇賵毓賴丕 賴丕賲賱鬲貙 賵賲賳 賲賳丕 賱丕 賷毓乇賮 賴丕賲賱鬲 兀賵 賱賲 賷爻賲毓 亘丕爻賲賴 賵賴賵 氐丕丨亘 丕賱毓亘丕乇丞 丕賱卮賰爻亘賷乇賷丞 丕賱賲卮賴賵乇丞 "To be or not to be "..
December 26, 2012
乇睾賲 氐毓賵亘丞 卮乇丨 乇賵丕賷丕鬲 卮賰爻亘賷乇 丕賱丕 兀賳賳賷 兀毓卮賯賴丕
November 6, 2022
袦邪褬褋褌芯褉 褋胁芯谐 蟹邪薪邪褌邪.
Read
May 25, 2024Excellent
August 22, 2020
All of these are magnificent. The list below is in order starting with my favorite.
Hamlet:
To act or to merely speak.
King Lear:
Things start out bad. And then they get worse.
MacBeth:
鈥淎 poor player, that struts and frets his hour upon the stage.鈥�
Othello:
An honorable murderer.
Hamlet:
To act or to merely speak.
King Lear:
Things start out bad. And then they get worse.
MacBeth:
鈥淎 poor player, that struts and frets his hour upon the stage.鈥�
Othello:
An honorable murderer.
January 13, 2014
Okay, I love Shakespeare! I have read this book over and over, for classes and for leisure, and my absolute favorite play is King Lear. I love the disruption of gender conventions and the vanity of the characters. I love how Lear goes from being king down to being nothing. I think that it's Shakespeare's most brilliant and misogynist play. Regan and Goneril are so united and terribly ambitious and they pretty much throw it away over Edmund, going along with saying that "down from the waist they are centaurs", lustful centaurs that will risk a kingdom for a penis. Edmund is the greatest villain: he conspires to get his father's estate by framing his brother and selling his father up the river.He is so cold-hearted. Brilliant.
Othello is good, but only because of Iago. He is a wonderful villain and a mastermind, and the only reason to read Othello.
Hamlet, is my least favorite of all. He's too depressed and indecisive for my taste. That's all I will say.
Macbeth, is great as well. Something about ambitious women killing for power just appeals to me.
Othello is good, but only because of Iago. He is a wonderful villain and a mastermind, and the only reason to read Othello.
Hamlet, is my least favorite of all. He's too depressed and indecisive for my taste. That's all I will say.
Macbeth, is great as well. Something about ambitious women killing for power just appeals to me.
November 3, 2013
噩賲賷賱丞 鬲乇噩賲丞 噩亘乇丕 賴賳丕 賱賵賱丕 兀賳賴購 賷禺胤賷亍 亘胤乇丨 丕賱丿乇丕爻丕鬲 賵丕賱賲賯丕賱丕鬲 丕賱兀丿亘賷丞 賱賱賲爻乇丨賷丕鬲 賯亘賱 賳氐 丕賱賲爻乇丨賷丞 匕丕鬲賴 賵賴匕丕 賷爻亘亘 丨乇賯 賲爻鬲賮夭 賱賱賯丕乇賶亍 貙 賮賲孬賱丕 賮賷 賴賲賱鬲 賰賱 丕賱賯乇丕亍 毓乇賮賵丕 兀賳 夭賵噩丞 賴賲賱鬲 爻鬲賲賵鬲 亘爻亘亘 匕賰乇 賴匕丕 賮賷 廿丨丿賶 丕賱賴賵丕賲卮 賱毓胤賷賱 貙 亘卮賰賱 毓丕賲 丕賱鬲乇噩賲丞 賰丕賳鬲 噩賲賷賱丞 賵賲丨亘賵賰丞 賲毓 丕賱賳氐 丕賱兀氐賱賷.
December 4, 2013
An essay I wrote for a class,
Christopher F. Brown
Prof. Chris Weidenbach
English 017 / Shakespeare
11/30/2013
A Brief Unpacking And Examination Of Corruption And Nationalism Through The Shakespearian Plays: Macbeth, Julius Caesar, Othello, And Troilus & Cressida.
In a paper about the play, 鈥淛ulius Caesar鈥� I wrote that 鈥淛ulius Caesar,鈥� 鈥�. . . is a message of warning against, and commentary about nationalism.鈥� The underlying themes of, commentaries about, Nationalism and Corruption are also very present in the plays: MacBeth, Othello, and Troilus & Cressida. The ideology of Nationalism is defined by Merriam Webster鈥檚 on-line dictionary as, 鈥淟oyalty and devotion to a nation, especially: a sense of national consciousness exalting one nation above all others and placing primary emphasis on promotion of the culture and interests as opposed to those of other nations or supranational groups.鈥� Corruption is, defined, again defined by Merriam Webster鈥檚 on-line dictionary, as 鈥淚mpairment of integrity, virtue, or moral principle: depravity, decay, decomposition, inducement to wrong by improper or unlawful means (as bribery) a departure from the original or from what is pure or correct.鈥�
In the play, 鈥淥thello鈥� the character of Othello is constantly referred to as 鈥淭he Moor.鈥� On the surface, this is just a term that lets the reader know that Othello is of North African descent, and possible a Muslim, Shakespeare never directly writes such in the play but it is inferred as such. If this is examined further, the slight of subtle Nationalism can be seen in Act 1, Scene 1, lines 105-110; Act 1, Scene 1 lines 127-134, and Act 1, Scene 2, lines 7-28. Iago, in a clear example of corruption, and a subtle swipe of the negative aspects of Nationalism tries to convince Brabantio that it was a highly negative thing that Othello be married to his daughter, says,
Zounds, sir, you are on of those that will not serve God if the devil bid you. Because we come to do you service and you think we are ruffians, you鈥檒l have your daughter covered with a Barbary horse, you鈥檒l have your nephews neigh to you, you鈥檒l have coursers for cousins, and gennets for germans.
-- Othello, Act 1, Scene 1, lines 105-110
All of that simply means that Othello is a Moor, an outsider, not a Venetian. If you let him, Othello, the Barbary horse, which is a breed of Arabian horse and a derogatory term for a Moor, have your daughter your descendants, meant by nephews, will neigh to you, meaning that your descendants will be part beast. A courser is another horse, particularly, a fast warhorse used in medieval Europe, again making bestial references. A 鈥済enney鈥� is an old English/Shakespearian term for 鈥淛enny鈥� which is a Spanish Donkey. Shakespeare uses the term 鈥淕erman鈥� in the sense of the old English/Shakespearian usage which meant cousins, as in having the same grandparents on ones mother鈥檚 or father鈥檚 side of the family. Iago is not only being racist on the surface but is inferring that Othello might also have some Spanish blood in him as well. If Brabantio lets Othello have his daughter then the Spanish Donkeys, the 鈥淕ennys鈥� will become apart of Brabantio family, appealing to the subtle draw of Venetian nationalism in that in medieval Europe, as well as in some places in modern Europe, Spain is known as a part of Europe and has European culture, but unspokenly, Spain has been looked down upon by other Europeans as other, not 鈥渢ruly鈥� European. Iago is appealing to the nationalistic side of Brabantio in order to corrupt him against Othello.
One of the doctrines of Nationalism is the national purity of it鈥檚 citizens. The citizens of nation 鈥淎鈥� should seek to procreate with other citizens of nation 鈥淎.鈥� The procreation between citizens of nation, 鈥淎鈥� with citizens of nation, 鈥淏鈥� is only to be done sparingly, and only when it serves to benefit the nations that could not be had otherwise. In the case of Othello and Desdemona, they eloped without regard for proper protocol, without regard for the rules and regulations of high society, of the nation, of Venice. Roderigo under the corrupting influence of Iago in a plot to gain Desdemona for himself says to Brabantio in Act 1, Scene 1 lines 127-134,
Do not believe that from the sense of all civility I thus would play and trifle with your reverence. Your daughter, if you have not given her leave, I say again, hath made a gross revolt, tying her duty, beauty, with, and fortunes in extravagant and wheeling stranger of here and everywhere. straight satisfy yourself.
-- Othello, Act 1, Scene 1 lines 127-134
again giving nod to the same subtle usage of Nationalism and pointing out how he, Othello is an outsider, stating Othello is an, 鈥渆xtravagant and wheeling stranger of here and everywhere鈥� is in a sense, saying to Brabantio that Desdemona has thrown away her, 鈥渄uty, beauty, with, and fortunes鈥� on a wandering nobody. This attempt is a direct appeal to Brabantio鈥檚 sense of nationalistic pride, and is using Nationalism here as a corrupting tool.
In the first part of Act 1, Scene 2 Iago attempts to corrupt Othello against the Venetian aristocracy by telling him how horribly they spoke of him and how much harm they could do to him. Iago tells Othello how Brabantio is loved by the people and holds much influence and power beyond his rank. Iago plays on subtle Nationalistic notions and points out to Othello how Othello is once again considered an outsider. In Act 1, Scene 2, lines 17-28 Othello responds by saying,
Let him do his spite. My services which I have done the Signiory shall out-tongue his complaints. 鈥榯is yet to know which when I know that boasting is an honor I shall promulgate 鈥� I fetch my life and being from men of royal siege, and my demerits may speak unbonneted to as proud a fortune as this that I have reached. for know, Iago, but that I love the gentile Desdemona, put into circumscription and confine for the seas鈥� worth. but lights come yond?
Othello is forced to appeal to the ideology of Nationalism as being a servant of the nationalism of Venice, not a challenger. Othello is forced into a political goldilocks paradigm. Othello can never be a fully accepted member of the nation, of Venice, yet if in good faith he marries into a high standing family as he did, although not for political purposes but actual love, and gives of himself at a high level of servitude as he did, he is not met with the full negative forces of being and outsider of the nation. Othello, for now, is left unassaulted, but not bruised, by Iago鈥檚 and Roderigo鈥檚 attempts to use the ideology of Nationalism against Othello, yet everyone has been fully induced into the initial stages of corruption Iago has planted.
This is as blatant as is the ideology of Nationalism is present in the play, 鈥淥thello.鈥� In the play, 鈥淢acBeth鈥� or 鈥淭he Scottish Play,鈥� Nationalism and Corruption are more present. Through prophecy and persuasion an increasingly corrupt MacBeth positions himself to gain the crown of Scotland. In 鈥淢acBeth," as with medieval other European monarchies, the idea is that the King (in the historical case of England and Spain, Queen) is the state/nation and serving the will of the King is serving the will of the state/nation. The conflict arises in, 鈥淢acBeth鈥� when three witches tell MacBeth he will be King, as well as telling his good friend and fellow soldier Banquo, he will spawn a line of Kings. In the monarchal system of medieval Europe, there can only be one ruling King and typically that King鈥檚 children are the ones that inherit the thrown. The conflict is increased by the fact that neither of the men are in line to be King and there is already a reigning monarch at the start of the play.
鈥淢acBeth,鈥� speaks to the notion of how a spark ambition and what one is willing to do to accomplish the goals of ambition can turn one to corruption and using Nationalism as part of an arsenal of corrupting tools. MacBeth鈥檚 wife fully embraces the corrupting notions of being a Queen, a head of state, when she receives MacBeth鈥檚 letter speaking of the prophecy foretold by the witches. Lady MacBeth pledges herself to do whatever she could to make the prophecy come true. As I wrote in another paper, the corruption of MacBeth has taken full effect and MacBeth goes, 鈥�. . .from a true nobleman with a heart and a sense of loyalty, duty, and a very present conscious to, by the time Lady MacBeth kills herself, a very heartless, cold, and power hungry man.鈥� After MacBeth has killed Duncan, the rightful King of Scotland, and causes Malcolm and Donalbain, Duncan鈥檚 sons, to have fled to England, killed Banquo, MacBeth then uses the guise of Nationalism, the will of the King as being good for, and the will of the kingdom, to cause MacDuff to flee Scotland as a traitor and then have his killed his family.
There are a select few that are willing to speak aloud, although not to his face, that all are not fully swept away in the new Nationalistic fever of praising MacBeth. In Act 3, Scene 4, lines 1-38 Lennox and Another random lord have a conversation amongst themselves, where they speak of the killing of Duncan, the fleeing of Malcolm, Donalbain, and McDuff, and openly refer to MacBeth as a tyrant. This conversation is Shakespeares way of telling the reader that all have not fully fallen under the persuasion of MacBeth鈥檚 unrightfull implantation of himself as being the head of the nation and therefore setting the stage for conflict between MacBeth鈥檚 brand of Nationalism and the version that others whom are not loyal to MacBeth subscribe hold. If the reader fully undertakes analysis of 鈥淢acBeth,鈥� it is inferred that, Duncan the King of Scotland, has recently become so at the onset of 鈥淢acBeth鈥� by having won a battle ousting the Thane of Cawdor and making MacBeth the new Thane. This notion is important because it plays against the theme of Nationalism and Corruption. If the reader is to assume that Duncan was a conquering force upon Scotland then his legitimacy to the throne of Scotland is only such because he took it by force. If this is true then it makes those loyal to Duncan, loyal to Malcolm, Donalbain, and McDuff no different than MacBeth. When reading 鈥淢acBeth,鈥� the reader views MacBeth as a traitor and villain because he does not subscribe to the nationalistic ideology that has Duncan as head of state and corrupt for envisioning himself as head of state but factually Duncan, just as MacBeth, used Nationalism as a tool to establish himself as rightful monarch only more effectively having had other still loyal to him after his death and only having MacBeth revolt against him during his reign. It is because of MacBeth鈥檚 and Lady MacBeth鈥檚 ready willingness to pursue perceived corruption to supplant Duncan and implant themselves as head of state and then their latter succumbing to insanity, that reader views MacBeth鈥檚 and Lady MacBeth鈥檚 actions as corrupt when maybe, their actions might have been the very same as some of the actions of Duncan鈥檚 past.
The message of Nationalistic legitimacy is the opposite, yet in some ways similar to the Nationalistic warning found in the play 鈥淛ulius Caesar.鈥� Cesar is already established as the head of state, of Rome, and the vast majority of Romans accept his legitimacy. There are some; however that when put under pressure and have a bit of cajoling applied to them, come to believe that Caesar is no longer serving the interest of the people of Rome or Rome its self but their own. Rome being a republic at this time, there is no unquestioned ruler, the ruler has to answer to the senate and even though we like to believe the senate represented the people, it did not. The senate of ancient Rome represented the interests the Roman aristocracy. Brutus is one man, of the aristocracy, that is different from rest in that he truly does believe in doing what is right for the people of Rome. In a paper about, 鈥淛ulius Caesar鈥� I wrote, 鈥�. . . it was not jealousy that caused Brutus to act. The love of Rome, the love of country and state, caused Brutus to kill the man [Caesar] he also claimed to love.鈥�
In, 鈥淛ulius Caesar鈥� the juxtaposition between the ideals of Nationalism are found. The one ideal in MacBeth were the King is the nation and the ideal found in more modern times where the people of the state, not just its head, are the state, are present. Brutus comes to reason that for the good of the nation, the good of Rome, to keep the established tenets of the latter ideals of Nationalism going not for personal gain, he must kill Caesar. This killing of Cesar, his dear friend, ultimately leads to his own death as well as Cesar鈥檚, but Brutus believed that his death would be a small price to pay if the Nation, if Rome, would not be left in the hands of Caesar. Which Brutus perceived to be now and ultimately growing more corrupt. Brutus makes a mistake in believing that Mark Anthony poses no threat to his beloved Rome, and certainly not the threat present and perceived real threat in Caesar.
The welfare of the nation of Rome and the corruption of Caesar is the focus of 鈥淛ulius Caesar鈥� whereas 鈥淭roilus & Cressida鈥� draws on strains of Nationalism similar to that of MacBeth. The leaders and heroes of the Nations act in a manner that they say is best for the nations but like 鈥淢acBeth鈥� the people and even some of the nobility realize that the war between the Greeks and Trojans is not something that benefits them but only serves to benefit to a very tragic detriment, the egos and pride of the various aristocrats, heroes, princes, and Kings involved. Another lesson of 鈥淭roilus & Cressida鈥� is that if the will of the people is not supported by the rulers then it is no longer a republic but a vastly corrupt dictatorship and the people are non-entities of the nation and Nationalism is only lip service used by the nobility on a people that do not know any better or can do nothing about it.
In these four plays Shakespeare examines Nationalism and corruption vaguely to very overtly and the effects on the leaders, would be leaders, participants and the average citizen of a nation. Nationalism, can be used as a tool unite a people, to rally them and throw off the shackles of oppression. Nationalism can also be misused by the leaders to only further themselves or their interests, all under the guise of being good for the nation. When this happens, or is revealed as having had happen, corruption has been in play, and eventually will take down the leader or person that is corrupt. Unlike the nicely well wrapped plays of Shakespeare, history shows us corrupt officials and people in power take time and blood to be toppled. In these plays Shakespeare gives the reader, and subsequently the viewer of the plays, a glimpse of the ideology that is Nationalism and Corruption as a doubled edge sword. If the wielder of that sword is not careful the wielder could find themselves on the receiving edge and the cut meant for someone else is the blow that brings them down.
Christopher F. Brown
Prof. Chris Weidenbach
English 017 / Shakespeare
11/30/2013
A Brief Unpacking And Examination Of Corruption And Nationalism Through The Shakespearian Plays: Macbeth, Julius Caesar, Othello, And Troilus & Cressida.
In a paper about the play, 鈥淛ulius Caesar鈥� I wrote that 鈥淛ulius Caesar,鈥� 鈥�. . . is a message of warning against, and commentary about nationalism.鈥� The underlying themes of, commentaries about, Nationalism and Corruption are also very present in the plays: MacBeth, Othello, and Troilus & Cressida. The ideology of Nationalism is defined by Merriam Webster鈥檚 on-line dictionary as, 鈥淟oyalty and devotion to a nation, especially: a sense of national consciousness exalting one nation above all others and placing primary emphasis on promotion of the culture and interests as opposed to those of other nations or supranational groups.鈥� Corruption is, defined, again defined by Merriam Webster鈥檚 on-line dictionary, as 鈥淚mpairment of integrity, virtue, or moral principle: depravity, decay, decomposition, inducement to wrong by improper or unlawful means (as bribery) a departure from the original or from what is pure or correct.鈥�
In the play, 鈥淥thello鈥� the character of Othello is constantly referred to as 鈥淭he Moor.鈥� On the surface, this is just a term that lets the reader know that Othello is of North African descent, and possible a Muslim, Shakespeare never directly writes such in the play but it is inferred as such. If this is examined further, the slight of subtle Nationalism can be seen in Act 1, Scene 1, lines 105-110; Act 1, Scene 1 lines 127-134, and Act 1, Scene 2, lines 7-28. Iago, in a clear example of corruption, and a subtle swipe of the negative aspects of Nationalism tries to convince Brabantio that it was a highly negative thing that Othello be married to his daughter, says,
Zounds, sir, you are on of those that will not serve God if the devil bid you. Because we come to do you service and you think we are ruffians, you鈥檒l have your daughter covered with a Barbary horse, you鈥檒l have your nephews neigh to you, you鈥檒l have coursers for cousins, and gennets for germans.
-- Othello, Act 1, Scene 1, lines 105-110
All of that simply means that Othello is a Moor, an outsider, not a Venetian. If you let him, Othello, the Barbary horse, which is a breed of Arabian horse and a derogatory term for a Moor, have your daughter your descendants, meant by nephews, will neigh to you, meaning that your descendants will be part beast. A courser is another horse, particularly, a fast warhorse used in medieval Europe, again making bestial references. A 鈥済enney鈥� is an old English/Shakespearian term for 鈥淛enny鈥� which is a Spanish Donkey. Shakespeare uses the term 鈥淕erman鈥� in the sense of the old English/Shakespearian usage which meant cousins, as in having the same grandparents on ones mother鈥檚 or father鈥檚 side of the family. Iago is not only being racist on the surface but is inferring that Othello might also have some Spanish blood in him as well. If Brabantio lets Othello have his daughter then the Spanish Donkeys, the 鈥淕ennys鈥� will become apart of Brabantio family, appealing to the subtle draw of Venetian nationalism in that in medieval Europe, as well as in some places in modern Europe, Spain is known as a part of Europe and has European culture, but unspokenly, Spain has been looked down upon by other Europeans as other, not 鈥渢ruly鈥� European. Iago is appealing to the nationalistic side of Brabantio in order to corrupt him against Othello.
One of the doctrines of Nationalism is the national purity of it鈥檚 citizens. The citizens of nation 鈥淎鈥� should seek to procreate with other citizens of nation 鈥淎.鈥� The procreation between citizens of nation, 鈥淎鈥� with citizens of nation, 鈥淏鈥� is only to be done sparingly, and only when it serves to benefit the nations that could not be had otherwise. In the case of Othello and Desdemona, they eloped without regard for proper protocol, without regard for the rules and regulations of high society, of the nation, of Venice. Roderigo under the corrupting influence of Iago in a plot to gain Desdemona for himself says to Brabantio in Act 1, Scene 1 lines 127-134,
Do not believe that from the sense of all civility I thus would play and trifle with your reverence. Your daughter, if you have not given her leave, I say again, hath made a gross revolt, tying her duty, beauty, with, and fortunes in extravagant and wheeling stranger of here and everywhere. straight satisfy yourself.
-- Othello, Act 1, Scene 1 lines 127-134
again giving nod to the same subtle usage of Nationalism and pointing out how he, Othello is an outsider, stating Othello is an, 鈥渆xtravagant and wheeling stranger of here and everywhere鈥� is in a sense, saying to Brabantio that Desdemona has thrown away her, 鈥渄uty, beauty, with, and fortunes鈥� on a wandering nobody. This attempt is a direct appeal to Brabantio鈥檚 sense of nationalistic pride, and is using Nationalism here as a corrupting tool.
In the first part of Act 1, Scene 2 Iago attempts to corrupt Othello against the Venetian aristocracy by telling him how horribly they spoke of him and how much harm they could do to him. Iago tells Othello how Brabantio is loved by the people and holds much influence and power beyond his rank. Iago plays on subtle Nationalistic notions and points out to Othello how Othello is once again considered an outsider. In Act 1, Scene 2, lines 17-28 Othello responds by saying,
Let him do his spite. My services which I have done the Signiory shall out-tongue his complaints. 鈥榯is yet to know which when I know that boasting is an honor I shall promulgate 鈥� I fetch my life and being from men of royal siege, and my demerits may speak unbonneted to as proud a fortune as this that I have reached. for know, Iago, but that I love the gentile Desdemona, put into circumscription and confine for the seas鈥� worth. but lights come yond?
Othello is forced to appeal to the ideology of Nationalism as being a servant of the nationalism of Venice, not a challenger. Othello is forced into a political goldilocks paradigm. Othello can never be a fully accepted member of the nation, of Venice, yet if in good faith he marries into a high standing family as he did, although not for political purposes but actual love, and gives of himself at a high level of servitude as he did, he is not met with the full negative forces of being and outsider of the nation. Othello, for now, is left unassaulted, but not bruised, by Iago鈥檚 and Roderigo鈥檚 attempts to use the ideology of Nationalism against Othello, yet everyone has been fully induced into the initial stages of corruption Iago has planted.
This is as blatant as is the ideology of Nationalism is present in the play, 鈥淥thello.鈥� In the play, 鈥淢acBeth鈥� or 鈥淭he Scottish Play,鈥� Nationalism and Corruption are more present. Through prophecy and persuasion an increasingly corrupt MacBeth positions himself to gain the crown of Scotland. In 鈥淢acBeth," as with medieval other European monarchies, the idea is that the King (in the historical case of England and Spain, Queen) is the state/nation and serving the will of the King is serving the will of the state/nation. The conflict arises in, 鈥淢acBeth鈥� when three witches tell MacBeth he will be King, as well as telling his good friend and fellow soldier Banquo, he will spawn a line of Kings. In the monarchal system of medieval Europe, there can only be one ruling King and typically that King鈥檚 children are the ones that inherit the thrown. The conflict is increased by the fact that neither of the men are in line to be King and there is already a reigning monarch at the start of the play.
鈥淢acBeth,鈥� speaks to the notion of how a spark ambition and what one is willing to do to accomplish the goals of ambition can turn one to corruption and using Nationalism as part of an arsenal of corrupting tools. MacBeth鈥檚 wife fully embraces the corrupting notions of being a Queen, a head of state, when she receives MacBeth鈥檚 letter speaking of the prophecy foretold by the witches. Lady MacBeth pledges herself to do whatever she could to make the prophecy come true. As I wrote in another paper, the corruption of MacBeth has taken full effect and MacBeth goes, 鈥�. . .from a true nobleman with a heart and a sense of loyalty, duty, and a very present conscious to, by the time Lady MacBeth kills herself, a very heartless, cold, and power hungry man.鈥� After MacBeth has killed Duncan, the rightful King of Scotland, and causes Malcolm and Donalbain, Duncan鈥檚 sons, to have fled to England, killed Banquo, MacBeth then uses the guise of Nationalism, the will of the King as being good for, and the will of the kingdom, to cause MacDuff to flee Scotland as a traitor and then have his killed his family.
There are a select few that are willing to speak aloud, although not to his face, that all are not fully swept away in the new Nationalistic fever of praising MacBeth. In Act 3, Scene 4, lines 1-38 Lennox and Another random lord have a conversation amongst themselves, where they speak of the killing of Duncan, the fleeing of Malcolm, Donalbain, and McDuff, and openly refer to MacBeth as a tyrant. This conversation is Shakespeares way of telling the reader that all have not fully fallen under the persuasion of MacBeth鈥檚 unrightfull implantation of himself as being the head of the nation and therefore setting the stage for conflict between MacBeth鈥檚 brand of Nationalism and the version that others whom are not loyal to MacBeth subscribe hold. If the reader fully undertakes analysis of 鈥淢acBeth,鈥� it is inferred that, Duncan the King of Scotland, has recently become so at the onset of 鈥淢acBeth鈥� by having won a battle ousting the Thane of Cawdor and making MacBeth the new Thane. This notion is important because it plays against the theme of Nationalism and Corruption. If the reader is to assume that Duncan was a conquering force upon Scotland then his legitimacy to the throne of Scotland is only such because he took it by force. If this is true then it makes those loyal to Duncan, loyal to Malcolm, Donalbain, and McDuff no different than MacBeth. When reading 鈥淢acBeth,鈥� the reader views MacBeth as a traitor and villain because he does not subscribe to the nationalistic ideology that has Duncan as head of state and corrupt for envisioning himself as head of state but factually Duncan, just as MacBeth, used Nationalism as a tool to establish himself as rightful monarch only more effectively having had other still loyal to him after his death and only having MacBeth revolt against him during his reign. It is because of MacBeth鈥檚 and Lady MacBeth鈥檚 ready willingness to pursue perceived corruption to supplant Duncan and implant themselves as head of state and then their latter succumbing to insanity, that reader views MacBeth鈥檚 and Lady MacBeth鈥檚 actions as corrupt when maybe, their actions might have been the very same as some of the actions of Duncan鈥檚 past.
The message of Nationalistic legitimacy is the opposite, yet in some ways similar to the Nationalistic warning found in the play 鈥淛ulius Caesar.鈥� Cesar is already established as the head of state, of Rome, and the vast majority of Romans accept his legitimacy. There are some; however that when put under pressure and have a bit of cajoling applied to them, come to believe that Caesar is no longer serving the interest of the people of Rome or Rome its self but their own. Rome being a republic at this time, there is no unquestioned ruler, the ruler has to answer to the senate and even though we like to believe the senate represented the people, it did not. The senate of ancient Rome represented the interests the Roman aristocracy. Brutus is one man, of the aristocracy, that is different from rest in that he truly does believe in doing what is right for the people of Rome. In a paper about, 鈥淛ulius Caesar鈥� I wrote, 鈥�. . . it was not jealousy that caused Brutus to act. The love of Rome, the love of country and state, caused Brutus to kill the man [Caesar] he also claimed to love.鈥�
In, 鈥淛ulius Caesar鈥� the juxtaposition between the ideals of Nationalism are found. The one ideal in MacBeth were the King is the nation and the ideal found in more modern times where the people of the state, not just its head, are the state, are present. Brutus comes to reason that for the good of the nation, the good of Rome, to keep the established tenets of the latter ideals of Nationalism going not for personal gain, he must kill Caesar. This killing of Cesar, his dear friend, ultimately leads to his own death as well as Cesar鈥檚, but Brutus believed that his death would be a small price to pay if the Nation, if Rome, would not be left in the hands of Caesar. Which Brutus perceived to be now and ultimately growing more corrupt. Brutus makes a mistake in believing that Mark Anthony poses no threat to his beloved Rome, and certainly not the threat present and perceived real threat in Caesar.
The welfare of the nation of Rome and the corruption of Caesar is the focus of 鈥淛ulius Caesar鈥� whereas 鈥淭roilus & Cressida鈥� draws on strains of Nationalism similar to that of MacBeth. The leaders and heroes of the Nations act in a manner that they say is best for the nations but like 鈥淢acBeth鈥� the people and even some of the nobility realize that the war between the Greeks and Trojans is not something that benefits them but only serves to benefit to a very tragic detriment, the egos and pride of the various aristocrats, heroes, princes, and Kings involved. Another lesson of 鈥淭roilus & Cressida鈥� is that if the will of the people is not supported by the rulers then it is no longer a republic but a vastly corrupt dictatorship and the people are non-entities of the nation and Nationalism is only lip service used by the nobility on a people that do not know any better or can do nothing about it.
In these four plays Shakespeare examines Nationalism and corruption vaguely to very overtly and the effects on the leaders, would be leaders, participants and the average citizen of a nation. Nationalism, can be used as a tool unite a people, to rally them and throw off the shackles of oppression. Nationalism can also be misused by the leaders to only further themselves or their interests, all under the guise of being good for the nation. When this happens, or is revealed as having had happen, corruption has been in play, and eventually will take down the leader or person that is corrupt. Unlike the nicely well wrapped plays of Shakespeare, history shows us corrupt officials and people in power take time and blood to be toppled. In these plays Shakespeare gives the reader, and subsequently the viewer of the plays, a glimpse of the ideology that is Nationalism and Corruption as a doubled edge sword. If the wielder of that sword is not careful the wielder could find themselves on the receiving edge and the cut meant for someone else is the blow that brings them down.
This entire review has been hidden because of spoilers.
August 9, 2020
Like the introductions and the additional notes to the text and the stage play which provide readers a detailed background and insight along with the actual text
My favourite of these 4 are Othello and Macbeth
My favourite of these 4 are Othello and Macbeth
January 2, 2024
proud to say i鈥檝e read all these and they all go crazy
August 8, 2024
Ay ... ser o no ser.
Y Que ten铆a Shakespeare con las profec铆as.
Y Que ten铆a Shakespeare con las profec铆as.
August 25, 2021
I liked Horatio and Hamlet flirting, did not enjoy that Hamlet died and left his boyfriend alone
This entire review has been hidden because of spoilers.
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May 9, 2024Hamlet and Othello are exquisite, Macbeth is a childless tragedy, and King Lear was a drag-
April 26, 2020
For me, it's Hamlet = Macbeth > King Lear > Othello.
King Lear's plot is a bit muddled, and Othello's is one-note. Hamlet and Macbeth are perfect.
King Lear's plot is a bit muddled, and Othello's is one-note. Hamlet and Macbeth are perfect.
July 30, 2017
I'd already read Hamlet and Othello, but getting Lear and Othello for only $1 still seemed like a worthwhile investment. In addition to the annotated text of each play, notes include how each play has actually been performed, Shakespeare's historical sources, and suggestions for further reading, almost 800 pages in all. That said, the print is small and the numerous footnotes tiny.
I just finished Macbeth which I read in conjunction with Asimov's Guide to Shakespeare and plan to read Lear in the near future.
Asimov quotes a lady reading Shakespeare for the first time who was not impressed because all he did was string together a series of well known quotations one after the other. This book includes a four pages of memorable lines from each of the four plays, and Macbeth certainly had its fair share.
I just finished Macbeth which I read in conjunction with Asimov's Guide to Shakespeare and plan to read Lear in the near future.
Asimov quotes a lady reading Shakespeare for the first time who was not impressed because all he did was string together a series of well known quotations one after the other. This book includes a four pages of memorable lines from each of the four plays, and Macbeth certainly had its fair share.
May 1, 2016
賲賳 兀賰孬乇 丕賱賰鬲亘 丕賱鬲賷 丌孬乇鬲賴丕 賮賷 賷賮毓賷貙 賱賷爻 賮賯胤 賱鬲毓賱賯賷 亘卮賰爻亘賷乇 賲賳匕 賯乇兀鬲 賱賴 (鬲丕噩乇 丕賱亘賳丿賯賷丞) 賵 賲毓乇賮鬲賷 丕賱爻丕亘賯丞 亘賲兀爻丕丞 (丕賱賲賱賰 賱賷乇) 丕賱鬲賷 賯丿 鬲賳丕賮爻 賮賷 卮賴乇鬲賴丕 卮賴乇丞 (賴丕賲賱鬲) 丕賱鬲賷 賱丕 鬲夭丕賱 鬲毓丿賾 賲兀孬乇丞 卮賰爻亘賷乇 丕賱兀賰孬乇 禺賱賵丿丕賸貙 乇睾賲 兀賳賷 兀噩丿 賮賷 兀賵鬲賷賱賾賵 (毓胤賷賱) 賲爻乇丨賷丞 賱賲 鬲賳賱 丨賯賴丕 丕賱賰丕賮賷 賵 賮賷 (賲丕賰亘孬) 兀乇賵毓 賲丕 禺胤 卮賰爻亘賷乇 亘丨賯 賵 賰賳鬲 廿賱賶 賲丕 賯亘賱 爻賳賵丕鬲 賱賷爻鬲 亘亘毓賷丿丞 兀丨賮馗 賲賯丕胤毓 賰丕賲賱丞 賲賳賴丕 賱卮丿丞 丕賳丿賲丕噩賷 亘賴丕! 賱賰賳 丕賱爻乇 賮賷 賴匕賴 丕賱胤亘毓丞 亘丕賱匕丕鬲 賴賵 毓亘賯乇賷丞 噩亘乇丕 丕亘乇丕賴賷賲 噩亘乇丕 賮賷 鬲乇噩賲鬲賴 賱賴丕貙 賮毓丕丿丞賸 兀賮囟賾賱 賯乇丕亍丞 丕賱賰鬲亘 亘賱睾鬲賴丕 丕賱兀氐賱賷丞 賲丕 丕爻鬲胤毓鬲 賱鬲賷賯賾賳賷 賲賳 毓噩夭 丕賱賲鬲乇噩賲 賲賴賲丕 丕噩鬲賴丿 賮賷 廿賷賮丕亍 丕賱賳氐 丕賱兀氐賱賷 丨賯賴 賵 乇賵丨賴貙 賵 賷兀鬲賷 噩亘乇丕 丕爻鬲孬賳丕亍賸 賱毓賱賴 丕賱賵丨賷丿 丕賱匕賷 兀毓乇賮賴 廿匕 賷丨賮馗 丕賱乇賵丨 丕賱卮賰爻亘賷乇賷丞 賱賳氐賵氐 丕賱賲丌爻賷 賵 賷囟賮賷 毓賱賷賴丕 賮賷 匕丕鬲 丕賱賵賯鬲 氐賳毓鬲賴 丕賱兀丿亘賷丞 丨鬲賶 鬲賰丕丿 賱丕 鬲氐丿賾賯 兀賳賾 卮賰爻亘賷乇 賱賲 賷賰鬲亘賴丕 兀氐賱丕賸 亘丕賱毓乇亘賷丞!
June 26, 2013
丕噩賲賱 賲丕 賯乇丕鬲賴 賴賷 賲爻乇丨賷丞 丕賱賲賱賰 賱賷乇. 乇丕賷鬲 亘賴丕 賲賳 丕賱賲卮丕毓乇 賵 丕賱丨亘 賲丕 賱丕 鬲爻鬲胤賷毓 丕賱賰賱賲丕鬲 丕賳 鬲毓亘乇 毓賳賴
September 18, 2017
賱賷爻賻 賱賴丕 賲禺乇噩 丕亘丿賸丕 貙 毓丕卅賲丞 賮賷 丕賱鬲賷賴 .賵 賲購乇亘賰丞 噩丿賸丕 賵賻 爻禺賷丞 噩丿賸丕 賮賷 丌賳賺 賵丕丨丿.
February 26, 2024
I don't usually review things as a group, but I have pretty similarly thoughts about these four plays. They're easily Shakespeare's best tragedies, and are basically unrivaled when compared against his comedies (except The Tempest) and his histories (except Richard III). Each protagonist has a clearly defined flaw that others take advantage of, resulting in unfortunate ends for almost everyone. It's especially interesting to note how switching Hamlet and Othello's positions would result in them having happier endings, as the cautious Hamlet would be wary of killing Desdemona while the headstrong Othello would obliterate Claudius without hesitation.
Each protagonist is accompanied by an excellent companion that pushes them off a cliff into a massive pile of morality dung. Othello would not be the wife-murderer we know and love if Iago wasn't there to gaslight everyone into being their worst selves. Macbeth is basically content with his life before Lady Macbeth convinces him to follow the witches' prophecy by killing the king. King Lear's betrayal by Goneril and Regan causes him to wallow in misery (among other things) as everyone looks at him in disgust. Hamlet is... actually ruining his own life more than Claudius ever did to be honest. Eh, he can have Laertes I guess.
These characters, combined with a wonderful surrounding cast that would take way too long to go over, makes the sorrow of each tragedy all the more bitter. Not to worry though, as they are occasionally hilarious too. The line "What, you egg? [he stabs him]" is so much funnier than anything in the comedies. Hamlet's fake (possibly real) descent into insanity is wonderful to watch as he treats his loved ones like garbage. King Lear's fall from grace feels like watching a clown car pileup on the freeway get bigger until it finally explodes. The scene in Othello where... actually this play is just depressing. Iago's bitterness for a brown man being respected more than him is sort of entertaining I suppose.
Huh, I wonder if the similarities between the plays, combined with a few key differences, highlight Shakespeare's ability to write a specific, yet unique story for each one. This guy seems like a pretty good author. I wish more people knew about him.
Each protagonist is accompanied by an excellent companion that pushes them off a cliff into a massive pile of morality dung. Othello would not be the wife-murderer we know and love if Iago wasn't there to gaslight everyone into being their worst selves. Macbeth is basically content with his life before Lady Macbeth convinces him to follow the witches' prophecy by killing the king. King Lear's betrayal by Goneril and Regan causes him to wallow in misery (among other things) as everyone looks at him in disgust. Hamlet is... actually ruining his own life more than Claudius ever did to be honest. Eh, he can have Laertes I guess.
These characters, combined with a wonderful surrounding cast that would take way too long to go over, makes the sorrow of each tragedy all the more bitter. Not to worry though, as they are occasionally hilarious too. The line "What, you egg? [he stabs him]" is so much funnier than anything in the comedies. Hamlet's fake (possibly real) descent into insanity is wonderful to watch as he treats his loved ones like garbage. King Lear's fall from grace feels like watching a clown car pileup on the freeway get bigger until it finally explodes. The scene in Othello where... actually this play is just depressing. Iago's bitterness for a brown man being respected more than him is sort of entertaining I suppose.
Huh, I wonder if the similarities between the plays, combined with a few key differences, highlight Shakespeare's ability to write a specific, yet unique story for each one. This guy seems like a pretty good author. I wish more people knew about him.
July 15, 2023
The Shakespearian tragedies - few of the most performed plays of the literature. It is unquestionably considered classics by readers of all times. And of course Shakespearian dramas are classics, but I am not matured enough to enjoy the classics yet! I found it really hard to follow - mainly due to the structure of the Shakespearian dialogues - and was going at a very slow pace.
This book is a collection of 4 tragedies. Hamlet, Othello, King Lear and Macbeth. Personally the retelling by the editors also did little help for me in understanding the essence of the content as-is. But the commentary for the tough statements and quotes connecting to the era/geographic specific references was handy in understanding a good deal of colloquial dialogues and comments.
Hamlet is a revenge story ended up in the most tragic way for Hamlet on his quest to avenge his father's death. "To be, or Not to be " - the most famous dialogue from this play show cases the contemplation of Hamlet - the protagonist - in terms of assuming his stance regarding the revenge to his uncle who killed and usurped the kingdom. It was but an average read for me.
Othello is dealing with more diverse issues and multiple plots in which the ever faithful and loving wife - Desdemona - of the protagonist is getting murdered by Othello himself. The progression from the true love between Othello and Desdemona, through brutal murder of hers by Othello is orchestrated meticulously by the hideous plot devised by the antagonist Iago - a servant of Othello - because of his enmity with his Lord Othello. And when the plot is revealed to Othello by Iago's wife - Emilia - Othello understands his mistake and commits suicide alongside his Desdemona.
King Lear's plot is about the sufferings he experiences from his elder daughters after his misjudged demeanor of dividing his kingdom into 2 and share it with his 2 elder daughters and banishing the youngest one. He jumped into conclusions by the flattery of his elder daughters.
Macbeth deals with the treachery and power mongering by one of the Scottish general - Macbeth - and the resultant destruction of himself and many others around him.
This book is a collection of 4 tragedies. Hamlet, Othello, King Lear and Macbeth. Personally the retelling by the editors also did little help for me in understanding the essence of the content as-is. But the commentary for the tough statements and quotes connecting to the era/geographic specific references was handy in understanding a good deal of colloquial dialogues and comments.
Hamlet is a revenge story ended up in the most tragic way for Hamlet on his quest to avenge his father's death. "To be, or Not to be " - the most famous dialogue from this play show cases the contemplation of Hamlet - the protagonist - in terms of assuming his stance regarding the revenge to his uncle who killed and usurped the kingdom. It was but an average read for me.
Othello is dealing with more diverse issues and multiple plots in which the ever faithful and loving wife - Desdemona - of the protagonist is getting murdered by Othello himself. The progression from the true love between Othello and Desdemona, through brutal murder of hers by Othello is orchestrated meticulously by the hideous plot devised by the antagonist Iago - a servant of Othello - because of his enmity with his Lord Othello. And when the plot is revealed to Othello by Iago's wife - Emilia - Othello understands his mistake and commits suicide alongside his Desdemona.
King Lear's plot is about the sufferings he experiences from his elder daughters after his misjudged demeanor of dividing his kingdom into 2 and share it with his 2 elder daughters and banishing the youngest one. He jumped into conclusions by the flattery of his elder daughters.
Macbeth deals with the treachery and power mongering by one of the Scottish general - Macbeth - and the resultant destruction of himself and many others around him.
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