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Ans. Romantic comedy is a comedy that suggests a variety of senses and means. Jonson and other playwrights have written realistic and satirical comedies. These comedies have ugly and harsh realities of life. But a romantic comedy creates imagination. Laughter, in realistic comedy, is directed as the follies of characters designated by another term: ‘comedy of manners’. In these comedies we laugh at characters and we find them in ourselves. Here the attitude is more sympathetic than criticism. We understand the characters and not judge them. Shakespeare demands greater involvement in his characters. The focus is on the individual and individual alone.

          William Shakespeare wrote a number of romantic comedies of which As You Like It is the finest. A romantic comedy is a play in which the romantic elements are mingled with comic elements. While the romantic elements like delight and thrill enchant us; the comic elements make us laugh. It is remarkable among Shakespeare’s plays for ending with four marriages, something of a record even among comedies. Love is a central theme of the play, although in some of its variations it cannot quite be said to be romantic! The love relationships may, at first glance, appear to be stock types: Rosalind and Orlando representing romantic hero-heroine love, Silvius and Phebe combining love in the lower classes with unrequited love, Audrey and Touchstone a darker attempt to seduce, and Celia and Oliver simple tying up of loose ends. Shakespeare makes the theme interesting not just through the sheer variety of relationships that he explores, but also through the unusual elements he brings to each.

There are several features of the play which justify the description of it as ‘romantic’. The very mingling of serious and sad events and situations with amusing scenes and situations is romantic. The ancient classical plays and the neoclassical plays of the later time were either purely tragic or purely comic. But Shakespeare did not hesitate to introduce comic situations and comic characters in his tragedies, and sad happenings and pathetic characters in his comedies. Thus in As You Like It the banishment of Duke senior, the no lent quarrel between Orlando and Oliver. Duke Frederick’s shabby treatment to Orlando and the banishment of Rosalind are all sad happenings. But the play creates an outstanding effect of comedy which provides much amusement and mirth to us.

As You Like It is a romantic play also by virtue of the fact that it does not observe any of the three dramatic unities namely the unity of time, the unity of place and the unity of action. The unity of time demands that the action of a play should cover not more than twenty-four hours while the action of As You Like It occurs over a period of at least days. The unity of place demands that the entire action of a play should occur in the same town or a place or any other place. But in As You Like It the scenes shift from the city to the forest of Arden, from the forest of Arden back to the city, and then again to the forest of Arden. The unity of action demands that a play should have a single plot and should not contain any subplots or under plots, in As You Like It we have as many as three sub-plots, besides the main plot. In other words, As You Like It has a loose structure.

The Rosalind-Orlando relationship could be stock hero-heroine love, but for the interest Shakespeare adds by way of Rosalind’s luminous character and the humor of Orlando encountering and being attracted to Rosalind in her guise as a “saucy lackey”, Ganymede. The way in which they meet and fall in love is traditional — Rosalind is won over by Orlando’s manly labors and good looks at his wrestling match with Charles, and performs her feminine office of mercy by trying to dissuade him from what appears to be such a disastrous venture. It is true love at first sight, another traditional feature of such a romance.

Phebe and Silvius are pastoral lovers, and also an example of unrequited love. Silvius’ declarations of love are highly romantic — “Whoever loved that loved not at first sight?” — and his devotion to disdainful Phebe arouses our sympahy, as well as our amusement at the silly things that Silvius’ desperation is driven to — “How many actions most ridiculous / Hast thou been drawn to by thy fantasy?”. The evergreen theme of unrequited love is not all that holds our attention to this pair, though. Phebe’s attraction to Rosalind adds a whole new dimension to Silvius’ unfortunate passion. A great deal of entertainment is afforded by the way Phebe, in her turn, is driven into doing silly things for the sake of her love, and the way she too is humiliated by falling in love with someone who scorns her. Even more amusing is Rosalind’s dismay at being fallen in love with, evident in such lines as “Why look you so upon me?” and “I pray you do not fall in love with me, / For I am falser than vows made in wine.” The comical nature of the general lovesick situation is highlighted in the scene just after Oliver’s arrival in the Forest of Arden, when Phebe tells her faithful swain Silvius to “tel this youth what ’tis to love”. Silvius repeatedly describes a facet of love [quote] and declares that such is his love for Phebe, echoed by Phebe, who declares that so is she for Ganymede, and Orlando, who declares himself for Rosalind, and Rosalind, who insists, more and more impatiently and desperately, that so feels she for no woman. This repetition, and the general helplessness in the face of love shown by the formula “If this be so, why blame you me to love you?” makes the scene hilarious. Rosalind’s difficult situation in terms of love is part of the humor, as she looks progressively more and more wild-eyed, and so is her alarmed reaction to Orlando’s declaration “If this be so, why blame you me to love you?”, apparently made to her — in her guise as Ganymede!

Celia and Oliver are the last lovers to meet. Their love is somewhat improbable, not because it is at first sight, but because Shakespeare offers us so little about it. It seems to have been talked on at the end in order to finish happily marrying off every young person onstage. However, As You Like It is a comedy — and ignoring the improbability of Celia’s and Oliver’s falling in love, it does serve the comic nature of the play. It means a happy ending for Celia, who has been such a faithful friend to Rosalind throughout the play that she deserves a reward. It rewards and confirms Oliver’s repentance — Celia has proven herself so good that it would be unlikely for her to fall in love with a villain. There is a pleasant symmetry in her cousin Rosalind’s marriage to Orlando and Celia’s marriage to Orlando’s brother Oliver. The audience will also be greatly amused at the fact that although Celia has been teasing Rosalind ever since she fell in love with Orlando, she herself is not proof to sudden and irrational love. All in all, their marriage is necessary for the comic resolution of the play.

The most striking romantic element in the play is its theme of youthful love and the passion of love that has a universal appeal. Rosalind falls in love with Orlando at first sight and he falls in love with her at the same instant. The love of Celia and Oliver too is a romantic affair. They too fall in love with each other at first sight. Phoebe’s love for Ganymede has also a romantic basis.

The play is romantic also in its setting. Barring a few scenes, in the beginning, the story of the play has been sent to the Forest of Arden, in rural surroundings. The atmosphere at the court and in the city is always suffocating not only because of intrigues and jealousies prevailing there but also because of the crowds of people. Here in the Forest of Arden one may have to face rough weather and icy wind but here one is at least safe from the dangers of overcrowding and the dangers of the insincerity of the people. The Forest of Arden stimulates all the faculties of a human being, especially the heart and the feelings.

Moreover, there is something romantic about the attachment of Celia to her cousin Rosalind when Duke Frederick goes away after saying that his decision of exile sentence to Rosalind is final and irrevocable. Celia takes the initiative and says that she would accompany Rosalind into exile. Such affection is really heart touching, similarly, there is something romantic even about the loyalty and devotion of Adam to Orlando.

In As You Like It romance and comedy are mingled in an effective way. The play’s effect is poetic, not satiric throughout the play we find an aura of freshness, radiance, and beauty. Indeed it is a perfect romantic creation of Shakespeare.

Ans. The famous sleep walking scene (ACT: V, SC: I) in ‘Macbeth’ is, ‘a stroke of creative imagination’, there being no hint of it in Holinshed. For the first and the last time in literature sleep walking is used with great and terribldramatic effect. Indeed the scene is a masterpiece of dramatic art.It is the scene in which Lady Macbeth is found to be walking in sleep. Lady Macbeth first asleep, is moving with a taper in hand. From the attending woman we come to know that by her instruction a taper is always placed at her bed side for she cannot stand darkness. The dreadful memories of the past led to a disorder of mind. While walking in sleep she speaks incoherently of the horrible past. She rubs her hands and whispers, ‘out, dammed spot’. She utters the words with which she led Macbeth on to the crime! “Fie, my lord Fie! A soldier, and afread? Then the horrible sight of Duncan lying in a pull of blood ever haunts her like a nightmare! Yet who would have thought the old man to have had so much blood in him. She looks at her hands and cries out, what these hands will never be clean. Next she utters the words with which she chastised her husband at the banquet scene, ‘You married all with the starting’. She seems to hear still the sound of knocking night at the gate at the castle in the down that follows the night of the murder and goes to bed panic stricken.

Thus this scene shows that the imagination of  lady Macbeth has broken  loose and running wild resulting in a serious of incongruous flash backs . This has called for the use of prose which most effectively copes with the broken mumblings of a mind in a state of complete disorder.

         But the most important dramatic function of the scene lies in the fact that it shows that the collapse of Lady Macbeth is now complete. In the earlier scene of the tragedy she appears stronger than her husband. But they have now changed places; Lady Macbeth passed from one desperate action to another. She had on an earlier occasion recommended sleep as the one thing most needed by Macbeth and now her own sleep is afflicted by terrible dream. The sickness of her mind is vividly suggested by her perpetual longing for light and her association of darkness with hell. With Lady Macbeth the curse works itself out, not in fear but remorse; it impels her husband to fresh deeds of blood: she has no hand in any murder but the first. But her sin is ever present to her: awake or dreaming she can think of nothing but that awful night, and the stain upon her hand and soul. At last her over tasked brain breaks down; we witness her mental agony in the sleep-walking scene: ” Here’s the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand: oh! oh! oh!” And then she dies, a voluntary and most wretched death.

         Lady Macbeth’s complete collapse in the scene is not at all abrupt and unconvincing. For in the earlier part of the drama there are enough indications suggesting the essential weakness of her nature. As the action of the drama advances because of her constant prick of her conscience. She is more and more relegated to the back ground. After the first crime her husband no longer needs her active co-operation in the murderous deeds that follow. She has no part in the long series of Macbeth’s subsequent assassinations. She is innocent of Banquo’s blood, innocent of the blood of Lady Macduff and her little child. From the very beginning unto her very end, she is essentially a woman. To overcome the weakness which her sex is heir to, she had to invoke the aid of the murdering ministers.
“Come to my woman’s breasts, 
 And take to my milk for gall  â€Ļ..

Again she can not enter into Duncan’s chamber for the old king resembles her father:   

“Had he not resembled   
  My father as he slept, I had done it.”

     This speech shows that she has a slaughter concealed underneath her hard relentless exterior. She has also a mother buried within her. That the mother is her is evident in the speech –

“I have given suck, and KNOW

How tender it is for love the babe that milks me.”

To suppress her essential feminine nature she has to take the help of wine. But neither wine, nor artificial strength of mind allow one to go against one’s nature for a long time. The voice of conscience forcibly strangled, reasserts itself and Lady Macbeth begins to sink. When we see her as the queen of Scotland the glory of her dream has faded. She enters disillusioned and weary with want of sleep:“Naught’s had, all’s spent”.

Hence forth, she has no initiative. She has little energy left. The fact is after the initial crime disillusionment and despair prey upon her more and more until she sinks down completely in the sleep walking scene.

 The tragic retribution pierces the soul of Lady Macbeth herself. Sleep that is no sleep becomes her long night agony. She walks in her slumber, and blabs to the dark, that has listening ears, unknown by her, secrets that have blood upon them, washing her miserable hand all murder-stained, and washing in vain. Lady Macbeth is left upon the shore alone. Her occupation is gone, and she has neither imagination nor sympathy to enable her to fill the blank in her life. With her passion consumed her own heart. Her proud will became sapped by remorse: and she, with naked fancy stretched upon the rack, lived a long sleepless dream of hell—a miserable woman, whose nerves, all flayed, were scorched for ever by the hot breath of her sin.

Thus, the sleep walking scene is dramatically most important for bringing out the female effect of the tears growing of Lady Macbeth’s remorse on her. In this scene it is the invisible world of moral reality which is made strongly manifest before our eyes. Lady Macbeth completely over taken by the awful war that is raining in her breast has helplessly broken down. Her feet, her hands, her lips conspire against her in revealing the guilty secrets so long forcibly suppressed. 

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  • āĻ¸ā§āϝāĻžāϰ āϤ⧋ āϚāĻžāχāĻŦ⧇āύ āφāĻĒāύāĻžāϕ⧇ āύāĻžāĻŽā§āĻŦāϰ āĻĻāĻŋāϤ⧇ āĻ•āĻŋāĻ¨ā§āϤ⧁ āφāĻĒāύāĻŋ āĻ•āĻŋāϛ⧁ āύāĻž āϞāĻŋāϖ⧇ āφāϏāϞ⧇ , āĻ•āĻŋāĻ­āĻžāĻŦ⧇ āφāĻĒāύāĻžāϕ⧇ āύāĻžāĻŽā§āĻŦāϰ āĻĻ⧇āĻŦ⧇āύ āĻŦāϞ⧁āύ ? āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻžāχ āĻŦāϞ⧇, āĻ—āϰ⧁āϰ āϰāϚāύāĻž āϤ⧇ āύāĻĻā§€āϰ āϰāϚāύāĻž āϞāĻŋāϖ⧇ āĻāϞ⧇ āύāĻŋāĻļā§āϚāϝāĻŧ āύāĻŽā§āĻŦāϰ āĻĒāĻžāĻŦ⧇āύ āύāĻžāĨ¤ āϝ⧇ āϟāĻĒāĻŋāĻ• āĻĨāĻžāĻ•āĻŦ⧇, āϏ⧇āχ āϟāĻĒāĻŋāĻ•āĻŋ āĻ•āĻŋāϛ⧁ āϞāĻŋāϖ⧇ āφāϏāĻŦ⧇āύāĨ¤

Example > āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ āύāĻŋāϝāĻŧ⧇ āϝ⧇āϕ⧋āύ⧋ āĻĒā§āϰāĻļā§āύ āĻāϞ⧇, āĻŽā§āϝāĻžāĻ•āĻŦ⧇āĻĨ āĻāϰ āĻŽā§‚āϞ āĻ­āĻžāĻŦāϟāĻž āϝāĻž āϜāĻžāύ⧇āύ āϤāĻžāχ āϞāĻŋāϖ⧇ āφāϏāĻŦ⧇āύ,

āĻŦāĻž āϧāϰ⧁āύ = āϏāĻžāĻšāĻŋāĻ¤ā§āϝ āύāĻŋāϝāĻŧ⧇ āϕ⧋āύ⧋ āĻĒā§āϰāĻļā§āύ āĻāϞ⧇, āϏ⧇āχ āϟāĻĒāĻŋāĻ• āĻ…āύ⧁āϝāĻžāϝāĻŧā§€ āϝāĻž āϜāĻžāύ⧇āύ āϤāĻžāχ āϞāĻŋāϖ⧇ āφāϏāĻŦ⧇āύ, āĻŽā§‹āϟ āĻ•āĻĨāĻž āϕ⧋āύ⧋ āĻĒā§āϰāĻļā§āύ āĻāĻ•āϟ⧁āĻ“ āϝāĻĻāĻŋ āφāĻĒāύāĻŋ āĻœā§‡āύ⧇ āĻĨāĻžāϕ⧇āύ , āĻ–āĻžāϞāĻŋ āϰ⧇āϖ⧇ āφāϏāĻŦ⧇āύ āύāĻž āĨ¤ āĻĢāϰ āϏāĻŋāĻ“āϰ āĻĒāĻžāϏ āφāĻĒāύāĻŋ  āĻ•āϰāĻŦ⧇āχ āĻ•āϰāĻŦ⧇āύ āĨ¤

  • āĻĒāϰ⧀āĻ•ā§āώāĻžāϰ āφāϗ⧇, āύāĻŋāĻœā§‡āϕ⧇ āĻāĻ•āϟ⧁ āϏāĻŽāϝāĻŧ āĻĻāĻŋāϤ⧇ āĻšāĻŦ⧇, 2 āĻĻāĻŋāύ āύāĻž āĻšāϞ⧇ āĻāĻ•āĻĻāĻŋāύ, āĻĻ⧇āϖ⧁āύ āϏāĻžāϰāĻžāĻœā§€āĻŦāύ-āχ āϤ⧋ āĻ•āĻžāϜ āφāϰ āĻ•āĻžāϜ āĻĨāĻžāĻ•āĻŦ⧇āχ, āϤāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āφāĻĒāύāĻŋ āϝāĻĻāĻŋ āϏāĻŽāϝāĻŧ āĻŦ⧇āϰ āĻ•āϰāϤ⧇ āύāĻž āĻĒāĻžāϰ⧇āύ, āϤāĻžāĻšāϞ⧇ āϤ⧋ āφāĻĢāϏ⧋āϏ āĻ•āϰāϤ⧇āχ āĻšāĻŦ⧇ āφāĻĒāύāĻžāϕ⧇ āĻāĻ•ā§āϏāĻžāĻŽ āĻšāϞ-āĻ, āϤāĻžāχāύāĻž?  āϏāĻŦāϟāĻž āϏāĻŦāĻžāϰ āωāĻĒāϰ āϛ⧇āĻĄāĻŧ⧇ āĻĻāĻŋāϤ⧇ āύ⧇āχāĨ¤ āύāĻŋāĻœā§‡āĻ“ āĻāĻ•āϟ⧁ āĻĒāĻĄāĻŧāϤ⧇ āĻšāĻŦ⧇āĨ¤
  • āĻļ⧇āώāĻ•āĻĨāĻž, āĻĒā§āϰāĻ¸ā§āϤ⧁āϤāĻŋ āύāĻŋāύ, āύāĻŋāĻœā§‡āϰ āĻĒā§āϰāϤāĻŋ āĻŦāĻŋāĻļā§āĻŦāĻžāϏ āϰāĻžāϖ⧁āύ, āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ āϏāĻžāĻŽāĻžāĻ¨ā§āϝ āĻšāϞ⧇āĻ“ āĻĒāĻĄāĻŧ⧁āύ, āφāϰ  āϏāĻžāĻœā§‡āĻļāύ āϗ⧁āϞ⧋ āĻ­āĻžāϞ⧋ āĻ•āϰ⧇ āĻĢāϞ⧋ āĻ•āϰ⧇ āϝāĻžāύ āĨ¤ āĻĢāϰ āϏāĻŋāĻ“āϰ āĻĒāĻžāϏ āφāĻĒāύāĻŋ  āĻ•āϰāĻŦ⧇āχ āĻ•āϰāĻŦ⧇āύ āĨ¤

āφāĻŽāĻžāĻĻ⧇āϰ āĻāĻ•āϟāĻŋ āĻŦāĻĄā§āĻĄ āĻŦāĻžāĻœā§‡ āĻ…āĻ­ā§āϝāĻžāϏ āϰāϝāĻŧ⧇āϛ⧇, āφāĻŽāϰāĻž āϕ⧀ āĻĒāĻĄāĻŧāϞāĻžāĻŽ āϤāĻžāϰ āĻĨ⧇āϕ⧇ āĻ•āϤāϟ⧁āϕ⧁ āϏāĻŽāϝāĻŧ āĻĒāĻĄāĻŧ⧇āĻ›āĻŋ āϤāĻžāϰ āωāĻĒāϰ āĻŦ⧇āĻļā§€ āĻœā§‹āϰ āĻĻ⧇āχāĨ¤ āϧāϰāĻž āϝāĻžāĻ• āφāϜ āϏāĻ•āĻžāϞ⧇ āωāϠ⧇ āφāĻŽāĻŋ āĻāĻ•āϟāĻžāύāĻž āĻĒāĻžāρāϚ āϘāĻŖā§āϟāĻž āĻĒāĻĄāĻŧ⧇āĻ›āĻŋ āĻ•āĻŋāĻ¨ā§āϤ⧁ āφāϏāϞ⧇āχ āĻ•āĻŋ āϏāĻŽā§āĻ­āĻŦ āĻāĻ•āϟāĻžāύāĻž āĻĒāĻžāρāϚ āϘāĻ¨ā§āϟāĻž āĻĒāĻĄāĻŧāĻž? āϟāĻžāύāĻž āĻĒāĻžāρāϚ āϕ⧇āύ āĻĻ⧁āχ āϘāĻŖā§āϟāĻžāχ āĻŽāύ⧋āϝ⧋āĻ— āϧāϰ⧇ āϰāĻžāĻ–āĻž āĻ•āĻŋāĻ¨ā§āϤ⧁ āϚāĻžāĻŸā§āϟāĻŋāĻ–āĻžāύāĻŋ āĻ•āĻĨāĻž āύāĻž, āĻāĻ•āϟ⧁ āϖ⧇āϝāĻŧāĻžāϞ āĻ•āϰāϞ⧇āχ āĻĻ⧇āĻ–āĻž āϝāĻžāĻŦ⧇ āĻĒāĻžāρāϚ āϘāĻ¨ā§āϟāĻžāϰ āĻŽāĻžāĻā§‡ āĻ•āϤāĻŦāĻžāϰ āφāĻŽāĻžāĻĻ⧇āϰ āĻŽāύ⧋āϝ⧋āϗ⧇ āĻŦā§āϝāĻžāϘāĻžāϤ āϘāĻŸā§‡āϛ⧇āĨ¤ āĻšāϝāĻŧāϤ⧋ āĻĒāĻĄāĻŧāĻžāϰ āĻŽāĻžāĻā§‡āχ āφāĻŽāĻžāĻĻ⧇āϰ āĻĢ⧇āϏāĻŦ⧁āϕ⧇āϰ āύ⧋āϟāĻŋāĻĢāĻŋāϕ⧇āĻļāύ āĻšā§‡āĻ• āĻ•āϰāĻ›āĻŋ, āĻŽā§‡āχāϞ āĻšā§‡āĻ• āĻ•āϰāĻ›āĻŋ, āĻ•āĻŋāĻ‚āĻŦāĻž āχāωāϟāĻŋāωāĻŦ⧇ āĻĸ⧁āϕ⧇ āĻŦāϏ⧇ āφāĻ›āĻŋāĨ¤ āĻāĻ­āĻžāĻŦ⧇ ⧍-ā§Š āϘāĻŖā§āϟāĻž āĻĒāĻĄāĻŧāĻžāϰ āĻĒāϰ āĻ­āĻžāĻŦāĻ›āĻŋ āφāϜ āύāĻž āϜāĻžāύāĻŋ āĻ•āϤ āĻŦ⧇āĻļāĻŋ āĻĒāĻĄāĻŧ⧇ āĻĢ⧇āϞāϞāĻžāĻŽāĨ¤ āĻ…āĻĨāϚ āĻāχ āϏāĻŽāϝāĻŧāϟ⧁āϕ⧁āϤ⧇ āϝāϤ⧋āϟ⧁āϕ⧁ āĻĒāĻĄāĻŧāĻž āϝ⧇āϤ⧋ āϤāĻž āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻšāϝāĻŧ āύāĻŋāĨ¤

āϕ⧋āύ āϟāĻĒāĻŋāĻ• āĻļāĻŋāĻ–āϤ⧇ āĻ•āϤ āϏāĻŽāϝāĻŧ āĻĒāĻĄāĻŧāϞāĻžāĻŽ āϏ⧇āϟāĻž āĻ•āĻ–āύ⧋āχ āĻŽā§āĻ–ā§āϝ āĻŦāĻŋāώāϝāĻŧ āύāϝāĻŧ, āĻŦāϰāĻ‚ āϟāĻĒāĻŋāĻ•āϟāĻŋ āφāĻŽāĻŋ āĻ•āϝāĻŧāĻŦāĻžāϰ āĻ­āĻžāϞ⧋āĻ­āĻžāĻŦ⧇ āĻŦ⧁āĻā§‡ āĻĒāĻĄāĻŧ⧇āĻ›āĻŋ āϏ⧇āϟāĻžāχ āĻŽā§āĻ–ā§āϝ āĻŦāĻŋāώāϝāĻŧāĨ¤

āϏ⧁āϤāϰāĻžāĻ‚, āĻĒāĻĄāĻŧāϤ⧇ āĻŦāϏāĻžāϰ āϏāĻŽāϝāĻŧ āϕ⧋āύ āϟāĻĒāĻŋāĻ• āĻŽā§āĻ–āĻ¸ā§āĻĨ āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ āϕ⧋āύ āύāĻŋāĻ°ā§āϧāĻžāϰāĻŋāϤ āϏāĻŽāϝāĻŧ āĻĢāĻŋāĻ•ā§āϏāĻĄ āύāĻž āĻ•āϰ⧇ āĻŦāϰāĻ‚ āϟāĻĒāĻŋāĻ•āϟāĻŋ āĻĒā§āϰāĻĨāĻŽ āĻĨ⧇āϕ⧇ āĻļ⧇āώ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āϞāĻžāχāύ āĻŦāĻžāχ āϞāĻžāχāύ āĻ•āϝāĻŧ⧇āĻ•āĻŦāĻžāϰ āĻĒāĻĄāĻŧāĻžāϟāĻžāχ āĻŦ⧁āĻĻā§āϧāĻŋāĻŽāĻžāύ⧇āϰ āĻ•āĻžāϜ āĻšāĻŦ⧇āĨ¤ āĻāĻ•āϟāĻž āĻĻāĻžāρāϤāĻ­āĻžāĻ™ā§āĻ—āĻž āĻ…āύ⧁āĻšā§āϛ⧇āĻĻ āĻĒā§āϰāĻĨāĻŽāĻŦāĻžāϰ āĻĒ⧁āϰ⧋āϟāĻž āĻĒāĻĄāĻŧāϞ⧇ āϝāϤāϟ⧁āϕ⧁ āĻ•āĻ āĻŋāύ āĻŽāύ⧇ āĻšāĻŦ⧇ āĻĻā§āĻŦāĻŋāϤ⧀āϝāĻŧāĻŦāĻžāϰ āĻĒāĻĄāĻŧāϞ⧇ āϤ⧁āϞāύāĻžāĻŽā§‚āϞāĻ• āĻ•āĻŽ āĻ•āĻ āĻŋāύ āĻŽāύ⧇ āĻšāĻŦ⧇āĨ¤ āϏ⧁āϤāϰāĻžāĻ‚ āϝāϤāĻŦāĻžāϰ āĻĒ⧁āύāϰāĻžāϝāĻŧ āĻĒāĻĄāĻŧāĻž āĻšāĻŦ⧇ āϤāϤ⧋āϟāĻžāχ āϏāĻšāϜ āĻŽāύ⧇ āĻšāĻŦ⧇āĨ¤

āϟāĻĒāĻŋāĻ•āϟāĻŋ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āϞāĻžāχāύ āĻŦāĻžāχ āϞāĻžāχāύ āĻĒāĻĄāĻŧāĻž āĻšāϝāĻŧ⧇ āϗ⧇āϞ⧇ āϝ⧇ āϏāĻ•āϞ āĻŦāĻžāĻ•ā§āϝāϗ⧁āϞ⧋ āĻĻ⧁āĻ°ā§āĻŦā§‹āĻ§ā§āϝ āϏ⧇āϗ⧁āϞ⧋ āφāĻ¨ā§āĻĄāĻžāϰāϞāĻžāχāύ āĻ•āϰ⧇ āĻĢ⧇āϞāϤ⧇ āĻšāĻŦ⧇ āĻāĻŦāĻ‚ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻĒāϝāĻŧ⧇āĻ¨ā§āϟāϗ⧁āϞ⧋ āĻŦ⧇āϰ āĻ•āϰ⧇ āύāĻŋāϝāĻŧ⧇ āφāϏāϤ⧇ āĻšāĻŦ⧇āĨ¤ āĻāϕ⧇āĻ•āϟāĻŋ āĻĒāϝāĻŧ⧇āĻ¨ā§āϟ āĻāĻ•āϟāĻŋ āĻļāĻŦā§āĻĻ āĻ•āĻŋāĻ‚āĻŦāĻž āĻāĻ•āϟāĻŋ āϛ⧋āϟ āĻŦāĻžāĻ•ā§āϝ⧇āϰ āϏāĻŽāĻ¨ā§āĻŦāϝāĻŧ⧇ āϤ⧈āϰāĻŋ āĻšāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āĻĒāϝāĻŧ⧇āĻ¨ā§āϟ āφāωāϟ āĻ•āϰāĻžāϟāĻž āĻ…āĻŦāĻļā§āϝāχ āĻŦ⧁āĻĻā§āϧāĻŋāĻŽāĻ¤ā§āϤāĻžāϰ āϏāĻžāĻĨ⧇ āĻ•āϰāϤ⧇ āĻšāĻŦ⧇ āϝ⧇āύ āĻāĻ•āĻŦāĻžāϰ āĻĒāĻĄāĻŧāĻžāϰ āϏāĻžāĻĨ⧇ āϏāĻžāĻĨ⧇āχ āϟāĻĒāĻŋāĻ•āϟāĻŋāϰ āĻāĻ•āϟāĻŋ āĻŦāĻŋāĻļ⧇āώ āĻ…āĻ‚āĻļ āĻŽāĻžāĻĨāĻžāϝāĻŧ āĻ˜ā§‹āϰāĻž āĻļ⧁āϰ⧁ āĻ•āϰ⧇āĨ¤

āϕ⧇āω āϕ⧇āω āĻāĻ•āĻāϕ⧇ āĻŦāχ āĻ­āĻžāϞāĻŦāĻžāϏ⧇āύ āφāĻŦāĻžāϰ āĻ…āύ⧇āϕ⧇āχ āϞāĻžāϞ āύ⧀āϞ āϰāĻ™ā§āϗ⧇ āĻŦāχ āĻĢ⧁āϟāĻŋāϝāĻŧ⧇ āϤ⧋āϞ⧇āύāĨ¤ āϤāĻŦ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻŦ⧇āĻļāĻŋāϰāĻ­āĻžāĻ—āχ āĻŽāĻžāĻ°ā§āĻ• āĻ•āϰ⧇ āĻŦāĻž āĻĻāĻžāĻ—āĻŋāϝāĻŧ⧇ āĻĒāĻĄāĻŧāϤ⧇ āĻ­āĻžāϞāĻŦāĻžāϏ⧇āύāĨ¤ āĻāϟāĻžāĻ“ āĻĒāĻĄāĻŧāĻž āĻŽāύ⧇ āϰāĻžāĻ–āϤ⧇ āĻŦ⧇āĻļ āĻ•āĻžāĻ°ā§āϝāĻ•āϰāĨ¤ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻ…āĻ‚āĻļāϟ⧁āϕ⧁ āϚāĻŋāĻšā§āύāĻŋāϤ āĻ•āϰāĻžāϰ āĻĢāϞ⧇ āϕ⧋āύ āĻļāĻŦā§āĻĻ āĻŦāĻž āĻŦāĻžāĻ•ā§āϝ⧇āϰ āĻĒā§āϰāϤāĻŋ āφāĻ•āĻ°ā§āώāĻŖ āĻ“ āφāĻ—ā§āϰāĻš āĻŦ⧇āĻĄāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤ āϏ⧇āχ āϏāĻžāĻĨ⧇ āϐ āĻ…āĻ‚āĻļāϟ⧁āϕ⧁āϰ āωāĻĒāϰ āĻŦā§āϰ⧇āχāϪ⧇āϰ āĻ­āĻŋāĻœā§āϝ⧁āϝāĻŧāĻžāϞāĻŋāϟāĻŋ āχāĻĢ⧇āĻ•ā§āϟāĻ“ āĻŦ⧇āĻĄāĻŧ⧇ āϝāĻžāϝāĻŧ āϝāĻž āĻĒāĻĄāĻŧāĻžāϕ⧇ āĻŽāύ⧇ āϰāĻžāĻ–āϤ⧇ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āϏāĻšāĻžāϝāĻŧāϤāĻž āĻ•āϰ⧇āĨ¤

āĻĒāĻĄāĻŧāĻž āĻŽā§āĻ–āĻ¸ā§āϤ āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ āĻļ⧁āϧ⧁ āĻĒāĻĄāĻŧāϞ⧇āχ āĻšāĻŦ⧇ āύāĻž, āϞāĻŋāĻ–āϤ⧇āĻ“ āĻšāĻŦ⧇ āĻŦāĻžāϰāĻŦāĻžāϰāĨ¤ āĻŽāĻžāύ⧁āώ⧇āϰ āĻŦā§āϰ⧇āχāύ āĻ•ā§āώāĻŖāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻ¸ā§āĻŽā§ƒāϤāĻŋ āϗ⧁āϞ⧋āϕ⧇ āĻ āĻŋāĻ• āϤāĻ–āύāχ āĻĻā§€āĻ°ā§āϘāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻ¸ā§āĻŽā§ƒāϤāĻŋāϤ⧇ āĻĒāϰāĻŋāĻŖāϤ āĻ•āϰ⧇ āϝāĻ–āύ āϏ⧇āϟāĻž āĻŦāĻžāϰ āĻŦāĻžāϰ āχāύāĻĒ⧁āϟ āĻĻ⧇āϝāĻŧāĻž āĻšāϝāĻŧāĨ¤

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āĻ…āĻŦāĻļ⧇āώ⧇ āĻŦāϞāĻŦā§‹ āĻĒāĻĄāĻŧāĻžāĻļāύāĻžāϟāĻž āφāĻĒāύāĻžāϕ⧇āχ āĻ•āϰāϤ⧇ āĻšāĻŦ⧇ āϤāĻžāχ āφāĻĒāύāĻžāϰ āϏāĻŽāϝāĻŧ āĻŽāϤ⧋ āĻĒāĻĄāĻŧāĻžāĻļāύāĻžāϰ āϰ⧁āϟāĻŋāύ āĻŦāĻžāύāĻŋāϝāĻŧ⧇ āĻĒāĻĄāĻŧāĻžāĻļāύāĻž āĻļ⧁āϰ⧁ āĻ•āϰ⧁āύ, āϏāĻŽāϝāĻŧ āϖ⧁āĻŦāχ āĻ•āĻŽ āĨ¤ āϝāϤ āϤāĻžāĻĄāĻŧāĻžāϤāĻžāĻĄāĻŧāĻŋ āφāĻĒāύāĻŋ āĻĒāĻĄāĻŧāĻžāĻļāύāĻž āĻļ⧁āϰ⧁ āĻ•āϰāĻŦ⧇āύ āϤāϤ āĻāĻ—āĻŋāϝāĻŧ⧇ āĻĨāĻžāĻ•āĻŦ⧇āύāĨ¤

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