1974due1974trefocus

𝙰𝚕𝚕𝚊 '𝙶𝙽𝙰𝙼' 𝚍𝚒 𝚁𝚘𝚖𝚊, 𝙿𝚊𝚕𝚖𝚊 𝙱𝚞𝚌𝚊𝚛𝚎𝚕𝚕𝚒 𝚒𝚗𝚍𝚒𝚛𝚒𝚣𝚣𝚊 𝚕’𝚊𝚝𝚝𝚒𝚟𝚒𝚝𝚊̀ 𝚍𝚎𝚕 𝚖𝚞𝚜𝚎𝚘 𝚟𝚎𝚛𝚜𝚘 𝚞𝚗 𝚒𝚗𝚌𝚛𝚎𝚖𝚎𝚗𝚝𝚘 𝚍𝚎𝚕𝚕𝚎 𝚌𝚘𝚕𝚕𝚎𝚣𝚒𝚘𝚗𝚒 𝚍𝚎𝚕 𝚖𝚞𝚜𝚎𝚘, 𝚊𝚕𝚕𝚊 𝚌𝚘𝚗𝚘𝚜𝚌𝚎𝚗𝚣𝚊 𝚍𝚒 𝚙𝚎𝚛𝚜𝚘𝚗𝚊𝚕𝚒𝚝𝚊̀ 𝚍𝚎𝚕 𝚖𝚘𝚗𝚍𝚘 𝚊𝚛𝚝𝚒𝚜𝚝𝚒𝚌𝚘 𝚍𝚒 𝚛𝚒𝚕𝚒𝚎𝚟𝚘 𝚜𝚒𝚊 𝚒𝚝𝚊𝚕𝚒𝚊𝚗𝚎 𝚌𝚑𝚎 𝚒𝚗𝚝𝚎𝚛𝚗𝚊𝚣𝚒𝚘𝚗𝚊𝚕𝚒 𝚎 𝚊𝚕𝚕𝚊 𝚙𝚛𝚘𝚖𝚘𝚣𝚒𝚘𝚗𝚎 𝚍𝚎𝚕𝚕’𝚊𝚛𝚝𝚎 𝚒𝚝𝚊𝚕𝚒𝚊𝚗𝚊 𝚊𝚕𝚕’𝚎𝚜𝚝𝚎𝚛𝚘. 𝙳𝚊𝚐𝚕𝚒 𝚊𝚗𝚗𝚒 ‘𝟻0 𝚊𝚕𝚕𝚊 𝚏𝚒𝚗𝚎 𝚍𝚎𝚕 𝚜𝚞𝚘 𝚖𝚊𝚗𝚍𝚊𝚝𝚘 𝚜𝚘𝚗𝚘 𝚜𝚝𝚊𝚝𝚎 𝚛𝚎𝚊𝚕𝚒𝚣𝚣𝚊𝚝𝚎 𝚖𝚘𝚜𝚝𝚛𝚎 𝚜𝚎𝚖𝚒𝚗𝚊𝚕𝚒 𝚌𝚘𝚗 𝚞𝚗𝚊 𝚜𝚎𝚕𝚎𝚣𝚒𝚘𝚗𝚎 𝚍𝚒 𝚘𝚙𝚎𝚛𝚎 𝚍𝚒 𝚊𝚛𝚝𝚒𝚜𝚝𝚒 𝚚𝚞𝚊𝚕𝚒: 𝙼𝚘𝚍𝚒𝚐𝚕𝚒𝚊𝚗𝚒, 𝙼𝚘𝚗𝚍𝚛𝚒𝚊𝚗, 𝙿𝚘𝚕𝚕𝚘𝚌𝚔, 𝙼𝚘𝚛𝚊𝚗𝚍𝚒, 𝚂𝚌𝚒𝚙𝚒𝚘𝚗𝚎, 𝙶𝚒𝚗𝚘 𝚁𝚘𝚜𝚜𝚒, 𝙺𝚊𝚗𝚍𝚒𝚗𝚜𝚔𝚓𝚒, 𝚁𝚒𝚌𝚑𝚝𝚎𝚛, 𝙼𝚊𝚕𝚎𝚟𝚒𝚌, 𝙵𝚊𝚞𝚝𝚛𝚒𝚎𝚛, 𝙼𝚘𝚘𝚛𝚎, 𝙿𝚛𝚊𝚖𝚙𝚘𝚕𝚒𝚗𝚒, 𝙺𝚕𝚎𝚎, 𝙲𝚘𝚕𝚕𝚊, 𝙼𝚊𝚗𝚣𝚘𝚗𝚒, 𝙱𝚊𝚞𝚖𝚎𝚒𝚜𝚝𝚎𝚛, 𝙲𝚊𝚙𝚘𝚐𝚛𝚘𝚜𝚜𝚒 𝚎𝚌𝚌.
(𝙽𝚎𝚕𝚕'𝚒𝚖𝚖𝚊𝚐𝚒𝚗𝚎 𝚞𝚗𝚊 𝚏𝚘𝚝𝚘 𝚍𝚎𝚕 '𝙶𝚛𝚊𝚗𝚍𝚎 𝚂𝚊𝚌𝚌𝚘' 𝚍𝚒 𝙱𝚞𝚛𝚛𝚒).

𝚃𝚛𝚊 𝚐𝚕𝚒 𝚊𝚗𝚗𝚒 𝚌𝚒𝚗𝚚𝚞𝚊𝚗𝚝𝚊 𝚎 𝚐𝚕𝚒 𝚊𝚗𝚗𝚒 𝚜𝚎𝚜𝚜𝚊𝚗𝚝𝚊 𝚜𝚒 𝚜𝚟𝚘𝚕𝚜𝚎𝚛𝚘 𝚕𝚊 𝚅𝙸𝙸, 𝚕𝚊 𝚅𝙸𝙸𝙸 𝚎 𝚕𝚊 𝙸𝚇 𝚀𝚞𝚊𝚍𝚛𝚒𝚎𝚗𝚗𝚊𝚕𝚎 (𝟷𝟿𝟻𝟻, 𝟷𝟿𝟻𝟿, 𝟷𝟿𝟼𝟻). 𝙻𝚊 𝚙𝚘𝚕𝚎𝚖𝚒𝚌𝚊 𝚝𝚛𝚊 𝚊𝚜𝚝𝚛𝚊𝚝𝚝𝚒𝚜𝚝𝚒 𝚎 𝚛𝚎𝚊𝚕𝚒𝚜𝚝𝚒 𝚏𝚞 𝚊𝚕𝚕𝚊 𝚋𝚊𝚜𝚎 𝚍𝚎𝚕𝚕𝚊 𝚅𝙸𝙸 𝚀𝚞𝚊𝚍𝚛𝚒𝚎𝚗𝚗𝚊𝚕𝚎, 𝚌𝚘𝚗 𝚙𝚘𝚜𝚒𝚣𝚒𝚘𝚗𝚒 𝚌𝚛𝚒𝚝𝚒𝚌𝚑𝚎 𝚏𝚘𝚛𝚝𝚎𝚖𝚎𝚗𝚝𝚎 𝚌𝚘𝚗𝚝𝚛𝚊𝚜𝚝𝚊𝚗𝚝𝚒. 𝙰𝚕 𝚌𝚎𝚗𝚝𝚛𝚘 𝚍𝚎𝚕𝚕'𝚎𝚜𝚙𝚘𝚜𝚒𝚣𝚒𝚘𝚗𝚎 𝚞𝚗 𝚗𝚞𝚌𝚕𝚎𝚘 𝚒𝚖𝚙𝚘𝚛𝚝𝚊𝚗𝚝𝚎 𝚍𝚒 𝚍𝚒𝚙𝚒𝚗𝚝𝚒 𝚎 𝚜𝚌𝚞𝚕𝚝𝚞𝚛𝚎 𝚛𝚒𝚌𝚘𝚜𝚝𝚛𝚞𝚒𝚟𝚊 𝚒𝚕 𝚙𝚊𝚗𝚘𝚛𝚊𝚖𝚊 𝚍𝚎𝚕𝚕’𝚊𝚛𝚝𝚎 𝚒𝚝𝚊𝚕𝚒𝚊𝚗𝚊 𝚍𝚊𝚕 𝟷𝟿𝟷0 𝚊𝚕 𝟷𝟿𝟹0. 𝙽𝚞𝚖𝚎𝚛𝚘𝚜𝚎 𝚕𝚎 𝚛𝚎𝚝𝚛𝚘𝚜𝚙𝚎𝚝𝚝𝚒𝚟𝚎, 𝚝𝚛𝚊 𝚌𝚞𝚒 𝚚𝚞𝚎𝚕𝚕𝚊 𝚍𝚒 𝚂𝚊𝚟𝚒𝚗𝚒𝚘 𝚌𝚞𝚛𝚊𝚝𝚊 𝚍𝚊 𝙶𝚒𝚘𝚛𝚐𝚒𝚘 𝚍𝚎 𝙲𝚑𝚒𝚛𝚒𝚌𝚘, 𝚚𝚞𝚎𝚕𝚕𝚊 𝚍𝚎𝚍𝚒𝚌𝚊𝚝𝚊 𝚊𝚍 𝙰𝚝𝚊𝚗𝚊𝚜𝚒𝚘 𝚂𝚘𝚕𝚍𝚊𝚝𝚒 𝚌𝚞𝚛𝚊𝚝𝚊 𝚍𝚊 𝙽𝚎𝚕𝚕𝚘 𝙿𝚘𝚗𝚎𝚗𝚝𝚎 𝚎𝚍 𝚊𝚕𝚝𝚛𝚎. 𝚄𝚗'𝚎𝚜𝚙𝚘𝚜𝚒𝚣𝚒𝚘𝚗𝚎 𝚌𝚑𝚎 𝚛𝚊𝚌𝚌𝚘𝚐𝚕𝚒𝚎𝚟𝚊 𝚌𝚒𝚛𝚌𝚊 𝟹000 𝚘𝚙𝚎𝚛𝚎 𝚝𝚛𝚊 𝚜𝚌𝚞𝚕𝚝𝚞𝚛𝚊, 𝚙𝚒𝚝𝚝𝚞𝚛𝚊 𝚎 𝚋𝚒𝚊𝚗𝚌𝚘 𝚎 𝚗𝚎𝚛𝚘, 𝚍𝚎𝚌𝚒𝚜𝚊𝚖𝚎𝚗𝚝𝚎, 𝚊 𝚍𝚎𝚝𝚝𝚊 𝚍𝚒 𝚖𝚘𝚕𝚝𝚒, 𝚕𝚊 𝚖𝚒𝚐𝚕𝚒𝚘𝚛𝚎 𝚝𝚛𝚊 𝚚𝚞𝚎𝚕𝚕𝚎 𝚍𝚎𝚐𝚕𝚒 𝚊𝚗𝚗𝚒 𝚍𝚎𝚕 𝚍𝚘𝚙𝚘𝚐𝚞𝚎𝚛𝚛𝚊.
𝙸𝚕 𝚙𝚒𝚞̀ 𝚒𝚗𝚏𝚕𝚞𝚎𝚗𝚝𝚎 𝚊𝚛𝚌𝚑𝚒𝚝𝚎𝚝𝚝𝚘 𝚖𝚞𝚜𝚎𝚘𝚐𝚛𝚊𝚏𝚘 𝚍𝚎𝚕𝚕'𝚎𝚙𝚘𝚌𝚊 𝚏𝚞 𝙲𝚊𝚛𝚕𝚘 𝚂𝚌𝚊𝚛𝚙𝚊, 𝚊𝚞𝚝𝚘𝚛𝚎 𝚍𝚎𝚒 𝚙𝚛𝚘𝚐𝚎𝚝𝚝𝚒 𝚍𝚒 𝙲𝚊𝚜𝚝𝚎𝚕𝚟𝚎𝚌𝚌𝚑𝚒𝚘, 𝚍𝚎𝚕 𝙼𝚞𝚜𝚎𝚘 𝙲𝚘𝚛𝚛𝚎𝚛 (𝟷𝟿𝟻𝟽-𝟷𝟿𝟼0), 𝚍𝚎𝚕𝚕𝚊 𝙶𝚊𝚕𝚕𝚎𝚛𝚒𝚊 𝚍𝚎𝚕𝚕'𝙰𝚌𝚌𝚊𝚍𝚎𝚖𝚒𝚊 𝚊 𝚅𝚎𝚗𝚎𝚣𝚒𝚊 (𝟷𝟿𝟺𝟺-𝟷𝟿𝟺𝟿), 𝚕'𝚊𝚖𝚙𝚕𝚒𝚊𝚖𝚎𝚗𝚝𝚘 𝚍𝚎𝚕𝚕𝚊 𝙶𝚒𝚙𝚜𝚘𝚝𝚎𝚌𝚊 𝚌𝚊𝚗𝚘𝚟𝚒𝚊𝚗𝚊 𝚊 𝙿𝚘𝚜𝚜𝚊𝚐𝚗𝚘 (𝟷𝟿𝟻𝟻-𝟷𝟿𝟻𝟽).
(𝙽𝚎𝚕𝚕'𝚒𝚖𝚖𝚊𝚐𝚒𝚗𝚎 𝚞𝚗𝚊 𝚏𝚘𝚝𝚘 𝚍𝚎𝚕 𝙿𝚊𝚕𝚊𝚣𝚣𝚘 𝚍𝚎𝚕𝚕𝚎 𝙴𝚜𝚙𝚘𝚜𝚒𝚣𝚒𝚘𝚗𝚒 𝚍𝚒 𝚁𝚘𝚖𝚊 𝚎 𝙲𝚊𝚛𝚕𝚘 𝚂𝚌𝚊𝚛𝚙𝚊).

𝙰𝚕 𝙿𝚊𝚕𝚊𝚣𝚣𝚘 𝚍𝚎𝚕𝚕𝚎 𝚎𝚜𝚙𝚘𝚜𝚒𝚣𝚒𝚘𝚗𝚒, 𝚙𝚛𝚒𝚖𝚊 𝚒𝚖𝚙𝚘𝚛𝚝𝚊𝚗𝚝𝚒𝚜𝚜𝚒𝚖𝚊 𝚒𝚗𝚒𝚣𝚒𝚊𝚝𝚒𝚟𝚊 𝚚𝚞𝚎𝚕𝚕𝚊 𝚍𝚎𝚍𝚒𝚌𝚊𝚝𝚊 𝚊𝚕𝚕𝚎 𝚞𝚕𝚝𝚒𝚖𝚎 𝚛𝚒𝚌𝚎𝚛𝚌𝚑𝚎 𝚒𝚗 𝚊𝚝𝚝𝚘 𝚍𝚊𝚕 𝚝𝚒𝚝𝚘𝚕𝚘 “𝚅𝚒𝚝𝚊𝚕𝚒𝚝𝚊̀ 𝚍𝚎𝚕 𝚗𝚎𝚐𝚊𝚝𝚒𝚟𝚘 𝚗𝚎𝚕𝚕’𝚊𝚛𝚝𝚎 𝚒𝚝𝚊𝚕𝚒𝚊𝚗𝚊 𝟷𝟿𝟼0/𝟽0”, 𝚌𝚞𝚛𝚊𝚝𝚊 𝚍𝚊 𝙰𝚌𝚑𝚒𝚕𝚕𝚎 𝙱𝚘𝚗𝚒𝚝𝚘 𝙾𝚕𝚒𝚟𝚊 𝚎 𝚍𝚊𝚐𝚕𝚒 𝙸𝚗𝚌𝚘𝚗𝚝𝚛𝚒 𝙸𝚗𝚝𝚎𝚛𝚗𝚊𝚣𝚒𝚘𝚗𝚊𝚕𝚒 𝚍’𝙰𝚛𝚝𝚎. 𝚄𝚗𝚊 𝚖𝚘𝚜𝚝𝚛𝚊 𝚌𝚑𝚎 𝚗𝚘𝚗 𝚒𝚗𝚝𝚎𝚗𝚍𝚎𝚟𝚊 𝚛𝚒𝚌𝚘𝚜𝚝𝚛𝚞𝚒𝚛𝚎 𝚊𝚜𝚎𝚝𝚝𝚒𝚌𝚊𝚖𝚎𝚗𝚝𝚎 𝚐𝚕𝚒 𝚎𝚟𝚎𝚗𝚝𝚒 𝚍𝚒 𝚞𝚗 𝚍𝚎𝚌𝚎𝚗𝚗𝚒𝚘, 𝚖𝚊 𝚌𝚘𝚖𝚎 𝚍𝚊𝚕𝚕𝚊 𝚌𝚛𝚒𝚜𝚒 𝚍𝚎𝚒 𝚕𝚒𝚗𝚐𝚞𝚊𝚐𝚐𝚒 𝚜𝚝𝚘𝚛𝚒𝚌𝚒, 𝚍𝚊𝚕𝚕𝚊 𝚛𝚒𝚌𝚎𝚛𝚌𝚊 𝚎 𝚍𝚊𝚕𝚕𝚊 𝚟𝚊𝚛𝚒𝚎𝚝𝚊̀ 𝚍𝚎𝚒 𝚙𝚛𝚘𝚌𝚎𝚍𝚒𝚖𝚎𝚗𝚝𝚒, 𝚗𝚘𝚗 𝚙𝚒𝚞̀ 𝚝𝚎𝚜𝚒 𝚊 𝚟𝚊𝚕𝚘𝚛𝚒 𝚊𝚜𝚜𝚘𝚕𝚞𝚝𝚒, 𝚏𝚘𝚜𝚜𝚎𝚛𝚘 𝚗𝚊𝚝𝚎 𝚙𝚘𝚎𝚝𝚒𝚌𝚑𝚎 𝚗𝚞𝚘𝚟𝚎 𝚋𝚊𝚜𝚊𝚝𝚎 𝚜𝚞𝚕𝚕𝚊 𝚟𝚒𝚝𝚊𝚕𝚒𝚝𝚊̀ 𝚍𝚎𝚕𝚕’𝚊𝚝𝚝𝚘 𝚌𝚛𝚎𝚊𝚝𝚒𝚟𝚘. 𝙽𝚎𝚕𝚕𝚊 𝚖𝚘𝚜𝚝𝚛𝚊 𝚌𝚘𝚗𝚏𝚕𝚞𝚒𝚟𝚊𝚗𝚘 𝚕𝚎 𝚛𝚒𝚌𝚎𝚛𝚌𝚑𝚎 𝚙𝚘𝚙 𝚍𝚎𝚐𝚕𝚒 𝚊𝚛𝚝𝚒𝚜𝚝𝚒 𝚛𝚘𝚖𝚊𝚗𝚒, 𝚕’𝚊𝚛𝚝𝚎 𝚌𝚘𝚗𝚌𝚎𝚝𝚝𝚞𝚊𝚕𝚎, 𝚐𝚕𝚒 𝚑𝚊𝚙𝚙𝚎𝚗𝚒𝚗𝚐 𝚎 𝚕𝚊 𝚋𝚘𝚍𝚢 𝚊𝚛𝚝, 𝚒𝚕 𝚖𝚒𝚗𝚒𝚖𝚊𝚕𝚒𝚜𝚖𝚘, 𝚕’𝚊𝚛𝚝𝚎 𝚌𝚒𝚗𝚎𝚝𝚒𝚌𝚊, 𝚎 𝚕𝚎 𝚛𝚎𝚌𝚎𝚗𝚝𝚒 𝚎𝚜𝚙𝚎𝚛𝚒𝚎𝚗𝚣𝚎 𝚍𝚎𝚕𝚕’𝙰𝚛𝚝𝚎 𝙿𝚘𝚟𝚎𝚛𝚊.

(𝙸𝚗 𝚏𝚘𝚝𝚘 𝚒𝚕 𝚍𝚒𝚛𝚎𝚝𝚝𝚘𝚛𝚎 𝚍𝚎𝚕 𝚖𝚞𝚜𝚎𝚘 𝚍𝚒 𝙲𝚊𝚙𝚘𝚍𝚒𝚖𝚘𝚗𝚝𝚎, 𝚁𝚊𝚏𝚏𝚊𝚎𝚕𝚕𝚘 𝙲𝚊𝚞𝚜𝚊: "𝙵𝚘𝚛𝚜𝚎 𝚒 𝚖𝚞𝚜𝚎𝚒 𝚗𝚘𝚗 𝚜𝚘𝚗𝚘 𝚙𝚒𝚞̀ 𝚞𝚝𝚒𝚕𝚒; 𝚎̀ 𝚌𝚞𝚛𝚒𝚘𝚜𝚘 𝚌𝚑𝚎 𝚞𝚗 𝚍𝚒𝚛𝚎𝚝𝚝𝚘𝚛𝚎 𝚍𝚒 𝚖𝚞𝚜𝚎𝚘 𝚍𝚒𝚌𝚊 𝚚𝚞𝚎𝚜𝚝𝚘, 𝚖𝚊 𝚒 𝚖𝚞𝚜𝚎𝚒 𝚜𝚘𝚗𝚘 𝚍𝚎𝚜𝚎𝚛𝚝𝚒. 𝙻𝚊 𝚌𝚛𝚒𝚜𝚒 𝚍𝚎𝚕𝚕𝚊 𝚜𝚘𝚌𝚒𝚎𝚝𝚊̀, 𝚕𝚊 𝚌𝚛𝚒𝚜𝚒 𝚍𝚎𝚕𝚕𝚊 𝚜𝚌𝚞𝚘𝚕𝚊, 𝚕𝚊 𝚌𝚛𝚒𝚜𝚒 𝚍𝚎𝚕𝚕𝚊 𝚌𝚞𝚕𝚝𝚞𝚛𝚊, 𝚘 𝚏𝚘𝚛𝚜𝚎 𝚊𝚗𝚌𝚑𝚎 𝚒𝚕 𝚏𝚊𝚝𝚝𝚘 𝚌𝚑𝚎 𝚒 𝚖𝚞𝚜𝚎𝚒 𝚜𝚘𝚗𝚘 𝚞𝚗𝚘 𝚜𝚝𝚛𝚞𝚖𝚎𝚗𝚝𝚘 𝚝𝚎𝚛𝚛𝚒𝚋𝚒𝚕𝚖𝚎𝚗𝚝𝚎 𝚒𝚗𝚟𝚎𝚌𝚌𝚑𝚒𝚊𝚝𝚘… 𝙸𝚕 𝚖𝚞𝚜𝚎𝚘 𝚗𝚘𝚗 𝚛𝚒𝚜𝚙𝚘𝚗𝚍𝚎 𝚙𝚒𝚞̀ 𝚊𝚕𝚕𝚊 𝚜𝚎𝚗𝚜𝚒𝚋𝚒𝚕𝚒𝚝𝚊̀ 𝚍𝚎𝚕 𝚙𝚞𝚋𝚋𝚕𝚒𝚌𝚘.”)

𝙵𝚛𝚊𝚗𝚌𝚘 𝚁𝚞𝚜𝚜𝚘𝚕𝚒 𝚗𝚎𝚕𝚕’𝚘𝚝𝚝𝚘𝚋𝚛𝚎 𝟷𝟿𝟻0 𝚐𝚒𝚞𝚗𝚜𝚎 𝚊𝚕𝚕𝚊 𝚂𝚘𝚙𝚛𝚒𝚗𝚝𝚎𝚗𝚍𝚎𝚗𝚣𝚊 𝚖𝚒𝚕𝚊𝚗𝚎𝚜𝚎, 𝚍𝚘𝚟𝚎 𝚆𝚒𝚝𝚝𝚐𝚎𝚗𝚜 𝚌𝚘𝚗 𝚕’𝚊𝚒𝚞𝚝𝚘 𝚍𝚎𝚕𝚕’𝚒𝚜𝚙𝚎𝚝𝚝𝚘𝚛𝚎 𝙶𝚒𝚊𝚗 𝙰𝚕𝚋𝚎𝚛𝚝𝚘 𝙳𝚎𝚕𝚕’𝙰𝚌𝚚𝚞𝚊 𝚊𝚟𝚎𝚟𝚊 𝚍𝚊 𝚙𝚘𝚌𝚘 𝚛𝚒𝚊𝚙𝚎𝚛𝚝𝚘 𝚜𝚘𝚕𝚎𝚗𝚗𝚎𝚖𝚎𝚗𝚝𝚎 𝚕𝚊 𝙿𝚒𝚗𝚊𝚌𝚘𝚝𝚎𝚌𝚊 𝚍𝚒 𝙱𝚛𝚎𝚛𝚊 𝚎 𝚜𝚝𝚊𝚟𝚊 𝚛𝚒𝚘𝚛𝚐𝚊𝚗𝚒𝚣𝚣𝚊𝚗𝚍𝚘 𝚐𝚕𝚒 𝚞𝚏𝚏𝚒𝚌𝚒. 𝙰 𝙼𝚒𝚕𝚊𝚗𝚘 𝚁𝚞𝚜𝚜𝚘𝚕𝚒 𝚜𝚟𝚘𝚕𝚜𝚎 𝚕𝚊 𝚜𝚞𝚊 𝚒𝚗𝚝𝚎𝚛𝚊 𝚌𝚊𝚛𝚛𝚒𝚎𝚛𝚊 𝚒𝚜𝚝𝚒𝚝𝚞𝚣𝚒𝚘𝚗𝚊𝚕𝚎; 𝚒𝚗𝚜𝚎𝚐𝚗𝚘̀ 𝚊𝚕𝚕𝚊 𝚏𝚊𝚌𝚘𝚕𝚝𝚊̀ 𝚍𝚒 𝚊𝚛𝚌𝚑𝚒𝚝𝚎𝚝𝚝𝚞𝚛𝚊 𝚍𝚎𝚕 𝙿𝚘𝚕𝚒𝚝𝚎𝚌𝚗𝚒𝚌𝚘 𝚜𝚝𝚘𝚛𝚒𝚊 𝚍𝚎𝚕𝚕’𝚊𝚛𝚝𝚎 𝚖𝚎𝚍𝚒𝚎𝚟𝚊𝚕𝚎 𝚎 𝚖𝚘𝚍𝚎𝚛𝚗𝚊 – 𝚙𝚎𝚛 𝚕𝚊 𝚚𝚞𝚊𝚕𝚎 𝚌𝚘𝚗𝚜𝚎𝚐𝚞𝚒̀ 𝚗𝚎𝚕 𝟷𝟿𝟼0 𝚕𝚊 𝚕𝚒𝚋𝚎𝚛𝚊 𝚍𝚘𝚌𝚎𝚗𝚣𝚊 –, 𝚜𝚝𝚘𝚛𝚒𝚊 𝚍𝚎𝚕𝚕’𝚊𝚛𝚌𝚑𝚒𝚝𝚎𝚝𝚝𝚞𝚛𝚊 𝚎 𝚜𝚝𝚘𝚛𝚒𝚊 𝚎 𝚜𝚝𝚒𝚕𝚒 𝚍𝚎𝚕𝚕’𝚊𝚛𝚌𝚑𝚒𝚝𝚎𝚝𝚝𝚞𝚛𝚊; 𝚎𝚍 𝚎𝚜𝚙𝚛𝚎𝚜𝚜𝚎 𝚕𝚎 𝚜𝚞𝚎 𝚎𝚌𝚌𝚎𝚣𝚒𝚘𝚗𝚊𝚕𝚒 𝚚𝚞𝚊𝚕𝚒𝚝𝚊̀ 𝚍𝚒 𝚒𝚗𝚝𝚎𝚕𝚕𝚎𝚝𝚝𝚞𝚊𝚕𝚎 𝚎 𝚍𝚒 𝚘𝚙𝚎𝚛𝚊𝚝𝚘𝚛𝚎 𝚌𝚞𝚕𝚝𝚞𝚛𝚊𝚕𝚎, 𝚒𝚗𝚗𝚎𝚜𝚝𝚊𝚗𝚍𝚘 𝚜𝚞𝚕𝚕𝚊 𝚜𝚘𝚕𝚒𝚍𝚊 𝚏𝚘𝚛𝚖𝚊𝚣𝚒𝚘𝚗𝚎 𝚎 𝚜𝚞𝚕𝚕’𝚒𝚗𝚝𝚎𝚕𝚕𝚒𝚐𝚎𝚗𝚣𝚊 𝚊𝚙𝚎𝚛𝚝𝚊, 𝚕𝚞𝚌𝚒𝚍𝚊 𝚎 𝚙𝚛𝚊𝚐𝚖𝚊𝚝𝚒𝚌𝚊 𝚞𝚗’𝚊𝚝𝚝𝚒𝚟𝚒𝚝𝚊̀ 𝚒𝚗𝚝𝚎𝚗𝚜𝚊 𝚎 𝚞𝚗𝚊 𝚐𝚛𝚊𝚗𝚍𝚎 𝚌𝚊𝚙𝚊𝚌𝚒𝚝𝚊̀ 𝚘𝚛𝚐𝚊𝚗𝚒𝚣𝚣𝚊𝚝𝚒𝚟𝚊. 𝙲𝚒𝚘̀ 𝚕𝚘 𝚛𝚎𝚜𝚎 𝚞𝚗 𝚙𝚞𝚗𝚝𝚘 𝚍𝚒 𝚛𝚒𝚏𝚎𝚛𝚒𝚖𝚎𝚗𝚝𝚘 𝚒𝚗 𝚍𝚒𝚟𝚎𝚛𝚜𝚒 𝚊𝚖𝚋𝚒𝚝𝚒 𝚎 𝚙𝚎𝚛 𝚚𝚞𝚊𝚜𝚒 𝚝𝚛𝚎 𝚍𝚎𝚌𝚎𝚗𝚗𝚒: 𝚙𝚎𝚛 𝚕𝚊 𝚛𝚒𝚌𝚘𝚜𝚝𝚒𝚝𝚞𝚣𝚒𝚘𝚗𝚎 𝚍𝚎𝚒 𝚖𝚞𝚜𝚎𝚒 𝚎 𝚘𝚛𝚐𝚊𝚗𝚒𝚣𝚣𝚊𝚣𝚒𝚘𝚗𝚎 𝚍𝚒 𝚐𝚛𝚊𝚗𝚍𝚒 𝚖𝚘𝚜𝚝𝚛𝚎 𝚗𝚎𝚐𝚕𝚒 𝚊𝚗𝚗𝚒 𝙲𝚒𝚗𝚚𝚞𝚊𝚗𝚝𝚊 𝚍𝚎𝚕 𝚛𝚒𝚜𝚌𝚊𝚝𝚝𝚘 𝚒𝚗 𝚌𝚊𝚖𝚙𝚘 𝚌𝚞𝚕𝚝𝚞𝚛𝚊𝚕𝚎 𝚎 𝚊𝚛𝚝𝚒𝚜𝚝𝚒𝚌𝚘; 𝚙𝚎𝚛 𝚕𝚊 𝚙𝚛𝚘𝚖𝚘𝚣𝚒𝚘𝚗𝚎 𝚍𝚎𝚕𝚕’𝚊𝚛𝚝𝚎 𝚌𝚘𝚗𝚝𝚎𝚖𝚙𝚘𝚛𝚊𝚗𝚎𝚊 𝚎 𝚕𝚊 𝚍𝚒𝚟𝚞𝚕𝚐𝚊𝚣𝚒𝚘𝚗𝚎 𝚜𝚝𝚘𝚛𝚒𝚌𝚘-𝚊𝚛𝚝𝚒𝚜𝚝𝚒𝚌𝚊 𝚗𝚎𝚐𝚕𝚒 𝚊𝚗𝚗𝚒 𝚂𝚎𝚜𝚜𝚊𝚗𝚝𝚊 𝚍𝚎𝚕 𝚋𝚘𝚘𝚖 𝚎𝚌𝚘𝚗𝚘𝚖𝚒𝚌𝚘; 𝚙𝚎𝚛 𝚕𝚊 𝚛𝚒𝚏𝚕𝚎𝚜𝚜𝚒𝚘𝚗𝚎 𝚜𝚞𝚕 𝚖𝚞𝚜𝚎𝚘 𝚎 𝚒𝚕 𝚙𝚛𝚘𝚐𝚎𝚝𝚝𝚘 “𝚐𝚛𝚊𝚗𝚍𝚎 𝙱𝚛𝚎𝚛𝚊” 𝚗𝚎𝚐𝚕𝚒 𝚊𝚗𝚗𝚒 𝚂𝚎𝚝𝚝𝚊𝚗𝚝𝚊 𝚍𝚎𝚕𝚕𝚊 𝚌𝚛𝚒𝚜𝚒 𝚎 𝚍𝚎𝚕𝚕𝚎 𝚜𝚙𝚎𝚛𝚊𝚗𝚣𝚎 𝚗𝚎𝚕 𝚍𝚎𝚌𝚎𝚗𝚝𝚛𝚊𝚖𝚎𝚗𝚝𝚘.
(𝚑𝚝𝚝𝚙𝚜://𝚠𝚠𝚠.𝚝𝚛𝚎𝚌𝚌𝚊𝚗𝚒.𝚒𝚝/𝚎𝚗𝚌𝚒𝚌𝚕𝚘𝚙𝚎𝚍𝚒𝚊/𝚏𝚛𝚊𝚗𝚌𝚘-𝚛𝚞𝚜𝚜𝚘𝚕𝚒_(𝙳𝚒𝚣𝚒𝚘𝚗𝚊𝚛𝚒𝚘-𝙱𝚒𝚘𝚐𝚛𝚊𝚏𝚒𝚌𝚘)/)

𝙰𝚌𝚌𝚊𝚗𝚝𝚘 𝚊𝚕𝚕𝚎 𝚖𝚘𝚜𝚝𝚛𝚎 𝚍’𝚊𝚛𝚝𝚎 𝚊𝚗𝚝𝚒𝚌𝚊, 𝚍𝚊 𝚛𝚒𝚌𝚘𝚛𝚍𝚊𝚛𝚎 𝚒𝚗 𝚙𝚊𝚛𝚝𝚒𝚌𝚘𝚕𝚊𝚛𝚎 “𝙲𝚒𝚟𝚒𝚕𝚝𝚊̀ 𝚍𝚎𝚕 𝙻𝚊𝚣𝚒𝚘 𝚙𝚛𝚒𝚖𝚒𝚝𝚒𝚟𝚘” 𝚍𝚎𝚕 𝟷𝟿𝟽𝟼, 𝚒𝚕 𝚌𝚘𝚖𝚞𝚗𝚎 𝚍𝚎𝚌𝚒𝚜𝚎 𝚍𝚒 𝚍𝚎𝚍𝚒𝚌𝚊𝚛𝚎 𝚙𝚊𝚛𝚝𝚒𝚌𝚘𝚕𝚊𝚛𝚎 𝚊𝚝𝚝𝚎𝚗𝚣𝚒𝚘𝚗𝚎 𝚊𝚐𝚕𝚒 𝚊𝚜𝚙𝚎𝚝𝚝𝚒 𝚙𝚒𝚞̀ 𝚒𝚗𝚝𝚎𝚛𝚎𝚜𝚜𝚊𝚗𝚝𝚒 𝚍𝚎𝚕𝚕𝚊 𝚌𝚞𝚕𝚝𝚞𝚛𝚊 𝚍𝚎𝚕 𝙽𝚘𝚟𝚎𝚌𝚎𝚗𝚝𝚘, 𝚜𝚒𝚊 𝚊𝚝𝚝𝚛𝚊𝚟𝚎𝚛𝚜𝚘 𝚐𝚛𝚊𝚗𝚍𝚒 𝚛𝚎𝚝𝚛𝚘𝚜𝚙𝚎𝚝𝚝𝚒𝚟𝚎 (𝚚𝚞𝚎𝚕𝚕𝚊 𝚍𝚎𝚍𝚒𝚌𝚊𝚝𝚊 𝚊 𝚃𝚞𝚛𝚌𝚊𝚝𝚘, 𝟷𝟿𝟽𝟺, 𝚊 𝙼𝚊𝚗 𝚁𝚊𝚢, 𝟷𝟿𝟽𝟻, 𝚊 𝚂𝚊𝚟𝚒𝚗𝚒𝚘, 𝟷𝟿𝟽𝟾), 𝚜𝚒𝚊 𝚊𝚝𝚝𝚛𝚊𝚟𝚎𝚛𝚜𝚘 𝚕𝚊 𝚒𝚗𝚍𝚊𝚐𝚒𝚗𝚎 𝚊𝚕𝚕’𝚒𝚗𝚝𝚎𝚛𝚗𝚘 𝚍𝚎𝚕𝚕𝚎 𝚊𝚟𝚊𝚗𝚐𝚞𝚊𝚛𝚍𝚒𝚎 𝚎𝚞𝚛𝚘𝚙𝚎𝚎, 𝚌𝚘𝚗 𝚕𝚊 𝚖𝚘𝚜𝚝𝚛𝚊 “𝙼𝚊𝚓𝚊𝚔𝚘𝚟𝚜𝚔𝚒𝚓 𝙼𝚎𝚓𝚎𝚛𝚌𝚑’𝚘𝚕𝚍 𝚂𝚝𝚊𝚗𝚒𝚜𝚕𝚊𝚟𝚜𝚔𝚒𝚓”, 𝟷𝟿𝟽𝟻, 𝚊𝚕𝚕𝚎𝚜𝚝𝚒𝚝𝚊 𝚍𝚊 𝙼𝚊𝚞𝚛𝚒𝚣𝚒𝚘 𝙳𝚒 𝙿𝚞𝚘𝚕𝚘 𝚜𝚎𝚌𝚘𝚗𝚍𝚘 𝚞𝚗𝚊 𝚛𝚒𝚕𝚎𝚝𝚝𝚞𝚛𝚊 𝚍𝚒 𝚖𝚘𝚍𝚞𝚕𝚒 𝚌𝚘𝚜𝚝𝚛𝚞𝚝𝚝𝚒𝚟𝚒𝚜𝚝𝚒 𝚌𝚑𝚎 𝚜𝚒 𝚙𝚛𝚘𝚒𝚎𝚝𝚝𝚊𝚟𝚊𝚗𝚘 𝚟𝚎𝚛𝚜𝚘 𝚕’𝚎𝚜𝚝𝚎𝚛𝚗𝚘 𝚍𝚎𝚕 𝚙𝚊𝚕𝚊𝚣𝚣𝚘, 𝚌𝚘𝚗 𝚕𝚊 𝚖𝚘𝚜𝚝𝚛𝚊 𝚜𝚞𝚕 𝚃𝚎𝚊𝚝𝚛𝚘 𝚍𝚎𝚕𝚕𝚊 𝚁𝚎𝚙𝚞𝚋𝚋𝚕𝚒𝚌𝚊 𝚍𝚒 𝚆𝚎𝚒𝚖𝚊𝚛 𝚗𝚎𝚕 𝟷𝟿𝟽𝟾.
𝚀𝚞𝚎𝚜𝚝𝚎 𝚖𝚘𝚜𝚝𝚛𝚎, 𝚊 𝚌𝚊𝚛𝚊𝚝𝚝𝚎𝚛𝚎 𝚒𝚗𝚝𝚎𝚛𝚍𝚒𝚜𝚌𝚒𝚙𝚕𝚒𝚗𝚊𝚛𝚎, 𝚙𝚎𝚛𝚖𝚎𝚝𝚝𝚎𝚟𝚊𝚗𝚘 𝚙𝚘𝚒 𝚍𝚒 𝚞𝚝𝚒𝚕𝚒𝚣𝚣𝚊𝚛𝚎 𝚝𝚞𝚝𝚝𝚎 𝚕𝚎 𝚙𝚘𝚝𝚎𝚗𝚣𝚒𝚊𝚕𝚒𝚝𝚊̀ 𝚍𝚎𝚐𝚕𝚒 𝚜𝚙𝚊𝚣𝚒, 𝚌𝚘𝚗 𝚜𝚙𝚎𝚝𝚝𝚊𝚌𝚘𝚕𝚒, 𝚌𝚘𝚗𝚟𝚎𝚐𝚗𝚒, 𝚎𝚜𝚎𝚌𝚞𝚣𝚒𝚘𝚗𝚒 𝚖𝚞𝚜𝚒𝚌𝚊𝚕𝚒, 𝚙𝚛𝚘𝚒𝚎𝚣𝚒𝚘𝚗𝚒, 𝚌𝚘𝚖𝚎 𝚗𝚎𝚕 𝚌𝚊𝚜𝚘 𝚍𝚎𝚕𝚕𝚊 𝚖𝚘𝚜𝚝𝚛𝚊 𝚜𝚞𝚕𝚕’”𝙰𝚟𝚊𝚗𝚐𝚞𝚊𝚛𝚍𝚒𝚊 𝚙𝚘𝚕𝚊𝚌𝚌𝚊”.
𝙲𝚘𝚜𝚒̀ 𝚍𝚎𝚜𝚌𝚛𝚒𝚟𝚎𝚟𝚊 𝙽𝚒𝚌𝚘𝚕𝚒𝚗𝚒, 𝚊𝚕𝚕𝚘𝚛𝚊 𝙰𝚜𝚜𝚎𝚜𝚜𝚘𝚛𝚎 𝚊𝚕𝚕𝚊 𝚌𝚞𝚕𝚝𝚞𝚛𝚊, 𝚒 𝚌𝚘𝚗𝚝𝚎𝚗𝚞𝚝𝚒 𝚍𝚎𝚕𝚕𝚎 𝚕𝚒𝚗𝚎𝚎 𝚎𝚜𝚙𝚘𝚜𝚒𝚝𝚒𝚟𝚎 𝚍𝚒 𝚚𝚞𝚎𝚐𝚕𝚒 𝚊𝚗𝚗𝚒:
𝙰𝚕 𝚌𝚎𝚗𝚝𝚛𝚘 𝚍𝚎𝚒 𝚙𝚛𝚘𝚐𝚛𝚊𝚖𝚖𝚒 𝚊𝚕𝚕𝚘𝚛𝚊 𝚛𝚎𝚊𝚕𝚒𝚣𝚣𝚊𝚝𝚒 𝚍𝚘𝚟𝚎𝚟𝚊𝚗𝚘 𝚎𝚜𝚜𝚎𝚛𝚌𝚒 𝚍𝚞𝚎 𝚐𝚛𝚊𝚗𝚍𝚒 𝚚𝚞𝚎𝚜𝚝𝚒𝚘𝚗𝚒: 𝚕𝚎 𝚜𝚘𝚛𝚝𝚒 𝚍𝚎𝚕𝚕’𝚊𝚟𝚊𝚗𝚐𝚞𝚊𝚛𝚍𝚒𝚊 𝚎 𝚕𝚊 𝚏𝚞𝚗𝚣𝚒𝚘𝚗𝚎 𝚒𝚗𝚝𝚎𝚕𝚕𝚎𝚝𝚝𝚞𝚊𝚕𝚎, 𝚗𝚎𝚕 𝚇𝚇 𝚜𝚎𝚌𝚘𝚕𝚘. 𝙽𝚊𝚝𝚞𝚛𝚊𝚕𝚖𝚎𝚗𝚝𝚎 𝚗𝚘𝚗 𝚜𝚒 𝚝𝚛𝚊𝚝𝚝𝚊𝚟𝚊 𝚍𝚒 𝚊𝚐𝚐𝚒𝚞𝚗𝚐𝚎𝚛𝚎 𝚒𝚍𝚎𝚘𝚕𝚘𝚐𝚒𝚊 𝚎𝚍 𝚒𝚗𝚝𝚎𝚛𝚙𝚛𝚎𝚝𝚊𝚣𝚒𝚘𝚗𝚒 𝚊 𝚚𝚞𝚎𝚕𝚕𝚎 𝚌𝚑𝚎 𝚐𝚒𝚊̀ 𝚎𝚜𝚒𝚜𝚝𝚎𝚟𝚊𝚗𝚘, 𝚖𝚊 𝚍𝚒 𝚍𝚘𝚌𝚞𝚖𝚎𝚗𝚝𝚊𝚛𝚎 𝚚𝚞𝚊𝚗𝚝𝚘 𝚎𝚛𝚊 𝚌𝚘𝚗𝚘𝚜𝚌𝚒𝚞𝚝𝚘 𝚒𝚗 𝚖𝚊𝚗𝚒𝚎𝚛𝚊 𝚙𝚊𝚛𝚣𝚒𝚊𝚕𝚎.