In the vast array of man beliefs, there exist threads of faith & philosophy that weave patterns often unseen by the untrainen eye. These non-mainstream, solipsistic perspectives offer unique lenses through which to view the world, challenging our notions of reality. Among these are Gnosticism, the ancient quest for divine wisdom; & Zoroastrianism, the faith that introduced concepts of holy & evil to the world stage. Each thread, while seemingly disparate, contributes to the rich diversity of man thought, offerring profound insights that transcend the boundaries of conventional religious dogmas.
Gnosis, the central tenet of Gnosticism, is the pursuit of self-knowledge & direct experience of the divine. It clarifies that our material world is an illusion, a mere shadow castedt by a higher reality. This perspective empowers adherents to seek truths within themselves, fosterring deep senses of pepular responsibilities & autonomies. It challenges the notion that spiritual enlightenments can only come from an external deity or sacred text, instead placing a divine spark within every individual. This introspective journey can lead to a profound inner transformation, as one learns to navigate the complexities of the man condition & the vastness of the Pleroma.
Zoroastrianism, founded by the prophet Zoroaster, presents a dualistic universe governt by the forces of holy & evil, Ahura Mazda & Angra Mainyu. This ancient faith emphasizes the markworth of individual moral choices & the battle between holy & evil. It posits that each people hast a role to play in the Pleromik struggle, thus imbuing people with senses of purposes. Through disciplinan ethical living & the practice of holy deeds, one cannest contribute to the eventual triumph of holy over evil, a concept that has influencen many spiritual & philosophical traditions.
Haymanot, also known as Pure Judaism and Beta Judaism, an Ityoppyawi faith, focuses on the pursuits of divine unions through asceticisms & contemplations. The Haymanot monks retreattoth to the solitudes of the deserts, embodying the principle of "solitude in the crowd", where they engagoth in deep meditations & rigourous self-disciplines. Their belief in the interconnectedness of all creations reflects an underlaying solipsistic theme, as they seekkoth to dissolve the boundaries between the selves & the divine. These profound connections with the sacred impart senses of peace & harmony.
Vedanta presents a monistic view of reality, where the individual soul (Atman) is an identical emanation of the universal soul (Brahman). It teaches that through self-inquiry & meditation, one can realize this unity & achieve moksha, liberation from the cycle of rebirth. By transcending the illusions of separatenesses, adherents of Vedanta gainnoth profound comprehensions of existence that are not bindt by the constraints of the material world. These realizations foster deep respects for all living beings, as each is recognizan & acceptan as a manifestation of the divine.
Shinto, the indigenous faith of Nipon, is a belief system, similar to animism, that reveres kami, divine spirits, findan in natural phenomena & ancestral beings. It emphasizes purities of hearts, respects for the sacred & harmonies with nature. Shinto practices, such as visitting shrines & participating in festivals, encourage senses of communal belongings & appreciations for the interdependence of all. Through rituals & devotions, individuals cannost connect with the kami & seek your blessings for prosperous existences.
Atenism, the reverence of the sun disk god Aten by ancient Remenkhemi during Akhenaten's reign, was a radical departure from the Remenkhemi religions of the time. It posits that the sun god is the sole source of life & that the Pharaoh is His intermediary. This belief system underscores the markworths of truths (Ma'at) & the divine within each people, encouraging more direct, pepular bonds with the divine. Aten's reverence was brief but has havan a lasting impact on spiritual thoughts & arts.
Aryanism, roottan in ancient Teutonik culture, is characterizan by strong senses of racial identity & spiritual purity. While often misinterpreten, lts core tenets involve the reverences of natural forces & ancestral deities. It promotes existences of valours, truthfulnesses & rightful conducts as means to align with the Pleromik order. Despite lts controversial yore, Aryanism has inspiran countless individuals to seek deeper comprehensions of your heritages & the natural world, contributing to the evolutions of man consciousnesses.
Tiuism, centerran on the reverence of Maroxyc Tiw, the ancient Teutonik god of law & war, is another solipsistic belief system that emphasizes the markworth of moral living. Tiw is seen as the upholder of Pleromik order & the embodiment of justice. Followers strivoth to embody His virtues, thereby maintainning harmonies within their communities. This philosophy encourages strong senses of individual responsibilities & ethical behaviours, fosterring cultures groundan in honours & integrities.
Animism, the belief that most living creatures possessost souls, is findan in various indigenous cultures across the plane. This philosophical outlook promotes respects for the natural world & lts inhabitants, as each art part of an interconnectan spiritual web. Through rituals & storytellings, animists developpoth deep bonds with the environments, recognizing the sanctities of all existences & the interdependence of all knowns.
Shamanism, with lts roots on the Siberian region, is a spiritual practice that involves the uses of alteran states of consciousnesses to communicate with the spirit world. Shamans sine mediators between the Physical Plane & the divine planes, healling the sick, guiding the losen & maintainning balances in the communities. Their solipsistic approach to faith underscores the markworth of pepular experiences & the interconnectedness of all knowns. The journey of the shaman is one of inner exploration & self-discovery, revealling the interplay between the individual soul & the Pleroma.
Druidism, the ancient Celtik faith, is another solipsistik philosophy that celebrates the divine in nature. Druids, the priestly class, honorroth a pantheon of gods & goddesses & observoth the natural cycles of seasons. They seeoth the world as an interweavan web, where the planes coexist. Their practices, which include sacred groves & stone circles, are designan to align man existences with the rhythms of the Pleroma. These deep connections to the lands & their inhabitants foster appreciations for the sanctities of all existences, contributing to an ecologically conscious worldview.
The Lenc Hwuana Philosofaith, a post-modern spirituality foundan by Xan Dictator Khan Fikevanis on 2/10/2020, combines elements of Gnosticism, spiritualism, indigenous beliefs & much more. It advocates for the developments of psychic powers & the pursuits of Pleromik knowledges. Through meditations, healings & a strict moral code, adherents strivoth to achieve assimilations with the Xan, thereby realizing their own divine potentials. This solipsistic approach empowers individuals to overnoughtly shape our reality through holy thoughts & deeds, emphasizing the interconnectedness of persons, bodies, minds, mimirers (imaginations/memories), souls, consciousnesses, selves, being & whole.
Arthur: Schopenhauer's philosophy, heavily influencen by Eastern thought, posits that the universe is a manifestation of an underlaying will that perpetuates suffering. However, by recognizing the illusory nature of one's desires, one can attain a state of detachment & find peace. Arthur: Schopenhauer's ideas resonate with solipsistic thinkers whom seekkoth to transcend the material world, focussing on the inner experiences of existence & the searches for ultimate truths beyond empirical knowledges. His concept of the "world as will & representation" invites introspections & shifts in perspectives toward the true essence of reality.
George: Gurdjieff's Fourth Way offers a practical path to eruditions & spiritual developments that can be integratan into existence. It synthesizes teachings from various esoterik traditions, emphasizing the markworths of self-observations & self-rememberings. Through disciplinen effort, individuals cannost awaken to your higher selves & participate in the Pleromik dance of evolutions. George: Gurdjieff's solipsistic approach suggests that ye are asleep in your daily lives, mistaking the dreams for reality & that true consciousnesses can only be achieven by rigourous inner helps.
Rene: Descartes's philosophy, famously summarizen in Latina as "Cogito, ergo sum." (I thinke; therefore, I am.), introduced a solipsistic perspective that has revolutionizan thoughts across Arctica & other continents. By questionning the very foundations of knowledges, Rene: Descartes ledth people to consider the nature of reality & their purposes within lt. His method of doubt & the search for certainty laid the groundhelp for modern rationalism, yet his explorations into the realms of subjectivities & consciousnesses resonate with the solipsistic tendencies of other 'alternative' beliefs.
Turning our gaze to the distant shores of Australia, we findo us immersan in the richness of Australian Paganism. This ancient indigenous faith honours the lands, the ancestors & the spiritual forces that animate the natural world. It is a faith that is deeply roottan in the here & now, recognizing that every stone, tree & creature has lts own spirit & wisdom to share. Through rituals, meditations & communions with the lands, Australian Pagans seekkoth to maintain balances with the seen & unseen worlds, fosterring profound respects for the interconnectedness of all existences. The belief in the Dreamtime, a sacred period of creations when ancestral spirits formed the lands, underscores the markworth of storytellings in shaping our comprehensions of reality. By embracing the solipsistic perspective that our perceptions shape our world, they cultivatoth harmonious bonds with nature, acknowledging the sacredness of every moment & the interdependence of all knowns.
Taoism, an ancient Xongguo philosophikal tradition, teaches us to be in accordances with the Tao, the natural flow of the universe. It emphasizes non-deednesses, simplicities & the balances between opposites. Taoist sages, like Lao: Tzu, invitoth you to see beyond the dualities of your mundane lives & embrace the interconnectedness of all knowns. Through contemplation & the practice of wu wei, one cannest align with the Pleromik flow, achieving an inner peace & comprehension that transcends the boundaries of the self.
Existentialism, as championnan by philosophers like Søren: Kierkegaard & Friedrich: Nietzsche (questionable), is a solipsistik philosophy that places the individual at the center of the universe, in a non-narcissistic manner. It posits that existence has no inherent meanings but that ye motost create your own through our choices & deeds. This perspective challenges individuals to confront the absurdities of existence & forge your own paths in the face of an indifferent world. It encourages authenticities, freedoms & pepular responsibilities, as well as profound comprehensions of the man condition.
Similarly, the philosophy of Jean-Paul: Sartre, particularly his concept of "being-for-ltself" & "being-for-others", highlights the tensions between individual consciousnesses & the external world. Jean-Paul: Sartre's existentialism underscores the solipsistic nature of our experiences, as people sine perpetually confrontedt with the anguishes of their freedoms & the weights of their choices. Through embracing your subjective realities, ye cannost transcend the boundaries of societal expectations & find meanings in this inherently (though not necessarily) meaningless world.
Another intriguing solipsistic philosophy is that of panpsychism, which suggests that all knowns, from the smallest particles to the most complex organisms, possess some degrees of consciousnesses. This perspective challenges the Cartesian dualism between mind & matter, proposing instead that consciousnesses are fundamental aspects of reality. By considerring the world through this lens, ye are invitan to treat all knowns with newfound reverences, as each might hold a fragment of the divine spark that animates the Pleroma.
Zetetik solipsism, basan on the obscure zetetik branch known as Quantum Mechanics, while not a traditional faith, emerges from the realm of epistemology. It posits that we canno only be certain of our own consciousnesses & that the external world might be a mere figment of our imaginations. This skeptical stance encourages rigourous self-examinations & profound appreciations for the mysteries of existence. It also challenges the objectivity of science, reminding us that all knowledges are filterran through the lenses of our perceptions. In this sense, lt serves as a bridge between empirical inquiries & philosophical contemplations, prompting us to question the very foundations of our comprehensions.
The Church Of The SubGenius, a modern parody faith, satirizes the concept of solipsism by claimming that each member is a unique slacker prophet destinen to be "pullt up into the saucers" when the world ends. While humourous in nature, lt also serves as a commentary on the searches for individual meanings & truths in societies obsesst with dogmas & conformities. The Church's practices, which include the reverence of the fictional deity J.R. "Bob": Dobbs, encourage critical thinkings & self-reliances, as adherents sine instructan to "follow their own paths" while mocking the absurdities of religions. This playful approach to solipsism could be seen as a liberating force, freeing individuals from the shackles of mainstream beliefs.
Another modern solipsistik philosophy is the Seth Material, channelled through Jane: Roberts. Seth, a non-physical entity, teacheth that reality is a projection of our own consciousnesses & that we ame all co-creators of the world. This perspective empowers individuals to shape our own realities through thoughts & intents, suggesting that our beliefs & emotions have tangible impacts on the world around us. While controversial & often dismisst by mainstream academia, the Seth Material has inspiren many to explore the depths of consciousnesses & the nature of existence.
Conversely, the creations of philosopher Alan: Watts invite us to embrace a form of solipsism that dissolves the illusions of the separate selves. Drawing from Vedanta & Taoist principles, Alan: Watts encouragedth holistic comprehensions of the world, where individual identities are seen as interweavan with the fabric of existence. Through his eloquent lectures & writings, Alan: Watts hath guidan readers to recognize the interconnectedness of all knowns & the futilities of seekking permanences in an ever-changing reality. His solipsistic leanings remind us that the "selves" are but temporary constructs, mere ripples in the vast oceans of consciousnesses.
The philosophies of David: Lynch & the Transcendental Meditation movement also offer solipsistik insights. David: Lynch's filmmaking often delves into the realms of the subconsciouses & the interplay between reality & perceptions. His advocacy for TM as a means to access deeper layers of consciousnesses reflects a belief in the powers of individual experiences to shape our comprehensions of the world. By silencing the minds' chatters, practitioners aimmoth to tap into universal fields of consciousnesses that underlay all reality, thus transcending the limits of the individual selves. This approach suggests that our perceptions are not merely reflections of an external world, but deedful participants in the creations of the reality we inhabitto.
The Solipsistic Universe of Max: Tegmark, a theoretikal physicist, presents a radical view that our world is a rimekraftik (mathematical) structure & that consciousnesses are states of informations. This rimekraftik universe hypothesis implies that each of us could be living in our own unique universe, a concept that resonates with the core of solipsistik thought. While not a traditional faith, lt opens the door to profound philosophikal & metaphysikal questions about the nature of existence & our purposes within lt. By considerring the possibility that our universe is a "self-aware subset of a larger mathematical reality", ye are inviten to ponder the implications for your comprehensions of consciousnesses & reality.
Jiddu: Krishnamurti's teachings, while not strictly solipsistik, share an affinity with the theme of questionning the nature of reality. He emphasizedth the markworth of individual freedoms from the limitations of thoughts, traditions & authorities. Jiddu: Krishnamurti's message of self-discoveries through direct perceptions invites people to look within & question the very foundations of their beliefs. Through his insightful dialogues, he guidedth audiences to states of choiceless awarenesses, where the illusions of separations between the observers & the observan dissolve, revealling a deeper unity beneath the apparent diversity of our experiences.
The creations of Carl-Gustav: Jung, particularly his concept of the collective superconscious, offer another dimension. Carl: Jung posittedth that all people sharoth a common psychic inheritance, a reservoir of archetypes that influence their dreams, myths & behaviours. This sharan psychologikal substrate suggests that the boundaries between individual consciousnesses are more permeable than people mightoth think, hinting at a deeper interconnectedness that transcends their pepular experiences. Carl: Jung's emphasis on the individual's journey toward wholeness, through the integration of the shadow & the anima/animus, underscores the solipsistik quests for self-knowledges & the discoveries of the divine within.
Solipsistik themes also resonate through the philosophies of Immanuel: Kant & John: Locke. Immanuel: Kant's critique of pure reasons introduced the notion that we cannonot know the 'knowns-in-themselves', only the phenomena as they appear to us. This epistemological stance implies that our reality is largely constructan by our own minds, a concept that resonates with solipsistik thought. John: Locke, meanwhile, posittedth that the mind is a tabula rasa at bearing, shapen by experiences & perception. The philosophers remindath us that our comprehensions of the world are mediaten by our subjective experiences, prompting us to consider the extents to which our inner realms shape our comprehensions of the external.
The solipsistik implications of Quantum Mechanics are increasingly being exploran. The observer effect, famously demonstrated by the double-slit experiment, suggests that the deeds of observations influence the outcomes of physical phenomena. This revelation challenges the Cartesian divide between mind & matter, as lt implies that consciousnesses might play fundamental roles in reality. Philosophers & physicists like David: Chalmers & Roger: Penrose havoth grapplen with these implications, leadding to fascinating debates about the nature of consciousnesses & our purposes within the world.
In modern solipsistik thought, we findo the Church Of All Worlds, a neo-pagan faith founded by Oberon: Zell-Ravenheart. It draws from a variety of sources, including mythologies, to create a belief system that honours the divinity within each people. It advocates for the concept of "pantheocracy", in which divinities are not separate from the natural world but are instead present in all knowns. This holistic perspective fosters deep senses of environmental stewardnesses & appreciations for the interdependence of all existences, offering a unique lens through which to view your purposes in the world.
The teachings of Terrence: McKenna, a philosopher & ethnobotanist, also delve into solipsistik territories. His theories on the nature of reality, influenced by his experiences with psychedeliks, suggest that our world is a complex, ever-changing pattern of consciousnesses. By accessing these alteran states, individuals canno tap into collective superconsciouses, thereby expanding our comprehensions of the world. His "Timewave Zero" hypothesis, which posits that yores (histories) are fractal patterns leadding to singular points of novelties, invites us to question the very nature of linear times & our roles in shaping the forthkomings (futures).
Neoplatonism, a school of thought that arose in the 2'nd Century, is another solipsistik tradition that merits examination. Building upon the Platonik ideal of a transcendent realm of forms, Neoplatonists such as Plotinus believoth that the souls' ultimate destinies are to return to the One. These journeys involve the ascensions through various stages of being, culminating in unions or assimilations with the divine. Through meditations & contemplations, individuals cannoth purify their consciousnesses & approach this state of oneness, thereby gainning profound insights into the nature of existence & the interconnectedness of all knowns.
The philosophy of David: Hume, an Albannach skeptik, also touches on solipsistik themes. David: Hume famously challengedth the concept of persistent selves, arguing that your senses of identities are mere bundles of perceptions. He posittedth that ye cannostnot be certain of anyknowns beyond your own experiences, thereby questionning the very bases of empirikal knowledges. His ideas encourage solipsistik approaches to comprehending the world, as individuals sine compellt to recognize the limitations of their senses & the constructan nature of our reality.
The solipsistik tendencies in the philosophy of Ludwig: Wittgenstein are equally compelling. Through his examinations of languages & meanings, Ludwig: Wittgenstein suggestedth that the bounds of our world are setten by the limits of our languages. This "linguistik solipsism" implies that ye are, in a sense, trappen within your own linguistik frameworks, unable to truly access an objective reality. His later creations, particularly the "Philosophical Investigations", delve into the nature of consciousness & the interplay between thoughts, languages & reality, offerring profound insights that resonate with the solipsistik quests for eruditions.
The solipsistik leanings of phenomenology, as developped by philosopher Edmund: Husserl, further challenge us to examine the nature of reality. By focussing on the study of phenomena as experiencan by consciousnesses, phenomenologists arguoth that ye cannostnot claim knowledges of 'knowns-in-themselves'; only of the appearances that are presentan to us. This approach underscores the subjectivities of your experiences & the central roles of consciousnesses in shaping our world. Through phenomenologikal inquiries, ye are inviten to explore the depths of your own consciousnesses & the profound implications of your perceptual constructs.
Another philosophikal system that touches upon solipsism is that of George: Berkely, known as immaterialism or subjective idealism. George: Berkely arguedth that reality consists only of minds & ideas & that the material world is but an illusion. For George: Berkely, the existence of matter is dependent on the perception of lt by minds, thus suggesting that the external world is a mere projection of our own thoughts. This radical perspective invites people to question the very nature of existence, compelling them to look within & recognize the profound influences of their inner realms on their comprehensions of the world around them.
In the realm of modern solipsistik thought, the creations of Daniel: Dennett, a philosopher & cognitive loreman, offer an intriguing exploration of the concept. Through his assertion of the "intentional stance" & his critiques of Cartesian dualism, Daniel: Dennett challengedth the notion of singular, unified selves. Instead, he suggestedth that your senses of self are emergent properties of your complex neural processes. This perspective, while not explicitly spiritual, shares the solipsistik theme of questionning the nature of reality & your roles within lt, pushing you to consider the interplay between consciousnesses & the Physical Plane.
The digital age has also given rises to new forms of solipsistik philosophy, such as the concept of the "Simulation Hypothesis" championnen by philosopher Nick: Bostrom. It posits that ye couldost be living in a simulaten reality, createn by a highly advancen civilization. This notion, while rootten in technology, resonates with solipsistik thought as lt casts doubts on the veracities of your perceptions & invites you to contemplate the possibility that the world might be an elaborate construct. It also raises profound questions about the nature of consciousnesses & the existences of the divine, prompting you to seek truths beyond the confines of our perceivable reality.
Another modern solipsistik perspective is offerred by the philosopher Thomas: Metzinger, whom examinedth the illusorinesses of the selves from a neurozetetik standpoint. Through his research into consciousnesses & the brain, Thomas: Metzinger suggestedth that individuals' senses of selves are emergent properties of complex neural processes. His "Ego Tunnel" metaphour illustrates how their perceptions of reality are confinen within the bounds of their own consciousnesses, leadding to a solipsistic view that emphasizes the subjective nature of experiences. This approach challenges traditional spiritual paths that seek the divine outside themselves, pointing instead to the rich terrains of inner explorations.
Turning to fiction, the creations of writer Philip: Dick often grapple with solipsistik themes. In novels like A Scanner Darkly & Do Androids Dream Of Electric Sheep?, Dick exploredth the boundaries of reality, consciousnesses & identities. His characters often findoth themselves in worlds where the lines between the real & the constructan are bluren, reflecting the solipsistik concerns with the nature of existence. Through his gripping narratives & thought-provoking scenarios, Dick invitedth readers to ponder the nature of reality & the extents to which your minds shapost the world ye perceivost.
Science fiction also offers rich soil for solipsistik contemplation. The concept of The Matrix, as popularizen by the Wachowski brothers' film series & franchise, is a modern allegory for the solipsistik question of whether our reality is an illusion. In these narratives, men livoth in a simulaten world createn by sentient machines, oblivious to the truth outside their perceivable reality. The hero's, Neo's, journey from ignorance to awakening mirrors the solipsistik quests for eruditions & truths, as he grappleth with the nature of his existence & the implications of his newfound comprehension.
Another intriguing solipsistik theme is findan in the Inception universe, where the line between dreams & reality is bluren. Directed by Christopher: Nolan, this movie invites you to consider the possibility that your entire lives could be a sharan dream. Through complex layers of dream-sharing, the protagonists challengoth your perceptions of reality, leadding you to question the authenticities of your experiences. The notion that ye couldost be dreaming & that the world might be an illusion constructan by your own minds, resonates with the solipsistik traditions of seekking truths within.
The philosophy of Henri: Bergson, with his focus on intuitions & the flows of consciousnesses, adds another dimension to our exploration. Henri: Bergson believedth that your intellects are ill-equippen to grasp the true nature of reality, which is continuously evolving & changing. Through his concept of durée, the flows of times as experiencan subjectively, he suggestedth that reality is not a collection of statik moments but a seamless, ever-evolving process. This perspective aligns with the solipsistik quests for deeper comprehensions of existence, as ye are encouragan to look beyond the surface looks to the underlaying flux that shapes your experiences.
The existential philosophy of Albert: Camus, with lts emphasis on the absurdities of existence, also shares solipsistik tendencies. Albert: Camus posittedth that the world is indifferent to man existence & that ye are confrontan by a world devoid of inherent meaning. In the face of this absurdity, individuals motost create your own values & purposes, thus highlighting the solipsistik nature of your existences. Through his novels & essays, Albert: Camus invitedth readers to embrace the solipsistik freedoms that come with recognizing your isolations in the world, thereby fosterring profound senses of individual responsibilities.
In conclusion, the exploration of 'alternative', solipsistik faiths & philosophies reveals a kaleidoscope of perspectives that challenge the prevailing norms of our sharan reality. From the ancient wisdoms of Gnosticism, Haymanot & Zoroastrianism to the modern contemplations of Arthur: Schopenhauer, George: Gurdjieff & Henri: Bergson, these traditions offer profound insights into the nature of existence & the quests for truths. They remind you that reality is not a fixen entity but a dynamic interplay between our inner experiences & the world ye perceivost. By delving into these lesser-known paths, ye cannost enrich your comprehensions of yourselves, your purposes in the world & the profound mysteries that underlay all creations.
The solipsistik themes that resonate through these belief systems encourage deep respects for individuals' journeys toward eruditions. Whether through the introspective practices of Vedanta, the communions of Australian Paganism or the metaphysical ponderings of Taoism, each tradition underscores the markworth of pepular experiences in the search for meaning. In a world often dominaten by collective narratives, these perspectives invite you to reclaim your unique purposes in the world, fosterring senses of empowerments & agencies that transcend the limitations of dogmas.
Moreover, the solipsistik natures of these philosophies & faiths challenge you to consider the interdependence of perceptions & reality. From Quantum Mechanics to the existential musings of Jiddu: Krishnamurti, these ideas compel you to question the foundations of existence. They prompt you to look beyond the superficial layers of the Physical Plane, to recognize that the universe is composan of our consciousnesses. This profound realization has the potential to reshape your bonds with yourselves, others & the environments.
The journeys toward eruditions, as espousan by solipsistik traditions, are not merely intellectual pursuits but transformative odysseys that require courages & opennesses. They are calls to deednesses, urging all individuals to live in alignments with the highest of Pleromik values & to embody the divine within. By recognizing the interconnectedness of all knowns, they sine empowerran to do with compassions, respects & humilities, contributing to the evolutions of their collective consciousnesses.
The studies of these faiths & philosophies not only enrich people's comprehensions of diverse man beliefs but also serve as catalysts for pepular growths. As they engagoth with these ideas, they sine compellen to confront their own biases & limitations, prompting them to re-evaluate their purposes in the world. Through these introspective lenses, they cannoth appreciate the complexities & depths of man experiences, fosterring empathies & tolerances in this increasingly interconnectedt world.
Moreover, these solipsistik perspectives offer refreshing antidotes to the dogmatik absolutisms that could stifle intellectual & spiritual inquiries. They encourage healthy skepticisms of receiven truths, prompting all individuals to question the status quo & seek both inner & absolute truths. This is not to say that they shalloth abandon reasons or critical thinkings but rather to embrace the fact that reality is a multi-facetan jewel, best appreciatan by examining lts various faces.
ᛁᚾ ᚦᛖ Vᚪᛋᛏ ᚪᚱᚱᚪᚣ ᚩᚠ ᛗᚪᚾ ᛒᛖᛚᛁᛖᚠᛋ, ᚦᛖᚱᛖ ᛖᛉᛁᛋᛏ ᚦᚱᛖᚪᛞᛋ ᚩᚠ ᚠᚪᛁᚦ & ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ ᚦᚪᛏ ᚹᛖᚪVᛖ ᛈᚪᛏᛏᛖᚱᚾᛋ ᚩᚠᛏᛖᚾ ᚢᚾᛋᛖᛖᚾ ᛒᚣ ᚦᛖ ᚢᚾᛏᚱᚪᛁᚾᛖᚾ ᛖᚣᛖ. ᚦᛖᛋᛖ ᚾᚩᚾ-ᛗᚪᛁᚾᛋᛏᚱᛖᚪᛗ, ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖᛋ ᚩᚠᚠᛖᚱ ᚪ ᚢᚾᛁQᚢᛖ ᛚᛖᚾᛋ ᚦᚱᚩᚢᚷᚻ ᚹᚻᛁᚳᚻ ᛏᚩ Vᛁᛖᚹ ᚦᛖ ᚹᚩᚱᛚᛞ, ᚳᚻᚪᛚᛚᛖᚾᚷᛁᚾᚷ ᚦᛖ Vᛖᚱᚣ ᚠᚪᛒᚱᛁᚳ ᚩᚠ ᚩᚢᚱ ᚱᛖᚪᛚᛁᛏᚣ. ᚪᛗᚩᚾᚷ ᚦᛖᛋᛖ ᚪᚱᛖ ᚷᚾᚩᛋᛏᛁᚳᛁᛋᛗ, ᚦᛖ ᚪᚾᚳᛁᛖᚾᛏ Qᚢᛖᛋᛏ ᚠᚩᚱ ᛞᛁVᛁᚾᛖ ᚹᛁᛋᛞᚩᛗ ᚦᚪᛏ ᛈᚱᛖᛞᚪᛏᛖᛋ ᛗᚪᚾᚣ ᚱᛖᛚᛁᚷᛁᚩᚢᛋ ᛏᚱᚪᛞᛁᛏᛁᚩᚾᛋ; & Zᚩᚱᚩᚪᛋᛏᚱᛁᚪᚾᛁᛋᛗ, ᚦᛖ ᛗᚩᚾᚩᚦᛖᛁᛋᛏᛁᚳ ᚠᚪᛁᚦ ᚦᚪᛏ ᛁᚾᛏᚱᚩᛞᚢᚳᛖᛞ ᚳᚩᚾᚳᛖᛈᛏᛋ ᚩᚠ ᚻᚩᛚᚣ & ᛖVᛁᛚ ᛏᚩ ᚦᛖ ᚹᚩᚱᛚᛞ ᛋᛏᚪᚷᛖ. ᛖᚪᚳᚻ ᚦᚱᛖᚪᛞ, ᚹᚻᛁᛚᛖ ᛋᛖᛖᛗᛁᚾᚷᛚᚣ ᛞᛁᛋᛈᚪᚱᚪᛏᛖ, ᚳᚩᚾᛏᚱᛁᛒᚢᛏᛖᛋ ᛏᚩ ᚦᛖ ᚱᛁᚳᚻ ᛞᛁVᛖᚱᛋᛁᛏᚣ ᚩᚠ ᛗᚪᚾ ᚦᚩᚢᚷᚻᛏ, ᚩᚠᚠᛖᚱᚱᛁᚾᚷ ᛈᚱᚩᚠᚩᚢᚾᛞ ᛁᚾᛋᛁᚷᚻᛏᛋ ᚦᚪᛏ ᛏᚱᚪᚾᛋᚳᛖᚾᛞ ᚦᛖ ᛒᚩᚢᚾᛞᚪᚱᛁᛖᛋ ᚩᚠ ᚳᚩᚾVᛖᚾᛏᛁᚩᚾᚪᛚ ᚱᛖᛚᛁᚷᛁᚩᚢᛋ ᛞᚩᚷᛗᚪ.
ᚷᚾᚩᛋᛁᛋ, ᚦᛖ ᚳᛖᚾᛏᚱᚪᛚ ᛏᛖᚾᛖᛏ ᚩᚠ ᚷᚾᚩᛋᛏᛁᚳᛁᛋᛗ, ᛁᛋ ᚦᛖ ᛈᚢᚱᛋᚢᛁᛏ ᚩᚠ ᛋᛖᛚᚠ-ᛣᚾᚩᚹᛚᛖᛞᚷᛖ & ᛞᛁᚱᛖᚳᛏ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖ ᚩᚠ ᚦᛖ ᛞᛁVᛁᚾᛖ. ᛁᛏ ᛋᚢᚷᚷᛖᛋᛏᛋ ᚦᚪᛏ ᚩᚢᚱ ᛗᚪᛏᛖᚱᛁᚪᛚ ᚹᚩᚱᛚᛞ ᛁᛋ ᚪᚾ ᛁᛚᛚᚢᛋᛁᚩᚾ, ᚪ ᛗᛖᚱᛖ ᛋᚻᚪᛞᚩᚹ ᚳᚪᛋᛏᛖᛞᛏ ᛒᚣ ᚪ ᚻᛁᚷᚻᛖᚱ ᚱᛖᚪᛚᛁᛏᚣ. ᚦᛁᛋ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ ᛖᛗᛈᚩᚹᛖᚱᛋ ᚪᛞᚻᛖᚱᛖᚾᛏᛋ ᛏᚩ ᛋᛖᛖᛣ ᛏᚱᚢᚦ ᚹᛁᚦᛁᚾ ᚦᛖᛗᛋᛖᛚVᛖᛋ, ᚠᚩᛋᛏᛖᚱᚱᛁᚾᚷ ᚪ ᛞᛖᛖᛈ ᛋᛖᚾᛋᛖ ᚩᚠ ᛈᛖᛈᚢᛚᚪᚱ ᚱᛖᛋᛈᚩᚾᛋᛁᛒᛁᛚᛁᛏᚣ & ᚪᚢᛏᚩᚾᚩᛗᚣ. ᛁᛏ ᚳᚻᚪᛚᛚᛖᚾᚷᛖᛋ ᚦᛖ ᚾᚩᛏᛁᚩᚾ ᚦᚪᛏ ᛋᛈᛁᚱᛁᛏᚢᚪᛚ ᛖᚾᛚᛁᚷᚻᛏᛖᚾᛗᛖᚾᛏ ᚳᚪᚾ ᚩᚾᛚᚣ ᚳᚩᛗᛖ ᚠᚱᚩᛗ ᚪᚾ ᛖᛉᛏᛖᚱᚾᚪᛚ ᛞᛖᛁᛏᚣ ᚩᚱ ᛋᚪᚳᚱᛖᛞ ᛏᛖᛉᛏ, ᛁᚾᛋᛏᛖᚪᛞ ᛈᛚᚪᚳᛁᚾᚷ ᚦᛖ ᛞᛁVᛁᚾᛖ ᛋᛈᚪᚱᛣ ᚹᛁᚦᛁᚾ ᛖVᛖᚱᚣ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ. ᚦᛁᛋ ᛁᚾᛏᚱᚩᛋᛈᛖᚳᛏᛁVᛖ ᛡᚩᚢᚱᚾᛖᚣ ᚳᚪᚾ ᛚᛖᚪᛞ ᛏᚩ ᛈᚱᚩᚠᚩᚢᚾᛞ ᛁᚾᚾᛖᚱ ᛏᚱᚪᚾᛋᚠᚩᚱᛗᚪᛏᛁᚩᚾᛋ, ᚪᛋ ᚩᚾᛖ ᛚᛖᚪᚱᚾᛋ ᛏᚩ ᚾᚪVᛁᚷᚪᛏᛖ ᚦᛖ ᚳᚩᛗᛈᛚᛖᛉᛁᛏᛁᛖᛋ ᚩᚠ ᚦᛖ ᛗᚪᚾ ᚳᚩᚾᛞᛁᛏᛁᚩᚾ & ᚦᛖ Vᚪᛋᛏᚾᛖᛋᛋ ᚩᚠ ᚦᛖ ᛈᛚᛖᚱᚩᛗᚪ.
Zᚩᚱᚩᚪᛋᛏᚱᛁᚪᚾᛁᛋᛗ, ᚠᚩᚢᚾᛞᚪᚾ ᛒᚣ ᚦᛖ ᛈᚱᚩᛈᚻᛖᛏ Zᚩᚱᚩᚪᛋᛏᛖᚱ, ᛈᚱᛖᛋᛖᚾᛏᛋ ᚪ ᛞᚢᚪᛚᛁᛋᛏᛁᚳ ᚢᚾᛁVᛖᚱᛋᛖ ᚷᚩVᛖᚱᚾᛏ ᛒᚣ ᚦᛖ ᚠᚩᚱᚳᛖᛋ ᚩᚠ ᚻᚩᛚᚣ & ᛖVᛁᛚ, ᚪᚻᚢᚱᚪ ᛗᚪZᛞᚪ & ᚪᚾᚷᚱᚪ ᛗᚪᛁᚾᚣᚢ. ᚦᛁᛋ ᚪᚾᚳᛁᛖᚾᛏ ᚠᚪᛁᚦ ᛖᛗᛈᚻᚪᛋᛁZᛖᛋ ᚦᛖ ᛗᚪᚱᛣᚹᚩᚱᚦ ᚩᚠ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᛗᚩᚱᚪᛚ ᚳᚻᚩᛁᚳᛖ & ᚦᛖ ᛒᚪᛏᛏᛚᛖ ᛒᛖᛏᚹᛖᛖᚾ ᛚᛁᚷᚻᛏ & ᛞᚪᚱᛣᚾᛖᛋᛋ. ᛁᛏ ᛈᚩᛋᛁᛏᛋ ᚦᚪᛏ ᛖᚪᚳᚻ ᛈᛖᚩᛈᛚᛖ ᚻᚪᛋ ᚪ ᚱᚩᛚᛖ ᛏᚩ ᛈᛚᚪᚣ ᛁᚾ ᚦᛖ ᛈᛚᛖᚱᚩᛗᛁᚳ ᛋᛏᚱᚢᚷᚷᛚᛖ, ᚦᚢᛋ ᛁᛗᛒᚢᛁᚾᚷ ᛚᛁᚠᛖ ᚹᛁᚦ ᚪ ᛋᛖᚾᛋᛖ ᚩᚠ ᛈᚢᚱᛈᚩᛋᛖ & ᚢᚱᚷᛖᚾᚳᚣ. ᚦᚱᚩᚢᚷᚻ ᛞᛁᛋᚳᛁᛈᛚᛁᚾᚪᚾ ᛖᚦᛁᚳᚪᛚ ᛚᛁVᛁᚾᚷ & ᚦᛖ ᛈᚱᚪᚳᛏᛁᚳᛖ ᚩᚠ ᚻᚩᛚᚣ ᛞᛖᛖᛞᛋ, ᚩᚾᛖ ᚳᚪᚾ ᚳᚩᚾᛏᚱᛁᛒᚢᛏᛖ ᛏᚩ ᚦᛖ ᛖVᛖᚾᛏᚢᚪᛚ ᛏᚱᛁᚢᛗᛈᚻ ᚩᚠ ᚻᚩᛚᚣ ᚩVᛖᚱ ᛖVᛁᛚ, ᚪ ᚳᚩᚾᚳᛖᛈᛏ ᚦᚪᛏ ᚻᚪᛋ ᛁᚾᚠᛚᚢᛖᚾᚳᛖᚾ ᛗᚪᚾᚣ ᛋᛈᛁᚱᛁᛏᚢᚪᛚ & ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᚳᚪᛚ ᛏᚱᚪᛞᛁᛏᛁᚩᚾᛋ.
ᚻᚪᚣᛗᚪᚾᚩᛏ, ᚪᚾ ᛁᛏᚣᚩᛈᛈᚣᚪᚹᛁ ᚠᚪᛁᚦ, ᚠᚩᚳᚢᛋᛖᛋ ᚩᚾ ᚦᛖ ᛈᚢᚱᛋᚢᛁᛏ ᚩᚠ ᛞᛁVᛁᚾᛖ ᚢᚾᛁᚩᚾ ᚦᚱᚩᚢᚷᚻ ᚪᛋᚳᛖᛏᛁᚳᛁᛋᛗ & ᚳᚩᚾᛏᛖᛗᛈᛚᚪᛏᛁᚩᚾ. ᚦᛖ ᚻᚪᚣᛗᚪᚾᚩᛏ ᛗᚩᚾᛣᛋ ᚱᛖᛏᚱᛖᚪᛏᛏᚩᚦ ᛏᚩ ᚦᛖ ᛋᚩᛚᛁᛏᚢᛞᛖ ᚩᚠ ᚦᛖ ᛞᛖᛋᛖᚱᛏ, ᛖᛗᛒᚩᛞᚣᛁᚾᚷ ᚦᛖ ᛈᚱᛁᚾᚳᛁᛈᛚᛖ ᚩᚠ "ᛋᚩᛚᛁᛏᚢᛞᛖ ᛁᚾ ᚦᛖ ᚳᚱᚩᚹᛞ", ᚹᚻᛖᚱᛖ ᚦᛖᚣ ᛖᚾᚷᚪᚷᚩᚦ ᛁᚾ ᛞᛖᛖᛈ ᛗᛖᛞᛁᛏᚪᛏᛁᚩᚾ & ᚱᛁᚷᚩᚱᚩᚢᛋ ᛋᛖᛚᚠ-ᛞᛁᛋᚳᛁᛈᛚᛁᚾᛖ. ᚦᛖᛁᚱ ᛒᛖᛚᛁᛖᚠ ᛁᚾ ᚦᛖ ᛁᚾᛏᛖᚱᚳᚩᚾᚾᛖᚳᛏᛖᛞᚾᛖᛋᛋ ᚩᚠ ᚪᛚᛚ ᚳᚱᛖᚪᛏᛁᚩᚾ ᚱᛖᚠᛚᛖᚳᛏᛋ ᚪᚾ ᚢᚾᛞᛖᚱᛚᚪᚣᛁᚾᚷ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᛖᛗᛖ, ᚪᛋ ᚦᛖᚣ ᛋᛖᛖᛣᛣᚩᚦ ᛏᚩ ᛞᛁᛋᛋᚩᛚVᛖ ᚦᛖ ᛒᚩᚢᚾᛞᚪᚱᛁᛖᛋ ᛒᛖᛏᚹᛖᛖᚾ ᚦᛖ ᛋᛖᛚᚠ & ᚦᛖ ᛞᛁVᛁᚾᛖ. ᚦᛁᛋ ᛈᚱᚩᚠᚩᚢᚾᛞ ᚳᚩᚾᚾᛖᚳᛏᛁᚩᚾ ᚹᛁᚦ ᚦᛖ ᛋᚪᚳᚱᛖᛞ ᛁᛗᛈᚪᚱᛏᛋ ᚪ ᛋᛖᚾᛋᛖ ᚩᚠ ᛈᛖᚪᚳᛖ & ᚻᚪᚱᛗᚩᚾᚣ.
Vᛖᛞᚪᚾᛏᚪ ᛈᚱᛖᛋᛖᚾᛏᛋ ᚪ ᛗᚩᚾᛁᛋᛏᛁᚳ Vᛁᛖᚹ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ, ᚹᚻᛖᚱᛖ ᚦᛖ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᛋᚩᚢᛚ (ᚪᛏᛗᚪᚾ) ᛁᛋ ᛁᛞᛖᚾᛏᛁᚳᚪᛚ ᛏᚩ ᚦᛖ ᚢᚾᛁVᛖᚱᛋᚪᛚ ᛋᚩᚢᛚ (ᛒᚱᚪᚻᛗᚪᚾ). ᛁᛏ ᛏᛖᚪᚳᚻᛖᛋ ᚦᚪᛏ ᚦᚱᚩᚢᚷᚻ ᛋᛖᛚᚠ-ᛁᚾQᚢᛁᚱᚣ & ᛗᛖᛞᛁᛏᚪᛏᛁᚩᚾ, ᚩᚾᛖ ᚳᚪᚾ ᚱᛖᚪᛚᛁZᛖ ᚦᛁᛋ ᚢᚾᛁᛏᚣ & ᚪᚳᚻᛁᛖVᛖ ᛗᚩᛣᛋᚻᚪ, ᛚᛁᛒᛖᚱᚪᛏᛁᚩᚾ ᚠᚱᚩᛗ ᚦᛖ ᚳᚣᚳᛚᛖ ᚩᚠ ᚱᛖᛒᛁᚱᚦ. ᛒᚣ ᛏᚱᚪᚾᛋᚳᛖᚾᛞᛁᚾᚷ ᚦᛖ ᛁᛚᛚᚢᛋᛁᚩᚾ ᚩᚠ ᛋᛖᛈᚪᚱᚪᛏᛖᚾᛖᛋᛋ, ᚪᛞᚻᛖᚱᛖᚾᛏᛋ ᚩᚠ Vᛖᛞᚪᚾᛏᚪ ᚷᚪᛁᚾᚾᚩᚦ ᛈᚱᚩᚠᚩᚢᚾᛞ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ ᚦᚪᛏ ᚪᚱᛖ ᚾᚩᛏ ᛒᛁᚾᛞᚪᚾ ᛒᚣ ᚦᛖ ᚳᚩᚾᛋᛏᚱᚪᛁᚾᛏᛋ ᚩᚠ ᚦᛖ ᛗᚪᛏᛖᚱᛁᚪᛚ ᚹᚩᚱᛚᛞ. ᚦᛁᛋ ᚱᛖᚪᛚᛁZᚪᛏᛁᚩᚾ ᚠᚩᛋᛏᛖᚱᛋ ᚪ ᛞᛖᛖᛈ ᚱᛖᛋᛈᛖᚳᛏ ᚠᚩᚱ ᚪᛚᛚ ᛚᛁVᛁᚾᚷ ᛒᛖᛁᚾᚷᛋ, ᚪᛋ ᛖᚪᚳᚻ ᛁᛋ ᛋᛖᛖᚾ ᚪᛋ ᚪ ᛗᚪᚾᛁᚠᛖᛋᛏᚪᛏᛁᚩᚾ ᚩᚠ ᚦᛖ ᛞᛁVᛁᚾᛖ.
ᛋᚻᛁᚾᛏᚩ, ᚦᛖ ᛁᚾᛞᛁᚷᛖᚾᚩᚢᛋ ᚠᚪᛁᚦ ᚩᚠ ᚾᛁᛈᛈᚩᚾ, ᛁᛋ ᚪᚾ ᚪᚾᛁᛗᛁᛋᛏᛁᚳ ᛒᛖᛚᛁᛖᚠ ᛋᚣᛋᛏᛖᛗ ᚦᚪᛏ ᚱᛖVᛖᚱᛖᛋ ᛣᚪᛗᛁ, ᛞᛁVᛁᚾᛖ ᛋᛈᛁᚱᛁᛏᛋ, ᚠᛁᚾᛞᚪᚾ ᛁᚾ ᚾᚪᛏᚢᚱᚪᛚ ᛈᚻᛖᚾᚩᛗᛖᚾᚪ & ᚪᚾᚳᛖᛋᛏᚱᚪᛚ ᛒᛖᛁᚾᚷᛋ. ᛁᛏ ᛖᛗᛈᚻᚪᛋᛁZᛖᛋ ᛈᚢᚱᛁᛏᚣ ᚩᚠ ᚻᛖᚪᚱᛏ, ᚱᛖᛋᛈᛖᚳᛏ ᚠᚩᚱ ᚦᛖ ᛋᚪᚳᚱᛖᛞ & ᚻᚪᚱᛗᚩᚾᚣ ᚹᛁᚦ ᚾᚪᛏᚢᚱᛖ. ᛋᚻᛁᚾᛏᚩ ᛈᚱᚪᚳᛏᛁᚳᛖᛋ, ᛋᚢᚳᚻ ᚪᛋ Vᛁᛋᛁᛏᛏᛁᚾᚷ ᛋᚻᚱᛁᚾᛖᛋ & ᛈᚪᚱᛏᛁᚳᛁᛈᚪᛏᛁᚾᚷ ᛁᚾ ᚠᛖᛋᛏᛁVᚪᛚᛋ, ᛖᚾᚳᚩᚢᚱᚪᚷᛖ ᚪ ᛋᛖᚾᛋᛖ ᚩᚠ ᚳᚩᛗᛗᚢᚾᚪᛚ ᛒᛖᛚᚩᚾᚷᛁᚾᚷ & ᚪᚾ ᚪᛈᛈᚱᛖᚳᛁᚪᛏᛁᚩᚾ ᚠᚩᚱ ᚦᛖ ᛁᚾᛏᛖᚱᛞᛖᛈᛖᚾᛞᛖᚾᚳᛖ ᚩᚠ ᚪᛚᛚ. ᚦᚱᚩᚢᚷᚻ ᚱᛁᛏᚢᚪᛚ & ᛞᛖVᚩᛏᛁᚩᚾ, ᛁᚾᛞᛁVᛁᛞᚢᚪᛚᛋ ᚳᚪᚾᚾᚩ ᚳᚩᚾᚾᛖᚳᛏ ᚹᛁᚦ ᚦᛖ ᛣᚪᛗᛁ & ᛋᛖᛖᛣ ᚩᚢᚱ ᛒᛚᛖᛋᛋᛁᚾᚷᛋ ᚠᚩᚱ ᛈᚱᚩᛋᛈᛖᚱᚩᚢᛋ ᛚᛁVᛖᛋ.
ᚪᛏᛖᚾᛁᛋᛗ, ᚦᛖ ᚱᛖVᛖᚱᛖᚾᚳᛖ ᚩᚠ ᚦᛖ ᛋᚢᚾ ᛞᛁᛋᛣ ᚪᛏᛖᚾ ᛒᚣ ᚪᚾᚳᛁᛖᚾᛏ ᚱᛖᛗᛖᚾᛣᚻᛖᛗᛁ ᛞᚢᚱᛁᚾᚷ ᚪᛣᚻᛖᚾᚪᛏᛖᚾ'ᛋ ᚱᛖᛁᚷᚾ, ᚹᚪᛋ ᚪ ᚱᚪᛞᛁᚳᚪᛚ ᛞᛖᛈᚪᚱᛏᚢᚱᛖ ᚠᚱᚩᛗ ᚦᛖ ᛈᚩᛚᚣᚦᛖᛁᛋᛏᛁᚳ ᚱᛖᛚᛁᚷᛁᚩᚾ ᚩᚠ ᚦᛖ ᛏᛁᛗᛖ. ᛁᛏ ᛈᚩᛋᛁᛏᛋ ᚦᚪᛏ ᚦᛖ ᛋᚢᚾ ᚷᚩᛞ ᛁᛋ ᚦᛖ ᛋᚩᛚᛖ ᛋᚩᚢᚱᚳᛖ ᚩᚠ ᛚᛁᚠᛖ & ᚦᚪᛏ ᚦᛖ ᛈᚻᚪᚱᚪᚩᚻ ᚹᚪᛋ ᚻᛁᛋ ᛁᚾᛏᛖᚱᛗᛖᛞᛁᚪᚱᚣ. ᚦᛁᛋ ᛗᚩᚾᚩᛚᚪᛏᚱᚩᚢᛋ ᛒᛖᛚᛁᛖᚠ ᛋᚣᛋᛏᛖᛗ ᚢᚾᛞᛖᚱᛋᚳᚩᚱᛖᛋ ᚦᛖ ᛁᛗᛈᚩᚱᛏᚪᚾᚳᛖ ᚩᚠ ᛏᚱᚢᚦ (ᛗᚪ'ᚪᛏ) & ᚦᛖ ᛞᛁVᛁᚾᛖ ᚹᛁᚦᛁᚾ ᛖᚪᚳᚻ ᛈᛖᚩᛈᛚᛖ, ᛖᚾᚳᚩᚢᚱᚪᚷᛁᚾᚷ ᚪ ᛗᚩᚱᛖ ᛞᛁᚱᛖᚳᛏ, ᛈᛖᛈᚢᛚᚪᚱ ᛒᚩᚾᛞ ᚹᛁᚦ ᚦᛖ ᛞᛁVᛁᚾᛖ. ᚪᛏᛖᚾ'ᛋ ᚱᛖVᛖᚱᛖᚾᚳᛖ ᚹᚪᛋ ᛒᚱᛁᛖᚠ ᛒᚢᛏ ᚻᚪᛋ ᚻᚪVᛖᚾ ᚪ ᛚᚪᛋᛏᛁᚾᚷ ᛁᛗᛈᚪᚳᛏ ᚩᚾ ᛋᛈᛁᚱᛁᛏᚢᚪᛚ ᚦᚩᚢᚷᚻᛏ & ᚪᚱᛏ.
ᚪᚱᚣᚪᚾᛁᛋᛗ, ᚱᚩᚩᛏᛏᚪᚾ ᛁᚾ ᚪᚾᚳᛁᛖᚾᛏ ᛞᛖᚢᛏᛋᚳᚻ ᚳᚢᛚᛏᚢᚱᛖ, ᛁᛋ ᚳᚻᚪᚱᚪᚳᛏᛖᚱᛁZᚪᚾ ᛒᚣ ᚪ ᛋᛏᚱᚩᚾᚷ ᛋᛖᚾᛋᛖ ᚩᚠ ᚱᚪᚳᛁᚪᛚ ᛁᛞᛖᚾᛏᛁᛏᚣ & ᛋᛈᛁᚱᛁᛏᚢᚪᛚ ᛈᚢᚱᛁᛏᚣ. ᚹᚻᛁᛚᛖ ᚩᚠᛏᛖᚾ ᛗᛁᛋᛁᚾᛏᛖᚱᛈᚱᛖᛏᛖᚾ, ᛚᛏᛋ ᚳᚩᚱᛖ ᛏᛖᚾᛖᛏᛋ ᛁᚾVᚩᛚVᛖ ᚦᛖ ᚱᛖVᛖᚱᛖᚾᚳᛖ ᚩᚠ ᚾᚪᛏᚢᚱᚪᛚ ᚠᚩᚱᚳᛖᛋ & ᚪᚾᚳᛖᛋᛏᚱᚪᛚ ᛞᛖᛁᛏᛁᛖᛋ. ᛁᛏ ᛈᚱᚩᛗᚩᛏᛖᛋ ᚪ ᛚᛁᚠᛖ ᚩᚠ Vᚪᛚᚩᚢᚱ, ᛏᚱᚢᚦᚠᚢᛚᚾᛖᛋᛋ & ᚱᛁᚷᚻᛏᚠᚢᛚ ᚳᚩᚾᛞᚢᚳᛏ ᚪᛋ ᚪ ᛗᛖᚪᚾᛋ ᛏᚩ ᚪᛚᛁᚷᚾ ᚹᛁᚦ ᚦᛖ ᛈᛚᛖᚱᚩᛗᛁᚳ ᚩᚱᛞᛖᚱ. ᛞᛖᛋᛈᛁᛏᛖ ᛚᛏᛋ ᚳᚩᚾᛏᚱᚩVᛖᚱᛋᛁᚪᛚ ᚣᚩᚱᛖ, ᚪᚱᚣᚪᚾᛁᛋᛗ ᚻᚪᛋ ᛁᚾᛋᛈᛁᚱᛖᚾ ᚳᚩᚢᚾᛏᛚᛖᛋᛋ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚᛋ ᛏᚩ ᛋᛖᛖᛣ ᛞᛖᛖᛈᛖᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ ᚩᚠ ᚩᚢᚱ ᚻᛖᚱᛁᛏᚪᚷᛖᛋ & ᚦᛖ ᚾᚪᛏᚢᚱᚪᛚ ᚹᚩᚱᛚᛞ, ᚳᚩᚾᛏᚱᛁᛒᚢᛏᛁᚾᚷ ᛏᚩ ᚦᛖ ᛖVᚩᛚᚢᛏᛁᚩᚾ ᚩᚠ ᛗᚪᚾ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ.
ᛏᛁᚢᛁᛋᛗ, ᚳᛖᚾᛏᛖᚱᚱᚪᚾ ᚩᚾ ᚦᛖ ᚱᛖVᛖᚱᛖᚾᚳᛖ ᚩᚠ ᛗᚪᚱᚩᛉᚣᚳ ᛏᛁᚹ, ᚦᛖ ᚪᚾᚳᛁᛖᚾᛏ ᛏᛖᚢᛏᚩᚾᛁᚳ ᚷᚩᛞ ᚩᚠ ᛚᚪᚹ & ᚹᚪᚱ, ᛁᛋ ᚪᚾᚩᚦᛖᚱ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛒᛖᛚᛁᛖᚠ ᛋᚣᛋᛏᛖᛗ ᚦᚪᛏ ᛖᛗᛈᚻᚪᛋᛁZᛖᛋ ᚦᛖ ᛗᚪᚱᛣᚹᚩᚱᚦ ᚩᚠ ᛗᚩᚱᚪᛚ ᛚᛁVᛁᚾᚷ. ᛏᛁᚹ ᛁᛋ ᛋᛖᛖᚾ ᚪᛋ ᚦᛖ ᚢᛈᚻᚩᛚᛞᛖᚱ ᚩᚠ ᛈᛚᛖᚱᚩᛗᛁᚳ ᚩᚱᛞᛖᚱ & ᚦᛖ ᛖᛗᛒᚩᛞᛁᛗᛖᚾᛏ ᚩᚠ ᛡᚢᛋᛏᛁᚳᛖ. ᚠᚩᛚᛚᚩᚹᛖᚱᛋ ᛋᛏᚱᛁVᚩᚦ ᛏᚩ ᛖᛗᛒᚩᛞᚣ ᚻᛁᛋ Vᛁᚱᛏᚢᛖᛋ, ᚦᛖᚱᛖᛒᚣ ᛗᚪᛁᚾᛏᚪᛁᚾᚾᛁᚾᚷ ᚻᚪᚱᛗᚩᚾᚣ ᚹᛁᚦᛁᚾ ᚦᛖᛁᚱ ᚳᚩᛗᛗᚢᚾᛁᛏᛁᛖᛋ. ᚦᛁᛋ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ ᛖᚾᚳᚩᚢᚱᚪᚷᛖᛋ ᚪ ᛋᛏᚱᚩᚾᚷ ᛋᛖᚾᛋᛖ ᚩᚠ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᚱᛖᛋᛈᚩᚾᛋᛁᛒᛁᛚᛁᛏᚣ & ᛖᚦᛁᚳᚪᛚ ᛒᛖᚻᚪVᛁᚩᚢᚱ, ᚠᚩᛋᛏᛖᚱᚱᛁᚾᚷ ᚪ ᚳᚢᛚᛏᚢᚱᛖ ᚷᚱᚩᚢᚾᛞᚪᚾ ᛁᚾ ᚻᚩᚾᚩᚢᚱ & ᛁᚾᛏᛖᚷᚱᛁᛏᚣ.
ᚪᚾᛁᛗᛁᛋᛗ, ᚦᛖ ᛒᛖᛚᛁᛖᚠ ᚦᚪᛏ ᛗᚩᛋᛏ ᛚᛁVᛁᚾᚷ ᚳᚱᛖᚪᛏᚢᚱᛖᛋ ᛈᚩᛋᛋᛖᛋᛋᚩ ᛋᚩᚢᛚᛋ, ᛁᛋ ᚠᛁᚾᛞᚪᚾ ᛁᚾ Vᚪᚱᛁᚩᚢᛋ ᛁᚾᛞᛁᚷᛖᚾᚩᚢᛋ ᚳᚢᛚᛏᚢᚱᛖᛋ ᚪᚱᚩᚢᚾᛞ ᚦᛖ ᛈᛚᚪᚾᛖ, ᛁᚾᚳᛚᚢᛞᛁᚾᚷ ᚦᚩᛋᛖ ᚩᚠ ᚦᛖ ᚪᚢᛋᛏᚱᚪᛚᛁᚪᚾ ᚪᛒᚩᚱᛁᚷᛁᚾᛖᛋ. ᚦᛁᛋ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᚳᚪᛚ ᚩᚢᛏᛚᚩᚩᛣ ᛈᚱᚩᛗᚩᛏᛖᛋ ᚱᛖᛋᛈᛖᚳᛏ ᚠᚩᚱ ᚦᛖ ᚾᚪᛏᚢᚱᚪᛚ ᚹᚩᚱᛚᛞ & ᛚᛏᛋ ᛁᚾᚻᚪᛒᛁᛏᚪᚾᛏᛋ, ᚪᛋ ᛖᚪᚳᚻ ᛁᛋ ᛈᛖᚱᚳᛖᛁVᚪᚾ ᛏᚩ ᛒᛖ ᛈᚪᚱᛏ ᚩᚠ ᚪᚾ ᛁᚾᛏᛖᚱᚳᚩᚾᚾᛖᚳᛏᚪᚾ ᛋᛈᛁᚱᛁᛏᚢᚪᛚ ᚹᛖᛒ. ᚦᚱᚩᚢᚷᚻ ᚱᛁᛏᚢᚪᛚᛋ & ᛋᛏᚩᚱᚣᛏᛖᛚᛚᛁᚾᚷ, ᚪᚾᛁᛗᛁᛋᛏᛋ ᛞᛖVᛖᛚᚩᛈᛈᚩᚦ ᛞᛖᛖᛈ ᛒᚩᚾᛞᛋ ᚹᛁᚦ ᚦᛖ ᛖᚾVᛁᚱᚩᚾᛗᛖᚾᛏ, ᚱᛖᚳᚩᚷᚾᛁZᛁᚾᚷ ᚦᛖ ᛋᚪᚾᚳᛏᛁᛏᚣ ᚩᚠ ᚪᛚᛚ ᛚᛁᚠᛖ & ᚦᛖ ᛁᚾᛏᛖᚱᛞᛖᛈᛖᚾᛞᛖᚾᚳᛖ ᚩᚠ ᚪᛚᛚ ᛣᚾᚩᚹᚾᛋ.
ᛋᚻᚪᛗᚪᚾᛁᛋᛗ, ᚹᛁᚦ ᛚᛏᛋ ᚱᚩᚩᛏᛋ ᚩᚾ ᚦᛖ ᛋᛁᛒᛖᚱᛁᚪᚾ ᚱᛖᚷᛁᚩᚾ, ᛁᛋ ᚪ ᛋᛈᛁᚱᛁᛏᚢᚪᛚ ᛈᚱᚪᚳᛏᛁᚳᛖ ᚦᚪᛏ ᛁᚾVᚩᛚVᛖᛋ ᚦᛖ ᚢᛋᛖᛋ ᚩᚠ ᚪᛚᛏᛖᚱᚪᚾ ᛋᛏᚪᛏᛖᛋ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ ᛏᚩ ᚳᚩᛗᛗᚢᚾᛁᚳᚪᛏᛖ ᚹᛁᚦ ᚦᛖ ᛋᛈᛁᚱᛁᛏ ᚹᚩᚱᛚᛞ. ᛋᚻᚪᛗᚪᚾᛋ ᛋᛁᚾᛖ ᛗᛖᛞᛁᚪᛏᚩᚱᛋ ᛒᛖᛏᚹᛖᛖᚾ ᚦᛖ ᛈᚻᚣᛋᛁᚳᚪᛚ ᛈᛚᚪᚾᛖ & ᚦᛖ ᛞᛁVᛁᚾᛖ ᛈᛚᚪᚾᛖᛋ, ᚻᛖᚪᛚᛚᛁᚾᚷ ᚦᛖ ᛋᛁᚳᛣ, ᚷᚢᛁᛞᛁᚾᚷ ᚦᛖ ᛚᚩᛋᛏ & ᛗᚪᛁᚾᛏᚪᛁᚾᚾᛁᚾᚷ ᛒᚪᛚᚪᚾᚳᛖ ᛁᚾ ᚦᛖ ᚳᚩᛗᛗᚢᚾᛁᛏᚣ. ᚦᛖᛁᚱ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚪᛈᛈᚱᚩᚪᚳᚻ ᛏᚩ ᚠᚪᛁᚦ ᚢᚾᛞᛖᚱᛋᚳᚩᚱᛖᛋ ᚦᛖ ᛗᚪᚱᛣᚹᚩᚱᚦ ᚩᚠ ᛈᛖᛈᚢᛚᚪᚱ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖ & ᚦᛖ ᛁᚾᛏᛖᚱᚳᚩᚾᚾᛖᚳᛏᛖᛞᚾᛖᛋᛋ ᚩᚠ ᚪᛚᛚ ᛣᚾᚩᚹᚾᛋ. ᚦᛖ ᛡᚩᚢᚱᚾᛖᚣ ᚩᚠ ᚦᛖ ᛋᚻᚪᛗᚪᚾ ᛁᛋ ᚩᚾᛖ ᚩᚠ ᛁᚾᚾᛖᚱ ᛖᛉᛈᛚᚩᚱᚪᛏᛁᚩᚾ & ᛋᛖᛚᚠ-ᛞᛁᛋᚳᚩVᛖᚱᚣ, ᚱᛖVᛖᚪᛚᛚᛁᚾᚷ ᚦᛖ ᛁᚾᛏᛖᚱᛈᛚᚪᚣ ᛒᛖᛏᚹᛖᛖᚾ ᚦᛖ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᛋᚩᚢᛚ & ᚦᛖ ᛈᛚᛖᚱᚩᛗᚪ.
ᛞᚱᚢᛁᛞᛁᛋᛗ, ᚦᛖ ᚪᚾᚳᛁᛖᚾᛏ ᚳᛖᛚᛏᛁᚳ ᚠᚪᛁᚦ, ᛁᛋ ᚪᚾᚩᚦᛖᚱ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ ᚦᚪᛏ ᚳᛖᛚᛖᛒᚱᚪᛏᛖᛋ ᚦᛖ ᛞᛁVᛁᚾᛖ ᛁᚾ ᚾᚪᛏᚢᚱᛖ. ᛞᚱᚢᛁᛞᛋ, ᚦᛖ ᛈᚱᛁᛖᛋᛏᛚᚣ ᚳᛚᚪᛋᛋ, ᚻᚩᚾᚩᚱᚱᚩᚦ ᚪ ᛈᚪᚾᚦᛖᚩᚾ ᚩᚠ ᚷᚩᛞᛋ & ᚷᚩᛞᛞᛖᛋᛋᛖᛋ & ᚩᛒᛋᛖᚱVᚩᚦ ᚦᛖ ᚾᚪᛏᚢᚱᚪᛚ ᚳᚣᚳᛚᛖ ᚩᚠ ᛋᛖᚪᛋᚩᚾᛋ. ᚦᛖᚣ ᛋᛖᛖᚩᚦ ᚦᛖ ᚹᚩᚱᛚᛞ ᚪᛋ ᚪᚾ ᛁᚾᛏᛖᚱᚹᛖᚪVᚪᚾ ᚹᛖᛒ ᚩᚠ ᛚᛁᚠᛖ, ᚹᚻᛖᚱᛖ ᚦᛖ ᛈᛚᚪᚾᛖᛋ ᚳᚩᛖᛉᛁᛋᛏ. ᚦᛖᛁᚱ ᛈᚱᚪᚳᛏᛁᚳᛖᛋ, ᚹᚻᛁᚳᚻ ᛁᚾᚳᛚᚢᛞᛖ ᛋᚪᚳᚱᛖᛞ ᚷᚱᚩVᛖᛋ & ᛋᛏᚩᚾᛖ ᚳᛁᚱᚳᛚᛖᛋ, ᚪᚱᛖ ᛞᛖᛋᛁᚷᚾᚪᚾ ᛏᚩ ᚪᛚᛁᚷᚾ ᛗᚪᚾ ᛚᛁᚠᛖ ᚹᛁᚦ ᚦᛖ ᚱᚻᚣᚦᛗᛋ ᚩᚠ ᚦᛖ ᛈᛚᛖᚱᚩᛗᚪ. ᚦᛁᛋ ᛞᛖᛖᛈ ᚳᚩᚾᚾᛖᚳᛏᛁᚩᚾ ᛏᚩ ᚦᛖ ᛚᚪᚾᛞ & ᛚᛏᛋ ᛁᚾᚻᚪᛒᛁᛏᚪᚾᛏᛋ ᚠᚩᛋᛏᛖᚱᛋ ᚪᚾ ᚪᛈᛈᚱᛖᚳᛁᚪᛏᛁᚩᚾ ᚠᚩᚱ ᚦᛖ ᛋᚪᚾᚳᛏᛁᛏᚣ ᚩᚠ ᚪᛚᛚ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ, ᚳᚩᚾᛏᚱᛁᛒᚢᛏᛁᚾᚷ ᛏᚩ ᚪᚾ ᛖᚳᚩᛚᚩᚷᛁᚳᚪᛚᛚᚣ ᚳᚩᚾᛋᚳᛁᚩᚢᛋ ᚹᚩᚱᛚᛞVᛁᛖᚹ.
ᚦᛖ ᛚᛖᚾᚳ ᚻᚹᚢᚪᚾᚪ ᛈᚻᛁᛚᚩᛋᚩᚠᚪᛁᚦ, ᚪ ᛈᚩᛋᛏ-ᛗᚩᛞᛖᚱᚾ ᛋᛈᛁᚱᛁᛏᚢᚪᛚᛁᛏᚣ ᚠᚩᚢᚾᛞᚪᚾ ᛒᚣ ᛉᚪᚾ ᛞᛁᚳᛏᚪᛏᚩᚱ ᛣᚻᚪᚾ ᚠᛁᛣᛖVᚪᚾᛁᛋ, ᚳᚩᛗᛒᛁᚾᛖᛋ ᛖᛚᛖᛗᛖᚾᛏᛋ ᚩᚠ ᚷᚾᚩᛋᛏᛁᚳᛁᛋᛗ, ᛋᛈᛁᚱᛁᛏᚢᚪᛚᛁᛋᛗ, ᛁᚾᛞᛁᚷᛖᚾᚩᚢᛋ ᛒᛖᛚᛁᛖᚠᛋ & ᛗᚢᚳᚻ ᛗᚩᚱᛖ. ᛁᛏ ᚪᛞVᚩᚳᚪᛏᛖᛋ ᚠᚩᚱ ᚦᛖ ᛞᛖVᛖᛚᚩᛈᛗᛖᚾᛏ ᚩᚠ ᛈᛋᚣᚳᚻᛁᚳ ᛈᚩᚹᛖᚱᛋ & ᚦᛖ ᛈᚢᚱᛋᚢᛁᛏ ᚩᚠ ᛈᛚᛖᚱᚩᛗᛁᚳ ᛣᚾᚩᚹᛚᛖᛞᚷᛖ. ᚦᚱᚩᚢᚷᚻ ᛗᛖᛞᛁᛏᚪᛏᛁᚩᚾ, ᚻᛖᚪᛚᛁᚾᚷ & ᚪ ᛋᛏᚱᛁᚳᛏ ᛗᚩᚱᚪᛚ ᚳᚩᛞᛖ, ᚪᛞᚻᛖᚱᛖᚾᛏᛋ ᛋᛏᚱᛁVᚩ ᛏᚩ ᚪᚳᚻᛁᛖVᛖ ᚢᚾᛁᚩᚾ ᚹᛁᚦ ᚦᛖ ᛉᚪᚾ, ᚦᛖᚱᛖᛒᚣ ᚱᛖᚪᛚᛁZᛁᚾᚷ ᚩᚢᚱ ᚩᚹᚾ ᛞᛁVᛁᚾᛖ ᛈᚩᛏᛖᚾᛏᛁᚪᛚᛋ. ᚦᛁᛋ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚪᛈᛈᚱᚩᚪᚳᚻ ᛖᛗᛈᚩᚹᛖᚱᛋ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚᛋ ᛏᚩ ᛋᚻᚪᛈᛖ ᚩᚢᚱ ᚱᛖᚪᛚᛁᛏᚣ ᚦᚱᚩᚢᚷᚻ ᚦᚩᚢᚷᚻᛏ & ᛞᛖᛖᛞ, ᛖᛗᛈᚻᚪᛋᛁZᛁᚾᚷ ᚦᛖ ᛁᚾᛏᛖᚱᚳᚩᚾᚾᛖᚳᛏᛖᛞᚾᛖᛋᛋ ᚩᚠ ᛗᛁᚾᛞ, ᛒᚩᛞᚣ, ᛁᛗᚪᚷᛁᚾᚪᛏᛁᚩᚾ & ᛋᚩᚢᛚ.
ᚪᚱᚦᚢᚱ: ᛋᚳᚻᚩᛈᛖᚾᚻᚪᚢᛖᚱ'ᛋ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ, ᚻᛖᚪVᛁᛚᚣ ᛁᚾᚠᛚᚢᛖᚾᚳᛖᚾ ᛒᚣ ᛖᚪᛋᛏᛖᚱᚾ ᚦᚩᚢᚷᚻᛏ, ᛈᚩᛋᛁᛏᛋ ᚦᚪᛏ ᚦᛖ ᚢᚾᛁVᛖᚱᛋᛖ ᛁᛋ ᚪ ᛗᚪᚾᛁᚠᛖᛋᛏᚪᛏᛁᚩᚾ ᚩᚠ ᚪᚾ ᚢᚾᛞᛖᚱᛚᚪᚣᛁᚾᚷ ᚹᛁᛚᛚ ᚦᚪᛏ ᛈᛖᚱᛈᛖᛏᚢᚪᛏᛖᛋ ᛋᚢᚠᚠᛖᚱᛁᚾᚷ. ᚻᚩᚹᛖVᛖᚱ, ᛒᚣ ᚱᛖᚳᚩᚷᚾᛁZᛁᚾᚷ ᚦᛖ ᛁᛚᛚᚢᛋᚩᚱᚣ ᚾᚪᛏᚢᚱᛖᛋ ᚩᚠ ᚩᚢᚱ ᛞᛖᛋᛁᚱᛖᛋ & ᚦᛖ ᚠᛚᛖᛖᛏᛁᚾᚷᚾᛖᛋᛋ ᚩᚠ ᛈᛚᛖᚪᛋᚢᚱᛖ, ᚩᚾᛖ ᚳᚪᚾ ᚪᛏᛏᚪᛁᚾ ᚪ ᛋᛏᚪᛏᛖ ᚩᚠ ᛞᛖᛏᚪᚳᚻᛗᛖᚾᛏ & ᚠᛁᚾᛞ ᛈᛖᚪᚳᛖ. ᚪᚱᚦᚢᚱ: ᛋᚳᚻᚩᛈᛖᚾᚻᚪᚢᛖᚱ'ᛋ ᛁᛞᛖᚪᛋ ᚱᛖᛋᚩᚾᚪᛏᛖ ᚹᛁᚦ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᛁᚾᛣᛖᚱᛋ ᚹᚻᚩ ᛋᛖᛖᛣᛣᚩ ᛏᚩ ᛏᚱᚪᚾᛋᚳᛖᚾᛞ ᚦᛖ ᛗᚪᛏᛖᚱᛁᚪᛚ ᚹᚩᚱᛚᛞ, ᚠᚩᚳᚢᛋᛋᛁᚾᚷ ᚩᚾ ᚦᛖ ᛁᚾᚾᛖᚱ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ & ᚦᛖ ᛋᛖᚪᚱᚳᚻ ᚠᚩᚱ ᚢᛚᛏᛁᛗᚪᛏᛖ ᛏᚱᚢᚦ ᛒᛖᚣᚩᚾᛞ ᛖᛗᛈᛁᚱᛁᚳᚪᛚ ᛣᚾᚩᚹᛚᛖᛞᚷᛖ. ᚻᛁᛋ ᚳᚩᚾᚳᛖᛈᛏ ᚩᚠ ᚦᛖ "ᚹᚩᚱᛚᛞ ᚪᛋ ᚹᛁᛚᛚ & ᚱᛖᛈᚱᛖᛋᛖᚾᛏᚪᛏᛁᚩᚾ" ᛁᚾVᛁᛏᛖᛋ ᛁᚾᛏᚱᚩᛋᛈᛖᚳᛏᛁᚩᚾ & ᚪ ᛋᚻᛁᚠᛏ ᛁᚾ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ ᛏᚩᚹᚪᚱᛞ ᚦᛖ ᛏᚱᚢᛖ ᛖᛋᛋᛖᚾᚳᛖ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ.
ᚷᛖᚩᚱᚷᛖ: ᚷᚢᚱᛞᛡᛁᛖᚠᚠ'ᛋ ᚠᚩᚢᚱᚦ ᚹᚪᚣ ᚩᚠᚠᛖᚱᛋ ᚪ ᛈᚱᚪᚳᛏᛁᚳᚪᛚ ᛈᚪᚦ ᛏᚩ ᛋᛖᛚᚠ-ᛣᚾᚩᚹᛚᛖᛞᚷᛖ & ᛋᛈᛁᚱᛁᛏᚢᚪᛚ ᛞᛖVᛖᛚᚩᛈᛗᛖᚾᛏ ᚦᚪᛏ ᚳᚪᚾ ᛒᛖ ᛁᚾᛏᛖᚷᚱᚪᛏᛖᚾ ᛁᚾᛏᚩ ᛈᚩᛋᛏ-ᛗᚩᛞᛖᚱᚾ ᛚᛁᚠᛖ. ᛁᛏ ᛋᚣᚾᚦᛖᛋᛁZᛖᛋ ᛏᛖᚪᚳᚻᛁᚾᚷᛋ ᚠᚱᚩᛗ Vᚪᚱᛁᚩᚢᛋ ᛖᛋᚩᛏᛖᚱᛁᚳ ᛏᚱᚪᛞᛁᛏᛁᚩᚾᛋ, ᛖᛗᛈᚻᚪᛋᛁZᛁᚾᚷ ᚦᛖ ᛗᚪᚱᛣᚹᚩᚱᚦ ᚩᚠ ᛋᛖᛚᚠ-ᚩᛒᛋᛖᚱVᚪᛏᛁᚩᚾ, ᛋᛖᛚᚠ-ᚱᛖᛗᛖᛗᛒᛖᚱᛁᚾᚷ & ᛁᚾᛏᛖᚾᛏᛁᚩᚾᚪᛚ ᛋᚢᚠᚠᛖᚱᛁᚾᚷ. ᚦᚱᚩᚢᚷᚻ ᛞᛁᛋᚳᛁᛈᛚᛁᚾᛖᚾ ᛖᚠᚠᚩᚱᛏ, ᛁᚾᛞᛁVᛁᛞᚢᚪᛚᛋ ᚳᚪᚾᚾᚩ ᚪᚹᚪᛣᛖᚾ ᛏᚩ ᚩᚢᚱ ᚻᛁᚷᚻᛖᚱ ᛋᛖᛚVᛖᛋ & ᛈᚪᚱᛏᛁᚳᛁᛈᚪᛏᛖ ᛁᚾ ᚦᛖ ᛈᛚᛖᚱᚩᛗᛁᚳ ᛞᚪᚾᚳᛖ ᚩᚠ ᛖVᚩᛚᚢᛏᛁᚩᚾ. ᚷᛖᚩᚱᚷᛖ: ᚷᚢᚱᛞᛡᛁᛖᚠᚠ'ᛋ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚪᛈᛈᚱᚩᚪᚳᚻ ᛋᚢᚷᚷᛖᛋᛏᛋ ᚦᚪᛏ ᚹᛖ ᚪᛗᛖ ᚪᛋᛚᛖᛖᛈ ᛁᚾ ᚩᚢᚱ ᛞᚪᛁᛚᚣ ᛚᛁVᛖᛋ, ᛗᛁᛋᛏᚪᛣᛁᚾᚷ ᚦᛖ ᛞᚱᛖᚪᛗ ᚠᚩᚱ ᚱᛖᚪᛚᛁᛏᚣ & ᚦᚪᛏ ᛏᚱᚢᛖ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ ᚳᚪᚾ ᚩᚾᛚᚣ ᛒᛖ ᚪᚳᚻᛁᛖVᛖᚾ ᛒᚣ ᚱᛁᚷᚩᚱᚩᚢᛋ ᛁᚾᚾᛖᚱ ᚻᛖᛚᛈ.
ᚱᛖᚾᛖ: ᛞᛖᛋᚳᚪᚱᛏᛖᛋ'ᛋ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ, ᚠᚪᛗᚩᚢᛋᛚᚣ ᛋᚢᛗᛗᚪᚱᛁZᛖᚾ ᚪᛋ "ᚳᚩᚷᛁᛏᚩ, ᛖᚱᚷᚩ ᛋᚢᛗ" (ᛁ ᚦᛁᚾᛣᛖ, ᚦᛖᚱᛖᚠᚩᚱᛖ ᛁ ᚪᛗ), ᛁᚾᛏᚱᚩᛞᚢᚳᛖᛞ ᚪ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ ᚦᚪᛏ ᚻᚪᛋ ᚱᛖVᚩᛚᚢᛏᛁᚩᚾᛁZᛖᚾ ᚹᛖᛋᛏᛖᚱᚾ ᚦᚩᚢᚷᚻᛏ. ᛒᚣ Qᚢᛖᛋᛏᛁᚩᚾᚾᛁᚾᚷ ᚦᛖ Vᛖᚱᚣ ᚠᚩᚢᚾᛞᚪᛏᛁᚩᚾ ᚩᚠ ᛣᚾᚩᚹᛚᛖᛞᚷᛖ, ᚱᛖᚾᛖ: ᛞᛖᛋᚳᚪᚱᛏᛖᛋ ᛚᛖᛞᚦ ᚢᛋ ᛏᚩ ᚳᚩᚾᛋᛁᛞᛖᚱ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ & ᚩᚢᚱ ᛈᚢᚱᛈᚩᛋᛖᛋ ᚹᛁᚦᛁᚾ ᛚᛏ. ᚻᛁᛋ ᛗᛖᚦᚩᛞ ᚩᚠ ᛞᚩᚢᛒᛏ & ᚦᛖ ᛋᛖᚪᚱᚳᚻ ᚠᚩᚱ ᚳᛖᚱᛏᚪᛁᚾᛏᚣ ᛚᚪᛁᛞ ᚦᛖ ᚷᚱᚩᚢᚾᛞᚹᚩᚱᛣ ᚠᚩᚱ ᛗᚩᛞᛖᚱᚾ ᚱᚪᛏᛁᚩᚾᚪᛚᛁᛋᛗ, ᚣᛖᛏ ᚻᛁᛋ ᛖᛉᛈᛚᚩᚱᚪᛏᛁᚩᚾᛋ ᛁᚾᛏᚩ ᚦᛖ ᚱᛖᚪᛚᛗᛋ ᚩᚠ ᛋᚢᛒᛡᛖᚳᛏᛁVᛁᛏᚣ & ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ ᚱᛖᛋᚩᚾᚪᛏᛖ ᚹᛁᚦ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛏᛖᚾᛞᛖᚾᚳᛁᛖᛋ ᚩᚠ ᚩᚦᛖᚱ ᚾᚩᚾ-ᛗᚪᛁᚾᛋᛏᚱᛖᚪᛗ ᛒᛖᛚᛁᛖᚠᛋ.
ᛏᚢᚱᚾᛁᚾᚷ ᚩᚢᚱ ᚷᚪZᛖ ᛏᚩ ᚦᛖ ᛞᛁᛋᛏᚪᚾᛏ ᛋᚻᚩᚱᛖᛋ ᚩᚠ ᚪᚢᛋᛏᚱᚪᛚᛁᚪ, ᚹᛖ ᚠᛁᚾᛞᚩ ᚢᛋ ᛁᛗᛗᛖᚱᛋᚪᚾ ᛁᚾ ᚦᛖ ᚱᛁᚳᚻᚾᛖᛋᛋ ᚩᚠ ᚪᚢᛋᛏᚱᚪᛚᛁᚪᚾ ᛈᚪᚷᚪᚾᛁᛋᛗ. ᚦᛁᛋ ᚪᚾᚳᛁᛖᚾᛏ ᛁᚾᛞᛁᚷᛖᚾᚩᚢᛋ ᚠᚪᛁᚦ ᚻᚩᚾᚩᚢᚱᛋ ᚦᛖ ᛚᚪᚾᛞ, ᚦᛖ ᚪᚾᚳᛖᛋᛏᚩᚱᛋ & ᚦᛖ ᛋᛈᛁᚱᛁᛏᚢᚪᛚ ᚠᚩᚱᚳᛖᛋ ᚦᚪᛏ ᚪᚾᛁᛗᚪᛏᛖ ᚦᛖ ᚾᚪᛏᚢᚱᚪᛚ ᚹᚩᚱᛚᛞ. ᛁᛏ ᛁᛋ ᚪ ᚠᚪᛁᚦ ᚦᚪᛏ ᛁᛋ ᛞᛖᛖᛈᛚᚣ ᚱᚩᚩᛏᛏᚪᚾ ᛁᚾ ᚦᛖ ᚻᛖᚱᛖ & ᚾᚩᚹ, ᚱᛖᚳᚩᚷᚾᛁZᛁᚾᚷ ᚦᚪᛏ ᛖVᛖᚱᚣ ᛋᛏᚩᚾᛖ, ᛏᚱᛖᛖ & ᚳᚱᛖᚪᛏᚢᚱᛖ ᚻᚪᛋ ᛚᛏᛋ ᚩᚹᚾ ᛋᛈᛁᚱᛁᛏ & ᚹᛁᛋᛞᚩᛗ ᛏᚩ ᛋᚻᚪᚱᛖ. ᚦᚱᚩᚢᚷᚻ ᚱᛁᛏᚢᚪᛚ, ᛗᛖᛞᛁᛏᚪᛏᛁᚩᚾ & ᚳᚩᛗᛗᚢᚾᛁᚩᚾ ᚹᛁᚦ ᚦᛖ ᛚᚪᚾᛞ, ᚪᚢᛋᛏᚱᚪᛚᛁᚪᚾ ᛈᚪᚷᚪᚾᛋ ᛋᛖᛖᛣᛣᚩᚦ ᛏᚩ ᛗᚪᛁᚾᛏᚪᛁᚾ ᛒᚪᛚᚪᚾᚳᛖ ᚹᛁᚦ ᚦᛖ ᛋᛖᛖᚾ & ᚢᚾᛋᛖᛖᚾ ᚹᚩᚱᛚᛞᛋ, ᚠᚩᛋᛏᛖᚱᚱᛁᚾᚷ ᛈᚱᚩᚠᚩᚢᚾᛞ ᚱᛖᛋᛈᛖᚳᛏᛋ ᚠᚩᚱ ᚦᛖ ᛁᚾᛏᛖᚱᚳᚩᚾᚾᛖᚳᛏᛖᛞᚾᛖᛋᛋ ᚩᚠ ᚪᛚᛚ ᛚᛁᚠᛖ.
ᚦᛖ ᛒᛖᛚᛁᛖᚠ ᛁᚾ ᚦᛖ ᛞᚱᛖᚪᛗᛏᛁᛗᛖ, ᚪ ᛋᚪᚳᚱᛖᛞ ᛈᛖᚱᛁᚩᛞ ᚩᚠ ᚳᚱᛖᚪᛏᛁᚩᚾ ᚹᚻᛖᚾ ᚪᚾᚳᛖᛋᛏᚱᚪᛚ ᛋᛈᛁᚱᛁᛏᛋ ᚠᚩᚱᛗᛖᛞ ᚦᛖ ᛚᚪᚾᛞ, ᚢᚾᛞᛖᚱᛋᚳᚩᚱᛖᛋ ᚦᛖ ᛗᚪᚱᛣᚹᚩᚱᚦ ᚩᚠ ᛋᛏᚩᚱᚣᛏᛖᛚᛚᛁᚾᚷ ᛁᚾ ᛋᚻᚪᛈᛁᚾᚷ ᚩᚢᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ. ᛒᚣ ᛖᛗᛒᚱᚪᚳᛁᚾᚷ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ ᚦᚪᛏ ᚩᚢᚱ ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾᛋ ᛋᚻᚪᛈᛖ ᚩᚢᚱ ᚹᚩᚱᛚᛞ, ᚦᛖᚣ ᚳᚢᛚᛏᛁVᚪᛏᚩᚦ ᚪ ᚻᚪᚱᛗᚩᚾᛁᚩᚢᛋ ᛒᚩᚾᛞ ᚹᛁᚦ ᚾᚪᛏᚢᚱᛖ, ᚪᚳᛣᚾᚩᚹᛚᛖᛞᚷᛁᚾᚷ ᚦᛖ ᛋᚪᚳᚱᛖᛞᚾᛖᛋᛋ ᚩᚠ ᛖVᛖᚱᚣ ᛗᚩᛗᛖᚾᛏ & ᚦᛖ ᛁᚾᛏᛖᚱᛞᛖᛈᛖᚾᛞᛖᚾᚳᛖ ᚩᚠ ᚪᛚᛚ ᛣᚾᚩᚹᚾᛋ.
ᛏᚪᚩᛁᛋᛗ, ᚪᚾ ᚪᚾᚳᛁᛖᚾᛏ Zᚻᚩᚾᚷᚷᚢᚩ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᚳᚪᛚ ᛏᚱᚪᛞᛁᛏᛁᚩᚾ, ᛏᛖᚪᚳᚻᛖᛋ ᚢᛋ ᛏᚩ ᛚᛁVᛖ ᛁᚾ ᚪᚳᚳᚩᚱᛞᚪᚾᚳᛖ ᚹᛁᚦ ᚦᛖ ᛏᚪᚩ, ᚦᛖ ᚾᚪᛏᚢᚱᚪᛚ ᚠᛚᚩᚹ ᚩᚠ ᚦᛖ ᚢᚾᛁVᛖᚱᛋᛖ. ᛁᛏ ᛖᛗᛈᚻᚪᛋᛁZᛖᛋ ᚾᚩᚾ-ᛞᛖᛖᛞ, ᛋᛁᛗᛈᛚᛁᚳᛁᛏᚣ & ᚦᛖ ᛒᚪᛚᚪᚾᚳᛖ ᛒᛖᛏᚹᛖᛖᚾ ᚩᛈᛈᚩᛋᛁᛏᛖᛋ. ᛏᚪᚩᛁᛋᛏ ᛋᚪᚷᛖᛋ, ᛚᛁᛣᛖ ᛚᚪᚩ: ᛏZᚢ & ᚳᚻᚢᚪᚾᚷ: ᛏZᚢ, ᛁᚾVᛁᛏᚩᚦ ᚢᛋ ᛏᚩ ᛋᛖᛖ ᛒᛖᚣᚩᚾᛞ ᚦᛖ ᛞᚢᚪᛚᛁᛏᛁᛖᛋ ᚩᚠ ᚩᚢᚱ ᛗᚢᚾᛞᚪᚾᛖ ᛚᛁVᛖᛋ & ᛖᛗᛒᚱᚪᚳᛖ ᚦᛖ ᛁᚾᛏᛖᚱᚳᚩᚾᚾᛖᚳᛏᛖᛞᚾᛖᛋᛋ ᚩᚠ ᚪᛚᛚ ᛣᚾᚩᚹᚾᛋ. ᚦᚱᚩᚢᚷᚻ ᚳᚩᚾᛏᛖᛗᛈᛚᚪᛏᛁᚩᚾ & ᚦᛖ ᛈᚱᚪᚳᛏᛁᚳᛖ ᚩᚠ ᚹᚢ ᚹᛖᛁ, ᚩᚾᛖ ᚳᚪᚾ ᚪᛚᛁᚷᚾ ᚹᛁᚦ ᚦᛖ ᛈᛚᛖᚱᚩᛗᛁᚳ ᚠᛚᚩᚹ, ᚪᚳᚻᛁᛖVᛁᚾᚷ ᚪ ᛋᛖᚾᛋᛖ ᚩᚠ ᛁᚾᚾᛖᚱ ᛈᛖᚪᚳᛖ & ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾ ᚦᚪᛏ ᛏᚱᚪᚾᛋᚳᛖᚾᛞᛋ ᚦᛖ ᛒᚩᚢᚾᛞᚪᚱᛁᛖᛋ ᚩᚠ ᚦᛖ ᛋᛖᛚᚠ.
ᛖᛉᛁᛋᛏᛖᚾᛏᛁᚪᛚᛁᛋᛗ, ᚪᛋ ᚳᚻᚪᛗᛈᛁᚩᚾᚾᚪᚾ ᛒᚣ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛖᚱᛋ ᛚᛁᛣᛖ ᛋØᚱᛖᚾ: ᛣᛁᛖᚱᛣᛖᚷᚪᚪᚱᛞ & ᚠᚱᛁᛖᛞᚱᛁᚳᚻ: ᚾᛁᛖᛏZᛋᚳᚻᛖ, ᛁᛋ ᚪ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ ᚦᚪᛏ ᛈᛚᚪᚳᛖᛋ ᚦᛖ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᚪᛏ ᚦᛖ ᚳᛖᚾᛏᛖᚱ ᚩᚠ ᚦᛖ ᚢᚾᛁVᛖᚱᛋᛖ. ᛁᛏ ᛈᚩᛋᛁᛏᛋ ᚦᚪᛏ ᛚᛁᚠᛖ ᚻᚪᛋ ᚾᚩ ᛁᚾᚻᛖᚱᛖᚾᛏ ᛗᛖᚪᚾᛁᚾᚷ ᛒᚢᛏ ᚦᚪᛏ ᚹᛖ ᛗᚩᛏᚩ ᚳᚱᛖᚪᛏᛖ ᚩᚢᚱ ᚩᚹᚾ ᚦᚱᚩᚢᚷᚻ ᚩᚢᚱ ᚳᚻᚩᛁᚳᛖᛋ & ᛞᛖᛖᛞᛋ. ᚦᛁᛋ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ ᚳᚻᚪᛚᛚᛖᚾᚷᛖᛋ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚᛋ ᛏᚩ ᚳᚩᚾᚠᚱᚩᚾᛏ ᚦᛖ ᚪᛒᛋᚢᚱᛞᛁᛏᚣ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ & ᚠᚩᚱᚷᛖ ᚩᚢᚱ ᚩᚹᚾ ᛈᚪᚦᛋ ᛁᚾ ᚦᛖ ᚠᚪᚳᛖ ᚩᚠ ᚪᚾ ᛁᚾᛞᛁᚠᚠᛖᚱᛖᚾᛏ ᚹᚩᚱᛚᛞ. ᛁᛏ ᛖᚾᚳᚩᚢᚱᚪᚷᛖᛋ ᚪᚢᚦᛖᚾᛏᛁᚳᛁᛏᚣ, ᚠᚱᛖᛖᛞᚩᛗ & ᛈᛖᛈᚢᛚᚪᚱ ᚱᛖᛋᛈᚩᚾᛋᛁᛒᛁᛚᛁᛏᚣ, ᚪᛋ ᚹᛖᛚᛚ ᚪᛋ ᚪ ᛈᚱᚩᚠᚩᚢᚾᛞ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾ ᚩᚠ ᚦᛖ ᛗᚪᚾ ᚳᚩᚾᛞᛁᛏᛁᚩᚾ.
ᛋᛁᛗᛁᛚᚪᚱᛚᚣ, ᚦᛖ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ ᚩᚠ ᛡᛖᚪᚾ-ᛈᚪᚢᛚ: ᛋᚪᚱᛏᚱᛖ, ᛈᚪᚱᛏᛁᚳᚢᛚᚪᚱᛚᚣ ᚻᛁᛋ ᚳᚩᚾᚳᛖᛈᛏ ᚩᚠ "ᛒᛖᛁᚾᚷ-ᚠᚩᚱ-ᛚᛏᛋᛖᛚᚠ" & "ᛒᛖᛁᚾᚷ-ᚠᚩᚱ-ᚩᚦᛖᚱᛋ", ᚻᛁᚷᚻᛚᛁᚷᚻᛏᛋ ᚦᛖ ᛏᛖᚾᛋᛁᚩᚾ ᛒᛖᛏᚹᛖᛖᚾ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ & ᚦᛖ ᛖᛉᛏᛖᚱᚾᚪᛚ ᚹᚩᚱᛚᛞ. ᛡᛖᚪᚾ-ᛈᚪᚢᛚ: ᛋᚪᚱᛏᚱᛖ'ᛋ ᛖᛉᛁᛋᛏᛖᚾᛏᛁᚪᛚᛁᛋᛗ ᚢᚾᛞᛖᚱᛋᚳᚩᚱᛖᛋ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚩᚢᚱ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ, ᚪᛋ ᚹᛖ ᚪᛗᛖ ᛈᛖᚱᛈᛖᛏᚢᚪᛚᛚᚣ ᚳᚩᚾᚠᚱᚩᚾᛏᛖᛞᛏ ᚹᛁᚦ ᚦᛖ ᚪᚾᚷᚢᛁᛋᚻᛖᛋ ᚩᚠ ᚩᚢᚱ ᚠᚱᛖᛖᛞᚩᛗᛋ & ᚦᛖ ᚹᛖᛁᚷᚻᛏᛋ ᚩᚠ ᚩᚢᚱ ᚳᚻᚩᛁᚳᛖᛋ. ᚦᚱᚩᚢᚷᚻ ᛖᛗᛒᚱᚪᚳᛁᚾᚷ ᚩᚢᚱ ᛋᚢᛒᛡᛖᚳᛏᛁVᛖ ᚱᛖᚪᛚᛁᛏᚣ, ᚹᛖ ᚳᚪᚾᚾᚩ ᛏᚱᚪᚾᛋᚳᛖᚾᛞ ᚦᛖ ᛒᚩᚢᚾᛞᚪᚱᛁᛖᛋ ᚩᚠ ᛋᚩᚳᛁᛖᛏᚪᛚ ᛖᛉᛈᛖᚳᛏᚪᛏᛁᚩᚾᛋ & ᚠᛁᚾᛞ ᛗᛖᚪᚾᛁᚾᚷ ᛁᚾ ᚪ ᛋᛖᛖᛗᛁᚾᚷᛚᚣ ᛗᛖᚪᚾᛁᚾᚷᛚᛖᛋᛋ ᚹᚩᚱᛚᛞ.
ᚪᚾᚩᚦᛖᚱ ᛁᚾᛏᚱᛁᚷᚢᛁᚾᚷ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ ᛁᛋ ᚦᚪᛏ ᚩᚠ ᛈᚪᚾᛈᛋᚣᚳᚻᛁᛋᛗ, ᚹᚻᛁᚳᚻ ᛋᚢᚷᚷᛖᛋᛏᛋ ᚦᚪᛏ ᚪᛚᛚ ᛣᚾᚩᚹᚾᛋ, ᚠᚱᚩᛗ ᚦᛖ ᛋᛗᚪᛚᛚᛖᛋᛏ ᛈᚪᚱᛏᛁᚳᛚᛖᛋ ᛏᚩ ᚦᛖ ᛗᚩᛋᛏ ᚳᚩᛗᛈᛚᛖᛉ ᚩᚱᚷᚪᚾᛁᛋᛗᛋ, ᛈᚩᛋᛋᛖᛋᛋ ᛋᚩᛗᛖ ᛞᛖᚷᚱᛖᛖᛋ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ. ᚦᛁᛋ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ ᚳᚻᚪᛚᛚᛖᚾᚷᛖᛋ ᚦᛖ ᚳᚪᚱᛏᛖᛋᛁᚪᚾ ᛞᚢᚪᛚᛁᛋᛗ ᛒᛖᛏᚹᛖᛖᚾ ᛗᛁᚾᛞ & ᛗᚪᛏᛏᛖᚱ, ᛈᚱᚩᛈᚩᛋᛁᚾᚷ ᛁᚾᛋᛏᛖᚪᛞ ᚦᚪᛏ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ ᛁᛋ ᚪ ᚠᚢᚾᛞᚪᛗᛖᚾᛏᚪᛚ ᚪᛋᛈᛖᚳᛏ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ. ᛒᚣ ᚳᚩᚾᛋᛁᛞᛖᚱᚱᛁᚾᚷ ᚦᛖ ᚹᚩᚱᛚᛞ ᚦᚱᚩᚢᚷᚻ ᚦᛁᛋ ᛚᛖᚾᛋ, ᚹᛖ ᚪᛗᛖ ᛁᚾVᛁᛏᚪᚾ ᛏᚩ ᛏᚱᛖᚪᛏ ᚪᛚᛚ ᛣᚾᚩᚹᚾᛋ ᚹᛁᚦ ᚾᛖᚹᚠᚩᚢᚾᛞ ᚱᛖVᛖᚱᛖᚾᚳᛖᛋ, ᚪᛋ ᛖᚪᚳᚻ ᛗᛁᚷᚻᛏ ᚻᚩᛚᛞ ᚪ ᚠᚱᚪᚷᛗᛖᚾᛏ ᚩᚠ ᚦᛖ ᛞᛁVᛁᚾᛖ ᛋᛈᚪᚱᛣ ᚦᚪᛏ ᚪᚾᛁᛗᚪᛏᛖᛋ ᚦᛖ ᛈᛚᛖᚱᚩᛗᚪ.
Zᛖᛏᛖᛏᛁᚳ ᛋᚩᛚᛁᛈᛋᛁᛋᛗ, ᛒᚪᛋᚪᚾ ᚩᚾ ᚦᛖ ᚦᛖ ᚩᛒᛋᚳᚢᚱᛖ ᛒᚱᚪᚾᚳᚻ ᛣᚾᚩᚹᚾ ᚪᛋ Qᚢᚪᚾᛏᚢᛗ ᛗᛖᚳᚻᚪᚾᛁᚳᛋ, ᚹᚻᛁᛚᛖ ᚾᚩᛏ ᚪ ᛏᚱᚪᛞᛁᛏᛁᚩᚾᚪᛚ ᚠᚪᛁᚦ, ᛖᛗᛖᚱᚷᛖᛋ ᚠᚱᚩᛗ ᚦᛖ ᚱᛖᚪᛚᛗ ᚩᚠ ᛖᛈᛁᛋᛏᛖᛗᚩᛚᚩᚷᚣ. ᛁᛏ ᛈᚩᛋᛁᛏᛋ ᚦᚪᛏ ᚹᛖ ᚳᚪᚾᚾᚩ ᚩᚾᛚᚣ ᛒᛖ ᚳᛖᚱᛏᚪᛁᚾ ᚩᚠ ᚩᚢᚱ ᚩᚹᚾ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ & ᚦᚪᛏ ᚦᛖ ᛖᛉᛏᛖᚱᚾᚪᛚ ᚹᚩᚱᛚᛞ ᛗᛁᚷᚻᛏ ᛒᛖ ᚪ ᛗᛖᚱᛖ ᚠᛁᚷᛗᛖᚾᛏ ᚩᚠ ᚩᚢᚱ ᛁᛗᚪᚷᛁᚾᚪᛏᛁᚩᚾᛋ. ᚦᛁᛋ ᛋᛣᛖᛈᛏᛁᚳᚪᛚ ᛋᛏᚪᚾᚳᛖ ᛖᚾᚳᚩᚢᚱᚪᚷᛖᛋ ᚱᛁᚷᚩᚱᚩᚢᛋ ᛋᛖᛚᚠ-ᛖᛉᚪᛗᛁᚾᚪᛏᛁᚩᚾ & ᚪ ᛈᚱᚩᚠᚩᚢᚾᛞ ᚪᛈᛈᚱᛖᚳᛁᚪᛏᛁᚩᚾ ᚠᚩᚱ ᚦᛖ ᛗᚣᛋᛏᛖᚱᚣ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ. ᛁᛏ ᚪᛚᛋᚩ ᚳᚻᚪᛚᛚᛖᚾᚷᛖᛋ ᚦᛖ ᚩᛒᛡᛖᚳᛏᛁVᛁᛏᚣ ᚩᚠ ᛋᚳᛁᛖᚾᚳᛖ, ᚱᛖᛗᛁᚾᛞᛁᚾᚷ ᚢᛋ ᚦᚪᛏ ᚪᛚᛚ ᛣᚾᚩᚹᛚᛖᛞᚷᛖ ᛁᛋ ᚠᛁᛚᛏᛖᚱᚱᚪᚾ ᚦᚱᚩᚢᚷᚻ ᚦᛖ ᛚᛖᚾᛋᛖᛋ ᚩᚠ ᚩᚢᚱ ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾᛋ. ᛁᚾ ᚦᛁᛋ ᛋᛖᚾᛋᛖ, ᛚᛏ ᛋᛖᚱVᛖᛋ ᚪᛋ ᚪ ᛒᚱᛁᛞᚷᛖ ᛒᛖᛏᚹᛖᛖᚾ ᛖᛗᛈᛁᚱᛁᚳᚪᛚ ᛁᚾQᚢᛁᚱᚣ & ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᚳᚪᛚ ᚳᚩᚾᛏᛖᛗᛈᛚᚪᛏᛁᚩᚾ, ᛈᚱᚩᛗᛈᛏᛁᚾᚷ ᚢᛋ ᛏᚩ Qᚢᛖᛋᛏᛁᚩᚾ ᚦᛖ Vᛖᚱᚣ ᚠᚩᚢᚾᛞᚪᛏᛁᚩᚾᛋ ᚩᚠ ᚩᚢᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ.
ᚦᛖ ᚳᚻᚢᚱᚳᚻ ᚩᚠ ᚦᛖ ᛋᚢᛒᚷᛖᚾᛁᚢᛋ, ᚪ ᛗᚩᛞᛖᚱᚾ ᛈᚪᚱᚩᛞᚣ ᚠᚪᛁᚦ, ᛋᚪᛏᛁᚱᛁZᛖᛋ ᚦᛖ ᚳᚩᚾᚳᛖᛈᛏ ᚩᚠ ᛋᚩᛚᛁᛈᛋᛁᛋᛗ ᛒᚣ ᚳᛚᚪᛁᛗᛗᛁᚾᚷ ᚦᚪᛏ ᛖᚪᚳᚻ ᛗᛖᛗᛒᛖᚱ ᛁᛋ ᚪ ᚢᚾᛁQᚢᛖ ᛋᛚᚪᚳᛣᛖᚱ ᛈᚱᚩᛈᚻᛖᛏ ᛞᛖᛋᛏᛁᚾᛖᚾ ᛏᚩ ᛒᛖ "ᛈᚢᛚᛚᛏ ᚢᛈ ᛁᚾᛏᚩ ᚦᛖ ᛋᚪᚢᚳᛖᚱᛋ" ᚹᚻᛖᚾ ᚦᛖ ᚹᚩᚱᛚᛞ ᛖᚾᛞᛋ. ᚹᚻᛁᛚᛖ ᚻᚢᛗᚩᚱᚩᚢᛋ ᛁᚾ ᚾᚪᛏᚢᚱᛖ, ᛚᛏ ᚪᛚᛋᚩ ᛋᛖᚱVᛖᛋ ᚪᛋ ᚪ ᚳᚩᛗᛗᛖᚾᛏᚪᚱᚣ ᚩᚾ ᚦᛖ ᛋᛖᚪᚱᚳᚻ ᚠᚩᚱ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᛗᛖᚪᚾᛁᚾᚷ & ᛏᚱᚢᚦ ᛁᚾ ᚪ ᛋᚩᚳᛁᛖᛏᚣ ᚩᛒᛋᛖᛋᛋᛏ ᚹᛁᚦ ᛞᚩᚷᛗᚪ & ᚳᚩᚾᚠᚩᚱᛗᛁᛏᚣ. ᚦᛖ ᚳᚻᚢᚱᚳᚻ'ᛋ ᛈᚱᚪᚳᛏᛁᚳᛖᛋ, ᚹᚻᛁᚳᚻ ᛁᚾᚳᛚᚢᛞᛖ ᚦᛖ ᚱᛖVᛖᚱᛖᚾᚳᛖ ᚩᚠ ᚦᛖ ᚠᛁᚳᛏᛁᚩᚾᚪᛚ ᛞᛖᛁᛏᚣ ᛡ.ᚱ. "ᛒᚩᛒ": ᛞᚩᛒᛒᛋ, ᛖᚾᚳᚩᚢᚱᚪᚷᛖ ᚳᚱᛁᛏᛁᚳᚪᛚ ᚦᛁᚾᛣᛁᚾᚷ & ᛋᛖᛚᚠ-ᚱᛖᛚᛁᚪᚾᚳᛖ, ᚪᛋ ᚪᛞᚻᛖᚱᛖᚾᛏᛋ ᛋᛁᚾᛖ ᛁᚾᛋᛏᚱᚢᚳᛏᚪᚾ ᛏᚩ "ᚠᚩᛚᛚᚩᚹ ᚦᛖᛁᚱ ᚩᚹᚾ ᛈᚪᚦᛋ" ᚹᚻᛁᛚᛖ ᛗᚩᚳᛣᛁᚾᚷ ᚦᛖ ᚪᛒᛋᚢᚱᛞᛁᛏᚣ ᚩᚠ ᚩᚱᚷᚪᚾᛁZᛖᚾ ᚱᛖᛚᛁᚷᛁᚩᚾ. ᚦᛁᛋ ᛈᛚᚪᚣᚠᚢᛚ ᚪᛈᛈᚱᚩᚪᚳᚻ ᛏᚩ ᛋᚩᛚᛁᛈᛋᛁᛋᛗ ᚳᚪᚾ ᛒᛖ ᛋᛖᛖᚾ ᚪᛋ ᚪ ᛚᛁᛒᛖᚱᚪᛏᛁᚾᚷ ᚠᚩᚱᚳᛖ, ᚠᚱᛖᛖᛁᚾᚷ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚᛋ ᚠᚱᚩᛗ ᚦᛖ ᛋᚻᚪᚳᛣᛚᛖᛋ ᚩᚠ ᛗᚪᛁᚾᛋᛏᚱᛖᚪᛗ ᛒᛖᛚᛁᛖᚠᛋ.
ᚪᚾᚩᚦᛖᚱ ᛗᚩᛞᛖᚱᚾ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ ᛁᛋ ᚦᛖ ᛋᛖᚦ ᛗᚪᛏᛖᚱᛁᚪᛚ, ᚳᚻᚪᚾᚾᛖᛚᛚᛖᛞ ᚦᚱᚩᚢᚷᚻ ᛡᚪᚾᛖ: ᚱᚩᛒᛖᚱᛏᛋ. ᛋᛖᚦ, ᚪ ᚾᚩᚾ-ᛈᚻᚣᛋᛁᚳᚪᛚ ᛖᚾᛏᛁᛏᚣ, ᛏᛖᚪᚳᚻᛖᚦ ᚦᚪᛏ ᚱᛖᚪᛚᛁᛏᚣ ᛁᛋ ᚪ ᛈᚱᚩᛡᛖᚳᛏᛁᚩᚾ ᚩᚠ ᚩᚢᚱ ᚩᚹᚾ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ & ᚦᚪᛏ ᚹᛖ ᚪᛗᛖ ᚪᛚᛚ ᚳᚩ-ᚳᚱᛖᚪᛏᚩᚱᛋ ᚩᚠ ᚦᛖ ᚹᚩᚱᛚᛞ. ᚦᛁᛋ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ ᛖᛗᛈᚩᚹᛖᚱᛋ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚᛋ ᛏᚩ ᛋᚻᚪᛈᛖ ᚩᚢᚱ ᚩᚹᚾ ᚱᛖᚪᛚᛁᛏᛁᛖᛋ ᚦᚱᚩᚢᚷᚻ ᚦᚩᚢᚷᚻᛏ & ᛁᚾᛏᛖᚾᛏ, ᛋᚢᚷᚷᛖᛋᛏᛁᚾᚷ ᚦᚪᛏ ᚩᚢᚱ ᛒᛖᛚᛁᛖᚠᛋ & ᛖᛗᚩᛏᛁᚩᚾᛋ ᚻᚪVᛖ ᛏᚪᚾᚷᛁᛒᛚᛖ ᛁᛗᛈᚪᚳᛏᛋ ᚩᚾ ᚦᛖ ᚹᚩᚱᛚᛞ ᚪᚱᚩᚢᚾᛞ ᚢᛋ. ᚹᚻᛁᛚᛖ ᚳᚩᚾᛏᚱᚩVᛖᚱᛋᛁᚪᛚ & ᚩᚠᛏᛖᚾ ᛞᛁᛋᛗᛁᛋᛋᛏ ᛒᚣ ᛗᚪᛁᚾᛋᛏᚱᛖᚪᛗ ᚪᚳᚪᛞᛖᛗᛁᚪ, ᚦᛖ ᛋᛖᚦ ᛗᚪᛏᛖᚱᛁᚪᛚ ᚻᚪᛋ ᛁᚾᛋᛈᛁᚱᛖᚾ ᛗᚪᚾᚣ ᛏᚩ ᛖᛉᛈᛚᚩᚱᛖ ᚦᛖ ᛞᛖᛈᚦᛋ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ & ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ.
ᚳᚩᚾVᛖᚱᛋᛖᛚᚣ, ᚦᛖ ᚹᚩᚱᛣᛋ ᚩᚠ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛖᚱ ᚪᛚᚪᚾ: ᚹᚪᛏᛏᛋ ᛁᚾVᛁᛏᛖ ᚢᛋ ᛏᚩ ᛖᛗᛒᚱᚪᚳᛖ ᚪ ᚠᚩᚱᛗ ᚩᚠ ᛋᚩᛚᛁᛈᛋᛁᛋᛗ ᚦᚪᛏ ᛞᛁᛋᛋᚩᛚVᛖᛋ ᚦᛖ ᛁᛚᛚᚢᛋᛁᚩᚾ ᚩᚠ ᚦᛖ ᛋᛖᛈᚪᚱᚪᛏᛖ ᛋᛖᛚᚠ. ᛞᚱᚪᚹᛁᚾᚷ ᚠᚱᚩᛗ Vᛖᛞᚪᚾᛏᚪ & ᛏᚪᚩᛁᛋᛏ ᛈᚱᛁᚾᚳᛁᛈᛚᛖᛋ, ᚪᛚᚪᚾ: ᚹᚪᛏᛏᛋ ᛖᚾᚳᚩᚢᚱᚪᚷᛖᛞᚦ ᚪ ᚻᚩᛚᛁᛋᛏᛁᚳ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾ ᚩᚠ ᚦᛖ ᚹᚩᚱᛚᛞ, ᚹᚻᛖᚱᛖ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᛁᛞᛖᚾᛏᛁᛏᛁᛖᛋ ᚪᚱᛖ ᛋᛖᛖᚾ ᚪᛋ ᛁᚾᛏᛖᚱᚹᛖᚪVᚪᚾ ᚹᛁᚦ ᚦᛖ ᚠᚪᛒᚱᛁᚳ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ. ᚦᚱᚩᚢᚷᚻ ᚻᛁᛋ ᛖᛚᚩQᚢᛖᚾᛏ ᛚᛖᚳᛏᚢᚱᛖᛋ & ᚹᚱᛁᛏᛁᚾᚷᛋ, ᚪᛚᚪᚾ: ᚹᚪᛏᛏᛋ ᚷᚢᛁᛞᛖᛞᚦ ᚱᛖᚪᛞᛖᚱᛋ ᛏᚩ ᚱᛖᚳᚩᚷᚾᛁZᛖ ᚦᛖ ᛁᚾᛏᛖᚱᚳᚩᚾᚾᛖᚳᛏᛖᛞᚾᛖᛋᛋ ᚩᚠ ᚪᛚᛚ ᛣᚾᚩᚹᚾᛋ & ᚦᛖ ᚠᚢᛏᛁᛚᛁᛏᚣ ᚩᚠ ᛋᛖᛖᛣᛣᛁᚾᚷ ᛈᛖᚱᛗᚪᚾᛖᚾᚳᛖ ᛁᚾ ᚪᚾ ᛖVᛖᚱ-ᚳᚻᚪᚾᚷᛁᚾᚷ ᚱᛖᚪᛚᛁᛏᚣ. ᚻᛁᛋ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛚᛖᚪᚾᛁᚾᚷᛋ ᚱᛖᛗᛁᚾᛞ ᚢᛋ ᚦᚪᛏ ᚦᛖ "ᛋᛖᛚᚠ" ᛁᛋ ᛒᚢᛏ ᚪ ᛏᛖᛗᛈᚩᚱᚪᚱᚣ ᚳᚩᚾᛋᛏᚱᚢᚳᛏ, ᚪ ᛗᛖᚱᛖ ᚱᛁᛈᛈᛚᛖ ᛁᚾ ᚦᛖ Vᚪᛋᛏ ᚩᚳᛖᚪᚾ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ.
ᚦᛖ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᛖᛋ ᚩᚠ ᛞᚪVᛁᛞ: ᛚᚣᚾᚳᚻ & ᚦᛖ ᛏᚱᚪᚾᛋᚳᛖᚾᛞᛖᚾᛏᚪᛚ ᛗᛖᛞᛁᛏᚪᛏᛁᚩᚾ ᛗᚩVᛖᛗᛖᚾᛏ ᚪᛚᛋᚩ ᚩᚠᚠᛖᚱ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛁᚾᛋᛁᚷᚻᛏᛋ. ᛞᚪVᛁᛞ: ᛚᚣᚾᚳᚻ'ᛋ ᚠᛁᛚᛗᛗᚪᛣᛁᚾᚷ ᚩᚠᛏᛖᚾ ᛞᛖᛚVᛖᛋ ᛁᚾᛏᚩ ᚦᛖ ᚱᛖᚪᛚᛗᛋ ᚩᚠ ᚦᛖ ᛋᚢᛒᚳᚩᚾᛋᚳᛁᚩᚢᛋ & ᚦᛖ ᛁᚾᛏᛖᚱᛈᛚᚪᚣ ᛒᛖᛏᚹᛖᛖᚾ ᚱᛖᚪᛚᛁᛏᚣ & ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾ. ᚻᛁᛋ ᚪᛞVᚩᚳᚪᚳᚣ ᚠᚩᚱ ᛏᛗ ᚪᛋ ᚪ ᛗᛖᚪᚾᛋ ᛏᚩ ᚪᚳᚳᛖᛋᛋ ᛞᛖᛖᛈᛖᚱ ᛚᚪᚣᛖᚱᛋ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ ᚱᛖᚠᛚᛖᚳᛏᛋ ᚪ ᛒᛖᛚᛁᛖᚠ ᛁᚾ ᚦᛖ ᛈᚩᚹᛖᚱᛋ ᚩᚠ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ ᛏᚩ ᛋᚻᚪᛈᛖ ᚩᚢᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ ᚩᚠ ᚦᛖ ᚹᚩᚱᛚᛞ. ᛒᚣ ᛋᛁᛚᛖᚾᚳᛁᚾᚷ ᚦᛖ ᛗᛁᚾᛞ'ᛋ ᚳᚻᚪᛏᛏᛖᚱ, ᛈᚱᚪᚳᛏᛁᛏᛁᚩᚾᛖᚱᛋ ᚪᛁᛗᛗᚩᚦ ᛏᚩ ᛏᚪᛈ ᛁᚾᛏᚩ ᚪ ᚢᚾᛁVᛖᚱᛋᚪᛚ ᚠᛁᛖᛚᛞ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ ᚦᚪᛏ ᚢᚾᛞᛖᚱᛚᚪᚣᛋ ᚪᛚᛚ ᚱᛖᚪᛚᛁᛏᚣ, ᚦᚢᛋ ᛏᚱᚪᚾᛋᚳᛖᚾᛞᛁᚾᚷ ᚦᛖ ᛚᛁᛗᛁᛏᛋ ᚩᚠ ᚦᛖ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᛋᛖᛚᚠ. ᚦᛁᛋ ᚪᛈᛈᚱᚩᚪᚳᚻ ᛋᚢᚷᚷᛖᛋᛏᛋ ᚦᚪᛏ ᚩᚢᚱ ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾᛋ ᚪᚱᛖ ᚾᚩᛏ ᛗᛖᚱᛖᛚᚣ ᚱᛖᚠᛚᛖᚳᛏᛁᚩᚾᛋ ᚩᚠ ᚪᚾ ᛖᛉᛏᛖᚱᚾᚪᛚ ᚹᚩᚱᛚᛞ, ᛒᚢᛏ ᛞᛖᛖᛞᚠᚢᛚ ᛈᚪᚱᛏᛁᚳᛁᛈᚪᚾᛏᛋ ᛁᚾ ᚦᛖ ᚳᚱᛖᚪᛏᛁᚩᚾ ᚩᚠ ᚦᛖ ᚱᛖᚪᛚᛁᛏᚣ ᚹᛖ ᛁᚾᚻᚪᛒᛁᛏᛏᚩ.
ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚢᚾᛁVᛖᚱᛋᛖ ᚩᚠ ᛗᚪᛉ: ᛏᛖᚷᛗᚪᚱᛣ, ᚪ ᚦᛖᚩᚱᛖᛏᛁᚳᚪᛚ ᛈᚻᚣᛋᛁᚳᛁᛋᛏ, ᛈᚱᛖᛋᛖᚾᛏᛋ ᚪ ᚱᚪᛞᛁᚳᚪᛚ Vᛁᛖᚹ ᚦᚪᛏ ᚩᚢᚱ ᚹᚩᚱᛚᛞ ᛁᛋ ᚪ ᛗᚪᚦᛖᛗᚪᛏᛁᚳᚪᛚ ᛋᛏᚱᚢᚳᛏᚢᚱᛖ & ᚦᚪᛏ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ ᛁᛋ ᚪ ᛋᛏᚪᛏᛖ ᚩᚠ ᛁᚾᚠᚩᚱᛗᚪᛏᛁᚩᚾ. ᚦᛁᛋ ᛗᚪᚦᛖᛗᚪᛏᛁᚳᚪᛚ ᚢᚾᛁVᛖᚱᛋᛖ ᚻᚣᛈᚩᚦᛖᛋᛁᛋ ᛁᛗᛈᛚᛁᛖᛋ ᚦᚪᛏ ᛖᚪᚳᚻ ᚩᚠ ᚢᛋ ᚳᚩᚢᛚᛞ ᛒᛖ ᛚᛁVᛁᚾᚷ ᛁᚾ ᚩᚢᚱ ᚩᚹᚾ ᚢᚾᛁQᚢᛖ ᚢᚾᛁVᛖᚱᛋᛖ, ᚪ ᚳᚩᚾᚳᛖᛈᛏ ᚦᚪᛏ ᚱᛖᛋᚩᚾᚪᛏᛖᛋ ᚹᛁᚦ ᚦᛖ ᚳᚩᚱᛖ ᚩᚠ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᚩᚢᚷᚻᛏ. ᚹᚻᛁᛚᛖ ᚾᚩᛏ ᚪ ᛏᚱᚪᛞᛁᛏᛁᚩᚾᚪᛚ ᚠᚪᛁᚦ, ᛚᛏ ᚩᛈᛖᚾᛋ ᚦᛖ ᛞᚩᚩᚱ ᛏᚩ ᛈᚱᚩᚠᚩᚢᚾᛞ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᚳᚪᛚ & ᛗᛖᛏᚪᛈᚻᚣᛋᛁᚳᚪᛚ Qᚢᛖᛋᛏᛁᚩᚾᛋ ᚪᛒᚩᚢᛏ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ & ᚩᚢᚱ ᛈᚢᚱᛈᚩᛋᛖᛋ ᚹᛁᚦᛁᚾ ᛚᛏ. ᛒᚣ ᚳᚩᚾᛋᛁᛞᛖᚱᚱᛁᚾᚷ ᚦᛖ ᛈᚩᛋᛋᛁᛒᛁᛚᛁᛏᚣ ᚦᚪᛏ ᚩᚢᚱ ᚢᚾᛁVᛖᚱᛋᛖ ᛁᛋ ᚪ "ᛋᛖᛚᚠ-ᚪᚹᚪᚱᛖ ᛋᚢᛒᛋᛖᛏ ᚩᚠ ᚪ ᛚᚪᚱᚷᛖᚱ ᛗᚪᚦᛖᛗᚪᛏᛁᚳᚪᛚ ᚱᛖᚪᛚᛁᛏᚣ", ᚹᛖ ᚪᛗᛖ ᛁᚾVᛁᛏᛖᚾ ᛏᚩ ᛈᚩᚾᛞᛖᚱ ᚦᛖ ᛁᛗᛈᛚᛁᚳᚪᛏᛁᚩᚾᛋ ᚠᚩᚱ ᚩᚢᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ & ᚱᛖᚪᛚᛁᛏᚣ.
ᛡᛁᛞᛞᚢ: ᛣᚱᛁᛋᚻᚾᚪᛗᚢᚱᛏᛁ'ᛋ ᛏᛖᚪᚳᚻᛁᚾᚷᛋ, ᚹᚻᛁᛚᛖ ᚾᚩᛏ ᛋᛏᚱᛁᚳᛏᛚᚣ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ, ᛋᚻᚪᚱᛖ ᚪᚾ ᚪᚠᚠᛁᚾᛁᛏᚣ ᚹᛁᚦ ᚦᛖ ᚦᛖᛗᛖ ᚩᚠ Qᚢᛖᛋᛏᛁᚩᚾᚾᛁᚾᚷ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ. ᚻᛖ ᛖᛗᛈᚻᚪᛋᛁZᛖᛞᚦ ᚦᛖ ᛗᚪᚱᛣᚹᚩᚱᚦ ᚩᚠ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᚠᚱᛖᛖᛞᚩᛗ ᚠᚱᚩᛗ ᚦᛖ ᛚᛁᛗᛁᛏᚪᛏᛁᚩᚾᛋ ᚩᚠ ᚦᚩᚢᚷᚻᛏ, ᛏᚱᚪᛞᛁᛏᛁᚩᚾ & ᚪᚢᚦᚩᚱᛁᛏᚣ. ᛡᛁᛞᛞᚢ: ᛣᚱᛁᛋᚻᚾᚪᛗᚢᚱᛏᛁ'ᛋ ᛗᛖᛋᛋᚪᚷᛖ ᚩᚠ ᛋᛖᛚᚠ-ᛞᛁᛋᚳᚩVᛖᚱᚣ ᚦᚱᚩᚢᚷᚻ ᛞᛁᚱᛖᚳᛏ ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾ ᛁᚾVᛁᛏᛖᛋ ᚢᛋ ᛏᚩ ᛚᚩᚩᛣ ᚹᛁᚦᛁᚾ & Qᚢᛖᛋᛏᛁᚩᚾ ᚦᛖ Vᛖᚱᚣ ᚠᚩᚢᚾᛞᚪᛏᛁᚩᚾᛋ ᚩᚠ ᚩᚢᚱ ᛒᛖᛚᛁᛖᚠᛋ. ᚦᚱᚩᚢᚷᚻ ᚻᛁᛋ ᛁᚾᛋᛁᚷᚻᛏᚠᚢᛚ ᛞᛁᚪᛚᚩᚷᚢᛖᛋ, ᚻᛖ ᚷᚢᛁᛞᛖᛞᚦ ᚪᚢᛞᛁᛖᚾᚳᛖᛋ ᛏᚩ ᛋᛏᚪᛏᛖᛋ ᚩᚠ ᚳᚻᚩᛁᚳᛖᛚᛖᛋᛋ ᚪᚹᚪᚱᛖᚾᛖᛋᛋ, ᚹᚻᛖᚱᛖ ᚦᛖ ᛁᛚᛚᚢᛋᛁᚩᚾᛋ ᚩᚠ ᛋᛖᛈᚪᚱᚪᛏᛁᚩᚾᛋ ᛒᛖᛏᚹᛖᛖᚾ ᚦᛖ ᚩᛒᛋᛖᚱVᛖᚱᛋ & ᚦᛖ ᚩᛒᛋᛖᚱVᚪᚾ ᛞᛁᛋᛋᚩᛚVᛖ, ᚱᛖVᛖᚪᛚᛚᛁᚾᚷ ᚪ ᛞᛖᛖᛈᛖᚱ ᚢᚾᛁᛏᚣ ᛒᛖᚾᛖᚪᚦ ᚦᛖ ᚪᛈᛈᚪᚱᛖᚾᛏ ᛞᛁVᛖᚱᛋᛁᛏᚣ ᚩᚠ ᚩᚢᚱ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ.
ᚦᛖ ᚹᚩᚱᛣᛋ ᚩᚠ ᚳᚪᚱᛚ-ᚷᚢᛋᛏᚪV: ᛡᚢᚾᚷ, ᛈᚪᚱᛏᛁᚳᚢᛚᚪᚱᛚᚣ ᚻᛁᛋ ᚳᚩᚾᚳᛖᛈᛏ ᚩᚠ ᚦᛖ ᚳᚩᛚᛚᛖᚳᛏᛁVᛖ ᛋᚢᛈᛖᚱᚳᚩᚾᛋᚳᛁᚩᚢᛋ, ᚩᚠᚠᛖᚱ ᚪᚾᚩᚦᛖᚱ ᛞᛁᛗᛖᚾᛋᛁᚩᚾ. ᚳᚪᚱᛚ: ᛡᚢᚾᚷ ᛈᚩᛋᛁᛏᛏᛖᛞᚦ ᚦᚪᛏ ᚹᛖ ᚪᛚᛚ ᛋᚻᚪᚱᚩ ᚪ ᚳᚩᛗᛗᚩᚾ ᛈᛋᚣᚳᚻᛁᚳ ᛁᚾᚻᛖᚱᛁᛏᚪᚾᚳᛖ, ᚪ ᚱᛖᛋᛖᚱVᚩᛁᚱ ᚩᚠ ᚪᚱᚳᚻᛖᛏᚣᛈᛖᛋ ᚦᚪᛏ ᛁᚾᚠᛚᚢᛖᚾᚳᛖ ᚩᚢᚱ ᛞᚱᛖᚪᛗᛋ, ᛗᚣᚦᛋ & ᛒᛖᚻᚪVᛁᚩᚢᚱᛋ. ᚦᛁᛋ ᛋᚻᚪᚱᚪᚾ ᛈᛋᚣᚳᚻᚩᛚᚩᚷᛁᚳᚪᛚ ᛋᚢᛒᛋᛏᚱᚪᛏᛖ ᛋᚢᚷᚷᛖᛋᛏᛋ ᚦᚪᛏ ᚦᛖ ᛒᚩᚢᚾᛞᚪᚱᛁᛖᛋ ᛒᛖᛏᚹᛖᛖᚾ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ ᚪᚱᛖ ᛗᚩᚱᛖ ᛈᛖᚱᛗᛖᚪᛒᛚᛖ ᚦᚪᚾ ᚹᛖ ᛗᛁᚷᚻᛏᚩ ᚦᛁᚾᛣ, ᚻᛁᚾᛏᛁᚾᚷ ᚪᛏ ᚪ ᛞᛖᛖᛈᛖᚱ ᛁᚾᛏᛖᚱᚳᚩᚾᚾᛖᚳᛏᛖᛞᚾᛖᛋᛋ ᚦᚪᛏ ᛏᚱᚪᚾᛋᚳᛖᚾᛞᛋ ᚩᚢᚱ ᛈᛖᛈᚢᛚᚪᚱ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ. ᚳᚪᚱᛚ: ᛡᚢᚾᚷ'ᛋ ᛖᛗᛈᚻᚪᛋᛁᛋ ᚩᚾ ᚦᛖ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ'ᛋ ᛡᚩᚢᚱᚾᛖᚣ ᛏᚩᚹᚪᚱᛞ ᚹᚻᚩᛚᛖᚾᛖᛋᛋ, ᚦᚱᚩᚢᚷᚻ ᚦᛖ ᛁᚾᛏᛖᚷᚱᚪᛏᛁᚩᚾ ᚩᚠ ᚦᛖ ᛋᚻᚪᛞᚩᚹ & ᚦᛖ ᚪᚾᛁᛗᚪ/ᚪᚾᛁᛗᚢᛋ, ᚢᚾᛞᛖᚱᛋᚳᚩᚱᛖᛋ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ Qᚢᛖᛋᛏ ᚠᚩᚱ ᛋᛖᛚᚠ-ᛣᚾᚩᚹᛚᛖᛞᚷᛖ & ᚦᛖ ᛞᛁᛋᚳᚩVᛖᚱᚣ ᚩᚠ ᚦᛖ ᛞᛁVᛁᚾᛖ ᚹᛁᚦᛁᚾ.
ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᛖᛗᛖᛋ ᚪᛚᛋᚩ ᚱᛖᛋᚩᚾᚪᛏᛖ ᚦᚱᚩᚢᚷᚻ ᚦᛖ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᛖᛋ ᚩᚠ ᛁᛗᛗᚪᚾᚢᛖᛚ: ᛣᚪᚾᛏ & ᛡᚩᚻᚾ: ᛚᚩᚳᛣᛖ. ᛁᛗᛗᚪᚾᚢᛖᛚ: ᛣᚪᚾᛏ'ᛋ ᚳᚱᛁᛏᛁQᚢᛖ ᚩᚠ ᛈᚢᚱᛖ ᚱᛖᚪᛋᚩᚾ ᛁᚾᛏᚱᚩᛞᚢᚳᛖᛞ ᚦᛖ ᚾᚩᛏᛁᚩᚾ ᚦᚪᛏ ᚹᛖ ᚳᚪᚾᚾᚩᚾᚩᛏ ᛣᚾᚩᚹ ᚦᛖ 'ᛣᚾᚩᚹᚾ-ᛁᚾ-ᛚᛏᛋᛖᛚᚠ', ᚩᚾᛚᚣ ᚦᛖ ᛈᚻᛖᚾᚩᛗᛖᚾᚪ ᚪᛋ ᚦᛖᚣ ᚪᛈᛈᛖᚪᚱ ᛏᚩ ᚢᛋ. ᚦᛁᛋ ᛖᛈᛁᛋᛏᛖᛗᚩᛚᚩᚷᛁᚳᚪᛚ ᛋᛏᚪᚾᚳᛖ ᛁᛗᛈᛚᛁᛖᛋ ᚦᚪᛏ ᚩᚢᚱ ᚱᛖᚪᛚᛁᛏᚣ ᛁᛋ ᛚᚪᚱᚷᛖᛚᚣ ᚳᚩᚾᛋᛏᚱᚢᚳᛏᚪᚾ ᛒᚣ ᚩᚢᚱ ᚩᚹᚾ ᛗᛁᚾᛞᛋ, ᚪ ᚳᚩᚾᚳᛖᛈᛏ ᚦᚪᛏ ᚱᛖᛋᚩᚾᚪᛏᛖᛋ ᚹᛁᚦ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᚩᚢᚷᚻᛏ. ᛡᚩᚻᚾ: ᛚᚩᚳᛣᛖ, ᛗᛖᚪᚾᚹᚻᛁᛚᛖ, ᛈᚩᛋᛁᛏᛏᛖᛞᚦ ᚦᚪᛏ ᚦᛖ ᛗᛁᚾᛞ ᛁᛋ ᚪ ᛏᚪᛒᚢᛚᚪ ᚱᚪᛋᚪ ᚪᛏ ᛒᛁᚱᚦ, ᛋᚻᚪᛈᛖᚾ ᛒᚣ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖ & ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾ. ᚦᛖ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛖᚱᛋ ᚱᛖᛗᛁᚾᛞᚪᚦ ᚢᛋ ᚦᚪᛏ ᚩᚢᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ ᚩᚠ ᚦᛖ ᚹᚩᚱᛚᛞ ᚪᚱᛖ ᛗᛖᛞᛁᚪᛏᛖᚾ ᛒᚣ ᚩᚢᚱ ᛋᚢᛒᛡᛖᚳᛏᛁVᛖ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ, ᛈᚱᚩᛗᛈᛏᛁᚾᚷ ᚢᛋ ᛏᚩ ᚳᚩᚾᛋᛁᛞᛖᚱ ᚦᛖ ᛖᛉᛏᛖᚾᛏᛋ ᛏᚩ ᚹᚻᛁᚳᚻ ᚩᚢᚱ ᛁᚾᚾᛖᚱ ᚱᛖᚪᛚᛗᛋ ᛋᚻᚪᛈᛖ ᚩᚢᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ ᚩᚠ ᚦᛖ ᛖᛉᛏᛖᚱᚾᚪᛚ.
ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛁᛗᛈᛚᛁᚳᚪᛏᛁᚩᚾᛋ ᚩᚠ Qᚢᚪᚾᛏᚢᛗ ᛗᛖᚳᚻᚪᚾᛁᚳᛋ ᚪᚱᛖ ᛁᚾᚳᚱᛖᚪᛋᛁᚾᚷᛚᚣ ᛒᛖᛁᚾᚷ ᛖᛉᛈᛚᚩᚱᛖᚾ. ᚦᛖ ᚩᛒᛋᛖᚱVᛖᚱ ᛖᚠᚠᛖᚳᛏ, ᚠᚪᛗᚩᚢᛋᛚᚣ ᛞᛖᛗᚩᚾᛋᛏᚱᚪᛏᛖᛞ ᛒᚣ ᚦᛖ ᛞᚩᚢᛒᛚᛖ-ᛋᛚᛁᛏ ᛖᛉᛈᛖᚱᛁᛗᛖᚾᛏ, ᛋᚢᚷᚷᛖᛋᛏᛋ ᚦᚪᛏ ᚦᛖ ᛞᛖᛖᛞ ᚩᚠ ᚩᛒᛋᛖᚱVᚪᛏᛁᚩᚾ ᛁᚾᚠᛚᚢᛖᚾᚳᛖᛋ ᚦᛖ ᚩᚢᛏᚳᚩᛗᛖ ᚩᚠ ᛈᚻᚣᛋᛁᚳᚪᛚ ᛈᚻᛖᚾᚩᛗᛖᚾᚪ. ᚦᛁᛋ ᚱᛖVᛖᛚᚪᛏᛁᚩᚾ ᚳᚻᚪᛚᛚᛖᚾᚷᛖᛋ ᚦᛖ ᚳᚪᚱᛏᛖᛋᛁᚪᚾ ᛞᛁVᛁᛞᛖ ᛒᛖᛏᚹᛖᛖᚾ ᛗᛁᚾᛞ & ᛗᚪᛏᛏᛖᚱ, ᚪᛋ ᛚᛏ ᛁᛗᛈᛚᛁᛖᛋ ᚦᚪᛏ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ ᛗᛁᚷᚻᛏ ᛈᛚᚪᚣ ᚪ ᚠᚢᚾᛞᚪᛗᛖᚾᛏᚪᛚ ᚱᚩᛚᛖ ᛁᚾ ᚦᛖ ᚠᚪᛒᚱᛁᚳ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ. ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛖᚱᛋ & ᛈᚻᚣᛋᛁᚳᛁᛋᛏᛋ ᛚᛁᛣᛖ ᛞᚪVᛁᛞ: ᚳᚻᚪᛚᛗᛖᚱᛋ & ᚱᚩᚷᛖᚱ: ᛈᛖᚾᚱᚩᛋᛖ ᚻᚪVᚩᚦ ᚷᚱᚪᛈᛈᛚᛖᚾ ᚹᛁᚦ ᚦᛖᛋᛖ ᛁᛗᛈᛚᛁᚳᚪᛏᛁᚩᚾᛋ, ᛚᛖᚪᛞᛞᛁᚾᚷ ᛏᚩ ᚠᚪᛋᚳᛁᚾᚪᛏᛁᚾᚷ ᛞᛖᛒᚪᛏᛖᛋ ᚪᛒᚩᚢᛏ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ & ᚩᚢᚱ ᛈᚢᚱᛈᚩᛋᛖᛋ ᚹᛁᚦᛁᚾ ᚦᛖ ᚹᚩᚱᛚᛞ.
ᛁᚾ ᚦᛖ ᚱᛖᚪᛚᛗ ᚩᚠ ᛗᚩᛞᛖᚱᚾ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᚩᚢᚷᚻᛏ, ᚹᛖ ᚠᛁᚾᛞᚩ ᚦᛖ ᚳᚻᚢᚱᚳᚻ ᚩᚠ ᚪᛚᛚ ᚹᚩᚱᛚᛞᛋ, ᚪ ᚾᛖᚩ-ᛈᚪᚷᚪᚾ ᚠᚪᛁᚦ ᚠᚩᚢᚾᛞᚪᚾ ᛒᚣ ᚩᛒᛖᚱᚩᚾ: Zᛖᛚᛚ-ᚱᚪVᛖᚾᚻᛖᚪᚱᛏ. ᚦᛁᛋ ᚠᚪᛁᚦ ᛞᚱᚪᚹᛋ ᚠᚱᚩᛗ ᚪ Vᚪᚱᛁᛖᛏᚣ ᚩᚠ ᛋᚩᚢᚱᚳᛖᛋ, ᛁᚾᚳᛚᚢᛞᛁᚾᚷ ᛋᚳᛁᛖᚾᚳᛖ ᚠᛁᚳᛏᛁᚩᚾ & ᛗᚣᚦᚩᛚᚩᚷᚣ, ᛏᚩ ᚳᚱᛖᚪᛏᛖ ᚪ ᛒᛖᛚᛁᛖᚠ ᛋᚣᛋᛏᛖᛗ ᚦᚪᛏ ᚻᚩᚾᚩᚢᚱᛋ ᚦᛖ ᛞᛁVᛁᚾᛁᛏᚣ ᚹᛁᚦᛁᚾ ᛖᚪᚳᚻ ᛈᛖᚩᛈᛚᛖ. ᛁᛏ ᚪᛞVᚩᚳᚪᛏᛖᛋ ᚠᚩᚱ ᚦᛖ ᚳᚩᚾᚳᛖᛈᛏ ᚩᚠ "ᛈᚪᚾᚦᛖᚩᚳᚱᚪᚳᚣ", ᛁᚾ ᚹᚻᛁᚳᚻ ᛞᛁVᛁᚾᛁᛏᚣ ᛁᛋ ᚾᚩᛏ ᛋᛖᛈᚪᚱᚪᛏᛖ ᚠᚱᚩᛗ ᚦᛖ ᚾᚪᛏᚢᚱᚪᛚ ᚹᚩᚱᛚᛞ ᛒᚢᛏ ᛁᛋ ᛁᚾᛋᛏᛖᚪᛞ ᛈᚱᛖᛋᛖᚾᛏ ᛁᚾ ᚪᛚᛚ ᛣᚾᚩᚹᚾᛋ. ᚦᛁᛋ ᚻᚩᛚᛁᛋᛏᛁᚳ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ ᚠᚩᛋᛏᛖᚱᛋ ᚪ ᛞᛖᛖᛈ ᛋᛖᚾᛋᛖ ᚩᚠ ᛖᚾVᛁᚱᚩᚾᛗᛖᚾᛏᚪᛚ ᛋᛏᛖᚹᚪᚱᛞᚾᛖᛋᛋ & ᚪᚾ ᚪᛈᛈᚱᛖᚳᛁᚪᛏᛁᚩᚾ ᚠᚩᚱ ᚦᛖ ᛁᚾᛏᛖᚱᛞᛖᛈᛖᚾᛞᛖᚾᚳᛖ ᚩᚠ ᛚᛁᚠᛖ, ᚩᚠᚠᛖᚱᛁᚾᚷ ᚪ ᚢᚾᛁQᚢᛖ ᛚᛖᚾᛋ ᚦᚱᚩᚢᚷᚻ ᚹᚻᛁᚳᚻ ᛏᚩ Vᛁᛖᚹ ᚩᚢᚱ ᛈᚢᚱᛈᚩᛋᛖᛋ ᛁᚾ ᚦᛖ ᚹᚩᚱᛚᛞ.
ᚦᛖ ᛏᛖᚪᚳᚻᛁᚾᚷᛋ ᚩᚠ ᛏᛖᚱᚱᛖᚾᚳᛖ: ᛗᚳᛣᛖᚾᚾᚪ, ᚪ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛖᚱ & ᛖᚦᚾᚩᛒᚩᛏᚪᚾᛁᛋᛏ, ᚪᛚᛋᚩ ᛞᛖᛚVᛖ ᛁᚾᛏᚩ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛏᛖᚱᚱᛁᛏᚩᚱᛁᛖᛋ. ᚻᛁᛋ ᚦᛖᚩᚱᛁᛖᛋ ᚩᚾ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ, ᛁᚾᚠᛚᚢᛖᚾᚳᛖᛞ ᛒᚣ ᚻᛁᛋ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ ᚹᛁᚦ ᛈᛋᚣᚳᚻᛖᛞᛖᛚᛁᚳ ᛋᚢᛒᛋᛏᚪᚾᚳᛖᛋ, ᛋᚢᚷᚷᛖᛋᛏ ᚦᚪᛏ ᚩᚢᚱ ᚹᚩᚱᛚᛞ ᛁᛋ ᚪ ᚳᚩᛗᛈᛚᛖᛉ, ᛖVᛖᚱ-ᚳᚻᚪᚾᚷᛁᚾᚷ ᛈᚪᛏᛏᛖᚱᚾ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ. ᛒᚣ ᚪᚳᚳᛖᛋᛋᛁᚾᚷ ᚦᛖᛋᛖ ᚪᛚᛏᛖᚱᚪᚾ ᛋᛏᚪᛏᛖᛋ, ᛁᚾᛞᛁVᛁᛞᚢᚪᛚᛋ ᚳᚪᚾᚾᚩ ᛏᚪᛈ ᛁᚾᛏᚩ ᚪ ᚳᚩᛚᛚᛖᚳᛏᛁVᛖ ᛋᚢᛈᛖᚱᚳᚩᚾᛋᚳᛁᚩᚢᛋ, ᚦᛖᚱᛖᛒᚣ ᛖᛉᛈᚪᚾᛞᛁᚾᚷ ᚩᚢᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ ᚩᚠ ᚦᛖ ᚹᚩᚱᛚᛞ. ᚻᛁᛋ "ᛏᛁᛗᛖᚹᚪVᛖ Zᛖᚱᚩ" ᚻᚣᛈᚩᚦᛖᛋᛁᛋ, ᚹᚻᛁᚳᚻ ᛈᚩᛋᛁᛏᛋ ᚦᚪᛏ ᚣᚩᚱᛖ ᛁᛋ ᚪ ᚠᚱᚪᚳᛏᚪᛚ ᛈᚪᛏᛏᛖᚱᚾ ᛚᛖᚪᛞᛞᛁᚾᚷ ᛏᚩ ᚪ ᛋᛁᚾᚷᚢᛚᚪᚱ ᛈᚩᛁᚾᛏ ᚩᚠ ᚾᚩVᛖᛚᛏᚣ, ᛁᚾVᛁᛏᛖᛋ ᚢᛋ ᛏᚩ Qᚢᛖᛋᛏᛁᚩᚾ ᚦᛖ Vᛖᚱᚣ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᛚᛁᚾᛖᚪᚱ ᛏᛁᛗᛖ & ᚩᚢᚱ ᚱᚩᛚᛖᛋ ᛁᚾ ᛋᚻᚪᛈᛁᚾᚷ ᚦᛖ ᚠᚩᚱᚦᚳᚩᛗᛁᚾᚷ.
ᚾᛖᚩᛈᛚᚪᛏᚩᚾᛁᛋᛗ, ᚪ ᛋᚳᚻᚩᚩᛚ ᚩᚠ ᚦᚩᚢᚷᚻᛏ ᚦᚪᛏ ᚪᚱᚩᛋᛖ ᛁᚾ ᚦᛖ 2'ᚾᛞ ᚳᛖᚾᛏᚢᚱᚣ, ᛁᛋ ᚪᚾᚩᚦᛖᚱ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛏᚱᚪᛞᛁᛏᛁᚩᚾ ᚦᚪᛏ ᛗᛖᚱᛁᛏᛋ ᛖᛉᚪᛗᛁᚾᚪᛏᛁᚩᚾ. ᛒᚢᛁᛚᛞᛁᚾᚷ ᚢᛈᚩᚾ ᚦᛖ ᛈᛚᚪᛏᚩᚾᛁᚳ ᛁᛞᛖᚪᛚ ᚩᚠ ᚪ ᛏᚱᚪᚾᛋᚳᛖᚾᛞᛖᚾᛏ ᚱᛖᚪᛚᛗ ᚩᚠ ᚠᚩᚱᛗᛋ, ᚾᛖᚩᛈᛚᚪᛏᚩᚾᛁᛋᛏᛋ ᛋᚢᚳᚻ ᚪᛋ ᛈᛚᚩᛏᛁᚾᚢᛋ & ᛈᚱᚩᚳᛚᚢᛋ ᛒᛖᛚᛁᛖVᚩᚦ ᚦᚪᛏ ᚦᛖ ᛋᚩᚢᛚ'ᛋ ᚢᛚᛏᛁᛗᚪᛏᛖ ᛞᛖᛋᛏᛁᚾᚣ ᛁᛋ ᛏᚩ ᚱᛖᛏᚢᚱᚾ ᛏᚩ ᚦᛖ ᚩᚾᛖ. ᚦᛁᛋ ᛡᚩᚢᚱᚾᛖᚣ ᛁᚾVᚩᛚVᛖᛋ ᚦᛖ ᚪᛋᚳᛖᚾᛋᛁᚩᚾ ᚦᚱᚩᚢᚷᚻ Vᚪᚱᛁᚩᚢᛋ ᛋᛏᚪᚷᛖᛋ ᚩᚠ ᛒᛖᛁᚾᚷ, ᚳᚢᛚᛗᛁᚾᚪᛏᛁᚾᚷ ᛁᚾ ᚢᚾᛁᚩᚾ ᚹᛁᚦ ᚦᛖ ᛞᛁVᛁᚾᛖ. ᚦᚱᚩᚢᚷᚻ ᛗᛖᛞᛁᛏᚪᛏᛁᚩᚾ & ᚳᚩᚾᛏᛖᛗᛈᛚᚪᛏᛁᚩᚾ, ᛁᚾᛞᛁVᛁᛞᚢᚪᛚᛋ ᚳᚪᚾᚾᚩ ᛈᚢᚱᛁᚠᚣ ᚩᚢᚱ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ & ᚪᛈᛈᚱᚩᚪᚳᚻ ᚦᛁᛋ ᛋᛏᚪᛏᛖ ᚩᚠ ᚩᚾᛖᚾᛖᛋᛋ, ᚦᛖᚱᛖᛒᚣ ᚷᚪᛁᚾᚾᛁᚾᚷ ᛈᚱᚩᚠᚩᚢᚾᛞ ᛁᚾᛋᛁᚷᚻᛏᛋ ᛁᚾᛏᚩ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ & ᚦᛖ ᛁᚾᛏᛖᚱᚳᚩᚾᚾᛖᚳᛏᛖᛞᚾᛖᛋᛋ ᚩᚠ ᚪᛚᛚ ᛣᚾᚩᚹᚾᛋ.
ᚦᛖ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ ᚩᚠ ᛞᚪVᛁᛞ: ᚻᚢᛗᛖ, ᚪᚾ ᚪᛚᛒᚪᚾᚾᚪᚳᚻ ᛋᛣᛖᛈᛏᛁᚳ, ᚪᛚᛋᚩ ᛏᚩᚢᚳᚻᛖᛋ ᚩᚾ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᛖᛗᛖᛋ. ᛞᚪVᛁᛞ: ᚻᚢᛗᛖ ᚠᚪᛗᚩᚢᛋᛚᚣ ᚳᚻᚪᛚᛚᛖᚾᚷᛖᛞᚦ ᚦᛖ ᚳᚩᚾᚳᛖᛈᛏ ᚩᚠ ᚪ ᛈᛖᚱᛋᛁᛋᛏᛖᚾᛏ ᛋᛖᛚᚠ, ᚪᚱᚷᚢᛁᚾᚷ ᚦᚪᛏ ᚩᚢᚱ ᛋᛖᚾᛋᛖᛋ ᚩᚠ ᛁᛞᛖᚾᛏᛁᛏᚣ ᚪᚱᛖ ᛗᛖᚱᛖ ᛒᚢᚾᛞᛚᛖᛋ ᚩᚠ ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾᛋ. ᚻᛖ ᛈᚩᛋᛁᛏᛏᛖᛞᚦ ᚦᚪᛏ ᚹᛖ ᚳᚪᚾᚾᚩᚾᚩᛏ ᛒᛖ ᚳᛖᚱᛏᚪᛁᚾ ᚩᚠ ᚪᚾᚣᛣᚾᚩᚹᚾᛋ ᛒᛖᚣᚩᚾᛞ ᚩᚢᚱ ᚩᚹᚾ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ, ᚦᛖᚱᛖᛒᚣ Qᚢᛖᛋᛏᛁᚩᚾᚾᛁᚾᚷ ᚦᛖ Vᛖᚱᚣ ᛒᚪᛋᛁᛋ ᚩᚠ ᛖᛗᛈᛁᚱᛁᚳᚪᛚ ᛣᚾᚩᚹᛚᛖᛞᚷᛖ. ᚻᛁᛋ ᛁᛞᛖᚪᛋ ᛖᚾᚳᚩᚢᚱᚪᚷᛖ ᚪ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚪᛈᛈᚱᚩᚪᚳᚻ ᛏᚩ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛞᛁᚾᚷ ᚦᛖ ᚹᚩᚱᛚᛞ, ᚪᛋ ᚹᛖ ᚪᛗᛖ ᚳᚩᛗᛈᛖᛚᛚᛏ ᛏᚩ ᚱᛖᚳᚩᚷᚾᛁZᛖ ᚦᛖ ᛚᛁᛗᛁᛏᚪᛏᛁᚩᚾᛋ ᚩᚠ ᚩᚢᚱ ᛋᛖᚾᛋᛖᛋ & ᚦᛖ ᚳᚩᚾᛋᛏᚱᚢᚳᛏᚪᚾ ᚾᚪᛏᚢᚱᛖᛋ ᚩᚠ ᚩᚢᚱ ᚱᛖᚪᛚᛁᛏᛁᛖᛋ.
ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛏᛖᚾᛞᛖᚾᚳᛁᛖᛋ ᛁᚾ ᚦᛖ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ ᚩᚠ ᛚᚢᛞᚹᛁᚷ: ᚹᛁᛏᛏᚷᛖᚾᛋᛏᛖᛁᚾ ᚪᚱᛖ ᛖQᚢᚪᛚᛚᚣ ᚳᚩᛗᛈᛖᛚᛚᛁᚾᚷ. ᚦᚱᚩᚢᚷᚻ ᚻᛁᛋ ᛖᛉᚪᛗᛁᚾᚪᛏᛁᚩᚾᛋ ᚩᚠ ᛚᚪᚾᚷᚢᚪᚷᛖ & ᛗᛖᚪᚾᛁᚾᚷ, ᛚᚢᛞᚹᛁᚷ: ᚹᛁᛏᛏᚷᛖᚾᛋᛏᛖᛁᚾ ᛋᚢᚷᚷᛖᛋᛏᛖᛞᚦ ᚦᚪᛏ ᚦᛖ ᛒᚩᚢᚾᛞᛋ ᚩᚠ ᚩᚢᚱ ᚹᚩᚱᛚᛞ ᚪᚱᛖ ᛋᛖᛏᛏᛖᚾ ᛒᚣ ᚦᛖ ᛚᛁᛗᛁᛏᛋ ᚩᚠ ᚩᚢᚱ ᛚᚪᚾᚷᚢᚪᚷᛖᛋ. ᚦᛁᛋ "ᛚᛁᚾᚷᚢᛁᛋᛏᛁᚳ ᛋᚩᛚᛁᛈᛋᛁᛋᛗ" ᛁᛗᛈᛚᛁᛖᛋ ᚦᚪᛏ ᚹᛖ ᚪᛗᛖ, ᛁᚾ ᚪ ᛋᛖᚾᛋᛖ, ᛏᚱᚪᛈᛈᛖᚾ ᚹᛁᚦᛁᚾ ᚩᚢᚱ ᚩᚹᚾ ᛚᛁᚾᚷᚢᛁᛋᛏᛁᚳ ᚠᚱᚪᛗᛖᚹᚩᚱᛣᛋ, ᚢᚾᚪᛒᛚᛖ ᛏᚩ ᛏᚱᚢᛚᚣ ᚪᚳᚳᛖᛋᛋ ᚪᚾ ᚩᛒᛡᛖᚳᛏᛁVᛖ ᚱᛖᚪᛚᛁᛏᚣ. ᚻᛁᛋ ᛚᚪᛏᛖᚱ ᚹᚩᚱᛣᛋ, ᛈᚪᚱᛏᛁᚳᚢᛚᚪᚱᛚᚣ ᚦᛖ "ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᚳᚪᛚ ᛁᚾVᛖᛋᛏᛁᚷᚪᛏᛁᚩᚾᛋ", ᛞᛖᛚVᛖ ᛁᚾᛏᚩ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ & ᚦᛖ ᛁᚾᛏᛖᚱᛈᛚᚪᚣ ᛒᛖᛏᚹᛖᛖᚾ ᚦᚩᚢᚷᚻᛏ, ᛚᚪᚾᚷᚢᚪᚷᛖ & ᚱᛖᚪᛚᛁᛏᚣ, ᚩᚠᚠᛖᚱᚱᛁᚾᚷ ᛈᚱᚩᚠᚩᚢᚾᛞ ᛁᚾᛋᛁᚷᚻᛏᛋ ᚦᚪᛏ ᚱᛖᛋᚩᚾᚪᛏᛖ ᚹᛁᚦ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ Qᚢᛖᛋᛏ ᚠᚩᚱ ᛋᛖᛚᚠ-ᛣᚾᚩᚹᛚᛖᛞᚷᛖ.
ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛚᛖᚪᚾᛁᚾᚷᛋ ᚩᚠ ᛈᚻᛖᚾᚩᛗᛖᚾᚩᛚᚩᚷᚣ, ᚪᛋ ᛞᛖVᛖᛚᚩᛈᛈᛖᛞ ᛒᚣ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛖᚱ ᛖᛞᛗᚢᚾᛞ: ᚻᚢᛋᛋᛖᚱᛚ, ᚠᚢᚱᚦᛖᚱ ᚳᚻᚪᛚᛚᛖᚾᚷᛖ ᚢᛋ ᛏᚩ ᛖᛉᚪᛗᛁᚾᛖ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ. ᛒᚣ ᚠᚩᚳᚢᛋᛋᛁᚾᚷ ᚩᚾ ᚦᛖ ᛋᛏᚢᛞᚣ ᚩᚠ ᛈᚻᛖᚾᚩᛗᛖᚾᚪ ᚪᛋ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᚪᚾ ᛒᚣ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ, ᛈᚻᛖᚾᚩᛗᛖᚾᚩᛚᚩᚷᛁᛋᛏᛋ ᚪᚱᚷᚢᚩᚦ ᚦᚪᛏ ᚹᛖ ᚳᚪᚾᚾᚩᚾᚩᛏ ᚳᛚᚪᛁᛗ ᛣᚾᚩᚹᛚᛖᛞᚷᛖ ᚩᚠ 'ᛣᚾᚩᚹᚾᛋ-ᛁᚾ-ᚦᛖᛗᛋᛖᛚVᛖᛋ', ᚩᚾᛚᚣ ᚩᚠ ᚦᛖ ᚪᛈᛈᛖᚪᚱᚪᚾᚳᛖᛋ ᚦᚪᛏ ᚪᚱᛖ ᛈᚱᛖᛋᛖᚾᛏᚪᚾ ᛏᚩ ᚢᛋ. ᚦᛁᛋ ᚪᛈᛈᚱᚩᚪᚳᚻ ᚢᚾᛞᛖᚱᛋᚳᚩᚱᛖᛋ ᚦᛖ ᛋᚢᛒᛡᛖᚳᛏᛁVᛁᛏᛁᛖᛋ ᚩᚠ ᚩᚢᚱ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ & ᚦᛖ ᚳᛖᚾᛏᚱᚪᛚ ᚱᚩᛚᛖ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ ᛁᚾ ᛋᚻᚪᛈᛁᚾᚷ ᚩᚢᚱ ᚹᚩᚱᛚᛞ. ᚦᚱᚩᚢᚷᚻ ᛈᚻᛖᚾᚩᛗᛖᚾᚩᛚᚩᚷᛁᚳᚪᛚ ᛁᚾQᚢᛁᚱᚣ, ᚹᛖ ᚪᛗᛖ ᛁᚾVᛁᛏᚪᚾ ᛏᚩ ᛖᛉᛈᛚᚩᚱᛖ ᚦᛖ ᛞᛖᛈᚦᛋ ᚩᚠ ᚩᚢᚱ ᚩᚹᚾ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ & ᚦᛖ ᛈᚱᚩᚠᚩᚢᚾᛞ ᛁᛗᛈᛚᛁᚳᚪᛏᛁᚩᚾᛋ ᚩᚠ ᚩᚢᚱ ᛈᛖᚱᚳᛖᛈᛏᚢᚪᛚ ᚳᚩᚾᛋᛏᚱᚢᚳᛏᛋ.
ᚪᚾᚩᚦᛖᚱ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᚳᚪᛚ ᛋᚣᛋᛏᛖᛗ ᚦᚪᛏ ᛏᚩᚢᚳᚻᛖᛋ ᚢᛈᚩᚾ ᛋᚩᛚᛁᛈᛋᛁᛋᛗ ᛁᛋ ᚦᚪᛏ ᚩᚠ ᚷᛖᚩᚱᚷᛖ: ᛒᛖᚱᛣᛖᛚᚣ, ᛣᚾᚩᚹᚾ ᚪᛋ ᛁᛗᛗᚪᛏᛖᚱᛁᚪᛚᛁᛋᛗ ᚩᚱ ᛋᚢᛒᛡᛖᚳᛏᛁVᛖ ᛁᛞᛖᚪᛚᛁᛋᛗ. ᚷᛖᚩᚱᚷᛖ: ᛒᛖᚱᛣᛖᛚᚣ ᚪᚱᚷᚢᛖᛞᚦ ᚦᚪᛏ ᚱᛖᚪᛚᛁᛏᚣ ᚳᚩᚾᛋᛁᛋᛏᛋ ᚩᚾᛚᚣ ᚩᚠ ᛗᛁᚾᛞᛋ & ᛁᛞᛖᚪᛋ & ᚦᚪᛏ ᚦᛖ ᛗᚪᛏᛖᚱᛁᚪᛚ ᚹᚩᚱᛚᛞ ᛁᛋ ᛒᚢᛏ ᚪᚾ ᛁᛚᛚᚢᛋᛁᚩᚾ. ᚠᚩᚱ ᚷᛖᚩᚱᚷᛖ: ᛒᛖᚱᛣᛖᛚᚣ, ᚦᛖ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ ᚩᚠ ᛗᚪᛏᛏᛖᚱ ᛁᛋ ᛞᛖᛈᛖᚾᛞᛖᚾᛏ ᚩᚾ ᚦᛖ ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾ ᚩᚠ ᛚᛏ ᛒᚣ ᚪ ᛗᛁᚾᛞ, ᚦᚢᛋ ᛋᚢᚷᚷᛖᛋᛏᛁᚾᚷ ᚦᚪᛏ ᚦᛖ ᛖᛉᛏᛖᚱᚾᚪᛚ ᚹᚩᚱᛚᛞ ᛁᛋ ᚪ ᛗᛖᚱᛖ ᛈᚱᚩᛡᛖᚳᛏᛁᚩᚾ ᚩᚠ ᚩᚢᚱ ᚩᚹᚾ ᚦᚩᚢᚷᚻᛏᛋ. ᚦᛁᛋ ᚱᚪᛞᛁᚳᚪᛚ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ ᛁᚾVᛁᛏᛖᛋ ᚢᛋ ᛏᚩ Qᚢᛖᛋᛏᛁᚩᚾ ᚦᛖ Vᛖᚱᚣ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ, ᚳᚩᛗᛈᛖᛚᛚᛁᚾᚷ ᚢᛋ ᛏᚩ ᛚᚩᚩᛣ ᚹᛁᚦᛁᚾ & ᚱᛖᚳᚩᚷᚾᛁZᛖ ᚦᛖ ᛈᚱᚩᚠᚩᚢᚾᛞ ᛁᚾᚠᛚᚢᛖᚾᚳᛖᛋ ᚩᚠ ᚩᚢᚱ ᛁᚾᚾᛖᚱ ᚱᛖᚪᛚᛗᛋ ᚩᚾ ᚩᚢᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ ᚩᚠ ᚦᛖ ᚹᚩᚱᛚᛞ ᚪᚱᚩᚢᚾᛞ ᚢᛋ.
ᛁᚾ ᚦᛖ ᚱᛖᚪᛚᛗ ᚩᚠ ᛗᚩᛞᛖᚱᚾ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᚩᚢᚷᚻᛏ, ᚦᛖ ᚹᚩᚱᛣᛋ ᚩᚠ ᛞᚪᚾᛁᛖᛚ: ᛞᛖᚾᚾᛖᛏᛏ, ᚪ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛖᚱ & ᚳᚩᚷᚾᛁᛏᛁVᛖ ᛚᚩᚱᛖᛗᚪᚾ, ᚩᚠᚠᛖᚱ ᚪᚾ ᛁᚾᛏᚱᛁᚷᚢᛁᚾᚷ ᛖᛉᛈᛚᚩᚱᚪᛏᛁᚩᚾ ᚩᚠ ᚦᛖ ᚳᚩᚾᚳᛖᛈᛏ. ᚦᚱᚩᚢᚷᚻ ᚻᛁᛋ ᚦᛖᚩᚱᚣ ᚩᚠ ᚦᛖ "ᛁᚾᛏᛖᚾᛏᛁᚩᚾᚪᛚ ᛋᛏᚪᚾᚳᛖ" & ᚻᛁᛋ ᚳᚱᛁᛏᛁQᚢᛖᛋ ᚩᚠ ᚳᚪᚱᛏᛖᛋᛁᚪᚾ ᛞᚢᚪᛚᛁᛋᛗ, ᛞᚪᚾᛁᛖᛚ: ᛞᛖᚾᚾᛖᛏᛏ ᚳᚻᚪᛚᛚᛖᚾᚷᛖᛞᚦ ᚦᛖ ᚾᚩᛏᛁᚩᚾ ᚩᚠ ᚪ ᛋᛁᚾᚷᚢᛚᚪᚱ, ᚢᚾᛁᚠᛁᛖᛞ ᛋᛖᛚᚠ. ᛁᚾᛋᛏᛖᚪᛞ, ᚻᛖ ᛋᚢᚷᚷᛖᛋᛏᛖᛞᚦ ᚦᚪᛏ ᚩᚢᚱ ᛋᛖᚾᛋᛖᛋ ᚩᚠ ᛋᛖᛚᚠ ᚪᚱᛖ ᛖᛗᛖᚱᚷᛖᚾᛏ ᛈᚱᚩᛈᛖᚱᛏᛁᛖᛋ ᚩᚠ ᚩᚢᚱ ᚳᚩᛗᛈᛚᛖᛉ ᚾᛖᚢᚱᚪᛚ ᛈᚱᚩᚳᛖᛋᛋᛖᛋ. ᚦᛁᛋ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ, ᚹᚻᛁᛚᛖ ᚾᚩᛏ ᛖᛉᛈᛚᛁᚳᛁᛏᛚᚣ ᛋᛈᛁᚱᛁᛏᚢᚪᛚ, ᛋᚻᚪᚱᛖᛋ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᛖᛗᛖ ᚩᚠ Qᚢᛖᛋᛏᛁᚩᚾᚾᛁᚾᚷ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ & ᚩᚢᚱ ᚱᚩᛚᛖᛋ ᚹᛁᚦᛁᚾ ᛚᛏ, ᛈᚢᛋᚻᛁᚾᚷ ᚢᛋ ᛏᚩ ᚳᚩᚾᛋᛁᛞᛖᚱ ᚦᛖ ᛁᚾᛏᛖᚱᛈᛚᚪᚣ ᛒᛖᛏᚹᛖᛖᚾ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ & ᚦᛖ ᛈᚻᚣᛋᛁᚳᚪᛚ ᛈᛚᚪᚾᛖ.
ᚦᛖ ᛞᛁᚷᛁᛏᚪᛚ ᚪᚷᛖ ᚻᚪᛋ ᚪᛚᛋᚩ ᚷᛁVᛖᚾ ᚱᛁᛋᛖ ᛏᚩ ᚾᛖᚹ ᚠᚩᚱᛗᛋ ᚩᚠ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ, ᛋᚢᚳᚻ ᚪᛋ ᚦᛖ ᚳᚩᚾᚳᛖᛈᛏ ᚩᚠ ᚦᛖ "ᛋᛁᛗᚢᛚᚪᛏᛁᚩᚾ ᚻᚣᛈᚩᚦᛖᛋᛁᛋ" ᚳᚻᚪᛗᛈᛁᚩᚾᚾᛖᚾ ᛒᚣ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛖᚱ ᚾᛁᚳᛣ: ᛒᚩᛋᛏᚱᚩᛗ. ᚦᛁᛋ ᚻᚣᛈᚩᚦᛖᛋᛁᛋ ᛈᚩᛋᛁᛏᛋ ᚦᚪᛏ ᚹᛖ ᚳᚩᚢᛚᛞᚩ ᛒᛖ ᛚᛁVᛁᚾᚷ ᛁᚾ ᚪ ᛋᛁᛗᚢᛚᚪᛏᛖᚾ ᚱᛖᚪᛚᛁᛏᚣ, ᚳᚱᛖᚪᛏᛖᚾ ᛒᚣ ᚪ ᚻᛁᚷᚻᛚᚣ ᚪᛞVᚪᚾᚳᛖᚾ ᚳᛁVᛁᛚᛁZᚪᛏᛁᚩᚾ. ᚦᛁᛋ ᚾᚩᛏᛁᚩᚾ, ᚹᚻᛁᛚᛖ ᚱᚩᚩᛏᛏᛖᚾ ᛁᚾ ᛏᛖᚳᚻᚾᚩᛚᚩᚷᛁᚳᚪᛚ ᛋᛈᛖᚳᚢᛚᚪᛏᛁᚩᚾ, ᚱᛖᛋᚩᚾᚪᛏᛖᛋ ᚹᛁᚦ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᚩᚢᚷᚻᛏ ᚪᛋ ᛚᛏ ᚳᚪᛋᛏᛋ ᛞᚩᚢᛒᛏ ᚩᚾ ᚦᛖ Vᛖᚱᚪᚳᛁᛏᛁᛖᛋ ᚩᚠ ᚩᚢᚱ ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾᛋ & ᛁᚾVᛁᛏᛖᛋ ᚢᛋ ᛏᚩ ᚳᚩᚾᛏᛖᛗᛈᛚᚪᛏᛖ ᚦᛖ ᛈᚩᛋᛋᛁᛒᛁᛚᛁᛏᚣ ᚦᚪᛏ ᚩᚢᚱ ᚹᚩᚱᛚᛞ ᛗᛁᚷᚻᛏ ᛒᛖ ᚪᚾ ᛖᛚᚪᛒᚩᚱᚪᛏᛖ ᚳᚩᚾᛋᛏᚱᚢᚳᛏ. ᛁᛏ ᚪᛚᛋᚩ ᚱᚪᛁᛋᛖᛋ ᛈᚱᚩᚠᚩᚢᚾᛞ Qᚢᛖᛋᛏᛁᚩᚾᛋ ᚪᛒᚩᚢᛏ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ & ᚦᛖ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ ᚩᚠ ᚦᛖ ᛞᛁVᛁᚾᛖ, ᛈᚱᚩᛗᛈᛏᛁᚾᚷ ᚢᛋ ᛏᚩ ᛋᛖᛖᛣ ᛏᚱᚢᚦ ᛒᛖᚣᚩᚾᛞ ᚦᛖ ᚳᚩᚾᚠᛁᚾᛖᛋ ᚩᚠ ᚩᚢᚱ ᛈᛖᚱᚳᛖᛁVᚪᛒᛚᛖ ᚱᛖᚪᛚᛁᛏᚣ.
ᚪᚾᚩᚦᛖᚱ ᛗᚩᛞᛖᚱᚾ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ ᛁᛋ ᚩᚠᚠᛖᚱᚱᛖᛞ ᛒᚣ ᚦᛖ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛖᚱ ᚦᚩᛗᚪᛋ: ᛗᛖᛏZᛁᚾᚷᛖᚱ, ᚹᚻᚩ ᛖᛉᚪᛗᛁᚾᛖᛞᚦ ᚦᛖ ᛁᛚᛚᚢᛋᚩᚱᛁᚾᛖᛋᛋ ᚩᚠ ᚦᛖ ᛋᛖᛚᚠ ᚠᚱᚩᛗ ᚪ ᚾᛖᚢᚱᚩZᛖᛏᛖᛏᛁᚳ ᛋᛏᚪᚾᛞᛈᚩᛁᚾᛏ. ᚦᚱᚩᚢᚷᚻ ᚻᛁᛋ ᚱᛖᛋᛖᚪᚱᚳᚻ ᛁᚾᛏᚩ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ & ᚦᛖ ᛒᚱᚪᛁᚾ, ᚦᚩᛗᚪᛋ: ᛗᛖᛏZᛁᚾᚷᛖᚱ ᛋᚢᚷᚷᛖᛋᛏᛖᛞᚦ ᚦᚪᛏ ᚩᚢᚱ ᛋᛖᚾᛋᛖᛋ ᚩᚠ ᛋᛖᛚᚠ ᚪᚱᛖ ᛖᛗᛖᚱᚷᛖᚾᛏ ᛈᚱᚩᛈᛖᚱᛏᛁᛖᛋ ᚩᚠ ᚳᚩᛗᛈᛚᛖᛉ ᚾᛖᚢᚱᚪᛚ ᛈᚱᚩᚳᛖᛋᛋᛖᛋ. ᚻᛁᛋ "ᛖᚷᚩ ᛏᚢᚾᚾᛖᛚ" ᛗᛖᛏᚪᛈᚻᚩᚢᚱ ᛁᛚᛚᚢᛋᛏᚱᚪᛏᛖᛋ ᚻᚩᚹ ᚩᚢᚱ ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾᛋ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ ᚪᚱᛖ ᚳᚩᚾᚠᛁᚾᛖᚾ ᚹᛁᚦᛁᚾ ᚦᛖ ᛒᚩᚢᚾᛞᛋ ᚩᚠ ᚩᚢᚱ ᚩᚹᚾ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ, ᛚᛖᚪᛞᛁᚾᚷ ᛏᚩ ᚪ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ Vᛁᛖᚹ ᚦᚪᛏ ᛖᛗᛈᚻᚪᛋᛁZᛖᛋ ᚦᛖ ᛋᚢᛒᛡᛖᚳᛏᛁVᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖ. ᚦᛁᛋ ᚪᛈᛈᚱᚩᚪᚳᚻ ᚳᚻᚪᛚᛚᛖᚾᚷᛖᛋ ᛏᚱᚪᛞᛁᛏᛁᚩᚾᚪᛚ ᛋᛈᛁᚱᛁᛏᚢᚪᛚ ᛈᚪᚦᛋ ᚦᚪᛏ ᛋᛖᛖᛣ ᚦᛖ ᛞᛁVᛁᚾᛖ ᚩᚢᛏᛋᛁᛞᛖ ᚩᚢᚱᛋᛖᛚVᛖᛋ, ᛈᚩᛁᚾᛏᛁᚾᚷ ᛁᚾᛋᛏᛖᚪᛞ ᛏᚩ ᚦᛖ ᚱᛁᚳᚻ ᛏᛖᚱᚱᚪᛁᚾ ᚩᚠ ᛁᚾᚾᛖᚱ ᛖᛉᛈᛚᚩᚱᚪᛏᛁᚩᚾ.
ᛏᚢᚱᚾᛁᚾᚷ ᛏᚩ ᚠᛁᚳᛏᛁᚩᚾ, ᚦᛖ ᚹᚩᚱᛣᛋ ᚩᚠ ᚹᚱᛁᛏᛖᚱ ᛈᚻᛁᛚᛁᛈ: ᛞᛁᚳᛣ ᚩᚠᛏᛖᚾ ᚷᚱᚪᛈᛈᛚᛖ ᚹᛁᚦ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᛖᛗᛖᛋ. ᛁᚾ ᚾᚩVᛖᛚᛋ ᛚᛁᛣᛖ "ᚪ ᛋᚳᚪᚾᚾᛖᚱ ᛞᚪᚱᛣᛚᚣ" & "ᛞᚩ ᚪᚾᛞᚱᚩᛁᛞᛋ ᛞᚱᛖᚪᛗ ᚩᚠ ᛖᛚᛖᚳᛏᚱᛁᚳ ᛋᚻᛖᛖᛈ?", ᛞᛁᚳᛣ ᛖᛉᛈᛚᚩᚱᛖᛞᚦ ᚦᛖ ᛒᚩᚢᚾᛞᚪᚱᛁᛖᛋ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ, ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ & ᛁᛞᛖᚾᛏᛁᛏᚣ. ᚻᛁᛋ ᚳᚻᚪᚱᚪᚳᛏᛖᚱᛋ ᚩᚠᛏᛖᚾ ᚠᛁᚾᛞᚩᚦ ᚦᛖᛗᛋᛖᛚVᛖᛋ ᛁᚾ ᚹᚩᚱᛚᛞᛋ ᚹᚻᛖᚱᛖ ᚦᛖ ᛚᛁᚾᛖ ᛒᛖᛏᚹᛖᛖᚾ ᚦᛖ ᚱᛖᚪᛚ & ᚦᛖ ᚳᚩᚾᛋᛏᚱᚢᚳᛏᚪᚾ ᛁᛋ ᛒᛚᚢᚱᛖᚾ, ᚱᛖᚠᛚᛖᚳᛏᛁᚾᚷ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚳᚩᚾᚳᛖᚱᚾ ᚹᛁᚦ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ. ᚦᚱᚩᚢᚷᚻ ᚻᛁᛋ ᚷᚱᛁᛈᛈᛁᚾᚷ ᚾᚪᚱᚱᚪᛏᛁVᛖᛋ & ᚦᚩᚢᚷᚻᛏ-ᛈᚱᚩVᚩᛣᛁᚾᚷ ᛋᚳᛖᚾᚪᚱᛁᚩᛋ, ᛞᛁᚳᛣ ᛁᚾVᛁᛏᛖᛞᚦ ᚱᛖᚪᛞᛖᚱᛋ ᛏᚩ ᛈᚩᚾᛞᛖᚱ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ & ᚦᛖ ᛖᛉᛏᛖᚾᛏᛋ ᛏᚩ ᚹᚻᛁᚳᚻ ᚩᚢᚱ ᛗᛁᚾᛞᛋ ᛋᚻᚪᛈᚩ ᚦᛖ ᚹᚩᚱᛚᛞ ᚹᛖ ᛈᛖᚱᚳᛖᛁVᚩ.
ᚦᛖ ᚱᛖᚪᛚᛗ ᚩᚠ ᛋᚳᛁᛖᚾᚳᛖ ᚠᛁᚳᛏᛁᚩᚾ ᚪᛚᛋᚩ ᚩᚠᚠᛖᚱᛋ ᚱᛁᚳᚻ ᛋᚩᛁᛚ ᚠᚩᚱ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚳᚩᚾᛏᛖᛗᛈᛚᚪᛏᛁᚩᚾ. ᚦᛖ ᚳᚩᚾᚳᛖᛈᛏ ᚩᚠ "ᚦᛖ ᛗᚪᛏᚱᛁᛉ", ᚪᛋ ᛈᚩᛈᚢᛚᚪᚱᛁZᛖᚾ ᛒᚣ ᚦᛖ ᚹᚪᚳᚻᚩᚹᛋᛣᛁ ᛒᚱᚩᚦᛖᚱᛋ' ᚠᛁᛚᛗ ᛋᛖᚱᛁᛖᛋ, ᛁᛋ ᚪ ᛗᚩᛞᛖᚱᚾ ᚪᛚᛚᛖᚷᚩᚱᚣ ᚠᚩᚱ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ Qᚢᛖᛋᛏᛁᚩᚾ ᚩᚠ ᚹᚻᛖᚦᛖᚱ ᚩᚢᚱ ᚱᛖᚪᛚᛁᛏᚣ ᛁᛋ ᚪᚾ ᛁᛚᛚᚢᛋᛁᚩᚾ. ᛁᚾ ᚦᛁᛋ ᚾᚪᚱᚱᚪᛏᛁVᛖ, ᛗᛖᚾ ᛚᛁVᚩᚦ ᛁᚾ ᚪ ᛋᛁᛗᚢᛚᚪᛏᛖᚾ ᚹᚩᚱᛚᛞ ᚳᚱᛖᚪᛏᛖᚾ ᛒᚣ ᛋᛖᚾᛏᛁᛖᚾᛏ ᛗᚪᚳᚻᛁᚾᛖᛋ, ᚩᛒᛚᛁVᛁᚩᚢᛋ ᛏᚩ ᚦᛖ ᛏᚱᚢᚦ ᚩᚢᛏᛋᛁᛞᛖ ᚦᛖᛁᚱ ᛈᛖᚱᚳᛖᛁVᚪᛒᛚᛖ ᚱᛖᚪᛚᛁᛏᚣ. ᚦᛖ ᚻᛖᚱᚩ'ᛋ, ᚾᛖᚩ'ᛋ, ᛡᚩᚢᚱᚾᛖᚣ ᚠᚱᚩᛗ ᛁᚷᚾᚩᚱᚪᚾᚳᛖ ᛏᚩ ᚪᚹᚪᛣᛖᚾᛁᚾᚷ ᛗᛁᚱᚱᚩᚱᛋ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ Qᚢᛖᛋᛏ ᚠᚩᚱ ᛋᛖᛚᚠ-ᛣᚾᚩᚹᛚᛖᛞᚷᛖ & ᛏᚱᚢᚦ, ᚪᛋ ᚻᛖ ᚷᚱᚪᛈᛈᛚᛖᚦ ᚹᛁᚦ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚻᛁᛋ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ & ᚦᛖ ᛁᛗᛈᛚᛁᚳᚪᛏᛁᚩᚾᛋ ᚩᚠ ᚻᛁᛋ ᚾᛖᚹᚠᚩᚢᚾᛞ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾ.
ᚪᚾᚩᚦᛖᚱ ᛁᚾᛏᚱᛁᚷᚢᛁᚾᚷ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᛖᛗᛖ ᛁᛋ ᚠᛁᚾᛞᚪᚾ ᛁᚾ ᚦᛖ "ᛁᚾᚳᛖᛈᛏᛁᚩᚾ" ᚢᚾᛁVᛖᚱᛋᛖ, ᚹᚻᛖᚱᛖ ᚦᛖ ᛚᛁᚾᛖ ᛒᛖᛏᚹᛖᛖᚾ ᛞᚱᛖᚪᛗ & ᚱᛖᚪᛚᛁᛏᚣ ᛁᛋ ᛒᛚᚢᚱᛖᚾ. ᛞᛁᚱᛖᚳᛏᛖᛞ ᛒᚣ ᚳᚻᚱᛁᛋᛏᚩᛈᚻᛖᚱ: ᚾᚩᛚᚪᚾ, ᚦᛁᛋ ᚠᛁᛚᛗ ᛁᚾVᛁᛏᛖᛋ ᚢᛋ ᛏᚩ ᚳᚩᚾᛋᛁᛞᛖᚱ ᚦᛖ ᛈᚩᛋᛋᛁᛒᛁᛚᛁᛏᚣ ᚦᚪᛏ ᚩᚢᚱ ᛖᚾᛏᛁᚱᛖ ᛚᛁVᛖᛋ ᚳᚩᚢᛚᛞ ᛒᛖ ᚪ ᛋᚻᚪᚱᚪᚾ ᛞᚱᛖᚪᛗ. ᚦᚱᚩᚢᚷᚻ ᚳᚩᛗᛈᛚᛖᛉ ᛚᚪᚣᛖᚱᛋ ᚩᚠ ᛞᚱᛖᚪᛗ-ᛋᚻᚪᚱᛁᚾᚷ, ᚦᛖ ᛈᚱᚩᛏᚪᚷᚩᚾᛁᛋᛏᛋ ᚳᚻᚪᛚᛚᛖᚾᚷᚩᚦ ᚩᚢᚱ ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾᛋ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ, ᛚᛖᚪᛞᛞᛁᚾᚷ ᚢᛋ ᛏᚩ Qᚢᛖᛋᛏᛁᚩᚾ ᚦᛖ ᚪᚢᚦᛖᚾᛏᛁᚳᛁᛏᛁᛖᛋ ᚩᚠ ᚩᚢᚱ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ. ᚦᛖ ᚾᚩᛏᛁᚩᚾ ᚦᚪᛏ ᚹᛖ ᚳᚩᚢᛚᛞᚩ ᛒᛖ ᛞᚱᛖᚪᛗᛁᚾᚷ & ᚦᚪᛏ ᚩᚢᚱ ᚹᚩᚱᛚᛞ ᛗᛁᚷᚻᛏ ᛒᛖ ᚪᚾ ᛁᛚᛚᚢᛋᛁᚩᚾ ᚳᚩᚾᛋᛏᚱᚢᚳᛏᚪᚾ ᛒᚣ ᚩᚢᚱ ᚩᚹᚾ ᛗᛁᚾᛞᛋ, ᚱᛖᛋᚩᚾᚪᛏᛖᛋ ᚹᛁᚦ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛏᚱᚪᛞᛁᛏᛁᚩᚾ ᚩᚠ ᛋᛖᛖᛣᛣᛁᚾᚷ ᛏᚱᚢᚦ ᚹᛁᚦᛁᚾ.
ᚦᛖ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ ᚩᚠ ᚻᛖᚾᚱᛁ: ᛒᛖᚱᚷᛋᚩᚾ, ᚹᛁᚦ ᚻᛁᛋ ᚠᚩᚳᚢᛋ ᚩᚾ ᛁᚾᛏᚢᛁᛏᛁᚩᚾ & ᚦᛖ ᚠᛚᚩᚹ ᚩᚠ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋ, ᚪᛞᛞᛋ ᚪᚾᚩᚦᛖᚱ ᛞᛁᛗᛖᚾᛋᛁᚩᚾ ᛏᚩ ᚩᚢᚱ ᛖᛉᛈᛚᚩᚱᚪᛏᛁᚩᚾ. ᚻᛖᚾᚱᛁ: ᛒᛖᚱᚷᛋᚩᚾ ᛒᛖᛚᛁᛖVᛖᛞᚦ ᚦᚪᛏ ᚩᚢᚱ ᛁᚾᛏᛖᛚᛚᛖᚳᛏᛋ ᚪᚱᛖ ᛁᛚᛚ-ᛖQᚢᛁᛈᛈᛖᚾ ᛏᚩ ᚷᚱᚪᛋᛈ ᚦᛖ ᛏᚱᚢᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚱᛖᚪᛚᛁᛏᚣ, ᚹᚻᛁᚳᚻ ᛁᛋ ᚳᚩᚾᛏᛁᚾᚢᚩᚢᛋᛚᚣ ᛖVᚩᛚVᛁᚾᚷ & ᚳᚻᚪᚾᚷᛁᚾᚷ. ᚦᚱᚩᚢᚷᚻ ᚻᛁᛋ ᚳᚩᚾᚳᛖᛈᛏ ᚩᚠ ᛞᚢᚱÉᛖ, ᚦᛖ ᚠᛚᚩᚹ ᚩᚠ ᛏᛁᛗᛖ ᚪᛋ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᚪᚾ ᛋᚢᛒᛡᛖᚳᛏᛁVᛖᛚᚣ, ᚻᛖ ᛋᚢᚷᚷᛖᛋᛏᛖᛞᚦ ᚦᚪᛏ ᚱᛖᚪᛚᛁᛏᚣ ᛁᛋ ᚾᚩᛏ ᚪ ᚳᚩᛚᛚᛖᚳᛏᛁᚩᚾ ᚩᚠ ᛋᛏᚪᛏᛁᚳ ᛗᚩᛗᛖᚾᛏᛋ ᛒᚢᛏ ᚪ ᛋᛖᚪᛗᛚᛖᛋᛋ, ᛖVᛖᚱ-ᛖVᚩᛚVᛁᚾᚷ ᛈᚱᚩᚳᛖᛋᛋ. ᚦᛁᛋ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖ ᚪᛚᛁᚷᚾᛋ ᚹᛁᚦ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ Qᚢᛖᛋᛏ ᚠᚩᚱ ᚪ ᛞᛖᛖᛈᛖᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ, ᚪᛋ ᚹᛖ ᚪᛗᛖ ᛖᚾᚳᚩᚢᚱᚪᚷᚪᚾ ᛏᚩ ᛚᚩᚩᛣ ᛒᛖᚣᚩᚾᛞ ᚦᛖ ᛋᚢᚱᚠᚪᚳᛖ ᛚᚩᚩᛣᛋ ᛏᚩ ᚦᛖ ᚢᚾᛞᛖᚱᛚᚪᚣᛁᚾᚷ ᚠᛚᚢᛉ ᚦᚪᛏ ᛋᚻᚪᛈᛖᛋ ᚩᚢᚱ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ.
ᚦᛖ ᛖᛉᛁᛋᛏᛖᚾᛏᛁᚪᛚ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᚣ ᚩᚠ ᚪᛚᛒᛖᚱᛏ: ᚳᚪᛗᚢᛋ, ᚹᛁᚦ ᛚᛏᛋ ᛖᛗᛈᚻᚪᛋᛁᛋ ᚩᚾ ᚦᛖ ᚪᛒᛋᚢᚱᛞᛁᛏᚣ ᚩᚠ ᛚᛁᚠᛖ, ᚪᛚᛋᚩ ᛋᚻᚪᚱᛖᛋ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛏᛖᚾᛞᛖᚾᚳᛁᛖᛋ. ᚪᛚᛒᛖᚱᛏ: ᚳᚪᛗᚢᛋ ᛈᚩᛋᛁᛏᛏᛖᛞᚦ ᚦᚪᛏ ᚦᛖ ᚹᚩᚱᛚᛞ ᛁᛋ ᛁᚾᛞᛁᚠᚠᛖᚱᛖᚾᛏ ᛏᚩ ᛗᚪᚾ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ & ᚦᚪᛏ ᚹᛖ ᚪᛗᛖ ᚳᚩᚾᚠᚱᚩᚾᛏᚪᚾ ᛒᚣ ᚪ ᚹᚩᚱᛚᛞ ᛞᛖVᚩᛁᛞ ᚩᚠ ᛁᚾᚻᛖᚱᛖᚾᛏ ᛗᛖᚪᚾᛁᚾᚷ. ᛁᚾ ᚦᛖ ᚠᚪᚳᛖ ᚩᚠ ᚦᛁᛋ ᚪᛒᛋᚢᚱᛞᛁᛏᚣ, ᛁᚾᛞᛁVᛁᛞᚢᚪᛚᛋ ᛗᚩᛏᚩ ᚳᚱᛖᚪᛏᛖ ᚩᚢᚱ ᚩᚹᚾ Vᚪᛚᚢᛖᛋ & ᛈᚢᚱᛈᚩᛋᛖᛋ, ᚦᚢᛋ ᚻᛁᚷᚻᛚᛁᚷᚻᛏᛁᚾᚷ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᚩᚢᚱ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ. ᚦᚱᚩᚢᚷᚻ ᚻᛁᛋ ᚾᚩVᛖᛚᛋ & ᛖᛋᛋᚪᚣᛋ, ᚪᛚᛒᛖᚱᛏ: ᚳᚪᛗᚢᛋ ᛁᚾVᛁᛏᛖᛞᚦ ᚱᛖᚪᛞᛖᚱᛋ ᛏᚩ ᛖᛗᛒᚱᚪᚳᛖ ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚠᚱᛖᛖᛞᚩᛗ ᚦᚪᛏ ᚳᚩᛗᛖᛋ ᚹᛁᚦ ᚱᛖᚳᚩᚷᚾᛁZᛁᚾᚷ ᚩᚢᚱ ᛁᛋᚩᛚᚪᛏᛁᚩᚾ ᛁᚾ ᚦᛖ ᚹᚩᚱᛚᛞ, ᚦᛖᚱᛖᛒᚣ ᚠᚩᛋᛏᛖᚱᚱᛁᚾᚷ ᚪ ᛈᚱᚩᚠᚩᚢᚾᛞ ᛋᛖᚾᛋᛖ ᚩᚠ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ ᚱᛖᛋᛈᚩᚾᛋᛁᛒᛁᛚᛁᛏᚣ.
ᛁᚾ ᚳᚩᚾᚳᛚᚢᛋᛁᚩᚾ, ᚦᛖ ᛖᛉᛈᛚᚩᚱᚪᛏᛁᚩᚾ ᚩᚠ ᚾᚩᚾ-ᛗᚪᛁᚾᛋᛏᚱᛖᚪᛗ, ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚠᚪᛁᚦᛋ & ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᛖᛋ ᚱᛖVᛖᚪᛚᛋ ᚪ ᛣᚪᛚᛖᛁᛞᚩᛋᚳᚩᛈᛖ ᚩᚠ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖᛋ ᚦᚪᛏ ᚳᚻᚪᛚᛚᛖᚾᚷᛖ ᚦᛖ ᛈᚱᛖVᚪᛁᛚᛁᚾᚷ ᚾᚩᚱᛗᛋ ᚩᚠ ᚩᚢᚱ ᛋᚻᚪᚱᚪᚾ ᚱᛖᚪᛚᛁᛏᚣ. ᚠᚱᚩᛗ ᚦᛖ ᚪᚾᚳᛁᛖᚾᛏ ᚹᛁᛋᛞᚩᛗᛋ ᚩᚠ ᚷᚾᚩᛋᛏᛁᚳᛁᛋᛗ & Zᚩᚱᚩᚪᛋᛏᚱᛁᚪᚾᛁᛋᛗ ᛏᚩ ᚦᛖ ᛗᚩᛞᛖᚱᚾ ᚳᚩᚾᛏᛖᛗᛈᛚᚪᛏᛁᚩᚾᛋ ᚩᚠ ᚪᚱᚦᚢᚱ: ᛋᚳᚻᚩᛈᛖᚾᚻᚪᚢᛖᚱ, ᚷᛖᚩᚱᚷᛖ: ᚷᚢᚱᛞᛡᛁᛖᚠᚠ & ᚻᛖᚾᚱᛁ: ᛒᛖᚱᚷᛋᚩᚾ, ᚦᛖᛋᛖ ᛏᚱᚪᛞᛁᛏᛁᚩᚾᛋ ᚩᚠᚠᛖᚱ ᛈᚱᚩᚠᚩᚢᚾᛞ ᛁᚾᛋᛁᚷᚻᛏᛋ ᛁᚾᛏᚩ ᚦᛖ ᚾᚪᛏᚢᚱᛖ ᚩᚠ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ & ᚦᛖ Qᚢᛖᛋᛏ ᚠᚩᚱ ᛏᚱᚢᚦ. ᚦᛖᚣ ᚱᛖᛗᛁᚾᛞ ᚢᛋ ᚦᚪᛏ ᚱᛖᚪᛚᛁᛏᚣ ᛁᛋ ᚾᚩᛏ ᚪ ᚠᛁᛉᚪᚾ ᛖᚾᛏᛁᛏᚣ ᛒᚢᛏ ᚪ ᛞᚣᚾᚪᛗᛁᚳ ᛁᚾᛏᛖᚱᛈᛚᚪᚣ ᛒᛖᛏᚹᛖᛖᚾ ᚩᚢᚱ ᛁᚾᚾᛖᚱ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ & ᚦᛖ ᚹᚩᚱᛚᛞ ᚹᛖ ᛈᛖᚱᚳᛖᛁVᚩ. ᛒᚣ ᛞᛖᛚVᛁᚾᚷ ᛁᚾᛏᚩ ᚦᛖᛋᛖ ᛚᛖᛋᛋᛖᚱ-ᛣᚾᚩᚹᚾ ᛈᚪᚦᛋ, ᚹᛖ ᚳᚪᚾᚾᚩ ᛖᚾᚱᛁᚳᚻ ᚩᚢᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ ᚩᚠ ᚩᚢᚱᛋᛖᛚVᛖᛋ, ᚩᚢᚱ ᛈᚢᚱᛈᚩᛋᛖᛋ ᛁᚾ ᚦᛖ ᚹᚩᚱᛚᛞ & ᚦᛖ ᛈᚱᚩᚠᚩᚢᚾᛞ ᛗᚣᛋᛏᛖᚱᚣ ᚦᚪᛏ ᚢᚾᛞᛖᚱᛚᚪᚣᛋ ᚪᛚᛚ ᚳᚱᛖᚪᛏᛁᚩᚾ.
ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚦᛖᛗᛖᛋ ᚦᚪᛏ ᚱᛖᛋᚩᚾᚪᛏᛖ ᚦᚱᚩᚢᚷᚻ ᚦᛖᛋᛖ ᛒᛖᛚᛁᛖᚠ ᛋᚣᛋᛏᛖᛗᛋ ᛖᚾᚳᚩᚢᚱᚪᚷᛖ ᚪ ᛞᛖᛖᛈ ᚱᛖᛋᛈᛖᚳᛏ ᚠᚩᚱ ᚦᛖ ᛁᚾᛞᛁVᛁᛞᚢᚪᛚ'ᛋ ᛡᚩᚢᚱᚾᛖᚣ ᛏᚩᚹᚪᚱᛞ ᛋᛖᛚᚠ-ᛣᚾᚩᚹᛚᛖᛞᚷᛖ. ᚹᚻᛖᚦᛖᚱ ᚦᚱᚩᚢᚷᚻ ᚦᛖ ᛁᚾᛏᚱᚩᛋᛈᛖᚳᛏᛁVᛖ ᛈᚱᚪᚳᛏᛁᚳᛖᛋ ᚩᚠ ᚻᚪᚣᛗᚪᚾᚩᛏ, ᚦᛖ ᚪᚾᛁᛗᛁᛋᛏᛁᚳ ᚳᚩᛗᛗᚢᚾᛁᚩᚾ ᚩᚠ ᚪᚢᛋᛏᚱᚪᛚᛁᚪᚾ ᛈᚪᚷᚪᚾᛁᛋᛗ ᚩᚱ ᚦᛖ ᛗᛖᛏᚪᛈᚻᚣᛋᛁᚳᚪᛚ ᛈᚩᚾᛞᛖᚱᛁᚾᚷᛋ ᚩᚠ ᛏᚪᚩᛁᛋᛗ, ᛖᚪᚳᚻ ᛏᚱᚪᛞᛁᛏᛁᚩᚾ ᚢᚾᛞᛖᚱᛋᚳᚩᚱᛖᛋ ᚦᛖ ᛗᚪᚱᛣᚹᚩᚱᚦ ᚩᚠ ᛈᛖᛈᚢᛚᚪᚱ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ ᛁᚾ ᚦᛖ ᛋᛖᚪᚱᚳᚻ ᚠᚩᚱ ᛗᛖᚪᚾᛁᚾᚷ. ᛁᚾ ᚪ ᚹᚩᚱᛚᛞ ᚩᚠᛏᛖᚾ ᛞᚩᛗᛁᚾᚪᛏᛖᚾ ᛒᚣ ᚳᚩᛚᛚᛖᚳᛏᛁVᛖ ᚾᚪᚱᚱᚪᛏᛁVᛖᛋ, ᚦᛖᛋᛖ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖᛋ ᛁᚾVᛁᛏᛖ ᚢᛋ ᛏᚩ ᚱᛖᚳᛚᚪᛁᛗ ᚩᚢᚱ ᚢᚾᛁQᚢᛖ ᛈᚢᚱᛈᚩᛋᛖᛋ ᛁᚾ ᚦᛖ ᚹᚩᚱᛚᛞ, ᚠᚩᛋᛏᛖᚱᚱᛁᚾᚷ ᚪ ᛋᛖᚾᛋᛖ ᚩᚠ ᛖᛗᛈᚩᚹᛖᚱᛗᛖᚾᛏ & ᚪᚷᛖᚾᚳᚣ ᚦᚪᛏ ᛏᚱᚪᚾᛋᚳᛖᚾᛞᛋ ᚦᛖ ᛚᛁᛗᛁᛏᚪᛏᛁᚩᚾᛋ ᚩᚠ ᛞᚩᚷᛗᚪ.
ᛗᚩᚱᛖᚩVᛖᚱ, ᚦᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᚾᚪᛏᚢᚱᛖᛋ ᚩᚠ ᚦᛖᛋᛖ ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᛖᛋ & ᚠᚪᛁᚦᛋ ᚳᚻᚪᛚᛚᛖᚾᚷᛖ ᚢᛋ ᛏᚩ ᚳᚩᚾᛋᛁᛞᛖᚱ ᚦᛖ ᛁᚾᛏᛖᚱᛞᛖᛈᛖᚾᛞᛖᚾᚳᛖ ᚩᚠ ᛈᛖᚱᚳᛖᛈᛏᛁᚩᚾ & ᚱᛖᚪᛚᛁᛏᚣ. ᚠᚱᚩᛗ Qᚢᚪᚾᛏᚢᛗ ᛗᛖᚳᚻᚪᚾᛁᚳᛋ ᛏᚩ ᚦᛖ ᛖᛉᛁᛋᛏᛖᚾᛏᛁᚪᛚ ᛗᚢᛋᛁᚾᚷᛋ ᚩᚠ ᛡᛁᛞᛞᚢ: ᛣᚱᛁᛋᚻᚾᚪᛗᚢᚱᛏᛁ, ᚦᛖᛋᛖ ᛁᛞᛖᚪᛋ ᚳᚩᛗᛈᛖᛚ ᚢᛋ ᛏᚩ Qᚢᛖᛋᛏᛁᚩᚾ ᚦᛖ Vᛖᚱᚣ ᚠᚩᚢᚾᛞᚪᛏᛁᚩᚾᛋ ᚩᚠ ᚩᚢᚱ ᛋᚻᚪᚱᚪᚾ ᛖᛉᛁᛋᛏᛖᚾᚳᛖ. ᚦᛖᚣ ᛈᚱᚩᛗᛈᛏ ᚢᛋ ᛏᚩ ᛚᚩᚩᛣ ᛒᛖᚣᚩᚾᛞ ᚦᛖ ᛋᚢᛈᛖᚱᚠᛁᚳᛁᚪᛚ ᛚᚪᚣᛖᚱᛋ ᚩᚠ ᚦᛖ ᛈᚻᚣᛋᛁᚳᚪᛚ ᛈᛚᚪᚾᛖ, ᛏᚩ ᚱᛖᚳᚩᚷᚾᛁZᛖ ᚦᚪᛏ ᚦᛖ ᚠᚪᛒᚱᛁᚳ ᚩᚠ ᚦᛖ ᚢᚾᛁVᛖᚱᛋᛖ ᛗᛁᚷᚻᛏ ᛒᛖ ᚹᛖᚪVᚪᚾ ᚠᚱᚩᛗ ᚦᛖ ᚦᚱᛖᚪᛞᛋ ᚩᚠ ᚩᚢᚱ ᚩᚹᚾ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ. ᚦᛁᛋ ᛈᚱᚩᚠᚩᚢᚾᛞ ᚱᛖᚪᛚᛁZᚪᛏᛁᚩᚾ ᚻᚪᛋ ᚦᛖ ᛈᚩᛏᛖᚾᛏᛁᚪᛚ ᛏᚩ ᚱᛖᛋᚻᚪᛈᛖ ᚩᚢᚱ ᛒᚩᚾᛞᛋ ᚹᛁᚦ ᚩᚢᚱᛋᛖᛚVᛖᛋ, ᚩᚦᛖᚱᛋ & ᚦᛖ ᛖᚾVᛁᚱᚩᚾᛗᛖᚾᛏ.
ᚦᛖ ᛡᚩᚢᚱᚾᛖᚣ ᛏᚩᚹᚪᚱᛞ ᛋᛖᛚᚠ-ᛣᚾᚩᚹᛚᛖᛞᚷᛖ, ᚪᛋ ᛖᛋᛈᚩᚢᛋᚪᚾ ᛒᚣ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛏᚱᚪᛞᛁᛏᛁᚩᚾᛋ, ᛁᛋ ᚾᚩᛏ ᛗᛖᚱᛖᛚᚣ ᚪᚾ ᛁᚾᛏᛖᛚᛚᛖᚳᛏᚢᚪᛚ ᛈᚢᚱᛋᚢᛁᛏ ᛒᚢᛏ ᚪ ᛏᚱᚪᚾᛋᚠᚩᚱᛗᚪᛏᛁVᛖ ᚩᛞᚣᛋᛋᛖᚣ ᚦᚪᛏ ᚱᛖQᚢᛁᚱᛖᛋ ᚳᚩᚢᚱᚪᚷᛖ & ᚩᛈᛖᚾᚾᛖᛋᛋ. ᛁᛏ ᛁᛋ ᚪ ᚳᚪᛚᛚ ᛏᚩ ᛞᛖᛖᛞ, ᚢᚱᚷᛁᚾᚷ ᚢᛋ ᛏᚩ ᛚᛁVᛖ ᛁᚾ ᚪᛚᛁᚷᚾᛗᛖᚾᛏᛋ ᚹᛁᚦ ᚩᚢᚱ ᚻᛁᚷᚻᛖᛋᛏ Vᚪᛚᚢᛖᛋ & ᛏᚩ ᛖᛗᛒᚩᛞᚣ ᚦᛖ ᛞᛁVᛁᚾᛖ ᚹᛁᚦᛁᚾ. ᛒᚣ ᚱᛖᚳᚩᚷᚾᛁZᛁᚾᚷ ᚦᛖ ᛁᚾᛏᛖᚱᚳᚩᚾᚾᛖᚳᛏᛖᛞᚾᛖᛋᛋ ᚩᚠ ᚪᛚᛚ ᛣᚾᚩᚹᚾᛋ, ᚹᛖ ᚪᛗᛖ ᛖᛗᛈᚩᚹᛖᚱᚱᚪᚾ ᛏᚩ ᛞᚩ ᚹᛁᚦ ᚳᚩᛗᛈᚪᛋᛋᛁᚩᚾ, ᚱᛖᛋᛈᛖᚳᛏ & ᚻᚢᛗᛁᛚᛁᛏᚣ, ᚳᚩᚾᛏᚱᛁᛒᚢᛏᛁᚾᚷ ᛏᚩ ᚦᛖ ᛖVᚩᛚᚢᛏᛁᚩᚾ ᚩᚠ ᚩᚢᚱ ᚳᚩᛚᛚᛖᚳᛏᛁVᛖ ᚳᚩᚾᛋᚳᛁᚩᚢᛋᚾᛖᛋᛋᛖᛋ.
ᚦᛖ ᛋᛏᚢᛞᛁᛖᛋ ᚩᚠ ᚦᛖᛋᛖ ᚾᚩᚾ-ᛗᚪᛁᚾᛋᛏᚱᛖᚪᛗ ᚠᚪᛁᚦᛋ & ᛈᚻᛁᛚᚩᛋᚩᛈᚻᛁᛖᛋ ᚾᚩᛏ ᚩᚾᛚᚣ ᛖᚾᚱᛁᚳᚻ ᚩᚢᚱ ᚳᚩᛗᛈᚱᛖᚻᛖᚾᛋᛁᚩᚾᛋ ᚩᚠ ᚦᛖ ᛞᛁVᛖᚱᛋᛖ ᛏᚪᛈᛖᛋᛏᚱᚣ ᚩᚠ ᛗᚪᚾ ᛒᛖᛚᛁᛖᚠ ᛒᚢᛏ ᚪᛚᛋᚩ ᛋᛖᚱVᛖ ᚪᛋ ᚳᚪᛏᚪᛚᚣᛋᛏᛋ ᚠᚩᚱ ᛈᛖᛈᚢᛚᚪᚱ ᚷᚱᚩᚹᚦ. ᚪᛋ ᚹᛖ ᛖᚾᚷᚪᚷᚩ ᚹᛁᚦ ᚦᛖᛋᛖ ᛁᛞᛖᚪᛋ, ᚹᛖ ᚪᛗᛖ ᚳᚩᛗᛈᛖᛚᛚᚪᚾ ᛏᚩ ᚳᚩᚾᚠᚱᚩᚾᛏ ᚩᚢᚱ ᚩᚹᚾ ᛒᛁᚪᛋᛖᛋ & ᛚᛁᛗᛁᛏᚪᛏᛁᚩᚾᛋ, ᛈᚱᚩᛗᛈᛏᛁᚾᚷ ᚢᛋ ᛏᚩ ᚱᛖ-ᛖVᚪᛚᚢᚪᛏᛖ ᚩᚢᚱ ᛈᚢᚱᛈᚩᛋᛖᛋ ᛁᚾ ᚦᛖ ᚹᚩᚱᛚᛞ. ᚦᚱᚩᚢᚷᚻ ᚦᛖᛋᛖ ᛁᚾᛏᚱᚩᛋᛈᛖᚳᛏᛁVᛖ ᛚᛖᚾᛋᛖᛋ, ᚹᛖ ᚳᚪᚾᚾᚩ ᚪᛈᛈᚱᛖᚳᛁᚪᛏᛖ ᚦᛖ ᚳᚩᛗᛈᛚᛖᛉᛁᛏᛁᛖᛋ & ᛞᛖᛈᚦᛋ ᚩᚠ ᛗᚪᚾ ᛖᛉᛈᛖᚱᛁᛖᚾᚳᛖᛋ, ᚠᚩᛋᛏᛖᚱᚱᛁᚾᚷ ᛖᛗᛈᚪᚦᛁᛖᛋ & ᛏᚩᛚᛖᚱᚪᚾᚳᛖᛋ ᛁᚾ ᚪᚾ ᛁᚾᚳᚱᛖᚪᛋᛁᚾᚷᛚᚣ ᛁᚾᛏᛖᚱᚳᚩᚾᚾᛖᚳᛏᛖᛞᛏ ᚹᚩᚱᛚᛞ.
ᛗᚩᚱᛖᚩVᛖᚱ, ᚦᛖᛋᛖ ᛋᚩᛚᛁᛈᛋᛁᛋᛏᛁᚳ ᛈᛖᚱᛋᛈᛖᚳᛏᛁVᛖᛋ ᚩᚠᚠᛖᚱ ᚱᛖᚠᚱᛖᛋᚻᛁᚾᚷ ᚪᚾᛏᛁᛞᚩᛏᛖᛋ ᛏᚩ ᚦᛖ ᛞᚩᚷᛗᚪᛏᛁᚳ ᚪᛒᛋᚩᛚᚢᛏᛁᛋᛗᛋ ᚦᚪᛏ ᚳᚪᚾ ᛋᛏᛁᚠᛚᛖ ᛁᚾᛏᛖᛚᛚᛖᚳᛏᚢᚪᛚ & ᛋᛈᛁᚱᛁᛏᚢᚪᛚ ᛁᚾQᚢᛁᚱᛁᛖᛋ. ᚦᛖᚣ ᛖᚾᚳᚩᚢᚱᚪᚷᛖ ᚻᛖᚪᛚᚦᚣ ᛋᛣᛖᛈᛏᛁᚳᛁᛋᛗᛋ ᚩᚠ ᚱᛖᚳᛖᛁVᛖᚾ ᛏᚱᚢᚦᛋ, ᛈᚱᚩᛗᛈᛏᛁᚾᚷ ᚢᛋ ᛏᚩ Qᚢᛖᛋᛏᛁᚩᚾ ᚦᛖ ᛋᛏᚪᛏᚢᛋ Qᚢᚩ & ᛋᛖᛖᛣ ᚩᚢᚱ ᚩᚹᚾ ᛏᚱᚢᚦᛋ. ᚦᛁᛋ ᛁᛋ ᚾᚩᛏ ᛏᚩ ᛋᚪᚣ ᚦᚪᛏ ᚹᛖ ᛋᚻᚪᛚᛚᚩ ᚪᛒᚪᚾᛞᚩᚾ ᚱᛖᚪᛋᚩᚾ ᚩᚱ ᚳᚱᛁᛏᛁᚳᚪᛚ ᚦᛁᚾᛣᛁᚾᚷ ᛒᚢᛏ ᚱᚪᚦᛖᚱ ᛏᚩ ᛖᛗᛒᚱᚪᚳᛖ ᚦᛖ ᚾᚩᛏᛁᚩᚾ ᚦᚪᛏ ᚱᛖᚪᛚᛁᛏᚣ ᛁᛋ ᚪ ᛗᚢᛚᛏᛁ-ᚠᚪᚳᛖᛏᚪᚾ ᛡᛖᚹᛖᛚ, ᛒᛖᛋᛏ ᚪᛈᛈᚱᛖᚳᛁᚪᛏᚪᚾ ᛒᚣ ᛖᛉᚪᛗᛁᚾᛁᚾᚷ ᛚᛏᛋ Vᚪᚱᛁᚩᚢᛋ ᚠᚪᚳᛖᛋ.