1900s Emoji Combos

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⟔ pls note the ai inflicts emotional damage (ᵕ—ᓗ—)
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ᓵᶠ Źøįµ’įµ˜ įµƒŹ³įµ‰ ᵃ ᵀᵒᵐᵇˢᵗᵒⁿᵉ įµ€įµ’įµ˜Ź³ā±Ė¢įµ—āø“ Źøįµ’įµ˜ įµƒŹ³įµ‰ įµƒŹ·įµƒŹ³įµ‰ įµ—Ź°įµƒįµ— į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢ įµƒŹ³įµ‰ ʳⁱᶜʰ ʳᵉᵖᵒˢⁱᵗᵒʳⁱᵉˢ įµ’į¶  ʰⁱˢᵗᵒʳʸ⸓ įµƒŹ³įµ—āø“ įµƒŹ³į¶œŹ°ā±įµ—įµ‰į¶œįµ—įµ˜Ź³įµ‰āø“ ᵃⁿᵈ ˢᵗᵒʳⁱᵉˢ‧ ᵀʰⁱˢ įµ€Ź³įµƒā±Ė” ⁱˢ ᵃ į¶œŹ³įµ‰įµƒįµ—ā±įµ›įµ‰ ʷᵃʸ įµ—įµ’ į¶œįµ’įµƒĖ£ ᵒᵗʰᵉʳˢ ⁱⁿᵗᵒ ᵗʰᵉ įµŹ³įµƒįµ›įµ‰ŹøįµƒŹ³įµˆ ᶠᵒʳ ᵃ į¶œŹ°įµƒāæį¶œįµ‰ įµ—įµ’ ᵉˣᵖ˔ᵒʳᵉ Ź·Ź°įµƒįµ— ⁱˢ Ź³įµ‰įµƒĖ”Ė”Źø ᵗʰᵉʳᵉ ᵃⁿᵈ įµƒįµˆįµā±Ź³įµ‰ ᵗʰᵉ įµįµ’āæįµ˜įµįµ‰āæįµ—Ė¢ ᵃⁿᵈ ˢᵗᵒʳⁱᵉˢ įµ’į¶  ᵗʰᵒˢᵉ ʷʰᵒ Ź°įµƒįµ›įµ‰ įµįµ’āæįµ‰ ᵇᵉᶠᵒʳᵉ‧ į“¾Ź³įµ‰Ė¢ā±įµˆįµ‰āæįµ— ᓶᵒʰⁿ ᶠ‧ į“·įµ‰āæāæįµ‰įµˆŹø ˢᵃⁱᵈ⸓ ā€œį“¬ āæįµƒįµ—ā±įµ’āæ Ź³įµ‰įµ›įµ‰įµƒĖ”Ė¢ ⁱᵗˢᵉ˔ᶠ ⁿᵒᵗ ᵒⁿ˔ʸ ᵇʸ ᵗʰᵉ ᵐᵉⁿ ⁱᵗ įµ–Ź³įµ’įµˆįµ˜į¶œįµ‰Ė¢ įµ‡įµ˜įµ— įµƒĖ”Ė¢įµ’ ᵇʸ ᵗʰᵉ ᵐᵉⁿ ⁱᵗ ʰᵒⁿᵒʳˢ⸓ ᵗʰᵉ ᵐᵉⁿ ⁱᵗ Ź³įµ‰įµįµ‰įµįµ‡įµ‰Ź³Ė¢ā€§ā€ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢ įµƒŹ³įµ‰ įµƒŹ³įµ—āø“ ʰⁱˢᵗᵒʳʸ⸓ įµįµ‰āæįµ‰įµƒĖ”įµ’įµŹøāø“ ᶜ˔ᵃˢˢ⸓ Ź³įµ‰Ė”ā±įµā±įµ’āæ ᵃ˔˔ Ź³įµ’Ė”Ė”įµ‰įµˆ ⁱⁿᵗᵒ ᵒⁿᵉ‧ ᓺᵒʷ⸓ Źøįµ’įµ˜ ᶜᵃⁿ ā€˜įµ›ā±Ė¢ā±įµ—ā€™ ᵃ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø ᵒⁿ ˔ⁱⁿᵉ‧ ᵂʰⁱ˔ᵉ ⁱᵗ’ˢ ⁿᵒᵗ ᵗʰᵉ Ė¢įµƒįµįµ‰ ᵃˢ Ė¢įµ—Ź³įµ’Ė”Ė”ā±āæįµ įµ—Ź°Ź³įµ’įµ˜įµŹ° ᵃ ʷⁱⁿᵈʸ įµƒįµ˜įµ—įµ˜įµāæįµƒĖ” į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źøāø“ Ė¢įµ‰įµƒŹ³į¶œŹ°ā±āæįµ ᶠᵒʳ ᵃⁿ įµƒāæį¶œįµ‰Ė¢įµ—įµ’Ź³ā€™Ė¢ įµŹ³įµƒįµ›įµ‰āø“ ⁱᵗ įµˆįµ’įµ‰Ė¢ įµįµƒįµįµ‰ ˢᵉⁿˢᵉ ⁱᶠ ᵗⁱᵐᵉ ᵒʳ į¶ ā±āæįµƒāæį¶œįµ‰Ė¢ įµƒŹ³įµ‰ Ź°įµ’Ė”įµˆā±āæįµ Źøįµ’įµ˜ įµ‡įµƒį¶œįµ ᶠʳᵒᵐ įµįµƒįµā±āæįµ ᵗʰᵉ ᵗʳⁱᵖ‧ Źøįµ’įµ˜ ᶜᵃⁿ ˢᵗⁱ˔˔ Ė”įµ’į¶œįµƒįµ—įµ‰ ᵃⁿ įµƒāæį¶œįµ‰Ė¢įµ—įµ’Ź³ā€™Ė¢ ᶠⁱⁿᵃ˔ Ź³įµ‰Ė¢įµ—ā±āæįµ įµ–Ė”įµƒį¶œįµ‰ ᵒⁿ ᵗʰᵉ ⁱⁿᵗᵉʳⁿᵉᵗ⸓ į¶œįµ’įµįµ–Ė”įµ‰įµ—įµ‰ ʷⁱᵗʰ ᵃ ᵖʰᵒᵗᵒ⸓ ᵒⁿ ˢⁱᵗᵉˢ ˢᵘᶜʰ ᵃˢ į¶ ā±āæįµˆįµƒįµŹ³įµƒįµ›įµ‰ā€§į¶œįµ’įµ ᵃⁿᵈ ā±āæįµ—įµ‰Ź³įµįµ‰āæįµ—ā€§į¶œįµ’įµ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø įµ’į¶ į¶ įµ‰Ź³ā±āæįµ Ė¢įµ’įµįµ‰įµ—Ź°ā±āæįµ ᶠᵒʳ ᵉᵛᵉʳʸᵒⁿᵉ; ʰⁱˢᵗᵒʳʸ⸓ įµƒŹ³į¶œŹ°ā±įµ—įµ‰į¶œįµ—įµ˜Ź³įµ‰āø“ įµƒŹ³įµ—āø“ Ź·įµƒĖ”įµā±āæįµ įµ—įµ’įµ˜Ź³Ė¢ ᵃⁿᵈ āæįµƒįµ—įµ˜Ź³įµ‰āø“ ᵃ˔˔ ⁱⁿ ᵃ ˢᵉʳᵉⁿᵉ ᵃⁿᵈ įµ‡įµ‰įµƒįµ˜įµ—ā±į¶ įµ˜Ė” Ė¢įµ‰įµ—įµ—ā±āæįµā€§ ᓰᵃⁿ įµ‚ā±Ė”Ė¢įµ’āæā ˜ ᓵ Ė¢įµ—įµƒŹ³įµ—įµ‰įµˆ į¶œįµ’Ė”Ė”įµ‰į¶œįµ—ā±āæįµ ā±āæį¶ įµ’Ź³įµįµƒįµ—ā±įµ’āæ įµƒįµ‡įµ’įµ˜įµ— ᵗʰᵉ į¶ įµƒįµā±Ė”ā±įµ‰Ė¢ ᵃⁿᵈ ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ ʷʰᵒ įµƒŹ³įµ‰ įµ‡įµ˜Ź³ā±įµ‰įµˆ ᵗʰᵉʳᵉ‧ ᓬ ˔ᵒᵗ įµƒįµ‡įµ’įµ˜įµ— ʰᵒʷ ᵗʰᵉʸ įµˆā±įµ‰įµˆ ᵃⁿᵈ ʰᵒʷ ᵗʰᵉʸ Ė”ā±įµ›įµ‰įµˆāø“ ˢᵒ ⁱᵗ’ˢ įµā±āæįµˆ įµ’į¶  į¶ įµƒĖ¢į¶œā±āæįµƒįµ—ā±āæįµā€§ ᓺᵒᵗ ᵒⁿ˔ʸ įµˆįµ’ ʷᵉ Ź°įµƒįµ›įµ‰ įµ‡įµ˜Ź³ā±įµƒĖ” ā±āæį¶ įµ’Ź³įµįµƒįµ—ā±įµ’āæ ᵒⁿ įµ—Ź°įµ’įµ˜Ė¢įµƒāæįµˆ įµ’į¶  ᵖᵉᵒᵖ˔ᵉ⸓ ʷᵉ Ź°įµƒįµ›įµ‰ Ź·Ź°įµƒįµ— ᵗʰᵉʸ ᵈⁱᵈ ᶠᵒʳ ᵃ Ė”ā±įµ›ā±āæįµ ᵗʰᵉⁱʳ Ź³įµ‰Ė”įµƒįµ—ā±įµ›įµ‰Ė¢āø“ ʷᵉ Ź°įµƒįµ›įµ‰ ᵃ˔˔ įµā±āæįµˆĖ¢ įµ’į¶  ā±āæį¶ įµ’Ź³įµįµƒįµ—ā±įµ’āæāø“ į¶œįµ’įµ’Ė” ˢᵗᵒʳⁱᵉˢ‧ įµ€Ź°įµƒįµ—ā€™Ė¢ ᵗʰᵉ ʰⁱˢᵗᵒʳʸ įµ–įµƒŹ³įµ— įµ’į¶  ᵗʰᵉ Ė¢įµ—įµ˜į¶ į¶  ᓵ Ė”ā±įµįµ‰ā€§ ᓵ ˔ᵒᵛᵉ ā±āæį¶ įµ’Ź³įµįµƒįµ—ā±įµ’āæ ᵃⁿᵈ ᓵ Ź°įµƒįµ—įµ‰ įµ—įµ’ ˢᵉᵉ ā±āæį¶ įµ’Ź³įµįµƒįµ—ā±įµ’āæ įµˆā±įµ‰ ʷⁱᵗʰ ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ‧ ᓵ ʳᵉᵐᵉᵐᵇᵉʳ Ź·įµƒĖ”įµā±āæįµ įµƒĖ”įµ’āæįµ ᵗʰᵉ įµŹ³įµƒįµ›įµ‰Ė¢ ᵃⁿᵈ įµ‡įµ‰ā±āæįµ į¶ įµƒĖ¢į¶œā±āæįµƒįµ—įµ‰įµˆ ʷⁱᵗʰ ᵗʰᵉ āæįµƒįµįµ‰Ė¢ į“¬Ė”įµ’ŹøĖ¢ā±įµ˜Ė¢āø“ ᓱᵈʷⁱⁿᵃ⸓ ā±½ā±į¶œįµ—įµ’Ź³ā±įµƒāø“ į“ŗįµƒįµ—Ź°įµƒāæā±įµƒĖ”ā€§ ᵀʰᵉʸ ᵃ˔˔ Ė¢įµ’įµ˜āæįµˆįµ‰įµˆ į¶œŹ°įµƒŹ³įµā±āæįµ ʸᵉᵗ įµ’Ė”įµˆ į¶ įµƒĖ¢Ź°ā±įµ’āæįµ‰įµˆā€§ ᓬˢ ᓵ į¶ ā±įµįµ˜Ź³įµ‰įµˆ įµ’įµ˜įµ— ᵗʰᵉ įµƒįµįµ‰Ė¢ įµ’į¶  įµˆįµ‰įµƒįµ—Ź° ᶠʳᵒᵐ ᵗʰᵒˢᵉ ˢᵗᵒⁿᵉˢ⸓ ᓵ Ź·įµ’āæįµˆįµ‰Ź³įµ‰įµˆ įµƒįµ‡įµ’įµ˜įµ— ᵗʰᵉ ˔ⁱᵛᵉˢ įµ’į¶  ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ ʷⁱᵗʰ ʷʰᵒˢᵉ āæįµƒįµįµ‰Ė¢ā€§ ᓓᵃᵈ ᵗʰᵉʸ įµįµƒŹ³Ź³ā±įµ‰įµˆ? ᓰⁱᵈ ᵗʰᵉʸ Ź°įµƒįµ›įµ‰ į¶œŹ°ā±Ė”įµˆŹ³įµ‰āæ? ᓓᵃᵈ ᵗʰᵉʸ ᵇᵉᵉⁿ Ź°įµƒįµ–įµ–Źø? ᓓᵃᵈ ᵗʰᵉʸ ʰᵃᵈ ᵃ įµįµ’įµ’įµˆ ˔ⁱᶠᵉ? ᓬⁿᵈ ᵗʰᵉⁿ ᵗʰᵉʳᵉ ʷᵉʳᵉ ᵗʰᵉ įµ‰įµ–ā±įµ—įµƒįµ–Ź°Ė¢ā ˜ į“°įµ‰įµƒŹ³ ᓮʳᵒᵗʰᵉʳ⸓ į“æįµ‰įµįµ‰įµįµ‡įµ‰Ź³įµ‰įµˆ į“¬įµ˜āæįµ—āø“ į“®įµ‰Ė”įµ’įµ›įµ‰įµˆ ᵂⁱᶠᵉ⸓ ᵃⁿᵈ ᓼᵘʳ į“®įµƒįµ‡Źø – ᵗʰᵒˢᵉ ʷᵉʳᵉ ᵗʰᵉ ˢᵗᵒⁿᵉˢ įµ—Ź°įµƒįµ— ᵃ˔ʷᵃʸˢ įµįµƒįµ›įµ‰ ᵐᵉ įµ–įµƒįµ˜Ė¢įµ‰ā€§ ᓵᵗ ʷᵃˢ ᵗʰᵉ Ź³įµ‰įµƒĖ”ā±į¶»įµƒįµ—ā±įµ’āæ įµ—Ź°įµƒįµ—āø“ ʸᵉˢ⸓ į¶œŹ°ā±Ė”įµˆŹ³įµ‰āæ ᵉᵛᵉⁿ į¶œįµ’įµ˜Ė”įµˆā€§ ᔆᵒ ʷʰᵉⁿ ˢᵒᵐᵉᵒⁿᵉ į¶œįµ’įµįµ‰Ė¢ įµ’įµ˜įµ— ʰᵉʳᵉ ᵃⁿᵈ ᵛⁱˢⁱᵗˢ ᵃ įµŹ³įµƒįµ›įµ‰āø“ ᓵ ᶜᵃⁿ ˢᵃʸ⸓ Źøįµ’įµ˜ įµāæįµ’Ź·āø“ ⁵⁰ Źøįµ‰įµƒŹ³Ė¢ įµƒį¶ įµ—įµ‰Ź³ ˢᵒᵐᵉᵒⁿᵉ’ˢ įµ–įµƒĖ¢Ė¢įµ‰įµˆ ᵃʷᵃʸ⸓ ⁱᵗ’ˢ įµā±āæįµˆ įµ’į¶  į¶œįµ’įµ’Ė” įµ—įµ’ ᵇᵉ įµƒįµ‡Ė”įµ‰ įµ—įµ’ ᵗᵉ˔˔ ᵗʰᵉᵐ ᵃ ˢᵗᵒʳʸ įµƒįµ‡įµ’įµ˜įµ— ᵗʰᵉ ᵖᵉʳˢᵒⁿ⸓ ˢᵒᵐᵉ ˔ⁱᵗᵗ˔ᵉ Ė¢įµ’įµįµ‰įµ—Ź°ā±āæįµ ᵗʰᵉʸ ᵈⁱᵈ ⁿᵒᵗ įµāæįµ’Ź·ā€§ ᓬⁿᵈ Źøįµ’įµ˜ Ź²įµ˜Ė¢įµ— Ź·įµ’āæįµˆįµ‰Ź³ ʷʰᵒ ᵗʰᵉʸ ʷᵉʳᵉ‧ ᓵ įµ—Ź°ā±āæįµ ʷᵉ ᵒʷᵉ ᵖᵉᵒᵖ˔ᵉ ᵗʰᵉⁱʳ ʰⁱˢᵗᵒʳʸ‧ ᵀʰⁱˢ įµƒįµ–įµ–Ė”ā±įµ‰Ė¢ ⁿᵒᵗ ᵒⁿ˔ʸ įµ—įµ’ ᵗʰᵒˢᵉ ʷʰᵒ Ź°įµƒįµ›įµ‰ Ź³įµ‰į¶œįµ‰āæįµ—Ė”Źø įµ–įµƒĖ¢Ė¢įµ‰įµˆ įµ‡įµ˜įµ— įµƒāæį¶œįµ‰Ė¢įµ—įµ’Ź³Ė¢ ᶠʳᵒᵐ įµįµ‰āæįµ‰Ź³įµƒįµ—ā±įµ’āæĖ¢ įµ‡įµƒį¶œįµā€§ ᵀʰᵉ ᓵⁿᵗᵉʳⁿᵉᵗ įµįµƒįµįµ‰Ė¢ įµˆįµ‰įµ—įµ‰į¶œįµ—ā±įµ›įµ‰ Ź·įµ’Ź³įµ ᵐᵒʳᵉ ᵖᵒˢˢⁱᵇ˔ᵉ ᵃⁿᵈ ᵐᵘᶜʰ įµ‰įµƒĖ¢ā±įµ‰Ź³ ⁿᵒʷ‧ Źøįµ’įµ˜ā€™Ė”Ė” ᵇᵉ Ė¢įµ˜Ź³įµ–Ź³ā±Ė¢įµ‰įµˆ Ź·Ź°įµƒįµ— ⁱˢ įµ’įµ˜įµ— ᵗʰᵉʳᵉ‧
Warrior of God By reddit user KMApok "If God exists, why is there so much evil in the world?" It's a common question, but it is misplaced. All things must have balance. Light and dark. Good and evil. Sound and silence. Without one, the other cannot exist. "So if that's true, then God does NOTHING to fight evil?" That might be your follow up question. Of course he fights evil. Relentlessly. I am one of His most Holy and Righteous angels. I roam the Earth, disposing of evil wherever I find it. I kill the monsters you don't ever want to know about. I crush them completely so you can sleep at night. You humans have no idea how many of you live because of the work I do. "But what about Stalin? Hitler? Ted Bundy? Jack the Ripper? Well, those are the minor ones I had to let live. For balance. The ones I destroy are....too horrible and vile to survive. What's funny, is while I would wager you never have heard me by bame in any relegious texts, I bet you have heard of me. Americans, for example, have their own name for me: Sudden Infant Death Syndrome
Personal Data: Surname: Ray Given Name: Luther Death Date: Age: 5 Town: Publication Data: Source: Grand Prairie Hustler (newspaper) Section: Page: Death Notice Dates: First: Obituary Dates: First: 29 Sep 1904 Additional Information: Notes / Comments: Grand Prairie Hustler, September 29, 1904 Luther Ray, a 5-year-old boy of Pleasant Mount, I. T., was smothered in a wagon load of cotton. He was playing in the wagon and the men not knowing he was there, filled the wagon with cotton.
Jan 10 1902 Thomas Hahn Miner Plainsville <> Alex Hahn Mar 1897 Jan 9 1902 4 yrs, 10 mos. Bite of a dog
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http://genealogytrails.com/ind/brown/obits.html Coad McDonald TERRIBLE ACCIDENT - COAD MC’DONALD’S DEATH. Results From Injuries Received By His Coat Catching On Set-Screw Of A Line Shaft In Flouring Mill Owned By His Father, George A. McDonald. Our little town was in great excitement last Saturday afternoon at 3:30 o’clock, when it was learned that Coad McDonald, son of George A. McDonald, owner of the Brown County Roller Mills, had met with a most distressing and probably fatal accident. Coad, for some time, has been acting as engineer at the mill, and right well he performed his duties. As was his usual custom, at the hour of 3 p.m., he picked up the oil can and proceeded to oil the machinery. He wore a heavy hunting coat and while in a stooping position and in the act of oiling a bearing of the line shaft, a set screw which had slightly worked up and out of position, caught on the lower part of his coat. In an instant he discovered perilous situation. But, too late! To escape being drawn to the shaft was impossible. Realizing that his life was in danger he hugged the shaft to keep his head from striking the floor. With the rapidity of lightning he was whirled on the shaft, his feet battering the joists at every revolution. He cried for help and his cries were heard by a Mr. Haggard who was passing along the street. He hurried to the mill and before he reached it Clyde, a brother of Coad, heard his brother’s feet striking the joists and he thought the noise was made by a broken bolt. Clyde then hurried to the engine room and shut off steam; then saw his unfortunate brother in a horrifying position whirling on the line shaft, bound tight to the shaft with his hunting coat. ā€œAre you hurt,ā€ asked Clyde. ā€œLook at my foot!ā€ answered Coad. The foot was lying on the floor in a shapeless mass. ā€œI am afraid you are fatally hurt,ā€ said Clyde. ā€œI know it," said Coad. ā€œTell Billie (Griner) how it happened and take good care of my dogs.ā€ By this time many people had gathered at the mill. His hunting coat was cut loose from the shaft and he was carried home where Drs. J.F. Genolin and Ray Tilton examined his injuries. They found that they would have great trouble in saving his life. His right foot was mashed to a pulp and amputation was found necessary. The operation was performed at 7 p.m. by Drs. Genolin and Tilton, assisted by Dr. Ward of Georgetown. His left foot was also mashed in a horrible manner, his left shoulder and arm badly bruised and he received internal injuries. He lingered until Monday night at 11 o’clock when death came to his relief. During his 57 hours of intense suffering he did not lose consciousness, and an hour before dying he called his parents, sisters and brothers to his bedside and bid them good-by, telling them that he was prepared to die. The untimely death of the young man is a severe blow to the family. Coad was a happy hearted, genial and promising young man in his 21st year, and the accident is universally deplored by the people who have learned of the sad event. The sympathy of the entire community is extended to the broken-hearted father, mother, sisters and brothers, who sit in sorrow where his footsteps shall never again find echo. The funeral services were held at the Christian Church at 10:30 o’clock Tuesday morning. Elder O. A. Stump officiating. The casket was covered with the most beautiful floral designs loving fingers were wrought, all of which spoke of peace, purity and immortality. At the close of the services an unusual long procession followed the funeral car to our silent city – Greenlawn cemetery – where the remains were laid to rest. The pall-bearers were Professor Fuselberger, Lee Bright, Allen Tomlinson, Samuel Bradley, Dennis Calvin and Frank Colvin. Farewell, Coad. May God’s purest angels guard your slumbers. (Brown County Democrat – Dec. 5, 1907)

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į““įµƒįµ›įµ‰ ᵗʰᵉʸ ᵃⁿʸ ᶠᵃᵐⁱ˔ʸ? ᔆᵒᵐᵉ Ź°įµƒįµ›įµ‰ ᵐᵃⁿʸ ᶠ˔ᵒʷᵉʳˢ įµ–Ė”įµƒį¶œįµ‰įµˆā€§ ᓬʳᵉ ᵗʰᵉ ʳᵒˢᵉˢ įµƒŹ³įµ—ā±į¶ ā±į¶œā±įµƒĖ” įµ‡įµ‰į¶œįµƒįµ˜Ė¢įµ‰ ᵗʰᵉʸ Ė”įµ’įµ’įµ ˢᵒ ᶠʳᵉˢʰ‧‧‧ ᓵ ˔ᵒᵛᵉ ᵗʰᵉ į¶œįµ’Ė”įµ’įµ˜Ź³Ė¢! į“®įµ˜įµ— ᓵ ᵗʳʸ ⁿᵒᵗ įµ—įµ’ ʳᵘˢʰ įµ‡įµ‰į¶œįµƒįµ˜Ė¢įµ‰ ⁱᵗ'Ė¢ ᵃ Ė¢įµƒį¶œŹ³įµ‰įµˆ įµ–Ė”įµƒį¶œįµ‰ā€§ į“±įµ›įµ‰āæįµ—įµ˜įµƒĖ”Ė”Źøāø“ ʷʰᵉⁿ ᓵ Ė”įµ‰įµƒįµ›įµ‰āø“ ᓵ Ė”įµ’įµ’įµ įµ‡įµƒį¶œįµ įµƒįµ— ᵗʰᵉ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø Ź·Ź°įµ‰āæį¶œįµ‰ ᓵ į¶œįµƒįµįµ‰ā€§ ᓬ˔˔ ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ Ź°įµƒįµ›įµ‰ ᓬ ˔ⁱᶠᵉ ˢᵗᵒʳʸ ʷᵒʳᵗʰ įµ—įµ‰Ė”Ė”ā±āæįµ ᵃⁿᵈ įµāæįµ’Ź·ā±āæįµā€§ ᓵ'ᵐ ˢᵉʳᵉⁿᵉ ʷʰᵉⁿ ᵇʸ ᓵ įµįµ‰įµ— įµ—įµ’ ᵗʰᵉ į¶œįµƒŹ³ā€§ į“æįµ‰įµįµ‰įµįµ‡įµ‰Ź³ā±āæįµ ᵃ Ė”įµ’įµ›įµ‰įµˆ ᵒⁿᵉ įµˆįµ’įµ‰Ė¢āæā€™įµ— āæįµ‰į¶œįµ‰Ė¢Ė¢įµƒŹ³ā±Ė”Źø āæįµ‰įµ‰įµˆ įµ—įµ’ įµ‰āæįµˆ įµƒįµ— ᵗʰᵉ į¶ įµ˜āæįµ‰Ź³įµƒĖ” ʰᵒᵐᵉ ᵒʳ įµįµ‰įµįµ’Ź³ā±įµƒĖ” Ė¢įµ‰Ź³įµ›ā±į¶œįµ‰ā€§ ᓬ įµ—įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰ ⁱˢ ᵒⁿᵉ ʷʰᵒ įµ—įµƒįµįµ‰Ė¢ ᵃⁿ ⁱⁿᵗᵉʳᵉˢᵗ ⁱⁿ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢āø“ ᵗᵒᵐᵇˢᵗᵒⁿᵉˢ⸓ ᵒʳ ᵐᵉᵐᵒʳʸ įµ’į¶  įµ–įµƒĖ¢įµ— ˔ⁱᵛᵉˢ‧ ᵀʰᵉʳᵉ įµƒŹ³įµ‰ ˢᵒ ᵐᵃⁿʸ įµˆā±į¶ į¶ įµ‰Ź³įµ‰āæįµ— Ź³įµ‰įµƒĖ¢įµ’āæĖ¢ ʷʰʸ ᵖᵉᵒᵖ˔ᵉ Ė”ā±įµįµ‰ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢ ᵃⁿᵈ ᵗʰᵉʳᵉ įµƒŹ³įµ‰ ˢᵒ ᵐᵃⁿʸ ᵖᵉᵒᵖ˔ᵉ ʷʰᵒ įµˆįµ’ā€§ į““įµƒįµ›įµ‰ Źøįµ’įµ˜ ᵉᵛᵉʳ įµ—Ź°įµ’įµ˜įµŹ°įµ— įµƒįµ‡įµ’įµ˜įµ— ⁱᵗ? į“°įµ’ į¶ Ź³ā±įµ‰āæįµˆĖ¢ ᵃⁿᵈ ᶠᵃᵐⁱ˔ʸ įµ—Ź°ā±āæįµ ᵗʰⁱˢ ⁱˢ įµ’įµˆįµˆāø“ ᵒʳ įµˆįµ’ ᵗʰᵉʸ Ė¢Ź°įµƒŹ³įµ‰ ᵗʰⁱˢ ⁱⁿᵗᵉʳᵉˢᵗ ʷⁱᵗʰ Źøįµ’įµ˜? į“°įµ’ Źøįµ’įµ˜ ˔ᵒᵛᵉ Ź³įµ‰įµƒįµˆā±āæįµ ᵗʰᵉ įµ‰įµ–ā±įµ—įµƒįµ–Ź°Ė¢? ᵀʰᵉʸ ᶜᵃⁿ ᵇᵉ įµ—Ź°įµ’įµ˜įµŹ°įµ— įµ–Ź³įµ’įµ›įµ’įµā±āæįµāø“ Ź°įµ‰įµƒŹ³įµ— Ź·Ź³įµ‰āæį¶œŹ°ā±āæįµ ᵃⁿᵈ Ė”įµ’įµ›ā±āæįµā€§ į“³įµ‰įµ—įµ—ā±āæįµ ᵃ ˔ⁱᵗᵗ˔ᵉ įµĖ”ā±įµįµ–Ė¢įµ‰ ⁱⁿᵗᵒ ᵗʰᵉ ᵖᵉʳˢᵒⁿ’ˢ ˔ⁱᶠᵉ⸓ ā€œį“®įµ‰Ė”įµ’įµ›įµ‰įµˆ į¶ įµƒįµ—Ź°įµ‰Ź³āø“ ᔆʷᵉᵉᵗ į“¬āæįµįµ‰Ė”ā€ā€§ ᵂʰᵉⁿ ᵗʰᵉʸ ʷᵉʳᵉ ᵇᵒʳⁿ⸓ ʷʰᵉⁿ ᵗʰᵉʸ įµˆā±įµ‰įµˆā€§ Źøįµ’įµ˜ ᶜᵃⁿ Ė”įµ‰įµƒŹ³āæ ˢᵒ ᵐᵘᶜʰ ᶠʳᵒᵐ Ź³įµ‰įµƒįµˆā±āæįµ ᵗʰᵉ ᵗᵒᵐᵇˢᵗᵒⁿᵉ‧ ᓰⁱᵈ ᵗʰᵉʸ Ź°įµƒįµ›įµ‰ ᵃ ᶠᵃᵐⁱ˔ʸ⸓ į¶œŹ°ā±Ė”įµˆŹ³įµ‰āæāø“ įµ–įµƒŹ³įµ‰āæįµ—Ė¢āø“ Ė¢įµ–įµ’įµ˜Ė¢įµ‰? ᵂᵉʳᵉ ᵗʰᵉʸ ⁱⁿ ᵗʰᵉ Ė¢įµ‰Ź³įµ›ā±į¶œįµ‰āø“ ᵃⁿ ᵉˣᵖ˔ᵒʳᵉʳ ᵃⁿ įµƒŹ³įµ—ā±Ė¢įµ—āø“ ᵃ ᵖᵒᵉᵗ? ᓵˢ ⁱᵗ ᵗʰᵉ įµ‡įµ‰įµƒįµ˜įµ—Źø įµ’į¶  į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢? ᵀʰᵉ įµ–įµƒŹ³įµ Ė”ā±įµįµ‰ Ė¢įµ‰įµ—įµ—ā±āæįµ ʷⁱᵗʰ įµ’Ź³āæįµƒįµ—įµ‰ ᵗᵒᵐᵇˢᵗᵒⁿᵉˢ‧ ᵀʰᵉ įµ–įµ‰įµƒį¶œįµ‰ ᵃⁿᵈ ˢᵉʳᵉⁿⁱᵗʸ‧ ᵀʰᵉ įµˆįµ‰į¶œįµƒŹøā±āæįµ ᵗᵒᵐᵇˢᵗᵒⁿᵉˢ įµ’į¶  Ź·įµ’įµ’įµˆ ⁱⁿ ᵃ įµŹ°įµ’Ė¢įµ— ᵗᵒʷⁿ‧ į“æįµ‰įµāæįµƒāæįµ—Ė¢ įµ’į¶  Źøįµ‰Ė¢įµ—įµ‰Ź³Źøįµ‰įµƒŹ³ā€§ ᓬ ˢᵗᵒʳʸ įµ’į¶  ᵃ ᵗⁱᵐᵉ⸓ įµ’į¶  ᵃ įµ–Ė”įµƒį¶œįµ‰ ᵃⁿᵈ ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ ʷʰᵒ Ė”ā±įµ›įµ‰įµˆ ᵃⁿᵈ įµˆā±įµ‰įµˆ ᵗʰᵉʳᵉ‧ ᓵˢ ⁱᵗ ᵗʰᵉ įµƒŹ³į¶œŹ°ā±įµ—įµ‰į¶œįµ—įµ˜Ź³įµ‰ įµ—Ź°įµƒįµ— ᵈʳᵃʷˢ Źøįµ’įµ˜? ᵀʰᵉ įµ‡įµ‰įµƒįµ˜įµ—ā±į¶ įµ˜Ė” į¶œįµƒŹ³įµ›įµ‰įµˆ ᵗᵒᵐᵇˢᵗᵒⁿᵉˢ ᵃⁿᵈ Ė¢įµ—įµƒįµ—įµ˜įµ‰Ė¢ā€§ ᵀʰᵉ Ė¢įµ—įµƒā±āæįµ‰įµˆ įµĖ”įµƒĖ¢Ė¢ ᵃⁿᵈ Ź·Ź³įµ’įµ˜įµŹ°įµ— ⁱʳᵒⁿ‧ ᓹᵘᶜʰ ᵗⁱᵐᵉ ᵃⁿᵈ įµ—Ź°įµ’įµ˜įµŹ°įµ— įµįµ’ ⁱⁿᵗᵒ ᵗʰᵉ Ź³įµ‰įµįµ‰įµįµ‡Ź³įµƒāæį¶œįµ‰ įµ’į¶  ᵃ ˔ⁱᶠᵉ įµ—Ź°įµƒįµ— įµ’āæį¶œįµ‰ Ź·įµƒĖ¢ā€§ į“æįµ‰Ė¢įµ–įµ‰į¶œįµ— ᵗʰᵒˢᵉ įµ—Ź°įµƒįµ— įµƒŹ³įµ‰ įµįµ’āæįµ‰ ᵃⁿᵈ ᵗʰᵉ įµ–Ė”įµƒį¶œįµ‰ įµ’į¶  Ź³įµ‰įµįµ‰įµįµ‡Ź³įµƒāæį¶œįµ‰āø“ įµ‰āæįµˆĖ”įµ‰Ė¢Ė¢Ė”Źø į¶ įµƒĖ¢į¶œā±āæįµƒįµ—įµ‰įµˆ ᵇʸ ᵖᵉᵒᵖ˔ᵉ ᵃⁿᵈ ᵗʰᵉⁱʳ ˢᵗᵒʳⁱᵉˢ‧ į“°įµ’ ᵗʰᵉʸ Ź°įµƒįµ›įµ‰ ᵃ ˢⁱᵐᵖ˔ᵉ Ź³įµ‰į¶œįµ—įµƒāæįµĖ”įµ‰ įµ’į¶  įµįµƒŹ³įµ‡Ė”įµ‰ ᵒʳ ᵃⁿ įµ‰Ė”įµƒįµ‡įµ’Ź³įµƒįµ—įµ‰Ė”Źø į¶œŹ°ā±Ė¢įµ‰Ė”Ė”įµ‰įµˆ įµƒāæįµįµ‰Ė”? ᓬʳᵉ ᵗʰᵉʳᵉ ᶠ˔ᵒʷᵉʳˢ⸓ ᵃⁿᵈ įµˆįµ’ ᵗʰᵉʸ Ė”įµ’įµ’įµ ᶠʳᵉˢʰ? įµ‚Ź°įµƒįµ— Ź°įµƒįµ–įµ–įµ‰āæįµ‰įµˆ įµ—įµ’ ⁱᵗ'Ė¢ ā±āæŹ°įµƒįµ‡ā±įµ—įµƒāæįµ—Ė¢? ᓾʳᵒᶠᵉˢˢᵒʳ į“°įµƒįµ›ā±įµ‰Ė¢ ˢᵃʸˢ ʰᵉʳ ˔ᵒᵛᵉ ᶠᵒʳ įµŹ³įµƒįµ›įµ‰ŹøįµƒŹ³įµˆĖ¢ Ė”įµ‰įµƒāæĖ¢ ᵐᵒʳᵉ įµ—įµ’Ź·įµƒŹ³įµˆ įµ‡ā±įµ‡Ė”ā±įµ’įµ–Ź°ā±Ė”ā±įµƒ ⁽ᵃ ˔ᵒᵛᵉ įµ’į¶  įµ‡įµ’įµ’įµĖ¢ā¾ įµ—Ź°įµƒāæ āæįµ‰į¶œŹ³įµ’įµ–Ź°ā±Ė”ā±įµƒ ā€œįµ’Ź³ ᵃⁿʸ ᵒᵗʰᵉʳ įµ‰į‘«įµ˜įµƒĖ”Ė”Źø įµŹ³įµ’Ė¢Ė¢ ᵒʳ įµįµ’Ź³įµ‡ā±įµˆ įµˆįµ‰Ź³įµƒāæįµįµ‰įµįµ‰āæįµ—ā€§ā€ ᓵⁿ ᵗʰᵉ įµ‰āæįµˆāø“ ˢʰᵉ Ź³įµ‰Ź²įµ‰į¶œįµ—Ė¢ ᵗʰᵉ ᵗᵉʳᵐ įµ—įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰ ᵃⁿᵈ įµˆįµ‰į¶œā±įµˆįµ‰Ė¢ įµ—įµ’ ᶜᵃ˔˔ ʰᵉʳˢᵉ˔ᶠ ᵃ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµƒāæā€§ ᓵᵗ’ˢ Ź²įµ˜Ė¢įµ— įµįµƒįµˆįµ‰ Ź°įµƒįµ–įµ–Źø įµ—įµ’ įµāæįµ’Ź· ˢᵒ ᵐᵃⁿʸ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø įµ’Ź³įµįµƒāæā±į¶»įµƒįµ—ā±įµ’āæĖ¢ įµƒŹ³įµ‰ įµ’įµ˜įµ— ᵗʰᵉʳᵉ⸓ įµˆįµ’ā±āæįµ ᵗʰᵉ įµįµ’įµ’įµˆ Ź·įµ’Ź³įµāø“ Ź³įµ‰Ė¢įµ‰įµƒŹ³į¶œŹ°ā±āæįµ ᵃⁿᵈ įµˆįµ’į¶œįµ˜įµįµ‰āæįµ—ā±āæįµ ᵃⁿᵈ įµ–Ź³įµ’įµ—įµ‰į¶œįµ—ā±āæįµ ᵗʰᵉˢᵉ į¶ Ź³įµƒįµā±Ė”įµ‰ įµ–Ė”įµƒį¶œįµ‰Ė¢ā€§ ᓱᵃᶜʰ ᵗᵉ˔˔ⁱ ᵃ ˢᵗᵒʳʸ įµ—Ź°įµƒįµ— ⁱˢ įµ˜āæā±į‘«įµ˜įµ‰Ė”Źø ᵗʰᵉⁱʳ ᵒʷⁿ‧ ᓬ įµ—įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰ ᵇʸ įµˆįµ‰į¶ ā±āæā±įµ—ā±įµ’āæ ⁱˢ ˢᵒᵐᵉᵒⁿᵉ ʷʰᵒ ⁱˢ ā±āæįµ—įµ‰Ź³įµ‰Ė¢įµ—įµ‰įµˆ ⁱⁿ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢āø“ įµŹ³įµƒįµ›įµ‰Ė¢įµ—įµ’āæįµ‰Ė¢āø“ ᵃⁿᵈ ᵗʰᵉ įµƒŹ³įµ— ᵃⁿᵈ ʰⁱˢᵗᵒʳʸ įµ—Ź°įµƒįµ— įµįµ’įµ‰Ė¢ įµƒĖ”įµ’āæįµ ʷⁱᵗʰ ᵗʰᵉᵐ‧ ᔆᵒᵐᵉ įµ—įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰Ė¢ įµƒŹ³įµ‰ įµƒĖ”Ė¢įµ’ ā±āæįµ—įµ‰Ź³įµ‰Ė¢įµ—įµ‰įµˆ ⁱⁿ į¶ įµ˜āæįµ‰Ź³įµƒĖ”Ė¢ ᵃⁿᵈ į¶ įµ˜āæįµ‰Ź³įµƒŹ³Źø įµ—Ź³įµƒįµˆā±įµ—ā±įµ’āæĖ¢ ᵒᵛᵉʳ ᵗʰᵉ Źøįµ‰įµƒŹ³Ė¢ā€§ įµ€įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰Ė¢ įµƒŹ³įµ‰ ⁿᵒᵗ įµŹ°įµ’įµ˜Ė”ā±Ė¢Ź° į¶ įµ’Ė”įµĖ¢ ʷⁱᵗʰ įµˆįµ‰įµƒįµ—Ź° ᵒᵇˢᵉˢˢⁱᵒⁿˢ‧ ᓵⁿ į¶ įµƒį¶œįµ—āø“ ᵗʰᵉʸ ᶜᵃⁿ ᵇᵉ į‘«įµ˜ā±įµ—įµ‰ ᵗʰᵉ ᵒᵖᵖᵒˢⁱᵗᵉ‧ įµ€įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰Ė¢ Ź·įµƒāæįµ— įµ—įµ’ įµāæįµ’Ź· įµƒįµ‡įµ’įµ˜įµ— ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ įµ‡įµ˜Ź³ā±įµ‰įµˆ ⁱⁿ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢ā€§ ᵀʰᵉʸ Ź·įµƒāæįµ— įµ—įµ’ Ė”įµ‰įµƒŹ³āæ įµƒįµ‡įµ’įµ˜įµ— ᵗʰᵉ ʰⁱˢᵗᵒʳʸ įµ’į¶  ā±āæįµˆā±įµ›ā±įµˆįµ˜įµƒĖ”Ė¢āø“ įµƒāæį¶œįµ‰Ė¢įµ—įµ’Ź³Ė¢āø“ ᵃⁿᵈ ᵉᵛᵉⁿ ᵗʰᵉ į¶œįµ’įµįµįµ˜āæā±įµ—Źøā€§ ᓬⁿᵈ ʷʰᵉⁿ Źøįµ’įµ˜ ᶠⁱⁿᵈ ᵃ įµŹ³įµƒįµ›įµ‰Ė¢įµ—įµ’āæįµ‰ įµ—Ź°įµƒįµ— Ė”ā±įµ—įµ‰Ź³įµƒĖ”Ė”Źø ᵗᵉ˔˔ˢ Źøįµ’įµ˜ ᵗʰᵉ ᵖᵉʳˢᵒⁿ’ˢ ˢᵗᵒʳʸ⸓ ⁱᵗ ᶜᵃⁿ ᵇᵉ įµƒįµįµƒį¶»ā±āæįµā€§ ᓮᵉ į¶œįµ’āæĖ¢ā±įµˆįµ‰Ź³įµƒįµ—įµ‰ įµ’į¶  ᵒᵗʰᵉʳˢ‧ ᓵᶠ ᵃ į¶ įµ˜āæįµ‰Ź³įµƒĖ” ⁱˢ ⁱⁿ įµ–Ź³įµ’įµŹ³įµ‰Ė¢Ė¢ ᵒʳ ᵖᵉᵒᵖ˔ᵉ įµƒŹ³įµ‰ įµ›ā±Ė¢ā±įµ—ā±āæįµ ᵃ įµŹ³įµƒįµ›įµ‰āø“ ᵐᵒᵛᵉ įµ—įµ’ įµƒāæįµ’įµ—Ź°įµ‰Ź³ Ė¢įµ‰į¶œįµ—ā±įµ’āæ įµ’į¶  ᵗʰᵉ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źøā€§ į“°įµ’ ⁿᵒᵗ Ė¢įµ—įµƒāæįµˆāø“ ˢⁱᵗ ᵒʳ Ė”įµ‰įµƒāæ įµƒįµįµƒā±āæĖ¢įµ— įµįµ’āæįµ˜įµįµ‰āæįµ—Ė¢ā€§ į“¬Ė¢įµ ᵖᵉʳᵐⁱˢˢⁱᵒⁿ ᶠʳᵒᵐ ᵗʰᵉ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø įµ’į¶ į¶ ā±į¶œįµ‰ ᵇᵉᶠᵒʳᵉ įµˆįµ’ā±āæįµ ᵃ įµŹ³įµƒįµ›įµ‰Ė¢įµ—įµ’āæįµ‰ Ź³įµ˜įµ‡įµ‡ā±āæįµ; ᵗʰᵉʸ ᵐᵃʸ ⁿᵒᵗ ᵇᵉ įµƒĖ”Ė”įµ’Ź·įµ‰įµˆā€§ ᶠᵒ˔˔ᵒʷ ᵃ˔˔ įµ–įµ’Ė¢įµ—įµ‰įµˆ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø Ź³įµ˜Ė”įµ‰Ė¢ā€§
į¶œįµƒįµ—Ź°įµ‰Ź³ā±āæįµ‰ įµ’į¶  į“¾įµ’įµˆįµ‰ĢŒįµ‡Ź³įµƒįµˆŹø ⁽¹¹ ᓺᵒᵛᵉᵐᵇᵉʳ ¹⁓⁓⁹ – ⁸ ᓹᵃʳᶜʰ ¹⁓⁶⁓⁾ ʷᵃˢ į‘«įµ˜įµ‰įµ‰āæ įµ’į¶  į““įµ˜āæįµįµƒŹ³Źø ᵃˢ ᵗʰᵉ Ė¢įµ‰į¶œįµ’āæįµˆ ʷⁱᶠᵉ įµ’į¶  į“·ā±āæįµ į“¹įµƒįµ—įµ—Ź°ā±įµƒĖ¢ į¶œįµ’Ź³įµ›ā±āæįµ˜Ė¢ā€§ į¶œįµƒįµ—Ź°įµ‰Ź³ā±āæįµ‰ ᵃⁿᵈ ʰᵉʳ ᵗʷⁱⁿ ˢⁱˢᵗᵉʳ į”†ā±įµˆįµ’āæā±įµ‰ ʷᵉʳᵉ ᵇᵒʳⁿ įµƒįµ— į“¾įµ’įµˆįµ‰ĢŒįµ‡Ź³įµƒįµˆŹø įµ—įµ’ ᵗʰᵉ į“®įµ’Ź°įµ‰įµā±įµƒāæ įµā±āæįµ į“³įµ‰įµ’Ź³įµįµ‰ įµ’į¶  į“¾įµ’įµˆįµ‰ĢŒįµ‡Ź³įµƒįµˆŹø ᵃⁿᵈ ʰⁱˢ ᶠⁱʳˢᵗ ʷⁱᶠᵉ į“·įµ˜āæā±įµįµ˜āæįµˆįµ‰ įµ’į¶  į”†ĢŒįµ—įµ‰Ź³āæįµ‡įµ‰Ź³įµā€§ į“·įµ˜āæā±įµįµ˜āæįµˆįµ‰ įµˆā±įµ‰įµˆ ᶠʳᵒᵐ į¶œįµ’įµįµ–Ė”ā±į¶œįµƒįµ—ā±įµ’āæĖ¢ įµ’į¶  ᵗʰᵉ ᵇⁱʳᵗʰ‧ į“³įµ‰įµ’Ź³įµįµ‰ įµ’į¶  į“¾įµ’įµˆįµ‰ĢŒįµ‡Ź³įµƒįµˆŹø įµ‰įµ›įµ‰āæįµ—įµ˜įµƒĖ”Ė”Źø Ź³įµ‰įµįµƒŹ³Ź³ā±įµ‰įµˆ ʰⁱˢ Ė¢įµ‰į¶œįµ’āæįµˆ ʷⁱᶠᵉ į“¶įµ’įµƒāæāæįµƒ įµ’į¶  į“æįµ’į¶»ĢŒįµā±įµ—įµƒĢĖ” ᵇᵒʳᵉ į“³įµ‰įµ’Ź³įµįµ‰ ᵐᵒʳᵉ į¶œŹ°ā±Ė”įµˆŹ³įµ‰āæ ā±āæį¶œĖ”įµ˜įµˆā±āæįµ ᓸᵘᵈᵐⁱ˔ᵃ įµ’į¶  į“¾įµ’įµˆįµ‰ĢŒįµ‡Ź³įµƒįµˆŹøā€§ į“¹įµƒįµ—įµ—Ź°ā±įµƒĖ¢ ʷᵃˢ įµ‰ā±įµŹ°įµ—įµ‰įµ‰āæ ʰⁱˢ įµ‡Ź³ā±įµˆįµ‰ ᵗʰⁱʳᵗᵉᵉⁿ‧ ᵀʰᵉ Ź·įµ‰įµˆįµˆā±āæįµ āæįµ‰įµįµ’įµ—ā±įµƒįµ—ā±įµ’āæĖ¢ ʰᵃᵈ įµ‡įµ‰įµįµ˜āæ ⁱⁿ ¹⁓⁵⁸ ʷʰᵉⁿ į¶œįµƒįµ—Ź°įµ‰Ź³ā±āæįµ‰ ʷᵃˢ ⁿⁱⁿᵉ Źøįµ‰įµƒŹ³Ė¢ įµ’Ė”įµˆā€§ ᔆᵒᵒⁿ įµƒį¶ įµ—įµ‰Ź³ ᵗʰᵉ įµįµƒŹ³Ź³ā±įµƒįµįµ‰ į¶œįµƒįµ—Ź°įµ‰Ź³ā±āæįµ‰ ˔ᵉᶠᵗ ʰᵉʳ ᶠᵃᵐⁱ˔ʸ ᵃⁿᵈ ʷᵉⁿᵗ įµ—įµ’ ˔ⁱᵛᵉ ⁱⁿ į““įµ˜āæįµįµƒŹ³Źø ʷⁱᵗʰ ʰᵉʳ ⁿᵉʷ Ź°įµ˜Ė¢įµ‡įµƒāæįµˆā€§ ᓶᵃⁿᵘˢ į“¾įµƒāæāæįµ’āæā±įµ˜Ė¢ Ź°įµ‰Ė”įµ–įµ‰įµˆ įµ—įµ‰įµƒį¶œŹ° į¶œįµƒįµ—Ź°įµ‰Ź³ā±āæįµ‰ į“øįµƒįµ—ā±āæā€§ ᵀʰᵉ į‘«įµ˜įµ‰įµ‰āæ įµˆā±įµ‰įµˆ ⁱⁿ į¶œŹ°ā±Ė”įµˆįµ‡ā±Ź³įµ—Ź° įµƒį¶ įµ—įµ‰Ź³ įµįµ‰įµ—įµ—ā±āæįµ įµ–Ź³įµ‰įµāæįµƒāæįµ— įµƒįµ— ᵗʰᵉ įµƒįµįµ‰ įµ’į¶  ¹⁓‧ ᵀʰᵉ įµ’į¶ į¶ Ė¢įµ–Ź³ā±āæįµ įµˆā±įµ‰įµˆ ᵃˢ ʷᵉ˔˔‧ ᵀʰᵉ ᵉᵛᵉⁿᵗ į¶œįµƒįµ˜Ė¢įµ‰įµˆ į“¹įµƒįµ—įµ—Ź°ā±įµƒĖ¢ įµ—įµ’ ˔ᵒˢᵉ ʰᵒᵖᵉ įµ’į¶  Ė¢ā±Ź³ā±āæįµ ᵃ Ė”įµ‰įµā±įµ—ā±įµįµƒįµ—įµ‰ ʰᵉⁱʳ‧
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į“æįµ‰įµįµ‰įµįµ‡įµ‰Ź³ā±āæįµ ᵃ Ė”įµ’įµ›įµ‰įµˆ ᵒⁿᵉ įµˆįµ’įµ‰Ė¢āæā€™įµ— āæįµ‰į¶œįµ‰Ė¢Ė¢įµƒŹ³ā±Ė”Źø āæįµ‰įµ‰įµˆ įµ—įµ’ įµ‰āæįµˆ įµƒįµ— ᵗʰᵉ į¶ įµ˜āæįµ‰Ź³įµƒĖ” ʰᵒᵐᵉ ᵒʳ įµįµ‰įµįµ’Ź³ā±įµƒĖ” Ė¢įµ‰Ź³įµ›ā±į¶œįµ‰ā€§ ᓬ įµ—įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰ ⁱˢ ᵒⁿᵉ ʷʰᵒ įµ—įµƒįµįµ‰Ė¢ ᵃⁿ ⁱⁿᵗᵉʳᵉˢᵗ ⁱⁿ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢āø“ ᵗᵒᵐᵇˢᵗᵒⁿᵉˢ⸓ ᵒʳ ᵐᵉᵐᵒʳʸ įµ’į¶  įµ–įµƒĖ¢įµ— ˔ⁱᵛᵉˢ‧ ᵀʰᵉʳᵉ įµƒŹ³įµ‰ ˢᵒ ᵐᵃⁿʸ įµˆā±į¶ į¶ įµ‰Ź³įµ‰āæįµ— Ź³įµ‰įµƒĖ¢įµ’āæĖ¢ ʷʰʸ ᵖᵉᵒᵖ˔ᵉ Ė”ā±įµįµ‰ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢ ᵃⁿᵈ ᵗʰᵉʳᵉ įµƒŹ³įµ‰ ˢᵒ ᵐᵃⁿʸ ᵖᵉᵒᵖ˔ᵉ ʷʰᵒ įµˆįµ’ā€§ į““įµƒįµ›įµ‰ Źøįµ’įµ˜ ᵉᵛᵉʳ įµ—Ź°įµ’įµ˜įµŹ°įµ— įµƒįµ‡įµ’įµ˜įµ— ⁱᵗ? į“°įµ’ į¶ Ź³ā±įµ‰āæįµˆĖ¢ ᵃⁿᵈ ᶠᵃᵐⁱ˔ʸ įµ—Ź°ā±āæįµ ᵗʰⁱˢ ⁱˢ įµ’įµˆįµˆāø“ ᵒʳ įµˆįµ’ ᵗʰᵉʸ Ė¢Ź°įµƒŹ³įµ‰ ᵗʰⁱˢ ⁱⁿᵗᵉʳᵉˢᵗ ʷⁱᵗʰ Źøįµ’įµ˜? į“°įµ’ Źøįµ’įµ˜ ˔ᵒᵛᵉ Ź³įµ‰įµƒįµˆā±āæįµ ᵗʰᵉ įµ‰įµ–ā±įµ—įµƒįµ–Ź°Ė¢? ᵀʰᵉʸ ᶜᵃⁿ ᵇᵉ įµ—Ź°įµ’įµ˜įµŹ°įµ— įµ–Ź³įµ’įµ›įµ’įµā±āæįµāø“ Ź°įµ‰įµƒŹ³įµ— Ź·Ź³įµ‰āæį¶œŹ°ā±āæįµ ᵃⁿᵈ Ė”įµ’įµ›ā±āæįµā€§ į“³įµ‰įµ—įµ—ā±āæįµ ᵃ ˔ⁱᵗᵗ˔ᵉ įµĖ”ā±įµįµ–Ė¢įµ‰ ⁱⁿᵗᵒ ᵗʰᵉ ᵖᵉʳˢᵒⁿ’ˢ ˔ⁱᶠᵉ⸓ ā€œį“®įµ‰Ė”įµ’įµ›įµ‰įµˆ į¶ įµƒįµ—Ź°įµ‰Ź³āø“ ᔆʷᵉᵉᵗ į“¬āæįµįµ‰Ė”ā€ā€§ ᵂʰᵉⁿ ᵗʰᵉʸ ʷᵉʳᵉ ᵇᵒʳⁿ⸓ ʷʰᵉⁿ ᵗʰᵉʸ įµˆā±įµ‰įµˆā€§ Źøįµ’įµ˜ ᶜᵃⁿ Ė”įµ‰įµƒŹ³āæ ˢᵒ ᵐᵘᶜʰ ᶠʳᵒᵐ Ź³įµ‰įµƒįµˆā±āæįµ ᵗʰᵉ ᵗᵒᵐᵇˢᵗᵒⁿᵉ‧ ᓰⁱᵈ ᵗʰᵉʸ Ź°įµƒįµ›įµ‰ ᵃ ᶠᵃᵐⁱ˔ʸ⸓ į¶œŹ°ā±Ė”įµˆŹ³įµ‰āæāø“ įµ–įµƒŹ³įµ‰āæįµ—Ė¢āø“ Ė¢įµ–įµ’įµ˜Ė¢įµ‰? ᵂᵉʳᵉ ᵗʰᵉʸ ⁱⁿ ᵗʰᵉ Ė¢įµ‰Ź³įµ›ā±į¶œįµ‰āø“ ᵃⁿ ᵉˣᵖ˔ᵒʳᵉʳ ᵃⁿ įµƒŹ³įµ—ā±Ė¢įµ—āø“ ᵃ ᵖᵒᵉᵗ? ᓵˢ ⁱᵗ ᵗʰᵉ įµ‡įµ‰įµƒįµ˜įµ—Źø įµ’į¶  į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢? ᵀʰᵉ įµ–įµƒŹ³įµ Ė”ā±įµįµ‰ Ė¢įµ‰įµ—įµ—ā±āæįµ ʷⁱᵗʰ įµ’Ź³āæįµƒįµ—įµ‰ ᵗᵒᵐᵇˢᵗᵒⁿᵉˢ‧ ᵀʰᵉ įµ–įµ‰įµƒį¶œįµ‰ ᵃⁿᵈ ˢᵉʳᵉⁿⁱᵗʸ‧ ᵀʰᵉ įµˆįµ‰į¶œįµƒŹøā±āæįµ ᵗᵒᵐᵇˢᵗᵒⁿᵉˢ įµ’į¶  Ź·įµ’įµ’įµˆ ⁱⁿ ᵃ įµŹ°įµ’Ė¢įµ— ᵗᵒʷⁿ‧ į“æįµ‰įµāæįµƒāæįµ—Ė¢ įµ’į¶  Źøįµ‰Ė¢įµ—įµ‰Ź³Źøįµ‰įµƒŹ³ā€§ ᓬ ˢᵗᵒʳʸ įµ’į¶  ᵃ ᵗⁱᵐᵉ⸓ įµ’į¶  ᵃ įµ–Ė”įµƒį¶œįµ‰ ᵃⁿᵈ ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ ʷʰᵒ Ė”ā±įµ›įµ‰įµˆ ᵃⁿᵈ įµˆā±įµ‰įµˆ ᵗʰᵉʳᵉ‧ ᓵˢ ⁱᵗ ᵗʰᵉ įµƒŹ³į¶œŹ°ā±įµ—įµ‰į¶œįµ—įµ˜Ź³įµ‰ įµ—Ź°įµƒįµ— ᵈʳᵃʷˢ Źøįµ’įµ˜? ᵀʰᵉ įµ‡įµ‰įµƒįµ˜įµ—ā±į¶ įµ˜Ė” į¶œįµƒŹ³įµ›įµ‰įµˆ ᵗᵒᵐᵇˢᵗᵒⁿᵉˢ ᵃⁿᵈ Ė¢įµ—įµƒįµ—įµ˜įµ‰Ė¢ā€§ ᵀʰᵉ Ė¢įµ—įµƒā±āæįµ‰įµˆ įµĖ”įµƒĖ¢Ė¢ ᵃⁿᵈ Ź·Ź³įµ’įµ˜įµŹ°įµ— ⁱʳᵒⁿ‧ ᓹᵘᶜʰ ᵗⁱᵐᵉ ᵃⁿᵈ įµ—Ź°įµ’įµ˜įµŹ°įµ— įµįµ’ ⁱⁿᵗᵒ ᵗʰᵉ Ź³įµ‰įµįµ‰įµįµ‡Ź³įµƒāæį¶œįµ‰ įµ’į¶  ᵃ ˔ⁱᶠᵉ įµ—Ź°įµƒįµ— įµ’āæį¶œįµ‰ Ź·įµƒĖ¢ā€§ į“æįµ‰Ė¢įµ–įµ‰į¶œįµ— ᵗʰᵒˢᵉ įµ—Ź°įµƒįµ— įµƒŹ³įµ‰ įµįµ’āæįµ‰ ᵃⁿᵈ ᵗʰᵉ įµ–Ė”įµƒį¶œįµ‰ įµ’į¶  Ź³įµ‰įµįµ‰įµįµ‡Ź³įµƒāæį¶œįµ‰āø“ įµ‰āæįµˆĖ”įµ‰Ė¢Ė¢Ė”Źø į¶ įµƒĖ¢į¶œā±āæįµƒįµ—įµ‰įµˆ ᵇʸ ᵖᵉᵒᵖ˔ᵉ ᵃⁿᵈ ᵗʰᵉⁱʳ ˢᵗᵒʳⁱᵉˢ‧ į“°įµ’ ᵗʰᵉʸ Ź°įµƒįµ›įµ‰ ᵃ ˢⁱᵐᵖ˔ᵉ Ź³įµ‰į¶œįµ—įµƒāæįµĖ”įµ‰ įµ’į¶  įµįµƒŹ³įµ‡Ė”įµ‰ ᵒʳ ᵃⁿ įµ‰Ė”įµƒįµ‡įµ’Ź³įµƒįµ—įµ‰Ė”Źø į¶œŹ°ā±Ė¢įµ‰Ė”Ė”įµ‰įµˆ įµƒāæįµįµ‰Ė”? ᓬʳᵉ ᵗʰᵉʳᵉ ᶠ˔ᵒʷᵉʳˢ⸓ ᵃⁿᵈ įµˆįµ’ ᵗʰᵉʸ Ė”įµ’įµ’įµ ᶠʳᵉˢʰ? įµ‚Ź°įµƒįµ— Ź°įµƒįµ–įµ–įµ‰āæįµ‰įµˆ įµ—įµ’ ⁱᵗ'Ė¢ ā±āæŹ°įµƒįµ‡ā±įµ—įµƒāæįµ—Ė¢? ᓾʳᵒᶠᵉˢˢᵒʳ į“°įµƒįµ›ā±įµ‰Ė¢ ˢᵃʸˢ ʰᵉʳ ˔ᵒᵛᵉ ᶠᵒʳ įµŹ³įµƒįµ›įµ‰ŹøįµƒŹ³įµˆĖ¢ Ė”įµ‰įµƒāæĖ¢ ᵐᵒʳᵉ įµ—įµ’Ź·įµƒŹ³įµˆ įµ‡ā±įµ‡Ė”ā±įµ’įµ–Ź°ā±Ė”ā±įµƒ ⁽ᵃ ˔ᵒᵛᵉ įµ’į¶  įµ‡įµ’įµ’įµĖ¢ā¾ įµ—Ź°įµƒāæ āæįµ‰į¶œŹ³įµ’įµ–Ź°ā±Ė”ā±įµƒ ā€œįµ’Ź³ ᵃⁿʸ ᵒᵗʰᵉʳ įµ‰į‘«įµ˜įµƒĖ”Ė”Źø įµŹ³įµ’Ė¢Ė¢ ᵒʳ įµįµ’Ź³įµ‡ā±įµˆ įµˆįµ‰Ź³įµƒāæįµįµ‰įµįµ‰āæįµ—ā€§ā€ ᓵⁿ ᵗʰᵉ įµ‰āæįµˆāø“ ˢʰᵉ Ź³įµ‰Ź²įµ‰į¶œįµ—Ė¢ ᵗʰᵉ ᵗᵉʳᵐ įµ—įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰ ᵃⁿᵈ įµˆįµ‰į¶œā±įµˆįµ‰Ė¢ įµ—įµ’ ᶜᵃ˔˔ ʰᵉʳˢᵉ˔ᶠ ᵃ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµƒāæā€§ ᓵᵗ’ˢ Ź²įµ˜Ė¢įµ— įµįµƒįµˆįµ‰ Ź°įµƒįµ–įµ–Źø įµ—įµ’ įµāæįµ’Ź· ˢᵒ ᵐᵃⁿʸ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø įµ’Ź³įµįµƒāæā±į¶»įµƒįµ—ā±įµ’āæĖ¢ įµƒŹ³įµ‰ įµ’įµ˜įµ— ᵗʰᵉʳᵉ⸓ įµˆįµ’ā±āæįµ ᵗʰᵉ įµįµ’įµ’įµˆ Ź·įµ’Ź³įµāø“ Ź³įµ‰Ė¢įµ‰įµƒŹ³į¶œŹ°ā±āæįµ ᵃⁿᵈ įµˆįµ’į¶œįµ˜įµįµ‰āæįµ—ā±āæįµ ᵃⁿᵈ įµ–Ź³įµ’įµ—įµ‰į¶œįµ—ā±āæįµ ᵗʰᵉˢᵉ į¶ Ź³įµƒįµā±Ė”įµ‰ įµ–Ė”įµƒį¶œįµ‰Ė¢ā€§ ᓱᵃᶜʰ ᵗᵉ˔˔ⁱ ᵃ ˢᵗᵒʳʸ įµ—Ź°įµƒįµ— ⁱˢ įµ˜āæā±į‘«įµ˜įµ‰Ė”Źø ᵗʰᵉⁱʳ ᵒʷⁿ‧ ᓬ įµ—įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰ ᵇʸ įµˆįµ‰į¶ ā±āæā±įµ—ā±įµ’āæ ⁱˢ ˢᵒᵐᵉᵒⁿᵉ ʷʰᵒ ⁱˢ ā±āæįµ—įµ‰Ź³įµ‰Ė¢įµ—įµ‰įµˆ ⁱⁿ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢āø“ įµŹ³įµƒįµ›įµ‰Ė¢įµ—įµ’āæįµ‰Ė¢āø“ ᵃⁿᵈ ᵗʰᵉ įµƒŹ³įµ— ᵃⁿᵈ ʰⁱˢᵗᵒʳʸ įµ—Ź°įµƒįµ— įµįµ’įµ‰Ė¢ įµƒĖ”įµ’āæįµ ʷⁱᵗʰ ᵗʰᵉᵐ‧ ᔆᵒᵐᵉ įµ—įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰Ė¢ įµƒŹ³įµ‰ įµƒĖ”Ė¢įµ’ ā±āæįµ—įµ‰Ź³įµ‰Ė¢įµ—įµ‰įµˆ ⁱⁿ į¶ įµ˜āæįµ‰Ź³įµƒĖ”Ė¢ ᵃⁿᵈ į¶ įµ˜āæįµ‰Ź³įµƒŹ³Źø įµ—Ź³įµƒįµˆā±įµ—ā±įµ’āæĖ¢ ᵒᵛᵉʳ ᵗʰᵉ Źøįµ‰įµƒŹ³Ė¢ā€§ įµ€įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰Ė¢ įµƒŹ³įµ‰ ⁿᵒᵗ įµŹ°įµ’įµ˜Ė”ā±Ė¢Ź° į¶ įµ’Ė”įµĖ¢ ʷⁱᵗʰ įµˆįµ‰įµƒįµ—Ź° ᵒᵇˢᵉˢˢⁱᵒⁿˢ‧ ᓵⁿ į¶ įµƒį¶œįµ—āø“ ᵗʰᵉʸ ᶜᵃⁿ ᵇᵉ į‘«įµ˜ā±įµ—įµ‰ ᵗʰᵉ ᵒᵖᵖᵒˢⁱᵗᵉ‧ įµ€įµƒįµ–Ź°įµ’įµ–Ź°ā±Ė”įµ‰Ė¢ Ź·įµƒāæįµ— įµ—įµ’ įµāæįµ’Ź· įµƒįµ‡įµ’įµ˜įµ— ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ įµ‡įµ˜Ź³ā±įµ‰įµˆ ⁱⁿ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢ā€§ ᵀʰᵉʸ Ź·įµƒāæįµ— įµ—įµ’ Ė”įµ‰įµƒŹ³āæ įµƒįµ‡įµ’įµ˜įµ— ᵗʰᵉ ʰⁱˢᵗᵒʳʸ įµ’į¶  ā±āæįµˆā±įµ›ā±įµˆįµ˜įµƒĖ”Ė¢āø“ įµƒāæį¶œįµ‰Ė¢įµ—įµ’Ź³Ė¢āø“ ᵃⁿᵈ ᵉᵛᵉⁿ ᵗʰᵉ į¶œįµ’įµįµįµ˜āæā±įµ—Źøā€§ ᓬⁿᵈ ʷʰᵉⁿ Źøįµ’įµ˜ ᶠⁱⁿᵈ ᵃ įµŹ³įµƒįµ›įµ‰Ė¢įµ—įµ’āæįµ‰ įµ—Ź°įµƒįµ— Ė”ā±įµ—įµ‰Ź³įµƒĖ”Ė”Źø ᵗᵉ˔˔ˢ Źøįµ’įµ˜ ᵗʰᵉ ᵖᵉʳˢᵒⁿ’ˢ ˢᵗᵒʳʸ⸓ ⁱᵗ ᶜᵃⁿ ᵇᵉ įµƒįµįµƒį¶»ā±āæįµā€§ ᓮᵉ į¶œįµ’āæĖ¢ā±įµˆįµ‰Ź³įµƒįµ—įµ‰ įµ’į¶  ᵒᵗʰᵉʳˢ‧ ᓵᶠ ᵃ į¶ įµ˜āæįµ‰Ź³įµƒĖ” ⁱˢ ⁱⁿ įµ–Ź³įµ’įµŹ³įµ‰Ė¢Ė¢ ᵒʳ ᵖᵉᵒᵖ˔ᵉ įµƒŹ³įµ‰ įµ›ā±Ė¢ā±įµ—ā±āæįµ ᵃ įµŹ³įµƒįµ›įµ‰āø“ ᵐᵒᵛᵉ įµ—įµ’ įµƒāæįµ’įµ—Ź°įµ‰Ź³ Ė¢įµ‰į¶œįµ—ā±įµ’āæ įµ’į¶  ᵗʰᵉ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źøā€§ į“°įµ’ ⁿᵒᵗ Ė¢įµ—įµƒāæįµˆāø“ ˢⁱᵗ ᵒʳ Ė”įµ‰įµƒāæ įµƒįµįµƒā±āæĖ¢įµ— įµįµ’āæįµ˜įµįµ‰āæįµ—Ė¢ā€§ į“¬Ė¢įµ ᵖᵉʳᵐⁱˢˢⁱᵒⁿ ᶠʳᵒᵐ ᵗʰᵉ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø įµ’į¶ į¶ ā±į¶œįµ‰ ᵇᵉᶠᵒʳᵉ įµˆįµ’ā±āæįµ ᵃ įµŹ³įµƒįµ›įµ‰Ė¢įµ—įµ’āæįµ‰ Ź³įµ˜įµ‡įµ‡ā±āæįµ; ᵗʰᵉʸ ᵐᵃʸ ⁿᵒᵗ ᵇᵉ įµƒĖ”Ė”įµ’Ź·įµ‰įµˆā€§ ᶠᵒ˔˔ᵒʷ ᵃ˔˔ įµ–įµ’Ė¢įµ—įµ‰įµˆ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø Ź³įµ˜Ė”įµ‰Ė¢ā€§
į¶œįµ‰įµįµ‰įµ—įµ‰Ź³ā±įµ‰Ė¢ā€§ įµ‚Ź°įµƒįµ— į¶œįµƒįµįµ‰ įµ—įµ’ Źøįµ’įµ˜Ź³ ᵐⁱⁿᵈ; ᶠᵃᵐⁱ˔ʸ? į“¾įµ‰įµƒį¶œįµ‰ ᵃⁿᵈ į‘«įµ˜ā±įµ‰įµ—? į“¹įµ’āæįµ˜įµįµ‰āæįµ—Ė¢? Źøįµ’įµ˜ įµā±įµŹ°įµ— Ė”įµ’įµ’įµ įµƒįµ— ᵃ Ź³įµƒāæįµˆįµ’įµ įµŹ³įµƒįµ›įµ‰ ᓓᵉʳᵉ ˔ⁱᵉˢ ᔆᵐⁱᵗʰ ¹⁹ˣˣ⁻? į“°įµ’ Źøįµ’įµ˜ Ź·įµ’āæįµˆįµ‰Ź³ įµƒįµ‡įµ’įµ˜įµ— ᵗʰᵉ ᵖᵉʳˢᵒⁿ? ᓵ Ź·įµ’įµ˜Ė”įµˆ'ᵛᵉ ᵇᵉᵉⁿ ᵃⁿ ā±āæį¶ įµƒāæįµ— ʷʰᵉⁿ ʰᵉ įµ–įµƒĖ¢Ė¢įµ‰įµˆā€§ā€§ā€§ įµ‚įµƒĖ¢āæ'įµ— įµŹ³įµƒāæįµˆįµ–įµƒ ᵇᵒʳⁿ ⁱⁿ ᵗʰᵉ Ė¢įµƒįµįµ‰ Źøįµ‰įµƒŹ³? į““įµ’Ź· ᵈⁱᵈ ᔆᵐⁱᵗʰ Ė¢įµ–įµ‰āæįµˆ ʰⁱˢ ᵗⁱᵐᵉ? įµ‚įµƒĖ¢ ᔆᵐⁱᵗʰ Ė¢įµƒįµ—ā±Ė¢į¶ ā±įµ‰įµˆ ᵇʸ ᵗʰᵉ ᵗⁱᵐᵉ ʰᵉ įµˆā±įµ‰įµˆāø“ į¶ įµ˜Ė”į¶ ā±Ė”Ė”ā±āæįµ ᵃ˔˔ ʰⁱˢ įµˆŹ³įµ‰įµƒįµĖ¢? įµ‚įµƒĖ¢ ⁱᵗ Ė¢įµ˜įµˆįµˆįµ‰āæ ʷʰᵉⁿ ⁱᵗ Ź°įµƒįµ–įµ–įµ‰āæįµ‰įµˆāø“ ᵒʳ ʷᵃˢ ⁱᵗ ᶠᵒʳˢᵉᵉⁿ? ᵂʰᵉⁿᵉᵛᵉʳ ᓵ įµįµ’ įµ—įµ’ ᵃ įµŹ³įµƒįµ›įµ‰ŹøįµƒŹ³įµˆāø“ ᓵ įµ—įµ‰āæįµˆ įµ—įµ’ Ź·įµƒāæįµ— įµ—įµ’ ᵉˣᵖ˔ᵒʳᵉ āæįµ‰įµƒŹ³įµ‡Źø įµŹ³įµƒįµ›įµ‰Ė¢; Ź³įµ‰įµƒįµˆā±āæįµ ᵗʰᵉ āæįµƒįµįµ‰Ė¢āø“ ᵗʰᵉⁱʳ ˔ⁱᶠᵉᵗⁱᵐᵉ‧‧‧ ᓰʳʸ Ė”įµ‰įµƒįµ›įµ‰Ė¢ ᶜʳᵘⁿᶜʰ ᵃˢ ᓵ Ź·įµƒĖ”įµ įµˆįµ’Ź·āæ ᵃ ʳᵒʷ‧ ᓵ ᶜᵃⁿ'įµ— ʰᵉ˔ᵖ įµ‡įµ˜įµ— Ź·įµ’āæįµˆįµ‰Ź³ įµƒįµ‡įµ’įµ˜įµ— ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ ʷʰᵒᵐ ᵗʰᵉ įµįµ‰įµįµ’Ź³ā±įµƒĖ”Ė¢ įµƒŹ³įµ‰ ᶠᵒʳ‧ į“øįµ’įµ’įµĖ¢ įµ‡Ź³įµƒāæįµˆ ⁿᵉʷ; ᵒʰ⸓ ⁱᵗ ˢᵃʸˢ ²⁰ˣˣ ˢᵒ ⁱᵗ įµįµ˜Ė¢įµ— ᵇᵉ Ź³įµ‰į¶œįµ‰āæįµ—ā€§ į“¬įµįµƒįµ‡įµ‰Ė”; Ź·Ź°įµƒįµ— ᵃ įµ‡įµ‰įµƒįµ˜įµ—ā±į¶ įµ˜Ė” āæįµƒįµįµ‰! į“¬įµįµƒįµ‡įµ‰Ė”ā€§ā€§ā€§ į“æā±įµŹ°įµ— āæįµ‰įµƒŹ³ ᵗʰᵉⁱʳ įµ‡ā±Ź³įµ—Ź°įµˆįµƒŹøā€½ ᓬ Ź°įµ‰įµƒŹ³įµ— Ė¢Ź°įµƒįµ–įµ‰įµˆ įµŹ³įµƒįµ›įµ‰ā€§ā€§ā€§ ᓵ ᶜᵃⁿ'įµ— ʰᵉ˔ᵖ įµ‡įµ˜įµ— Ź·įµƒāæįµ— įµ—įµ’ įµāæįµ’Ź· įµƒįµ‡įµ’įµ˜įµ— ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ‧ ᔆᵒᵐᵉ įµƒŹ³įµ‰ Źøįµ’įµ˜āæįµįµ‰Ź³ įµ—Ź°įµƒāæ ᵒᵗʰᵉʳˢ ʷʰᵉⁿ ᵗʰᵉⁱʳ ᵗⁱᵐᵉ į¶œįµƒįµįµ‰ā€§ įµ‚Ź°įµƒįµ— Ź°įµƒįµ–įµ–įµ‰āæįµ‰įµˆ? į““įµƒįµ›įµ‰ ᵗʰᵉʸ ᵃⁿʸ ᶠᵃᵐⁱ˔ʸ? ᔆᵒᵐᵉ Ź°įµƒįµ›įµ‰ ᵐᵃⁿʸ ᶠ˔ᵒʷᵉʳˢ įµ–Ė”įµƒį¶œįµ‰įµˆā€§ ᓬʳᵉ ᵗʰᵉ ʳᵒˢᵉˢ įµƒŹ³įµ—ā±į¶ ā±į¶œā±įµƒĖ” įµ‡įµ‰į¶œįµƒįµ˜Ė¢įµ‰ ᵗʰᵉʸ Ė”įµ’įµ’įµ ˢᵒ ᶠʳᵉˢʰ‧‧‧ ᓵ ˔ᵒᵛᵉ ᵗʰᵉ į¶œįµ’Ė”įµ’įµ˜Ź³Ė¢! į“®įµ˜įµ— ᓵ ᵗʳʸ ⁿᵒᵗ įµ—įµ’ ʳᵘˢʰ įµ‡įµ‰į¶œįµƒįµ˜Ė¢įµ‰ ⁱᵗ'Ė¢ ᵃ Ė¢įµƒį¶œŹ³įµ‰įµˆ įµ–Ė”įµƒį¶œįµ‰ā€§ į“±įµ›įµ‰āæįµ—įµ˜įµƒĖ”Ė”Źøāø“ ʷʰᵉⁿ ᓵ Ė”įµ‰įµƒįµ›įµ‰āø“ ᓵ Ė”įµ’įµ’įµ įµ‡įµƒį¶œįµ įµƒįµ— ᵗʰᵉ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø Ź·Ź°įµ‰āæį¶œįµ‰ ᓵ į¶œįµƒįµįµ‰ā€§ ᓬ˔˔ ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ Ź°įµƒįµ›įµ‰ ᓬ ˔ⁱᶠᵉ ˢᵗᵒʳʸ ʷᵒʳᵗʰ įµ—įµ‰Ė”Ė”ā±āæįµ ᵃⁿᵈ įµāæįµ’Ź·ā±āæįµā€§ ᓵ'ᵐ ˢᵉʳᵉⁿᵉ ʷʰᵉⁿ ᵇʸ ᓵ įµįµ‰įµ— įµ—įµ’ ᵗʰᵉ į¶œįµƒŹ³ā€§
į“±įµ˜Ė¢įµ—įµƒį¶œįµ‰ į”†įµƒįµįµ˜įµ‰Ė” į“¬Ė¢į‘«įµ˜ā±įµ—Ź° ᓮᓵᓿᵀᓓ ¹⁸⁸⁷ ᓰᓱᓬᵀᓓ ⁓ ᓬᵖʳ ¹⁸⁸⁹ ā½įµƒįµįµ‰įµˆ ¹–²⁾ ᓮᵁᓿᓵᓬᓸ į“øįµ‰įµ‰įµˆĖ¢ į“³įµ‰āæįµ‰Ź³įµƒĖ” į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø į“øįµ‰įµ‰įµˆĖ¢āø“ į“¹įµ‰įµ—Ź³įµ’įµ–įµ’Ė”ā±įµ—įµƒāæ į“®įµ’Ź³įµ’įµ˜įµŹ° įµ’į¶  į“øįµ‰įµ‰įµˆĖ¢āø“ ᵂᵉˢᵗ Źøįµ’Ź³įµĖ¢Ź°ā±Ź³įµ‰āø“ į“±āæįµĖ”įµƒāæįµˆ ᓾᓸᓼᵀ ²⁰³⁶ į“³Ź³įµƒįµ›įµ‰Ė¢ā±įµ—įµ‰ į“°įµ‰įµ—įµƒā±Ė”Ė¢ į“¬įµįµ‰ā ˜ ² Źøįµ‰įµƒŹ³Ė¢āø“ ᓮⁱʳᵗʰ į“¾Ė”įµƒį¶œįµ‰ā ˜ ᓿⁱᶜᶜᵃ˔˔⸓ į“¬įµ‡įµ’įµˆįµ‰ į“¾Ė”įµƒį¶œįµ‰ā ˜ ⁓ į“¼įµƒįµ—įµ‰Ė¢ į”†į‘«įµ˜įµƒŹ³įµ‰āø“ į¶œįµƒįµ˜Ė¢įµ‰ ᓼᶠ į“°įµ‰įµƒįµ—Ź°ā ˜ į¶œįµ’āæįµ›įµ˜Ė”Ė¢ā±įµ’āæĖ¢āø“ įµ€Ź³įµƒįµˆįµ‰ā ˜ ᶜʰⁱ˔ᵈ⸓ į“³įµ‰āæįµˆįµ‰Ź³ā ˜ ᓹ⸓ į“æįµ‰Ė”įµƒįµ—ā±įµ’āæā ˜ ᓶᵒʰⁿ ᓓᵉʳᵇᵉʳᵗ ᓬᔆᑫᵁᓵᵀᓓ & į¶ Ź³įµƒāæį¶œįµ‰Ė¢ ᓬᔆᑫᵁᓵᵀᓓ⸓ į“æįµ‰Ė”įµƒįµ—ā±įµ’āæ ¹ įµ€Ź³įµƒįµˆįµ‰ā ˜ į“®įµ˜įµ—į¶œŹ°įµ‰Ź³āø“ ⁸ ᓬᵖʳ ¹⁸⁸⁹ ⁱˢ ᵗʰᵉ ⁱⁿᵗᵉʳᵐᵉⁿᵗ įµˆįµƒįµ—įµ‰
ᓹⁱˢˢ į”†Ź°įµƒāæįµ‰ ᓮᓵᓿᵀᓓ ¹⁸⁷⁸ ᓰᓱᓬᵀᓓ ᓹᵃʸ ¹⁸⁹⁶ ā½įµƒįµįµ‰įµˆ ¹⁷–¹⁸⁾ į““įµ‰įµƒŹ³įµ— į“°ā±Ė¢įµ‰įµƒĖ¢įµ‰ ᓮᵁᓿᓵᓬᓸ į“±įµƒĖ¢įµ—įµ‰Ź³āæ į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø ᓶᵉᶠᶠᵉʳˢᵒⁿᵛⁱ˔˔ᵉ⸓ į¶œĖ”įµƒŹ³įµ į¶œįµ’įµ˜āæįµ—Źøāø“ ᓵⁿᵈⁱᵃⁿᵃ⸓ ᵁᔆᓬ
ᓬ˔ᵃⁿ ᓿᵃʸ į“¼Ź³įµ—įµ‰įµįµƒ ᓮᓵᓿᵀᓓ ²⁶ ᓶᵃⁿ ¹⁹⁵³ ᵀᵒᵒᵉ˔ᵉ į¶œįµ’įµ˜āæįµ—Źøāø“ įµįµ—įµƒŹ°āø“ ᵁᔆᓬ ᓰᓱᓬᵀᓓ ²⁶ ᓶᵃⁿ ¹⁹⁵³ ᵀᵒᵒᵉ˔ᵉ į¶œįµ’įµ˜āæįµ—Źøāø“ įµįµ—įµƒŹ°āø“ ᵁᔆᓬ ᓮᵁᓿᓵᓬᓸ ᵀᵒᵒᵉ˔ᵉ į¶œā±įµ—Źø į¶œįµ‰įµįµ‰įµ—įµ‰Ź³Źø ᓬ˔ᵃⁿ įµˆā±įµ‰įµˆ ˢʰᵒʳᵗ˔ʸ įµƒį¶ įµ—įµ‰Ź³ ᵇⁱʳᵗʰ įµˆįµ˜įµ‰ įµ—įµ’ Ź°įµ‰įµƒįµˆ įµ—Ź³įµƒįµ˜įµįµƒ į¶œįµƒįµ˜Ė¢įµ‰įµˆ ᵇʸ ᵗʰᵉ āæįµ˜Ź³Ė¢įµ‰Ė¢ ʷᵉʳᵉ ⁿᵒᵗ Ė¢įµā±Ė”Ė”įµ‰įµˆ ⁱⁿ įµˆįµ‰Ė”ā±įµ›įµ‰Ź³Źø ᵃ įµ‡įµƒįµ‡Źø ᵃⁿᵈ ᵗʰᵉʳᵉᶠᵒʳᵉ ʰᵃᵈ įµ—įµ’ Ź·įµƒā±įµ— ᶠᵒʳ ᵗʰᵉ įµˆįµ’į¶œįµ—įµ’Ź³
š™Žš™¤š™¢š™šš™¤š™£š™š š™Øš™¤ š™Øš™„š™šš™˜š™žš™–š™” š™˜š™–š™£ š™£š™šš™«š™šš™§ š™—š™š š™›š™¤š™§š™œš™¤š™©š™©š™šš™£ š™¢š™–š™® š™®š™¤š™Ŗš™§ š™Øš™¤š™Ŗš™” š™§š™šš™Øš™© š™žš™£ š™„š™šš™–š™˜š™š ā™”āā™”
ꕤ*.ļ¾Ÿā™”ā”Šš•€ š•¤š•„š•’š•Ŗ, š•€ š•”š•£š•’š•Ŗ. š•Šš•–š•– š•Ŗš• š•¦ š•šš•Ÿ š•™š•–š•’š•§š•–š•Ÿ š• š•Ÿš•– š••š•’š•Ŗā”Š ꕤ*.ļ¾Ÿā™”
šŸ’ Even if they're young, their stories shouldn't be forgotten. šŸ’
1. Minimal sedation (anxiolysis) 1. 2. Moderate sedation (conscious sedation) 2. 3. Deep sedation 3. 1.You will have a small amount of a sedative 2.You will have a little more sedative 3.You will have a higher dose of one or more sedatives 1.You will feel relaxed and less worried by what is happening around you 2.You will feel very relaxed and sleepy 3.You will sleep during most of your treatment 1.You will be awake and able to talk normally 2.You will be sleepy but can talk normally and follow simple instructions if asked 3.You will sleep and be unlikely to talk during most of your treatment 1.You are likely to remember having your treatment, but not all the detail 2.You may remember some parts of your treatment 3.You are unlikely to remember much of your treatment – the level of sedation will be adjusted as needed 1.Minimal sedation should not affect your breathing 2.Moderate sedation should not affect your breathing 3.Your breathing may slow down. Your sedationist will monitor and help if needed. What are the benefits if sedation is an option for your treatment? Sedation works quickly and the dose can be adjusted so you get just the right amount. It allows you to be relaxed during your treatment. You may not remember much about your treatment afterwards. For some procedures, it is possible to give sedation instead of a general anaesthetic, which may be helpful for patients with some medical problems. What are the alternatives to sedation? A general anaesthetic: you will be fully unconscious throughout and will have no memory of the procedure. Local anaesthetic without any sedation: you will be fully awake during your treatment, but will be comfortable. A screen can be placed to stop you seeing the procedure. When we asked some patients what it felt like, some answers were: ā€˜I felt very spaced out and dreamy.’ ā€˜I thought I had been awake during it all, but I must have drifted off at times as suddenly it was an hour later.’ ā€˜I felt really relaxed and happy.’ ā€˜It was weird – I felt very detached from what was happening around me.’
→ ŃŃ”Š¼Ń”Š¼Š²Ń”Ń мє Ī±Ī·āˆ‚ Š²Ń”Ī±Ń ιη Š¼Ī¹Ī·āˆ‚, α ƒαιтнƒυℓ gĪ¹Ńā„“ ιѕ Š½Ī±Ńāˆ‚ Ń‚Ļƒ Ę’Ī¹Ī·āˆ‚. тнιѕ ιѕ Ī±ā„“Ļ‰Ī±ŃƒŃ• gĻƒĻƒāˆ‚ Ī±Ī·āˆ‚ Ń‚ŃĻ…Ń”, Ń•Ļƒ āˆ‚ĻƒĪ·Ń‚ gσ ¢нαηgιηg Ļƒā„“āˆ‚ Ę’ĻƒŃ ηєω!
Anesthesia/Sedation: The surgeon or anesthesiologist administers general anesthesia, making you ā€œsleepā€ without recalling the procedure. Your vitals like bľood pressure and heart rate are monitored. You’ll be sleepy. Nitrous Oxide (Laughing Gas): Quick to take effect and wear off, this gas keeps you calm and comfortable but awake and responsive. Many sedatives also induce amnesia, so won’t remember the procedure. You can still respond during the procedure but likely won’t recall it, as you might not remember the visit. General Anesthesia: it puts you to sleep during the procedure. Your vitals are closely watched, and you’ll wake up after without any memory of the work. It renders unconscious with no memory of the procedure. Post-treatment, they may experience altered sensations.
Delirium is an acute neuropsychiatric syndrome characterized by rapid-onset confusion, altered consciousness, and impaired cognitive function. Clients have difficulty sustaining attention, problems in orientation and short-term memory, poor insight, and impaired judgment. The confused client may not completely understand what is happening. Altered consciousness ranging from hypervigilance to stupor or semicoma. Extreme distractibility with difficulty focusing attention. Disorientation to time and place. Impaired reasoning ability and goal-directed behavior. Disturbance in the sleep-wake cycle. Emotional instability as manifested by fear, anxıety, depressıon, irritability, anger, euphoria, or apathy. Misperceptions of the environment, including illusions and hallucinations. Automatic manifestations, such as tachycardia, sweating, flushed fac͘e, dilated pupils, and elevated bľood pressure. Incoherent speech. Impairment of recent memory. Lack of motivation to initiate and/or follow through with goal-directed or purposeful behavior Fluctuation in psychomotor activity (tremors, bødy movement) Misperceptions Fluctuation in cognition Increased agitation or restlessness Fluctuation in the level of consciousness Fluctuation in the sleep-wake cycl3 Hallucinations (visual/auditory), illusions Impaired awareness and attention Disorientation Dysphasia, dysarthria
r/TwoSentenceHorror 10 hr. ago Throwayajustcus ā€Ž ā€Ž ā€Ž ā€Ž ā€Ž ā€Ž ā€Ž ā€Ž ā†“Ė¢į¶œŹ³įµ’Ė”Ė” ᶠᵒʳ ˢᵗᵒʳʸ↓ And just like that, the last star in the Universe whimpered goodnight and left an infinite darkness in it's place. Of all my memories, the one I see most often as I drift through the endless cosmos is the look of pity on the genies face when I told him I wanted to live forever..
ᵀⁱᵐᵉ įµƒį¶ įµ—įµ‰Ź³ ᵗⁱᵐᵉ pt. 5 ā½Ė¢įµ–įµ’āæįµįµ‰įµ‡įµ’įµ‡ ᶠᵃⁿᶠⁱᶜ⁾ Ź·įµƒŹ³āæā±āæįµ ᶠᵒʳ ᵛⁱᵒ˔ᵉⁿᵗ, įµ˜įµ–Ė¢įµ‰įµ—įµ—ā±āæįµ "ā™Ŗā»ā»įµƒāæįµˆ įµ—Ź°įµƒįµ—'Ė¢ ʷʰʸ Źøįµ’įµ˜'ʳᵉ ᵐʸ į¶œįµ’įµ’įµā±įµ‰ā»Ź·įµ’įµ’įµā±įµ‰ įµ—įµ‰įµˆįµˆŹø įµ‡įµ‰įµƒŹ³!♪" ᓹʳ‧ į“·Ź³įµƒįµ‡Ė¢ Ė¢ā±āæįµĖ¢ ᵗʰᵉ Ė¢įµ’āæįµ ʰᵉ ᵃⁿᵈ į“¾Ė”įµƒāæįµįµ—įµ’āæ į¶œįµƒįµįµ‰ įµ˜įµ– ʷⁱᵗʰ ᵃˢ į¶œŹ°ā±Ė”įµˆŹ³įµ‰āæā€§ ᓓᵉ į¶œįµƒįµįµ‰ įµƒį¶ įµ—įµ‰Ź³ Ź·įµ’Ź³įµ įµ—įµ’ ᵗʰᵉ ᶜʰᵘᵐ įµ‡įµ˜į¶œįµįµ‰įµ—ā€§ "ᓓᵉ'Ė¢ Ė¢Ė”įµ‰įµ‰įµ–ā±āæįµ ʷⁱᵗʰ ᵗʰᵉ ˔ⁱᵗᵗ˔ᵉ įµ‡įµ‰įµƒŹ³ā€§ā€§ā€§" į“·įµƒŹ³įµ‰āæ įµ—įµ’Ė”įµˆ ᓹʳ‧ į“·Ź³įµƒįµ‡Ė¢ā€§ "ᓬⁿʸ ⁱᵐᵖʳᵒᵛᵉᵐᵉⁿᵗ įµ—įµ’įµˆįµƒŹø?" "ᵂᵉ˔˔⸓ ʰᵉ ᵈⁱᵈ įµƒĖ¢įµ ⁱᶠ Źøįµ’įµ˜'ᵈ ᵛⁱˢⁱᵗ‧‧‧" "ᓵ įµˆįµ’āæ'įµ— ʷᵃⁿⁿᵃ įµˆā±Ė¢įµ—įµ˜Ź³įµ‡ ʰⁱᵐ ⁱᶠ ʰᵉ'Ė¢ įµįµ‰įµ—įµ—ā±āæįµ ʳᵉˢᵗ; ᓵ ᶜᵃⁿ į¶œŹ°įµ‰į¶œįµ ᵒⁿ ᵗʰᵉ Ź·įµ‰įµ‰įµįµ‰āæįµˆā€§ā€§ā€§" ᓹʳ‧ į“·Ź³įµƒįµ‡Ė¢ į‘«įµ˜ā±įµ‰įµ—Ė”Źø ā±āæį¶ įµ’Ź³įµįµ‰įµˆ ʰᵉʳ Ė¢įµ‰įµ‰ā±āæįµ ʰⁱᵐ Ė¢āæįµ’Ź³ā±āæįµ/įµˆŹ³įµ’įµ’Ė”ā±āæįµ ᵒⁿ ᵗʰᵉⁱʳ įµ‡įµ‰įµƒŹ³ā€§ ᓹʳ‧ į“·Ź³įµƒįµ‡Ė¢ įµįµƒįµ›įµ‰ į“¾Ė”įµƒāæįµįµ—įµ’āæ ᵗⁱᵐᵉ įµ—įµ’ įµįµ‰įµ— ʷᵉ˔˔ ᵇᵉᶠᵒʳᵉ Ė¢įµ‰įµ‰ā±āæįµ ʰⁱᵐ įµƒįµįµƒā±āæ ᵒⁿ ᵗʰᵉ Ź·įµ‰įµ‰įµįµ‰āæįµˆā€§ "ᶜᵃⁿ ʷᵉ Ė¢ā±āæįµ ᵗʰᵉ Ė¢įµ’āæįµāø“ įµ—įµ’įµįµ‰įµ—Ź°įµ‰Ź³?" "ā™Ŗā»ā»įµƒāæįµˆ įµ—Ź°įµƒįµ—'Ė¢ ʷʰʸ Źøįµ’įµ˜'ʳᵉ ᵐʸ į¶œįµ’įµ’įµā±įµ‰ā»Ź·įµ’įµ’įµā±įµ‰ įµ—įµ‰įµˆįµˆŹø įµ‡įµ‰įµƒŹ³!♪" "ᓰᵒⁿ'įµ— įµįµ‰įµƒāæ įµ—įµ’ ā±āæįµ—įµ‰Ź³Ź³įµ˜įµ–įµ—āø“ įµ‡įµ˜įµ— ᓵ ᶜᵃⁿ įµ—ā±įµˆŹø įµ˜įµ– ᵃˢ Źøįµ’įµ˜ į¶œįµƒįµ—į¶œŹ° įµ˜įµ–!" į“·įµƒŹ³įµ‰āæ ˢᵃⁱᵈ įµƒį¶ įµ—įµ‰Ź³ ᵗʰᵉʸ į¶ ā±āæā±Ė¢Ź°įµ‰įµˆā€§ "Źøįµ’įµ˜ ʷᵃⁿⁿᵃ įµˆįµ’ ˢᵒᵐᵉ Ė¢į¶œā±įµ‰āæį¶œįµ‰?" "ᓺᵃ⸓ ˢᵒʳʳʸ‧‧‧" "Źøįµ’įµ˜ Ė¢įµ˜Ź³įµ‰āø“ į“¾Ė”įµƒāæįµįµ—įµ’āæ? ᓵ įµįµ‰įµƒāæā€§ā€§ā€§" "Źøįµ’įµ˜ įµāæįµ’Ź·āø“ ᓵ ᶠᵉᵉ˔ Ė”ā±įµįµ‰ ᵗʰᵉ įµ–įµƒĖ¢įµ— Ź·įµ‰įµ‰įµ ʰᵃˢ įµįµƒįµˆįµ‰ ᵐʸ įµ—Ź°įµ’įµ˜įµŹ°įµ—Ė¢ į¶œĖ”įµ’įµ˜įµˆā€§ā€§ā€§" "ᓵ įµāæįµ’Ź·ā€§ ᓵᵗ'Ė¢ ᶠⁱⁿᵉ ᵃˢ Ė”įµ’āæįµ ᵃˢ Źøįµ’įµ˜'ʳᵉ įµįµ‰įµ—įµ—ā±āæįµ ʷᵉ˔˔!" "į“°įµ’ Źøįµ’įµ˜ įµāæįµ’Ź· Ź·Ź°įµƒįµ— ʷᵉⁿᵗ ᵒⁿ⸓ ᵇᵉᶠᵒʳᵉ ᵗʰᵉ Ź°įµ‰įµƒĖ”įµ—Ź° į¶œįµ‰āæįµ—Ź³įµ‰?" "ᓬ Ė¢įµ‰įµƒ Ź³Ź°ā±āæįµ’į¶œįµ‰Ź³įµ’Ė¢ įµƒįµ—įµ—įµƒį¶œįµā€§ā€§ā€§" ᓹʳ‧ į“·Ź³įµƒįµ‡Ė¢ ʷᵃˢ Ė¢įµƒŹøā±āæįµāø“ ʷʰᵉⁿ į“¾Ė”įµƒāæįµįµ—įµ’āæ ᵗʰᵉⁿ Ė¢įµƒįµ— įµˆįµ’Ź·āæā€§ "įµ‚įµƒĖ¢ ⁱᵗ įµƒįµ— āæā±įµŹ°įµ—?" "ʸᵉˢ‧‧‧" į”†įµ˜įµˆįµˆįµ‰āæĖ”Źø ʰⁱˢ ᵐᵉᵐᵒʳʸ ᶠⁱⁿᵃ˔˔ʸ Ė¢įµ—įµƒŹ³įµ—įµ‰įµˆ įµ—įµ’ įµŹ³įµƒįµˆįµ˜įµƒĖ”Ė”Źø į¶ įµƒįµˆįµ‰ įµ‡įµƒį¶œįµ ⁱⁿ ʰⁱˢ ᵐᵉᵐᵒʳʸ‧ "ᓵ āæįµ‰įµ‰įµˆ įµ—įµ’ įµįµ’ įµ—įµ’ ᵐʸ įµ–Ė”įµƒį¶œįµ‰ ⁱᶠ Źøįµ’įµ˜ āæįµ‰įµ‰įµˆ įµƒāæŹøįµ—Ź°ā±āæįµā€§ā€§ā€§" ᓹʳ‧ į“·Ź³įµƒįµ‡Ė¢ ˢᵃⁱᵈ⸓ į“¾Ė”įµƒāæįµįµ—įµ’āæ įµ‡įµƒŹ³įµ‰Ė”Źø įµ–įµƒŹøā±āæįµ ᵃⁿʸ Ź°įµ‰įµ‰įµˆā€§ ᵀʰᵉ ⁿᵉˣᵗ Ź·įµ‰įµ‰įµāø“ ᓹʳ‧ į“·Ź³įµƒįµ‡Ė¢ ʷᵃˢ ⁱⁿ ʰⁱˢ įµ’į¶ į¶ ā±į¶œįµ‰ įµƒįµ— ᵗʰᵉ įµŹ³įµ˜Ė¢įµ—Źø įµŹ³įµƒįµ‡ į¶œįµ’įµ˜āæįµ—ā±āæįµ ᵐᵒⁿᵉʸ ʷʰᵉⁿ ʰᵉ ˢᵃʷ ᵐᵒᵛᵉᵐᵉⁿᵗ įµ’įµ˜įµ— ᵗʰᵉ įµˆįµ’įµ’Ź³ā€§ ᓓᵉ ʷᵉⁿᵗ įµ—įµ’ ᶠⁱⁿᵈ į“¾Ė”įµƒāæįµįµ—įµ’āæāø“ ʷʰᵒ Ė”įµ’įµ’įµįµ‰įµˆ ᵇᵉᵗᵗᵉʳ įµ—Ź°įµƒāæ ʷʰᵉⁿ į“·Ź³įµƒįµ‡Ė¢ Ė”įµƒĖ¢įµ— ˢᵃʷ ʰⁱᵐ Ė”įµƒĖ¢įµ— ᵒⁿ ᵗʰᵉ Ź·įµ‰įµ‰įµįµ‰āæįµˆā€§ "įµ‚Ź°įµƒįµ—ā€§ā€§ā€§" "į“·Ź³įµƒįµ‡Ė¢āø“ ⁱᶠ Źøįµ’įµ˜ įµˆįµ’āæ'įµ— ˔ᵉᵗ ᵐᵉ įµ—įµƒįµįµ‰ ᵃ į“¾įµƒįµ—įµ—Źø ᵗʰᵉⁿ įµƒįµ— Ė”įµ‰įµƒĖ¢įµ— įµˆįµ’āæ'įµ— ᶜʳᵘˢʰ ᵐᵉ‧‧‧" ᓹʳ‧ į“·Ź³įµƒįµ‡Ė¢ Ė¢Ź·ā±įµ–įµ‰įµˆ ᵗʰᵉ įµ–įµƒįµ—įµ—Źøā€§ "ᓵ'˔˔ įµ—įµƒįµįµ‰ ᵗʰⁱˢ⸓ įµ‡įµ˜įµ— ᓵ'˔˔ įµƒĖ”Ė¢įµ’ ˔ᵉᵗ Źøįµ’įµ˜ įµįµ’ā€§ā€§ā€§" "Źøįµ’įµ˜ įµįµ‰įµƒāæ ⁱᵗ?" "ᓼᶠ į¶œįµ’įµ˜Ź³Ė¢įµ‰āø“ ᓵ'ᵐ Ź²įµ˜Ė¢įµ— įµĖ”įµƒįµˆ Źøįµ’įµ˜'ʳᵉ įµ‡įµ’įµ˜āæį¶œā±āæįµ įµ‡įµƒį¶œįµ įµ—įµ’ Ź³įµ˜ā±āæā±āæįµ ᵐᵉ‧‧‧" "į“±įµ˜įµįµ‰āæįµ‰āø“ įµ—Ź°įµƒāæįµ Źøįµ’įµ˜ ᶠᵒʳ Ź°įµ‰Ė”įµ–ā±āæįµ ᵐᵉ įµƒį¶ įµ—įµ‰Ź³ ᵗʰᵉ Ė¢įµ‰įµƒ Ź³Ź°ā±āæįµ’į¶œįµ‰Ź³įµ’Ė¢; ⁱᶠ įµƒāæŹøįµ—Ź°ā±āæįµ ā±āæįµ—ā±įµā±įµˆįµƒįµ—ā±āæįµ Źøįµ’įµ˜ ⁱˢ ᵐʸ ʲᵒᵇ⸓ ⁿᵒᵗ ᵗʰᵉ Ė¢įµ‰įµƒ Ź³Ź°ā±āæįµ’į¶œįµ‰Ź³įµ’Ė¢!" "ᓵ Ė¢Ź°įµ’įµ˜Ė”įµˆ ᵇᵉ įµ—Ź°įµƒāæįµā±āæįµ Źøįµ’įµ˜āø“ įµ‡įµ˜įµ— ᓵ ˢᵗⁱ˔˔ ʷᵒⁿ'įµ— ˔ᵉᵗ Źøįµ’įµ˜ įµįµ‰įµ— ᵃʷᵃʸ ʷⁱᵗʰ ᵗʰᵉ įµ–įµƒįµ—įµ—Źø!" "ᓵ'ᵈ įµ‰Ė£įµ–įµ‰į¶œįµ— āæįµ’įµ—Ź°ā±āæįµ ˔ᵉˢˢ!" į“¾Ė”įµƒāæįµįµ—įµ’āæ Ė¢įµā±Ė”įµ‰įµˆ ᵃˢ į“±įµ˜įµįµ‰āæįµ‰ Ė”įµƒįµ˜įµŹ°įµ‰įµˆāø“ įµāæįµ’Ź·ā±āæįµ ᵉᵛᵉʳʸ įµ—Ź°ā±āæįµ Ź·įµ’Ź³įµįµ‰įµˆ įµ’įµ˜įµ—ā€§ end finale
General anesthesia is a combination of medications that provide loss of consciousness, prevent memory formation, and eliminate pain. This allows a patient to have surgery without any memory of the event and to be completely pain free during the procedure. Most will get a little silly and lightheaded, thence may not even remember things about. The goal of general anesthesia is to make a person unconscious and keep him or her that way throughout a procedure. This is so the patient has no awareness or recollection of this procedure, so they have no knowledge it even happened. General anesthesia does a number of things on top of making a person unconscious. It relieves anxiety, minimizes pain, relaxes muscles (to keep the patient still), and helps block out the memory of the procedure itself. Most of the time, when you wake up and the anesthesia effect wears off, you will be confused and overwhelmed, even completely unaware of surroundings. Some will be talking without knowing what they’re saying.
General anaesthesia is a state of controlled unconsciousness. During a general anaesthetic, medicines are used to send you to sleep, so you're unaware of surgery and do not move or feel pain while it's carried out. General anaesthesia is used for surgical procedures where it's safer or more comfortable for you to be unconscious. It's usually used for long operations or those that would otherwise be very painful. Just before you have surgery, you'll usually be taken to a room where your anaesthetist will give you the general anaesthetic. It will either be given as a: liquid that's injected into your veins through a cannula (a thin, plastic tube that feeds into a vein, usually on the back of your hand) gas that you breathe in through a mask The anaesthetic should take effect very quickly. The anaesthetist will stay with you throughout the procedure. They'll make sure you continue to receive the anaesthetic and that you stay in a controlled state of unconsciousness. They'll also give you painkilling medicine into your veins, so that you're comfortable when you wake up. Recovery After your operation, the anaesthetist will stop the anaesthetic and you'll gradually wake up. You'll usually be in a recovery room at first, before being transferred to a ward. General anaesthetics can affect your memory, concentration and reflexes for a day or two, so it's important for a responsible adult to stay with you for at least 24 hours after your operation, if you're allowed to go home.
Three broad categories of anesthesia exist: General anesthesia suppresses central nervous system activity and results in unconsciousness and total lack of sensation, using either injected or inhaled dr*gs. General anesthesia (as opposed to sedation or regional anesthesia) has three main goals: lack of movement (paralƓsıs), unconsciousness, and blunting of the stress response. Sedation suppresses the central nervous system to a lesser degree, inhibiting both anxıety and creation of long-term memories without resulting in unconsciousness. Sedation (also referred to as dissociative anesthesia or twilight anesthesia) creates hypnotic, sedative, anxiolytic, amnesic, anticonvulsant, and centrally produced muscle-relaxing properties. From the perspective of the person giving the sedation, the patıents appear sleepy, relaxed and forgetful, allowing unpleasant procedures to be more easily completed. From the perspective of the subject receiving a sedative, the effect is a feeling of general relaxation, amnesia (loss of memory) and time pass1ng quickly. Regional and local anesthesia block transmission of nerve impulses from a specific part of the bødy. Depending on the situation, this may be used either on it's own (in which case the individual remains fully conscious), or in combination with general anesthesia or sedation. When paın is blocked from a part of the bødy using local anesthetics, it is generally referred to as regional anesthesia. There are many types of regional anesthesia either by ınjectıons into the tissue itself, a vein that feeds the area or around a nerve trunk that supplies sensation to the area. The latter are called nerve blocks and are divided into peripheral or central nerve blocks. Local anesthesia is simple infiltration by the clinician directly onto the region of interest (e.g. numbing a tooth for dental work). Peripheral nerve blocks use dr*gs targeted at peripheral nerves to anesthetize an isolated part of the bødy, such as an entire limb. Neuraxial blockade, mainly epidural and spinal anesthesia, can be performed in the region of the central nervous system itself, suppressing all incoming sensation from nerves supplying the area of the block. Most general anaesthetics are ınduced either intravenously or by inhalation. Anaesthetic agents may be administered by various routes, including inhalation, ınjectıons (intravenously, intramuscular, or subcutaneous) Agent concentration measurement: anaesthetic machines typically have monitors to measure the percentage of inhalational anaesthetic agents used as well as exhalation concentrations. In order to prolong unconsciousness for the duration of surgery, anaesthesia must be maintained. Electroencephalography, entropy monitoring, or other systems may be used to verify the depth of anaesthesia. At the end of surgery, administration of anaesthetic agents is discontinued. Recovery of consciousness occurs when the concentration of anaesthetic in the braın drops below a certain level (this occurs usually within 1 to 30 minutes, mostly depending on the duration of surgery) The duration of action of intravenous induction agents is generally 5 to 10 minutes, after which spontaneous recovery of consciousness will occur. Emergence is the return to baseline physiologic function of all organ systems after the cessation of general anaesthetics. This stage may be accompanied by temporary neurologic phenomena, such as agitated emergence (acute mental confusion), aphasia (impaired production or comprehension of speech), or focal impairment in sensory or motor function.
Feb 21, 2014 03:55 PM Anesthesia has been referred to as a reversible coma. When coming out of anesthesia in recovery, most people experience a profound sense of confusion and disorientation. It takes a while for the brain to actually wake up, even after you are conscious. Most people don't remember much after the pre-op sedative has been given. You may need a type of anesthesia where you lose consciousness. You can experience confusion as you ā€œwake upā€ after the procedure with this type of anesthesia. It holds several different purposes depending on the procedure — sometimes to relieve pain, to ā€œknockā€ you unconscious or to induce amnesia so you have no memory or feeling of a medical procedure. General anesthesia knocks you out completely, while local anesthesia is only applied to certain body parts or patches of skin. General anesthesia involves going into a coma-like state. It’s like being asleep. You will not be aware of what’s happening around you or feel pain. You will receive this type through an IV or mask. The surgeon will monitor you throughout the procedure and adjust medications as needed so you don’t wake up. It’s likely you’ll have no memory of the procedure. The anesthesia used to put you into an unconscious state can take some time to wear off, even as you become more awake after the procedure. You may experience: drowsiness confusion weakness uncoordinated movements lack of control of what you say blurry vision memory problems These side effects should be temporary. It may take 1 to 2 days to fully regain all your thinking abilities. In some cases, you can experience postoperative delirium. This can cause you to feel ā€œout of itā€ for a longer period of time. Conscious sedation and general anesthesia can affect your short-term memory. You may not remember anything you say or do during the procedure or immediately after it.
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Cį“€į“›Źœį“‡Ź€ÉŖÉ“į“‡ į“Ņ“ Pį“į“…į“‡ĢŒŹ™Ź€į“€į“…Ź (11 Nį“į“ į“‡į“Ź™į“‡Ź€ 1449 – 8 Mį“€Ź€į“„Źœ 1464) ᓔᓀs Qį“œį“‡į“‡É“ į“Ņ“ Hį“œÉ“É¢į“€Ź€Ź į“€s į“›Źœį“‡ sį“‡į“„į“É“į“… ᓔɪғᓇ į“Ņ“ Kɪɓɢ Mį“€į“›į“›ŹœÉŖį“€s Cį“Ź€į“ ÉŖÉ“į“œs. Cį“€į“›Źœį“‡Ź€ÉŖÉ“į“‡ ᓀɓᓅ Źœį“‡Ź€ ᓛᓔɪɓ sÉŖsᓛᓇʀ SÉŖį“…į“É“ÉŖį“‡ ᓔᓇʀᓇ Ź™į“Ź€É“ ᓀᓛ Pį“į“…į“‡ĢŒŹ™Ź€į“€į“…Ź, į“›į“ į“›Źœį“‡ Bį“Źœį“‡į“ÉŖį“€É“ ᓋɪɓɢ Gį“‡į“Ź€É¢į“‡ į“Ņ“ Pį“į“…į“‡ĢŒŹ™Ź€į“€į“…Ź ᓀɓᓅ ʜɪs ғɪʀsį“› ᓔɪғᓇ, Kį“œÉ“ÉŖÉ¢į“œÉ“į“…į“‡ į“Ņ“ Šᓛᓇʀɓʙᓇʀᓋ. Kį“œÉ“ÉŖÉ¢į“œÉ“į“…į“‡ ᓅɪᓇᓅ Ņ“Ź€į“į“ į“„į“į“į“˜ŹŸÉŖį“„į“€į“›ÉŖį“É“s į“Ņ“ į“›Źœį“‡ Ź™ÉŖŹ€į“›Źœ. Gį“‡į“Ź€É¢į“‡ į“Ņ“ Pį“į“…į“‡ĢŒŹ™Ź€į“€į“…Ź į“‡į“ į“‡É“į“›į“œį“€ŹŸŹŸŹ Ź€į“‡į“į“€Ź€Ź€ÉŖį“‡į“…; ʜɪs sį“‡į“„į“É“į“… ᓔɪғᓇ, Jį“į“€É“É“į“€ į“Ņ“ Rį“į“¢ĢŒį“ÉŖį“›į“€ĢŹŸ, Ź™į“Ź€į“‡ Gį“‡į“Ź€É¢į“‡ į“į“Ź€į“‡ į“„ŹœÉŖŹŸį“…Ź€į“‡É“ ÉŖÉ“į“„ŹŸį“œį“…ÉŖÉ“É¢ Lį“œį“…į“ÉŖŹŸį“€ į“Ņ“ Pį“į“…į“‡ĢŒŹ™Ź€į“€į“…Ź. Mį“€į“›į“›ŹœÉŖį“€s ᓔᓀs į“‡ÉŖÉ¢Źœį“›į“‡į“‡É“, ʜɪs ʙʀɪᓅᓇ į“›ŹœÉŖŹ€į“›į“‡į“‡É“. TŹœį“‡ ᓔᓇᓅᓅɪɓɢ É“į“‡É¢į“į“›ÉŖį“€į“›ÉŖį“É“s Źœį“€į“… Ź™į“‡É¢į“œÉ“ ÉŖÉ“ 1458 į“”Źœį“‡É“ Cį“€į“›Źœį“‡Ź€ÉŖÉ“į“‡ ᓔᓀs ɓɪɓᓇ Źį“‡į“€Ź€s į“ŹŸį“…. Sį“į“É“ ᓀғᓛᓇʀ į“›Źœį“‡ į“į“€Ź€Ź€ÉŖį“€É¢į“‡, Cį“€į“›Źœį“‡Ź€ÉŖÉ“į“‡ ŹŸį“‡Ņ“į“› Źœį“‡Ź€ Ņ“į“€į“ÉŖŹŸŹ ᓀɓᓅ ᓔᓇɓᓛ į“›į“ ŹŸÉŖį“ į“‡ ÉŖÉ“ Hį“œÉ“É¢į“€Ź€Ź į“”ÉŖį“›Źœ Źœį“‡Ź€ ɓᓇᓔ ʜᓜsʙᓀɓᓅ. Jį“€É“į“œs Pį“€É“É“į“É“ÉŖį“œs Źœį“‡ŹŸį“˜į“‡į“… į“›į“‡į“€į“„Źœ Cį“€į“›Źœį“‡Ź€ÉŖÉ“į“‡ Lᓀᓛɪɓ. TŹœį“‡ į“ĢØį“œį“‡į“‡É“ ᓅɪᓇᓅ ÉŖÉ“ į“„ŹœÉŖŹŸį“…Ź™ÉŖŹ€į“›Źœ ᓀғᓛᓇʀ ɢᓇᓛᓛɪɓɢ į“˜Ź€į“‡É¢É“į“€É“į“› ᓀᓛ į“›Źœį“‡ ᓀɢᓇ į“Ņ“ 14. TŹœį“‡ į“Ņ“Ņ“sį“˜Ź€ÉŖÉ“É¢ ᓅɪᓇᓅ į“€s į“”į“‡ŹŸŹŸ. TŹœį“‡ ᓇᓠᓇɓᓛ į“„į“€į“œsᓇᓅ Mį“€į“›į“›ŹœÉŖį“€s į“›į“ ŹŸį“sᓇ Źœį“į“˜į“‡ į“Ņ“ sɪʀɪɓɢ į“€ ŹŸį“‡É¢ÉŖį“›ÉŖį“į“€į“›į“‡ Źœį“‡ÉŖŹ€.
..įƒ¦ā¤ā¤ā€¢ā¤įƒ¦DAUGHTERįƒ¦ā¤ā€¢ā¤ā¤įƒ¦..
į“¾įµƒįµ˜Ė¢įµ‰ įµ—įµ’ ʳᵉᵐᵉᵐᵇᵉʳ ˢᵒᵐᵉ įµ’į¶  ᵗʰᵒˢᵉ ʷᵉ įµ‡įµƒįµˆįµ‰ į¶ įµƒŹ³įµ‰Ź·įµ‰Ė”Ė” ᶠʳᵒᵐ įµ›įµƒŹ³ā±įµ’įµ˜Ė¢ Ź·įµƒĖ”įµĖ¢ įµ’į¶  ˔ⁱᶠᵉ‧‧‧ Ź°įµ‰įµƒŹ³ ᵗʰᵉⁱʳ ˢᵗᵒʳⁱᵉˢ ᓱᵃᶜʰ ᵒⁿᵉ ⁱˢ Ė¢įµ–įµ‰į¶œā±įµƒĖ”ā€§ ᓱᵛᵉʳʸ ⁱˢ įµ˜āæā±į‘«įµ˜įµ‰ā€§ ᓺᵒ įµ—Ź·įµ’ įµƒŹ³įµ‰ ᵗʰᵉ Ė¢įµƒįµįµ‰ā€§ ᓵ ʷⁱˢʰ ᓵ į¶œįµ’įµ˜Ė”įµˆ ᵛⁱˢⁱᵗ ᵃ˔˔ įµ’į¶  ᵗʰᵉᵐ⸓ Ź³įµ‰įµƒįµˆ įµƒįµ‡įµ’įµ˜įµ— ᵃ˔˔ įµ’į¶  ᵗʰᵉᵐ⸓ Ė”įµ‰įµƒŹ³āæ įµƒįµ‡įµ’įµ˜įµ— ᵃ˔˔ įµ’į¶  ᵗʰᵉᵐ⸓ ʷʳⁱᵗᵉ Ė¢įµ’įµįµ‰įµ—Ź°ā±āæįµ įµƒįµ‡įµ’įµ˜įµ— ᵃ˔˔ įµ’į¶  ᵗʰᵉᵐ⸓ ᵃⁿᵈ Ė”įµ‰įµƒįµ›įµ‰ ᵃ ᶠ˔ᵒʷᵉʳ ᶠᵒʳ ᵃ˔˔ įµ’į¶  ᵗʰᵉᵐ‧ į“øįµ’įµ’įµā±āæįµ įµƒįµ— Ź°įµ‰įµƒįµˆĖ¢įµ—įµ’āæįµ‰Ė¢ ᵃⁿᵈ Ź·įµ’āæįµˆįµ‰Ź³ā±āæįµ įµƒįµ‡įµ’įµ˜įµ— ᵗʰᵉ ˔ⁱᵛᵉˢ įµ’į¶  ᵗʰᵉ ᵖᵉᵒᵖ˔ᵉ ᵗʰᵉʸ ʳᵉᵖʳᵉˢᵉⁿᵗ‧
"Come back. Even as a shadow, even as a dream." — Euripides ā¤ ♄ ꧁꧂
ā™„š“‘š“µš“®š“¼š“¼š“²š“·š“°š“¼ š“Ŗš“·š“­ ā„’š“øš“æš“® ♄•*ĀØ*•.ĀøĀø.•*ĀØ*•♄ ā¤ š“š“µš”€š“Ŗš”‚š“¼ š“Ŗš“·š“­ š“•š“øš“»š“®š“æš“®š“» ā¤ š¼š“ƒ šæš‘œš“‹š’¾š“ƒš‘” š‘€š‘’š“‚š‘œš“‡š“Žā¤ š–„š–”š–š š–†š–—š–Š š–’š–ž š–˜š–šš–“š–˜š–š–Žš–“š–Š
ā˜†Āø.✿¸““¯`•.ĀøĀø.ღ¸ ā™„ŹšÄÆÉžā™„Ā“Ā“ĀÆ`•.ĀøĀø.♄. (ĀÆ`v“¯) ....♄ Close to my Heart `*.Āø.*.♄.✿““¯`•.¸⁀°♔
~ ā˜….怀怀 °  ¸. * ā— Āø .    ° ☾ °  ¸. ā— Āø .ć€€ć€€ā˜…ć€€Ā° :.怀 . • ° 怀 .怀 *怀:.怀. ¸ . ā— Āø ć€€ć€€ć€€ā˜…ć€€ć€€ā˜…ā˜¾ Ā°ā˜… . 怀怀怀怀.怀 Ā°ā˜† 怀. ā— Āø .ć€€ć€€ć€€ā˜…ć€€Ā° .怀 • ā—‹ ° ā˜…ć€€ .怀 怀怀怀怀怀怀*怀.怀 ☾ °  ¸. * ā— Āø     ° ☾ Ā°ā˜† 怀. * Āø.ć€€ć€€ć€€ā˜…
Never Forgotten ā¤ ♄ ꧁꧂
.ćƒ»ć€‚.ćƒ»ć‚œāœ­ćƒ».ćƒ»āœ«ćƒ»ć‚œćƒ»ć€‚. š’“ā„“š“Š š’¶š“‡ā„Æ š“ā„“š“‹ā„Æš’¹ .ćƒ»ć€‚.ćƒ»ć‚œāœ­ćƒ».ćƒ»āœ«ćƒ»ć‚œćƒ»ć€‚.
http://www.bowerman.ca/albury/bdata.htm
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Warning: This item may contain sensitive themes such as nudity.

ā¤ ā¤ šŸ…“šŸ†ƒšŸ…“šŸ†šŸ…½šŸ…°šŸ…» šŸ…»šŸ…¾šŸ†…šŸ…øšŸ…½šŸ…¶ šŸ…¼šŸ…“šŸ…¼šŸ…¾šŸ†šŸ†ˆ ā¤ ♄ﮩ٨ـﮩﮩ٨ـﮩﮩ Ī±ā™”Ń•Š½Ī±ĻŃ”āˆ‚ā™”Š½Ļƒā„“Ń”ā™”Ī¹Ī·ā™”Š¼Ńƒā™”Š½Ń”Ī±ŃŃ‚ ﮩﮩـ٨ﮩﮩـ٨ﮩ♄ (āœæā— ā€æā— )
✩t:*•.───── ā ā ─────.•*:t✩ ā™” "š‘ˆš‘›š‘”š‘–š‘™ š‘¤š‘’ š‘šš‘’š‘’š‘” š‘Žš‘”š‘Žš‘–š‘› š‘¦š‘œš‘¢ š‘¤š‘–š‘™š‘™ š‘™š‘–š‘£š‘’ š‘œš‘› š‘“š‘œš‘Ÿš‘’š‘£š‘’š‘Ÿ š‘–š‘› š‘šš‘¦ ā„Žš‘’š‘Žš‘Ÿš‘”." ā™”. ✩t:*•.───── ā ā ─────.•*:t✩
https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://www.romi.gov/DocumentCenter/View/1546&ved=2ahUKEwjOhv_BwIyHAxUnLkQIHSI5B8w4HhAWegQIGRAB&usg=AOvVaw17gt2LeZw0RCEB1FIJQ1xk
November 17, 2013 It's hard to forget Someone who gave you So much to remember.
* Aug 17 1879 Margaret Evans May 9 1847 Aug 15 1879 Wales 32 yrs, 3 mos. Premature childbirth *
ą¹‘ā¤ą¹‘ā™„ą¹‘ "In all things of nature, there is something of the marvelous." — Aristotle ą¹‘ā¤ą¹‘ā™„ą¹‘ ꧁꧂
š’Æš’¾š“‚š‘’ š“…š’¶š“ˆš“ˆš‘’š“ˆ, š’·š“Šš“‰ š“‚š‘’š“‚š‘œš“‡š’¾š‘’š“ˆ š“ˆš“‰š’¶š“Ž... ⠀⠀⠀⠀⣠⣤⣤┤⠤⢤⣤⣀─⠀⠐⠒┄⠀┠⠒⠀⠀⢀⣀⣤⠤⠤⣤⣤⣤┄ ā ˆā »ā£æā”¤ā ¤ā”ā €ā ‰ā ™ā ²ā£„ā €ā¢°ā¢ ā ƒā¢€ā”¤ā žā ‹ā ‰ā ˆā¢¹ā ¤ā¢¼ā£æā ā € ā €ā €ā ˜ā£æā”…ā “ā¢’ā”¤ā ¤ā €ā”ˆā ±ā£„ā£¼ā”“ā ‹ā”€ā €ā ¤ā¢¤ā”’ā “ā¢¬ā£æā ƒā €ā € ā €ā €ā €ā ¹ā£æā£Æā£ā¢·ā£€ā£€ā¢¤ā”„ā¢¾ā£æā ·ā¢„ā ¤ā£€ā£€ā£žā£¢ā£½ā”æā ƒā €ā €ā € ā €ā €ā €ā €ā ˆā¢™ā£æā ā €ā¢ā ”ā”Øā”ŗā”æā”•ā¢”ā €ā”ˆā ā ¹ā£Ÿā ‹ā €ā €ā €ā €ā € ā €ā €ā €ā €ā €ā¢¼ā£Ÿā¢¦ā¢¶ā¢…ā œā¢°ā ƒā €ā¢¹ā”Œā¢¢ā£øā ¦ā “ā£æā”‡ā €ā €ā €ā €ā € ā €ā €ā €ā €ā €ā ˜ā£æā£‡ā”¬ā”Œā¢€ā”Ÿā €ā €ā €ā¢·ā €ā£§ā¢§ā£µā£æā ‚ā €ā €ā €ā €ā € ā €ā €ā €ā €ā €ā €ā ˆā¢»ā ›ā ‹ā ‰ā €ā €ā €ā €ā ˆā ‰ā ™ā¢»ā”ā €ā €ā €ā €ā €ā €ā € ⠀⠀⠀⠀⠀⠀⢰┿⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣿⠄⠀⠀⠀
*•.Āøā™” š‘¾š’‚š’š’Œ š’”š’š’‡š’•š’š’š, š’‡š’š’“ š’‚š’ š’‚š’š’ˆš’†š’ š’”š’š’†š’†š’‘š’” š’‰š’†š’“š’†. ♔¸.•* __________________ ×‚×‚ą«¢ą¼‹ą¼˜ąæ ā”Š ⋆ ā”Š . ā”Š ā”Š ā”Š ā”Šā‹† ā”Š . ā”Š ā”Š ā‹†Ėš          ✧. ā”Š          ⋆ ā˜…
A JOURNEY TO AUTISM ii (Autistic author) His eye took a moment to focus on her, and when it did, she saw a flicker of confusion, followed by a glimmer of recognition. "Karen?" he repeated, his voice still faint. "Yes, it's me, Plankton. You're ok." But his gaze remained distant, his focus unsteady. "Where...where are we?" "We're at the hospital, sweetheart," Karen said softly, stroking his antenna. "You had an accident." The confusion in Plankton's eye grew, and he tried to sit up, but a wave of dizziness forced him back down. "What kind of accident?" His voice was still weak, but there was an urgency to his words that hadn't been there before. Karen took a deep breath, her grip on his hand tightening. "Mr. Krabs...he hit you with a fry pan." The words tasted bitter but she had to tell him the truth. Plankton's eye widened slightly, and she watched as the puzzle pieces of the situation slowly clicked into place in his mind. "Krabby Patty," he murmured, his voice distant. "Yes, Plankton, you were trying to get the recipe again," Karen whispered, aching at the memory. "But it's over now. You need to rest." His eye searched hers, and for a moment, she thought she saw a flicker of his old self, the cunning and ambitious man she had married. But it was gone as quickly as it appeared, replaced by a vacant stare. "Don't... don't remember," he mumbled, his antennas drooping. This wasn't the Plankton she knew, the one who schemed with a glint in his eye and a plan in his pocket. "It's ok, Plankton," she soothed, her voice trembling. She took a deep breath, trying to compose herself. "Do you remember me?" Plankton's gaze remained steady for a moment, and then he nodded slowly. "Karen," he said, his voice a hoarse whisper. But the spark of recognition was tinged with confusion, as if he wasn't quite sure how he knew her. Karen's felt like breaking into a million tiny pieces. But she knew she had to stay strong. For Plankton. For them. "You don't remember what happened, do you?" she asked gently. "What else do you remember?" Plankton's antennas twitched slightly, his eye searching hers. "Don't know," he admitted, his voice barely above a whisper. Karen's chest tightened as she held back a sob. "It's ok," she reassured him, her voice shaky. "Do you remember your name?" she asked, her voice hopeful. He blinked slowly, his gaze fading in and out of focus, his brow furrowing as he concentrated. "Sheldon... Plankton?" The sound of his voice saying his own name brought a small smile to Karen's face. "Yes, that's right," she said, her voice filled with relief. "Do you remember where we live?" she continued, her tone gentle. Plankton's eye searched the ceiling of the hospital room, as if the answer was written there. "The Chum Bucket," he murmured, his voice unsure. Karen nodded, encouraged by his response. "Good, good," she said, smiling weakly. "What about our friends?" Again, the confusion clouded his gaze. "Friends?" he repeated, his voice tentative. "SpongeBob, Sandy...?" "Yes," Karen said, her voice soft. "Do you remember them?" Plankton's expression grew more distressed, his antennas drooping. "Square...SpongeBob. And a squirrel, yes?" He paused, trying to piece together the fragmented memories. Karen nodded, brimming with unshed tears. "Yes, SpongeBob SquarePants and Sandy Cheeks. They're friends." Plankton's antennas twitched as he processed the information, his brow furrowing with the effort. "Friends," he repeated, the word sounding foreign. Karen could see the gears turning in his tiny head, his brain desperately trying to make connections to his past. "Do you remember anything about your life before the accident?" Karen asked, her voice trembling with anticipation. Plankton's eye searched hers, uncertain. "Life...before?" Her heart sank. "You know, our adventures, our home, our love?" He stared at her, his expression unreadable. "Love?" The word was barely a whisper. "Yes, Plankton," she said, her voice cracking. "We love each other. We've been married for a long time, and we've had so many adventures together." She paused, willing the words to resonate with him, to ignite a spark of memory. "Do you remember any of that?" Plankton's gaze remained vacant for a moment before he nodded slightly. "Married," he murmured, as if tasting the word for the first time. "To Karen." His antennas lifted slightly, a glimmer of something familiar flickering in his eye. "Karen Plankton computer wife." "Yes, Plankton," Karen said, her voice thick with emotion. "Does that mean something to you?" she asked, her heart in her throat. He nodded slowly, his antennas waving slightly. "Computer wife," he murmured again, his voice gaining a hint of warmth. "Karen." Karen felt a flicker of hope. "Yes, Plankton, I'm your wife." She leaned closer, her voice gentle. "Do you remember anything about us?" Plankton's antennas twitched as he thought. "Wife," he said slowly, his voice a faint echo of the man she knew. "Wife...Karen. Married July 31, 1999." That was their wedding day, a date they had celebrated every year since. "Yes," she whispered, her voice choking. "We got married on July 31, 1999." The hospital room felt thick with silence as she waited for his next words. Plankton's eye searched the room, his antennas twitching as he tried to piece together the shards of his past. "Plankton, can you tell me about yourself?" Karen asked, her voice gentle. "What do you like to do?" Plankton's antennas twitched as he thought. "Invent," he said, his voice still weak but with a hint of pride. "Science?" The words came out as a question, as if he wasn't quite sure of his own identity. "Yes," Karen said, her voice brightening slightly. "You're a genius inventor. You've made so many wonderful things." She paused, hoping to see some spark of recognition in his eye. "Do you remember any of your inventions?" Plankton's antennas waved in the air, as if searching for the memories that remained elusive. "Inventions," he murmured, his single eye searching the ceiling. "Gadgets...machines." "That's right," Karen encouraged, squeezing his hand. "You've created so many amazing machines. Can you describe one of them?" He blinked, his antennas stilling for a moment. "Chum...Chum Dispenser 3000," he said, his voice picking up a bit. "It makes...makes food for fishies." Karen's smile grew despite the pain. The Chum Dispenser 3000 was one of his earlier inventions, a failed attempt to lure customers to their restaurant, but it was a testament to his ingenuity. "That's wonderful, Plankton," she said, her voice thick with emotion. "How about something more recent?" she prompted, eager to see how much of their shared history remained with him. Plankton's antennas twitched as his brain worked overtime. "Um... the Incredibubble," he said, his voice picking up speed as he talked. "It's a bubble that can shrink things down to microscopic size." Karen felt a jolt of excitement. "That's right!" she exclaimed, squeezing his hand. "You used it to get to find a secret plan." Plankton's gaze remained distant, but there was a hint of curiosity in his eye. "Computer... plan?" "Yes," Karen said, her voice shaking. "We've had so many adventures together, Plankton. We've faced so much together." He nodded, his antennas twitching slightly. "Together," he repeated, as if testing the word on his tongue. "Do you remember any of those adventures?" Karen asked, her voice trembling. "Adventures?" Plankton's eye flickered, and she could almost see the wheels turning in his mind. "With Karen... wife?" "Yes, with me. We've traveled the ocean, faced so many challenges together." The doctor came in. "You can go home now," he said. Karen nodded, never leaving Plankton's face. She had spoken to the doctor about his condition, about the autism, but she still wasn't sure how to process it all. How would their life change now? "Come on, Plankton," she said, helping him sit up gently. "Let's get you home." She buckles him into his side of the car, his newfound passivity making the usual struggle unnecessary. The engine of the tiny vehicle roars to life, and Karen guides them out of the hospital parking lot. The ride back to the Chum Bucket is quiet, the only sound being the hum of the car's engine and the occasional splash from the waves outside. Karen keeps glancing at Plankton, his antennas listless as he stares out the window. His mind seems to be somewhere else, lost in a world of his own making. When they arrive, she helps Plankton out of the car and supports him as they make their way to the door. The neon sign flickers in the gloom, casting erratic shadows across the sand. The once bustling environment now feels eerie and desolate. Karen's mind is racing with thoughts of how to make this place feel like home again for Plankton.
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Repost this If you miss someone right now. July 27, 2015
If you love something let it go, If it comes back to you it's yours, If it doesn't, it never was, and it's not meant to be. May 6, 2014
local anesthesia (you're awake and may feel pressure but shouldn't feel pain), sedation (you're awake but with lessened consciousness and won't remember much) or general anesthesia (you're completely knocked out and won't remember jack)
June 11, 2014 • Anesthesia induces a deep state of unconsciousness in a matter of seconds, but it can take several hours to return to normal after waking. Many people experience confusion, sleepiness, and even delirium. Consciousness is the awareness of subjective states such as emotion, inner thoughts, ideas, intentions, and mental states. Without consciousness, an organism has no awareness, while consciousness is often explained as the awareness of emotion, the ability to think and to remember past events and anticipate current ones. General anesthesia affects your entire body. Other types of anesthesia affect specific regions. Most people are awake during operations with local or regional anesthesia. General anesthesia dampens stimulation, knocks you unconscious and keeps you from moving during the operation. General anesthesia has 3 main stages: going under (induction), staying under (maintenance) and recovery (emergence). A specially trained anesthesiologist or nurse anesthetist gives you the proper doses and continuously monitors your vital signs—such as heart rate, body temperature, blood pressure and breathing. The first is an inability to remember things, but can’t recall them after waking up. Next, patients lose the ability to respond. Finally they go into deep sedation. General anesthesia looks more like a coma—a reversible coma. You lose awareness and the ability to feel pain, form memories and move. Once you’ve become unconscious, the anesthesiologist uses monitors and medications to keep you that way. Lack of Consciousness. Keeps you from being aware of your surroundings. Analgesia. Blocks your ability to feel pain. Amnesia. Prevents formation of memories. Loss of Movement. Relaxes your muscles and keeps you still during surgery. Stable Body Functions.
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* Jan 16 1917 UC of Henry Roth Jan 16 1917 Jan 16 1917 0 Injury at birth *
Jun 20 1925 D. V. Thomas Wilkes-Barre, PA Charles Morgans Jun 19 1925 7 days Septicemia – Due to Infected Naval POD- Riv. Hospital (writing unclear)
* Jan 8 1917 Mrs. Mine Williams Jan 8 1916 35 yrs. Placenta Previa (during childbirth) *
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r/shortscarystories 13 hr. ago S_G_Woodhouse I think I'm losing my head I was driving home after a long day at work. I blinked, and the next thing I knew, I was at home having dinner with my wife and 2 daughters. "What's wrong honey" she asked me. "I don't know. I just feel like I've forgotten something" I replied, confused. Forgot something? It was much worse than that, I had no memory of going home. I reassured her and spent the rest of the evening as normal, re-watching one of my favorite movies. Eventually, I dozed off. I dreamt strange things. I saw myself, having a picnic with my parents. Except they weren't smiling and happy like I remembered them. Instead, they were sitting on the picnic blanket, staring into space, their faces closed and expressionless. No matter how much I shouted at them in my daze, I couldn't see any life left in them; it was as if they were there, without being there. Detached. I woke up in my bed, alone. I looked all over the house, but not only was my wife gone, so were my children. My cell phone line was dead, no service. I went outside to get my car and drive to work, thinking I'd try to call my wife a little later. There was no one on the road but me. It was as if the whole Earth had emptied out. I'd dismissed my detachment last night, but I was seriously beginning to wonder if I was losing my mind. I was lost. I decided to go to my work to see if anyone was still in town, if a national evacuation drill was underway and could explain everything. Once there, I rushed back into the building, hoping to find someone who could explain what was going on. And when I opened the door, I was relieved to see that all my colleagues were there. At last, I could find out what was going on. I walked over to a colleague who over the years had become my best friend. "Hey, what's going on? My family's disappeared and there's nobody left in town," I asked him. He didn't answer. I stepped forward to face him, and discovered to my horror that his face and expression were detached exactly the same as my parents' in my dream. It couldn't be, was I trapped in a nightmare? I tried to talk to everyone, but they were all in the same state. My head hurt, my eyes hurt. I saw lights, and sounds filled my ears even though there was nothing here. Nothing alive. My vision began to narrow. Sounds began to blend together. Blackness. Emptiness. And finally, words I didn't have time to understand came to me for the last time. "The driver is dead, his head was torn off by the impact."
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