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Hedda Gabler : a Korean translation Kim, Hye Soon 1987

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H E D D A G A B L E R : A K O R E A N T R A N S L A T I O N by H Y E SOON K I M B . A . , Ewha Women's University, Seoul, Korea (1981) A THESIS S U B M I T T E D I N P A R T I A L F U L F I L M E N T OF T H E R E Q U I R E M E N T S FOR T H E D E G R E E OF M A S T E R OF ARTS in T H E F A C U L T Y OF G R A D U A T E STUDIES D E P A R T M E N T OF T H E A T R E We accept this thesis as conforming to the required standard T H E U N I V E R S I T Y OF 20 July c Hye Soon BRITISH C O L U M B I A 1987 Kim, 1987 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at The University of British Columbia, I agree that the Library shall make it freely available for reference and stud3r. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. D E P A R T M E N T OF T H E A T R E The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date: 20 July 1987 A B S T R A C T Western plays were introduced to Korea in the early twentieth century. Although the Japanese cultural influence was evident in the interpretations, as the plays were initially translated into Japanese and performed by Japanese theatre, those productions of Western plays gave Korean theatre lovers a new insight about different conventions and traditions of Western plays. The strong influence of Western plays, particularly Realism, was dominant in playwrighting and production. Henrik Ibsen's A Doll's House has proved to be one of the most influential foreign pieces of literature in Korea. In the cultural and social climate of Korea during the 1920's, the character Nora became a revolutionary figure who slammed shut the door to her house and marriage to go out into the world. She was worshipped and idolized by Korean readers—by both genders—who eagerly longed to leave the realm of their suffocating morality. There have been various Korean versions of Nora appearing in Korean plays and other literature, as a result of the strong impact of Nora in Korea. In the plays of the 1930's, Korean versions of Nora were given two choices: one was to slam shut the door to the male-dominant society, the other to kil l herself, which is a somewhat Korean manifestation of Hedda Gabler. Although there was no record of translation of Hedda Gabler into Korean during the 1930's period, Hedda Gabler has been performed recently in Korea by various Korean theatre groups. The aim of this Korean translation of Hedda Gabler is to provide Korean readers and audiences with a faithful and competent translation as well as to promote a better understanding of Hedda Gabler. In spite of the wide cultural ii distance, Hedda Gabler and A Doll's House appeal to Korean readers and audiences. Neither Nora nor Hedda has the same predicament and qualification as a Korean woman, but their spiritual aspiration is similar to that of a Korean woman. There exists no private measurement to remedy their dilemma. However, Hedda's spiritual battle and the palpable consequence of her struggle still need to be told to Korean readers and audiences. In the course of the translation work, this need has been strongly sustained and the writer hopes this translation will be useful in Korea. iii T A B L E OF C O N T E N T S A B S T R A C T , ii I. INTRODUCTION 1 II. Korean Theatre before the Influence of Western Plays 3 III. The Influence of A Doll's House 7 IV. Purposes of the Korean Translation of Hedda Gabler in the Korean Language 12 V . The Problems of Translation 18 A . Sentence Structure 18 B. Tone between characters 20 a. Interchange between Aunt Julian and Berte 20 b. Interchange between Tesman and Aunt Juliane 21 c. Interchange between Hedda and Tesman 21 d. Interchange between Hedda and Brack 21 e. Interchange between Hedda and Tea 22 f. Interchange between Hedda and Lovborg 23 g. Interchange between Hedda and Aunt Juliane 23 h. Interchange between Tesman and Lovborg 24 C. Vocabulary 24 D. Forms of address 26 E. Character -development 28 F. Social convention 29 G. Fashion: different clothing 31 H . Social activity 32 iv I. Climate 33 V I . Translation of Hedda Gabler into Korean 34 Endnotes 140 Bibliography ; 142 v I. I N T R O D U C T I O N The purpose of this thesis is to provide a Korean translation of Henrik Ibsen's Hedda Gabler, and discuss the problems which occurred in the process of translation. Although there have been productions of Hedda Gabler by numerous Korean theatre groups, there is no published version of a Korean translation available to the public. * When Hedda Gabler, along with other Western plays, is performed in Korea, the stage direction is maintained as indicated in each play, so the stage design, properties, costumes, lights, make-up and mannerisms are carried on accordingly. But the production is performed in Korean. The role of a good translation is always important in introducing new foreign plays into Korea. With the rapid changes in cultural and economical aspects, most Koreans feel a strong need to learn and experience foreign cultures and conventions through various means. Despite social, cultural, and religious differences between Norway and Korea, Ibsen's plays appeal to Korean audiences. Notably, A Doll's House is regarded as one of the most inspiring works; it will be discussed later in this introduction. A few translations of Ibsen's plays have been widely read rather than performed in the Korean language. Various translations of Ibsen's plays are included in a volume with other world renowned literature. In fact, Ibsen is understood as a historically important playwright who wrote about women's rights in the nineteenth century. This limited understanding of Ibsen's works bars most Korean audiences from appreciating them as having literary merit rather than being of mere historical significance in the development of world literature. 1 I N T R O D U C T I O N / 2 On this account, this thesis attempts to re-introduce Ibsen's Hedda Gabler to Korean audiences and tries to promote a better understanding of the play in a literary sense. The play was originally written in Norwegian, but the present translation is from an English version, of which there are many. The English text used for this Korean translation is one by the Scandinavian-born actor and writer, Arvid Paulson. His modern English version of Hedda Gabler is in the 2 volume, The Late Plays of Henrik Ibsen. The Korean chosen for this translation is spoken at present in Seoul, Korea. II. KOREAN T H E A T R E BEFORE THE INFLUENCE OF WESTERN PLAYS Western plays, along with Ibsen's plays, was introduced to a few Korean people around 1903 when Japanese theatre groups performed numerous Western plays in Japanese. Those few Koreans, who watched Japanese productions of Western plays, were Korean students in Tokyo who later were to lead Korea's New Drama movement after 1930. Although the Japanese cultural influence was evident in the interpretations, as the plays were initially translated into Japanese and performed by Japanese theatres, those productions of Western play gave Korean theatre lovers a new insight about different conventions and traditions of Western plays. MacGowan and Melnitz write that "we can say that theatre exists only when we have 1) a written play, 2 ) performed by actors, 3) in an envelope of auditorium, stage, scenery, costumes, and lights, or some of t h e s e . H o w e v e r , as they point out, "that is the theatre in terms of Sophocles, Shakespeare, and Miller." The traditional Korean theatre has forms and conventions that are not raised on Aristotelian principles nor, furthermore, on realism. Unlike the theatre of China and Japan, the Korean traditional theatre is not refined in its appearance; rather it maintains ritualistic performances in various types of dance-dramas, puppet shows, farces, pantomimes, and song-dramas. Originally these forms of theatre were ritual and ceremonial, but later they became primarily entertainment for common folks. Various Korean plays have been performed by travelling troupes and village dwellers in market-places or village squares during harvest festivals and traditional holidays. Up until the early twentieth century, performers were isolated from the 3 Korean Theatre before the Influence of Western Plays I 4 rest of society because they were seen as vulgar people; they were not regarded as professionals. There were no permanent stages and no elaborate scenery or lights for their performances. As an example, the mask dance-drama of Pongsan, now some 200 years old and the inheritor of numerous earlier traditions, originally was designed to exorcise evil spirits and to ensure a good harvest and the safety of the village. Through vigorous dance, jesting, and singing, it comments on hypocritical monks, aristocratic privilege, male-female relationships, and the lot of the common man. The accompaniment is played on woodwind, 7 string, and percussion instruments. This dance-drama is performed outdoors on grass, ground or market places. The characters of this dance-drama are somewhat stereotyped, like those of the commedia dell'arte. There are divisions in each performance, but they are not equivalent to the acts in Western plays. Another example is the song-drama Pansori. Pansori is one of the more refined forms of Korean theatre. It is performed by an actor or actress through song and narration. The performer plays various personifications through his or her voice. Although the structure of Pansori is closer to the plot of Western plays, the success of performance heavily relies on one actor's vocal and singing technique and, furthermore, on audiences' imagination. The accompaniment is played on one drum. A plain fan is the sole prop, which can be used as a dagger, a cane, or a wave — anything that a performer can make the audience imagine according to his or her expertise. Before the twentieth century, these forms of theatre had been first ritual, ceremonial and then became entertainment for the majority of the Korean people. Up until the 1970's these were not regarded as forms of arts, rather just as Korean Theatre before the Influence of Western Plays I 5 skills or talents of a bygone era. There were no professional plaj'wrights, designers, or directors for the traditional Korean theatre. The productions were coordinated by the leader of a troupe, who was usually the elderly actor or the father figure of the whole group. When Korean translations of Western plays were shown in the 1920's by the Korean theatre groups, to Korean audiences, Western plays seemed to be highly sophisticated, academic and logical. The realistic dramas of Ibsen, along with all other Western plays, influenced Korean theatre in two ways. The first influence was that the traditional theatre in Korea was affected and changed by the forms of Western plays. The song-drama by a sole performer, in particular, was changed to Chang-Gook, which meant singing (Chang) and drama (Gook). The traditional Pansori was adapted into a stage production by the addition of more performers. These actors and actresses shared the multi-characterization of the sole performer in the original Pansori performance. After the building and renovating of theatres in Seoul in the 1920's, Chang-Gook was performed on the proscenium stage with elaborate scenery and costumes which gave the appearance of an opera. The second influence of Western plays was felt through its translation, imitation and adaption by Korean playwrights. The early plays by the Korean writers were the Korean manifestation of the Japanese shimpa style, but as Brockett points out, "the results have generally been unsatisfactory and are now treated with considerable condescension because the plaj's have typically been g sentimental, romantic, or melodramatic." After various attempts to promote familiarity with Western plays, from Korean Theatre before the Influence of Western Plays I 6 1930 Korea finally started to see the Western-style play rooted in realism. ^ Unlike the plays of 1920's, those of 1930's were able to establish a new style of playwrighting in the Korean literature. The plays of the 1920's were used as agents to criticize the irrelevance of the old morality of Korea and to enlighten the public with new value system influenced by Westernization. Here, the new value system mainly included the concepts of individual happiness, democratic society, equal education, and monogamy. These ideas were initially brought to Korea by the Christianity and the contacts with the West. Despite the chaotic confusion with the rapid changes in every aspect of Korea, after the 1930 ;s, pla3rs emerged as an independent form of literature with home-grown playwrights. Nowadays there are still two streams in the Korean theatre: one is the traditional, largely regarded as representing the old culture of Korea before Westernization, the other is Shin-Gook (New Drama), which is a Korean manifestation of Western plays now forming the mainstream of the Korean theatre. III. T H E I N F L U E N C E O F A D O L L ' S H O U S E A Doll's House has proved to be one of the most influential foreign pieces of literature in Korea. Numerous translations and adaptations are available in the Korean language. This play has been widely read by all ages, rather than performed often by any established theatre groups. Since the 1920's, most young students have read this play with a strong attraction to the character Nora. Nora has been regarded and admired as a character that became a symbol of emancipation from the constriction that caused her sufferings. A rigid and inflexible morality had governed the mind of Korean for centuries. When Confucian ethics and morality were undermined and challenged by the Westernization of Korea after the 1920's, women's liberation, as symbolized as vicious moral fights between the old and the new, became one of the major issues at the time. Various writers frequently wrote on the women's liberation to raise the public awareness. The cultural and social climate of Korea in the 1920's needs to be explained in order to verify the reason's for the strong attraction of the Korean writers and readers to Nora. The turn of the twentieth century was one of the most confusing periods in Korean history. This period saw the decline of the upper class, the Yungban class, and the beginning of the modernization of the Korean society under the process of foreign invasions. In 1910 an official treaty annexing Korea to Japan was signed by members of the two nations. Before the treaty, the Korean peninsula became the battlefield of many foreign countries seeking political and diplomatic dominance. Along with the foreign invasions came contacts with Western culture. Then 7 The Influence of A Doll's House I 8 Confucianism, as the major spiritual and ethical foundation of Yi-Dynasty Korea, was understood as the spiritual source of Korea's failure at the turn of the twentieth century to deal with various challenges and the invasions of other countries. Confucianism was also regarded as the origin of individuals' unhappiness, because it had been the principle of human conduct and the criterion of value system in Korea. Although there has been various sectors and changes in the school of Confucianism through many centuries, the core of the Confucianism of Y7-Dynasty Korea had remained one of the orthodox fundamental extremes in dealing with the family ties, manners, education, politics, discrimination of the young and the old (which means that under any circumstances the old is superior to the young because of their age and experience, so the old has an absolute right to demand an unquestioning respect and obedience), man and woman, father and son, master and servant. The social struggles and conflicts at the turn of the twentieth century were derived from a spiritual earthquake in Korean society. People were caught between the fading old power of Confucianism and the advancing new values of Western morality through the Christianity and the Western literature. These social struggles were presented in drama in Seoul during that time. The juxtaposition of the old and the new was dramatized through the experiences of female characters. Of these characters there were three basic types. The first type, the most popular figure as a heroine in the Korean play of the 1920's, was a lower class woman: a servant, a daughter of a poor farmer and often Ki-saeng g i r l s . A servant or a daughter of a poor farmer often became an object of sexual abuse due to debts or other mercenary The Influence of A Doll's House I 9 misfortunes. This character reflects the unjust and merciless aspects of the class system. The Ki-saeng girl was the highly trained entertainer of upper class men. Often she became involved in love affairs with these men, bearing illegitimate children. Although Korean Ki-saeng girl was an educated, intellectual entertainer, she was regared as a vulgar and base person whose profession merely exploited beauty, youth and talent for the pleasure of their male guests. When a Ki-saeng girl married a man of a class higher than hers, she was maltreated. Although she was endowed with a fine personahty, because of her vulgar profession as a Ki-saeng girl, she was doomed to misfortune. Frequently, a Ki-saeng girl supported her family or her lover financially, and because of this she would be brutally betrayed by the people around her. Her misfortune usually found its spring in the dehumanizing attitude of Confucianism towards vocations. The second type of character presented in the drama of the 1920's was the upper-class woman. Her life literally revolved around the virtues of sacrifice and forgiveness. Confucianism strictly controlled the sexual polarization of a Korean woman's life. The Seven Deadly Sins of women regulated the Korean women in Yi-Dynasty Korea. These were laziness, greed, jealousy, lust, sickness, loquacity and not producing sons. The last one, not producing sons, was particularly exploited. It provided an excuse for a husband to have concubines in order to maintain the patriarchal line. The marriage of a woman from the upper class was arranged by families, sometimes even before she was born. After the engagement, the woman had to try and live up to the expectations of her future husband's family. The Influence of A Doll's House I 10 Although she was not officially married, she became part of his family. If her future husband died before the wedding, she became a virgin-widow who spent her entire life in white mourning clothes wishing her husband's ghost peace in death. That was what she was supposed and expected to do for her husband. Some traditional Korean dances dramatised stories of the virgin-widow, which became a major theme of novels and stories in the early twentieth century. However, the fate of a virgin-widow was only one example of the impractical, unindividualistic moral code of the Confucian influence which ruled the Korean people through numerous centuries. Both the lower class and the upper class women are victims of the old morality portrayed in the Korean literature. These characters are stereotyped in plays of the 1920's as casualities of relentless ethical principles of the Yungban (the upper class) society. The third type of woman portrayed in the plays at the time was modeled after Nora in A Doll's House. This type of a woman was called a "New Woman". The new woman, as the third type of popular heroine in the Korean play, was presented as a rebellious radical. This new woman was usually born into a upper-class family and well-educated, often through missionary-influenced schools followed by enrollment in overseas universities. She was portrayed as sexually liberated, attractive, intelligent and yet restless. The characterization of the new woman was illusive and unrealistic, and she was to be a rebel: a rebel against the entire ethical system. Through her spiritual rebellion and aspiration, the essence of social problems was reflected. The conflicts of the new woman were not only with her parents or her husband, but also with and against the The Influence of A Doll's House I 11 old morality which was deeply rooted in the Korean society of the period. The new woman was dangerously brave and independent; yet she was bored, restless, and constantly trapped in a serious moral dilemma. While Korean readers were strongly attracted to Nora, most Korean women were uneducated and confined by the old morals. Korean women never dreamt of exercising their free wills toward education, marriage, or, furthermore, divorce. Everything was prepared for them only to accept and to endure. The character Nora seemed to be the revolutionary figure who slammed shut the door to her house and marriage to go out into the world. She was worshipped and idolized by Korean readers—by both genders—who eagerly longed to leave the realm of their suffocating morality. Unfortunately, in the plays of the 1920's the new woman also could not completely untie herself from the old morality and therefore she was portrayed as a victim of the struggle within her soul, caught between the haunting old morality and the upcoming new influences of Western thoughts. These three types of popular heroines in the plays of the 1920's were employed to illustrate the destructive and static morality of the bygone era. They reflected the confusion of the most Korean people in a state where people became orphans without spiritual and ethical guidance. So, most Korean readers were receptive to a fictional character like Nora in A Doll's House, because the Korean readers admired her positive action deeply. There have been various Korean versions of Nora appearing in Korean plays and other literature, as a result of the strong impact of Nora in Korea. IV. PURPOSES OF THE KOREAN TRANSLATION OF HEDDA GABLER IN THE KOREAN LANGUAGE The play Hedda Gabler envisions the dilemmas of a Korean woman at the turn of the twentieth century and, also, the internal struggles of the present woman. After Korea was occupied by Japan, the Westernization of Korea brought in spiritual and ethical battles with the old morality of the Yi-Dynasty. After the Korean society staggered through World War Two and the Korean War, the monolithic laws of the old time ethic could no longer guide the Korean people, leaving them in a state of ethical laissez-faire. The colonization of Korea initially shook the class structure of the Yungban society (the upper class). The introduction and enforcement of the new economic framework by the Japanese was no longer able to be provided with financial security for the old upper class. Having no professional skills, they started to collapse into financial and social bankruptcy. Daughters of the old upper class families were married to men from the lower class. Although these women were regarded as women of the highly sophisticated class, they went through identity crises in facing the new family roles and expectations of their new positions. In general, the personal lives of nineteenth-century Korean women were centered in their homes, with their husbands and children. The women were raised with the expectation of being home-specialists. Their experience and education were oriented in the house and, as a result, they became specialists in emotional and spiritual life, protecting tradition and providing a stable refuge 12 Purposes of the Korean Translation of Hedda Gabler in the Korean Language I 13 from the harsh, impersonal public sphere. These women from the upper social layer experienced the dilemma of adjusting themselves to the new tradition of their husbands' family and social class. Their problems derived from their reluctance to come to terms with their new marital status and to the new classless society. (Eventually, however, a new class emerged in the Korean society. Entrepreneurs became the leading group of society in post-war Korea.) Through the experience of Hedda Gabler, the problems of Korean women since the turn of the twentieth century were recapitulated. The manifestations of their great quandary shared the same ground of Hedda's predicament. In fact, the experience of Nora and Hedda was found in Korean women's loss of social and metaphysical security. Mary Coleridge captured a picture of women in an abyss, which she crystallized the vision of a woman whose center of universe was wrecked and whose sense failed to secure a spiritual harbour for the tormented soul. I sat before my glass one day, And conjured up a vision bare, Unlike the aspects glad and gay, That erst were found reflected there— The vision of a woman, wild With more than womanly despair. Her hair stood back on either side A face bereft of loveliness. It had no envy not to hide What once no man on earth could guess. It formed the thorny aureole Of hard unsanctified distress. Purposes of the Korean Translation of Hedda Gabler in the Korean Language I 14 Her lips were open—not a sound Came through the parted lines of red. What'er it was, the hideous wound In silence and in secret bled. No sight relieved her speechless woe. She had no voice to speak her dread. And in her lurid eyes there shone The dying flame of life's desire, Made mad because its hope was gone, And kindled at the leaping fire Of jealousy, and fierce revenge, And strength that could not change nor tire. Shadow of a shadow in the glass, O set the crystal surface free! Pass—as the fairer visions pass— Nor ever more return, to be The ghost of a distracted hour, 12 That heard me whisper, T am she!' Most Korean women were trained to envision themselves as obedient homemakers. Beyond domestic roles, the range of possibilities available to women was extremely limited. As Alice James writes, most women in the nineteenth century, cross-culturally, whether married or unmarried, shared "the poverty of 13 their outside experience." The duty of Korean women was to sustain the principle of continuity in society by providing an emotional harbour. Most of the women had no corresponding authority while having many responsibilities. A l l their roles and responsibilities were to be performed selflessly; their virtues Purposes of the Korean Translation of Hedda Gabler in the Korean Language I 15 became sacrifice, tolerance, and generous understanding of man-dominant society. They were to be faithful and selfless angels. Thus, they were deeply vulnerable once outside their given realm of the hearth. Recently the appearance of the Korean society has become similar to those of most Western nations. However, the deeply rooted conflicts of women's position in society have remained unadjusted to the rapid changes in Korean society. There are many female university graduates with various degrees in modern day Korea, and many female professionals in every walk of life. Despite the obvious changes in the appearance of Korean society, the internal struggle between the old and the new has not ceased within the minds of most Korean women, who wear Western dress and yet are still controlled by the old moralistic values. Korean women are expected to be unchanged and unwesternized. In the plays of the 1930's, Korean versions of Nora were given two choices: one was to slam shut the door to the male-dominant society, the other to kill herself, which is a somewhat Korean manifestation of Hedda. Although there was no record of translation of Hedda Gabler into Korean during the 1930's period, Hedda Gabler has been performed recently in Korea by various Korean theatre groups. The aim of this translation of Hedda Gabler into Korean is to provide Korean readers and audiences with a faithful and competent translation as well as to promote a better understanding of Hedda Gabler. Despite numerous interpretations of Hedda's suicide, her experience initially appeals to most Korean readers and audiences. However, Korean readers and audiences will not react to Purposes of the Korean Translation of Hedda Gabler in the Korean Language I 16 her suicide the way Ibsen knew the Norwegians would. For Norwegian society, suicide is a sinful act and an act of insanity. The concept of suicide in Korea is totally different. There suicide has no religious implications according to Buddhist and Confucian thought. Rather, it is an act justified . as a means of guarding one's honour and one's famiry reputation. For Koreans, suicide is a responsible act of self-punishment and self-defence in response to shame and dishonour over acts that one has committed. Although the complexity of Hedda Gabler could not be easily articulated in the Korean translation, the experience of the Korean woman is clearly coincided with that of Hedda as she falls into a world of biological and social changes. There is no immediate solution for Hedda, Nora, or a Korean woman as their problems cannot be solved by any secular, social means. Rather, Hedda's inner complex is shared by Korean readers and audiences: when they set out to verify their disordered vision, they are only met with blank incomprehension, but they can identify the similar problems through the character Hedda vicariously. As Dr. Durbach writes, Hedda's history is predominantly social — a fully dramatised image of a ci-devant aristocrat for whom Gablerism is a code of obligations heaped by nobility upon her nature, and who lives in a world where people no longer do 'that sort of thing'. . . .More recently, she has been portrayed as a woman in whom the poetry of life runs deep but whose channels of expression have been damned by the society in which she lives, in whom idealism burns with a hard germ-like flame but which—thwarted by her status in a world—can only burn itself 14 and others in an agony of frustration. In spite of the wide cultural distance, Hedda Gabler and A Doll's House Purposes of the Korean Translation of Hedda Gabler in the Korean Language I 17 appeal to Korean readers and audiences. Neither Nora nor Hedda has the same predicament and qualification as a Korean woman, but their spiritual aspiration is similar to that of a Korean woman. There exists no private measurement to remedy their dilemma. When there is change of generation and history, this cross-cultural experience is left with each individual to cope with. This Korean translation of Hedda Gabler is intended to offer Korean readers and audiences a metaphor of their spiritual yearning. In life's journey, a history of society never separates individuals from realitj^. While histories record the course of change in society, pains, hurts and sufferings are experienced by individuals. As Dr. Durbach points out, "not the mystic history to which Hedda aspires, but that concept measured by the living reality of process, generation, 15 growth", a Korean woman seeks for spiritual security in the midst of changes in order to locate their existence in the living reality of process, generation, and growth. Although at this stage the conflicts and struggles of Korean women are somewhat subdued due to a more suportive understanding of their issues by the majority of Korean society, Hedda's spiritual battle and the palpable consequence of her struggle still need to be told to Korean readers and audiences. In the course of the translation work, this need has been strongly sustained and the writer hopes that this translation will be useful in Korea. V. THE PROBLEMS OF TRANSLATION The basic responsibility of a translator is to build a bridge between two different cultures in order to let works of art from one culture meet the audience and readers from another culture. However, some intrepretative attitude during the process of translation is unavoidable. The intention of the writer is to present a translated version of Hedda Gabler as a whole that stands and speaks for itself as an independent work. The problems and compromises encountered during the course of translation are discussed in this chapter. In order to reduce any association with local custom and culture, no dialects are used in this translation. The endnotes are provided for Korean readers in Korean. The main emphasis in terms of claritj' of translation is on sentence structure, the tone between characters, vocabulary, forms of address, character development, social convention in behaviour and language, fashion, social activities, and climate. These nine sections all had a bearing on the choice of Korean vocabulary used. Each presented its own demands on the translated work in the larger effort to preserve the author's words and intent. A. SENTENCE STRUCTURE The most common problems in Korean translation are the differences in syntax from English to Korean. When an incomplete sentence implies something, the unsaid verb or word has to be inferred then translated in order to make a translation understandable. In Korean, after the noun subject there are adjectives and adverbs and then the verb, which ends the sentence with the proper tense and appropriate honourific. An English sentence which is incomplete does not 18 The Problems of Translation I 19 translate exactly if left unmodified. The following are a few examples that display the problem: No, and that is why I think it must be that redheaded singer whom he once . . . (P. 135) Why don't you instead thank Judge Brack for all the trouble he has gone to . . . (P. 136) Well — is your wife pleased . . . (P. 136) It was understood that we were to be active socially, to entertain, and to . . . (P. 140) But most intolerable of all was to . . . (P. 144) Yet, as far as Tesman is concerned, it seems to me that one certainly should be able to . . . (P. 144) But tell me — how am I to understand your . . . ? (P. 145) Oh, I can't expect that you — for my sake — should . . . (P. 156) I almost think . . . (P. 156) Oh, if you keep running, you will . . . (P. 174) When anything so serious as that . . . (P. 175) If he, worthless and irresponsible as he is , should try to force himself into . . . (P. 178) Well, God be praised, in time there will also be something in this house an old aunt could lend a hand into . . . (P. 187) A h — that's the reason he . . . (P. 195) You — the prize cock o'the walk . . . (P. 200) In order to translate the hidden or the abbreviated meanings, the situation The Problems of Translation I 20 from which these examples come is taken into careful consideration. .Sometimes abbreviated verbs are translated directly into Korean. However, when the translation explains the omitted part in a sentence, it tends to lose the tension which is suspended by omission or abbreviation. In many cases, the writer replaces the unsaid English verb or word with appropriate Korean expressions in order to give a sentence a similar feeling of being incomplete in Korean translation. Thus the intended tension still remains in Korean translation. B. T O N E B E T W E E N C H A R A C T E R S The dialogue among characters of different status requires differentiation in tones used in Korean. The writer had to find alternative expressions to convey this where different honourifics are required. In Korean, there are two ways of conveying honourifics: one is to lower oneself as a speaker, and the other to use higher titles and verbs of honor for others. Honourific rules were strictly followed in the translation. However, sometimes when there is a feeling of intimacy, one can use neutral expressions without applying the rules of high and low. The cases where this occurred are as follows: a. Interchange between Aunt Julian and Berte Their dialogue reflects the relationship between two women who have been living together for a considerable length of time, but as mistress and maid. The rules of honourific are strictly observed in the translation, while at the same time the long-term intimacy between them is expressed. The Problems of Translation I 21 b. Interchange between Tesman and Aunt Juliane Their conversation is part of a relationship between a little boy and a caring aunt/surrogate mother. The readers can feel the intimate familarity between these two people. However, the rule of maintaining an appropriate amount of respect is kept when Tesman talks to his aunt. Although he is very close to his aunt, so close that he pats her on the cheeks, still it sound natural in Korean for Tesman to use higher forms of language addressing her and lower forms of language in referring to himself. c. Interchange between Hedda and Tesman Although Hedda uses a higher form when she talks to Tesman in this Korean translation she does not behave like a typical newly-wed wife; nervous, shy, yet happy. Rather, she seems to be formal and cold with him. She uses a higher form for Tesman, but when she refers herself, she does not use a lower form. She is presented as a character whose aristocratic upbringing is expressed in manner and posture. Unlike Tesman, she does not use various single-word exclamatory expressions which, in Korean, imply unrefined shallowness and excitability. The interchanges between Hedda and Tesman reveal the distinctive differences in social status and character between the two. d. Interchange between Hedda and Brack Both Hedda and Brack demonstrate the manners of the upper class to which they belong: the way they exchange witty greetings and the way they handle their conversations. In this Korean translation, they communicate at the The Problems of Translation I 22 same level of sophistication. Hedda's attitude is noticeably less condescending as compared to her behavior with Tesman and Aunt Juliane. With Brack she acts and speaks formally, and yet seems to be more lively and witty. Hedda's formal language maintains the distance she desires. In the meantime, Brack's half-formal, half-informal relationship reveals his character. In this Korean translation, when Brack is alone, talking to Hedda, the writer has him using informal language in order to underline his insidious intentions toward Hedda. This is most evident when he calls her Mrs. Hedda instead of Mrs. Tesman. Here he uses the informal endings which imply the assumption of intimacy in Korean. The distance and the closeness between Hedda and Brack is preserved through their language of formal and informal expressions. e. Interchange between Hedda and Tea The interchange between Hedda and Tea arises from a somewhat ironically enforced intimacy. Hedda wants to hear what has happened to Tea and Lovborg at the Sheriff Elvsted's. She approaches Tea as if she had become a caring big sister. A t first this makes Tea uncomfortable. In Korean, it would be natural for Hedda to ask Tea to call her "sister" in keeping with the norms of Korean friendship and intimacy. But this writer chose to follow Ibsen's form, as Koreans are largely aware of the Western conventions governing the use of names. Tea uses Hedda's name later in their conversation and she finds Hedda supportive. Hedda talks down to Tea, which is common in Korean in conversation among close friends. Tea talks to Hedda with higher formality, but gradually she speaks with less, retaining just a vestige of her previously subordinate speech. The Problems of Translation I 23 f. Interchange between Hedda and Lovborg In the Korean translation, Hedda talks to Lovborg with respect. When she refers herself, instead of using the neutral subject word "I", she uses the lower connotating "I". By doing this, she retains the formality expected of her role as Mrs. Tesman in the presence of Lovborg. But Lovborg preferrs informal manners when he talks to Hedda. Her marriage to Jorgen Tesman has not been fully accepted by Lovborg. From their conversation, Hedda, with her formal language, tries to remind Lovborg, with his informal language, of the present reality that she is no longer the woman of high status, Hedda Gabler. Through this manner of speech, the Korean readers and audience can detect the past relationship of Hedda and Lovborg, which bears meaningful impact on both of them. The broken intimacy between Hedda and Lbvborg is projected through the discrepancies in their language. g. Interchange between Hedda and Aunt Juliane A facet of the relationship between Hedda and Aunt Juliane will be discussed in a later section of the introduction dealing with forms of address, but it has a bearing upon what must be discussed here. Aunt Juliane accepts the new family tie, that of Hedda's attachment by marriage, and so talk down to Hedda in the affectionate tone reserved for in-laws. But Hedda demonstrates a rejection of that family tie by using strictly formal language. Hedda's language conveys detachment to Korean readers and audiences. Therefore, the tone between Hedda and Aunt Juliane is one of reluctance on Hedda's part and affection on Aunt Juliane's part. The Problems of Translation I 24 h. Interchange between Tesman and Lbvborg Although there is a feeling of awkwardness and discomfort revealed in Tesman's manners, he speaks in a neutral form of language to Lovborg, which is commonly used among friends. Both Tesman and Lovborg exchange greetings in an informal language which gives the readers and audiences a hint of their old but neglected friendship. However, Tesman fails in his attempt to conceal his insecurity in spite of this informality. He reveals his dismay at confronting the greater competence of his peer Lovborg as a professor. Lovborg illustrates his own insecurity through his rushed and blunt introduction of his books and plans to Tesman. Yet Lovborg's language is consistent and confident. Despite their mutual informalit3% the Korean words have been selected to project the sense of awkward reacquaintance between old-lost friends who no longer feel comfortable with each other. C. V O C A B U L A R Y Although standard Korean can accomodate most contemporary thoughts and slang concepts of the English language, there is some awkwardness when English words and expressions serve certain special purposes. The potential for confusion increases in every case in which no Korean counterpart exists. The literary translation of these cases not only confuses the readers and the audience, but also mislead the meaning of the original text, thus the translator's discretion is required in order to transfer the closest meaning in the Korean translation. Some examples are "nobody", "none", "nothing", "something", and "anything", "dear", "dearest", "sweet little...", "stupid little goose", "I'm afraid The Problems of Translation I 25 of...", and "the cock of the waIk"(or the "prize cock o'the walk"). "Nobody, none, and nothing" is translated into Korean as "no one, no people, and not a thing". As an example, 'Nothing. I simply want to end it all,'(p.l83) is translated into a Korean sentence whose English translation is 'There is not a thing that I plan to do. I simply want to end my life all. ' The Korean counterparts for "something" and "anything" are indistinguishable. The expressions, "dear", "dearest", "sweet little", and "stupid little..." obviously require rather loose Korean translations. The exact translation of these expressions in Korean sounds very clumsy , so the Korean counterparts are used to minimize the awkwardness. For the expression 'I'm afraid of is replaced with 'I'm worried' or 'I 'm thinking of...' because when this expression is translated directly into Korean, it means 'I have a phobia about'. It is too strong and inappropriate. "The cock of the walk" or "the prize cock o'the walk" is translated more-or-less directly. Although the" Korean word "cock" only means a male chicken, the translation retains the phrase's sense of a spoiled, arrogant farmyard rooster. One of the obvious differences in vocabularies is the usage of pronouns. "She" and "he" in Korean have different connotations. The personal pronouns are used for strangers who have no established relationship with the speaker. Therefore, when the personal pronouns are used, the implications are very impersonal and verge on insult. The Problems of Translation I 26 D. F O R M S OF A D D R E S S There is a noticeable difference in the forms of address used in English and Korean. In both languages, there are rules of formal address which signify the extent of formality and informality among people. Yet, the social and cultural conventions create different systems. In Korean, when a woman marries, she is allowed to keep her maiden names. Since her name is rarely used afterward, she receives various titles by marriage and new roles accompanj' them. Those titles are "wife of someone", "mother of someone", "lady of some town" (sometimes her home town), "wife of her husband's professional title" (such as Mrs. Professor or Mrs. President), "first" or "the second daughter-in-law", "lady of the seperate house"(a house for the newly-wed or the youngest daughter-in-law away from the main house). According to Korean customs, Hedda would be called Mrs. Gabler. But as the Korean people understand much about the different customs of Western countries including the different tradition in the forms of address, this custom is not observed. To ensure clarity, certain forms of address in English are explained in the endnotes. Compromises are made on the following: Aunt Juliane, Miss Tesman, Aunt Rina, Mrs. Hedda, Mrs. Tesman, and Hedda. Aunt Juliane or Aunt Rina in a direct Korean translation sounds strange, because the Korean people never call their elders in the family by their first names. There are two different aunts in Korean: one is a mother-side aunt, which is imo and the other is a father-side aunt, komo. The compromise in the Korean translation is made on the following points: . The Problems of Translation I 27 1) Since. Tesman has two aunts, the names of his aunts are used in the Korean form of address. 2) There is no sign that clarifies whether Tesman's father is the older brother or the younger brother of the two sisters. But considering the ages of Aunt Juliane and Tesman, it seems reasonable that Tesman's father is their older brother. 3) Despite the close relationship of Tesman to his aunts, he still calls his aunts by their due honourifics. Therefore, Aunt Juliane is translated into Korean with Korean respecting forms, that is "Juliane komo NIM." The underlined part NIM is the honourific that is applied to all elders of both branches and all social ranks. Because of differing concepts in the forms of address, whea Hedda calls Aunt Juliane Miss Tesman, it sounds rude and unnatural. This is because "Miss Tesman" translated into Korean becomes the title of a young girl. Hedda calls Miss Tesman Aunt Tesman without putting the honourific ending NIM in order to demonstrate her reserve. Mrs. Tesman is Hedda's new name. Although the Korean women would not change their last names in marriage, they understand the Western tradition. However, when Judge Brack calls "Hedda Mrs. Hedda, a direct Korean translation reveals his slyness. Although Hedda Gabler is called by various titles such as the new mistress, the General's daughter, Mrs. Tesman, Hedda Gabler, and Mrs. Hedda, each title is involved in a different situation with a different character. Each title indicates the complexity of Hedda's experience. The Problems of Translation I 28 There are many occasions that "dear", "daring", "dearest", "sweet", "lovely", etc. are added to names of characters. But these intimate adjectives do not fit into the Korean way. The Korean language does not have these expressions of intimacs'. Rather, it puts emphasis on formality and informality as indicators of intimacy. In a way the more expressive one is the more vulgar one seems, the lower one's impression on others is. There are endnotes prepared for the Korean readers, that explain different customs in the forms of address, and the implication of each title as well as the necessary compromises made in the translation. E . C H A R A C T E R D E V E L O P M E N T The success of the translation is determined by the evocation of tone and depth in conversations crucial to character development. Differences in tone and the manner of speaking indicate the disposition of each character. Hedda interacts with Tesman, Aunt Juliane, Berte, Tea, Lovborg, and Brack. These characters also respond to one another. Through unconscious mannerisms of various sorts, Tesman reveals his insecurity and timidity. When he confesses to Hedda that he found Lovborg's manuscripts on the street, his character is revealed in his language and manners; his subtle slyness, his hidden ambition. When he cannot understand what Aunt Juliane is asking him when she inquires about Hedda's pregnancy, he demonstrates his insensitivity. The more we discover Tesman's limitations and incompetence and Hedda's stubborn arrogance, the more obvious the nature of Hedda's problems are illustrated. Although the stream of thoughts and the major conflicts are delivered The Problems of Translation I 29 through a Korean context, there is no attempt to change Hedda Gabler into a traditional Korean play. F. SOCIAL CONVENTION The social conventions exposed through the behaviour and language of the play needs in some cases to be explained for Korean readers and audiences, despite the modernization of Korea. The mortgage, Aunt Juliane's income, the governess' job, the honeymoon trip overseas, flowers with a visiting card, and the structure and layout of a Western house are all examples of different conventions. For a long time, the Korean economy has been based on agricultural products and land. Society is run by cash, not credit. The existence of the socially and financially privileged classes which dominated Korea until the twentieth century prevented the development of a middle class. In this economical structure, the Korean concept of mortgage implies dealing with a usurer. This is because banks were not publicly accepted in the old days. Therefore, the context behind the English word "mortgage" needs to be explained in an endnote. There has been no pension plan for senior citizen in Korea. When parents are retired and old, children will look after them. So, parents live with their children in the same house getting financial and emotional supports from their youngsters. Therefore, Aunt Juliane's income needs to be glossed in order to explain whether it is from her property or from any social welfare. When Tea Elvsted talks to Hedda about her position at Sheriff Elvsted's, The Problems of Translation I 30 two professions seem foreign in the Korean translation. In Korea, a job of housekeeper is performed by servants and supervised by a senior servant or a daughter-in-law. The governess' position is different in Korean culture, too. The upper class, Yungban, sent their children to public or private institution for the education, where professional scholars or well-read retired officials stayed with their disciples. These teachers and their disciples were supported financially by the upper class, sometimes dwelling at private home of a upper class family. They were expected to educate boys of the family. However, there were no female teachers or disciples in Korea. Thus, Tea's governess position at Sheriff Elvsted's should be explained for Korean readers and audiences. Tea worked at first as tutor of the Elvsted children and later became the wife of Sheriff Elvsted. Her social position and her feminine behaviour would remind the Koreans of a typical "second wife". The second wife was oridinarily someone from a lower class background married to a man of the upper classes after his first wife died. He would be motivated by a need for someone to look after the household and children. The second wife was usually mistreated by the family and suffered a great deal of resentment on account of her position as a proper wife. In order to reduce any misunderstanding about Tea's job, an endnote is provided. Honeymoon trips are popular in Korea nowadays. However, honeymoon trips overseas are still considered very extravagant. Because getting a passport for any trip to foreign countires is difficult, Koreans might not understand the ease with which foreigners obtain these things. In particular, no complicated documentation was required in the nineteenth century for travel between The Problems of Translation I 31 European countries. A brief endnote is provided to explain this difference. Flowers as an accompaniment to a visiting card are a foreign concept to most Koreans, as is the different layout of the house and furniture at the Tesman's. But these are easily understood in the Korean translation. The expression of "vine leaves in his hair" needs to be explained. This phrase alludes to Dionysiac orgy for the most Westerners. G . F A S H I O N : D I F F E R E N T C L O T H I N G In the Korean translation, the names of different garments are directly translated. When Tesman helps Aunt Juliane to untie the bow attached to her hat, intimate family relations comparable to a Korean son helping his great aunt to take off her overcoat would be perceived. Since Norwegian outfits are radically different from those of the Koreans, endnotes about costume will assist Koreans understand how the clothes looked. In order to perform the play on a Korean stage, appropriate reference to Western garments should be looked into by a director or a costume designer. Hedda's morning and afternoon dresses, Mrs. Elvsted's evening dress, Tesman's lounging suit, and Judge Brack's walking clothes are examples of what should be provided in an appropriate costume design book. Due to insufficient understanding of Western dress, there have been many productions of Western plays which failed to illustrate with historical accuracy of these costumes and designs. The modern drama movement brought many foreign plays to Korea, which appeared as inaccurate imitations and adaptations of Western play. The precision in this translation should be followed during the The Problems of Translation / 32 process of producing the play. H . S O C I A L A C T I V I T Y Social activities in Korea changed rapidly from the old traditional gatherings to the new mode of socialization centered on the working circle. In the past, the traditional Korean party usualty meant a banquet. These occasions happened on family members' birthdays — mainly the men's — and on special holidays such as the Full-Moon Festival Day and the New Year Eve and morning. A full-course meal was served for the guests with drinks and, later, assorted dishes and drinks were separately prepared and served for the male guests. After the big meal, they sang songs, exchanged jokes, or recited poetry; sometimes, a group of professional entertainers would be provided for the party. A group of singers and players were supported by aristocrats throughout the year, and they came to entertain guests on call. House-warming parties and special job promotions were celebrated in the same manner. There were also other occasions that the Korean people traditionally celebrated: the sixtieth birthday, the birth of a son in a family, and the success of an application of a government job. However, the Western concept of party is somewhat misunderstood in modern Korean society, especially the dancing to popular Western songs on Christmas Eve among youngsters. There has been strong disapproval of these parties among Korean elders because they feel that these rowdy parties spoiled their youngsters. The Problems of Translation I 33 Cold punch and stag parties are still foreign to most Korean readers. Endnotes are provided in order to avoid any misunderstanding. Drinking habits and the kinds of drinks need explanation as well. Miss Diana's dwelling place would be understood as similar to a Korean Ki-Saeng house, where male parties would be held accompanied by professional entertainers and musicians. Despite minor differences among different societies, places like Miss Diana's will remain in the popular mind as the same as the Korean Ki-Saeng houses. Even in present-da}7 Korea, there are places open exclusively to male members who hold drinking parties with female escorts. Although these female escorts are from varius backgrounds, popular understanding would not accord these women the respectability of professional status. Korean society has a strong prejudice against this particular social class and anything resembling it. Despite the facade of its modernized appearance, the society still holds rather rigid double standard, which cannot be solved by any immediate change of attitude. 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( o j e ) o j - ^ A j 1 3 1 ^ i i i § 3 ) 1 2 1 2 1 1 2 , i ± 2 * 3 » 1 1 • ( I 2 f * 1 2 | e 1 | °1, 2 1 2 * ^ i i 1 3 3 ) 1 , 1 1 1 1 3 3 * 2 # 1 2 , 2 3 1 3 * 2^« : ( 1 1 1 2 1 1 1 ) 1 1 - 1 1 - 1 1 1 1 1 2 3 1 1 2 * * 1 3 1 3 3 1 2 i 1 1 : 1 2 * 1 x>*2 2 # 3 2 1 2* l b 3 1 1 2 i ( # * £ 1 ) 2=11 M l £ * 2 1 3 1 2 * 1 1 ) 1 1 3 2 132- i 1 1 : 2 , 1 3 , 1 1 2 3 1 2 ? 2 B | l 2 ? 2 1 s ( 1 3 2 1 2 1 1 ) 1 2 3 1 2 3 § 3 2 2 3 2 3 1 2 1 1 1 : 2 1 3 § 1 2 1 5 . , 3 1 3 -(2 ^ 3 1 , I i * 1 2 1 £ 2 * £ 2 2 2 , 1 3 1 £ 1 £ 2 2 * 3 , 3 1 Zl * 1 * 2 2 f 3 1 2 2 * ) 2=fl : 3 3 4 1 3 » 2 1 3 3 2 1 2 * 1 3 3 1 2 3 2 2 1 * 1 2 ? 1 1 : 2 , 2 1 * * 1 * * 1 3 1 2 2 1 2 2=fi : (2 1 1 1 1 3 3 - 1 2 § * 1 1 2 1) 1 , 1 2 3 * 3 • ( 1 2 * * b 4 ) 4 , 4 4 2 f - 42 4 4b 44 i ( ¥ 4 f b 4b ) 1 4 2 4 4 4 3 4 ? 4 , 4 1 3 1 - ( 4 2 * * 4 42 1 32 ¥ 3 * 3 4 4 3) 2 4 2 4 1 2 * b 4 4 4 4 3 3 £ 4 3 ^ 4 b 4 2 . 1 4 ! 2 3 - 2 1 1 4 4 4 4 4 4 b 4 1 2 ? 2 4 4 1 4 * * 42 4 4 4 ? 1 4 : : ( * 4 b * 4 2 4 ) 4 3 2 , ¥ 4 4 4b 2 b 4 4 b 4 3 2 4 * 1 1 4 4 3 4 4 2 . M H F I . H , J A ^ a . ? 2 3 * 2 3 1 3 4 ? 1 4 1 ( 3 4 b 1 4 * 5 . 4 4 . 4 2 * 1 4 2 * 1 4 * 4 4 4 32 4 4 * 4 * ) 4 2 , 3 3 4 4 4 4 , 3 * 4 2 2 * 4 1 2 4 4 3 4 2 4 3 1 3 3 2 3 t 4 1 4 $ 4 b 2 . 2=fl 2 * , 1 4 ^ 2 3 4 * * 1 « 4 ? 4 42 4 4 3 4 1 1 4 ! (2 1 * * 4 , 2 § 2 4) -1 4 4 3 4 b 42 ? 2 ~ 2 3b 4 3 1 4 £ 4 3 4 #4 4 4 b 3 1 3 4 4 -1 4 : ( 4 * 42 3 4 32 4 ) 2 4 3 4 * 2 * 4 4 * 3 2 , 1 4 3 4 2 3 3 * 4 4 4 2 4 4 4 4 b 2 . 2*n : 3 4 * ¥ 3 4 4 2 4 b f 2 4 3b 42 ? 1 4 : 2 1 42 4 3 4 b 3 * 32 3 3 4b 2 i 2 _yi •- 2 3 2 4 42 4 4 3 34 i 1 4 - 4 , 4 ¥ 4 , 4 . 4 4 4 4 3 4 4 . 1 2 4 4 4b 4 1 b b * 4 * 3 4 4 b 4 4 b 2 . 2 *A * 2 1 , £ 42 - 1 4 2 1 4 32 4 4 1 ( 1 4 b 2 4 2 4 1 3k * *" 2 4 4 4 3b 4 4 * 4 4 1 2 4 2 2 * 3 2 , b 1 2 4 * 4 1 3* b • St b 3 3 b £ 4 1 4 2 2 * 4 4 ¥ ¥ 4 4 2 3* . ) *ij4 : a ? 2 M 4b * 2 2 ) * 1 ? 1 4 : 1 4 3 4 3 4 2 . 2 : (32 2 * * 2 * £ 4 4) i i , 4 3 4 1 4 * 4 * 4 2 , 70 75 1 4 ¥ 3 -•lj «=)• t ( £ | 4 ^ ^ o i ^o. c ^ a o f . 4 1 4 ) § 4 4 o | o p | U-u o-j b i s . ^ 4 2 1 * 3 z.i-1 sMS- ? 4 4 4 i | 4 4 1 ¥ 2 4 b V I ! 4 4 b 1 4 4 * 2 . 2 *A ' 2 3 4 , ± b 1 3b 4 1 4 1 4 4 4 b 42 ? ¥ 4 § 4 4 4 - 5 4 b 4 4 ? 1 4 : 2 - 2 1 2 , 4 2 3 42 H H F L . C^AIO ] - , j - 2 4 *. b 42 b 4 b 4 1 1 3 3 4 4 2 4 2 3 3 4 2 . 1 4 : 2 4 2 4 2 4 b 3 b 4 3 3 4 2 - 1 3 3 4 2 . 2 ^ * 4 3 2 ? 3 3 4 2 , 1 4 * 3 ? 2 4 2 b 4 1 4b 4 3 4 3 b 4 3 * t 3 4 1 § 4 2 3 4 2 3 4 ^ 2 . 1 4 : 42 2 ^ 2 3 42 4 l f l 4 2 . 2 *u 4 3 4 4*«b # 1 2 0142 - 1 2 4 3 4 1 1 5 3 4 3 3 1 -1 4 5 ( 4 * 2 a i ) 2 4 4 4 2 i 2 4 4 1 1 4 1 4 4 4 2 4 4 4 2 4 4 b x 4 2 4 2 4 , 4 1 1 4 4 4 2 4 , 4 3 l b 4 3 4 , £ 4 t 1 4 1 b 3 4 1 2 . 2 =n : ( 4 4 1 * 2 ) i 1 , 2 1 - 4 4 4 3 2 3 * 4 4 2 4 4 3 4 3 4 -1 4 : i i , 2 3 3b 2 . 2 4 2 1 4 44 4 4 2 . . . 2 3 4 4 4 4 3 - 4 2 , 4 4 1 2 1 3 4 3 4 * 4 1 4 * 3 4 2 1 2 =fl • ( § 3 3 2 2 ) 3 4 4 2 7 3 4 4 4 2 ? 1 4 : 1 , 2 1 2 2 1 4 4 4 1 4 4 4 4 2 . ^ 1 £ b 4 1 1 * 4 ¥ f 1 5 4 ¥ £ 3 b 4 4 4 4 * 4 4 2 , § 4 2 * 1 4 2 4 * 4 ¥ 2 4 ^ 4 b 1 4 3 4b 3 b • 2 =fl * 2 3 , 2 3 1 b 4 4 ¥ 3 ¥ 42 2 3 1 2 3 * 3 -1 4 • 2 3 4 4 4 4 * 3 3 4 4 3 b ••• h * . . . 4 4 4 , 5 3b 4 4 4 4 4 1 3 4 34 3 4 4 4 4 b 3 71 1 1 2 . . . 2=11 » ( 2 * 3 2 3. 2 I f 2 3 1 a l ) 2 1 2 2 1 2 * - 2 1 . . . 3 * 3 1 1 , 1 3 3 3 * E1 1 3 k T i l * 1 1 • 1 1 3 3 i 3 ° 1 1 5 3 1 2 ? H efl . 2 3 1 2 , 1 ± 2 1 # 1 1 1 3 , 1 1 2131 2 1 2 . . . 1 1 : 1 ± 2 * 3 * 3 3 3 1 3 1 1 2 , 3 1 3 2 =« : * 1 1 5 1 2 ? 1 1 : 1 * 3 3 2 3 3 3 3 1 1 2 « 3 * 2 °1 l b 3 1 § 3 * 3 * 1 1 2 , 1 * 1 i = i 1 * i i 3 1 1 * 2 3 * 1 3 ° l 2 . 2 =n J 2 ^ 1 2 1 - 1 2 1 1 1 2 2 3 1 2 ? 1 1 : 1 1 2 3 *T 1 3 1 * 2 1 , 1 2 2 * 2 3 2 2 1 1 1 2 1 2 =fi : ( 1 2 * 1 l D j ) 1, 2 1 1 1 * 3 * 1 1 : ( * 2 3 2 1 1 3 I t 3 1 ^ * 2 ° | 1 ) 1 1 - 3 1 3 1 1 2 3 3 3 1 3 3 3 1 2 * 5 3 1 2 # 2 3 1 2 1 1 3 * 1 2 1 1 -* * 1 1 1 * 2 2 1 * 1 1 1 # 3 3 °l 1 1 2 ffl : 1 £ 3 * 1 1 ^ ••• 1 1 : 2 1 , 2 1 , 2 1 2 1 £ 1 2 3 3 2 1 1 2 2 * 3 * 1 2 3 * 1 1 § 1 1 3 1 3 3 2 1 1 £ 1 * 3 3 1 2 . 231 : ( $ - 3 1 2 1 § 1 1 2 D 2 3 1 2 1 1 5 - - 1 1 1 3 1 3 3 1 2 * * 3 1 1 1 1 * 1 . . . * . . . 1 1 : 2 3 1 1 2 3 1 1 1 3 * - °1 2 £ 1 1 2 ? 2 =« : 1 1 , 2 1 - 2 3 1 2 1 1 * 1 1 * 1 1 1 1 2 1 - 1 2 1 2 3 1 1 2 ° 1 1 2 ? 2=fl » 1121 § 1 1 2 3 ± 1 1 2 § 1 2 1 2 1 1 1 5 * 1 , 1 1 1 1 : 1 3 3 1 * 3 £ * D1 3 3** 2 5 1 2 - 2 1 2 3 3 1 * 1 3 ° 1 2 , 3 1 3 , 2 3 I " 1 3 1 3 2 1 3 2 . . . ( * * l i t 1 1 1 3 * 1 ) 1, 3 1 1 - 2 3 3 2 2 1 1 l l * 3 1 2 , 2 3 3 2 2 3*3 1 1 2 3 1 1 2 i 72 2 *fi : 5 2 ^ 1 ^ 1 1 1 4 * 4 1 4 4 4 b 4 * 2 3 4 3 - • 1 4 : 4 * 4 * 2 - 2 i (4 4 I-b * 3 s. 32 s. 2 § 4 4 2 4 ) 2 4 2 2 1 ± 3 3 5 , 2 4 3 4 2 2 2 2 4 1 4 42 2 , i 4 3 b 4 4 3 3 * 3 3 1 4 4 2 . 2 2 3 . * b 4 4 , 2 3 * 4 2 3 4 - 2 42 £ 3 4 * 4 4 4 -1 4 : 2 4 2 3 2 4 4 1 ¥ ¥ # 2 3 3 * 4 4 4 4 3 3 b ! ••• 4 2 3 ¥ 3 42 v 2*« : 4 - 2 4 2 3 4 2 ?4 - 4 4 , 4b 5 2 3 1 ¥ 2 4b 3 b 311-1 4 5• ¥ b 3>4* 1 4 1 4 3 , 2 4 4 4 4 4 4 6 3 4 ¥ 3 4 3 3b 3 3 4 4 4 1 2 . 1 4 2 3 , * 3 1 3 4 1 2 . 2 ^ : ( 4b 2 1 2 4 f 2 4 ) • 2 b 4 4 * 4 34 4 3 2 3 4 4 2 3 * 4 l b 4 4 4 3 * 4 4 4 4 3 5 4 3 3 4 2 7 1 4 : (4b 4 2 3 2 2 1 1, 1 4 2 3 4 2 . 2 4 2 2 3 4 4 1 3 4 ¥ b b 3 4 4 4 2 4 4 4 2 1 5 4 4 ¥ 4 4 4 , 4 3 * 1 * 4 , 4 b 2 3b 3 3 * 4 3 4 4 * * 3 4 4 * ^ 3 3 4 2 . « e „ . o ^ u | f 4 4 4 - 2 3 1 4 4 4 b . . . 1 4 : 3 5 , 2 3b 4 4 4 4 4 3 ¥ 4 4 * 4 1 1 * 3 32 4 1*3 4 b 2 3 4 3 4 2 , 4 4 3 • 2=1 : ( ¥ 2 4 ) * 1 , b b 1 4 4 b ¥ 5 4 * * 4 1 3 4 ¥ b 3 2 1 3 4 2 2 2 4 * 1 , 3 4 3 2 2 3 4 1 3 , 4 4 4 3b 1 1 4 4 44 b 5 3 b 4 2 3 3 4 b 3 * 4 4 4 1 2 , 1 4 ¥ 3 • 1 4 : ( b 4 2 2) 2 , 4 3 1 4 4 4 4 b 3 4 4 3 4 1 2 1 b 3 4 3 3 3 3 2 . » s f l . M| 4 3 4 b 3 b * « * °14 2 32 2 * 4 4 4 4 l b 4 5 2 , 3 3 4 3 ¥ 4 1 4 2 , 5 , 3b 3 * 2 4 4 * * 1 2 4 4 4 ^ ¥ 3 b 1 4 : 3 4 4b 3 * 4 3 - 3 4 1 l ¥ 4 3 * 4 , 2 3 4 £ 3 1 2 ? 2 =n (2 1 3 4 * 4 4) £ 3 4 4 1 4 - 4 ¥ 3 4 3 4 4 3 2 , 2 73 4 4 , b b 4 3 4 4 4 5 . 3 * 4 4 2 3 4 1 1 - 4 4 4 ^ 1 4 ¥ 2 4 4 - 4 3 4 2 3 4 3 4 3 3 4 3 i & 4 4 4 1 3 4 4 4 b 3 b 4 2 ? 1 4 i i . - 4 * * 4 1 4 3 4 4 3 32 3 4 2 4 * 1 4 U S 5 . . 4 4 4 1 4 5 3 b 4 4 4 4 b 4 4 3 b 3 - « - 4 * 2*fl •. 2 4 4 , 4 b b 4 ^ 4 2 , 4 3 4 3 b 43>4 £ 4 3 * ¥ ••• 1 1 • C2 4 f b § 4 ) 4 ^ b 4 4 4 4 $ b b 4 l 2 . 1 4 4 3 32 3 3 4 2 1 * 3 4 4 3 4 4 1 b 3b 4 4 2 . . . . — ^  1 4 2 4 3 4 4 4 4 b b 5 4 2 , 2 4 2 - § 4 2 * |22 4 * 4 . 1 1 «• 3 4 4 4 4 4 3 4 2 . 2 : 3 4 4 2 ? 1 1 •• 1, ¥ b 4 4 4 3 4 4 1 4 4 4 4 4 2 3 4b 2 . . . 2 =fl t i * 2 4 ) . . . 2 3 * €1-3 4 4 ' ^ 3 3 5 1 4 # 4 3 1 , 4 3 3 4 2 ? 1 4 1, 5 4 3 4 2 . 2 : 2 3 4 4 ••• 4 3 1 4 1 1 1 • ( 4 4 4 b 5 4 1 2 ) 42 - 2 3 3 4 4b 4 § 4 4 4 4 2 . 4 4 4 3b 4 4 1 2 1 2 4b 4 , 5 4 3 b 2 2 4 2 4 4 4 b 1 4 4 2 - 5 3b 3 b b 1 5 4 4 2 3 4 2 . 2 =H : 4 , 2 4 4 4 344 § 4 4 2 4 4 4 3 1 4 2 4 4 4 3 ? 1 4 1 b l 2 - 2 3b 4 * 4b b 1 4 2 i . 2 : 4 1 4 b 3 * 2 4 , 2 3 * 4 2 2 2 5 3 1 2 3 3 . . . 1 1 s . . . 2 4 2 1 4 32 4 45 3 4 4 , 4 4 4 4 1 1 4 1 § 4 f 1 1 4 4 b ¥ 3b ••• 2 1 * . . . 2 4 2 3 b 4 4 4 4 2 b 3 4 4 4 b * 32 - 2 b 3 * 3 1 4 4 3 4 3b 1 1 1 • ( | | 4 3b 3b 4 5 2 2) 2 4 4 3 2 3 3 4 4 4 2 . 23) 1 3 4 b 2 4 1 b 4 , 2 4 4 b 4 4 2 4 4 ) 4 4 4 1 4 3 4 2 . *, ,4 . ( H a i ± 4 2 ) 2 4 2 4 5 4 4 b 4 4 4 4 3 2 1 2 3 2 2 (2 ^ 1 2 2 , 1 3 1 33»£ § 2 2 3'2 1 1 1 ^ , 3 * 2 * 1 § 3 - 1 2 # 3 1 I* 3§1 ^ £lf 3 2 , 2 1 a l l £ 1 2 1 2 2 : ( * 3 ^ ± 1 3 - 1 1 1 § 2 1 2 3 1 1 3 1 ) * - * 1 1 ? H § 2 1 1 1 n 3 £ 2 1. 3 3 2 2 1 2 # 1 2 1 * . 1 1 . (*«§ H i l l § 1 § § ) 1 , 1 2 2 1 ••• 3 1 2 3 * 3 2 , 3 1 3 i i ? 1 2 1 1 1 1 1 * 3 o i } i 3 2 f e i . . . 2=H : ( 3 1 1 D 3 £ § §1 § 1 # l £ . 1 1 5 3 1 , 3 - 2 § 1 2 3 1 £ 1 1 2 ? 1 ± 3 : : ( 3 * 2 3 2 § 3 " 7 1 3 A D 1 £ 1 1 3 £ 3 § °l £ 3 3 1 3 § 1 1 - 1 1 2 2 3 2 3 °1 3 2 2 ° 1 1 1 £ 3 £ 1 3 £ ° 1 1 < 1 1 •• 3 £ A 1 3 If I I 2 2 ? 2 =fi • 1 1 , 2 3 § 1 3 £ 1 3 1 2 1 1 . 1 2 3 * 3 1 (2 =HI 1 1 £ 3 t 2 # 2 - 1 2 1 £ 1 1 1 £ § 1 § ) 1 2 3 t 2 3 , 1 1 , * * 2 £ £ 1 3 2 3 § * 3 1 1 3 * 3 1 3 - 1 3 1 1 3 1 3 » i 1 § 1 3 1 1 1 3 2 * 3 ^ 1 1 2 1 * 1 1 :^  1, 2 1 1 1 5 1 2 . 12 °t ! ( 1 ° 1 2 3 2 1) 2 12 1 1 £ 1 1 1 1 1312 * 2 2 1 3 2 1 1 1 ( 2 3 § 3 l £ D 1 1 , 1 3»£ 2 # 1 v l ? 1 1 • 1 2 , £ « 3 1 2 . . . 1 - 1 1 2 1 § 1 2 . 12 3 c 3 1 2 £ 3 1 1 £ 3 1 # 1 2 3* 1 i i - 1 1 A f l 3 l £ 1 , 3 £ 1 2 1 2 1 ? 1 2 2 2 3 * 1 1 1 1 3 3 1 2 2.H3-32 2 * I f 1 £ 3 1 1 1 § 2 1 1 > « 3 2 1 1 - 2 3 * 1 3 1 £ 2 3 1 £ 3 1 1 2 3 3 3 3 l £ . ( * H § § 3 1 § 2 ) 1 *»)§ 2 * 1 3 2 2 3 1 1 1 1 . 3 * 3 3 3 1 1 1 1 * 1 1 1 # £ 2 i 2 1 2 1 3 1 £ * 2 2 2 1 3 1 1 1 * 1 2 11). 1 1 2 3 1 1 1 1 3 1 2 1 1 2 , 2 1 2 ? 1 2=0 2 , 1 3 , 1 1 - 2 1 1 2 1 1 1 1 * . 75 1 ± 3 : # 5 * 1 1 , 2 1 3 1 2 1 * 2 1 # 2 a i 2 . ( 3 ) * § 2 1 1 1 1 * * 2 1 3 £ D 2 , 1 1 # 1 1 3 * 1 , 1 1 - . f 1 3 2 2 1 1 2 * 1 3 1 ^ 2 3 1 1 1 1 t 3 2 3 1 2 2 . 2 2 1 3 1 * 1 1 3 2 1 * 1 3 3 2 1 1 2 ? 1 2 3 s 2 , 3 1 . f 1 3 2 2 * 1 3 1 2 3 1 2 2 2 3 * 3 1 2 ? 2 1 1 1 2 - 1 1 2 2 1 1 2 * 3 1 3 3 2 1 1 , 2 2 1 ? 1 1 >• 2 * 2 2 2 3 1 3 2 3 1 2 ? 1 2 3 ! 2 1 , 1 1 2 * * 3 2 3 1 1 2 1 - 3 2 1 1 # 1 1 2 1 , 1 3 * * . 1 1 * * 1 , 2 1 3 2 * 3 1 1 1 2 3 1 2 3 3 ° i 1 5 £ - 2 3 1 1 2 2 1 2 , 2 3 3 * 2 1 3 1 2 * 1 5 1 2 . 1 2 3 : 1S*A1 * 1 * 2 3 1 3 2 1 2 3111 2 2 £ * 2 1 2 £ 1 3 2 2 1 2 1 1 1 1 , 1 3 * 1 2 3 * 3 - 3 2 3 2 1 1 . 1 1 * (3°1 A 1 a 1 1 * 2 2 ) 1,2 l 1 1 1 * 2 2 * i 1 2 3 5 1 ? 1 1 : ( £ 1 * * 2 2 1 3 1 ) 1 4 3 2 1 1 1 2 . 1 2 3 : 2 1 . . . 2 3 2 1 . ( £ 3 * 2 * * 1 1 3 3 ^ 2 2 1 2 ) H efl : ^yt\ o| i ^ o i j ^ 1 o(j 1 1^ 3 § 3 * 1 2 1 1 2 ? 1 1 : 2 , 1 2 3 2 2 1 2 * 1 3 1 * 1 2 3 * 1 2 3 3 1 1 1 2 . 1 1 2 * 1 1 ^ 1 1 2 I f * 1 * 2 3 1 1 * 2 . ( 2 1 1 * 1 1 1 2 , 2 | 2 2 * 2 l ) 2 1 1 2 2 1 1 1 1 3 3S* 1 1 1 2 3 1 * 3 l 2 . 2 ^ 1 (2 i t 3 1 1 2 1 ) 2 3 1 1 1 * 3 , 1 1 2 3 3 * 1 3 * 1 2 2 ?2 3 3 3 * 2 £ 1 2 1 ? 1 1 5 ( 3 3 2 3 2 2 2 1 1 ) * l , 1 1 5 1 2 - 2 3 1 * 1 § 1 3 , 1 3 1 3 * 1 1 2 2 2 1 3 * 3 2 . ( 2 2 2 3 3 3 1 1 1 3 3 * t 1 . 3 1 5 : & 2 1 ) 2 3 3 ° 1 3 1 3 3 1 1 ^ 1 2 2 2 5 ° 1 2 . . . 231 « ( # # 1 1 * 1 1 1 ) 3 3 2 2 3 * ^ 1 3 1 1 1 1 * - 1 2 2 1 * 3 1 1 1 1 2 3 * 1 1 , 76 1 4 M * 4 _ t 3 * ¥ 4 4 4 ) 5 1 1 S f l 5 1 4 4 b 4 * 2 3 3 4 2 - . 1 1 1 m i l 4 b 4 31 ¥ 3 * 3 4s. ? 2 1 : 2 i s . , 4 b 4 * 1 4 3 4 4 2 , 4 1 3 3 * 3 3 3 4 3 3 4 4 4 4 3 4 3 2 • 1 1 : ( 2 * 2 2 , * 2 4) 3 3 2 3 * 4 3 * 1 4 * 3 2 1 2 , 2 3 4°i]2 ? 2%n * 4 3 4 * 4 b 3 3 4 4 3 3 3 1 ? 1 1 : 2 , 4131 4 4 4 4 3 4 3 42 4 4 32 ? 2 ^ : * 1 , 2 3 1 ? 1 4 : 4 4 4 f 4 4 * 1 * 1 2 4 1 1 3 1 4 1 4 1 4 4 2 4 3 * 4 3 4 4 2 . . . 2 \n : 1*1*11 4 3 4 4 * 5 1 3 2 3 3 4 . 1 1 5 1 , 4 4 2 . 4 4 4 * 1 2 3 3 4 4 * 5 2 2 4 4 2 3 3 4 2 . 2=fl * ( * 2 4 ) 4 3 , 2 3 2 3 , 1 1 * 3 1 4 i i - 4 4 4 4 4 3 4 12 4 4 1 2 4 * 4 4 4 * 1 4 : 2 * - 42 4 3 1 42 4 3 3 * 4 4 1 4 3 4 2 . 2 4 2 1 2 4 - 1 3 * 3 * - 2 4 4 * 5 * 4 * * 4 4 2 ¥ b 4 4 * 1 4 4 4 3 3 ^ 2 - 2 1 4 4 3 4 * 2 4 4 4 2 5 4 4 1 2 4 3 4 2 . 2 *fl : (4 3 2 3 * * * 3 2 ) i E J 4 ? 2 * . . . 1 4 : 2 I 2 , 3 32 23142 . 2 1 4 2 4 4 4 4 4 4 3 4 * 2 3 4 2 5 2 i f 42 4 1 42 1 4 4 3 1 4 32 3 42 35 4 1 3 1 "133 4 3 42 - 4 4 , 42 4 3 4 4 2 . 2 =H i 2 1 2 1 4 3 4 4 4 2 ^ 4 4 3 4 2 ? 1 1 : 2 3 4 1 1 4 4 3 * 2 1 4 1 2 . 2 *ti : 2 s l 2 I f l b 4 4 4 32 v 1 1 : * 1 - 2 * 4 4 4 35 4 1 4 b 3 4 * 1 4 4 ¥ 3 4 2 . 4 4 3 2 %t : | * « * l £ 2 1 42 1 1 35 4 4 4 3 4 42 b 3 4 4 ¥ , 1 1 ¥ 3 . . E a _ i * | a | a|. o] p_j 1 4 •- 4 i i E i A i i , ° i 3 3 2 3 5 ¥ 4 , 3 4 -3 1 1 3 3 3 3 3 1 4 3 b 5 1 4 2 3 ' 12 3 4 4 4 3 5 £ 4 2 3 4 1 4 3 4 2 l 2 4 2 4 4 4b » 3 5 » 3 5 4 3 » 4 2 * 4 4 4 3 4 4 4 2 1 4 3 2 . 3 4 2 , 2 1 3 4 3 , 3 1 3 1 4 2 * 4 4 3 4 4 4 4 i 4 § 2 4 3 ¥ 4 4 4 4 4 2 . 2 ^ • 4 3 4 3 3 5 45 ¥ 3 * 4 1 , 3 1 2 £ 4 3 1 4 4 b 4 3 4 * 2 3 3 3 3 3 b 1 1 1 : 2 1 2 - 3 4 2 3 -ofl4b 4 l H 4 2 . 2 = H : 2 1, 2 4 4 4b - 4 b b ¥ 4 4 4 3 b 4 1 4 4 3 b 3 3 b 1 3 4 ¥ - . . 1 1 • ? r ¥ , 4 3 4 1 4 4 1 4 l b 4 4 * 3 3 » 1 1 3b 3 3b 3 2 . 4 4 2 4 b 5 1 4 2 2 4 3 b 1 4 5 4 4 2 b 3 3 4 2 . . . . « E f l . o 4 ) 4 4 , M| 3 ) 4 1 3 42 4 4 3 - 2 2 ¥ 3 4 3 4 5 2 4 3 2 2 <14 4 b 1 • 1 1 • £ 4 3 3 4 4 4 2 , 5 4 1 3b 1 3 4 2 . 2 3b 5 b * i b 3 4 4 1 1 2 . ( 4 4 4 2 4 5 b 4 4 1 2 , 4 4 4 5. 4 1 4 , H b 4 ) 2 , 4 4 3 - 1 1 4 * 4 3 4 4 4 12 b 4 3 3 2 2 3 4 1 2 1 2 1 2 4 ¥ 1 4 3 3 b 3 5 4 3 2 3 4 2 ? 3 3 b 3 5 4 4 2 2 ? g l 1 4 4 32 - 2 2 4 2 , 5 4 5 2 . . . 5 5 2 3 1 4 3 - 4 5 4 ' 2 1 4 4 ¥ 4 3 4 2 . 4 5 4 6 * 4 1 5 1 3b 1 ••• ( 4 b 5 4 4 4 ) 2 3 4 4 4 * 1 3 4 ¥ 4 4 2 . 2 1 : ¥ 4 3 ¥ ? 2 1 4 . 4 4 4 5 5 45 4 4 -1 1 : 12 4b 3 1 1 4 4 2 5 ^ 5 4 3 4 3 1 4 2 - 2 4 1 3 * 3 1 # 4 2 . 2 1 1 1 3 * 4 l b 4 1 2 . H : ( ¥ 2 4 ) 1 2 4 1 32 4 4 , 2 3 £ 4 1 4 4b 1 3 4 b 4b 2 3 ¥ 1 4 1 4 4 4 b 4 b 3 3 3 - 4 4 4 4 b 4 b 3 4 4 2 i 1 1 : 4 3 4 4 3 4 5 . 4 2 . 2 3 1 2 3 42 5 ¥ 4 2 1 1 2 4 4 b 3 5 4 2 4 3 4 3 2 ? 2 1 1 4 * Efl — -I 1 1 2=1* : H i , 2 H - 2 3 ¥ 1 1 1 3 4 3 c 4 3 1 , 2 3 1 3 * 4 4 2 oH4 34*1 3 4 ^ 2 ? * 3 * - i 2 3 * 1 3 1 2 4 4 * 3 * 4 4 4 - 4 2 ? 1 4 5 1 ¥ 1 4 2 1 2 , 4 4 3 4 2 1 4 ¥ 4 4 ¥ 2 1 ( 4 4 3 * * - ) 1 2 4 4 ¥ 4 4 4 4 * 3 - ^ 3 * 442 * 4 3 2 2 4 4 1 2 , 1 ? 2=fl : 2 * , 4 3 * 4 4 2 , 1 1 ¥ 3 - ¥ 4 4 4 4 3 , 2 ¥ 2 4 * ¥ 3 4 4 4 ¥ * 4 4 4 4 4 4 4 1 * 2 . 1 1 * ( 4 * 3 3 4 3 4 4 4 ) 2 1 2 - 4 4 1 4 4 4 3 42 1 * 4 * 1 4 ¥ 4 1 42 * 4 ¥ 5 4 4 4 1 2 . . . ( 4 * 2 4 4 ) . . . 2 1 4 * 3 * 4 3 4 1 4 * 2 - 4 ¥ 2 3 4 4 4 4 2 * 4 4 4 4 2 1 1 , 4 4 1 4 2 4 4 4 3 4 2 . 2 *n : 4 * 4 * ¥ 1 4 * 4 3 4 2 3 * 4 4 * 3 1 2 4 *• 2 4 3 4 4 4 2 ? 2 1 : 4 3 * £*4 4 3 * # 4 3 2 * 1 * - 3 3 3 * * 4 4 1 1 ¥ * 3 * 3 3 1 2 3 3 4 3 * 1 4 . 1 4 : 4 2 * 3 2 2 3 4 3 3 * 4 4 4 * 3 1 2 ? « efl . af0|., 2 3 1 1 4 1 5 . 4 4 , 2 4 4 4 3 4 4 * 2 2 3 3 3 4 3¥ 4 . 1 1 5 (2 1 * 4 2 1 4 3 4 ) 4 , 4 4 4 3 * 2 ¥ 3 3 3 4 4 3 4 4 4 * * 3*442 ? f | 4 - 5 2 . 2 4 4 2 3 1 2 4 4 3 4 4 2 - 4 3 4 1 4 4 4 3 , 3 2 3 3 1 4 1 1 4 4 * 4 4 4 2 3 4 4 4 2 . 2=n « 4 4 , 4 4 2 3 1 3 2 4 ¥ 4 ¥ , 4 4 ± ^ 3 3 4 4 2 , 4 4 17 ± 3 32 1 4 2 4 5 4 3 5 4 2 , 3 4 3 4 * 1 . . . 4 4 3 * 1 4 3 1 4 4 3 4 ? ( 4 2 * 4 2 4 ) 1 2 * 4 ¥ * 3 4 2 , 1 1 ¥ 3 ? * i l 4 : ( H i 4 ) 2 * 4 1 2 1 2 3 3 * 3 1 2 3 * 4 42 . « *n : ( ¥ 4 3 D 3 42 - 4 * ¥ 4 ? 3 4 3 4 4 4 1 * 1 1 -1 1 • ( * 32 1 ) 2 = f i 4 4 3 , 3 2 3 3 3 * 3 4 1 * 4 3 4 2 . 4 3 * ¥ 4 ^ 3 2 4 3 4 4 4 2 . 2 ^ : 1 ¥ * 4 4 3 * 4 3 , 4 3 1 1 2 4 4 1 2 2 3 1 4 * 1 3 1 79 3 i ••• 1 1 ! (ft 1 * 1 1 1 ) 2 , 2 1 1 2 ? W 2 2 5 3 1 2 . 3 I f 3 . *1I3* °1 A 1 ! 31 4. 2 1 1 1 * 3 3b S °1 2 1 * 1 2 . 2=11 : (2 1 1 1 1 1 1 1 1 1 1 ) 2 3 1 ^ 1 2 1 3 2 ? 1 1 M i t , * 1 1 2 1). 1 1 3 * $ 2 * ^ I f H f c 1 1 2 . 1 , 12* 1 3 1 2 . ( 1 * 1 , 1 3 3 * 2 1 **;>1, 1 3 1 1 5 3 1 2 1 2 1 1 1 * 1 b 2*3 -1 2 1 2 °!1£. 2 =« : ( f r l i l 3b * 2 E | 2 ) 1 , 1 , 1 , 1 1 * 3 1 (231 1 2 3 , 1 1 l ^ i f 32 2 1 1 3 2 b § 2 1 3 b § 1 3 3 0 e u >- ~T e1 §3.) 1 ± 3 : *i|1 _ 1 3 1 2 * 2 2 2 1 1 2 § 1 ^ 1 * b i b 3 3 1 #± ? 1 ? 1 1 : 1 1 2 . 1 2 3 : 2 1 3 , 1 1 3 1 2 3 * 1 2 #* 3 . — - i 1 1 2 3 * 1 3 3 b 1 2 3 * 3 1 1 . 2 3 1 c 1 2 3 : 1 - 2 L 1 1 1 2 1 1 # 3 1 2 . 2 § 1 3 1 2 * 1 3 3 b 1 * 1 o\ u cc 2 * 2 2 3 f * ft.1 3 1 2 . —• -1 2 ? 1 2 3 2 1 2 - 3 1 2 f e l 3 2 2 1 1 OH 1 1 3 * °] , 2 3 * 1 0 1 1 2 3 * 1 2 3 1 3b 3 2 2 2 2 2 3 2 1 3 1 b 2 . 3*31 1 2 i — -i 1 1 1 2 1 3 l i b 3 3 2 1 3 3 1 , 2 1 3 1 ? 1 2 3 : ( 3 3 1 1 1 1 1 2 1 1 3 3 § § 2 ) 2 3 1 1 2 , 2 3 * i 3 1 1 5 1 2 . . . 1 1 3 * 3 b 1 1 1 I I I 5 I 2 . « H F L . o j - ^ i 3. E] A J ^ O ] ^ o j . . 7 A | 1 7 1 3 0 * 3 1 * 1 * 2 2 1 3 t 31. 1 2 3 : 1 1 , 2 3 * 1 2 1 b 3 1 c H 2 b * 1 * 3 1 2 3 * 1 1 1 1 2 . ? 1 1 : (2=1*1 2 1 1 2 2 § 3 ° 1 , 2 1 2 1 1 1 * 1 * 2 1 2 ) 2 E | 2 80 4 4 4 3 * 1 * , ¥ 2 2 4 5 4 4 4 4 4 4 1 4 4 3 4 4 4 2 ? 2 : 12 4 2 * 4 2 4 , 2 2 f 4 2 4 2 44 ) 2 , M i l 4 4 2 , * i | c j . bL o| i - ^ o ^ o j 30 " 4 4 * 1 3 4 ¥ £ 5 4 a ? 1 4 s 4 3 2 4 4 4 4 3 4 12 4 4 34 1 4 4 * 3 * 3 1 2 . 12 4 • ( 4 3 2 1 2 I f 2 4) 2 4 4 , 1 1 42 - 4 3 * 2 3 ¥ 1 4 4 4 3 4 4 4 3 * 3 4 3 3 1 1 2 31442 ? 1 ? # 4 4 2 2 2 5 2 4 * 3 1 3 4 4 * ••• 1 4 * 4 2 , 2 4 4 3 1 2 2 1 2 * 3 4 * 4 1 2 . 2 4 3 * 4 31 4 4 4 1 I f 44 3 4 4 4 4 2 . 1 ± 4 : 2 , 4 2 3 * 4 3 3 3 4 3 4 . 2 =H ( 4 2 * 4 2 ) 4 3 4 4 4 3 4 2 3 * 2 2 3 ¥ 3 4 1 2 1 3 5 * 1 2 2 . 1 1 s 1 2 3 1 2 ? 2 1 t 4 3 , 1 1 ¥ 3 , 4 3 4 ¥ 4 3 4 4 3 4 * 1 4 1 1 1 3 4 4 4 ¥ * 4 $ * 4 3 4 4 2 t * 2 4 4 * 2 3 3 4 * 2 , ¥ ¥ 4 3 * * 4 2 3* 4 4 1 1 4 4 * 3 4 2 ¥ 4 1 3 4 2 • 1 4 : 2 4 4 * 2 2 4 4 4 * * 2 4 4 3 * 4 2 3 3 4 4 ¥ 4 4 3 2 2 4144^ 1 2 • 1 4 3 3 4 4 3 4 3 . . . 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( 1 4 * ¥ 4 2 § 4 2 4 4 1 4 4 3 1 °k * • ¥ 2 2 2 4 4 4 * ) ¥ 2 2 8 ( 4 4 4 3 5 ¥ 4 , 1 4 1 1 ) 4 4 4 4 4 4 4 2 4 4 2 3 4 4 4 2 ? 1 4 8 ( £12 2 12 ¥ 3 4 4 4 * 1*3 1 2 4 * 2 1) 2 4 1 4 ? 4 4 2 4 1 4 2 ? ¥ 2 2 8 2 , ¥ 4 ¥ 4 4 * - 4 4 4 4 4 * 3 42 £ '¥ * 4 4 2 . 4 2 £ 1 3 4 4 4 4 4 4 4 4 4 2 4 ¥ * 2 3 3 * * 4 4 2 . 1 4 ! ; 3 A 4 ¥ 4 4 4 4 1 4 * 3 * 3 42 , ¥ 2 2 4 ? ¥ 2 2 8 5., °1 2 3 3 * ••• £12 2 12 8 ( ¥ 2 3 1, 1 1 5 2 2 1 4 1 : * 3 4 4) 2 , 1 4 - 4 92 3 3 S«* 42 i 2 4 2 3 3 1 4 2 - 4 * 1 4 * 3 4 1 1 3 4 * * 1 3 3 1 2 1 1 3 * 4 3 4 2 . 1 4 } ( 4 2 § 4 2 , i 4 f 4 4 2 4 ) 4 2 1 - 3 3 2 3 4 3 4 3 4 - 3 3 ? * 2 2 : 2 4 2 l i f e * 4 i - 3 3 4 * 4 2 4 2 3 4 1 2 1 , 2 4 * 4 3 4 * 4 1 3 4 2 , 1 2 4 * 3 -£12 2 12 i 4 1 1 4 4 i 1 1 - * 4 * ? * 2 2 1 4 * 3 * * 4 4 3 1 2 34 3 3 3 2 2 1 * 4 2 . 1 1 • * 4 4 1 2 1 - 2 1 2 1 4 4 1 1 4 4 * 4 4 3 3 3 * » * 2 2 : 2 4 3 4 2 ? ¥ £ 1 4 2 ? 1 1 : 2 4 3 , 4 4 2 , 2 4 4 * 3 42 4 4 4 3 * 3 * 4 4 2 . ( 3 4 4 * 1 * 4 * 3 4 ) 2 4 4 , 4 * * , 4 4 4 1 4 1 - 4 1 4 2 4 4 ^ 4 2 , 4 4 4 4 4 * 1 4 4 2 . £12 2 12 s 2 3 4 4 - 4 3 4 3 4 2 . 2 3 3 4 * 1 * 3 4 3 4 * 2 . 1 1 ~ 2 1 2 2 3 - 4 4 2 3 4 1 2 , * 2 2 4 ? ¥ 2 2 : 4 4 , 4 3 4 3 4 2 . 4 2 4 4 4 4 3 4 2 . £12 2 12 : 4 4 , 2 * 1 4 2 4 2 3 1 1 2 I 4 1 : ( 2 3 3 3 2 3 2 2 2 § 2 4 ) 2 4 4 4 1 - 1 4 t 4 4 1 3 ? ¥ 2 2 * 2 12 ± * 4 3 4 2 . 1 4 : ( 4 2 * 4 2 4) 4 3 4 1 4 3 3 4 3 2 ¥ 4 4 4 , 4 * ¥ 4 3 4 4 3 4 4 4 1 4 3 4 2 ? ¥ 2 2 : 2 1 2 , 4 4 1 2 3 1 4 1 3 4 - 2 3 4 2 . 4 4 : 3 * 4 4 4 1 4 , 4 4 2 4 4 4 4 2 3 4 4 2 , 2 1 f * 4 42 . £12 2 12 : 1 , 1 4 1 ¥ 2 2 : 4 l 4 2 3 42 ? 1 4 * 4 42 2 4 4 4 42 3 3 4 * 4 4 4 3 2 . ¥ 2 2 : 2 - 2 1 2 ? 1 4 * 1 . - 2 3 4 3 4 3 3 4 4 3 4 1 3 4 4 4 4 4 * 3 4 3 4 2 2 4 4 3 * 4 2 - 4 3 4 1 4 4 4 4 ¥ 3 4 3 * 4 2 . 93 £12 2 1 2 : ( W I , 1 23 * 1 ) 2 , 2 3 1 2 1 1 ... I l l : 3 * 3 c - 1 3 * °1 H 3 * 1 2 i l l ! 3 5 3 2 . £12 2 1 2 : (3 2 1 1 ) 2 1 2 , 32 2 3 1 2 1 5 1 2 . 1 1 : I * 3 2 ^ 2 1 1 * u * 1 * 3 2 2 2 3 * 1 § 3 * * 2 1 2 . . . * 2 2 •  1 3 1 1 1 2 ? 1 1 * 1 3 3 1 2 * 4 2 1 2 1 3 ° l 3 1 * 2 2 2 1 * * 1 * 2 1 * 2 . * 2 2 • 1 3 ° 1 3 3 1 2 i 1 3 , 3 * * 1 1 3 ,1 3 3 1 1 1 1 «=. is. i i ©I 1 2. o\- £. l(L o] l j o £12 2 1 2 - 2 1 1 3 2 1 * 1 3 1 2 1 1 , 2 3 1 2 ? 1 1 5 2 3 3 3 3 1 * 2 1 31311 2 3 3 3 2 2 2 3 1 £ 2 - 2 1 2 3 1 1 1 2 1 * 1 3 3 * 1 1 2 3 * 2 3 1 1 2 5 * 1 , 3 1 1 * 3 * 2 3 1 > 1 2 3 1 1 - 3 2 * 3 * 1 * 2 2 3 1 * . U 2 ! 2 3 1 1 ? 1 1 l i t * 1 1 1 2 3 1 2 1 1 * 1 2 ? 1 1 : 1 2 1 - 2 1 1 1 2 i 1 1 2 1 * 3 £ 2 ^ 3 1 1 2 3 1 1 3 2 1 * 1 1 2 . U l : 2 1 2 1 * 1 2 1 1 1 2 1 1 1 : 2 1 * * 1 " 2 1 1 1 1 1 3 * 1 2 ? H i • 3 , 1 1 2 3 1 1 1 1 2 1 3 * 1 2 . £12 2 1 2 = 1, 2 3 * * 1 1 2 , 1 1 - 2 * 1 2 1 2 3 1 1 * 3 2 3 1 2 . 1 1 : 1*2 1, 1 2 2 1 1 2 3 1 c ^ 2 3 3) g 1 g * 1 1 1 3 1 1 1 3 5 1 1 1 2 i 2 3 1 3 * * 1 2 i 3 £ 2 2 1 2 i i 1 2 1 1 1 3 1 H * 2 * 2 * 1 3 1 * C £12 2 1 2 * 3 1 1 * 1 1 , 2 1 * * * 2 l * ) 1 1 - 2 * 1 3 1 3 3 2 1 2 2 1 1 1 1 1 5 * 3 1 . 1 1 3 1 1 2 5 ° 1 ? * 2 2 : ( 1 3 1 3 3 1 1 ) 2 2 1 3 1 2 ? £12 2 1 2 * ( i f . 1 3 3 2 2 * 1) 1 1 - 1 1 - 1 • • • 9A 1 4 : ( £12 2 1 2 ¥ 3 4 1 ) 1 , 2 4¥ - 1 * 1 i i 4 3 4 * 3 3 4 i 2 3 1 5 3 4 1 5 3 1 4 2 3 3 4 ° I 5 1 3*1 3 3 4 5 - . • 2 s l 2 4 - °| 4 - o 51 a c cl. 5 E l i!i 2 5 - *H5 4 4 5 i 5 2 2 : (42 5 4 4 ) 2 , 2 4 4 ~ 4 1 4 5 5 5 4 4 2 , 1 ± 4 5 3 ? £12 2 12 • 4 4 4 . 4 4 1 , 1 1 i 4 3 4 4 i 2 3 5 4 3 4 2 , 1 1 , 5 5 4 4 5 4 5 35 4 4 4 2 . 1 1 : 4 i 2 4 5 5 1 4 1 i 4 4 4 3 5 2 E H 4 4 1 4 4 1 4. 4 1 4 2 2 3 4 5 -5 2 2 : ( £12 2 12 5 3 11) 2 - 2 1 4 ? 4 4 5 1 - 5 3 4 5 4 4 42 3 3 32 42 i £12 2 12 : (35 5 5 32 1 ) 2 - 2 , 1 4 - * 4 3 4 4 4 5 3 5 1 3 4 1 3 5 3 4 2 . 5 2 2 : ( 45 4 2 H § 4 5 3 2 2 2 4 4 , 2 4 3 5 4 3 2 4 4 4 ) 2 1 4 1 2 4 3 4 5 4 4 5 3 4 5 4 - 32 4 1 5 3 5 5 4 3 4 . . . £12 2 12 * (2 1 1 3 ^ 4 1 ) 2 , 2 4 4 - 4 3 42 1 3 4 1 4 4 5 4 5 4 4 4 1 2 . . . f - 2 2 : ( 4 4 4 5 5 2 , 4 2 $15 ± 4 2 ) 1 4 4 3 45 4 4 1 (45 4 * 2 , 1 4 5 5 5 45 4 5 3 45) £122 12 • ( 1 4 1 1 , 4 3 5 5 2 3 4 ) 2 - 1 4 , 1 1 i 2 3 35 1 2 3 4 35 5 4 4 1 1 4 : 12 3 4 * " 4 5 ? 1 1 4 4 4 2 ? 3 3 4 4 4 4 4 4 ? ¥ 2 2 : 12 4 5 3 5 4 1 4 2 3 1 1 3 3 5 3 1 4 4 4 2 4 4 2 1 ( 4 § 4 5 2 , 45 4 5 4 2 1 5 4 4) 1 4 •> (2 4 4 1 5 5 5 2 4 ) 4 , 4 1 ¥ 2 2 4 - 4 ¥ 4 4 1 4 4 5 4 4 2 , 2 3 2 ? 1 1 4 4 1 5 3 4 3 4 4 4 4 2 1 £12 2 42 : 4 1 , 4 1 , 4 1 2 1 1 4 * ( £12 2 12 ¥ 3 1 1 ) 2 3 1 5 2 4 2 2 4 4 42. 4 4 4, 5 4 4 5 4 4 42 2 3 4 2 1 ¥ 2 2 s ( 45 1 4 5 2 4 ) 4 , 1 4 i 4 3 1 2 1 1 3 4 * 3 4 E U £12 2 42 s 2 1 2 ... * 2 2 * £12212 2 4 4 4 3 4 4 4 3 4 3 3 4 ? £12 2 12 : ( £ § u || 1) 2 , 1 4 - °1 44°] 1 1 5 4 2 * 3 5 § 1 4 2 ? ¥ 2 2 : 4 3 °l 2 4 2 4 41 44 4 2 * , 4 3 4 4 3 3 3 , 2 4 4 , 4 4 1 4 2 5 4 4 4 4 4 5 ? 2 * H 3 4 4 ? 2 4 4 4 l i t 1 4 * 4, 2 5 2 -1133 1 ? 2 , 2 1 - 2 1 - 4 5 3 1 4 1 1 3 2 I I 2 , 2 3 4 35 1 2 3 4 32 3 1 2 3 1 1 1 3 4 4 ^ 4 3 1 ? £12 2 12 * ( 3 4 2 , 2 5 4 1 , 4 4 4 3 4 3 3 4 4 ) 2 , ¥ 2 2 , ¥ 2 2 1 ¥ 2 2 •  (45 4 , 4 4 , 1 ¥ 1 4 44 ) 2 , 3 2 4 2 4 4 * 4 1 3 4 4 4 41 1 4 5 ( 3 4 4 5 3 5 2 4 1 4 4 2 1 4 4 44) 4 4 - 4 4 4 4 4 4 4 2 , 1 2 5 4 2 5 1 2 4 1 1 4,, 4 ¥ 4 2 4 4 3 4 42 3 2. ¥ 2 2 * (2 § 1 4 2 45 5 2 4 ) 1 1 4 3 1 4 5 4 4 2 4 , 4 4 2 3 4 , 1 4 - 1 4 3 4 3¥ 1 4 3 4 2 5 4 4 5 32 2 ¥ 2 2 4 4 1 4 4 1 5 1 1 4 3 4 32 4 - 4 3' 4 4 4 5 42 3 4 2 . 45 2 4 ^ 3 4 3 4 42 4 3 4 1 , 1 4 1 £12 2 12 - (4, 4 4 3 4 ) 2 , ¥ 4 4 4 4 4 4 1 ( 4 5 4 2 =« 4 1 f 5 , 2 4 1 2 4 4 4 4 4 3 4 4 435i 2 2 45 ) 2 EH * (2 4 4 2 2 f 3 2 ) 4 , 12 4 5 3, ¥ 4 4 1 4 4 4 4 4 3 4 2 . ¥ 2 2 : i 3 4 4 D D 4 2 2 1 2 , 2 ^ 4 4 -£12 2 12 = ( 4 4 4 , 2 , 4 3 45 5 2 42 ) 2 , ¥ 2 2 - 1 3 2 4 4 4 4 2 1 1 4 : (£12 2 12 4 45 2 3 2 4) 2 5 4 i (5 5 5 4 ) 4 4 4 5 4 c l c u cL uL ot r c c \_r e r r • £12 2 12 5 ( 45 ± 4 2 2 4 4 4 ) 4 4 1 * 2 2 * (2 ?«1 1). 1 1 e i 2 °I 1 1 3 2 s- 3 3 1 3 1 1 . . . 1=« ' 2 , 2 1 * 1 4 2 1 l i s . 3 1 3 ± v I I I ' M | - H i . 231 : 2 1 1 1 1 3 2 3 2 * 2 1 . 11.2 •« ( ^ l l l $ 2 * 1 * 3 2 1 ± 3 1 1 ) # 3 3 2 1 3 3 1 3 1 1 i 1 1 1 1 3 * l i t * 2 1 * 2 3 1 -1 2 2 : °1 3 2 i 2 1 3 2 * ^ i 2 3 1 * * 2 1 1 , 1 1 , 5 2 2 1 2 1 3 * 3 3 1 1 1 1 * 1 1 » 1 2 ? 1 ? 1 1 : 2 , 1 3 1 c 4 1 1 5 1 2 . * 2 2 ! ( £ H § 3 * 2 1 ) £12 2 1 2 * 3 ? * * , n i l 2 1 1 2 1 1 1 * 1 1 * 2 1 1 1 1 4 l i . ( 2 i " | 1 1 1 1 ) 3 7 0 1 3 ^ 3 1 2 ? 2 1 3 1 5 1 2 ? 1 1 5 1 , b e °12 2 3 1 1 3 4 5 ° i 2 . 1 ± 3 ! ; i 1 , 1 ° 1 1 2 * 1 1 1 3 1 2 . 1 1 2 3 2 3 1 3 1 1 3 1 * * 1 1 1 1 1 1 2 1 2 , i i . 1 1 '•• 2 , 3 3 1 * 1 2 2 =H* 3 - 1 * 1 2 , 1 2 . 5 2 2 1 2 : ( 3 I f 3 * 1 1 1 ) - 2 1 3 3 1 1 1 2 3 1 1 1 1 1 1 2 3 § 1 2 , * 2 2 1 . * 2 2 : I 2 I f * 1 4 2 ) 1 , 2 1 2 , 5 2 2 1 2 * 3 . 2 sfl : 2 1 3 , 1 3 1 2 3 1 * - c 3 2 1 4 £ 4 1 1 2 1 1 -1 3 £ 1 1 1 1 3 1 1 * 1 1 * 1 1 1 4 1 1 1 1 1 2 1 2 * H i -l l :• 1 1 , 2 £ 1 * 1 3 * i l l 3 2 3 1 1 1 * * 4 2 1 3 I t 1 2 £ 1 1 2 . a, Hfl : *j. A | | S. 1 1 3 2 3 1 3 1 2 ? 1 1 : 2 1 1 2 1 1 2 3 * 4 1 3 3 3 £ * § 3 2 1 * 1 1 1 2 . H H „ : ( £ 2 1 ) 2 2 £ 1 1 2 1 1 1 2 3 1 3 3 5 * 1 2 " • 1 2 3 - ( £ 2 * 2 l ) 2 , 1 1 , 2 3 3 3 * 3 1 3 3 1 * 3 * 3 * 1 4 i. 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(2 4 , 12 3 4 ¥ 2 2 34 § 2 * 2 2 4 3- * 4 1 12 41 * 13 l r t 2 i | i 1 4 2 ¥ 4 *414 13 5 34 14* 41 4,4 2 4 2 § 4 * 32 4 44) £'2 2 12 * (3 4 4 f 441 -3-4414) 2 , n , 14 « n ¥ £ 3 4 £ 4 4 12 ? 1 4 704 3 ~ 704 3 4 2 4 4 4 4 * 4 5 14 - 44 4 2 2 3 5 * f 2 4 1 3 32 f 42 * 4 1 3 42 2 * 1 1 ofl a A s^ j c T EH P 2 3 1 4 £ 4 3 -1 4 :• 2 4 2 4 3 1 4 2 2 3 4 4 , 2 * 2 2 2 § 42 4 e 3* 4 . 4 * 4 4- 2 4 3 2 4 4 3 1 4 4 * 2 * 4 4 4 4 * 4 4 -£12 2 12 : 2 , 2 4 2 3 1 4 4 4 3 i 1 4 ° 1 4 , ¥ °1» 2 § 2 3 l 2 4 ¥ 12 1 1 4 - (it 2 3 1 * 4 - 1 1 4 - 2 4 2 4 * 3 3 2 2 4 4 4 2 3 2 3 1 1 (3 4 4 3122 12 ¥ 3 4 1 4 44 ) 4 3 4 2 2 3 - 4 4 2 3 * 4 * 4 3 1 4 • •• 4 i f 3 4 2 4 2 4 1 ¥ 4 1 * ¥ 3 * 4 4 . . . £12 2 12 : * 1 4 4 4 3 4 4 4 3 4 2 * 1 3 4 2 , 1 4 1 4 2 * 3 4 44 4 2 . . . 1 4 =21 2 3 4 1331 4 4 3 4 , 4 4 3 4 4 * 3 * 1 - 4 4 1 4 2 3 4 4 4 . £12 2 12 •• 4 4 2 4 3 1 4 3 ""1-2 . 1 4 ^44 - 2 4 2 3 4 2 4 * 3 4 3 4 . £12 2 12 - 2 3 4 4 4 3 4 1 4 4 4 2 i 1 4 :: MI4 1 2 4 4 4 1 4 3 * 4 1 2 1 1 4 3 4 4 * * 4 2 , * 3 4 4 1 4 4 4 1 3 * 2 4 2 4 * - 4 * 4 ¥ 2 4 * 3 * * ¥ 4 1 - ¥ 4 4 3 2 i (3 3 3 3 2 2 1 4 1 1 4 4 * 3 4 2 4 * 4 44314) 3 5 » 3 1 1 4 * * 4 4 4 3 1 4 i £12 2 12 t ( 3 3 4 4 4 1 * 44) 4 4 2 i 4 4 i 4 ¥ 4 4 2 , 98 1 1 1 1 2 1 - ( * 3 * § 2 1 § 3 ) 3 2 1 4 * 1 4 ° 1 3 * H I , 1 ± 3 * 3 . » i | c | - : 3 5 1 2 . * 1 * 1 2 . . . £ 1 2 2 1 2 * 1 1 - ° H - 1 1 2 1 3 3 1 H I 2 - 3 1 £ 3 1 5 1 2 - 3 * - 2 3 1 ••• 1 1 : 3 3 2 ± 1 1 * 3 I t 3 1 * 1 1 ' 2 ° A * 1 1 2 1 2 1 1 7 0 1 1 1 3 1 2 * 2 2 * * 1 * 1 1 . . . 2 1 1 1 1 * 1 1 , 3 1 1 * 2 2 3 * * £ 2 1 . . . ( 1 1 £ 1 2 2 1 2 * 3 * * 3 * 2 1 1 3 3 2 2 f i l l 2 ) 3 1 ( 1 3 - 2 1 3 4 2 * . 1 3 * 2 i 1 3 1 $ - 1 * 2 1 1 * 3 3 1 1 2 * - * 1 3 * 4 1 112 * 3 ° 1 2 1 3 * . 1 1 2 2 2 * 1 3 1 » 1 11 l i f e * 3 °1 2 3 . £122 1 2 * 3 , 1 1 2 2 f t * 2 2 1 , 2 2 2 1 1 2 & 1 3 * - 1 1 i 2 3 1 1 * 2 , 3 3 1 1 1 i n & 1 3 * . ' 1 1 * i l l 1 1 1 2 2 2 , * 2 c 1 2 2 * * * * 3 1 1 3 2 2 * - ) £12 2 1 2 * ( 1 3 1 3 1 1 , 2 1 1 3 1 1 ± 3 2 1 1 1 1 * 3 1 - ) (2 1 2 1 1 1 1 1 1 1 H , 3 2 , 1 3 * 3 2 i * 2 1 3 ) 1 3 2 % 1 2 1 3 1 1 , 2 * 1 i 2 * 1 - 2 £ 1 3 2 * 1 2 1 3 5 1 2 . ( 1 2 1 1 3 2 1 1 , £ 3 4 3 1 3 4 * 2 i * 1 * , * 1 3 1 * 4 2 3 * ) £12 2 1 2 * ( 1 2 1 1 1 * 1 1 3 3 2 3 1 3 3 3 ) * 1 - * 1 -3-12 ? 1 2 1 : ( 3 * ± 1 2 ) 1, 1 3 1 * 1 1 2 £ H I 3 3 1 2 . £ 1 2 2 1 2 • ( 3 3 3 3 2 2 , 3 3 1 , 2 3 1 1 2 1 * % 3 1 1 ) 3 1 1 1 3-12 i Ujje t o]-u t ° | Tj S. B J|A ^ ^ A J . o|-2 £ £ 3 4 °I|2 , £'2 2 12 * 3 £12 2 42 • 2 , eij2 . . . 12 4 * 3 4 1 4 2 * 4 4 * 4 ± 4 S * 4 1 4 3 4 2 . I 0 ] * 4 4 * 4 2 . £12 2 12 i 2 4 2 - M| . 12 4 - ( 3 I f 1 4 * 4 1 * * ) |12* 2 * 1 4 3 4 2 . 3 4 4 4 4 4 4 4 4 2 , 3*4* 4 * * 32 4 . £12 2 12 s 1 , 2 4 1 2 . 4 1 4 4 1 1 1 1 4 1 2 . 12 4 (112 * * * * 4 ) 3 4 1 4 4 12 . £12 2 12 : 3 4 i 2 3 1 2 4 3 * 4 2 4 3 4 4 i 12 1 • 1, 3 2 3 1 4 1 - 3 4 4 2 . £12 2 12 : 2 1 4 2 ? 12 4 : 1 - 4 3 3 4 4 4 4 1 1 4 * 4 * 3 * * 5 4 - 2 42 2 4 4 4 12 4 4 4 4 4 4 4 34 4 1 * 3 1 2 4 4 - 4 4 4 * 4 ¥ * * 4 2 4 4 4 4 4 4 4 * * 4 1 3 4 * 2 . £12 2 12 • 4 * 2 1 1 4 1 4 4 4 2 . 1 2 4 * 3 * 1 * 3 4 2 . 12 1 t ( 2 4 5 * 2 4 4 5 * 4 1 ) 1 , i - 1 3 ^ * , 5 5 4 2 * 4 4 1 . 5 5 4 4 3 1 2 ? £12 2 12 : 4 4 , 5 )442 - 3 4 1 4 * 4 * 4 2 . 12 4 : 2 , 2 3 4 4 3 4 2 . . . ( A e] o\ o\ •&{ JX-Q J o e i_u nV) \ ->- I « A I <_ >uT -1 vT — - 1 - I D ' 1 4 ! ( 12 4 4 5 4 * 2 4 1 1 4 4 , 4 * 4 1 2 4) 4 3 4 ? £12 2 12 • 1 4 3 42 . . . 1 4 •- (5 4 * * 4 2 4) 2 , 1 4 - 4 4 4 4 1 3 1 1 4 , 4 4 -4 1 1 3 4 4 . . . (3 4 4 3* 4 , 4 4 1 * 4 2 ± 4 4 4 3 * * - * * 4 3 4- ) 3 4 4 4 3 4 , 1 1 ? £12 2 12 : ( 4 1 * 2 4) 35 4 1 3 3 4 2 . 1 4 : 1 ± 4 4 * 4 * 4 44 3 4 34 ? £12 2 1 2 2 * 4 3 5 1 2 1 4 4 3 4 2 . 100 *!,«=]. : : oj.*) oij o ^ § o j ^ c p ? £ 1 2 2 1 2 ( 3 °1 4 D1) 1 * 2 3 § 1 # l 2 • 3 , oL o l ol o 1 1 2 1 2 1 1 4 * 3 2k I , 1 3 4 1 1 1 l c [ s | i 3 1 3 2 3 i £12 2 1 2 * ( £ § 3 t u 1 ) 2 1 2 3 2 * °1 2 1 1 3 i . °1 H I 1 1 3 f e 1 -1 1 : ( £ 2 2 I f £ 1 2 3 2 1 ) * 1 , 2 1 - 2 3 * 1 1 3 1 1 3 § * 2 3 3 * 3*1 3 1 1 -£12 2 1 2 : 3 * * * 3 ? 1 1 : 2 , 2 1 , 3 £ 3 3 2 £ l - 1 * 3 2 § 3 1 - l i f e f 3 1 ? £ 1 2 2 1 2 : 3 3 5 - * 3 1 2 . 3 * 1 3 3 ° i 2 , n . 1 1 • ( 3 1 1 1 , 2 1 1 1 2 3) 1» 1 , 1 i 3 3 2 3 1 1 2 2 1 3 3°| 1 3 1 £131 i 3 1 2 . £ 1 2 2 1 2 • 1 3 1 4 3 1 2 31312 ? 2 1 * 1 2 i 1 1 : 4 , £ £ , 2 E « 3 4 2 1 4 £ £ 1 3 1 1 2 2 3 § 5 5 2 . £12 2 1 2 : 2 , 3 1 3 1 3 1 , 2 1 2 - I i 2 2 2 5 1 2 , 2 3 1 3 ••• 1 1 : 2 1 2 1 1 1 2 3 £ £ 1 3 1 4 2 2 £ 1 £ 1 2 1 £ 3 1 * 2 3 1 3 5 1 £ - ( 1 1 3 3 1 1 £ 2 1 ) H i 2 3 4 1 1 1 2 3 4 £ § * 4 3 1 4 . 4 1 1 2 3 i l i f e 3 l i f e 3 3 2 1 2 2 5 £ 1 1 -£12 2 1 2 : 2 3 1 3 , 1 1 - 2 1 3 1 1 1 3 5 1 2 ? 1 1 : 2 2 3 3 * 1 3 1 » * £ > 2 £ 1 £ 1 2 3 1 2 3 2 t 2 1 2 2 £ 1 2 2 2 1 1 , 2 2 1 1 2 3 3 1 3 5 1 4 . £12 2 1 2 : 2 , 1 1 1 2 , 1 1 1 3 f 1 1 3 1 2 , 1 4 3 1 ± 2 3 2 2 * 1 3 1 3 1 3 1 1 5fe 3 2 . 2 3 1 1 1 3 1 2 . 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(2 4 2 2 ¥ 1 4 1 4 5 42 4 * 4 * 4yO 4 1 42 1 4 3 3 4141 3 4 4 4 1 1 4 : 2 3 4 1 ¥ 2 2 4 1 4 4 2 4 4 - 4 3 2 4 2 4 4 3 4 2 ? 1 2 4 :- ** 4 , 111 2 3 ¥ 4 4 * 4 3 2 4 2 - 4 1 4 4 1 4 2 4 2 3 4 2 4 i ¥ 3 4 4 * H 2 3 ¥ 4 4 3 2 3 4 2 3 * 3 * 4 4 3 4 4 - 2 4 2 3 * 4 4 3 3 2 2 * 4 2 1 3 4 * 12 4 ¥ , H i A g. o| O] Ok I s i _ e l l 4 1 4 : 4 3 4 2 3 * 4 * 5 3 1 2 * 4 1 42 2 4 4 2 3 4 2 ? 12 4 : 2 3 ¥ 2 3 4 1 ? - 4 2 4 4 4 * 1 4 1 2 3 4 3 4 . 1 1 : 4 3 4 2 3 4 3 4 2 4 * * * 4 1 1 4 3 4 2 ? 12 4 : 4 , 4 4 , 2 3 3 * 3 1 2 ¥ 1 1 1 %\ 42 * 4 1 4 2 ¥ 4 2 32 3341 1 4 : 2 4 3 , 4 ¥ 2 - 4 ¥ 2 4 3 4 1 3 4 2 ¥ 2 2 4 4 2 * 4 2 3 4 4 3 * 2 * 4 4 4 2 ? 1 2 4 : 2 1 , 2 4 2 ¥ ¥ 2 3 4 3 4 4 4-1 4 2 4 3 , 4 * 1 - 2 * 4 1 ¥ 5 1 4 * 4 3 42--? 1 2 4 s 2 4 ¥ 5 2 3 ¥ 4 4 4 4 4 4 1 3 3 4 , 1 1 , 3 1 1 4 105 2 3 * 4 33 4 4 * 3 , 4 4 3 4 , 1 4 4 4 3 4 4 3 * 3 5 4 4 * 1 4 2? * 1 , 23 2 4 4 * °1 2 * § 3 1 1 2 4 I f 3 42 2? 1 2 4 5- 5 , 42 2 3 1 ^ 4 1 - 2 4 4 * 4 2 3 42 3 1 * . 2 4 2 212 2 4 4 4 3 * 3 -1 4 : 2 43 2 4 * - 4 3 * 4 4 1 1 3 42? 1 2 4 : 2 * , 44 33 4 4 * 4 4 4 4 * 4 3 4 4 3 2 2 4 4 4 4 4 4 * 4 3 3 4 * $ 4 . 44 2 4 4 1 3 3 4 3 4 4 2 1 4 4 4, 4? 1 4 1 4 4 4 * 4 2 4*-4 1 3 4 2 * , 1 3 4 2 2 5 * 4 4 - 3 * 4 4 2 44 42 5 4 , 2 3 * 4 1 4 £ 2 * 4 4 ¥ 4 1 3 4 -1 1 :• ( 2 * 4 * 4 4 5 * 344) 4 4 - * 4 ¥ 4 3421 23 1 5 4 * 4 * 1 4 4 * 5 4 42/ 1 1 * 3 ,4* 1 2 . 1 2 4 : 44, 1 1 , 42 2 3 1 4 4- 3 41 1 4 4 1 3 4 4 * 1 11 : 43 43--- ? 1 2 4 : 2 I i 43 42 1 1 4 4 - 2 4 42 1 3 4 3 3 * 3 4 * 1 3 4 4 2 3 * 4 3 4 2 4 3 * 4 * 3 * 4 4 4 1 2 * 4 ? 1 4 3 , 2 3 * 1 4 * 2 4 3 v44i 3 4 4 * , 2 3 * 1 33 4 3 4 . 1 1 - i l l 3 * 2 3 2 2 2 * 2 4 ) 2 3 4 * * 44 2 43 * 342? 2 * 4 1 4 ± 3 4 4 4 2 , 2 3 4 442? 1 2 4 : 4 4 , 2 3 1 4 2 3 4 4 4 44, 2 3 3* 3 34 3 2 4 4 4 * 34 --• 1 4 : 4 , 2 1 , * 3 4 2 12 - 2 342 3 4 4 4 2 . . . 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( 4 4 4 1 £ 2 * 4 1 5 2 , 3 4 1 54 3,2, 33 £>) 106 2 , 1 C H 4 3 * 4 4 2 2 1 4 4 * 4 1 2 3 3 41 1 4 : 2 3 4 1 T - * 4 3 4 42 4 1 4 3 4 2 ? 1 2 4 * 2 42 1 4 2 * * 4 4 3 , 4 4 * 4 1 4 4 3 4 2 4 3 4 . . . a 4 4 * 4 - 4 4 4 4 3 4 . . . 4 1 : l * * * 42 4) 3 4 4 4 4 3 4 1 2 . 12 4 ! 2 , 1 4 , 42 - 4 3 4 4 4 4 1 4 * 3 2 3 5 34 * 3 4 4 4 1 1 4 •••(3 4 4 4 , 4 * 4 * ± 42 2 4 1 4 * 4 3 4 ) 4 4 , 4 4 2 1 4 4 1 2 3 3 * * 4 4 4 1 1 2 3 4 5 * 4* 3 * 2 2 3 4 4421 42 4 4 2 32 4 4 2 4 4 * 3 2 2 * 4 34 3 4 4 3 2 3 4 2 . 1 2 4 : 4i 3 1 4 4 • •. 2 1 - 4 2 3 4 3 4 • • • ( 4 * * 4 4 4 1-4) 1 2 4 ? 2 2 ? 1 2 1 - 3 - 4 1 . . . 2 , 1 1 H * * 4 42 * 4 1 , H i 4? 1 4 - 2 , 15 4 4 4 4 4 3 . . . 112 4 4 3 4 1 * 43) 1 2 1 : 2 1 4 4 1 4 4, 1 4 1 1 2 , 4 4 ^ 3 4 2 4 4 * 1 2 . 12 4 : 4 4 4 1 ' 44 - 4 4 * 2 * 4 4 4 4 3 * 1 -*l|«=j. . 4 1 . jflA| .o_ 4 1 ( 12 4 11) 4 4 1 * 4 2 4 42 1 2 . 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( 1 ± 4 1 D 2 1 , 4 4 3 4 1 - 1 r 2 * 3 4 * 3 1 ? 107 1 2 2 s 1, 2 2 3 § 2 1 H 1 * t j 2 . #1311121 1 1 2 2 , OJ^JUJ. 3 3 2 3 3 , 1 3 * * 1 £ * 1 1 3 3 2 1 2 . 2 E f l : 2 , 1 3 , 2 1 1 3 °l ° h 2 3 1 1 4 4 * 2 1 3 5 4 , 1 o l j l n l - o] A l nl #1 o) o l TJ o o-tl u. 1 2 3 1, 1 4 4 5 1 2 - 1 4 1 5 1 2 ... -3-11 - * 1 ° H ( 3 4 3 2 i 4 * 1 4 2 ) 1 1 : ( 2 E f l 3 4 1 1 3 I H ) 2 1 3 4 3 , 2 2 4 4 1 1 i f 1 2 1 1 * 1 * 1 5 3 3 2 i ^ 3 1 * 1 2 . 2 E f l 1 1 1 3 * i * 2 1 3 * 3 2 2 . 1 1 :• 3 1 3 i 2 5 1 2 ? 2 EA : 2 1, 2 1 1 1 1 , 2 3 1 1 2 3°1 1 3 1 2 1 3 1 3 2 * 2 1 * 1 1 ? 1 1 : 2 , 1 2 1 m 1 * 3 * * 3 3 3 1 2 , * 1 2 * 2 3 3 § 1 3 1 2 . 2 4 1 3 3 1 1 - 3 * 4 1 3 3 1 1 4 °1* 1 3 3 4 1 5 1 3 1 . 2 EH s 2 1, I i 2 3 * 2 1 2 . 2 3 1 1 2 1 2 * 2 2 1 1 1 1 2 3 3 3 2 1 3 1 -1 1 t 1 2 , 2 1 * 3 2 4 2 * 3 1 3 4 1 1 4 * 3 1 2 . 2 E« = ( 1 ± * 3 2 ) 2 31 1 2 3 1 3 3 °11 1 3 1 2 2 °) 1, 1 1 * 3 -1 1 : 3 1 2 , 2 3 1 1 * o n 3 l 2 . 2 3 1 * * 3 1 2 3 3°1 S H 2 2 1 3 1 3 1 2 ? 2 E « J 2 1 1 1 3 1 i i i 1 2 1 3 1 2 . 1 1 : 2 3 , 1 1 1 * 1 2 , 3 4 3 3 1 1 3* 2 1 2 . ( 1 1 * 2 * * 1 3 , 2 , 3 1 * 1 1 f 4 3 3 1 2 1 4 1 1 * 3 1 3 , * ) 1 , 2 1 4 1 3 1 4 3 2 ? 2 E« - * 1 3 * 3 * 4 3 * 2 * 2 4 4 * 3 3 2 °1 * 1 3 1 2 - 1 3 * 3 * 3 * 4 1 2 1 * 3 3 * 3 4 5 3 ° ! 4 2 1 4 5 1 -1 1 : 2 1 2 1 1 1 3 1 2 * 2 2 2 2 * 1 1 1 3 1 2 ? 108 1 4 { ° 1 1 3 2 4 § * * 1 1 4 4 * ci]s.. 2=fl : 2 3 * 4 * 1 3 4 4 * 3 * i ° l 4 3 3 4 3 A 1 2 b 1 1 4 2 5 b 3 2 4 5 . , 1 1 * 3 ? 1 1 : 2 f i i z 3 2 1 3 , 2 1 * 1 2 . 2 ^ = 3 , 1 3 1 1 1 1 * I f ° l f t i 3 1 - 2 § °l 1 2 1 3 2 3 3 1 1 1 1 3 3 1 2 . 1 1 : § 4 4 1 1 1 2 3 3 1 2 5 . ? 2 =H : 1 gl- 1 "»] <=fj 1 3 2 °| 5. i 1 1 : i n 1 1 4 f 1 2 # 1 * 1 2 , 2 = « 3 4 . . . « E f l . = 2 2 1 1 1 £ 3 § 3 3 1 b - l b 3 3 3 * § 4 2 ° l 3 , 2 3 4 2 2 3 3 1 - 2 3 1 2 2 3 * 1 2 2 3 § 4 2 5 1 -1 1 5 1 2 , ° 1 1 2 3 * b 1 1 3 3 2 b H I -4 1 : £12 2 1 2 2 2 4 1 4 2 2 5 1 2 . 2 1 1 2 3 H f * 1 2 2 3 5 3 1 2 ? 2 =fl 3 1 2 , 2 3 1 4 1 * 3 - 4 5 1 2 , 2 3 * 1 2 3 1 3 1 2 b 1 * 1 b 1 3 i 3 1 * 2 - . -1 1 : 4 , 3 3 1 § 3 1 5 1 2 1 4 § 3 1 2 . 2=n s 4 4 3 3 3 2 2 3 2 4 1 5 1 b * 2 3 * 1 3 3 ° 1 1 3 3 1 1 3 1 3 4 1 5 3 5 1 3 , * 1 4 4 § 1 2 1 1 1 1 b £ 1 ^ 3 4 2 3 4 2 1 1 l b 3 1 b • 1 s 2 , 2 3 b 2 3 * 3 1 4 1 4 3 3 3 * ° H 5 2 , 2 ^ 3 4 . 4j4, * 2 2 1 1 . . . 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O -I * i 1 1 t 2 4 1 1 4 4 1 4 | 1 3 4 2? 1 09 2 1 s 4 4 2 . 1 4 t - A 44- °l 4 - 2 ^ 4 5 . ? 2 1 : 2 , 2 3 1 , -1 3 5 . 3 1 2 42 3 4 4 4 2 3 3 4 3 5 42 -3 4 1 3 c - 4 3 6 4 2 , 1 4 * 3 - 2 4 4 4 1 1 4 § § 3 3 * 4 2 . 4 3 4 2 * 2 2 1 2 3 * 4 4 4 2 4 4 t 3 3 4 § 4 4 3 4 4 * 1 4 4 3 4 * . 1 4 * 2 1 4 3 1 * 4 4 4 2 ? 2 1 : 32 1 | 1 4 4 2 § 3 4 - 4 4 4 4 4 4 - 1 4 4 3 4 3 3 * 4 * * 1 , 4 1 * 4 2 n 2 4 4 4 2 * * 3 4 * 3 2 2 1 4 4 2 4 4 * . 1 4 : * 2 2 f * 3 1 2 V 2 4 : 2 1 , 2 3 * 1 4 4 4 4 4 2 b 2 4 4 3 * * 4 4 4 * 4 3 1 4 2 4 4 3 1 - - 2 4 1 4 4 2 4 4 4 * 3 4 3 4 3 4 2 4 r 1 4 4 4 4 4 3 , 2 3 * 1 2 4 * 4 ^ 4 2 * 3 4. 1 1 s 2 1 3 4 1 4 3 1 4 4 42? 2 1 : 4 4 2 4 4 2 1 4 42 2 ¥ * * 4 4 4 ^ 4 2 4 , 4 ? > A 4 2 3 4 4 4 4 * 4 * 4 3 4 4 * . 4 4 5 3 4 4 4 4 2 ? 2 nfl : 1 , 4 1 4 4 4 , 2 3 3 4 4 3 * * 2 2 1 2 1 1 * 44 4 * § 4 4 4 4 3 * 4 4. 1 4 : 2 I 2 1 : 2 4 3 4 4 1 4 * 4 1 4 4 4 3 4 4 4 2 3 4 1 * * 1 * 4 4 ^ 1 2 * 3 4 - 2 4 2 4 4 3 4 4 2 * 3 4 4 2 3 1 4 3 4 * . 1 4 : 4 4 4 4 2 * 3 * 4 3 42? 1 4 : ( 3 * 5 42 2 1 ) 2 1 2 1 42 3 4 4 3 4 * 2 . . . 2 1 2 4 4 4 4 4 1 * 2 2 3 * 2 3 3 * 2 . 110 2 : 2. 5. 3 * °l 1 2 5 ± ? •Ijnj. . 2 3 c1| * £ 1 ft 2 I I J S j 5 2 1 - f 2 . I f 2 4 42 2 * 1 2 2 12 12? 2 ^ = * 3 , 2 3 * 1 4 5 1 1 4 3 3 1 1 42 3 3 2 * 4 3 4 -4 3 * 2 3= 2 2 3 3*4- 2 3 - 3 3 3 * 1 3 * 3 * f 1 2 1 4 4 i 2 ° l 2 . 1 3 : 4 3 2 3 3 3 3 * 2 3 * 3 1 2 ? 2 E « * 2 , * * 2 3 3 3 , °13 2 * * 3 3 2 * I 3 4 1 4 1 4 °1 3 ° i 3 2 3 3 3 4 2 3 3 3 4 3 * 2 4 - 2 3 4 1 2 3 4 1 * 22 4 2 3 * 3 3 5 4 1 4 2 3 3 * 1 * 4 1 5 4 2 2 3 * * 1 2 . 1 1 ; 1 2 1 1 * 1 2 , 2 ^ 2 4 ? 2Efl s 2 3 * 1 2 3 * 3 * 4 3 4 4 3 2 4 * 4 1 2 § 1 1 2 4 3 4 4 4 4 2 3 1 . 1 4 :• * i , 4 3 1 H 2 3 3 * 3 * 1 3 1 1 2 ? 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( ^ j-i] ^ ^ ] | | 4 4 3 4) 4 , 4 3 i i i l 2 c ° l 5 42 1 3 § 1 4 * 3 3 , 2 f t i l l 1 1 4 * 3 4 2 . 1 4 : (2 5 1 1 4 3 b 1 1 1 1 ) 4 i 12 4 •  2 , 2 1 °1 2 * 2 2 § b 4 4 3 4 4 °1 2 , £12 2 12 5 4? 4 42 2 3 4 4°12? i ? £12 2 12 * 1 , Mj4 2 3 i § 4 4 4 1 2 3 4 2 . 4 f 4 b 1 4 44 2 # 4 2 , 2 42 ¥ 1 4 5 4 4 2 4 4 2 3 3 4 2 . . . 4 2 4 1 4 - 2 3 5 5 4 4 . £12 2 12 M 4 5 5 4 2 2 5 4 l 1 ' 2 f 3 4 5 ) 2 3 4 4 2 4 1 5 3, 4 3 42 - 5 3 4 4 1 2 . 12 4 : 3 4 4 2 5 H 4 3 1 5 4 1 2 3 5 5 3 5 4 4 , 4 4 5 1 2 5 5 4 4 £ 4 1 4 5 4 ert 5 3 1 3 1 4 1 2 - 5 4 4 5 4 4 2 5 b 4 3 > 5 4 b ••• £122 1 2 *• 4 , 2 1 2 - 4$! l i t 4 2 2 5 4 2 . . . 12 4 :• 5 4 5 1 4 4 4 2 1 3321 4 3 3 5 4 3 4 4 4 4 4 1 4 : 4 3 4 2_ 2 1 ? 4 3 3 3 4 4 5 2 ? 4 2 4 : 2 1 2 , 4 4 3 4 4 3 4 2 b 4 1 4 45 2 3 4 4 3 1 2 4 4 4 44 3 5 • 4 3 b 5 4 4 4 4 4 4 4 1 , 1 4 - 4 3 4 3 3 4 1 4 4 , 2 3 4 42? 4 ? 4 3 4 1 4 3 4 2 5 2 2 1 5 2 4 4 4 4 3 4 4 3 4 1 4 : 4 4 2 2 4 4 34 2 . 12 4 :• 4 4 1 £12 2 1 2 5 3 , 5 4 § 4 35 2 45 4 4- 4 5 b 4 4 3 4 4 3 5 5 2 4 4 4 4 ± 5 4 3 4 2 . 1 ? 5 4 4 3 5 4 5 4 4 4 4 , 4 2 5 1 4 5 4 4 . . . £12 2 1 2 1, 1, 1 2 4 4 - 4 4 4 3 5 4 4 3 4 2 . 1 2 4 2 4 3 , 4 4 4 4 4 . 3 4 4 4 4 4 3 4 2 . 4 1 3 4 2 t i l l 3 2 1 4 4 4 1 2 . 4 4 4 4 , 5 1 2 ? 44? 4 4 , 1 5 4 2 2 4 4 4 . 3 1 4 3 5 4 4 , 2 1 4 4 - - . 4 1 4 4 2 4 2 , 130 52 ± I i * 3 . . . o f l « _ ± E 1 j e . i f ^ j 3 1 §1 4 3 I 3 4 4 2 • 1 1 ± 3 4 52 2 I f . * 3 4 * ojj o j£ u|._o ^ 3 . i H f e 2 1 4 2 2 1 3 * . 1 2 4 2 * 52 42 4 4 & 1, i i H 32 1 * 1 3 * 4 2 3 * . 1 1 * ± 1 . 2 3 2 1 . 1 4 3 3 4 4 4 e k § . 3 * 3 * 2 5 3 4 2 4 4 1 4 1 3 ) 4 1 : I 3 £ ± 41 ) 2 , 2 5 4 4 - 3 3 4 3 4 42 , 4 3 42 1 3 3 4 1 5 4 H 4 4 * 2 i 2 5 : 4 5 - 4 2 4 , 1 4 * 3 2 4 - 2 3 * f 4 1 4 * 4 3 3 3 34 2 3 4 . 2 1 1 3 2 1 3 * 4 1 * 1 * 4 2 1 . . . 1 4 5 1 1 3 1 * * e , 2 * 3 1 2 * * 1 2 4 1 3 1 * * 1 £ 1 * 5 ± 3 3 * - * 2 3 , 4 3 3 I f 1 * 4 3#2 i 3 1 * 2 3 3 * 3 1 2 32 1 3 3 2 2 1 5 * 3 1 * 3 * 1 * 3 4 1 1 4 3 4 2 3 * 1 4 1 4 2 1 2 5 M 4 ± 1 3 2 ) 2 * , 1 1 * 3 ••• 1 1 ' 2 , * * 1 1 4 1 * 1 5 4 2 . 3 * , 3 3 2 2 3 * 3 * * 1 3 4 3 4 2 , . . . 4 , 2 3 3 4 2 1 2 5 M i l 3 2 2 2 4 1 2 1) 1 3 4 2 * 2 2 1 3 3 ± ± 2 1 3 3 1 4 5 3 3 i 1 1 4 1 3 * * 1 3 3 * • 4 1 ** 1 2 4 4 2 3 * 1 2 1 1 - 1 1 1 * 1 3 4 2 3 1 3 1 2 . 1 1 1 * 3 1 3 1 3 42 * 2 2 * 2 1 - 3 1 3 1 1 3 3 * 3 1 1 3 * 1 1 3 * 4 2 1 3 1 2 . 2 1 2 1 1 - 1 * 3 - 1 * 1 * 1 * 1 1 4 1 3 2 4 3 * 3 5 4 * 4 1 , 2 * 2 £ k * 1 1 4 3 5 4 1 3 2 2 * 4 * 4 4 4 * * 3 * 3 4 4 4 I 3 3 * * * 3 1 2 3 4 2 . 2 5 : 1 1 * 3 , 4 1 4 4 * 1 3 4 * 4 3 - 3 3 4 3 ± 3 2 I f 4 * 4 3 * 4 1 1 4 5 * 2 . . . 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( 2 4 4 1 4 1 5 4 , 5 4 3 2 2 ) 4 4 , 4 4 4 * 4 - 1 4 4 5 4 1 4 4 * 4 2 3 4 4 3 4. 4 4 : (55 4 4 , 2 * 4 * 2 4 * ) 2 4 2 4 3 4 4 3 4 3 * * 4 1 4 42 4 3 - 2 4 3 4 3 l i b 42? 2Efl : ( 4 1 * 3 5 5 3 42) 2 4 3 4 4 4 4 4 4 4 4 3 4 3 4 2 . - 4 2 * * 2 4 4 3 4 2 4 4 1 3 4 4 1 . 4 4 : ( 4 3 41 ) 4 4 4 5 * 1 4 3 4 21 2 1 : (52 4 ) 4 4 * 4 4 * 2 3 1 4 1 2 . 2 4 4 2 3 3 * 3 4 * 3 . 1 1 : ( 1 4 4 4 ) 2 4 2 3 4 3 2 2 2 4 2 * 4 2 4 4 4 1 4 3 4 4 -5 3 4 3-, 4 3 4 3 - 2 4 2 * ¥ 5 3 4 3 4 4 * 4 2 ? 2 1 •  5 4 , 1 1 - 2 4 3 2 ^ 4 4 3 4 4 34 . . . 1 4 : ± JH 4 °1 4-7- 2 . 2 E« : 2 ^ 4 , 2 1 2 - 4 3 * 2 3 2 ^ 4 1 3 * 3 4 3 2 3 2 4 1 , 4 3 4 , 3 3 4 4 1 4 2 - 4 3 4 4 4 4 4 4 5 4 2 4 4 * 3 4 4 3 1 3 4 4 * 4 5 3 4 3 4 - 2 1 4 2 3 1 4 3 4 3 * 4 . 2 4 * 4 3 , 2 * 3 4 4 4 2 * * 5 4 4 1 4 4 3 * 1 ? - 2 4 2 * 4 3 4 4 3 * 1 ? ± t 2 4 4 4 % % 2 2 5 4 4 4 4 2 * 2 2 4 4 , 4 4 2 4 4 5 5 135 1 4 1 3 3b 1 ? 2 4 4 1 2 3 4 5 * f l4 4 5 . § 4 3 4 4 4 4 -4 4 3 2 4 4 4 3 4 3 4 4 b , °1 4 4 4 4 3 4 3 ° H 4 4 : 4 2 * 3 4 H ^ i 4 5 4 4 4 2 , 3 2 3 3 3 1 3 4 4 3 4 3 4 2 . 2 1 : 2 1 - 2 3 4 3 3 b 4 4 3 4 1 3 4 3 4 b 1 4 1 1 4 1 2 . 4 1 3 4 2 * 2 2 4 I f f $ b 1? 2 4 2 4 4 § °1 4 4 4 2 4 1 ^ £. 2 . <H «=l u A p | £ a e| o j irj e. c o . 21 o ] ufj Tfl A o o e T A>! l \ _ I e T I I v - e t - e e e I 'I AO T » 1 4 : (2 I f 5 4 4) 2 4 4 4 4 2 . 2 3 3 4 b 4 4 5 3 4 2 . 1 1 : ( 2 § b 4 4 2 4 ) 2 4 4 1 4 4 1 4 3 5 4 4 1 3 4 2 . 4 4 ••• 4 5 5 4 4 3 4 4 i - 4 5 3 5 - 2 * 42 32 . . . 2 *n : (52 3 1 5 43 ) 1 1 - 3 3 4 4 , 4 1 4 3 5 4 4 3 4 5 3 1 2 2 b 4 4 4 5 l ^ -l l : 2 3 1 2 5 5 1 2 , 4 4 3 4 1 1 4 3 4 2 . - 4 3 4 2 5 4 4 3 4 5 1 4 4 3 4 5 2 1 4 4 4 4 5 5 4 5 1 2 i 4 3 4 2 4 42 1 4 3 4 5 5 5 42 2 4 1 2 1 ( 3 3 2 4 3 4 4) 4 1 ' 2 3 S' b 3 1 2 4 2 3 4 4 5 4 2 i 3 4 2 2 1 2 1 = ( ^ 2 3 3 2 3 # 4 2 4) 4 3 5 5 1 4 4 3 4 4 4 4 5 b 5 4 4 4 4 4 4 3 3 3 -4 4 : ( 4 5 32 2 2 f 2 1) 2 1 2 - 4 4 2 . 2 4 3 2 . ( 5 2 b 1 41-2 4 . 4 3 2 4 2 b 5 5 5 3 4 4 4 42 4 4 3 4 5 5 4 1 4 ) 4 , 2 1 , 2 1 ? 5 4 5 3 42? 4? 4 2 4 • 2 3 4 1 4 3 1 3 4 , 1 4 - 4 3 3b 4 3 , 3 4 3 3 3 4 3 4 . 4 4 : ( 3 4 35 5 4 42) i i , 3 4 5 4 4 * ( £ 1 2 2 4 2 5 3 4 4 4 4 4 4 4 5 5 4 4 2 2 2 45 2 1) 3 4 4 3 4 2 5 2 2 4 2 ^ 5 4 4 4 12 4 4 3 4 4 , 4 3b 1, 4 5 1 1 2 4 4 3 4 , 1 4 ? £12 2 12 * 4 4 , 2 4 3 4 3 3 3 4 1 2 5 3 4 3 45 32 1 4 4 4 4 5 4 1 2 . 136 1 1 *• 4 3 4 4 * 4 4 2 3 1 4 4 42. 31-34. 1 ± 3 :: 2 4 , 4 3 1 2 1 1 4 3 , 1 4 - * * 3 1 4 1 1 4 3 3 * 2 * 3 4 3 2 1 4 4 3 5 1 2 . 2 4 4 4 * 1 1 4 2 5 3 4 4 4 4 2 , 4 3 * 4 ••• 4 4 5 3 3 * 4 1 1 1 2 3 4 3 42 - 4 1 1 * 3 342 ? 4 2 3 ! 4 4 , 4 1 i 3 4 C 2 i f § 3 ) 4 * * 4 4 4 4 3 * 1 4 4 * 3 4 2 , 3 4 -2 5 : ( 1 4 1 3 * 2 4 ) 1 1 * 1 * 2 2 2 3 i l l 2 . 1 4 : 2 1 4 2 . 2 3 1 2 3 2 * 2 1 1 3 3 2 . 2 1 * 4 1 4 2 1 A * ] - o } 0]j u o j o^j]o\ o . 12 3 : 2 1 2 4 1 , 4 2 , 4? ( 1 1 4 * 2 2 2 2 - 2 4 4 2 4 2 * 2 * • 2 4 * 5 4 3 * 4 32 2 4 1 2 2 2 * * 4 1 1 2 2 3 * 3 ) 5 2 2 1 2 • ( 4 1 4 4 3 3 3 4 4) 4 3 1 2 41 4 1 4 2 ? 12 3 : (* 3 * 2 * 2 1 4 * 4 1 4 ) 4 4 , 4 2 - 4 3 4 1 4 1 1 2 3 * 3 * 4 5 * 3 4* 4 4 2 2 * 5 3 1 4 - 2 i 2 4 2 4 3 4 2 2 1 1 4 5 ( 2 3 4 4 2 n i l 4 32) 2 4 2 * 4 3 2 2 1 5 4 2 4 2 i 2 4 2 2 4 2 * 3 * 2 i 4 4 1 1 * 4 3 1 4 3 2 3 * 3 4 4 1 3 5 4 2 . . . ( 3 3 * 1 4 2 2 2 , 4 1 3 ) 12 3 ! ( * 2 * 1 4 * 4 ) 4 3 3 * 3 * 4 4 2 4 3 3 4 1 4 1 2 3 1 3 * 3 2 4 2 . . . 5 2 2 1 2 * 3 , * 4 1 4 3 1 2 3 3 4 5 3 3 4 2 1 4 1 * 4 f 4 5 2 2 i i 1 4 4 2 * 4 2 1 1 1 4 2 . 2 4 3 4 * 1 3 4 3 2 4 2 1 4 1 1 4 3 1 3 2 * 3 1 2 . 1? 52 2 12 i 2 1 2 , 445. 2 3 1 1 1 1 5 4 2 . 1 4 : ( 1 3 1 4 ) 1 1 1 * 2 * l i f e 3 * 4 * 2 2 4 2 , 4 2 2, 2 3 4 3 2 4 3 3 4 1 4 * 3 * 4 1 4 3 * 2 5 1 2 ? 12 2 : ( 2 1 , * 4 1 3 2 1) 2 , 2 5 3 4 1 2 3 3 3, 4 3 3 1 1. H e f l . ( o). H).*] *|. ojj ^ , uj U- * j . -,.||, a(j o] ^ H L.J. C J . ^ o J . g l *] o 1 ± 3 * 3 i ft42 4 2 2 1 i i i 4 3t #3412 . * • i l l : ( * A | * | . 2 1 2 - 2 1 £*" 4 4 3 1 4 l a . 3 4 3 ? 3 3 4 ft32 * It, 4 4 - 3 2 4 1 2 . . . ( 3 1 4 f £ 4 1 3 4 . 1 ± 2 , 52 2 15 * 3 , 2 5 2 * * 4 4 4 4 3 3 3 4 3 ) 1 2 2 : 2 , 4 1 1 1 2 2 4 2 f t 1 4 2 2 3 * 3 2 4 1 i ( 2 1 3 3 * 32 2 2 1 4 4 * 2 , 5 2 2 15 * 3 4 2 * 4 4 f • 1 1 ± 4 4 1 * 4 * 4 4 2 3 * 1 - * 2 4 3 2 , 1 3 3 5 * ± 2 4 £ 4 1 § 3 • 3 3 2 2 * 4 * 4 4 4 1 * 2 4 2 4 1 * 2 - ) 1 2 3 * (2 5 1 1 2 2 4 4 ) * * #421 * i - 4 * 4 i 3 * 5 4 2 i 5 3 * 1 4 2 1 2 5 • ( 2 2 * 3 3 4 1 4 , 3 3 4 4 1 3 3 * 4 3 , 2 4) 2 3 4 2 o l si Tj o nl o | Q j A l E l c o] 1 e j ^1 o. o j - u c-jl j I \_ o T I AK I * I a ' a I — i _ A . a I I v& \_ 'I * 138 3 4 * 7. 1 3 4 4£fl5l± : 7911 4 ^ 4 3 4 4 * * 3 - 2 2 2 4 2 * * i i 4 2 2 * * °ij 3 1 4 3 5 2 . 3*111 2°1 3 * -z . 1 3 2 3 § 4 2 2 2 :• 2 1 1 c 4 5 2 2 3 4 1 3 , 3 c 2 2 3 * * b 3 4 3 2 3 3 • 3. 1 4 4 5 * ft 3 4 3 4 4 3 1 4 5 4 * 3 * * 3ft §14 c 2 3 2 3 -4. 2 3 J * 5 * 4 3 2 2 1 4 2 3 * 2 5 3 4 1 ft 4 4 1 2 3 2 3 2 . 5. 1 3 1 * : 2 2 1 4 ft 3 * 2 i 3 c 3 3 3 * 3 * 6 . 1 2 3 2 2 : 2 * 3 2 3 1 * 4 * 4 * 2 * * 2 4 2 * 3 4 4 , 3 4 c 1 2 2 3 C Miss. Tesman ) 3 3 * 3 3 2 * 4 2 4 2 4 32 * 42 3 2 1 4 2 3 3. 4 3 c 2 2 3 4 ; 42 4 4 3 * 3 2 3 * * * 1 , 1 4 4 5 5 2 3 * f 2 3 4 1 4 1 3 4 1 1 2 2 2 2 2 2 3 3 -7. 2 3 1 i t 2 : 9^4 1 5 * 1 4 * 3 4 1 * 2 3 4 * 3 3 -8. * 2 1 4 1 4 * f 1 3 4 4 - 4 2 4 3 4 4 4 3 4 3 4 3 * 2 4 4 4 3 4 1 * 3 3 2 2 * 3 4 3 1 1 4 1 3 * -9. 2 * 4 2 3 4 3 4 3 * 4 4 4 * 4 1 3, 1 * 1 2 * * 4 2 1 1 4 1 4 2 4* 3 1 4 4 2 4 4 3 * • 70. 2 * - i 4 2 2*- 4 * 4 3 * 4 2 4 3 4 * 2 3 • 77. 1 3 ^ :• 4 * 3 2 5 4 4 4 1 2 4 , 2 * 4 1 2 5 3 , 4 3 4 4 4 2 4 3 3 3 • 72. 3 5 * * : 3 4 * 4 4 * 2 2 3 4 4 3 3 42 3 3 4 3 4 2 4 * 2 -73. 4 2 * 1 1 1 1 1 4 3 * 1 1 * 4 2 * 3 * * 1 2 * 1 2 . 4 3 * 1 4 1 * 3 1 1 4 2 * * 3 2 3 4 4 4 * 4 2 2 * 1 4 4 1 1 1 * 4 3 3 4 3 * 3 1 S * 3 3 4 * * 3 1 3• 74. 2 * 3 . : 42 3 3 4 2 c * 2 i , 2 * * 3 2 1 4 3 2 2 4 2 4 3 4 139 4 1 * 3 « 1 ± 2 * 3 4 3 3 2 3 2 4 4 , § 2 3 1 3 § 4 2 5 £ 1 1 ! 1 4 * 3 °l 1 * f • 3 £ 2 ° 1 4 1 i l £ 2 5 4 * 3 ± 3 £ * 2 4 § 4 4 i ° J . § ^ 1 ; 7 9 4 1 * 3 1 3 f * 4 4 * 4 ± 2 l i f e 1 1 3 * H i l l 3 3 4 4 5 4 1 1 * 3 4 4 4 2 * * 1 1.5 4 * 4 1 * * 3 * 4 4 1 5 4 1 1 4 2 * 1 5 4 * 3 * 2 3 2 3 3 -4 * : 3 3 , § 3 , 2 * 4 1 1 4 * 1 3 2 1 4 4 3 3 3 . 3 3 4 J ; 4 * 4 * 2 3_ , 4 3 * 1 4 * 2 3 2 2 3 3 * 1 : 3 4 2 3 4 3 3 * 2 2 * 3 3 4 3 * * 1 4 1 3 3 3 £ 4 1 2 3 4 4 4 3 3 2 , 2 1 3 1 * 1 1 * 2 * * 1 2 4 4 4 3 4 3 4 1 3 1 £ 2 , 3 2 4 * 4 i 3 3 3 3 -4 4 1 * 2 i 3 * * * 2 4 . . . = 1 * * 4 3 3 4 1 * * 3 4 2 4 2 2 1 3 3 4 1 * 4 3 3 - 4 2 4 2 2 1 2 3 2 * 4 3 2 4 42 3 4 4 4 £ . 1 4 1 * : : 9 # 1 2 2 * i 4 £ 7 4 4 3 * 5 * 4 2 * 4 * 1 * 3 2 4 2 4 1 2 £ 4 3 2 3 -1 4 4 4 2 3 :- 3 * 4 1 5 3 4 2 * 4 3 * * 1 2 2 3 - 4 4 1 l £ 3 3 1 4 1 * 1 3 4 4 3 * 1 , * 3 H i * 2 3 4 4 3 * # 3 4 3 2 i 1 3 • 3 1 1 : § 4 2 2 2 £ i l l 3 3 4 3 * £ 4 1 2 , * 1 4 1 4 1 * * 3 1 * 3 4 4 * 3 * 4 4 4 * 3 3 -ENDNOTES 1 This information was provided by the Korea Publishing Association and the Korea Drama Society in April 1987. o Henrik Ibsen, The Late Plays of Henrik Ibsen, Arvid Paulson (New York: Harper Colophon Books, Harper & Row, Publishers, 1962), pp. 111—200. o Minyoung You, The History of Modern Korean Plays (Seoul, Korea: Hong Sung Publishing Co. Ltd., 1982), pp. 1 3 - 2 0 . 4 Kenneth MacGowan and William Melnitz, The Living Stage (Englewood Cliffs, N . J . : Prentice-Hall, Inc., 1955), p. 3. MacGowan and Melnitz, p. 3. Oscar Brockett, History of the Theatre 4th ed. (Boston: Al lyn and Bacon, Inc., 1982), p. 306. 7 Brockett, p. 307. 8 You, p. 22. 9 Brockett, p. 305. 1 0 You, p. 257. Ki-saeng girls are professionally trained entertainers for the upper class men in the old days in Korea. 140 / 141 12 Mary Elizabeth Coleridge, "The Other Side of a Mirror," in Poems by  Mary E . Coleridge (London: Elkin Mathews, 1908), pp. 8 - 9 . 13 Alice James, Revelations, Diaries of Women, eds. Mary Jane Moffat and Charlotte Painter (New York: Vintage Books, A Division of Random House, 1975), pp. 8 - 9 . 1 4 Errol Durbach, Ibsen the Romantic (London: The MacMillan Press Ltd. , 1982), p. 34. 15 Durbach, p. 52. B I B L I O G R A P H Y Brockett, Oscar. History of the Theatre. 4th ed. Boston: Al lyn and Bacon, Inc., 1982. Coleridge, Mary E . "The Other Side of a Mirror." Poems by Mary E . Coleridge. London: Elkins Mathews, 1908. Durbach, Errol . Ibsen the Romantic. London: The MacMillan Press Ltd., 1982. Ibsen, Henrik. The Late Plays of Henrik Ibsen. Trans. Arvid Paulson. New York: Harper Colophon Books. Harper & Row Publishers, 1962. MacGowan, Kenneth and Melnitz, William. The Living Stage. Englewood Cliffs, N . J . : Prentice-Hall, Inc., 1955. Moffat, Mary J., and Painter, Charlotte. Revelations, Diaries of Women. New York: Vintage Books, A Division of Random House, 1975. You, Minyoung. The History of Modern Korean Plays. Seoul, Korea: Hong Sung Publishing Co. Ltd. , 1982. 142 

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