Italian Culture Drama of Shakespeare and Contemporaries Intro

7/27/2019 Italian Culture Drama of Shakespeare and Contemporaries Intro

1/12

Idci

aiig Iy: twds nw

ac rissc D

mic mdi

Vis sib s v b dd d v wy cid idic

iy is, s, diis, xcgs, bwigs, d i d isis bw Iy d egd i y d id.

f dii id giv sc g, wi x dicy

cig i wy , w v vd g css

cultural inuence, mostly operating unconsciously, which has implied the existence

d, i sc, cy si gcy cd idicy vi

dii css b sbsq ds.

tis gy iy , csidd i is ic d id

iss by s c ds i civ d ix sdis s v

ciic ivsigi, iwis wi i ig s xssi wid c, idgic, d iic cs cicig g wii

iy x. f civ cici ig, sci gy, i S

Gbs igy, cxizig iy dc giv sciy

i ci c, Cs Sgs cc idiscsiviy id wid

c isss, assd Siis dy Bis digis d

theatrical polyphony of dramatic voices, and the denition of paralogue in Robert

Miolas recent inquiry into what he classies as the seven types of intertextuality,

the reassessment of early modern drama has ltered through a variety of political

giis wi c scis, sc s v d csy bs,

s, cig, dcig d sis, wic d c is eizb

si xic mdi is, d Iy i ic, s

dy db-cd visi d bis.1

1 S, scivy, S. Gb, Shakespearean Negotiations. The Circulation

of Social Energy in Renaissance England (oxd: Cd pss, 1988); C. Sg,

Teatro e romanzo: due tipi di comunicazione letteraria (ti: eidi, 1984); a. Sii,

pii ssi, iRetorica e immaginario (p: pic, 1986), dPolifoniashakespeariana (r: Bzi edi, 2002); r. mi, Sv tys Ixiy,

i m. mdi (d.), Shakespeare, Italy, and Intertextuality (mcs: mcs

uivsiy pss, 2004), . 1425.


2/12

Introduction: Appropriating Italy2

tis icy cx csy y d egis d, igig

together both classical and Renaissance roots, greatly proted from cross-cultural

cs, sciy wi li d Ii cs, wic d ig

scii wi db-sidd o, s b s ixsib

bwig, iii, d di, i i wi cssic icis imitatiod aemulatio, d s egis jci, siv iy vics w

dsic xiis cd b siy sd d xcisd. Wi id

is s c isic civiizi ws xd g s,

Iys is , d by isic ccs s w s by igiy d

igiiv vs s, ws s sd by ps egds

vsi pisy i vy igis sc d iic cvsy.2

BccccisDecameron d, gy, y d visic i

b i Iy d ci vidd dii r nw Cdy

rissc d, ig scs cdis d gdis iwds wd dvs by contaminatio s d gs.

t dciv ic Ii s d , ssssd i c dcds by l

Sig, lis Gg Cbb, rb h, d s, s d w wys

ivsig ciss csci Ss d, dv i

ix gcy dic discs, d csid isy d

s dicic css sxiy, vig css gs d cs

dsi i divids.3

To single out the most inuential of European cultures, composed of theatrical

d iv xs, ic d dic is, d c d iic

discss, s cs Ii i is sbjcd id

css si d di b gdy ccdd egis

mores. Thus, the pervasive inuence of Italian culture, literature, and traditions in

g e rissc s wd iy sdy

ix dyics cibd csii eizb d

Jcb dic c, vi cx sis c d isic csss

sd igi e g bw midd ags d

2 C. G. k. h,Dramatic Identities and Cultural Traditions (liv: liv

uivsiy pss, 1978), J h, The Civilization of Europe in the Renaissance (nw Y:

tcs, 1995; fis ed., 1993); m. mdi et al. (ds), Shakespears Italy: Functions

of Italian Locations in Renaissance Drama (mcs: mcs uivsiy pss, 1993),

Intr., . 113.3 l Sig, Shakespeare and the Traditions of Comedy (Cbidg: Cbidg

uivsiy pss, 1974), d isDramatic Form in Shakespeare and the Jacobeans (Cbidg:

Cbidg uivsiy pss, 1986); lis Gg Cbb, Italian Drama in Shakespeares

Time (nw hv d ld: Y uivsiy pss, 1989); Ii Sis Sg, iaxd lgg (d.), The Cambridge Companion to Shakespearean Comedy (Cbidg:

Cbidg uivsiy pss, 2002), . 3246. rb h, Pastoral Transformations:

Italian Tragicomedy and Shakespeares Late Plays (nw: uivsiy Dw pss,

1997) dPerformance and Literature in the Commedia dellArte (Cbidg: Cbidg

uivsiy pss, 2002).


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Michele Marrapodi 3

rissc.4 Since, in the specic area of theatrical discourse, the Italian-based

d y d id is dd is is, sysic xii

Iys biv icgy, cdd s i s igi y

d d s si iig, vic, d iic ci, iss w

c rissc d, iyig divs s gcy Iiwd g, cs sgy d c b dcivy dvisd.

I is ivsig dic cs iy cs d

idgic ivis ig i ag-Ii scis, ix

sciv s cci ssys cgs dii viws

s, bsd siisic db-sidd cscs iii d xbi,

s diiig bd sc s xcsivy yss ssiv

inuences and source studies. While the philosophy of the old historical approach

isisd id bwd sc, y ivd d gd by

diss, wy-ccivd Ii c ccizig y d i is ix cx ivss iis wys xiig Ii

discss d is dy ccd wi qsis idgic ii,

ivvig y isss d sss sbjcd css iic

gii, ci, d sii.5

t ciic civ mi pz, y dcds dig isic

sc egis-Ii cci, is ssi i c

in the eld of literary and cultural transactions between Italy and England in the

rissc.6 ms is siivisic ssis, g, c b qsid by

c dvs aic nw hisicis d Biis C miis,

g wi w ciic s d by c db ixiy

d gic csii ic x.7 ag pzs w s i

bigig iss Sss Ii wdg bc is isic s,

ibb yss Bds s vygs ci,

cs i is y c c sciv b s

4 Cf. Andrew Hadeld and Paul Hammond (eds), Shakespeare and Renaissance Europe

(ld: ts lig, 2004).5

f c dii ii Sss scs, s isc DiZi, Ii mis i Sss pys, American, British and Canadian Studies,

3 (my, 2000), . 5563. accdig ciic: t civ sciy discss

is sbc bw Sss ys d viy ws ssd s i

scs d g xs, i isi i vs d discs, d ccs. t

difference of treatment between the originals and his nished product resides in the manner in

wic cssd bwd is, sscib is ic isig d

d gs is dic (. 61).6 m. pz, Sss Iy, Shakespeare Survey 7(1954), . 95106; The Flaming

Heart: Essays on Crashaw, Machiavelli, and Other Studies in the Relations between Italian

and English Literature from Chaucer to T. S. Eliot(Gd Ciy, n.Y.: Dbdy, 1958; r.Gcs, mss.: p Si, 1966; nw Y: n, 1973).

7 f ciic discssi css bw d d w isicis, s ricd

lvi, Looking for an Argument: Critical Encounters with the New Approaches to the

Criticism of Shakespeare and His Contemporaries (mdis: fiig Dicis uivsiy

pss; ld: asscid uivsiy psss, 2003).


4/12


w bc ss Iy s w ss c, iic,

d idgic ds wic ssiid d sd i si

sgis ccizi i , gsid cci s csiv

sg-wds ciig s cv jcd egis vics d dsic

xiis. agsid ciic id ic ggy, vig id iy sdy d vygs wiigs, s sd by c scsi,8

is c css ws s sd by dwig cvsi sgis

of the inuential conduct books by Castiglione, Della Casa, Giraldi Cinthio, and

Gzz, wic i vyig dgs id siig cc id

ci, g, ic dci ss.9

f is i c xcg csci egis d dvd

g sv wys s-siig by csig idivid ccizi s

w s c dic iy, dsicig ss ig css

egis sgs. t id dvcd by Gb sv ys g jy d diss cd i w cs, sd svs,

d sid idiy ccs w i sid by c

isiis g css y w b sd wd icd

v iic giis, isig csiv iii d

c dic.10 as I v sggsd sw, i idcy svy

sbjc-,

mvig wy siivisic ysis sc sdis d Ii-bsd d

i g, s w s cc csci sg gy g

the myth of the Italian lore, these procedures delve into the more political elds ofc xcg, c dic, d c sisc, ig g css

sii g e ig i gs icg. () t

idgic ii Iy y s bc disiv c wic svs s

cv iic diss, si gis sci d iic i i y d

egd.11

The centre of interest is no longer, therefore, the passive inuence of Italian source

i eizbs d i civ cciy di b

wys i wic ss Iy d iics sisc i iis

8 C. J. B, t eizbs i Iy, i J.-p. mq d m. Wis (ds),

Travel and Drama in Shakespeares Time (Cbidg: Cbidg uivsiy pss, 1966),

. 5574. J. Giis, Shakespeare and the Geography of Difference (Cbidg: Cbidg

uivsiy pss, 1994); J. Giis d V. ms Vg (ds), Playing the Globe: Genre and

Geography in English Renaissance Drama (mdis: fiig Dicis uivsiy pss,

1998).9 Bsss Csigi,Il libro del Cortegiano (1528); Givi D Cs, Galateo

(1559); Giv Bis Gidi Cii,Discorso di m. Gio. Battista Giraldi Cinthio nobile

ferrarese. Intorno a quello che si conuiene a giouane nobile & ben creato nel seruire vn granprincipe (1569); S Gzz,La Civile Conversatione (1575).

10 S. Gb,Renaissance Self-Fashioning. From More to Shakespeare (Cicg d

London: University of Chicago Press, 1980), Intr. pp. 19 and, specically, p. 256.11 S m. mdi, Ss d Iy: ps d ps, Shakespeare Yearbook,

X (1999), . 118.


5/12

Michele Marrapodi 5

wd idgic csci rissc d. W is s i

wds is w d wy Iys i-yd sc s ig d i

c ws ccdd by iic giis y i egis sciy,

gvd by di d v sig c, igis, d cs.

Dsi g dii scsi diss s Ii is, w c iis dic wis i w csis ix i ic

Anglo-Italian universe of discourse, since the inuences and afnities disclosed by

Ss d g byd -- dbs wds iv ic

scs, d bc sc bd ic cs s sic topoi, g

ds, idgic cds, d idiscsiv isis. as ki e s i

i c bici,

ps s i i () is rissc Iy tout court s g

c ix Ss d is cis. W is s is

c y Iy sd s v iy d dic scs (s

bcig is s - g-sc), b i ws civd s s

giv ci dcig w ds c ds, iic ds,

idgic ds, icgic ds, bvi ds d s wic cd b

y d sd by y d egis.12

f g sgy ciicizd by is iisic i, wi

dy cs d i-icis s, cs iig c

d bvi ds bd, d Iy i ic, bc

c s y d egis d. as is w w, b

rissc s d diss, icdig Ss, Js, d midd

g y s, dd b Ii ds d topoi s sc csi

i ys dic csci d vidd iic cics Ii

ccs dic i.

Dig iv csidi w dgis isig

s c ds iy ics, csig dic csci

d iic iicis, sig cs wi ys y d egis

d wii cx bd cgis c d idgic

ii: wiig, ig, d siig icic, ic,

historical and literary aspects of the Italian Renaissance inuencing the production

egis ic dii.

The above three-part classication offers the possibility of studying a number

divs sgs Ii wd d w is c ws sd, sd,

d sid si ds egis sg. t v sciv

makes a signicant shift from the traditional method of comparative research, since

the inuence and reception processes of Italian culture on early modern English

d xid w g sgis idgic ii by

wic Iys c, iy, igis, d iic ss ws visy

sd d xid i . t sics ixiy (siiby c csy), idiscsiviy (igi discss), d ixiciy

12 k. e, awd: Iy s Ix, i m. mdi (d.), Shakespeare, Italy,

and Intertextuality, . 2538.


6/12


(jxsii sic cscs) sd i is v, s ki e s

d cig c cis wii sc sig xic i,

may help to dene the convoluted network of cultural and literary modes investing

the chosen categories of analysis or typologies of inuence, although other possible

s d cics ciic ivsigi c b visgd d sy by ic sciy cy ciic qiy.

Rewriting Prose an drama

ag Sss dbs d cs Ii d d c v g

b d by b s d c scs, i is y i s s dcds

g wd sii bw Iy d egd s b sdid s i

isig di. tis w wv s ivsd s c vis bwigs,

analogies, and inuences in themselves but the ways in which the early modernegis diss dd i Ii i ixy, dwig biq,

qi cdd, i y igd, s diig c dci

discs, w ssciis wi cssic d Ii ics sd

idic ig, i w I d, s i g, s Dwii y

iy diy by c csy.13 hc, w w diy w

y d dvd, d idd cscd, is dic scs, s

lis Gg Cbb s id , by scig iv-is v

dii d by cbiig wi gs wid y

Cinquecento d, igiig i dsic cdis ps,tc, d is ws.

I is css c scis, wiig Ii s d d,

our rst category, may well be manifest in Poloniuss notorious distinction inHamlet

bw wi d iby ys (2.2.3978). I is cg

dic s d gs, gs lis Gg Cbbs ig c, pis

ds w ic s scid d ivisd cig, sciy

ccizig Ii s d. t s d is ivivy dd

i gicdis s w s i csci ic cdis

by icig gs favole boscareccie d commedia dellartesci, csig bs s d ci sccs, idd v, xcd

vis d w, ssd wi sic d dcig. By dwig

bd sci favole dpastorali b scidys d ivisd sci,

Ss d i s i is id ixd d, id

w gic-cic-isic-s, s dsisd by is

cis, b sid sc civss d vy is

dic .

tis s c i wds wiig ic ds id

from Italy explains, for Frances K. Barasch, some signicant cruces in Falstaffs

ccizi d is x y y-cig b pic h. ty

13 pg, i mic mdi (d.), The Italian World of English Renaissance

Drama: Cultural Exchange and Intertextuality (nw: uivsiy Dw pss,

1998), . 16.


7/12

Michele Marrapodi 7

ds cs bw diig c ds iigd by c csy

d gcy hqi ig by ic ssciis. t

gcy fs is s Ii c Commedia dellArte

y v icy s i xii dic cx y

d i g g Ii ix y d egisd.

t cc csci pic h i Henry V is isd s by ad

mx C s big ibd i Csigis siig id ci,

rissc ic w i cjci y id wi ii gc

is Cisi vis by diisig is i gd. I wig

Csigi, kig hys id ivsiz iv d bic vs s

isis divi pvidc vids idscic i igy

vis wic dis i yid scivs. hys c y

ccizi wi is v Cisi i is v s iiv.Despite his misgivings, his complex Italianate-based gure creates a different overall

ig is cc.

Csigis , s s cdc csy bs ccig

b d w syss sx, gd, d dci, by

D Css Galateo d GzzsLa Civil Conversatione, gi

Sss is i ric cdis d y sv v

sc d dic ivis d i ys. I y w c, ic

cbii s, gs, d c scis

most inuential dialogic works of Italian literature of manners contributes to form

id egis ric cdy, bsd sx disgis, idd v,

ii, d i igs, wic Ss divd Commedia i

is d xssi s erudita,grave, d allimprovviso. I sc ys sAs You

Like It, Twelfth Night, The Two Gentlemen of Verona, d The Merchant of Venice,

gs bd Sss cdic i, d visic,

ic, d c scis, dss ix wiig is

dramaturgical method, explaining the notorious instability, in terms of a delity to a

xed category, of Shakespeares romantic comedies.

t id id, ybid g, wic Ss bs s

ixd g id egd Iy (i.. Gidis y tragedia difn lieto, s gicdy, d ivisd sci), is s d sciy i

rb hs ysis Hamlets s y, w s ybidis i b

gs d ccizis ds ic Ii wd

scid y-cig d Commedia dellArte visic isi. ag

bss ccizis sig Commedia, c pazzia

divd by css Isb adii, wi is gic-cic sgssivss

i b syisic d gic dcs, cs s iby buffone d

icis ybid si dss i h d oi.

a wy wiig Ii iy ds i egd, wic bcicy civ i cs Gscigs di aiss Suppositi,

is dcy dd dvsi s d gii s s d

ii. I discssig is ic cs c ii, Ji piis

Ig xis w Gscig s i c iics i is w


8/12


idci y. By sggsig wy i igisic bigiis

d bd wdy sscid wi cgy ssig iscibd i

yx, cgs is ds dci s dcis svs

s d ivv d ii i cii ys

xici d iici xiy.

Remaking Italian Myths an culture

o vxd qsis i ciic isy Ii cci

Ss is w dis cy w Ii gg d c, i

ws cb dig Ii i d by ig i is c,

css, d isy g. Ciics v d i s discv i

diss iy bigy is y ws ssib ysic jy

Iy, ysizig c gd ci dig s-cds ys. ki es ig c p II jcs is ssibiiy bcs

dcs i J fis widsd d wid-gig civiy s dc

of Italian linguistic and literary models the most inuential mediator who linked

Ss Iy d is c. fis cs is idd s cvicig

dsi w Ii gg d c d i egis g

xic d sic cscs divd b iy d diy gg.

I is Second Fruites, biig digic idci Ii gg,

Ii css, d idd Ii ggy, bisd i 1591, Ss cd

nd all the information he needed for his Italianate romantic comedies, from MuchAdo About Nothing Twelfth Night.W e s s ixiciy i s

Sss Ii ys is vidc cx d ii

xic cqic wi fis ws s b i cgizd.14

t xdiy qiy Ss d vid vivid is

ic sc d sci bic is gy ssd by s d c

scsi. W is s cig is ssss diss

dci i sig isic s w s igiy b iis, sci

sigs, d ciy-ss. t y Vic, s is w w, igid

isic cxiy ciy is, ccizd by xdiy vs giqc d gd i css, siviis, d cic sgy

jxsd by cis d ic cs giiy d sci diii.

ri mys c vids wdig x w i isic

vs, sc s fc ig hi IIIs i wc Vi iy

is ci i Ccw s ig pd, i gd The

14 tw vy c bs v d is iss s g, big w gd i

v c dig wdg Ii, vi dii fis w, Ss d is w diss: Js lwcs Who the devil taught thee so

much Italian? Italian Language Learning and Literary Imitation in Early Modern England

(mcs: mcs uivsiy pss, 2005) d mic Wys isicy-

id sdy, The Italian Encounter with Tudor England. A cultural Politics of Translation

(Cbidg: Cbidg uivsiy pss, 2005).


9/12

Michele Marrapodi 9

Merchant of Venice, y wic vs sci iicy wi qsis

isic cccy d dci.

The inuence of Machiavelli and Castiglione as source texts on early modern

English drama is universally acclaimed but this inuence appears particularly

civ, g wi ais, i dic d siic ws. h, s lishis dss i cs Troilus and Cressida, is ssiii Ii

c, sy ig i si, ss wi qsi ps W,

cig ciic db bw tssisi d aisisi s w s iic d

dd by hig i is vsi Orlando Furioso. ag cs

s si, d is s s s b dig. B g d is

giv ys s bHamletdHenry V, Troilus and Cressida

gs d hc , bs Sss ccs, sig

the play does not even pronounce denitively on the issues of the Poets War it

vs i isy.Where the Italian inuence of theatrical practices is most pervasive is in relation

Commedia dellArte types, especially those xed characters of low comedy who

y id xgs wi i s giss. By cig

sv-s i wi i csdig s, sc s i magnifco

d zanni x digs, gs ni DVici nics, i bdid

ic ss ig d , gici d , ic d js,

substance and shadow as well as the reverse case of the powerful gure as shadow

d wss s sbsc. tis y-cig, cig callidus servus vs

senex amans isi r nw Cdy, is icy civ i sc

ys sA Midsummer Nights Dream d The Tempest,w ii

Commedia gs is isby discib i cig topoi

d, s sis, d cgii g. Idd, y

b iv isds d, sciy i The Tempest, ds x

idbdss Ii s w s id xsiv visi xid

by dis.

Gii gicdy d is ic iss w widsd g

rissc e d cd egis d i ws y Jcb

ywigs. I is sy i is dic divi, g, Ii gicdy

d s cd gd i egd. J fcs s The FaithfulShepherdess (16081609) is often cited as the rst English play to acknowledge

Giis y d cic, bcig id d ys d diss.

Js lwcs c dcs i mss i y, The Malcontent(1604),

b igisic bwigs d ic divis 1602 si

Il Pastor fdo, dsig d, ii i d

ciicis s i wd. f g s siig dics i

s iicizd sig, vd by cg s

b sg-wd, Ii d is i y scs w dic

sc mss y, givig cx ss i -sbis iic d d wig sy c wg-ds, w

siy bisd c. Giis s wd d mss c

Gs c y s iiiy , b i y v, i fcs


10/12


TheFaithfulShepherdess, a cultural and ideological afnity dramatically effective

xi gicdic g sgd iv s.

Refashioning Ieology

ps s i scivs by wic -isicis d c

iis sdis i sid aic v gdd sii

Ii c i Ss d y Jcb d is idgy.

f g idgic s w s iic iicis iscibd i

vy d is, i is s-cd dicic-iv sc s

scc d iy g,15 idgic ii Iy is digsd

by jiy d is s c iic gii bw

d i cs, bw ss d diyig

isiy egis i isd is s svcy, w bid scii ig o d s Ii

w s wi isis dsic xiy. Sss xii

sci d iic cdicis i i y Vic is cs

i i. ag The Merchant of Venice s ic cdy d Othello

s gdy v v b csy id g s diviv ys, J

Diss c vids sg vidc sc dig is y ssib

b icy wdig i is dci c d idgic d

iic cis divig diss dysiyig si

Vi bic. rissc Vic ws idd, bcs wid iicand commercial interests throughout the Mediterranean, a territory of social conicts

which the historical regimes were content to leave dormant for the economic benet

of the city-state. Shakespeare perceived that these social conicts could have arisen

wig si is Vi ys i s ci, ic, d

igis sis d i sg-wds b The Merchantd Othello d

bc vy cyss dic ci.

t idgic xii Sss sc xs y v icy

i w dig csci is ds d wy y sd ig

idivid ccizi. t cc Cis, Cdi Ci gs,sis pcs y vg i sb cs s ci wds

is i d dv sycgicy ic ddc

wic divs i is y vig s sbd. tis y sbjci is

sizd by Vis gd sbsii i ys igy miss

wife and by the parallel treatment of Audiuss confrontation as a subversively

ic i. as s, i s r vi is sdicy dbsd

byis , sbjgd by is d divd y sx sg.

Ci w, wic d g i midd ags, ss is

ideological efcacy and political strategy to be translated into ritual in the early

15 C. ki e, The Semiotics of Theatre and Drama (ld: m, 1980); d

assd Sii, rdig Sigs: twds Siics Ss D

d Js h. kvg, Ss i Idgy, i J Dis (d.), Alternative

Shakespeares (ld: m, 1985), scivy . 11943 d 14465.


11/12

Michele Marrapodi 11

d y iy. Sss Ii ys dw Cinquecento

s d c dy dic si cy i ivd

is wic cs s iic ivsi disc icy d s

w. I dig wi is idgic si c-cis i

Ss d, Vici Sc Wd idivids i The Tempest scig x icic w, ssssi, d cy sd

by scc pss i c bd ic sss d

iic is, dizig i bw sgc d sc. By

vig cs cy mis c isd xi, ps

sgs is c-cy s ws sbis w c sc

i wic s vs sbisd sciy.

tis s sis pss mcivi cics iic is

is id i mic J. rdds c The Tempest viwd i is Jcb

ic d idgic cx s Ii disgisd d y. By dig pss ig y si bd is gvig

ws s gici s w s ccisd ss, rdd ics

pss iic sgy giig is Dd g iciy

is disgisd idiy d cyic sgig c-isds by wic c

sy, v, d dic isds sbjgd i, icdig is w

dg d fdid, s , ws, y bc cs d scs

y-sci ivd is w iic ds. tis visi pss ig

biis d vsy is cs wi y Jcb ic y

Ii gicic sb-g wic, mss The Malcontent

midds The Phoenix, Ss The Fleire Bs The Woman

Hater, csd iic iig d disgisd s w gi i

iy d w wi idd s cig svic d sc.

Ss dd is ic d gicdic sc i

Jcb Measure for Measure d wi is s y ccds c

jcy bsd iic cyicis d siic scicis.

I sdyig ws ts midd, s d c ciicis s

bd diss y is w ccs s iiis. accdig

is d scsi, midds isgyy is vid i vicis

ccizi w w xss i sxiy y, xsig svs vy sx ci. ti ss iicy sbvsiv d

iici sxiy, wv, is di d is dss

dis qiy bw sxs c b csidd -

iis. f Ci Did, is ciic bis is vidc gybic

jdic discss xiy wds sxiy. W s cs sx-

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ssiiv w is d is. By siig

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i , by bcig dd ws i is

q gd.


12/12


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d wi b s disibd i s d ssiid wii

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s bcs g. Bsids dcig cs dig s

b sc Jis sd d, wic is i is b bii cc

x csci d ciic sciy bigiis Q1 d

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sid ds cic vs d, wi cid-cs ggd i iv

cs dig ys g. t disibi sic s

ws divd s sig s by d ssi cs w

Ss d is bic .

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