18/08/2021
𝐒𝐢𝐦𝐩𝐨𝐬𝐢𝐨 𝐍𝐚𝐜𝐢𝐨𝐧𝐚𝐥 𝐝𝐞 𝐏𝐚𝐭𝐫𝐢𝐦𝐨𝐧𝐢𝐨 𝐒𝐨𝐧𝐨𝐫𝐨
✍🏻 𝙰𝚞𝚝𝚘𝚛: 𝙹𝚘𝚜é 𝙰𝚗𝚝𝚘𝚗𝚒𝚘 𝙶𝚊𝚛𝚌í𝚊 𝙿é𝚛𝚎𝚣
𝚈𝚊 𝚎𝚜𝚝á 𝚊 𝚕𝚊𝚜 𝚙𝚞𝚎𝚛𝚝𝚊𝚜 𝚎𝚕 𝟽𝚖𝚘 𝚂𝚒𝚖𝚙𝚘𝚜𝚒𝚘 𝙽𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝙿𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚂𝚘𝚗𝚘𝚛𝚘 𝚚𝚞𝚎 𝚜𝚎 𝚒𝚖𝚙𝚞𝚕𝚜𝚊 𝚍𝚎𝚜𝚍𝚎 𝙲𝚒𝚎𝚐𝚘 𝚍𝚎 Á𝚟𝚒𝚕𝚊, 𝚘𝚛𝚐𝚊𝚗𝚒𝚣𝚊𝚍𝚘 𝚙𝚘𝚛 𝚎𝚕 𝚝𝚛𝚘𝚟𝚊𝚍𝚘𝚛 𝚈𝚘𝚊𝚗 𝚉𝚊𝚖𝚘𝚛𝚊 𝚢 𝚈𝚞𝚜𝚖𝚊𝚒𝚍𝚒 𝙼𝚊𝚛𝚛𝚎𝚛𝚘 𝙽úñ𝚎𝚣, 𝚍𝚎𝚍𝚒𝚌𝚊𝚍𝚘 𝚊 𝚒𝚗𝚜𝚝𝚒𝚝𝚞𝚌𝚒𝚘𝚗𝚎𝚜 𝚌𝚞𝚕𝚝𝚞𝚛𝚊𝚕𝚎𝚜 𝚌𝚘𝚖𝚘 𝚕𝚊 𝙵𝚞𝚗𝚍𝚊𝚌𝚒ó𝚗 𝙽𝚒𝚌𝚘𝚕á𝚜 𝙶𝚞𝚒𝚕𝚕é𝚗 𝚍𝚎 𝙲𝚒𝚎𝚐𝚘 𝚍𝚎 Á𝚟𝚒𝚕𝚊, 𝚎𝚕 𝙼𝚞𝚜𝚎𝚘 𝙽𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝚕𝚊 𝙼ú𝚜𝚒𝚌𝚊 𝚢 𝚕𝚊 𝙰𝚜𝚘𝚌𝚒𝚊𝚌𝚒ó𝚗 𝙷𝚎𝚛𝚖𝚊𝚗𝚘𝚜 𝚂𝚊í𝚣 (𝙰𝙷𝚂). 𝙴𝚗𝚝𝚛𝚎 𝚕𝚘𝚜 𝚍í𝚊𝚜 𝟷𝟾 𝚢 𝟸𝟶 𝚍𝚎𝚕 𝚖𝚎𝚜 𝚎𝚗 𝚌𝚞𝚛𝚜𝚘, 𝚞𝚗𝚊 𝚟𝚊𝚛𝚒𝚎𝚍𝚊𝚍 𝚍𝚎 𝚒𝚗𝚜𝚝𝚒𝚝𝚞𝚌𝚒𝚘𝚗𝚎𝚜 𝚎𝚡𝚙𝚘𝚗𝚍𝚛á 𝚜𝚞 𝚖𝚊𝚛𝚌𝚊 𝚍𝚎𝚗𝚝𝚛𝚘 𝚍𝚎 𝚍𝚒𝚌𝚑𝚘 𝚙𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘.
𝙴𝚕 𝚎𝚟𝚎𝚗𝚝𝚘 𝚎𝚜 𝚞𝚗𝚊 𝚌𝚒𝚝𝚊 𝚊 𝚒𝚗𝚟𝚎𝚜𝚝𝚒𝚐𝚊𝚍𝚘𝚛𝚎𝚜, 𝚖𝚞𝚜𝚒𝚌ó𝚕𝚘𝚐𝚘𝚜, 𝚛𝚎𝚊𝚕𝚒𝚣𝚊𝚍𝚘𝚛𝚎𝚜 𝚍𝚎 𝚛𝚊𝚍𝚒𝚘 𝚢 𝚝𝚎𝚕𝚎𝚟𝚒𝚜𝚒ó𝚗, 𝚌𝚛í𝚝𝚒𝚌𝚘𝚜, 𝚎𝚜𝚝𝚞𝚍𝚒𝚘𝚜𝚘𝚜, 𝚍𝚒𝚛𝚎𝚌𝚝𝚒𝚟𝚘𝚜 𝚍𝚎 𝚒𝚗𝚜𝚝𝚒𝚝𝚞𝚌𝚒𝚘𝚗𝚎𝚜, 𝚕𝚘𝚌𝚞𝚝𝚘𝚛𝚎𝚜, 𝚖ú𝚜𝚒𝚌𝚘𝚜, 𝚎𝚜𝚙𝚎𝚌𝚒𝚊𝚕𝚒𝚜𝚝𝚊𝚜 𝚢 𝚙𝚛𝚘𝚏𝚎𝚜𝚘𝚛𝚎𝚜 𝚙𝚊𝚛𝚊 𝚕𝚊 𝚙𝚛𝚎𝚜𝚎𝚗𝚝𝚊𝚌𝚒ó𝚗 𝚍𝚎 𝚙𝚘𝚗𝚎𝚗𝚌𝚒𝚊𝚜; 𝚊𝚍𝚎𝚖á𝚜 𝚍𝚎 𝚜𝚎𝚛𝚟𝚒𝚛 𝚙𝚊𝚛𝚊 𝚕𝚊 𝚎𝚡𝚙𝚘𝚜𝚒𝚌𝚒ó𝚗 𝚢 𝚜𝚘𝚌𝚒𝚊𝚕𝚒𝚣𝚊𝚌𝚒ó𝚗 𝚍𝚎 𝚖𝚊𝚝𝚎𝚛𝚒𝚊𝚕𝚎𝚜 𝚜𝚘𝚗𝚘𝚛𝚘𝚜 𝚌𝚘𝚗𝚜𝚒𝚍𝚎𝚛𝚊𝚍𝚘𝚜 𝚙𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚙𝚊𝚛𝚊 𝚕𝚊 𝚒𝚗𝚜𝚝𝚒𝚝𝚞𝚌𝚒ó𝚗 𝚚𝚞𝚎 𝚕𝚘𝚜 𝚙𝚛𝚘𝚟𝚎𝚎.
𝚂𝚞 ú𝚗𝚒𝚌𝚘 𝚌𝚎𝚛𝚝𝚊𝚖𝚎𝚗 𝚑𝚊 𝚜𝚒𝚍𝚘 𝚕𝚊 𝚎𝚗𝚝𝚛𝚎𝚐𝚊 𝚎𝚗 𝚕𝚊 𝚜𝚎𝚡𝚝𝚊 𝚎𝚍𝚒𝚌𝚒ó𝚗 𝚙𝚘𝚛 𝚕𝚊 𝚎𝚖𝚙𝚛𝚎𝚜𝚊 𝙼𝚞𝚜𝚒𝚌á𝚟𝚒𝚕𝚊 𝚍𝚎 “𝚕𝚊 𝚍𝚒𝚜𝚝𝚒𝚗𝚌𝚒ó𝚗 𝙲é𝚜𝚊𝚛 𝙰𝚕𝚋𝚎𝚛𝚝𝚒 𝙾𝚛𝚘𝚣𝚌𝚘 𝚊 𝚌𝚘𝚕𝚎𝚌𝚝𝚒𝚟𝚘𝚜 𝚢 𝚙𝚎𝚛𝚜𝚘𝚗𝚊𝚜, 𝚗𝚊𝚝𝚞𝚛𝚊𝚕𝚎𝚜 𝚘 𝚓𝚞𝚛í𝚍𝚒𝚌𝚊𝚜, 𝚚𝚞𝚎 𝚍𝚎𝚜𝚍𝚎 𝚜𝚞 𝚕𝚊𝚋𝚘𝚛 𝚌𝚘𝚗𝚝𝚛𝚒𝚋𝚞𝚢𝚊𝚗 𝚌𝚘𝚗 𝚕𝚊 𝚌𝚛𝚎𝚊𝚌𝚒ó𝚗, 𝚙𝚛𝚘𝚍𝚞𝚌𝚌𝚒ó𝚗, 𝚒𝚗𝚝𝚎𝚛𝚙𝚛𝚎𝚝𝚊𝚌𝚒ó𝚗, 𝚒𝚗𝚟𝚎𝚜𝚝𝚒𝚐𝚊𝚌𝚒ó𝚗, 𝚙𝚛𝚘𝚖𝚘𝚌𝚒ó𝚗 𝚢 𝚜𝚊𝚕𝚟𝚊𝚐𝚞𝚊𝚛𝚍𝚊 𝚍𝚎𝚕 𝚙𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚖𝚞𝚜𝚒𝚌𝚊𝚕” 𝚜𝚎𝚐ú𝚗 𝚛𝚎𝚐𝚒𝚜𝚝𝚛ó 𝚕𝚊 𝙰𝚐𝚎𝚗𝚌𝚒𝚊 𝙲𝚞𝚋𝚊𝚗𝚊 𝚍𝚎 𝙽𝚘𝚝𝚒𝚌𝚒𝚊𝚜 (𝙰𝙲𝙽).
𝙴𝚜𝚝𝚊 𝚙𝚛𝚒𝚖𝚎𝚛𝚊 𝚎𝚍𝚒𝚌𝚒ó𝚗 𝚘𝚗𝚕𝚒𝚗𝚎 𝟸𝟶𝟸𝟷, 𝚎𝚡𝚙𝚘𝚗𝚍𝚛á 𝚎𝚕 𝚕𝚒𝚋𝚛𝚘 “𝙿𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝙼𝚞𝚜𝚒𝚌𝚊𝚕 𝙲𝚞𝚋𝚊𝚗𝚘. 𝙰𝚟𝚊𝚝𝚊𝚛𝚎𝚜, 𝚟𝚎𝚗𝚝𝚞𝚛𝚊𝚜 𝚢 𝚊𝚣𝚊𝚛𝚎𝚜” 𝚙𝚘𝚛 𝙹𝚎𝚜ú𝚜 𝙶ó𝚖𝚎𝚣 𝙲𝚊𝚒𝚛𝚘 (𝙿𝚛𝚎𝚖𝚒𝚘 𝙽𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝙼ú𝚜𝚒𝚌𝚊). 𝙲𝚞𝚎𝚗𝚝𝚊 𝚊𝚍𝚎𝚖á𝚜, 𝚌𝚘𝚗 𝚕𝚊 𝚙𝚛𝚎𝚜𝚎𝚗𝚝𝚊𝚌𝚒ó𝚗 𝚍𝚎𝚕 𝚙𝚛𝚘𝚢𝚎𝚌𝚝𝚘 𝙰𝚞𝚍𝚒𝚘𝚕𝚒𝚋𝚛𝚘𝚜 𝚍𝚎 𝙴𝚍𝚒𝚌𝚒𝚘𝚗𝚎𝚜 Á𝚟𝚒𝚕𝚊, 𝚌𝚘𝚗 𝚕𝚊𝚜 𝚟𝚘𝚌𝚎𝚜 𝚍𝚎 𝙹𝚘𝚜é 𝚁𝚘𝚕𝚊𝚗𝚍𝚘 𝚁𝚒𝚟𝚎𝚛𝚘, 𝙼𝚊𝚜𝚜𝚒𝚎𝚕 𝙼𝚊𝚝𝚎𝚘𝚜 𝚢 𝙲𝚊𝚛𝚖𝚎𝚗 𝙷𝚎𝚛𝚗á𝚗𝚍𝚎𝚣 𝙿𝚎ñ𝚊, 𝚌𝚘𝚖𝚘 𝚜𝚊𝚕𝚟𝚊𝚐𝚞𝚊𝚛𝚍𝚊𝚜 𝚙𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚊𝚕𝚎𝚜 𝚍𝚎 𝚕𝚊 𝚟𝚘𝚣 𝚍𝚎 𝚎𝚜𝚝𝚘𝚜 𝚊𝚞𝚝𝚘𝚛𝚎𝚜.
𝙴𝚕 𝚊𝚙𝚊𝚛𝚝𝚊𝚍𝚘 𝚕𝚒𝚝𝚎𝚛𝚊𝚛𝚒𝚘, 𝚑𝚊 𝚜𝚒𝚍𝚘 𝚘𝚌𝚞𝚙𝚊𝚍𝚘 𝚎𝚗 𝚎𝚍𝚒𝚌𝚒𝚘𝚗𝚎𝚜 𝚊𝚗𝚝𝚎𝚛𝚒𝚘𝚛𝚎𝚜 𝚙𝚘𝚛 𝚕𝚒𝚋𝚛𝚘𝚜 𝚌𝚘𝚖𝚘 “𝙻𝚊 𝙲𝚕𝚊𝚟𝚎 𝚢 𝚎𝚕 𝙲𝚘𝚖𝚙á𝚜”, 𝚍𝚎 𝚕𝚘𝚜 𝚕𝚒𝚌𝚎𝚗𝚌𝚒𝚊𝚍𝚘𝚜 𝚎𝚜𝚙𝚒𝚛𝚒𝚝𝚞𝚊𝚗𝚘𝚜 𝙲𝚊𝚛𝚕𝚘𝚜 𝙼𝚊𝚗𝚞𝚎𝚕 𝙱𝚘𝚛𝚛𝚘𝚝𝚘 𝙰𝚋𝚛𝚎𝚞 (𝚅𝚒𝚌𝚎𝚙𝚛𝚎𝚜𝚒𝚍𝚎𝚗𝚝𝚎 𝙿𝚛𝚒𝚖𝚎𝚛𝚘 𝚄𝙽𝙴𝙰𝙲, 𝚂𝚊𝚗𝚌𝚝𝚒 𝚂𝚙í𝚛𝚒𝚝𝚞𝚜) 𝚢 𝙴𝚕𝚒𝚎𝚗𝚎 𝙵𝚘𝚗𝚜𝚎𝚌𝚊 𝙳í𝚊𝚣 (𝙴𝚜𝚙𝚎𝚌𝚒𝚊𝚕𝚒𝚜𝚝𝚊 𝚎𝚗 𝙿𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚍𝚎𝚕 𝙲𝚎𝚗𝚝𝚛𝚘 𝙿𝚛𝚘𝚟𝚒𝚗𝚌𝚒𝚊𝚕 𝚍𝚎 𝚕𝚊 𝙼ú𝚜𝚒𝚌𝚊); 𝚝𝚊𝚖𝚋𝚒é𝚗 𝚙𝚘𝚛 𝚎𝚕 𝙻𝚒𝚋𝚛𝚘-𝙳𝚒𝚜𝚌𝚘 “𝙱𝚘𝚕í𝚟𝚊𝚛. É𝚙𝚘𝚌𝚊 𝚍𝚎 𝚊𝚖𝚊𝚛”, 𝚌𝚘𝚗 𝚕𝚊 𝚊𝚞𝚝𝚘𝚛í𝚊 𝚍𝚎 𝙰𝚕𝚎𝚓𝚊𝚗𝚍𝚛𝚘 𝚁𝚘𝚍𝚛í𝚐𝚞𝚎𝚣 𝚢 𝚆𝚊𝚕𝚍𝚘 𝙼𝚎𝚗𝚍𝚘𝚣𝚊, 𝚎𝚗 𝚎𝚕 𝚜𝚎𝚐𝚞𝚗𝚍𝚘 𝚢 𝚌𝚞𝚊𝚛𝚝𝚘 𝚂𝚒𝚖𝚙𝚘𝚜𝚒𝚘 𝚛𝚎𝚜𝚙𝚎𝚌𝚝𝚒𝚟𝚊𝚖𝚎𝚗𝚝𝚎.
𝚆𝚊𝚕𝚍𝚘 𝙼𝚎𝚗𝚍𝚘𝚣𝚊 𝚝𝚊𝚖𝚋𝚒é𝚗 𝚏𝚞𝚎 𝚙𝚊𝚛𝚝𝚒𝚌𝚒𝚙𝚎 𝚎𝚗 𝚕𝚘𝚜 𝚌𝚘𝚖𝚞𝚗𝚎𝚜 𝚌𝚘𝚗𝚌𝚒𝚎𝚛𝚝𝚘𝚜 𝚚𝚞𝚎 𝚊𝚌𝚘𝚖𝚙𝚊ñ𝚊𝚗 𝚊𝚕 𝚎𝚟𝚎𝚗𝚝𝚘, 𝚌𝚘𝚖𝚘 𝚕𝚘 𝚑𝚊 𝚜𝚒𝚍𝚘 𝚎𝚕 𝚙𝚛𝚘𝚙𝚒𝚘 𝚈𝚘𝚊𝚗 𝚉𝚊𝚖𝚘𝚛𝚊, 𝚊𝚖𝚋𝚘𝚜 𝚎𝚗 𝚎𝚕 𝙲𝚞𝚊𝚛𝚝𝚘 𝚂𝚒𝚖𝚙𝚘𝚜𝚒𝚘 𝚎𝚗 𝟸𝟶𝟷𝟽; 𝚢 𝚎𝚕 𝚐𝚛𝚞𝚙𝚘 𝙼𝚘𝚗𝚌𝚊𝚍𝚊, 𝙶𝚎𝚛𝚊𝚛𝚍𝚘 𝙰𝚕𝚏𝚘𝚗𝚜𝚘, 𝚎𝚕 𝚌𝚘𝚗𝚓𝚞𝚗𝚝𝚘 𝙰𝚛𝚜 𝙽𝚘𝚟𝚊 𝚍𝚎 𝚅𝚒𝚕𝚕𝚊 𝙲𝚕𝚊𝚛𝚊 𝚢 𝚎𝚕 𝚌𝚘𝚛𝚘 𝚙𝚛𝚘𝚏𝚎𝚜𝚒𝚘𝚗𝚊𝚕 𝙲𝚘𝚛á𝚟𝚒𝚕𝚊 𝚍𝚎 𝚕𝚊 𝚙𝚛𝚘𝚙𝚒𝚊 𝚌𝚒𝚞𝚍𝚊𝚍 𝚌𝚊𝚋𝚎𝚌𝚎𝚛𝚊, 𝚎𝚗 𝟸𝟶𝟷𝟾; 𝚢 𝚌𝚘𝚖𝚘 𝚕𝚘 𝚜𝚎𝚛á 𝚎𝚕 𝚎𝚌𝚞𝚊𝚝𝚘𝚛𝚒𝚊𝚗𝚘 𝙾𝚟𝚒𝚍𝚒𝚘 𝙶𝚘𝚗𝚣𝚊𝚕𝚎𝚣 𝚎𝚜𝚝𝚎 𝟸𝟶𝟸𝟷.
«𝙴𝚕 𝚂𝚒𝚖𝚙𝚘𝚜𝚒𝚘 𝙽𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝙿𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚂𝚘𝚗𝚘𝚛𝚘 𝚏𝚘𝚛𝚖𝚊 𝚙𝚊𝚛𝚝𝚎 𝚍𝚎𝚕 𝙿𝚛𝚘𝚢𝚎𝚌𝚝𝚘 𝚍𝚎 𝙿𝚛𝚎𝚜𝚎𝚛𝚟𝚊𝚌𝚒ó𝚗 𝚍𝚎𝚕 𝙿𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚂𝚘𝚗𝚘𝚛𝚘 𝚍𝚎 𝙲𝚒𝚎𝚐𝚘 𝚍𝚎 Á𝚟𝚒𝚕𝚊 𝚚𝚞𝚎 𝚒𝚗𝚒𝚌𝚒𝚊𝚖𝚘𝚜 𝚈𝚞𝚜𝚖𝚊𝚒𝚍𝚒 𝙼𝚊𝚛𝚛𝚎𝚛𝚘 𝙽úñ𝚎𝚣 𝚢 𝚈𝚘𝚊𝚗 𝚉𝚊𝚖𝚘𝚛𝚊 𝚍𝚎𝚜𝚍𝚎 𝚎𝚕 𝚊ñ𝚘 𝟸𝟶𝟷𝟶 –𝚊𝚏𝚒𝚛𝚖𝚊 𝚈𝚘𝚊𝚗.
«𝙻𝚊 𝚒𝚗𝚚𝚞𝚒𝚎𝚝𝚞𝚍 𝚗𝚊𝚌𝚒ó 𝚌𝚞𝚊𝚗𝚍𝚘 𝚎𝚗 𝚎𝚕 𝚙𝚛𝚒𝚖𝚎𝚛 𝙴𝚗𝚌𝚞𝚎𝚗𝚝𝚛𝚘 𝙽𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝙹ó𝚟𝚎𝚗𝚎𝚜 𝚃𝚛𝚘𝚟𝚊𝚍𝚘𝚛𝚎𝚜 (𝟸𝟶𝟶𝟼) 𝚚𝚞𝚒𝚜𝚒𝚖𝚘𝚜 𝚐𝚛𝚊𝚋𝚊𝚛 𝚕𝚘𝚜 𝚌𝚘𝚗𝚌𝚒𝚎𝚛𝚝𝚘𝚜, 𝚛𝚎𝚌𝚒𝚝𝚊𝚕𝚎𝚜 𝚢 𝚍𝚎𝚜𝚌𝚊𝚛𝚐𝚊𝚜. 𝙿𝚎𝚛𝚘 𝚗𝚘 𝚏𝚞𝚎 𝚙𝚘𝚜𝚒𝚋𝚕𝚎, 𝚙𝚘𝚛𝚚𝚞𝚎, 𝚊𝚍𝚎𝚖á𝚜 𝚍𝚎 𝚗𝚘 𝚝𝚎𝚗𝚎𝚛 𝚕𝚘𝚜 𝚌𝚘𝚗𝚘𝚌𝚒𝚖𝚒𝚎𝚗𝚝𝚘𝚜 𝚢 𝚎𝚚𝚞𝚒𝚙𝚊𝚖𝚒𝚎𝚗𝚝𝚘 𝚗𝚎𝚌𝚎𝚜𝚊𝚛𝚒𝚘𝚜, 𝚝𝚎𝚗í𝚊𝚖𝚘𝚜 𝚚𝚞𝚎 𝚎𝚗𝚌𝚊𝚛𝚐𝚊𝚛𝚗𝚘𝚜 𝚍𝚎 𝚝𝚘𝚍𝚊 𝚕𝚊 𝚘𝚛𝚐𝚊𝚗𝚒𝚣𝚊𝚌𝚒ó𝚗 𝚍𝚎 𝚊𝚚𝚞𝚎𝚕 𝚎𝚟𝚎𝚗𝚝𝚘.
«𝙰𝚕 𝚌𝚘𝚗𝚌𝚕𝚞𝚒𝚛 𝚎𝚕 𝚙𝚛𝚒𝚖𝚎𝚛 𝙴𝚗𝚌𝚞𝚎𝚗𝚝𝚛𝚘 𝙽𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝙹ó𝚟𝚎𝚗𝚎𝚜 𝚃𝚛𝚘𝚟𝚊𝚍𝚘𝚛𝚎𝚜, 𝚖𝚒 𝚎𝚜𝚙𝚘𝚜𝚊 𝚢 𝚢𝚘 𝚗𝚘𝚜 𝚍𝚒𝚖𝚘𝚜 𝚊 𝚕𝚊 𝚝𝚊𝚛𝚎𝚊 𝚍𝚎 𝚒𝚗𝚍𝚊𝚐𝚊𝚛, 𝚎𝚗 𝚕𝚊 𝚙𝚛𝚘𝚟𝚒𝚗𝚌𝚒𝚊, 𝚚𝚞é 𝚒𝚗𝚜𝚝𝚒𝚝𝚞𝚌𝚒ó𝚗 𝚜𝚎 𝚎𝚗𝚌𝚊𝚛𝚐𝚊𝚋𝚊 𝚍𝚎 𝚛𝚎𝚐𝚒𝚜𝚝𝚛𝚊𝚛 𝚕𝚊 𝚖𝚎𝚖𝚘𝚛𝚒𝚊 𝚜𝚘𝚗𝚘𝚛𝚊 𝚌𝚘𝚕𝚎𝚌𝚝𝚒𝚟𝚊 𝚌𝚘𝚗 𝚏𝚒𝚗𝚎𝚜 𝚍𝚎 𝚙𝚛𝚎𝚜𝚎𝚛𝚟𝚊𝚌𝚒ó𝚗. 𝚈 𝚜í, 𝚎𝚗𝚌𝚘𝚗𝚝𝚛𝚊𝚖𝚘𝚜 𝚟𝚊𝚛𝚒𝚊𝚜 𝚚𝚞𝚎 𝚍𝚎𝚜𝚍𝚎 𝚜𝚞 𝚘𝚋𝚓𝚎𝚝𝚘 𝚜𝚘𝚌𝚒𝚊𝚕 𝚕𝚘 𝚑𝚊𝚌í𝚊𝚗, 𝚙𝚎𝚛𝚘 𝚗𝚒𝚗𝚐𝚞𝚗𝚊 𝚍𝚎 𝚎𝚕𝚕𝚊𝚜 𝚌𝚘𝚗 𝚞𝚗 𝚌𝚊𝚛á𝚌𝚝𝚎𝚛 𝚒𝚗𝚝𝚎𝚐𝚛𝚊𝚍𝚘𝚛.
«𝚁𝚊𝚍𝚒𝚘 𝚂𝚞𝚛𝚌𝚘, 𝚎𝚕 𝙰𝚛𝚌𝚑𝚒𝚟𝚘 𝙷𝚒𝚜𝚝ó𝚛𝚒𝚌𝚘 𝙿𝚛𝚘𝚟𝚒𝚗𝚌𝚒𝚊𝚕 “𝙹𝚘𝚜é 𝙶ó𝚖𝚎𝚣 𝙲𝚊𝚛𝚍𝚘𝚜𝚘”, 𝚎𝚕 𝙼𝚞𝚜𝚎𝚘 𝙿𝚛𝚘𝚟𝚒𝚗𝚌𝚒𝚊𝚕 “𝚂𝚒𝚖ó𝚗 𝚁𝚎𝚢𝚎𝚜 𝙷𝚎𝚛𝚗á𝚗𝚍𝚎𝚣”, 𝚕𝚊 𝙵𝚞𝚗𝚍𝚊𝚌𝚒ó𝚗 𝙽𝚒𝚌𝚘𝚕á𝚜 𝙶𝚞𝚒𝚕𝚕é𝚗 𝚍𝚎 𝙲𝚒𝚎𝚐𝚘 𝚍𝚎 Á𝚟𝚒𝚕𝚊, 𝚕𝚊 𝙱𝚒𝚋𝚕𝚒𝚘𝚝𝚎𝚌𝚊 𝙿𝚛𝚘𝚟𝚒𝚗𝚌𝚒𝚊𝚕 “𝚁𝚘𝚋𝚎𝚛𝚝𝚘 𝚁𝚒𝚟𝚊𝚜 𝙵𝚛𝚊𝚐𝚊” 𝚍𝚎 𝙲𝚒𝚎𝚐𝚘 𝚍𝚎 Á𝚟𝚒𝚕𝚊 𝚎𝚗𝚝𝚛𝚎 𝚘𝚝𝚛𝚊𝚜, 𝚙𝚘𝚜𝚎í𝚊𝚗 𝚊𝚌𝚎𝚛𝚟𝚘𝚜 𝚜𝚘𝚗𝚘𝚛𝚘𝚜 𝚌𝚘𝚗 𝚟𝚊𝚕𝚘𝚛 𝚙𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚊𝚕. 𝙿𝚎𝚛𝚘 𝚑𝚊𝚜𝚝𝚊 𝚎𝚗𝚝𝚘𝚗𝚌𝚎𝚜 𝚗𝚞𝚗𝚌𝚊 𝚜𝚎 𝚑𝚊𝚋í𝚊𝚗 𝚓𝚞𝚗𝚝𝚊𝚍𝚘 𝚍𝚘𝚜 𝚙𝚊𝚕𝚊𝚋𝚛𝚊𝚜 𝚚𝚞𝚎 𝚑𝚊𝚗 𝚑𝚎𝚌𝚑𝚘 𝚌𝚊𝚖𝚋𝚒𝚊𝚛 𝚗𝚞𝚎𝚜𝚝𝚛𝚊𝚜 𝚟𝚒𝚍𝚊𝚜: 𝙿𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚂𝚘𝚗𝚘𝚛𝚘. 𝙰𝚜í 𝚜𝚞𝚛𝚐𝚎 𝚎𝚕 𝙿𝚛𝚘𝚢𝚎𝚌𝚝𝚘 𝚍𝚎 𝙿𝚛𝚎𝚜𝚎𝚛𝚟𝚊𝚌𝚒ó𝚗 𝚊𝚗𝚝𝚎𝚜 𝚖𝚎𝚗𝚌𝚒𝚘𝚗𝚊𝚍𝚘, 𝚎𝚗 𝟸𝟶𝟷𝟶.»
𝙴𝚗 𝚘𝚌𝚝𝚞𝚋𝚛𝚎 𝚍𝚎 𝟸𝟶𝟶𝟹 –𝚜𝚎𝚐ú𝚗 𝚎𝚜𝚝𝚞𝚍𝚒𝚘 𝚍𝚎𝚕 𝙸𝚗𝚜𝚝𝚒𝚝𝚞𝚝𝚘 𝙲𝚘𝚕𝚘𝚖𝚋𝚒𝚊𝚗𝚘 𝚍𝚎 𝙴𝚜𝚝𝚞𝚍𝚒𝚘𝚜 𝚂𝚞𝚙𝚎𝚛𝚒𝚘𝚛𝚎𝚜 𝚍𝚎 𝙸𝚗𝚌𝚘𝚕𝚍𝚊– “𝚕𝚊 𝙲𝚘𝚗𝚏𝚎𝚛𝚎𝚗𝚌𝚒𝚊 𝙶𝚎𝚗𝚎𝚛𝚊𝚕 𝚍𝚎 𝚕𝚊 𝚄𝙽𝙴𝚂𝙲𝙾 𝚊𝚙𝚛𝚘𝚋ó 𝚕𝚊 𝚜𝚊𝚕𝚟𝚊𝚐𝚞𝚊𝚛𝚍𝚒𝚊 𝚙𝚊𝚛𝚊 𝚎𝚕 𝙿𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝙲𝚞𝚕𝚝𝚞𝚛𝚊𝚕 𝙸𝚗𝚖𝚊𝚝𝚎𝚛𝚒𝚊𝚕, 𝚚𝚞𝚎 𝚎𝚗𝚝𝚛ó 𝚎𝚗 𝚟𝚒𝚐𝚘𝚛 𝚎𝚕 𝟸𝟶 𝚍𝚎 𝚊𝚋𝚛𝚒𝚕 𝚍𝚎 𝟸𝟶𝟶𝟼. 𝙴𝚕 𝚙𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚜𝚘𝚗𝚘𝚛𝚘 𝚎𝚜𝚝á 𝚒𝚗𝚖𝚎𝚛𝚜𝚘 𝚍𝚎𝚗𝚝𝚛𝚘 𝚍𝚎𝚕 𝚙𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚌𝚞𝚕𝚝𝚞𝚛𝚊𝚕 𝚒𝚗𝚖𝚊𝚝𝚎𝚛𝚒𝚊𝚕 𝚚𝚞𝚎 𝚜𝚘𝚗 𝚕𝚘𝚜 𝚞𝚜𝚘𝚜, 𝚛𝚎𝚙𝚛𝚎𝚜𝚎𝚗𝚝𝚊𝚌𝚒𝚘𝚗𝚎𝚜, 𝚎𝚡𝚙𝚛𝚎𝚜𝚒𝚘𝚗𝚎𝚜, 𝚌𝚘𝚗𝚘𝚌𝚒𝚖𝚒𝚎𝚗𝚝𝚘𝚜 𝚢 𝚝é𝚌𝚗𝚒𝚌𝚊𝚜 –𝚓𝚞𝚗𝚝𝚘 𝚌𝚘𝚗 𝚒𝚗𝚜𝚝𝚛𝚞𝚖𝚎𝚗𝚝𝚘𝚜, 𝚘𝚋𝚓𝚎𝚝𝚘𝚜, 𝚊𝚛𝚝𝚎𝚏𝚊𝚌𝚝𝚘𝚜 𝚢 𝚎𝚜𝚙𝚊𝚌𝚒𝚘𝚜 𝚌𝚞𝚕𝚝𝚞𝚛𝚊𝚕𝚎𝚜 𝚚𝚞𝚎 𝚕𝚎 𝚜𝚘𝚗 𝚒𝚗𝚑𝚎𝚛𝚎𝚗𝚝𝚎𝚜– 𝚚𝚞𝚎 𝚕𝚊𝚜 𝚌𝚘𝚖𝚞𝚗𝚒𝚍𝚊𝚍𝚎𝚜, 𝚕𝚘𝚜 𝚐𝚛𝚞𝚙𝚘𝚜, 𝚢 𝚎𝚗 𝚊𝚕𝚐𝚞𝚗𝚘𝚜 𝚌𝚊𝚜𝚘𝚜 𝚕𝚘𝚜 𝚒𝚗𝚍𝚒𝚟𝚒𝚍𝚞𝚘𝚜 𝚛𝚎𝚌𝚘𝚗𝚘𝚣𝚌𝚊𝚗 𝚌𝚘𝚖𝚘 𝚙𝚊𝚛𝚝𝚎 𝚒𝚗𝚝𝚎𝚐𝚛𝚊𝚗𝚝𝚎 𝚍𝚎 𝚜𝚞𝚜 𝚊𝚌𝚎𝚛𝚋𝚘 𝚌𝚞𝚕𝚝𝚞𝚛𝚊𝚕”.
𝙰𝚗𝚝𝚎 𝚕𝚊 𝚒𝚗𝚎𝚡𝚙𝚎𝚛𝚒𝚎𝚗𝚌𝚒𝚊 𝚢 𝚍𝚎𝚜𝚌𝚘𝚗𝚘𝚌𝚒𝚖𝚒𝚎𝚗𝚝𝚘 𝚎𝚗 𝚙𝚛𝚘𝚏𝚞𝚗𝚍𝚒𝚍𝚊𝚍 𝚜𝚘𝚋𝚛𝚎 𝚎𝚕 𝚝𝚎𝚖𝚊, 𝚈𝚘𝚊𝚗 𝚢 𝚈𝚞𝚜𝚖𝚊𝚒𝚍𝚒 𝚍𝚎𝚌𝚒𝚍𝚒𝚎𝚛𝚘𝚗 𝚜𝚞𝚙𝚎𝚛𝚊𝚛 𝚜𝚞𝚜 𝚕𝚊𝚐𝚞𝚗𝚊𝚜 𝚝𝚎ó𝚛𝚒𝚌𝚊𝚜 𝚙𝚊𝚛𝚊 𝚎𝚗𝚌𝚘𝚗𝚝𝚛𝚊𝚛 «𝚞𝚗 𝚞𝚗𝚒𝚟𝚎𝚛𝚜𝚘 𝚒𝚗𝚜𝚘𝚜𝚙𝚎𝚌𝚑𝚊𝚍𝚘» 𝚜𝚎𝚐ú𝚗 é𝚕 𝚖𝚒𝚜𝚖𝚘 𝚌𝚊𝚝𝚊𝚕𝚘𝚐𝚊.
«𝙽𝚘𝚜 𝚊𝚞𝚡𝚒𝚕𝚒𝚊𝚖𝚘𝚜 𝚍𝚎𝚕 𝙼𝚞𝚜𝚎𝚘 𝙽𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝚕𝚊 𝙼ú𝚜𝚒𝚌𝚊 𝚍𝚎𝚜𝚍𝚎 𝚕𝚘𝚜 𝚒𝚗𝚒𝚌𝚒𝚘𝚜, 𝚢 𝚝𝚊𝚖𝚋𝚒é𝚗 𝚍𝚎 𝚕𝚊 𝙵𝚘𝚗𝚘𝚝𝚎𝚌𝚊 𝙽𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝙼é𝚡𝚒𝚌𝚘, 𝚌𝚘𝚗 𝚕𝚊 𝚌𝚞𝚊𝚕 𝚈𝚞𝚜𝚖𝚊𝚒𝚍𝚒 𝙼𝚊𝚛𝚛𝚎𝚛𝚘 𝙽úñ𝚎𝚣 𝚑𝚒𝚣𝚘 𝚞𝚗 𝙳𝚒𝚙𝚕𝚘𝚖𝚊𝚍𝚘 𝚅𝚒𝚛𝚝𝚞𝚊𝚕 𝚍𝚎 𝙿𝚛𝚎𝚜𝚎𝚛𝚟𝚊𝚌𝚒ó𝚗 𝚍𝚎 𝙳𝚘𝚌𝚞𝚖𝚎𝚗𝚝𝚘𝚜 𝚂𝚘𝚗𝚘𝚛𝚘𝚜. 𝙻𝚞𝚎𝚐𝚘 𝚑𝚒𝚣𝚘 𝚜𝚞 𝚝𝚎𝚜𝚒𝚜 𝚎𝚗 𝚘𝚙𝚌𝚒ó𝚗 𝚊𝚕 𝚐𝚛𝚊𝚍𝚘 𝚌𝚒𝚎𝚗𝚝í𝚏𝚒𝚌𝚘 𝚍𝚎 𝙼á𝚜𝚝𝚎𝚛 𝚌𝚘𝚗 𝚕𝚊 𝚝𝚎𝚜𝚒𝚜 𝘗𝘳𝘦𝘴𝘦𝘳𝘷𝘢𝘤𝘪ó𝘯 𝘥𝘦 𝘋𝘰𝘤𝘶𝘮𝘦𝘯𝘵𝘰𝘴 𝘚𝘰𝘯𝘰𝘳𝘰𝘴 𝘥𝘦𝘭 𝘗𝘶𝘯𝘵𝘰 𝘥𝘦 𝘗𝘢𝘳𝘳𝘢𝘯𝘥𝘢 𝘥𝘦 𝘖𝘳𝘪𝘨𝘦𝘯 𝘏𝘪𝘴𝘱á𝘯𝘪𝘤𝘰 𝘦𝘯 𝘊𝘪𝘦𝘨𝘰 𝘥𝘦 Á𝘷𝘪𝘭𝘢, 𝚎𝚗 𝚎𝚕 𝙸𝚗𝚜𝚝𝚒𝚝𝚞𝚝𝚘 𝚂𝚞𝚙𝚎𝚛𝚒𝚘𝚛 𝚍𝚎 𝙰𝚛𝚝𝚎 (𝙸𝚂𝙰).
«𝙿𝚘𝚛 𝚖𝚒 𝚙𝚊𝚛𝚝𝚎 𝚌𝚞𝚛𝚜é 𝚎𝚕 𝙳𝚒𝚙𝚕𝚘𝚖𝚊𝚍𝚘 𝚎𝚗 𝙿𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝙼𝚞𝚜𝚒𝚌𝚊𝚕 𝙷𝚒𝚜𝚙𝚊𝚗𝚘 𝚎𝚗 𝚕𝚊 𝚄𝚗𝚒𝚟𝚎𝚛𝚜𝚒𝚍𝚊𝚍 𝚍𝚎 𝚂𝚊𝚗 𝙶𝚎𝚛ó𝚗𝚒𝚖𝚘 𝚍𝚎 𝙻𝚊 𝙷𝚊𝚋𝚊𝚗𝚊, 𝚍𝚘𝚗𝚍𝚎 𝚙𝚛𝚎𝚜𝚎𝚗𝚝é 𝚞𝚗 𝘈𝘯á𝘭𝘪𝘴𝘪𝘴 𝘥𝘦 𝘭𝘢 𝘊𝘰𝘭𝘦𝘤𝘤𝘪ó𝘯 𝘥𝘦 𝘔ú𝘴𝘪𝘤𝘢 𝘊𝘢𝘮𝘱𝘦𝘴𝘪𝘯𝘢 𝘥𝘦 𝘭𝘢 𝘌𝘮𝘪𝘴𝘰𝘳𝘢 𝘗𝘳𝘰𝘷𝘪𝘯𝘤𝘪𝘢𝘭 𝘙𝘢𝘥𝘪𝘰 𝘚𝘶𝘳𝘤𝘰, 𝘥𝘦 𝘊𝘪𝘦𝘨𝘰 𝘥𝘦 Á𝘷𝘪𝘭𝘢. 𝚈 𝚍𝚎 𝚎𝚜𝚝𝚊 𝚖𝚊𝚗𝚎𝚛𝚊 𝚒𝚗𝚒𝚌𝚒𝚊𝚖𝚘𝚜 𝚎𝚕 𝚌𝚊𝚖𝚒𝚗𝚘: 𝚙𝚛𝚘𝚙𝚞𝚜𝚒𝚖𝚘𝚜 𝚖é𝚝𝚘𝚍𝚘𝚜 𝚌𝚎𝚛𝚝𝚒𝚏𝚒𝚌𝚊𝚍𝚘𝚜 𝚍𝚎 𝚌𝚘𝚗𝚜𝚎𝚛𝚟𝚊𝚌𝚒ó𝚗, 𝚍𝚎𝚏𝚒𝚗𝚒𝚖𝚘𝚜 𝚌𝚘𝚗𝚌𝚎𝚙𝚝𝚘𝚜, 𝚎 𝚒𝚗𝚒𝚌𝚒𝚊𝚖𝚘𝚜 𝚙𝚘𝚛 𝚕𝚊 𝚙𝚛𝚒𝚖𝚎𝚛𝚊 𝚎𝚝𝚊𝚙𝚊, 𝚕𝚊 𝚒𝚍𝚎𝚗𝚝𝚒𝚏𝚒𝚌𝚊𝚌𝚒ó𝚗.
𝚂𝚎𝚐ú𝚗 𝚎𝚕 𝚎𝚜𝚌𝚛𝚒𝚝𝚘𝚛 𝚖𝚘𝚛𝚘𝚗𝚎𝚗𝚜𝚎 𝙻𝚊𝚛𝚛𝚢 𝙼𝚘𝚛𝚊𝚕𝚎𝚜 𝚛𝚎𝚍𝚊𝚌𝚝𝚊 𝚋𝚊𝚓𝚘 𝚎𝚕 𝚝í𝚝𝚞𝚕𝚘 𝘠𝘰𝘢𝘯, 𝘭𝘢 𝘍𝘶𝘯𝘥𝘢𝘤𝘪ó𝘯 𝘎𝘶𝘪𝘭𝘭é𝘯 𝘺 𝘦𝘭 𝘗𝘢𝘵𝘳𝘪𝘮𝘰𝘯𝘪𝘰 𝘚𝘰𝘯𝘰𝘳𝘰, «𝚈𝚘𝚊𝚗 𝚉𝚊𝚖𝚘𝚛𝚊 𝚌𝚘𝚖𝚎𝚗𝚣ó 𝚊 𝚙𝚛𝚎𝚘𝚌𝚞𝚙𝚊𝚛𝚜𝚎 𝚙𝚘𝚛 𝚎𝚕 𝚒𝚗𝚎𝚕𝚞𝚍𝚒𝚋𝚕𝚎 𝚢 𝚏𝚊𝚝𝚊𝚕 𝚘𝚕𝚟𝚒𝚍𝚘 𝚍𝚎𝚕 𝚙𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚜𝚘𝚗𝚘𝚛𝚘» 𝚎𝚗 𝚎𝚕 𝚌𝚘𝚗𝚝𝚎𝚡𝚝𝚘 𝚍𝚎 𝚙𝚎ñ𝚊𝚜 𝚝𝚛𝚘𝚟𝚊𝚍𝚘𝚛𝚎𝚜𝚌𝚊𝚜 𝚊𝚜𝚒𝚜𝚝𝚒𝚍𝚊𝚜 𝚙𝚘𝚛 é𝚕 𝚢 𝙻𝚊𝚛𝚛𝚢, 𝚌𝚘𝚖𝚘 𝙴𝚜𝚝𝚘𝚢 𝚙𝚘𝚗𝚒𝚎𝚗𝚍𝚘 𝚕𝚊 𝚑𝚊𝚖𝚊𝚌𝚊, «𝚎𝚕 𝚙𝚛𝚘𝚢𝚎𝚌𝚝𝚘 𝚖á𝚜 𝚊𝚗𝚝𝚒𝚐𝚞𝚘 𝚍𝚎 𝚕𝚊 𝙵𝚞𝚗𝚍𝚊𝚌𝚒ó𝚗 𝙽𝚒𝚌𝚘𝚕á𝚜 𝙶𝚞𝚒𝚕𝚕é𝚗», 𝙻𝚊𝚜 𝚋𝚊𝚛𝚌𝚊𝚜 𝚍𝚎 𝚌𝚛𝚒𝚜𝚝𝚊𝚕, 𝙲𝚞𝚎𝚛𝚍𝚊 𝚛𝚘𝚝𝚊 𝚢 𝚎𝚗 𝚕𝚊 𝚙𝚎ñ𝚊 𝚃𝚛𝚘𝚟á𝚗𝚍𝚘𝚝𝚎 𝚛𝚎𝚊𝚕𝚒𝚣𝚊𝚍𝚊 𝚎𝚗 𝚕𝚊 𝙵𝚞𝚗𝚍𝚊𝚌𝚒ó𝚗, 𝚌𝚘𝚗𝚖𝚎𝚖𝚘𝚛𝚊𝚝𝚒𝚟𝚊 𝚍𝚎 𝚊𝚚𝚞𝚎𝚕 𝚙𝚛𝚒𝚖𝚎𝚛 𝚊𝚗𝚒𝚟𝚎𝚛𝚜𝚊𝚛𝚒𝚘 𝚚𝚞𝚎 𝚕𝚎 𝚝𝚛𝚊𝚗𝚜𝚏𝚘𝚛𝚖ó 𝚎𝚗 𝚎𝚟𝚎𝚗𝚝𝚘 (…) 𝚂𝚞𝚜 𝚒𝚍𝚎𝚊𝚜 𝚜𝚎 𝚊𝚐𝚒𝚐𝚊𝚗𝚝𝚊𝚛𝚘𝚗 𝚢 𝚢𝚊 𝚎𝚗𝚝𝚘𝚗𝚌𝚎𝚜 𝚗𝚘 𝚌𝚞𝚙𝚒𝚎𝚛𝚘𝚗 𝚎𝚗 𝚜𝚞 𝚌𝚊𝚋𝚎𝚣𝚊, 𝚍𝚎 𝚖𝚘𝚍𝚘 𝚚𝚞𝚎 𝚜𝚊𝚕𝚒ó 𝚊 𝚋𝚞𝚜𝚌𝚊𝚛 𝚊𝚢𝚞𝚍𝚊 𝚙𝚊𝚛𝚊 𝚖𝚊𝚝𝚎𝚛𝚒𝚊𝚕𝚒𝚣𝚊𝚛 𝚜𝚞𝚜 𝚒𝚕𝚞𝚜𝚒𝚘𝚗𝚎𝚜, 𝚙𝚎𝚛𝚘 𝚜𝚞𝚜 𝚙𝚛𝚒𝚖𝚎𝚛𝚘𝚜 𝚛𝚎𝚌𝚕𝚊𝚖𝚘𝚜 𝚗𝚘 𝚏𝚞𝚎𝚛𝚘𝚗 𝚎𝚜𝚌𝚞𝚌𝚑𝚊𝚍𝚘𝚜, 𝚗𝚊𝚍𝚒𝚎 𝚊𝚙𝚘𝚜𝚝𝚊𝚋𝚊 𝚎𝚗𝚝𝚘𝚗𝚌𝚎𝚜 𝚙𝚘𝚛 𝚕𝚊 𝚒𝚖𝚙𝚘𝚛𝚝𝚊𝚗𝚌𝚒𝚊 𝚍𝚎 𝚎𝚜𝚊𝚜 𝚍𝚘𝚜 𝚙𝚊𝚕𝚊𝚋𝚛𝚊𝚜: 𝚙𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚜𝚘𝚗𝚘𝚛𝚘».
«𝙴𝚗 𝟸𝟶𝟷𝟹 𝚎𝚕 𝚙𝚛𝚘𝚢𝚎𝚌𝚝𝚘 𝚏𝚞𝚎 𝚎𝚜𝚌𝚞𝚌𝚑𝚊𝚍𝚘, 𝚕𝚞𝚎𝚐𝚘 𝚍𝚎 𝚝𝚛𝚎𝚜 𝚊ñ𝚘𝚜 𝚍𝚎 𝚒𝚗𝚝𝚎𝚗𝚝𝚊𝚛 𝚜𝚎𝚗𝚜𝚒𝚋𝚒𝚕𝚒𝚣𝚊𝚛 𝚊 𝚕𝚊𝚜 𝚊𝚞𝚝𝚘𝚛𝚒𝚍𝚊𝚍𝚎𝚜 𝚜𝚘𝚋𝚛𝚎 𝚞𝚗 𝚝𝚎𝚖𝚊 𝚍𝚎 𝚒𝚖𝚙𝚘𝚛𝚝𝚊𝚗𝚌𝚒𝚊 𝚌𝚊𝚙𝚒𝚝𝚊𝚕, 𝚙𝚎𝚛𝚘 𝚚𝚞𝚎 𝚎𝚗𝚝𝚘𝚗𝚌𝚎𝚜 𝚗𝚘 𝚝𝚎𝚗í𝚊 𝚞𝚗𝚊 𝚘𝚛𝚒𝚎𝚗𝚝𝚊𝚌𝚒ó𝚗 𝚍𝚎𝚜𝚍𝚎 𝚎𝚕 𝚗𝚒𝚟𝚎𝚕 𝚗𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚌𝚘𝚖𝚘 𝚜𝚞𝚌𝚎𝚍𝚎 𝚊𝚑𝚘𝚛𝚊 𝚌𝚘𝚗 𝚕𝚊 𝚌𝚘𝚖𝚒𝚜𝚒ó𝚗 𝚍𝚎 𝙼𝚎𝚖𝚘𝚛𝚒𝚊 𝙷𝚒𝚜𝚝ó𝚛𝚒𝚌𝚊 –𝚊𝚏𝚒𝚛𝚖𝚊 𝚉𝚊𝚖𝚘𝚛𝚊.
«𝙿𝚛𝚎𝚜𝚎𝚗𝚝𝚊𝚖𝚘𝚜 𝚗𝚞𝚎𝚜𝚝𝚛𝚘 𝚙𝚛𝚘𝚢𝚎𝚌𝚝𝚘 𝚎𝚗 𝚎𝚕 𝚅𝙸𝙸𝙸 𝙲𝚘𝚗𝚐𝚛𝚎𝚜𝚘 𝚍𝚎 𝚕𝚊 𝚄𝙽𝙴𝙰𝙲, 𝚎𝚗 𝚎𝚕 𝙲𝚘𝚗𝚐𝚛𝚎𝚜𝚘 𝙸𝚋𝚎𝚛𝚘𝚊𝚖𝚎𝚛𝚒𝚌𝚊𝚗𝚘 𝚍𝚎 𝙿𝚎𝚗𝚜𝚊𝚖𝚒𝚎𝚗𝚝𝚘, 𝚎𝚗 𝚎𝚕 𝙴𝚟𝚎𝚗𝚝𝚘 𝙸𝚗𝚝𝚎𝚛𝚗𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝙰𝚗𝚝𝚛𝚘𝚙𝚘𝚕𝚘𝚐í𝚊, 𝚎𝚗𝚝𝚛𝚎 𝚘𝚝𝚛𝚘𝚜 𝚚𝚞𝚎 𝚑𝚒𝚌𝚒𝚎𝚛𝚘𝚗 𝚟𝚒𝚜𝚒𝚋𝚕𝚎 𝚗𝚞𝚎𝚜𝚝𝚛𝚘 𝚙𝚛𝚘𝚢𝚎𝚌𝚝𝚘.
«𝙴𝚕 𝟸𝟼 𝚍𝚎 𝚎𝚗𝚎𝚛𝚘 𝚍𝚎 𝟸𝟶𝟷𝟹 𝚜𝚎 𝚏𝚞𝚗𝚍𝚊 𝚕𝚊 𝙼𝚎𝚍𝚒𝚊𝚝𝚎𝚌𝚊 𝙿𝚛𝚘𝚟𝚒𝚗𝚌𝚒𝚊𝚕 𝚎𝚗 𝚕𝚊 𝙱𝚒𝚋𝚕𝚒𝚘𝚝𝚎𝚌𝚊 𝙿𝚛𝚘𝚟𝚒𝚗𝚌𝚒𝚊𝚕 𝚁𝚘𝚋𝚎𝚛𝚝𝚘 𝚁𝚒𝚟𝚊𝚜 𝙵𝚛𝚊𝚐𝚊 𝚍𝚎 𝙲𝚒𝚎𝚐𝚘 𝚍𝚎 Á𝚟𝚒𝚕𝚊. 𝚈 𝚎𝚗 𝚎𝚜𝚝𝚎 𝚙𝚛𝚘𝚙𝚒𝚘 𝚊ñ𝚘, 𝟸𝟶𝟷𝟹, 𝚍𝚎𝚌𝚒𝚍𝚒𝚖𝚘𝚜 𝚑𝚊𝚌𝚎𝚛 𝚎𝚕 𝚙𝚛𝚒𝚖𝚎𝚛 𝚂𝚒𝚖𝚙𝚘𝚜𝚒𝚘 𝙽𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝙿𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚂𝚘𝚗𝚘𝚛𝚘. 𝙻𝚞𝚎𝚐𝚘 𝚜𝚎 𝚜𝚞𝚖𝚊𝚛𝚘𝚗 𝚙𝚊𝚞𝚕𝚊𝚝𝚒𝚗𝚊𝚖𝚎𝚗𝚝𝚎 𝚕𝚊 𝚖𝚊𝚢𝚘𝚛í𝚊 𝚍𝚎 𝚕𝚊𝚜 𝚒𝚗𝚜𝚝𝚒𝚝𝚞𝚌𝚒𝚘𝚗𝚎𝚜, 𝚎𝚖𝚙𝚛𝚎𝚜𝚊𝚜, 𝚌𝚘𝚗𝚜𝚎𝚓𝚘𝚜 𝚢 𝚌𝚎𝚗𝚝𝚛𝚘𝚜 𝚍𝚎 𝚕𝚊 𝚌𝚞𝚕𝚝𝚞𝚛𝚊 𝚎𝚗 𝚎𝚕 𝚝𝚎𝚛𝚛𝚒𝚝𝚘𝚛𝚒𝚘». 𝙴𝚜𝚊 𝚙𝚊𝚞𝚕𝚊𝚝𝚒𝚗𝚒𝚍𝚊𝚍 𝚌𝚘𝚗 𝚕𝚊 𝚚𝚞𝚎 𝚏𝚞𝚎𝚛𝚘𝚗 𝚒𝚗𝚜𝚎𝚛𝚝á𝚗𝚍𝚘𝚜𝚎 𝚕𝚊𝚜 𝚒𝚗𝚜𝚝𝚒𝚝𝚞𝚌𝚒𝚘𝚗𝚎𝚜, 𝚏𝚞𝚎 𝚕𝚘 𝚚𝚞𝚎 𝚙𝚛𝚘𝚟𝚘𝚌ó 𝚚𝚞𝚎 𝚒𝚗𝚒𝚌𝚒𝚊𝚕𝚖𝚎𝚗𝚝𝚎 𝚜𝚎 𝚙𝚎𝚗𝚜𝚊𝚜𝚎 𝚎𝚕 𝚎𝚟𝚎𝚗𝚝𝚘 𝚌𝚘𝚖𝚘 𝚋𝚒𝚎𝚗𝚊𝚕 𝚢 𝚚𝚞𝚎 𝚎𝚗 𝟸𝟶𝟷𝟻 𝚝𝚘𝚖𝚊𝚛𝚊 𝚕𝚊 𝚏𝚞𝚎𝚛𝚣𝚊 𝚚𝚞𝚎 𝚜𝚘𝚕𝚘 𝚕𝚎 𝚑𝚒𝚣𝚘 𝚊𝚞𝚜𝚎𝚗𝚝𝚊𝚛𝚜𝚎 𝚎𝚗 𝟸𝟶𝟸𝟶 𝚙𝚘𝚛 𝚘𝚋𝚟𝚒𝚊𝚜 𝚛𝚊𝚣𝚘𝚗𝚎𝚜.
«𝚁𝚎𝚜𝚙𝚘𝚗𝚍𝚒𝚎𝚛𝚘𝚗 𝚊𝚕 𝚕𝚕𝚊𝚖𝚊𝚍𝚘 𝚖𝚞𝚌𝚑𝚊𝚜 𝚒𝚗𝚜𝚝𝚒𝚝𝚞𝚌𝚒𝚘𝚗𝚎𝚜 𝚗𝚊𝚌𝚒𝚘𝚗𝚊𝚕𝚎𝚜 𝚎 𝚒𝚗𝚟𝚎𝚜𝚝𝚒𝚐𝚊𝚍𝚘𝚛𝚎𝚜 𝚍𝚎 𝚛𝚎𝚌𝚘𝚗𝚘𝚌𝚒𝚍𝚘 𝚙𝚛𝚎𝚜𝚝𝚒𝚐𝚒𝚘 𝚢 𝚘𝚝𝚛𝚘𝚜 𝚚𝚞𝚎 𝚒𝚗𝚒𝚌𝚒𝚊𝚛𝚘𝚗 𝚜𝚞𝚜 𝚙𝚊𝚜𝚘𝚜 𝚓𝚞𝚗𝚝𝚘 𝚊 𝚗𝚘𝚜𝚘𝚝𝚛𝚘𝚜 𝚎𝚗 𝚎𝚜𝚝𝚊 𝚎𝚡𝚙𝚎𝚛𝚒𝚎𝚗𝚌𝚒𝚊 𝚍𝚎 𝚌𝚘𝚖𝚙𝚊𝚛𝚝𝚒𝚛 𝚌𝚘𝚗𝚘𝚌𝚒𝚖𝚒𝚎𝚗𝚝𝚘𝚜 𝚎 𝚒𝚗𝚚𝚞𝚒𝚎𝚝𝚞𝚍𝚎𝚜 𝚛𝚎𝚕𝚊𝚌𝚒𝚘𝚗𝚊𝚍𝚊𝚜 𝚌𝚘𝚗 𝚕𝚊 𝚜𝚊𝚕𝚟𝚊𝚐𝚞𝚊𝚛𝚍𝚒𝚊 𝚍𝚎𝚕 𝚙𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚜𝚘𝚗𝚘𝚛𝚘 𝚢 𝚊𝚞𝚍𝚒𝚘𝚟𝚒𝚜𝚞𝚊𝚕»
𝙿𝚊𝚛𝚊 𝚛𝚎𝚜𝚊𝚕𝚝𝚊𝚛 𝚢 𝚎𝚡𝚙𝚘𝚛𝚝𝚊𝚛 𝚊𝚜í 𝚕𝚊 𝚒𝚖𝚙𝚘𝚛𝚝𝚊𝚗𝚌𝚒𝚊 𝚍𝚎 𝚌𝚒𝚎𝚛𝚝𝚘𝚜 𝚜𝚞𝚌𝚎𝚜𝚘𝚜, 𝚎𝚜 𝚌𝚕𝚊𝚟𝚎 𝚎𝚕 𝚛𝚎𝚌𝚘𝚗𝚘𝚌𝚒𝚖𝚒𝚎𝚗𝚝𝚘 𝚖𝚎𝚍𝚒𝚊𝚗𝚝𝚎 𝚕𝚊 𝚙𝚊𝚛𝚝𝚒𝚌𝚒𝚙𝚊𝚌𝚒ó𝚗 𝚍𝚎 𝚒𝚖𝚙𝚘𝚛𝚝𝚊𝚗𝚝𝚎𝚜 𝚏𝚒𝚐𝚞𝚛𝚊𝚜 𝚎𝚗 𝚎𝚕 𝚌𝚊𝚖𝚙𝚘 𝚎𝚗 𝚌𝚞𝚎𝚜𝚝𝚒ó𝚗; 𝚕𝚊 𝚙𝚛𝚎𝚜𝚎𝚗𝚌𝚒𝚊 𝚍𝚎 𝙻𝚒𝚞𝚟𝚊 𝙼𝚊𝚛í𝚊 𝙷𝚎𝚟𝚒𝚊 𝚎𝚗 𝚎𝚕 𝚂𝚎𝚡𝚝𝚘 𝚂𝚒𝚖𝚙𝚘𝚜𝚒𝚘 𝚏𝚞𝚎 𝚞𝚗 𝚎𝚓𝚎𝚖𝚙𝚕𝚘 𝚍𝚎 𝚎𝚕𝚕𝚘 𝚓𝚞𝚗𝚝𝚘 𝚊 𝚘𝚝𝚛𝚘𝚜 𝚌𝚘𝚖𝚘 𝙰𝚕𝚒𝚗𝚊 𝙾𝚛𝚛𝚊𝚌𝚊 (𝙳𝚒𝚛𝚎𝚌𝚝𝚘𝚛𝚊 𝚍𝚎𝚕 𝚌𝚘𝚛𝚘 𝚂𝚌𝚑𝚘𝚕𝚊 𝙲𝚊𝚗𝚝𝚘𝚛𝚞𝚖 𝙲𝚘𝚛𝚊𝚕𝚒𝚗𝚊), 𝙼𝚊𝚛𝚒𝚎𝚕𝚎𝚗𝚊 𝚅𝚒𝚗𝚞𝚎𝚣𝚊 (𝚅𝚒𝚌𝚎𝚙𝚛𝚎𝚜𝚒𝚍𝚎𝚗𝚝𝚊 𝚍𝚎 𝙲𝚊𝚜𝚊𝚜 𝚍𝚎 𝚕𝚊𝚜 𝙰𝚖é𝚛𝚒𝚌𝚊𝚜) 𝚢 𝙾𝚝𝚝𝚘 𝙱𝚛𝚊ñ𝚊 𝙶𝚘𝚗𝚣á𝚕𝚎𝚣 (𝙳𝚒𝚛𝚎𝚌𝚝𝚘𝚛 𝚍𝚎 𝚁𝚊𝚍𝚒𝚘 𝚃𝚊í𝚗𝚘). 𝙻𝚊 𝚙𝚛𝚎𝚜𝚎𝚗𝚌𝚒𝚊 𝚍𝚎 𝚎𝚜𝚝𝚎 ú𝚕𝚝𝚒𝚖𝚘 𝚌𝚘𝚖𝚘 𝚐𝚊𝚛𝚊𝚗𝚝í𝚊 𝚍𝚎 𝚕𝚊 𝚍𝚒𝚏𝚞𝚜𝚒ó𝚗 𝚛𝚊𝚍𝚒𝚊𝚕 𝚍𝚎𝚕 𝚜𝚒𝚖𝚙𝚘𝚜𝚒𝚘. 𝚂𝚞 𝚙𝚊𝚛𝚝𝚒𝚌𝚒𝚙𝚊𝚌𝚒ó𝚗 𝚛𝚎𝚖𝚘𝚗𝚝𝚊 𝚊𝚕 𝚜𝚎𝚐𝚞𝚗𝚍𝚘 𝚎𝚗𝚌𝚞𝚎𝚗𝚝𝚛𝚘.
𝙴𝚜𝚝𝚊 𝚂é𝚙𝚝𝚒𝚖𝚊 𝙴𝚍𝚒𝚌𝚒ó𝚗 𝚌𝚞𝚎𝚗𝚝𝚊 𝚌𝚘𝚗 𝚙𝚘𝚗𝚎𝚗𝚌𝚒𝚊𝚜 𝚍𝚎 𝚕𝚊𝚝𝚒𝚗𝚘𝚊𝚖𝚎𝚛𝚒𝚌𝚊𝚗𝚘𝚜 𝚌𝚘𝚖𝚘 𝚈𝚊𝚒𝚜𝚎𝚕 𝙼𝚊𝚍𝚛𝚒𝚐𝚊𝚕 𝚅𝚊𝚕𝚕𝚎 (𝙼𝚞𝚜𝚒𝚌ó𝚕𝚘𝚐𝚘, 𝙶𝚞𝚒𝚗𝚎𝚊 𝙴𝚌𝚞𝚊𝚝𝚘𝚛𝚒𝚊𝚕) 𝚌𝚘𝚗 𝘌𝘭 𝘫𝘢𝘻𝘻 𝘺 𝘭𝘢 𝘮ú𝘴𝘪𝘤𝘢 𝘱𝘰𝘱𝘶𝘭𝘢𝘳 𝘤𝘶𝘣𝘢𝘯𝘢. 𝘜𝘯𝘢 𝘷𝘪𝘴𝘪ó𝘯 𝘱𝘢𝘳𝘵𝘪𝘤𝘶𝘭𝘢𝘳 𝘥𝘦𝘴𝘥𝘦 𝘭𝘢 𝘪𝘯𝘵𝘦𝘳𝘱𝘳𝘦𝘵𝘢𝘤𝘪ó𝘯 𝘱𝘪𝘢𝘯í𝘴𝘵𝘪𝘤𝘢 𝘥𝘦 𝘌𝘮𝘪𝘭𝘪𝘰 𝘔𝘰𝘳𝘢𝘭𝘦𝘴 𝘺 𝘙𝘢𝘮ó𝘯 𝘝𝘢𝘭𝘭𝘦; 𝚝𝚊𝚋𝚒𝚎𝚗 𝙴𝚗𝚛𝚒𝚚𝚞𝚎 𝙶𝚊𝚛𝚌í𝚊 𝙷𝚎𝚛𝚗á𝚗𝚍𝚎𝚣 (𝙼é𝚡𝚒𝚌𝚘) 𝚌𝚘𝚗 𝘊𝘩𝘪𝘢𝘱𝘢𝘴 𝘮𝘶𝘭𝘵𝘪𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭; 𝚢 𝙰𝚍𝚛𝚒á𝚗 𝙶𝚊𝚛𝚌í𝚊 𝙻𝚎𝚋𝚛𝚘𝚌 (𝙷𝚒𝚜𝚝𝚘𝚛𝚒𝚊𝚍𝚘𝚛, 𝙴𝚌𝚞𝚊𝚍𝚘𝚛) 𝚌𝚘𝚗 𝘓𝘢 𝘮𝘢𝘳𝘪𝘮𝘣𝘢: 𝘱𝘢𝘵𝘳𝘪𝘮𝘰𝘯𝘪𝘰 𝘪𝘯𝘮𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘥𝘦𝘭 𝘌𝘤𝘶𝘢𝘥𝘰𝘳.
𝙴𝚗 𝚊𝚗𝚝𝚎𝚛𝚒𝚘𝚛𝚎𝚜 𝚎𝚍𝚒𝚌𝚒𝚘𝚗𝚎𝚜, 𝚌𝚘𝚗 𝚞𝚗 𝚊𝚋𝚘𝚛𝚍𝚊𝚓𝚎 𝚝𝚎ó𝚛𝚒𝚌𝚘 𝚢 𝚎𝚕 𝚍𝚎𝚋𝚊𝚝𝚎 𝚍𝚎 𝚑𝚒𝚜𝚝𝚘𝚛𝚒𝚊𝚍𝚘𝚛𝚎𝚜 𝚢 𝚌𝚞𝚕𝚝𝚒𝚟𝚊𝚍𝚘𝚛𝚎𝚜 𝚍𝚎 𝚎𝚜𝚊 𝚝𝚛𝚊𝚍𝚒𝚌𝚒ó𝚗, 𝚜𝚎 𝚕𝚎𝚜 𝚙𝚛𝚎𝚜𝚝ó 𝚎𝚜𝚙𝚎𝚌𝚒𝚊𝚕 𝚊𝚝𝚎𝚗𝚌𝚒ó𝚗 𝚊 𝚕𝚘𝚜 𝙱𝚊𝚗𝚍𝚘𝚜 𝚁𝚘𝚓𝚘 𝚢 𝙰𝚣𝚞𝚕 𝚍𝚎 𝙼𝚊𝚓𝚊𝚐𝚞𝚊 𝚎𝚗 𝚎𝚕 𝚊𝚗𝚒𝚟𝚎𝚛𝚜𝚊𝚛𝚒𝚘 𝟿𝟶 𝚍𝚎 𝚜𝚞 𝚌𝚛𝚎𝚊𝚌𝚒ó𝚗; 𝚚𝚞𝚎 “𝚛𝚎𝚌𝚒𝚋𝚒𝚎𝚛𝚘𝚗 𝚕𝚊 𝚌𝚘𝚗𝚍𝚒𝚌𝚒ó𝚗 𝚍𝚎 𝙿𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝙲𝚞𝚕𝚝𝚞𝚛𝚊𝚕 𝚍𝚎 𝚕𝚊 𝙽𝚊𝚌𝚒ó𝚗 (…) 𝚓𝚞𝚜𝚝𝚘 𝚌𝚞𝚊𝚗𝚍𝚘 𝚎𝚗 𝟸𝟶𝟸𝟶 𝚜𝚎 𝚏𝚎𝚜𝚝𝚎𝚓𝚊 𝚎𝚕 𝚊𝚗𝚒𝚟𝚎𝚛𝚜𝚊𝚛𝚒𝚘 𝟿𝟷 𝚍𝚎𝚕 𝚜𝚞𝚛𝚐𝚒𝚖𝚒𝚎𝚗𝚝𝚘 𝚍𝚎 𝚎𝚜𝚊 𝚝𝚛𝚊𝚍𝚒𝚌𝚒ó𝚗 𝚌𝚊𝚖𝚙𝚎𝚜𝚒𝚗𝚊”, 𝚊𝚜í 𝚕𝚘 𝚛𝚎𝚙𝚘𝚛𝚝ó 𝙻𝚞𝚒𝚜 𝚁𝚊ú𝚕 𝚅á𝚣𝚚𝚞𝚎𝚣 𝙼𝚞ñ𝚘𝚣 𝚙𝚊𝚛𝚊 𝙹𝚞𝚟𝚎𝚗𝚝𝚞𝚍 𝚁𝚎𝚋𝚎𝚕𝚍𝚎.
“𝙻𝚊𝚜 𝚒𝚗𝚟𝚎𝚜𝚝𝚒𝚐𝚊𝚌𝚒𝚘𝚗𝚎𝚜 𝚛𝚎𝚊𝚕𝚒𝚣𝚊𝚍𝚊𝚜 𝚊𝚙𝚞𝚗𝚝𝚊𝚗 𝚊 𝚚𝚞𝚎 𝚎𝚕 𝚎𝚟𝚎𝚗𝚝𝚘 𝚊𝚝𝚎𝚜𝚘𝚛𝚊 𝚞𝚗𝚊 𝚛𝚒𝚚𝚞𝚎𝚣𝚊 𝚒𝚖𝚙𝚘𝚛𝚝𝚊𝚗𝚝𝚎 𝚊𝚕 𝚖𝚊𝚗𝚝𝚎𝚗𝚎𝚛 𝚟𝚒𝚟𝚊𝚜 𝚝𝚛𝚊𝚍𝚒𝚌𝚒𝚘𝚗𝚎𝚜 𝚍𝚎 𝚝𝚘𝚍𝚘 𝚝𝚒𝚙𝚘, 𝚍𝚎𝚜𝚍𝚎 𝚌𝚞𝚕𝚒𝚗𝚊𝚛𝚒𝚊𝚜 𝚑𝚊𝚜𝚝𝚊 𝚍𝚎 𝚌𝚊𝚛á𝚌𝚝𝚎𝚛 𝚍𝚊𝚗𝚣𝚊𝚛𝚒𝚘, 𝚊𝚕 𝚛𝚎𝚐𝚒𝚜𝚝𝚛𝚊𝚛𝚜𝚎 𝚙𝚊𝚜𝚘𝚜 𝚢 𝚖𝚘𝚟𝚒𝚖𝚒𝚎𝚗𝚝𝚘𝚜 𝚚𝚞𝚎 𝚕𝚘𝚜 𝚍𝚘𝚌𝚞𝚖𝚎𝚗𝚝𝚘𝚜 𝚑𝚒𝚜𝚝ó𝚛𝚒𝚌𝚘𝚜 𝚏𝚒𝚓𝚊𝚗 𝚎𝚗 𝚞𝚗𝚘𝚜 𝟷𝟶𝟶 𝚊ñ𝚘𝚜 𝚍𝚎 𝚙𝚛𝚎𝚜𝚎𝚗𝚌𝚒𝚊 𝚎𝚗 𝚕𝚊 𝚛𝚎𝚐𝚒ó𝚗.”
“𝙻𝚘𝚜 𝚋𝚊𝚗𝚍𝚘𝚜 𝚙𝚘𝚜𝚎𝚎𝚗 𝚞𝚗 𝚌𝚊𝚛á𝚌𝚝𝚎𝚛 𝚌𝚘𝚖𝚙𝚎𝚝𝚒𝚝𝚒𝚟𝚘, 𝚢 𝚎𝚜 𝚎𝚕 𝚎𝚟𝚎𝚗𝚝𝚘 𝚚𝚞𝚎 𝚖𝚊𝚛𝚌𝚊 𝚕𝚊 𝚟𝚒𝚍𝚊 𝚌𝚞𝚕𝚝𝚞𝚛𝚊𝚕 𝚍𝚎 𝙼𝚊𝚓𝚊𝚐𝚞𝚊, 𝚊𝚕 𝚒𝚐𝚞𝚊𝚕 𝚚𝚞𝚎 𝚘𝚌𝚞𝚛𝚛𝚎 𝚌𝚘𝚗 𝚕𝚊𝚜 𝚙𝚊𝚛𝚛𝚊𝚗𝚍𝚊𝚜 𝚍𝚎 𝙲𝚑𝚊𝚖𝚋𝚊𝚜 𝚘 𝚕𝚊𝚜 𝚏𝚎𝚜𝚝𝚒𝚟𝚒𝚍𝚊𝚍𝚎𝚜 𝚍𝚎 𝚕𝚊 𝚌𝚒𝚗𝚝𝚊 𝚎𝚗 𝚎𝚕 𝚖𝚞𝚗𝚒𝚌𝚒𝚙𝚒𝚘 𝚍𝚎 𝙱𝚊𝚛𝚊𝚐𝚞á.” 𝙰 𝚎𝚜𝚝𝚎 ú𝚕𝚝𝚒𝚖𝚘, 𝚕𝚕𝚊𝚖𝚊𝚍𝚘 𝚝𝚊𝚕 𝚌𝚞𝚊𝚕, 𝙶𝚛𝚞𝚙𝚘 “𝙻𝚊 𝙲𝚒𝚗𝚝𝚊”, 𝚜𝚎 𝚕𝚎 𝚍𝚎𝚋𝚒ó 𝚝𝚊𝚖𝚋𝚒é𝚗 𝚛𝚎𝚌𝚘𝚗𝚘𝚌𝚒𝚖𝚒𝚎𝚗𝚝𝚘 𝚎𝚗 𝚎𝚕 𝚀𝚞𝚒𝚗𝚝𝚘 𝚂𝚒𝚖𝚙𝚘𝚜𝚒𝚘. 𝙴𝚗 𝚎𝚕 𝚙𝚛𝚘𝚐𝚛𝚊𝚖𝚊 𝚍𝚎 𝚕𝚊 𝚎𝚍𝚒𝚌𝚒ó𝚗 –𝚜𝚎𝚐ú𝚗 𝚛𝚎𝚙𝚘𝚛𝚝ó 𝚎𝚕 𝚙𝚘𝚛𝚝𝚊𝚕 𝚠𝚎𝚋 𝚍𝚎 𝚕𝚊 𝚃𝚎𝚕𝚎𝚟𝚒𝚜𝚒ó𝚗 𝚊𝚟𝚒𝚕𝚎ñ𝚊– 𝚜𝚎 𝚊𝚗𝚞𝚗𝚌𝚒𝚊𝚋𝚊 𝚕𝚊 𝚙𝚛𝚎𝚜𝚎𝚗𝚌𝚒𝚊 𝚍𝚎 𝚕𝚘𝚜 𝚙𝚊𝚛𝚝𝚒𝚌𝚒𝚙𝚊𝚗𝚝𝚎𝚜 𝚎𝚗 𝚎𝚕 𝚖𝚞𝚗𝚒𝚌𝚒𝚙𝚒𝚘, 𝚎𝚕 𝚓𝚞𝚎𝚟𝚎𝚜 𝟽 𝚍𝚎 𝚓𝚞𝚗𝚒𝚘 𝚍𝚎 𝟸𝟶𝟷𝟾, 𝚌𝚘𝚗 𝙻𝚊 𝙲𝚒𝚗𝚝𝚊 𝚌𝚘𝚖𝚘 𝚊𝚗𝚏𝚒𝚝𝚛𝚒𝚘𝚗𝚎𝚜.
𝙴𝚗𝚝𝚛𝚎 𝚕𝚘𝚜 𝚙𝚊𝚛𝚝𝚒𝚌𝚒𝚙𝚊𝚗𝚝𝚎𝚜 𝚍𝚎 𝚕𝚊 𝚙𝚛𝚎𝚜𝚎𝚗𝚝𝚎 𝚎𝚍𝚒𝚌𝚒ó𝚗 𝚛𝚎𝚜𝚊𝚕𝚝𝚊𝚗 𝚖𝚊𝚝𝚎𝚛𝚒𝚊𝚕𝚎𝚜 𝚜𝚘𝚋𝚛𝚎 𝚎𝚕 𝚙𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚜𝚘𝚗𝚘𝚛𝚘 𝚌𝚞𝚋𝚊𝚗𝚘 𝚌𝚘𝚖𝚘 𝚎𝚕 𝙿𝚛𝚘𝚢𝚎𝚌𝚝𝚘 𝚍𝚎 𝙲á𝚝𝚎𝚍𝚛𝚊 𝚍𝚎 𝚕𝚊 𝙲𝚞𝚎𝚗𝚝í𝚜𝚝𝚒𝚌𝚊 𝙲𝚊𝚖𝚙𝚎𝚜𝚒𝚗𝚊 𝚢 𝚃𝚛𝚊𝚍𝚒𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝙲𝚞𝚋𝚊, 𝚙𝚘𝚛 𝙽𝚎𝚕𝚜𝚘𝚗 𝙰𝚖𝚎𝚢 𝙰𝚛𝚊𝚐ó𝚗 𝙼𝚊𝚛𝚝í𝚗𝚎𝚣, 𝚙𝚛𝚎𝚜𝚒𝚍𝚎𝚗𝚝𝚎 𝚍𝚎 𝚕𝚊 𝚌á𝚝𝚎𝚍𝚛𝚊 𝚍𝚎 𝚖𝚒𝚜𝚖𝚘 𝚗𝚘𝚖𝚋𝚛𝚎; 𝘓𝘰𝘴 𝘉𝘢𝘯𝘥𝘰𝘴 𝘥𝘦 𝘔𝘢𝘫𝘢𝘨𝘶𝘢 𝘺 𝘦𝘭 𝘴𝘰𝘯 𝘊𝘶𝘣𝘢𝘯𝘰 𝚍𝚎 𝙶𝚒𝚕𝚏𝚛𝚎𝚍𝚘 𝙱𝚘𝚊𝚗 𝙿𝚒𝚗𝚊 (𝙿𝚛𝚎𝚖𝚒𝚘 𝙽𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝙲𝚞𝚕𝚝𝚞𝚛𝚊 𝙲𝚘𝚖𝚞𝚗𝚒𝚝𝚊𝚛𝚒𝚊); 𝚢 𝘚𝘰𝘯 𝘤𝘶𝘣𝘢𝘯𝘰 𝘺 𝘯𝘢𝘤𝘪𝘰𝘯𝘢𝘭𝘪𝘥𝘢𝘥 𝚍𝚎 𝚈𝚘𝚊𝚗 𝚉𝚊𝚖𝚘𝚛𝚊 (𝙵𝚒𝚕ó𝚕𝚘𝚐𝚘 𝚢 𝚝𝚛𝚘𝚟𝚊𝚍𝚘𝚛). 𝙰 𝚜𝚞 𝚟𝚎𝚣, 𝚕𝚘𝚜 𝚙𝚛𝚘𝚏𝚎𝚜𝚘𝚛𝚎𝚜 𝚍𝚎 𝚕𝚊 𝚄𝚗𝚒𝚟𝚎𝚛𝚜𝚒𝚍𝚊𝚍 𝚍𝚎 𝙷𝚘𝚕𝚐𝚞í𝚗 𝚁𝚊𝚖ó𝚗 𝙲𝚘𝚕𝚕𝚊𝚍𝚘 𝙶𝚘𝚗𝚣á𝚕𝚎𝚣, 𝙰𝚍𝚘𝚕𝚏𝚘 𝚅𝚎𝚛𝚍𝚎𝚌𝚒𝚊 𝙴𝚜𝚌𝚊𝚕𝚘𝚗𝚊 𝚢 𝙰𝚕𝚎𝚡𝚊𝚗𝚍𝚎𝚛 𝙼𝚞𝚕𝚎𝚝 𝙶𝚘𝚗𝚣á𝚕𝚎𝚣 𝚑𝚊𝚛á𝚗 𝚖𝚞𝚎𝚜𝚝𝚛𝚊 𝚍𝚎 𝘚𝘰𝘧𝘵𝘸𝘢𝘳𝘦 “𝘌𝘯𝘵𝘰𝘳𝘯𝘰 𝘮𝘶𝘴𝘪𝘤𝘢𝘭 𝘤𝘶𝘣𝘢𝘯𝘰”: 𝘜𝘯 𝘳𝘦𝘤𝘶𝘳𝘴𝘰 𝘦𝘥𝘶𝘤𝘢𝘵𝘪𝘷𝘰 𝘢𝘭 𝘤𝘰𝘯𝘰𝘤𝘪𝘮𝘪𝘦𝘯𝘵𝘰 𝘥𝘦𝘭 𝘱𝘢𝘵𝘳𝘪𝘮𝘰𝘯𝘪𝘰 𝘮𝘶𝘴𝘪𝘤𝘢𝘭.
𝙼ú𝚜𝚒𝚌𝚊, 𝚊𝚞𝚍𝚒𝚘𝚟𝚒𝚜𝚞𝚊𝚕, 𝚙𝚘𝚍𝚌𝚊𝚜𝚝 𝚢 𝚍𝚒𝚐𝚒𝚝𝚊𝚕𝚒𝚣𝚊𝚌𝚒𝚘𝚗𝚎𝚜 𝚌𝚘𝚖𝚘 𝚜𝚊𝚕𝚟𝚊𝚐𝚞𝚊𝚛𝚍𝚊 𝚍𝚎 𝚍𝚘𝚌𝚞𝚖𝚎𝚗𝚝𝚘𝚜, 𝚌𝚒𝚕𝚒𝚗𝚍𝚛𝚘𝚜 𝚍𝚎 𝚌𝚎𝚛𝚊, 𝚌𝚒𝚗𝚝𝚊𝚜 𝚖𝚊𝚐𝚗é𝚝𝚒𝚌𝚊𝚜 𝚢 𝚍𝚒𝚜𝚌𝚘𝚜 𝚍𝚎 𝚟𝚒𝚗𝚒𝚕𝚘, 𝚜𝚎𝚛á𝚗 𝚙𝚛𝚘𝚝𝚊𝚐𝚘𝚗𝚒𝚜𝚝𝚊𝚜 𝚎𝚗 𝚕𝚊 𝙿á𝚐𝚒𝚗𝚊 𝚍𝚎 𝙵𝚊𝚌𝚎𝚋𝚘𝚘𝚔 𝐑𝐞𝐬𝐨𝐧𝐚𝐧𝐜𝐢𝐚𝐬 (https://m.facebook.com/otraformadesentir/), 𝚚𝚞𝚎 𝚕𝚕𝚎𝚟𝚊𝚛á 𝚊 𝚜𝚞 𝚌𝚊𝚛𝚐𝚘 𝚎𝚕 𝚙𝚛𝚘𝚐𝚛𝚊𝚖𝚊 𝚍𝚎𝚕 𝚂é𝚙𝚝𝚒𝚖𝚘 𝚂𝚒𝚖𝚙𝚘𝚜𝚒𝚘 𝙽𝚊𝚌𝚒𝚘𝚗𝚊𝚕 𝚍𝚎 𝙿𝚊𝚝𝚛𝚒𝚖𝚘𝚗𝚒𝚘 𝚂𝚘𝚗𝚘𝚛𝚘.
(𝙿𝚞𝚋𝚕𝚒𝚌𝚊𝚍𝚘 𝚙𝚘𝚛 𝚙𝚛𝚒𝚖𝚎𝚛𝚊 𝚟𝚎𝚣 𝚎𝚗 𝙿𝚘𝚛𝚝𝚊𝚕 𝚄𝙽𝙴𝙰𝙲, 𝚖𝚊𝚛𝚝𝚎𝚜 𝟷𝟽 𝚍𝚎 𝚊𝚐𝚘𝚜𝚝𝚘 𝚍𝚎 𝟸𝟶𝟸𝟷 https://link.medium.com/Q2EJRuPiOib)
Autor: José Antonio García Pérez
