1、薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆
2、螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀
3、薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄
4、衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁
5、蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅
6、蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀
7、螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄
8、薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈
9、袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃
10、蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿
11、蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄
12、螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈
13、薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂
14、螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇
15、蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁
16、蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅
17、螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂
18、薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆
19、螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁
20、蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅
21、蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁蚃羇芆芃蕿羆羅葿蒅羅肈节螄羄膀蒇虿肃节芀薅肂羂蒅蒁肂肄芈袀肁芇薄螆肀荿莇蚂聿肈薂薈蚆膁莅蒄蚅芃薀螃螄羃莃虿螃肅蕿薅螂膇莁薁螁莀膄衿螀聿蒀螅螀膂芃蚁蝿芄蒈薇螈羄芁蒃袇肆蒆螂袆膈艿蚈袅莁蒅蚄袄肀莇薀袄膂薃蒆袃芅莆螄袂羄薁蚀袁肇莄薆羀腿蕿蒂罿芁莂螁羈羁膅螇羈膃蒁 Title:The Poetics of City and Nature: Toward a New Aesthetic for Urban DesignJournal Is
22、sue:Places, 6(1)Author:Spirn, Anne WhistonPublication Date:10-01-1989Publication Info:Places, College of Environmental Design, UC BerkeleyCitation:Spirn, Anne Whiston. (1989). The Poetics of City and Nature: Toward a New Aesthetic for UrbanDesign. Places, 6(1), 82. Keywords:places, placemaking, arch
23、itecture, environment, landscape, urban design, public realm, planning, design, aesthetic, poetics, Anne Whiston SpirnThe city has been compared to a poem, a sculpture, a machine. But the city is more than a text,and more than an artistic or technological. It is a place where natural forces pulse an
24、d millions of people livethinking,feeling,dreaming,doing. An aesthetic of urban design must therefore be rooted in the normal processes of nature and of living.I want to describe the dimensions of such an aesthetic. This aesthetic encompasses both nature and culture; it embodies function,sensory per
25、ception, and symbolic meaning; and it embraces both the making of things and places and the sensing, using, and contemplating of them. This aesthetic is concerned equally with everyday things and with art: with small things, such as fountains, gardens, and buildings, and with large systems, such as
26、those that transport people or carry wastes. This aesthetic celebrates motion and change, encompasses dynamic processes rather than static objects and scenes, and embraces multiple rather than singular visions. This is not a timeless aesthetic, but one that recognizes both the flow of passing time a
27、nd the singularity of the moment in time, and one that demands both continuity and revolution.Urban form evolves in time,in predictable and unpredictable ways, the result of complex, overlapping, and interweaving dialogues. These dialogues are all present and ongoing; some are sensed intuitively;oth
28、ers are clearly legible. Together, they comprise the context of a place and all those who dwell within it.This idea of dialogue, with its embodiment of time, purpose, communication, and response, os central to this aesthetic.Concomitant with the need for continuity in the urban landscape is the need
29、 for revolution. Despite certain constants of nature and human nature, we live in a world unimaginable to societies of the past. Our perceptions of nature, the quality of its order,and the nature of time and space are changing, as is our culture, provoking the reassessment of old forms and demanding
30、 new ones. The vocabulary of formsbuildings, streets, and parksthat are often deferred to as precedents not only reflects a response to cultural processes and values of the time in which those forms were created. Some of these patterns and forms sill express contemporary purposes and values, but the
31、y are abstractions. What are the forms that express contemporary cosmology, that speak to us in an age in which photographs of atomic particles and of galaxies are commonplace, in which time and space are not fixed, but relative, and in which we are less certain of our place in the universe than we
32、once were? Conceiving of new forms that capture the knowledge, beliefs, purposes, and values of contemporary society demands that we return to the original source of inspiration, be it nature or culture,rather than the quotation or transformation of abstractions of the past.Time,Change,and Rhythm“Fo
33、r the artist,“ observed Paul Klee,“ dialogue with nature remains a conditiosine que non. The artist is a man, himself nature and part of nature in natural space.“ Before humans built towns and cities, our habitat was ordered primarily by natures processes. The most intimate rhythms of the human body
34、 are still conditioned by the natural world outside ourselves: the daily path of the sun, alternating light with dark; the monthly phases of the moon, tugging the tides; and the annual passage of the seasons.In contrast to the repetitive predictability of daily and seasonal change is the immensity o
35、f the geological time scale. From a view of the world that measured the age of the earth in human generations, we have come to calculate the earths age in terms of thousands of millions of years and have developed theories of the earth itself. The human life span now seems but a blip, and the earth
36、but a small speck in the universe.The perception of time and change is essential to developing a sense of who we are, where we have come form, and where we are going, as individuals, societies, and species. Design that fosters and intensifies the experience of temporal and spatial scales facilitates
37、 both a reflection upon personal change and identity and a sense of unity with a larger whole. Design that juxtaposes and contrasts natures order and human order prompts contemplation of what if means to be human. Design that resonates with a places natural and cultural rhythms, that echoes, amplifi
38、es, clarifies, or extends them, contributes to a sense of rootedness in space time.Process,Pattern,and FormGreat,upright, red rocks,thrust from the earth,rising hundreds of feet, strike the boundary between mountain and plain along the Front Range of the Rockies. Red Rocks Amphitheater is set in the
39、se foothills, its flat stage dwarfed by the red slabs that frame it and the panoramic view out across the city of Denver, Colorado and the Great Plains. The straight lines of the terraced seats, cut from sandstone to fit the human body, and the tight curve of the road, cut to fit the turning car, se
40、em fragile next to the rocks awesome scale and magnificent geometry. Denver is a city of high plains, Nestled up against these foothills, it rests on sediments many hundreds of feet deep, their fine grains eroded from the slopes of ancient mountains that once rested atop the Rockies, their peaks hig
41、h above the existing mountains. The red slabs are the ruined roots of those ancient mountain peaks, remnants of rock layers that once arched high over the Rockies we know today. As the eye follows the angle of their thrust and completes that arc, one is transported millions of years into the past. T
42、his is the context of Denver, a context in space and time created by the enduring rhythm of natures processes and recorded in patterns in the land. The amphitheater affords not only a view of the city, but also a prospect for reflecting upon time, change, and the place of man and city in nature.When
43、 we neglect natural processes in city design, we not only risk the intensification of natural hazards and the degradation of natural resources, but also forfeit a sense of connection to a larger whole beyond ourselves. In contrast, places such as Red Rocks Amphitheater provoke a vivid experience of
44、natural processes that permits us to extend our imagination beyond the limits of human memory into the reaches of geological and astronomical time and to traverse space from the microscopic to the cosmic. However permanent rock may seem, it is ultimately worn smooth by water and reduced finally to d
45、ust. The power of a raindrop, multiplied by the trillions over thousands into plains. The pattern of lines etched by the water in the sand of a beach echos the pattern engraved on the earth by rivers over time.These are the patterns that connect. They connect us to scales of space and time beyond ou
46、r grasp; they connect our bodies and minds to the pulse of the natural world outside our skin. The branching riverbed cut by flowing water and the branching tree within which the sap rises are patterns that mirror the branching arteries and veins through which our blood courses.Patterns formed by na
47、tures processes and their symmetry across scales have long been appreciated by close observers of the natural world. Recent developments in science afford new insights into the geometry of form generated by dynamic processes, be they natural or cultural, and point to new directions for design.The fo
48、rms of mountain ranges, riverbanks, sand dunes, trees, and snow crystals, are poised, jelled, at a moment in time, the physical embodiment of dynamic processes. Their beauty consists of a peculiar combination of order and disorder, harmoniously arranged, and the fact that their forms are at equilibr
49、ium, at any given moment, with the processes that produced them. Such forms and the phenomenon of their symmetry across scales of time and space, have recently been described by a new geometry,“fractal“ geometry, which one of its originators, Benoit Mandelbrot calls “the geometry of nature“pimply,“pocky,“tortuous,“ and “intertwined.“ A sensibility steeped in classical geometry perceivers these forms as too complex to descibe.However, as fractals, such patterns can be described with simplicity, the result of repetitive processes, such as bifurcation and development. The variety
