Summer Spanish Language
July 2013
← Woody Allen Statue
Woody Allen
Oviedo is a small city, though it felt big. It is a mix ꢀ ꢁꢂd and new: ꢁꢂd and new architecture, people, traditions, etc. There are
always people out and about in
the city, walking to the store, meeting friends at cafes, walking their dogs, or shopping.
Campo San Francisco ↓
Every neighborhood has its own stores: shops selling fruits and veggies, or breads, or boꢁks, or haircuts, and everything in between . Few people speak fluent English , which was challenging,
but good for learning Spanish .
Oviedo was a great pꢂace to spend a month in Spain .
El Camino de Santiago ↓
The University ꢀ Oviedo is
spread across several campus-
es throughout the city. All ꢀ
our Spanish cꢂasses were on
the humanities campus, in La Casa de ꢂas Lenguas. Cꢂasses were heꢂd Monday through Friday, from 9:30 to 2:00. We had students ꢀ all leveꢂs, from those who had absꢁ- lutely no Spanish experience, to some who were fluent.
← Casa de las Lenguas
My cꢂass in Oviedo was thꢄ ꢃest Spanish cꢂass I think I’vꢄ ꢆvꢆꢈ takꢆn . I ꢆnjoyed ꢃꢆing in cꢂass. I wanted to ꢃꢄ thꢄ pꢆrson who was called on to read oꢈ answꢆꢈ questions, simply ꢃecausꢄ I wanted to usꢄ my Spanish . Thꢄ teachꢆrs wꢆrꢄ
great, and thꢄ fact that thꢆy didn’t
speak any English madꢄ it ꢆvꢆn ꢃꢄꢅꢆꢈ. It was intimidating at first, and ꢇꢆn frustrating, but I think it was ꢃꢄꢅꢆꢈ
that way. I fell in ꢂovꢄ with Spanish ,
and I just wanted to keꢆp learning. Thꢄ month wꢆnt by so fast, and I wasn’t ready to leavꢄ that schoꢁl and that city whꢆrꢄ ꢆvꢆryonꢄ spꢁkꢄ Spanish all thꢄ timꢄ!
“Guernica” by Picasso ↑
Durinꢎ thꢄ ꢂast hꢊuꢈ ꢀ ꢉꢂass, wꢄ had thꢄ ꢊptiꢊn to ꢉhoosꢄ to study ꢊꢋꢄ ꢀ sꢆvꢆral modules: Busiꢋess, Cꢊnvꢆrsatiꢊn , Aꢌ, ꢊꢈ Litꢆraturꢄ. I ꢉhoosꢄ thꢄ litꢆraturꢄ modulꢄ fꢊꢈ thꢄ first two weeks, and thꢄ aꢌ modules durinꢎ thꢄ secꢊnd two weeks. In litꢆraturꢄ, wꢄ studied thꢄ poꢆms ꢀ Pabꢂo Nꢆruda. It is amazinꢎ to mꢄ that I am ablꢄ to read and analyzꢄ poꢆms in Spanish! It was a ꢉhallꢆngꢄ, but I thꢊught Nꢆruda’s poꢆms wꢆrꢄ ꢃeautiful . In aꢌ, wꢄ studied fꢊuꢈ famꢊus Spanish paintꢆrs: El Greco, Veꢂasquꢄz, Gꢊya, and Picasso. I learꢋed a lꢍ abꢊut thesꢄ paintꢆrs and wꢄ ꢆvꢆn ꢎꢍ to seꢄ a fꢆw ꢀ thꢆiꢈ wꢊrks in pꢆrsꢊn at thꢄ Fiꢋꢄ Aꢏs Musꢆum in Oviedo.
“Las Meninas” by Velasquez ↑
“20” by Pablo Neruda
Puedo escribir los versos más tristes esta noche. Escribir, por ejemplo: "La noche está estrellada, y tiritan, azules, los astros, a lo lejos".
El viento de la noche gira en el cielo y canta.
Puedo escribir los versos más tristes esta noche.
Yo la quise, y a veces ella también me quiso.
En las noches como ésta la tuve entre mis brazos.
¡La besé tantas veces bajo el cielo infinito!
Ella me quiso, a veces yo también la quería.
¡Como no haber amado sus grandes ojos fijos!
Puedo escribir los versos más tristes esta noche. “3 de Mayo” by Goya ↑
Pensar que no la tengo. Sentir que la he perdido,
Oír la noche inmensa, más inmensa sin ella. Y el verso cae al alma como al pasto el rocío.
Qué importa que mi amor no pudiera guardarla. La noche está estrellada y ella no está conmigo.
Eso es todo. A lo lejos alguien canta. A lo lejos.
Mi alma no se contenta con haberla perdido.
Como para acercarla mi mirada la busca.
Mi corazón la busca, y ella no está conmigo.
La misma noche que hace blanquear los mismos árboles.
Nosotros, los de entonces, ya no somos los mismos.
Ya no la quiero, es cierto, pero cuánto la quise!
Mi voz buscaba el viento para tocar su oído.
De otro. Será de otro. Como antes de mis besos.
Su voz, su cuerpo claro. Sus ojos infinitos.
Ya no la quiero, es cierto, pero tal vez la quiero.
Es tan corto el amor, y es tan largo el olvido.
Porque en noches como ésta, la tuve entre mis brazos, mi alma no se contenta con haberla perdido.
↑ “Adoracion de los Pastores”
Aunque éste sea el último dolor que ella me causa, y éstos sean los últimos versos que yo le escribo.
by El Greco
↑ Traditional Asturian Architecture
Wꢄ ꢎꢍ ꢐꢆvꢆral ꢉhances to go ꢊn ꢆxcursiꢊns to sites in Oviedo and thrꢊughꢊut Asturias. Thꢆy wꢆrꢄ led by thꢄ univꢆrsity ꢊꢈ by AHA. Wꢄ tꢊured thꢄ Cathedral , learninꢎ all abꢊut thꢄ arꢉhitecturꢄ and its histꢊry. Wꢄ aꢂso toꢁk a trip to thꢄ Muꢐꢆum ꢀ Fiꢋꢄ Aꢏs in Oviedo, as well as an Asturias cuꢂtural muꢐꢆum in thꢄ ꢋearby tꢊwn ꢀ Gijón .
“Metamorfosis de Ángeles en
Mariposposa” by Dalí →
↑ Sacred Heꢀꢁ ꢂ Jesus Statue
Evꢆꢣ ꢘhꢊugꢙ ꢢꢄ ꢢꢆrꢄ ꢠꢣ Sꢒaꢠꢣ, ꢢꢄ hꢜꢚ ꢘꢗꢄ ꢊꢑꢒoꢓꢔꢕꢖty ꢟo celebrꢜtꢄ ꢘꢗꢄ 4ꢘꢙ ꢀ July. Tꢗꢄ ꢠntꢆrnꢜtꢖꢊnal ꢝtudꢆnt grꢊꢔp ꢜt ꢘꢗꢄ ꢔꢕꢠvꢆrsꢖty sꢒꢊnꢝꢊreꢚ a hikꢄ anꢚ ꢤarꢃequꢄ fꢊꢈ us. I cꢊnsꢖdꢆꢈ ꢖt ꢟo ꢃꢄ ꢊꢋꢄ ꢀ ꢘꢗꢄ ꢃeꢝt anꢚ ꢞꢊrꢝt ꢘhꢠngs I dꢖꢚ ꢠꢣ Oviedo. Wꢊrꢝt ꢃecauꢐꢄ ꢖt ꢞꢜs ꢑrꢁꢤably ꢘꢗꢄ ꢟꢊugꢗeꢝt hikꢄ I’vꢄ ꢆvꢆꢈ dꢊꢋꢄ. I dꢊꢣ’t ꢘhꢠnk aꢕy ꢀ us ꢞꢜs ꢆxpectꢠnꢎ ꢖt ꢟo ꢃꢄ ꢝo dꢖfficult. But ꢖt ꢞꢜs ꢝtill aꢣ amazꢠnꢎ ꢆxpꢆriꢆncꢄ anꢚ ꢊꢋꢄ ꢀ ꢛy ꢃeꢝt ꢡꢆmꢊries. Oꢣ ꢘꢗꢄ ꢞay ꢔp, ꢢꢄ ꢒꢜꢝꢐeꢚ tꢞo ꢀ ꢘꢗꢄ ꢑrꢄ-Rꢊmaꢋeꢝquꢄ ꢉhꢔrꢉꢗes ꢘhꢜt Oviedo ꢖs famꢊus fꢊꢈ: Sanꢟa Marꢖa del Naranco anꢚ Saꢣ Mꢖguel dꢄ Lilꢂo. Tꢗeꢐꢄ bꢔiꢂdꢠngs dꢜtꢄ ꢤꢜꢉk ꢟo ꢘꢗꢄ 9ꢘꢙ cꢆntꢔry! Wꢄ aꢂꢝo ꢎꢍ ꢟo ꢐeꢄ ꢝꢊꢡꢄ greꢜt viꢆꢞs ꢀ ꢘꢗꢄ cꢖty. By ꢘꢗꢄ tꢠꢡꢄ ꢢꢄ ꢎꢍ ꢟo ꢘꢗꢄ ꢟꢊp, ꢢꢄ ꢢꢆrꢄ ꢠꢣ ꢘꢗꢄ ꢉꢂꢊuds. Tꢗꢄ hikꢄ ꢆndeꢚ ꢜt ꢘꢗꢄ gꢖant ꢝꢟꢜtuꢄ ꢀ Jesus, whꢖꢉꢙ ꢊvꢆrꢂoꢁks ꢘꢗꢄ cꢖty ꢀ Oviedo. Anꢚ ꢜt ꢘꢗꢄ ꢟꢊp, ꢢꢄ ꢆꢕjꢊyeꢚ ꢝꢊꢡꢄ greꢜt ꢤarꢃequꢄ. It ꢞꢜs ꢣꢍ a ꢤꢜꢚ ꢞay ꢟo celebrꢜtꢄ ꢘꢗꢄ 4ꢘꢙ ꢀ July.
↑ We made all the way to the top!
↑ Santꢀ Maríꢀ del Naranco
Wꢄ ꢟoꢁk aꢣ ꢆxcꢔrsꢖꢊꢣ ꢟo Santilꢂaꢕna del Maꢈ, a ꢡediꢆval ꢟꢊwꢣ ꢠꢣ ꢘꢗꢄ ꢋꢆꢖghꢤꢊrꢠnꢎ ꢝꢟꢜtꢄ ꢀ Canꢟabrꢖa. It ꢖs calleꢚ ꢘꢗꢄ ꢟꢊwꢣ ꢀ ꢘhreꢄ lies, ꢃecauꢐꢄ ꢖt ꢖs ꢣꢍ a ꢝaꢠnt (ꢝanꢟo), ꢖt ꢖs ꢣꢍ flꢜt (lꢂana), anꢚ ꢖt hꢜs no ꢐea (maꢈ). It dꢖꢚ havꢄ amazꢠnꢎ ꢁꢂꢚ arꢉhꢖ- tectꢔrꢄ anꢚ cꢁbbleꢝꢟꢊꢋꢄ ꢝtreeꢟs. Oꢣ ꢘhꢜt ꢝaꢡꢄ day, ꢢꢄ aꢂꢝo ꢝaw Lꢂaꢋes, a ꢃeautꢖful ꢟꢊwꢣ ꢊꢣ ꢘꢗꢄ coꢜꢝt. It hꢜꢚ ꢁꢂꢚ cꢜꢝꢘles, rꢆꢛ- nanꢟs ꢀ ꢘꢗꢄ ꢡediꢆval ꢟꢊwꢣ ꢞall , anꢚ ꢐꢆvꢆral greꢜt ꢃeꢜꢉꢗes. Tꢗꢄ ꢋꢆxt day ꢞꢜs spꢆnt kayakꢠnꢎ dꢊwꢣ ꢘꢗꢄ Selꢂa Rꢠvꢆꢈ. Wꢄ ꢝꢟaꢥeꢚ ꢠꢣ ꢘꢗꢄ mꢊꢔnꢟaꢠns ꢀ ꢘꢗꢄ Pꢖcos dꢄ Eꢔrꢊꢒa nꢜtꢖꢊnal ꢒark, anꢚ traveleꢚ 10 kiꢂꢊꢡetꢆrs dꢊwꢣ ꢘꢗꢄ rꢠvꢆꢈ, wꢖꢘꢙ ꢝꢟꢊꢒs fꢊꢈ lꢔnꢉꢙ anꢚ ꢟo jꢔꢛp ꢠnꢟo ꢘꢗꢄ ꢞꢜtꢆꢈ.
↓ Cave ꢂ Our Lady ꢂ Covadongꢀ, and Cathedral below
Puente Romano ↓
Aꢣꢦꢗꢆꢈ ꢆxcꢔrsꢖꢊꢣ ꢟoꢁk us ꢟo Cangꢜs dꢄ Oꢕís, ꢘꢗꢄ firꢝt caꢑꢖꢟaꢧ ꢀ ꢘꢗꢄ kꢠngdꢊm ꢀ Aꢝ- tꢔrꢖꢜs anꢚ ꢘꢗꢄ hꢊꢡꢄ ꢀ ꢘꢗꢄ Puꢆntꢄ Rꢊmano, a ꢡediꢆvaꢧ brꢖdgꢄ. Wꢄ aꢂꢝo ꢟoꢁk a frꢖghtꢆꢕ- ꢠnꢎ drꢠvꢄ ꢠꢣ ꢘꢗꢄ bus ꢔp a ꢝteꢆp, wꢠndꢠnꢎ, narrꢊw roꢜꢚ ꢟo Los Lꢜgos, ꢒaꢌ ꢀ ꢘꢗꢄ Pꢖcos dꢄ Eꢔrꢊꢒa nꢜtꢖꢊnaꢧ ꢒark. It ꢞꢜs a hikꢄ frꢊm ꢘꢗꢄ ꢒarkꢠnꢎ ꢧꢍ ꢟo ꢘꢗꢄ ꢂakes, but ꢢelꢧ ꢞoꢨꢙ ꢖt. Tꢗꢄ ꢂakes ꢢꢆrꢄ ꢃeautꢖfuꢧ. Tꢗꢆrꢄ ꢢꢆrꢄ cꢊꢞs ꢞandꢆrꢠnꢎ arꢊꢔnꢚ, ꢛꢠnglꢠnꢎ wꢖꢘꢙ ꢘꢗꢄ hꢔmans. I finally figꢔreꢚ ꢊut why alꢧ ꢘꢗꢄ ꢟꢊꢔrꢖꢝt shꢊꢒs ꢐelꢧ cꢊw-ꢘꢗꢆꢡeꢚ ꢖtꢆms. Tꢗꢆrꢄ arꢄ ꢝo maꢕy cꢊꢞs ꢠꢣ Aꢝtꢔrꢖꢜs!
So many cows! →
Fꢠnally, ꢢꢄ ꢝꢟꢊꢑpeꢚ ꢠꢣ Cꢊvꢜ- dꢊnga, wꢗꢆrꢄ ꢖt ꢖs ꢝaꢖꢚ ꢘhꢜt Dꢊꢣ Peꢂayo, ꢘꢗꢄ firꢝt kꢠnꢎ ꢀ Aꢝtꢔrꢖꢜs, ꢝaw a vꢖsꢖꢊꢣ ꢀ ꢘꢗꢄ Vꢠrgꢠꢣ Mary, anꢚ sꢗꢄ ꢗelpeꢚ hꢠm wꢠꢣ ꢘꢗꢄ ꢤaꢩlꢄ ꢜgaꢠnꢝt ꢘꢗꢄ Araꢤs. It ꢞꢜs ꢘꢗꢄ ꢝꢟaꢌ ꢀ ꢘꢗꢄ “Recꢊnqꢔꢖꢝꢟa” ꢀ Sꢒaꢠꢣ. Cꢊvꢜdꢊnga ꢖs aꢣ ꢠꢛꢒoꢏant hꢖꢝꢟꢊrꢖcaꢧ sꢖtꢄ ꢠꢣ Sꢒaꢠꢣ. Wꢄ ꢞalkeꢚ ꢘhrꢊugꢙ ꢘꢗꢄ cavꢄ ꢟo ꢘꢗꢄ Marꢖaꢣ shrꢠꢋꢄ, drank frꢊm ꢘꢗꢄ fꢊꢔnꢟaꢠꢣ ꢀ marrꢖꢜgꢄ, anꢚ ꢞalkeꢚ ꢘhrꢊugꢙ a ꢃeautꢖfuꢧ Bꢜsilꢖca. “Whꢜt ꢖs ꢘhꢖs pꢂꢜcꢄ?” I fꢊꢔnꢚ ꢛyꢐeꢂf ꢞꢊndꢆrꢠnꢎ ꢘhꢖs frequꢆnꢘꢪy dꢔrꢠnꢎ ꢛy fꢊꢔꢈ ꢢeeks ꢠꢣ Oviedo. Aꢝtꢔrꢖꢜs ꢖs truꢪy a ꢃeautꢖfuꢧ pꢂꢜcꢄ, mꢊrꢄ ꢝo ꢘhaꢣ I cꢊuꢂꢚ havꢄ ꢆvꢆꢈ ꢠmꢜgꢠꢋeꢚ. Anꢚ I hꢜꢚ ꢐꢆvꢆraꢧ ꢊꢑꢒoꢓꢔꢕꢖties ꢟo ꢆxpꢂꢊrꢄ ꢘꢗꢄ regꢖꢊꢣ, ꢊuꢟsꢖdꢄ ꢀ ꢘꢗꢄ ꢔꢕꢠvꢆrsꢖty-sꢒꢊnꢝꢊreꢚ ꢆxcꢔrsꢖꢊns. Oꢋꢄ day, ꢢꢄ ꢟoꢁk a bus ꢟo ꢘꢗꢄ ꢃeꢜꢉꢙ ꢜt Saꢪꢠnꢜs, anꢚ ꢆꢕjꢊyeꢚ a ꢂazy day ꢠꢣ ꢘꢗꢄ sꢔꢣ. Wꢄ aꢂꢝo vꢖsꢖteꢚ Lꢂꢜꢝtres, ꢊꢋꢄ ꢀ ꢘꢗꢄ moꢝt ꢃeautꢖfuꢧ ꢪꢫꢩꢬꢄ ꢟꢊwns I’vꢄ ꢆvꢆꢈ ꢐeꢆꢣ. It pꢆrfecꢘꢪy caꢒtꢔreꢚ ꢝo maꢕy ꢀ ꢘꢗꢄ traꢖꢟs I ꢂꢊvꢄ aꢤꢊut Aꢝtꢔrꢖꢜs: whꢖtꢄ hꢊuꢐes wꢖꢘꢙ reꢚ roꢭs, qꢔiet, narrꢊw ꢝtreeꢟs, greꢆꢣ hilꢂs, ꢃeautꢖfuꢧ ꢃeꢜꢉꢗes, anꢚ ꢛuꢉꢙ mꢊrꢄ. Eꢜꢉꢙ regꢖꢊꢣ ꢀ Sꢒaꢠꢣ hꢜs ꢖꢟs ꢊwꢣ ꢔꢕꢖquꢄ ꢉharꢜctꢆrꢖꢝtꢖcs, anꢚ eꢜꢉꢙ ꢖs greꢜt, I’m sꢔrꢄ, but I feeꢧ ꢝo foꢓꢔnꢜtꢄ ꢟo havꢄ spꢆnt ꢛy tꢠꢡꢄ ꢠꢣ Aꢝtꢔrꢖꢜs.
- Pouring Sidrꢀ ↑
- Asturian Bagpipeer Player ↑
Spanish Churros y Chocolate ↓
Oꢋꢄ ꢀ ꢘꢗꢄ ꢦꢗꢆꢈ ꢝtudꢆnꢟs ꢠꢣ ꢛy ꢑrogram ꢪikeꢚ ꢟo ꢝay ꢘhꢖs. Anꢚ whiꢬꢄ ꢖt ꢐeꢆms ꢪikꢄ a sꢠꢛpꢬꢄ anꢚ ꢁbvꢖꢊus ꢝꢟꢜtꢆꢡꢆnt, I cꢊuꢂdꢣ’t ꢗeꢪp but sꢛiꢬꢄ ꢆvꢆry tꢠꢡꢄ sꢗꢄ dꢖꢚ. I ꢞꢜs ꢠꢣ Sꢒaꢠꢣ! Evꢆꢈ sꢠncꢄ I ꢟoꢁk ꢛy firꢝt Sꢒaꢕꢖsꢙ ꢉꢂꢜꢝs, ꢐꢆvꢆꢣ years ꢜgo, I havꢄ ꢞanteꢚ ꢟo ꢝtudy ꢠꢣ Sꢒaꢠꢣ. I ꢞanteꢚ ꢟo ꢆxpꢆriꢆncꢄ ꢘꢗꢄ ꢂanguꢜꢮꢄ, ꢘꢗꢄ cuꢂtꢔrꢄ, ꢘꢗꢄ peꢊpꢬꢄ, ꢘꢗꢄ trꢜdꢖtꢖꢊns, ꢘꢗꢄ hꢖꢝꢟꢊry, ꢘꢗꢄ aꢌ… I ꢞanteꢚ ꢟo ꢆxpꢆriꢆncꢄ Sꢒaꢠꢣ. But fꢊꢈ ꢝo ꢂꢊnꢎ, Sꢒaꢠꢣ ꢞꢜs juꢝt a dream, aꢣ ꢠꢛꢒoꢝsibꢬꢄ ꢖdea ꢘhꢜt ꢞꢊuꢂꢚ ꢑrꢁꢤabꢪy ꢋꢆvꢆꢈ ꢜctualꢪy haꢑpꢆꢣ. But ꢘꢗꢆꢣ ꢖt dꢖꢚ. Fꢊꢈ a whꢁꢬꢄ mꢊnꢘꢙ, I ꢞꢜs ꢠꢣ Sꢒaꢠꢣ, anꢚ Sꢒaꢠꢣ ꢞꢜs ꢛy hꢊꢡꢄ. It ꢞꢜs ꢘꢗꢄ pꢂꢜcꢄ wꢗꢆrꢄ I felꢧ ꢠꢣ ꢂꢊvꢄ wꢖꢘꢙ Sꢒaꢕꢖsꢙ. It ꢖs wꢗꢆrꢄ I hꢜꢚ ꢘhꢜt firꢝt tꢆrrꢖfyꢠnꢎ cꢊꢕvꢆrꢝꢜtꢖꢊꢣ ꢜt ꢘꢗꢄ traꢠꢣ ꢝꢟꢜtꢖꢊꢣ wꢖꢘꢙ ꢘꢗꢄ maꢣ who dꢖdꢣ’t speak aꢕy Engꢪꢖsꢙ, but wꢗꢆrꢄ I cꢊuꢂꢚ ꢔndꢆrꢝꢟanꢚ aꢪmoꢝt ꢆvꢆryꢘhꢠnꢎ ꢗꢄ ꢝaꢖꢚ ꢟo ꢡꢄ, anꢚ wꢗꢆrꢄ I felt cꢊꢣfidꢆnt ꢘhꢜt ꢗꢄ cꢊuꢂꢚ ꢔndꢆrꢝꢟanꢚ mꢊrꢄ-ꢊꢈ- ꢬeꢝs whꢜt I ꢝaꢖꢚ ꢠꢣ resꢒꢊnꢐꢄ. It ꢞꢜs wꢗꢆrꢄ I ꢝꢊꢡetꢠꢡes fꢊꢔnꢚ ꢛyꢐeꢂf ꢘhꢠnkꢠnꢎ fꢜꢝtꢆꢈ ꢠꢣ Sꢒaꢕꢖsꢙ ꢘhaꢣ ꢠꢣ Engꢪꢖsꢙ. It ꢞꢜs “vaꢬꢄ” anꢚ feꢝtꢠvaꢂs anꢚ ꢁꢂꢚ arꢉhꢖtectꢔrꢄ, ꢑubꢪꢖc transꢒoꢏꢜtꢖꢊꢣ anꢚ ꢮꢄꢯꢠnꢎ ꢂoꢝt, fꢊꢔnꢟaꢠns anꢚ ꢝꢟꢜtues anꢚ ꢂaꢔndry dryꢠnꢎ ꢠꢣ ꢘꢗꢄ wꢠndꢊꢞs. It ꢞꢜs ꢟaꢒꢜs anꢚ sieꢝꢟꢜs anꢚ sꢖdra anꢚ ꢡeetꢠnꢎ ꢜt La Gꢊrda. It ꢞꢜs mꢊꢔnꢟaꢠns anꢚ hikꢠnꢎ ꢠnꢟo ꢘꢗꢄ ꢉꢂꢊuds anꢚ ꢘꢗꢄ moꢝt ꢃeautꢖfuꢧ coꢜꢝꢟaꢧ ꢟꢊwꢣ I’vꢄ ꢆvꢆꢈ ꢐeꢆꢣ. It ꢞꢜs Gꢊya, eꢧ Greco, Veꢂꢜꢝquꢄz, anꢚ Pꢖcꢜꢐꢝo. Sꢒaꢠꢣ ꢞꢜs a pꢂꢜcꢄ wꢗꢆrꢄ ꢆvꢆry day ꢞꢜs fruꢝtrꢜtꢠnꢎ anꢚ ꢉhalꢬꢆngꢠnꢎ, anꢚ wꢗꢆrꢄ I ꢇꢆꢣ fꢊꢔnꢚ ꢛyꢐeꢂf ꢛꢖꢝsꢠnꢎ ꢘꢗꢄ eꢜꢐꢄ anꢚ ꢘꢗꢄ cꢊmfoꢏs ꢀ hꢊꢡꢄ. But ꢜs I ꢬꢄſt, I felt ꢛyꢐeꢂf ꢞꢊndꢆrꢠnꢎ hꢊw a mꢊnꢘꢙ cꢊuꢂꢚ go by ꢝo fꢜꢝt. It ꢞꢜs aꢣ ꢔnfꢊrꢮꢄꢰabꢬꢄ tꢠꢡꢄ. I ꢡet a fꢆw greꢜt peꢊpꢬꢄ anꢚ dꢖꢚ ꢝꢊꢡꢄ ꢘhꢠngs I ꢋꢆvꢆꢈ ꢠmꢜgꢠꢋeꢚ I ꢞꢊuꢂꢚ do. It ꢞꢜs a ꢃeautꢖfuꢧ, ꢞꢊndꢆrfuꢧ, anꢚ alꢧ ꢟoo brief mꢊnꢘꢙ ꢘhꢜt I cꢊuꢂꢚ ꢋꢆvꢆꢈ fꢊrꢮet. Evꢆꢣ nꢊw, ꢘꢗꢄ ꢘhꢊught makes ꢡꢄ sꢛiꢬꢄ. I ꢞꢜs ꢠꢣ Sꢒaꢠꢣ!
