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PHILADELPHIA, SATURDAY EVENING, JUNE 3, 1916.
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Beginning the Evening Ledger Lessons in Scenario Writing A Course of Practical Instruction by Harry O. Hoyt
Lesson Number 1 How to
Find the "Plot for Your
First Moving Picture
IN -WRITING a series of articles dealing
with eoenarlo construction, or more
properly speaking, photoplay construction,
It Is necessary t'oMJeflno Bomo of tho tech
nlcal terms employed. This will bo done
from time to tlma as tho series progresses.
Before getting Into an actual discussion
of tho scenario or photoplay, wo must go
back and get at the origin of our screen
productions.
Where do they come from?
Who supplies the Jdeoa?
This can bo answered In a'gencral way,
by sowing that outside contributors and
start writers supply rrjost of tho plots for
the program companies, and staff writers
make book and play adaptations for tho
majority of the feature 'productions. By
program companies, wo refer to thoso com
panles producing subjects of short length
for rclcaso on certain dayB of each week.
Tho Held for tho outsldo writer Is, there
fore, better at tho present time with tho
companies making shorter subjects. Tho
old order Is changing, however. , Tho day
n,n hnrfc.wrltcr is past, .and tho day ot
ihn nwmnrlo writer has arrived. It is tori
,tho bcncllt of those who would seek to
supply tho photoplays of tho futuro, who
'artf"oarnostly endeavoring to croate screen
productions that ara both vlrllo and
dramatic, that Uicbo articles aro Intended.
How many people, going to a theatro and
' witnessing a picture show, como away bo
lievlng that they nro capable of writing
something better than tho screen produc
tions thoy havo Just witnessod? Porhapo In
your own llfo you havo remarked: "Well,
- If I couldn't do better than that I wouldn't
wrlto at all."
Perhaps you've had somo experience,
which you and your friends have thought
extraordinary, and you or they iavo said:
"It would make a lino plcturo 'play; cer
tainly bettor than somo we've seen."
Unfortunately this Is rarely true. What
Is vital to you Is many times of no Inter
est to the outsldo world. Your experiences,
while odd and queer, It produced would bo
"drivel" to persons who had no lntorcst In
tho Incidents.
"Tho baby did tho cutest thing today I"
Is your wlfa's greeting, as you como homo
In tho evening. Or, "I had a funny expe
rience yesterday," you .remark to Jones, as
you como down In tho street car with him.
It's your baby or your exporleneo, and
It comes close to home, but a first-class
scenario writer could sit down and Imag
ine something for your baby to do that
would bo very much moro out of tho or
dinary, or an experlonco that befell you,
which would bo far moro Interesting to
the multitude who visit the moving plcturo
chows.
A test that you might apply Is this: Wit
ness a. motlon-plcturo show, and centra your
attention upon some one plcturo. When you
havo come out'analyzo tho situations, the
hairbreadth escapes, the villainy, tho sacri
fice. Imagine such things happening In real
llfo. Tho newspapers would bo full rf It.
Would the Incident of your baby or the
experienco that befell you occupy an Inch of
epaco In any newspaper, if It got hold of
It? The chances are not ;
This points to ono moral: Beware of the
story that Is true to life, particularly If It
comes close to you. Your perspective Is
almost certain to be ruined and you are
, quite unable to Judge the dramatic values.
In the old days, most ot tho photoplays
we're highly Improbable. Ab the natural
consequence of improvement In the busi
ness, the standard Is much higher today.
That brings us to ono of tho basic prin
ciples of photoplay writing. Make your
Ideas probable. Your subject may be Im
possible, but your treatment of It must bo
bucIi as to glvo It an air of probability
that will carry It over. It Is best, of
course, to make It not only possible, but
14ghly probable.
Mr. Sargent, who has written a very ad
mirable book on photoplay writing, cites the
case ot a missionary In Africa, who per
formed an operation in major surgery on
himself, without an anesthetic, and recov
ered. If wo were to picture that on the
Bcreen, everybody would laugh. It Is seem
ingly quite impossible and absurd yet It
actually happened.
There Is a very fine distinction here,
which every photoplay writer must learn:
you must convince your audience of one
fact: that what they see actually could
HOW EVENING LEDGER WILL TEACH .
NEW AND DEMOCRATIC SCREEN ART
TODAY tho Evening Ledger prints the first two les
sons of its course in scenario writing. There are
20 to follow. Thoso presented herowith take up How to
Find a Plot and tho Synopsis. Immediately following
these como Terms Employed, Construction, Continuity,
Heart Interest, Atmosphero, Plot Development, "Punch,"
Three Kinds of Cohiedy, Short Reel Subjects and a dozen
similar topics. Tho final lessons will take up, tho practical
side of selling a photoplay scenario.
Tho Photoplay Department of tho Evening Ledger is
under no delusion that every reader is a'born photoplay
wright. But it does know that thousands of Philadol
phians aro writing or want to write for tho Bcreen. It
knows that tho story-telling, power behind the successful
photoplay lies dormant in thousands more. And it knows
that all these people can be helped a great step on their
way by practical instruction from an authority. In
Henry 0. Hoyt it thinks it has found tho authority.
Though scenario .writing demands tho dramatic in
stinct upon which almost all forms of literary work are
based, it .makes ono unique concession to tho novice. It
throws its doors otfen to all comers, to tho irtan or woman
with only a grammar school education as much as to the
university graduate, for it requires no extensive training
in the use of words. It calls for a certain quality of mind
which not every one has, but it is a quality independent of
the ability to use tho English language as the 'novelist,
the essayist, even the dramatist, uses it. If the photo
playwright has dramatic sense, if he can arrange an in
terestingnarrative in a succession of effective scenes, it'
matters very little whether he can pick the most effective
words to describe the actions of his characters. If he can
supply a real idea in a. well-thought-out scenario, the film
companies' experts will do the rest.
nks.
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HARRY O. HOYT
Html ot the Metro Scenario Staff
The Author
HOYT, HARRY 0., scenario cd. and writer, Metro;
b. Minneapolis, Minn.; cduc. Minneapolis, Univ. of
Minn., Columbia nnd Yalo (LL. B.) ; early exper., prac
ticed law; screen careor, first owned and operated the
atres, then nsst. dir., then frco lance writer, over 400
prod, scripts; staff of Kalem ("Ten Commandments,"
10 ihree reel subjects) ; cd. Fox ("Parisian Romance,"
"Fourth Estate," etc.) ; at present Metro ("The Tur
moil," "Rose of tho Alley," "Man and His Soul," "Dim
ples," "Big Tremaine," etc.) Ad. Ynlo Club, N. Y. C.
Studio Directory of the Motion Picture News.
WHAT THE EVENING LEDGER WILL DO
TO TEST ITS SCENARIO STUDENTS
THE Evening Ledgor believes that its readers will
derivo a very real profit from its course of scenario '
lessons. It is so siiro of this that it purposes testing that
profit by a novel sort of examination. It will not bo a
set of dry written questions. The examination will take
just tho form in which it can be most useful to the stu
dent the writing of a scenario for production.
When the student has finished the course of lessons
he will have the knowledge necessary to put his ideas in
marketable shape. Tho Evening Ledger will then give
him both a test and an incentive to further work. Upon
the cftJso of tho lessons it will conduct a Scenario Contest,
for which thero will bo not only a cash prize but a far
more valuable, desirable and practical reward produc
tion. In addition, the Photoplay Department will see that
promising scripts aro returned to their authors with a
letter recommending these scenarios to producers likely to
be interested.
To make the test more concrete, the Evening Ledger
will require the contestants to locate the scenes of their
scripts in Philadelphia. It will specify certain public
places, such as the ball parks, the railroad stations and
tho postoffice, which must be used in the action, and
certain types of city-dwellers from whom certain char
acters must be drawn. These conditions will stimulate
the faculties of the contestants and arouse the interest
of their friends in the finished product. They will not
prevent the acceptance of any of the scripts by producing
companies in New York or tho West, for the elements
chosen will be common to all city life.
The prize-winning scenario will bo produced in Phila
delphia, by a Philadelphia cast, under the direction of
one of the big film companies. Watch for further an
nouncements of the Scenario Prize contest and the filming
of the successful script.
Meanwhile, cut out each day's lesson and save the
complete series for reference in the writing of your
scenario.
have happened, otherwise your drama de
generates into farce.
In order to write plcturo ploys for fea
ture companies, It becomes nejry to
delvo deeper In the search for IdeaB. You
must have something human-something
natural; but It must havo dramatic, possi
bilities, otherwise your story is lost In on
exposition, or In sermonizing. Nothing Is
morB tiresome on tho screen than a ser
mon: an'd nothing Is more Impossible, Judg
ing from modern standards, than melo
drama for melodrama's sako alone.
. Ono scenario writer within our experi
ence chooses a rather novel way of writing
Photoplays. He thinks ot various charac
ters totally unrelated to each other, taking,
for example, a carpenter, a society man. a
Salvation Army lassie, a daughter of the
rich and-so-on. He sets all these characters
before him and Juggles them about. He w 11
make tho society man, perhaps, engaged to
tho daughter of the rich, and finding her
frivolous, he will meet the Salvation Army
lass and conceive an Interest In her.
Perhaps this Is too. trite. Ho may next
try having a carpenter, who Is In love
with the Salvation Army lassie, repair the
house of the rich girl, and tho girl, tired
of the society man and ot society, perhaps
In pique, centre her affections on a real
man, and pck the carpenter.
Perhaps he win Introduce other charac
ters, giving a reason for ,oaoh and every
situation, nnd soon he has a drama. It Is
something ho has Imagined, but at least it
could havo happened It Is possible, and
ho' will now attempt to mako lt probable.
This method cannot always be recom
mended, because the human mind is bo con
structed that trite situations aro generally
the first to come to the mind. Long-forgotten
photoplays, seen, on the screen, will fur
nish further Ideas, arid soon we have some
thing that Is not at all original.
Personally, I think tho best way to get
Continued on Face Three
LOVE JN THE ARMY
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This is whaf Bernard Shaw says of thla scene from his trenchant
comedy, "Major Barbara," vhich Grace George will act at the
Adelphia Monday:
Cuslna Yes, my dear, lf rr wearuig to be In love with you, If It lt, J
quite think I shall, die young. S
Barbara Should you mind? . , . , . ,. ., J
Clo Vo't at aU. (He Is suddenly wfteued, nd Wsea h over the, 4
evidently not for the Snrtibiw, a pel "cannot M over big drua -without
practice.)
Sliaws Alter Ego Betrays tke Autkor of "Major Barbara
TMa a an account of hoio "Major
Barbara," the Bernard Bhaw comedy
to be presented by Qrace George and
her New York Playhouse Company at
the Adelphl next week, camo to bo
written. The aeoount is furnished by
a playwripht whose works are well
known in this country, In England and
In Germany. Be prefers to keep this
identity a secret, but It may be said
without betrayal of confidence that he
knows Intimately and admires aernara
Bhaw.
Is the hlrd of a
Bhaw.
rAJOR BARBARA1
"II IT-
1YJL group of threo plays or exceptional
weight and magnitude, on which the reputa
tion of tho author as a serious dramatist
was first established and still mainly rests.
Tho first of the three, completed In 1908,
tho author's 7th year, was "Man and Su
perman," which has never been performed
In Its prodigious entirety In America, nor
In England, until tho present year. The
second, "John Bull's Other Island," fol
lowed In 1904, and was an Immediate suc
cess. Tho third 'of the series was "Major
Barbara," which arrived In 1906. It made
demands on tho audience, but tho demands
were conceded. The audience left the
theatro exhausted, but felt the better for
It and came again. ' The second act, the Sal
vation, Army Ret, waB a play In Itself. Re
garded In that way, It may be said to be the
most successful of all tho author's plays.
Tho possibility of using the wooing of a
man's soul for his salvation as a substitute
for the hackneyed wooing of'a handsome
young gentleman for the sake of marrying
him had ocourred to Bernard Bhaw many
years before, when, In the course of his
campaign for Socialism, ho had often found
himself on Sunday mornings addressing a
Socialist meeting In the open air In London
or In tho provinces, while the Salvation
Army was at work on the same ground.
He had frequenUy, at (Jie conclusion of hie
own meeting, Joined the crowd around the
Salvation lassies and watched their work
and studied their methods sympathetically.
Many of them sang, with great effect, songs
In which the drama of salvation was pre
sented In the form of a series ot scenes
between a brutal and drunken husband and
a saved wife, with a thrilling happy end
ing. In which the audience, having been
persuaded by the unconscious art of the
singer to expect with horror a murderous
attack on the woman as her husband'a
steps were heard on the stairs, were re-
Hint's- on Scenarjo-Writing
HERE are few things Fred
erick Palmer, assistant to
Hampton Pel Ruth, managing edi
tor and assistant manager of pro
duction of the Triangle-Keystone
Film Company, has learned about
writing Keystone comedies in the
year and more he has been a mem
ber of the scenario staff. TSiey
are worth passing along to those
studying the development of the
script, so here they are; and if you
have Keystone aspirations, paste
the list where you can see. it often.
, Don't Invent excusee Invent stories.
Don't fprset we pay you to think,
but think along our lines.
Don't use cut-backs; go on with your
story.
Don't forget that dialogue does not
jShotograph.
Don t make fun of any society or
labor organization,
Don't despise suggestions: even an
elevator boy gives .you a lift.
Don't have any of your characters
dream anything do all the dreaming
yourself.
Don't borrow any stories from the
magazines -wevjead twice as much as
you do.
Don't rewrite old moving-picture
stories It you see a picture with a
steamboat, swim out to dry land.
Don't wme your siory so a sucuue
will be necessary to explain a situation.
Don't torgei in
situation i try .to
the valud of a thrilling
la rut tha .ltm.nl rtf
suspense into It. The thrill la never
io good as when It follows suspense.
Don't write etorlea Involving brutal
ity. The Ktyetona pictures often ex
aggerate.' but aa a rulo they1 are -ylthln
the range of positibaity.
The Armorer's Faith
IT LOOKS very much as if Amer
ica owed Grace George's produc
tion of Bernard Shaw's remarkable
comedy, "Major Barbara" after 10
years of lying fallow on tho book
shelvesto the Great War. For
the portions that American audi
ences havo found most interesting
aro undoubtedly the remarks of
Androw Undershaft, munition
maker. Hero is the faith of tho
armorer ns Undershaft explains it:
To give arms to all men who
offer an honest price for them,
without respect of persona or prin
ciples; to aristocrat and republi
can, to Nihilist and Czar, to cap
italist and Socialist, to Protestant
and Catholic, to burglar and police-
man, to black man, white man nnd
yellow man, to all sorts and condi
tions, all nationalities, all faiths, all
follies, all causes and all crimes.
The first Undershaft wrote up In
his shop: "If God gave tho hand,
let no man withhold, the Bword."
The second wrote up: "AU havo
the right to light: none have the
right to Judge." The third wrote
up: "To man the weapon; to
heaven the victory." The fourth
had no literary turn, so ho did not
wrlto up anything : but ho sold can
nons to Napoleon under the nose of
George the Third. The fifth wrote
up: "Peace shall not prevail ave
with a sword in her hand." The
sixth, my master, was the best ot
all. He wrote up: "Nothing Is
ever done In this world until men
are prepared to kill one another If
it Is not done." After that, there
wbb nothing more to say. So he
wrote up, simply: "Unashamed."
lleved and delighted to hear that when the
villain entered the room, and all seemed
lost, his face was lighted with the Light of
Heaven, for ho, too, had been saved. Ber
nard Shaw was not at that time a play
wrlght; but such scenes were not lost on
hlra; the future dramatist was collecting
his material everywhere.
Many years afterward, when he had
acquired a considerable reputation aa a
crltlo of music, Bernard Shaw saw In a
dally paper a silly remark describing soma
horrible noise as being almost as bad as a
Salvation Army band. He Immediately
wrote to the paper, pointing out. that the
Salvntton Army bands were mostly good,
and that some of them were of very con
spicuous excellence. This compliment from
an unexpected quarter made quite a com
motion at the Army headquarters In Lon
don. The General quoted It again and
again In public, and the author was Invited
to attend ono of the musical festivals ot the
Army. He did so, and wrote an elaborate
critical report of the bands, besides declar
ing that the performance ot the "Dead
.Match," from Handel's Saul, at the great
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HAZEL DAWN
Who will be seen at the Stanley
the first half of next week in "The
Feud Girl,' a Faraa&s Playew-
I'araaount proaucnon.
meeting at the Albert Halt, In commemora
tion of Mrs. Booth, by tho combined bands
of the Army, headed by the International
Staff Band, was Incomparably the finest ho
had over heard, and tho only one which
showed any understanding of the magnifi
cent triumphal character of tho closing sec
tion. Shaw took advantage of the relations
thus established to ask tho Army staff why
they did not develop the dramatlo side of
their ritual by performing plays. He
even offered to write n short play as a
model of what might be done. The leaders
of the Army, though Interested and not
themselves hostile to the proposal, could
not venture to offend the deep prejudices
against the theatre that still form part of
English evangelism? They could only say
rather doubtfully that If the author of a
play could guarantee thrft everything In It
had actually happened, that "It was all
true," It might be possible to reconcile the
stricter Salvationists to It Shaw put for
ward the defense made by Bunyan that
parables were allowable, but he was met
with assurance that the Salvationists be-a
lleved the parables to be records of fact as
well as vehicles of Instruction. Finally,
Mrs. Bramwell Booth told the author frank
ly that a subscription would be more useful
to the Bocial work of the Army than a
model play; and so the matter dropped.
But It boro fruit In "Major Barbara," and
during Its run th4-spectacle was seen for
the first time of a box filled with Salvation
Army officials In uniform, sitting In a
theatre and witnessing a play. Their tes
timony was useful. Some of the critics, In
an inept attempt to be piously shocked,
tried to present the play as a Jibe at the
Army, on the ground that the Salvationists
were represented as being full of fun, and
that they took money from the distiller.
The Army received this with the scorn It
deserved, declaring that Barbara's fun was
perfectly corect and characteristic, and
that the only Incident that seemed Incredi
ble to them was her refusal to accept the
money. Any good Salvationist, they said,
would, like the Commissioner In the play,
take money from the devil himself, and
makf so good use of It that he would per
haps be converted, as there Is hope for
everybody.
The play, however, raises larger issues
than those of popular oalvatlontom. Under
shaft, with his terrible trade, so grimly
flourishing just now, and with his creed that
When Zeps Come to Town
JUST as managers and theatre pa
trons are warned by our fire
commissioner how to act in case of
fire, so Scotland Yard is cautioning
London managers regarding their
conduct in the event of a Zeppelin
raid. One of the circulars issued by
the London police department has
just reached this country,
"The following features should re
ceive special attention," states the
notification, "in the event of a hostile
raid taking place while the perform
ance is in progress;
"The staff should be schooled in its
duties so as to be prepared to deal
with any emergency which may
arise.
"Arrangements should be made be
forehand for selected members of the
staff to be at exjts where their pres
ence would reassure the audience. An
address from the stage may be ex
pected to have a reassuring and tran
quillizing effect upon the audience
nnd Indirectly be effective in pre
venting panic.
"Whether the audience should or
should not be asked to leave the
building must depend upon circum
stances of the moment. In view of
the danger from falling fragments
of shells and from the explosive ef
fects of bombs dropped there can be
little doubt that persons in the street
would be exposed to more danger
than thow oader cover."
money comes first, nnd that poverty Is the
worst of crimes and the only unbearable
crime, strikes tho deepest note In the play
as Barbara sounds tho highest It was tho
allusions to Nietzsche which he provoked
that elicited from the author the well
known preface In which he protested
against the habit of the English critics of
referring every trace of Intellect In the
English drama to Norwegian and German
writers, when nil the doctrines which so
surprised them were to be found in the
literature of tho English language. His
reference to Samuel Butler as tho greatest
English exponent of Undershaffs doctrino
of ,the Importance of money was the begin
ning of tho vogue of that remarkable
writer, which has persisted and 'spread ever
since.
It is an open secret that' the part of
Adolphus CuBlns, the very unusual jfeune
premier at the play, owes Its originality to
the fact that Mr. Gilbert Murray, the
Regius Prpfessor of Greek at Oxford Uni
versity, served the author as a very In
teresting model. He quotes his own famous
translation of Euripides; and ho Is not the
only portrait In the play. Undershaft Is
perhaps tho most exacting pnrt that has
fallen to the lot of nn actor since Shake
speare's big parts; It needs the greatest
versatility and flexibility on tho part of
the actor, and the most nlert vigilance on
the part of the audience to avoid confusing
them.
It Is curious that ten years should havo
elapsed between the production of "Major
Barbara" In London and Its first appear
ance on the American stage. It has been
the subject of many proposals; but until to
day (the artistic conditions have never
seemed to the author favorable enough to
warrant him In venturing on an authoriza
tion. Miss Grace George's appearances In
London have doubtless had their weight in
his decision. But Shaw has always said
that for plays of this class the great ques
tion Is whether the audience will be a
success or a failure.
Lesson Number TwoTji
Synopsis, the Pladc to Put
Your Story's Punch
THE synopsis Is a very Important adjunct
to photoplay writing, more Important
than many scenario writers seem to under
stand! A prominent scenario wrlWr re
marked a short time ago that a synopsis
makes or spoils nlno out of ten photoplays.
Unfortunately, thla la only too true.
A photoplay, like Caesar'a Gaul, Is
divided Into three parts; the synopsis, the
cast and tho action. There are sometimes
other elements entering into the properly
prepared mnnUscrlpt Some photdplay
wrlghts mako a scepo plot, a. cast plot, a
property plot and even a musical plot, but
of alt this moro anoij.
Tho principal parts aro enumerated above
nnd they ara all essential, although of late
thero has been an Increasing tendency
nmong authors to submit scripts minus the
synopsis. Tho editor has found hundred
of BUch scripts coming In lately and has
sought In yaln for a single good reason
why the synopsis should be omitted.
Tho othor day a playwright Unversed
In photoplay construction refused ever to
mnko a synopsis, claiming that It was
not done on the stage. Others will say that
tho editor runs through the synopsis and
discards tho script, when perhaps' thero Is
n big ldoa dovelopcd In a big way in the
script. They try to force tho editor to
wado through their scenes, usually put to
gether In b. looso manner, thus- compelling;
him to grope In the dark for signs to tell
him what it la all about. A clever man can
tell his big Idea simply In tho synopsis or
even refer to certain scenes If ho chooses
to do so .by giving tho number of each for
reference. ,
Give tho editor credit for knowing a big
Idea when ho sees It The cluuioes are that .
ho will realize moro possibilities In it than
tho author will. Ho Is editor for that pur
pose, and his experienco enables him to
grasp Its possibilities at once without read
ing tho script-through.
When ho reads your synopsis and finds
tho Idea, ho will be only too glad to read
your script carefully.
Ono thing Is certain you never make
friends Kvlth an editor by assuming that he
hasn't the brains to seo your Idea in syn
opsis form. That Is the natural assumption,
wmch any editor has the right to make If
this attitude Is assumed. There Is another
reason why you should submit a synopsis.
Tho editor Is forced to read a mass of
worthless material and waste his time, and
this, pbvlously, does not conduce to making
him feel more favorably disposed toward
the would-te author.
If he finds that you have a spark of dra
matic ability he may write you and offer
suggestions, but If you presume upon hla
tlmo he is quite apt to reject your script
without n word. - Editors aro extremely
busy men and anything which helps them
economize time Is a point In Its favor.
In other words, tho lack of a synopsis
works to tho author's disadvantage. Vou
can be sure of one thing, that If you ore
capable of writing a good, clear synopsis,
you havo Immediately attracted the favor
ablo attention ot tho editor, and he will
read your script. Unless he sees that It
contains some Impossible situation vhlch.
the camera cannot show convincingly.
A synopsis should be as brief as possible.
Try to stato the Idea clearly and con
cisely. Sometimes 25 words, if tho Idea la
extraordinary or something that the com
pany is seeking will give tho editor the
meat of the story and your script will, do
the rest When It comes to feature stories
there Is quite a difference ot opinion. Brev
ity counts here aB In he shorter scenarios,
and by that we mean that you should not
run Into long descriptions and take up
space with Irrelevant matter. It follows
also that you cannot be expected to de
scribe a complex situation In 200 words and
omit many of the Interesting points for tho
mere Bake of brevity.
Do you realize that the average fire
reel photoplay Is adapted fronv a book
length novel or a full play and that the
original photoplay for Ave reels could be
novelized Into a book-length novel? Tott.
could not .bo expected to tell the story ot
the average novel In a few"words without
omitting many Important points, particu
larly In the counter-plot
Give details that havo an Important re
lation tothe action of the story at the ex
pense of brevity. In order to give an idea
ot what would be considered a full or do-
Contlnord on Fate XhrM
LOVE IN THE MOVIES
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fornia and married under the shadow of tne wetronoman ?
in New York. Hiss Farrar will be seen at ttw palace t nt i
next week in "Marja itosa," a tuqr.raraw; proaucumi, m
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