L’atmosfera che si respira sul Monte Sibilla ha il sapore dell’antico  o, meglio, dell’ atavico. Se si chiudono gli occhi e si ha la sensibilità di percepire l’intenso flusso di energie che si sprigiona da quella terra, si comprende perché, in quella particolare zona, aleggia da sempre il mistero. E’ un luogo in cui il magnetismo terrestre incontra l’energia eterica e  celeste, che spinge la propria anima verso il divino.  Originaria dei Monti Sibillini, ho assimilato ed interiorizzato, fin dalla fanciullezza, l’energia femminile che si sprigiona dal Monte Sibilla, grande simbolo naturale del vero senso dell’esser donna, principio stesso del mio essere, ravvivato mediante un percorso interiore.

 

 

Le Sette Sorelle

 

Dopo un attento lavoro antropologico volto a cogliere aspetti umani e culturali dell’intera area dei Monti Sibillini, preghiere antiche, leggende, ritualità e ricordi pagani, collaborando con Mario Polia al progetto di un libro sulle tradizioni locali, ho raccolto, fra l’altro, la testimonianza di un’anziana che ha narrato la storia delle sette sorelle:

C’era un signore che aveva sette figlie e gli sono uscite tutte sante ed hanno fatto: Santa Maria in Pantano, una a Pistrino, il Monte, Santa Maria in Lapide, la Madonna dell’Ambro… La più importante è Santa Maria in pantano, la prima delle sette femmine; sotto c’è una fontana e per questo che l’hanno chiamata santa, per via delle sette sorelle sante”. (1)

Da un’altra fonte orale sono venuta a conoscenza della litania delle sette sorelle, che parla di sette donne che tessono il destino della vita e solo “l’ultima che per cantare e cantare solamente non voleva niente  ebbe la osa più bella: che le sirene del mare la vollero per sorella.” (2)

 

La Costellazione della Vergine

 

Dall’osservazione e dall’ analisi dei numerosi fregi simbolici incisi su case e portali raffiguranti ruote solari, spirali, fiori e stelle della vita, le scale, scritte templari ed altre forme di scritture molto più antiche non ancora tradotte, un documento di pietra ha attratto, in particolare, la mia attenzione. Incastonato su una casa di Rocca di Montemonaco (Ascoli Piceno), c’è un fregio dove è scolpito un fascio di spighe, ed un monte a forma di trapezio dal quale partono due linee di forza che raggiungono due stelle. I fasci di spighe ricordano i Misteri d’Eleusi della dèa Demetra e la stessa spiga di grano ha un significato plurivalente; essa è reale e simbolica al tempo stesso. E’ il frutto della coltivazione della terra ma è anche il simbolo della vita che si rinnova interiormente, dell’uomo che rinnova se stesso anche col supporto della pratica agricola. Il fascio di spighe messo a confronto con l’altro fregio raffigurante il monte con le stelle, dopo attenta osservazione suggerivano un’associazione iconografica con un bassorilievo ritrovato a Dendera, in Egitto, considerato il più antico reperto raffigurante la Costellazione della Vergine rappresentata da una donna con un bambino in terra e da un’altra donna che regge la spiga di grano in cielo. (figura 1) Sul Monte Sibilla, oggetto della mia ricerca diventarono delle piccole chiese. L’elemento che m’incuriosiva era la loro locazione in punti distanti dai centri abitati; altro fattore che destava la mia attenzione era che tutte queste chiese sono centri di culto mariano e luoghi di pellegrinaggio il 15 di agosto. Dopo diversi studi  sono arrivata alla conclusione che questi luoghi sacri non furono costruiti a caso ma secondo un criterio unitario ben preciso tendente a ricreare in terra l’immagine di un modello celeste e stellare. Le “Sette Sorelle” narrate dall’anziana signora il cui mito ricorda le Sette Sorelle della dèa egizia Hathor potrebbero essere le sette stelle del corpo centrale della Costellazione della Vergine celeste, che corrispondono in terra, a sette chiese che sorgono attorno al  Monte Sibilla. Poi gradualmente, è riafforato anche il corpo intero della Vergine i cui punti celesti sono collegati ad antichissime chiese mariane, chiese sorte su antichi templi pagani dedicati alla Grande Madre; non a caso la zona dei Monti Sibillini  è chiamata anche Terra Sancte Marie. (figura 2) Le popolazioni del periodo Neolitico non erano “cavernicole” o risalenti all’età della pietra com’è consuetudine pensare, ma avevano alte conoscenze nell’artigianato, nell’astronomia, nella geometria, ed erano in grado d’innalzare templi in punti astronomici ben precisi. Per propiziare le fertilità, si riprodusse in terra la Grande Madre Celeste. Una probabile ipotesi è che tutti i fregi incastonati nei portali e case che sorgono in prossimità delle chiese, sono evidenti materiali di repertorio d’antichi templi pagani, poi trasformati in chiese dedicate a Santa Maria. I sette luoghi di culto del corpo centrale della Vergine dislocati intorno al Monte Sibilla, erano custoditi da sette  sacerdotesse della Regina Sibilla, madre di una scuola iniziatica femminile creata fin dalla notte dei tempi e poi tramandatasi nei secoli. Anche la Sibilla Cumana da un certo periodo storico in poi, quando iniziarono le feroci repressioni contro “le streghe” in Campania, emigrerà sui Monti Sibillini e diventerà la settima delle sette sorelle, come affermerà lei stessa nel romanzo il Guerin Meschino di  Andrea da Barberino.

Ed ecco le chiese interessate:

 

S.Maria in Lapide (Spica)

S.Maria in Pantano

Madonna della Cona di Castelluccio

S.Maria in Foce

S.Maria in Casalicchio

Madonna dell’Ambro

S.Maria del Monte

S.Maria dell’Assunta

S.Maria in Scalelle

S.Maria Maddalena

Madonna del Cardoso

Madonna del Condotto

S.Lucia di Pistrino

 

A conferma di tale intuizione da studi scientifici si è evidenziato che alcune delle chiese prese in esame, sono orientate verso l’area di cielo dove la Vergine riappare dopo l’inverno, all’alba dell’equinozio di primavera. Gli antichi sacerdoti, mettevano in relazione il momento in cui la potenza magnetica del sottosuolo raggiungeva il suo culmine, con la comparsa nella volta celeste della Costellazione della Vergine, che secondo l’interpretazione astrologica è posta sotto il dominio dell’elemento terra. La sua principale stella chiamata anticamente Spica (la spiga), era l’astro di riferimento dello zodiaco ed il segno più importante della Costellazione della Vergine, la cui figura disegnata da questi corpi celesti è quella di una donna che tiene in mano un fascio di spighe che corrisponde alla stella Spica. L’apparizione ciclica della Costellazione della Vergine in cielo, connessa alla nozione della terra vergine e madre fu motivo della formulazione della “teoria delle due vergini”, ovvero dell’inferiore tellurica e della superiore celeste che vede nella dèa Dike ma soprattutto in Iside, Demetra e Cerere le massime rappresentanti del principio femminile innalzato ad una forma matriarcale spirituale più alta e più pura. Interessante a tal proposito è l’idea che vede nell’emblema di Maria (figura 3), un’evoluzione del fascio di spighe, segno rappresentativo della Costellazione della Vergine, simbolo astronomico ed astrologico del femminino sacro, inteso quale principio cosmico. In questa prospettiva gli eventi astronomici della Costellazione della Vergine celeste, sono intimamante legati e rispondenti, con le festività calendariali agricole della terra.

 

L’Acqua di Vita

 

Ulteriore aspetto è che tutte le chiese prese in esame o meglio gli antichi templi dedicati alla Mater, furono costruiti nelle adiacenze di corsi d’acqua, punti energetici molto intensi ove il magnetismo terrestre viene amplificato ed irradiato. Se si visitano i luoghi dove sorgono le chiese in un meditativo silenzio, si avverte un’aura particolare e la memoria corre indietro al tempo in cui in questi luoghi stanziavano gli oracoli, i quali prima di profetizzare bevevano il liquido sacro che sgorgava dalla fonte, ecco il motivo per cui dagli anziani sono chiamate fonti sante. In particolare dentro la chiesa di Santa Maria in Pantano c’era una parete di pietra nera in cui tutte le donne si recavano per strofinarvi il corpo, girando su se stesse, per trovare marito o per avere figli. Sotto questo muro, mi è stato narrato che vi è una sorgente di acqua benedetta, mentre secondo altre fonti orali l’acqua sgorga sotto la statua della Madonna. L’elemento che accomuna tutte le chiese è quindi l’acqua. L’acqua-luna-donna, è da sempre un trinomio legato alla fecondità materiale e spirituale, perchè disintegrando ogni forma, abolendo ogni storia, si rinasce a nuova vita. Se esaminiamo il geroglifico egizio che raffigura la donna, osserviamo che è riprodotto da una coppa d’acqua.

Gli egizi vedevano dunque la donna come sorgente d’acqua fresca, in una cultura dove l’acqua è la prima ricchezza. La Donna è la potenza che dona freschezza e slancio vitale per ricongiungersi alla propria origine divina.

 

La Grotta Cosmica

 

Il tema della Donna come principio cosmico, universale, ci conduce direttamente, per affinità tematica, a quello della Grotta della Sibilla collocata sulla vetta del Monte omonimo, nel versante piceno degli Appennini.

Dalla relazione topografica che il ricercatore Cesare Lippi Boncambi  eseguì nel 1946 nella grotta della Sibilla, così la descrisse: “L’ingresso A comunica, attraverso un breve corridoio inclinato con lo stanzone alto m. 3,80 e largo da m.2 ad un massimo di m.6 che costituisce la parte centrale della grotta, avente una lunghezza totale di m.10. Al fondo dello stanzone si nota nella roccia un breve pertugio B, dal quale si torna all’esterno mediante un cunicolo scoperto. Nel terreno della grotta si trovano in D, poi in E  quindi in F, alcune ramificazioni della cavità, che sarebbero quali probabili prolungamenti del percorso attualmente otturato.

All’atto del mio sopralluogo, uno scavo intrapreso dal Colsolvatico e successivamente interrotto, aveva messo in evidenza alcuni gradini che, secondo detto Autore, corrisponderebbero singolarmente a quelli della scala descritta nella narrazione favolosa del viaggiatore”. (3)

Dall’indagine geofisica eseguita si conformerebbe l’ipotesi che la grotta della Sibilla fosse una cavità di tipo artificiale costruita in origine su un antro naturale per svolgervi ritualità mistiche. Coincidenza importante è che uno dei due cunicoli che comunica con l’ingresso nel punto B, corrisponde con la levata del sole al solstizio d’estate. I due ingressi descritti dal Lippi Boncambi quindi rappresenterebbero i misteri iniziatici delle “due porte solstiziali”. Già Omero descriveva nell’Odissea un misterioso antro nell’isola di Itaca nel quale si aprivano due porte: una per gli immortali ed una per gli uomini mortali, che simboleggiavano il passaggio del confine dell’al-di-qua con l’aldilà.

Nella tradizione romana custode delle due porte era Giano, il dìo degli inizi e delle iniziazioni, figura ancora più antica perchè ripresa nell’ambito delle divinità indoeuropee. La festa di Giano ricadeva nei due solstizi e su questo antico culto s’innestano le feste dei due San Giovanni cristiani, ora custodi delle due porte.

 Questa teoria è rafforzata da alcuni versi di Cecco d’Ascoli (4), in cui il grande alchimista dei Monti Sibillini, fa riferimento alle due porte solstiziali, attraverso un’allegoria delle vite dei due San Giovanni, che Giotto avrebbe rappresentato nella Cappella Peruzzi a Santa Croce in Firenze.

Nella montagna della Sibilla, il sole entra in uno dei due ingressi nel giorno del solstizio d’estate nella festa di  San Giovanni Battista,  fin dalle ritualità più antiche giorno magico e miracoloso in cui il femminino sacro si ricongiunge al maschile ricomponendo lo stato di androginia risalente al Primo Tempo.

Nell’antro della Sibilla le due porte simboleggiano, rispettivamente, il passaggio dal mondo celeste a quello terreno (porta degli uomini, ossia il punto B, che corrisponde al Solstizio d’Estate) e la transizione  dall’umano al divino (porta degli dèi, ossia il punto A della grotta, in corrispondenza col Solstizio d’Inverno. Ecco quindi, che la grotta della Sibilla rappresenta la Caverna Cosmica a cui approda l’iniziato, divenendo il luogo di manifestazione dell’essere. L’uomo che è un essere terreno che non appartiene ormai più né alla terra, né ai suoi cieli, deve essere iniziato ai misteri sotterranei nell’antro di una montagna. Stimolando tutte le sue forze conoscitive interiori, l’iniziato dovrà ritornare all’origine, al tempo in cui era unito alle stelle, ai pianeti ed all’intero cosmo. Tale concezione la ritroviamo anche dalla comparazione di fonti storiche, affreschi, fregi e dalle preziose fonti orali presenti nel territorio dei Sibillini. Nei due romanzi il Guerin Meschino di Andrea da Barberino scritto il 1410 ed il Paradiso della Regina Sibilla di Antoine De La Sale del 1390, testimoniano di cavalieri provenienti da oltr’Alpe che riuscirono ad arrivare nell’antro della Sibilla dopo aver superato estreme insidie. Entrambi i romanzi, sono ispirati da istanze guelfe e clericali, in cui la Sibilla e le sue “sorelle profetesse” sono viste come figure demoniache e lussuriose, che si trasformano in serpenti e draghi che tentano con qualsiasi mezzo di gettare nel peccato i giovani cavalieri. E’ invece interessante notare che si tratta di opere ancora legate all’archetipo del femminino sacro. In entrambi i romanzi, davvero molti simili, i cavalieri devono affrontare delle prove terribili, perigliose, mettendo in gioco la propria vita, pur di entrare nella grotta e farsi accogliere dalla Regina Sibilla che sarà uno strumento d’intercessione, affinchè i cavalieri, da finti eroi si trasformino in veri sapienti, portando così a termine il combattimento più difficile: la sconfitta del nemico che s’insidia nelle tenebre dell’anima. La discesa agli inferi  dei due cavalieri presentano le caratteristiche di un vero e proprio percorso iniziatico, molto vicino a quello che percorse Dante o Enea.

 

La Montagna Cosmica

 

Il primo ostacolo da attraversare è la montagna, non a caso la montagna più alta dei Monti Sibillini è il Monte Vettore, Mons Victor, Monte della Vittoria interiore. La montagna è il luogo più alto della terra, il punto in cui la divinità scende ed incontra l’uomo che sale verso di lei.

Il secondo elemento presente nei romanzi è il sonno che rappresenta la perdita della cognizione del tempo intesa come passagio da un mondo ad un altro.

Altro ostacolo è rappresentato dall’attraversamento del ponte su di un torrente burrascoso e maleodorante, le cui origini arcaiche esprimono il superamento delle difficoltà del corso d’acqua, attraverso un ponte che permette il passaggio dal mondo dell’uomo a quello degli dèi. Quando il fragore dell’acqua si affievolisce, ecco che i cavalieri devono affrontare due dragoni artificiali, superati i quali incontrano sette porte di metallo – che simboleggiano i sette gradi d’iniziazione come nei misteri mithriaci

(5) – le quali sbattono a causa di un vento violentissimo (che ricorda analoghe immagini del Rituale Mithriaco) (6).  L’entrata nella caverna rappresenta la terra; il vento violentissimo l’aria; il passaggio del torrente l’acqua; i due dragoni il fuoco. Una volta reintegratosi in questi quattro elementi il Guerin Meschino incontra la Sapientissima Sibilla che lo interrogherà sugli astri, i pianeti le stelle e spiegherà il loro significato cosmico. Poi inizierà a descrivere come i segni zodiacali intervengono nei nostri corpi e nella nostra psiche. Infine la Sibilla svelerà la realizzazione della Grande Opera alchemica.

Gli importanti capitoli sulla storia delle Sibille e sulla generazione dell’Uomo verranno censurati e rimossi dalla Chiesa a partire dall’edizione del 1595 di Bartolomeo Campanello, perchè la Sibilla spiega al cavaliere che l’universo è animato e l’anima del mondo è divina. L’universo è il solo Essere e non ne potrebbero coesistere altri. Dio si realizza nell’universo e nel mondo e l’anima dell’uomo è una particella della sostanza divina, per cui l’uomo è divino. Logica la reazione della Chiesa contro il mondo sibillino e pagano, perchè nel mondo giudaico-cristiano è presente un dualismo, una frattura, una distinzione radicale fra il mondo ed il dio, per cui il mondo non è divino, perchè la fonte primaria dell’informazione (il verbo), è distinto dalla natura. Non vi è che un Assoluto e questo è Dio, che è un Essere “increato”, senza essere né divenire. Per il mondo cattolico tra il Dio e il mondo vi è uno iato che solo Dio può colmare. La Bibbia infatti scriverà che Dio creò il cielo e la terra e l’idea della creazione di per se implica una distinzione tra il creato ed il creatore. Al contrario, nel regno sotterraneo della propria “materia”, la Sibilla a dispetto della narrazione del romanzo in cui contrariata per non aver ricevuto amore carnale non svelerà le sue origini al cavaliere, gli presenterà i veri genitori: il sole e la luna, assolvendo all’arcaico compito di fare di un uomo cosmico il suo prescelto e trasformarlo in Sapiente. E così il Monte Sibilla diviene la Montagna Cosmica che ha dentro di sè una caverna; montagna cosmica che ha due picchi, il Sole e la Luna.

 

La Sibilla Appenninica e la Sibilla Cumana, maestre d’iniziazione ai misteri

 

Le fate dei Monti Sibillini come scrive Elèmire Zolla (7) “furono vere iniziatrici, soprattutto là dove fu più rilevante la cultura celtica, iniziatrice, pedagogica e sapienziale. Come ogni maestro iniziatico, la fata doveva far passare il candidato al vaglio del terrore… Al termine delle prove impartite, infilava all’adepto l’anello al dito, per significare la vita eterna e posava una corona sul capo, per fargli scordare il suo passato umano.” Nel Paradiso della Regina Sibilla scrive Antoine De La Sale, che prima di uscire dalla grotta, il cavaliere “portò via con sè solo un piccolo anello d’oro, tanto sottile che l’occhio lo poteva appena percepire. La fata gli donò questo anello d’oro, per ordine della Regina Sibilla e gli disse quale virtù quest’anello avesse; ma non ci fu mai chi potesse conoscere questa cosa…”

Nel VI libro dell’Eneide (8), Enea prega la Sibilla Cumana di accompagnarlo nell’Averno perchè Lei sola può aprire le porte che conducono presso il regno dei morti. La Sibilla risponde che il problema non è entrare ma uscire, perchè Giove concede questo privilegio solo a pochi uomini. Per poter accedere nell’Averno, la Sapiente spiega ad Enea che deve  addetrarsi nella selva di Cuma.  Nascosto entro un albero ombroso troverà un ramo di vischio con le foglie d’oro e la verga flessibile e dovrà strapparlo con la mano. Il ramo verrà via da solo e sarà facile prenderlo solo se i fati vorranno, altrimenti nessuna forza, nemmeno il duro ferro potrà piegarlo e stroncarlo. Scendere nell’Averno, è un’impresa impossibile per ogni uomo e sarà realizzabile attraverso il viatico rappresentato dal ramo dorato. Per i Celti, il ramo di vischio era “colui che guarisce tutto”, il trionfo della vita sul torpore invernale. Veniva raccolto ogni anno solo dai sacerdoti Druidi attraverso un falcetto d’oro. Anche nella tradizione del Ramo d’Oro del Rex Nemorensis presso il bosco di Nemi nel Lazio arcaico di cui parla J.Frazer in una sua celebre opera, Il Rex custodiva il ramo perchè in esso era immanente lo spirito della dèa Diana. Fin dall’antichità, l’integrità spirituale viene garantita dal trasferimento simbolico in un’anima esterna ed interna, l’oro, che è il segno della regalità spirituale ed il possesso delle qualità interiori. Sia la Sibilla Appenninica che la Sibilla Cumana, Regine della scuola sapienzale femminile, di cui ipotizzo l’esistenza sui Monti Sibillini, rivelavano le virtù dell’anello o del rami d’oro solo agli eletti, ovvero a coloro che possedevano una natura altamente spirituale, mentre per gli altri i gradi dell’iniziazione sarebbero rimasti per sempre un mistero.

 

Note

(1)    Lucia Fabiani anni 76, Colleluce (frazione di  Montegallo), Ascoli Piceno.

(2)    Fabiani Maria anni 84, nata in Astorara (frazione di Montegallo), Ascoli Piceno.

(3)    Riferimento al libro Il Paradiso della Regina Sibilla, di Antoine De La Sale.

(4)    Cecco d’Ascoli, Acerba, IV, Cap. III

(5)    Cfr. S.Arcella, I Misteri del Sole.Il culto di Mithra nell’Italia antica, Controcorrente, napoli, 2002.

(6)    Cfr. Il Rituale Mithriaco, ora ripubblicato, a cura di S.Arcella, in J.Evola, La Via della realizzazione di Sé secondo i Misteri di Mithra, Fondazione J.Evola-Controcorrente, Napoli, dicembre 2007.

(7)    Elèmire Zolla, La vocazione di Circe. Sciamane, Sirene, Sibille e fate, Rivista Abstracta n. 25, 1988.

(8)    Virgilio, VI Libro dell’Eneide, 136-144.

 

 

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Минуя кадку с дрожавшим всеми "Гимн люфтваффе скачать"ветвями кустом, Джелерак деликатно зевнул; это был чародей "Игры типа кс"его противник, которого он когда-то, очень давно, превратил в куст и заразил тлей.

Он шел вперед, а силы покидали его.

Люди говорят, что масса "Скачать ноты для начинающих для фортепиано"Генри помер!

Крышей ей служит штормовой мостик, выдвинутый вперед, как и палуба, и укрепленный на тонких деревянных стойках; он защищает эту площадку от солнца и дождя, а небольшие перила делают ее совершенно безопасной.

Не думаю, чтобы он стал отказываться жить под одной крышей с Генкоками.

Я сел возле своей невесты "Скачать сура из коран"и прислонился спиной к дереву.

Если это учитель и ученик, думал "Патчи корсары город потерянных кораблей"стрелок, то страшнее врагов не придумаешь.

А вы поразмыслите над моими словами.

И то, "скачать читы для stalker зов припяти"что я услышал, убедило меня не только в том, что Желтый Джек все еще "В подарок малышам. Песенки и загадки"живет на этом свете, но и что Хадж-Ева сказала правду, утверждая, что жизнь моя в опасности.

Он "Завороженные"жаждал его смерти не меньше, "скачать игры лего нинзяго"чем Вискарра.

Товарищи его оставались на ногах.

Гармония покоя была здесь нарушена.

Он смотрел только, "С небес на землю"в каком направлении поедет ранний путник.

Я понимаю, Чиун великий "гдз по алгебре алгебра 8 класс. макарычев"льстец, как-никак не первый день живу на свете.

Добрый, "В зоопарке. Загадки с сюрпризом"великодушный Браун из английского банкирского дома Браун "Алтын-толобас"и Кo, который с любезной улыбкой выплачивал мне деньги "Ты прекрасна! Руководство по управлению фигурой и внешностью"по переводам.

К предосторожностям подобного рода "Как создать источники питания своими руками"начали прибегать с тех пор, как один из гонведских "Подлинная история дома Романовых. Путь к святости"батальонов, размещенный в гимназии, попытался ограбить кабинет.

Пронзительный "100 любимых стихов малышей"злобный визг показал, какое негодование вызвало "Жемчужины ал-Бухари. Хадисы Пророка с комментариями"у нее это посягательство на свободу.

Едва успевает он "Мир пауков. Башня и Дельта"проехать двести шагов, как вдруг останавливается, "Цветы любви. Шедевры поэзии и живописи"вскрикнув от удивления и радости.

Я уверена, что ваши "Униженные и оскорбленные"соотечественницы сочли бы эти слова оскорблением.

Швейк вернулся домой поздно ночью.

Расслабься, Иббл, "Учет затрат на производство и калькулирование себестоимости продукции, работ и услуг вспомогательных производств"прошу тебя, прошипел Стиллер.

В дворцовых палатах, в окружении щебечущих служанок, "Учет затрат на производство продукции"одевавших ее к праздничной церемонии, "Учет затрат на "Учет затрат на производство продукции и исчисление ее себестоимости"производство продукции"генерал Домино Блейд размышляла о том, что "Учет затрат на производство продукции на материалах ОАО ‘Автоагрегат’"до сих пор ничто из задуманного "Учет затрат на производство продукции по материалам ОАО ‘Ливгидромаш’"не проходило в строгом соответствии с намеченным планом.

Подумав, что так, "Учет затрат на ремонт и восстановление основных средств"по всей "Учет затрат на производство продукции, работ, услуг"видимости, в игре имитируется смерть от удушья, Джерри ощутил прилив ярости.

Пойду и предложу "Учет затрат на строительство на примере Строительно-монтажного поезда №334 филиала ОАО ‘Кавтрансстрой’"им возможность записаться в армию "Учет затрат на ремонт и модернизацию основных средств"с вашего позволения, сэр.

Моя очередь, с улыбкой ответила девушка.

У Джэнси еще нашлось мгновение, чтобы подумать, как должны выглядеть подружки великана на следующее утро.

Потом к ним сунули "уроки шахматной игры" ефрейтора Пероутку из тринадцатой маршевой роты.

Если бы, "мини опера для нокиа скачать" наоборот, Джеральд расспрашивал о юноше, чтобы отправиться вслед за ним, это было бы более понятно.

Но этому покою не суждено продолжаться долго.

Ваши "сериал восьмидесятые скачать" солдаты должны уйти отсюда "скачать ыгри на компьютер" и оставаться в своих фортах.

Это сигнал тревоги, "проекты по технологии скачать" который вот уже в течение трехсот лет раздается на протяжении трех "скачать группу секрет" тысяч миль пограничной полосы "скачать песню газманова офицеры" на трех разных языках французском, испанском и английском.

Присасывается она и "игры скачать на телефон alcatel" к черепахам, к китам, даже к альбакорам размером покрупнее.

Если он нипричем, "бланк временной регистрации скачать"я могу угрохать на поиски в этом крольчатнике "Fly iq285 прошивка"дней десять.

Однако "английский язык книга скачать"ветра не было, воздух словно застыл.

Капитан "программы для тюнинга автомобиля скачать"Сагнер махнул рукой и .

Он догадывался, "cheat engine скачать русский"что воин говорит о павшем вожде и о его врагах, "оскар скачать песни"но точный смысл сказанного был "внутренние болезни учебник скачать"ему неизвестен.

Единственно, что заинтересовало меня, это место "программа взлом одноклассников скачать"моего назначения.

Но послушайте, матушка, "скачать кай метов где то далеко идут дожди"я уже наполовину связал себя обещанием "Скачать гаджет будильник"и хотел бы исполнить его.

Но сейчас она "Concise English Dictionary" подумала именно "Любовница пирата" об этом.

Дражайшая тетушка, вам отлично известна "LEXT-справочник Семейный кодекс РФ" подоплека этой гнусной "Секрет Беседы о суфизме" истории.

Вслед за ним мы "Доктор Айболит и другие сказки" пошли к контейнерам.

Сквозь плотные "Гоген" хлопья падающего снега луна "Русский язык Сложные задания и типичные ошибки" казалась огромным размытым "Мужчина и его здоровье" снежком.

Не удивлюсь, если так все и "Кактусы" было, тетя "Когда тебе грустно" Далия.

И не желание увидеть хижину мустангера руководило ею.

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