Drama أول بحث طلبة د / محسن جبر للإفاة من أرد فليتفضل بالاقتباس مع بعض الأضافات مني ليست مطلوبة

Comedy In General light and humorous drama with a happy ending


Comedy (from the Greek
κωμωδία, komodia) as a popular meaning is any humorous discourse generally
intended to amuse, especially in television, film, and stand-up comedy.





Comedy themed Plays





Alls Well That Ends Well


As You Like It


Comedy of Errors


Cymbeline


Love's Labour's Lost


Measure for
Measure


Merchant of
Venice


Merry Wives
of Windsor


Midsummer
Nights Dream


Much Ado
About Nothing


Pericles, Prince of Tyre


Taming of the Shrew


The Tempest


Troilus and Cressida


Twelfth Night


Two Gentlemen
of Veronay


Winter's Tale





Tragedy is a drama in which the protagonist is overcome by some
superior force or circumstance; excites terror or pity.





Tragedy themed Plays


Antony
and Cleopatra


Coriolanus


Hamlet


Julius Caesar


King Lear


Macbeth


Othello


Romeo and Juliet


Timon of Athens



Titus
Andronicus





Plot


the pattern of events and situations in a narrative or dramatic work, as
selected and arranged both to emphasize relationships usually of cause and
effect between incidents and to elicit a particular kind of interest in the
reader or audience, such as surprise or suspense.








Conflict


Opposition between characters or forces in a work of drama or fiction,
especially opposition that motivates or shapes the action of the plot.





The Tragic Hero


A tragic hero is the main [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
in a [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط].
The modern use of the term usually involves the notion that such a hero make an
[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
in their actions that leads to their downfall.








The Jew Of Malta


By Christopher Marlowe


The play is set on the island of Malta
in the Mediterranean Sea. In the opening act,
the Turkish sultan's son Selim [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
arrives to exact Malta's
tribute. The tribute has been neglected for the past ten years, so it has
accumulated to a considerable sum. The Maltese governor [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
cannot produce the funds immediately, but he promises to pay within a month.
After the Turks leave, Ferneze decides to collect the tribute from the Jews of
Malta: each Jew must give up half of his estate.


The protagonist [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
protests strongly, so his entire estate is confiscated. Barabas plots to
retrieve part of his fortune through his daughter [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط],
and the two young men [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
and [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
each set out to win Abigall's heart.


Having uttered a false
confession, Abigall gains entrance to the nunnery (formerly Barabas's mansion)
and retrieves her father's hidden fortune. In the meantime, the Spanish
vice-admiral Martin del
Bosco convinces Ferneze to break Malta's
league with Turkey,
promising to write the Spanish king for military aid from Spain against the Turks. Del Bosco
also sells Ferneze the slaves he has in cargo, and Barabas ends up buying the
Turkish slave [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
at the marketplace.


At the marketplace, Barabas
also runs into Mathias and Lodowick severally. Each young man desires to see
Abigall, and Barabas promises his favors to each. Barabas thus contrives a plot
to have Mathias and Lodowick kill each other. Ithamore delivers counterfeit
letters to Mathias and Lodowick, who finally confront and stab each other.


Learning of her father's
scheming-and the death of her lover Mathias-Abigall decides to enter the
nunnery once again. Now afraid that Abigall will betray the truth, Barabas
poisons all the nuns with a porridge of rice. Abigall is the last to die.
Before she dies, she manages to hand friar Barnardine a written confession of
her father's crimes. The friars resolve to confront Barabas after they bury the
nuns.


Meanwhile, the Turkish [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
have arrived. In response to Ferneze's refusal to pay, they declare war on Malta.


The friars Jacomo and
Barnardine arrive at Barabas's house and insinuate that they know about the
Jew's crimes. In response, Barabas proclaims that he would like to repent and
become a Christian. Naturally, he will contribute the entirety of his fortune
to whichever monastery he enters. The two friars, being from different
monasteries, thus fight to win Barabas's allegiance, each hoping to benefit
from Barabas's considerable fortune. Barabas once again has set a trap; he will
be able able to kill both of the friars without arousing suspicion.


As the Jew's accomplice, however,
Ithamore knows plenty of incriminating information. Once he is seduced by the
courtesan [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط],
Ithamore begins to blackmail Barabas with threats to confess if the Jew does not
send him gold. In the last scene of the fourth act, Barabas arrives at
Bellamira's house in the disguise of a French musician and poisons his
blackmailers.


In the final act, Ferneze
prepares to defend Malta
against the Turks. Ithamore, Bellamira, and her attendant [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] enter and all play their
parts in revealing Barabas's crimes, but the Jew's poison takes effect and they
all fall dead.


Barabas meanwhile has been
captured, but he feigns death through the ruse of a drug. He finds himself
dumped outside the city walls. The Jew thus betrays Malta and leads the Turks into the
city. He takes a new position as governor but finds it undesirable, so he
decides to return Malta
to Ferneze and contrives now to massacre the Turkish forces. The Turkish troops
too succumb to the Jew's trap.


But Ferneze turns the tables
on Barabas at the last moment, and Barabas dies. Ferneze takes Calymath as a
prisoner in order to ensure Malta's
future safety.


Merchant of Venice



By William
Shakespeare


In a street of Venice, the merchant
Antonio laments that he is sad but knows not why. His friends, Solanio and
Salerio try to cheer him up, to no avail. More friends, Lorenzo and Gratiano
also try and fail. Antonio's friend, Bassanio, informs him that he intends to
seek the wealthy Portia's hand in marriage, yet needs financial backing.
Antonio, though reluctant, offers Bassanio 3,000 ducats (money) to help him. At
Belmont,
Portia's house, she laments to her servant, Nerissa, that she fears a suitor
she dislikes will pursue her hand in marriage. Per her late father's will, the
suitor must choose the correct of three chests (gold, silver, and lead), and
then, if correct, he may marry Portia. She likes none of her six suitors, but
wishes Bassanio would come and choose the correct chest. Back in Venice, after much
begging, Bassanio convinces the merchant Shylock the Jew to lend him 3000
ducats, with Antonio putting up his property as the bond. Although Shylock hates
Antonio, he lends the money anyway, hoping Antonio will default on the loan.
Antonio, though, has confidence one of his ocean vessels will come to port one
month before the three month deadline.


The Moroccan prince arrives
at Belmont to
woo Portia and learns that if he chooses the wrong chest, he must swear to
never ask any woman to marry him. Back in Venice,
Launcelot Gobbo, a clown and Shylock's servant, tells his father, old Gobbo,
that he wishes to leave Shylock and work for Bassanio. Bassanio agrees to it
and instructs his servant Leonardo to prepare dinner for him and Shylock.
Gratiano then arrives and tells Bassanio he'll help him win over Portia.
Shylock's daughter, Jessica, gives a love letter to Launcelot to deliver to
Antonio's Christian friend Lorenzo. In the letter, Lorenzo learns that Jessica
will pretend to be a male torchbearer for him at the supper between Antonio and
Shylock. Shylock, going to the supper, leaves his house keys with his daughter,
Jessica, warning her not to take part in the evening's Christian activities.
Later that night, Gratiano, Salerio, and Lorenzo meet outside Shylock's house
to get Jessica. After Lorenzo and Jessica unite, they all head to meet Bassanio
on Antonio's ship to sail to Portia's. At Portia's house, the Moroccan prince
chooses a chest to open. Each has an inscription, and only the correct one
contains Portia's picture. He chooses incorrectly (the gold one), and leaves
defeated. Salerio assures Solanio that Lorenzo and Jessica were not on the ship
with Bassanio and Gratiano, and they are thus missing. Shylock, of course,
wants his money and his daughter back. At Portia's house, the Prince of Aragon
arrives and chooses the silver chest, also the wrong one. Again, he must swear
to never woo any maid in marriage and to never tell a soul which chest he
opened.


Solanio and Salerio confirm
that Antonio's ship has sunk. They then make fun of Shylock for his predicament
of losing his daughters. Shylock then laments of his monetary loss to another
Jew, Tubal, yet rejoices that Antonio is sure to default on his loan. At
Portia's house, she begs Bassanio to wait in choosing so that she may spend
time with him, in case he chooses wrong. He correctly chooses the lead casket,
though, and wins Portia's hand in marriage. To seal the union, Portia gives
Bassanio a ring, warning that he should never lose it or give it away, lest he
risk losing her love for him. Gratiano then announces his intention to wed
Nerissa. Next, Salerio, Lorenzo, and Jessica arrive, informing Bassanio that
Antonio lost his ships, and, furthermore, that Shylock is viciously declaring
forfeiture of the bond by Antonio. Bassanio leaves for Venice to repay the loan. In Venice, Shylock has
Antonio arrested for failure to repay the loan. At Belmont, Portia tells Lorenzo and Jessica to
manage her house while she and Nerissa go to a monastery until Bassanio
returns. In fact, though, she and Nerissa will disguise themselves as young men
and travel to Venice.



At a Venetian court, the Duke
presides over the sentencing hearing of Antonio wherein Shylock intends to cut
"a pound of flesh from Antonio's breast" since the due date has past
and that was the terms of the bond, even though Bassanio offers him 6,000
ducats for repayment. Nerissa and Portia, disguised as a court clerk and doctor
of civil law respectively, arrive at the court. Gratiano, Bassanio, the Duke,
and Portia try to dissuade Shylock, to no avail. Yet, Portia points out that
the deed calls for no blood to be shed and exactly one pound to be taken, lest
Shylock be guilty of not following the bond himself. Shylock, realizing this is
impossible, recants and simply requests 9,000 ducats. Portia then reveals that
Shylock is himself guilty of a crime; namely, conspiring to kill another
citizen, i.e. Antonio. As punishment, the Duke and Antonio decide that Shylock
must give half his belongings to the court; keep the other half for himself and
promise to give all his remaining belongings to his daughter and son-in-law
(Lorenzo) upon his death; and become a Christian. With no other choice, Shylock
agrees. As Portia (as the doctor of civil law) leaves, Bassanio offers her a
monetary gift. Portia turns this down, instead requesting Bassanio's gloves and
wedding ring instead. Bassanio, due to his vow, hesitates on the ring, but
reluctantly gives it after much prodding by Antonio. Nerissa (disguised as a
court clerk), vows to try to get her husband (Gratiano) to give her his wedding
ring.


At Belmont, Lorenzo and Jessica share a peaceful
night together. The next morning, Bassanio and Portia, and Gratiano and Nerissa
reunite. After quarreling over the loss of rings, the women admit of their ruse
and return the rings to their husbands. Further, they inform Antonio that three
of his ships have come to port full of merchandise. Finally, they give the deed
to Jessica and Lorenzo promising to give them Shylock's money and possessions
upon his death.





The Blot Of Child Born





Charges were dismissed this
morning against a Buffalo
man accused of trying to "buy" a 4-year-old girl for a sex film.


Buffalo City Judge Debra L.
Givens dismissed the atempted rape and other charges against Joseph A. Koehn at
the request of Erie County Prosecutor Aaron F. Glazer.


Koehn, 26, of Esser Avenue, has
been in federal custody since his mid-August arrest in a sting operation run by
FBI agents and the Buffalo
police Sex Offenses Squad.


Glazer and Rosanne Eimer
Johnson, chief of the Erie
County DA's
Special Victims Bureau, said the state charges could be relodged against Koehn
if his federal case comes undone.


Koehn, already a registered
sex offender for earlier incidents with an underage girl, was arrested after
authorities said he sent e-mails and text messages sent to an undercover
investigator offering to pay thousands of dollars to obtain a 4-year-old girl
to star in a pornographic film.


Hamlet


Prince Hamlet mourns both his father's death and his mother, Queen
Gertrude's remarriage to Claudius. The ghost of Hamlet's father appears to him
and tells him that Claudius has poisoned him. Hamlet swears revenge. He
arranges an old play whose story has a parallel to that of Claudius. Hamlet's
behaviour is considered mad. He kills the eavesdropping Polonius, the court
chamberlain, by thrusting his sword through a curtain. Polonius's son Laertes
returns to Denmark
to avenge his father's death. Polonius's daughter Ophelia loves the Prince but
his brutal behaviour drives her to madness. Ophelia dies by drowning. A duel
takes place and ends with the death of Gertrude, Laertes, Claudius, and Hamlet.
The themes discussed in the plot include indecision, seeking revenge and
retribution, deception, ambition, loyalty and fate.

مرسى جدا جدا جدا انا كنت لسة هطلبه منكم وفرت عليا تعب كتير
بس سؤال بليز احنا هنودى البحث ده انهى مكتبة؟؟

مرسى اوى يا اسلام بس ده assignment تانى غير الشيت ود/محسن قالنا حلوه وودوه المكتبة بس انا مش عارفة مكتبة الكلية ولا المكتبة اللى هنجيب منها الكتاب ولا ايه
معلشى استحملنى بقى انا لسة جديدة ومش عارفة كل حاجة
واسفة جدا لو بتعبكم معايا
وربنا معاكم ان شاء الله

مرسى اووووووى
[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

العفو نحن هنا لنفيد غيرنا

مع العلم أنه أي بحث سيطلب سأقوم بعمله وسأرفعهخ هنا على هذا المنتدى ليستفيد به الجميع

أنا روحت مكتبة الكلية ورفضوا ياخدوه مني يا آنسة زهرة . يوم الاثنين الصبح هروح مكتبة العلمية وهجرب أسلمه هناك ما نفعش هسلمه في مكتبة الكلية وما نفعش هديه للدكتور محسن في إيده

ملحوظة :

أنا كنت غايب في اليوم اللي طلب في assignment ده

عشان كده في حاجة واحد ناقصة الللي هيه رقم 7 في البحث

لأنه اللي اداني الحجات اعطاني إياها ناقصة

Comedy In
General light and humorous drama with a happy ending
Comedy themed Plays
Taming of the Shrew
The Tempest
Troilus and Cressida
Twelfth Night
[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
Winter's Tale

ragedy is a drama
in which the protagonist is overcome by some superior force or circumstance;
excites terror or pity.

Tragedy themed Plays

Othello
Romeo and
Juliet
Timon of Athens
[ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]
Plot
the pattern
of events and situations in a narrative or dramatic work, as selected and
arranged both to emphasize relationships usually of cause and effect between
incidents and to elicit a particular kind of interest in the reader or
audience, such as surprise or suspense.
Conflict
Opposition between characters or forces in a work of drama or fiction,
especially opposition that motivates or shapes the action of the plot.
The Tragic Hero
A tragic hero is the main [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] in a [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط]. The modern use of the term usually involves the
notion that such a hero make an [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذا الرابط] in their actions that leads to their downfall.
§ The Three
Unities §
1. The unity of action: a play should have one main action that it follows,
with no or few subplots.
2. The unity of place: a play should cover a single physical space and should
not attempt to compress geography, nor should the stage represent more than one
place.
3. The unity of time: the action in a play should take place over no more
than 24 hours.





Act I


Buried Child occurs in a
single setting: the large downstairs living room of a dilapidated Midwestern
farmhouse. The creaky old estate is occupied by an odd, eccentric, and often
frightening family who are removed from any traces of civilization outside. At
the beginning of the play, Dodge, the clan’s leader, is lying on a dingy old
sofa, half-asleep, watching a television with no sound. As he listens to the
rainfall outside, he begins to cough, tries to stifle his hacking with a slug
of whiskey from a hidden bottle, and manages to stifle his choking only when
his wife, Halie, calls to him from upstairs.


The
opening dialogue between Dodge and the unseen Halie, though relatively short,
provides a great deal of important exposition in a play that requires careful
attention to clues and minor details. The plot of Buried Child, like most of
Shepard’s plays, is not often simple and direct but unfolds in a series of
strange encounters and unsettling symbols.


Halie and Dodge, though
married for quite a few years, seem estranged. She remains upstairs, except
when she leaves the house. He seems to dwell downstairs, on the sofa, and he
never goes out. He drinks, smokes, wears filthy clothes, and watches television
almost constantly. She seems to have a preachy, religious streak in her,
advocates propriety, and nags her lumpish husband incessantly.


Still,
Halie, like almost all the characters in the play at one time or another,
recalls the past, a time when things seemed more exciting, more normal.
Remembering a day she once spent at the horse races, Halie says, “Everything
was dancing with life! Colors. There were all kinds of people from everywhere.
Everyone was dressed to the nines. Not like today. Not like they dress today.
People had a sense of style.” It is obvious from the very beginning of the play
that something happened to this family — something mysterious, secret, and
tragic — that has forever altered their lives.


While Halie continues ranting
from upstairs, and Dodge lapses into one of his coughing fits, their eldest
son, Tilden, appears with an armload of corn which, he claims, he just picked
from the field out back.


In spite of
Dodge’s protests that he never planted any corn, and that the produce was
probably stolen from a neighbor’s farm, Tilden pulls up a stool, puts down a
milk pail, and begins husking the vegetables. While he works, Dodge questions
him about his plans for the future. Apparently, Tilden has been away from home
for more than twenty years, off in New
Mexico by himself, and has only recently reappeared.
Dodge seems eager to send him on his way again — an anxiety that begins to make
sense later in the play, when Tilden’s earlier illicit relationship with his
mother surfaces.


Meanwhile,
from upstairs, Halie continues her oration. She calls down to warn Dodge that
they must care for Tilden, since he can no longer care for himself. Halie
remembers the glory days of Tilden’s youth, when he was an All-American
football player and the family had such high hopes for his future. His younger
brother, Bradley, they felt, was destined to fail, and all their dreams would
come alive in Tilden. When Tilden turned out to be troublesome, Halie
continues, they staked their hopes on Ansel, the youngest of the boys who,
Halie claims, may not have been as handsome, but was by far the smartest. She
rambles on about Ansel’s accomplishments as a basketball player and a soldier,
mourns his tragic death in a motel room on the night of his honeymoon, and
suggests Father Dewis, their pastor, might help them erect a statue of their
fallen son in the town square.


Halie
finally descends the stairs. She is dressed completely in black, as though
mourning, and on her way to a lunch appointment with Father Dewis. She argues
with the two men about the rain outside, the corn on the floor, and Bradley,
causing Dodge to complain, “He’s not my flesh and blood! My flesh and blood’s
out there in the backyard!” A hush falls over the room. Dodge has spoken the
apparently unspeakable in this household. While his comment goes unheeded and
unexplained for the time being, it haunts the rest of the play, as the family’s
terrible secret is slowly revealed.


Halie
finally leaves for her rendezvous with the pastor. Dodge curls up on the sofa
and falls asleep. Tilden steals his whiskey and leaves. Then, in the silence
that falls over the house, Bradley stomps in through the front door, the hinges
of his wooden leg creaking as he walks. He removes Dodge’s baseball cap, plugs
in a pair of electric clippers, and begins cutting his father’s hair while he
sleeps. The lights fade on the first act.


Act II


Later the same night. Vince, Tilden’s son, appears with
his girlfriend, Shelly. They are traveling across the country from New Jersey to see Vince’s father, who they think is still
in New Mexico,
and have stopped by unannounced to visit Dodge and Halie. They are expecting a
joyful family reunion. Instead, they are greeted by the grumpy, drunken Dodge
and the distant, half-crazed Tilden, neither of whom seem to recognize Vince.


Dodge
hollers for more whiskey and rails about the haircut he was given while he was
asleep, which has left him with patchy bald spots and cuts on his scalp. Tilden
brings in an armload of freshly picked carrots, which he proceeds to cut and
scrape in preparation for dinner. Shelly is initially terrified by the gloomy
house and its strange inhabitants. She urges Vince to leave and at least spend
the night in a hotel and return the next day. Vince, however, is adamant about
staying. He tries to prove he is part of the family by making funny faces and
noises he used to make as a child at the dinner table, but his father and
grandfather ignore him.


While Vince
becomes more and more exasperated, Shelly, oddly enough, is drawn into the
fold. She sits down with Tilden and helps him clean the carrots. To clear his
head and perhaps restore some sense of normalcy to the scene, Vince agrees to
run to the store to fetch more whiskey for Dodge. He pleads with Tilden and
Dodge to try to remember who he is while he is gone and assures Shelly that she
will be safe in his absence.


Once Vince
leaves, Tilden opens up to Shelly. He describes how he, too, used to drive
across the country, through the snow and the deserts, admiring the trees and
the animals. He, too, once had a sense of adventure. According to Tilden, his
life changed with the arrival of a baby in the house — a baby that was quite
small and simply disappeared. “We had no service. No hymn. Nobody came,” Tilden
laments. Only Dodge knows where the corpse is, he insists.


Shelly,
terrified once again, has little time to react to this macabre story of murder
and deceit before Bradley comes stomping into the room from outside and
immediately bullies Dodge and Tilden into submission. He insults and humiliates
his older brother until Tilden scampers offstage. Dodge lies quivering and
coughing on the floor while Bradley, to assert his control in the house, orders
Shelly to stand still and open her mouth. He places his fingers in her mouth,
then drops her coat over Dodge’s head as the scene ends





Act
III


It is the next morning, and a change has come over the
household. The rain has stopped, the sun is shining outside, and birds are
singing. Bradley has fallen asleep on the sofa, his artificial leg lying
nearby, while Dodge leans against the television, using Shelly’s coat as a
blanket. Shelly, meanwhile, has suddenly become a nurturing, motherly figure to
the ailing Dodge. She emerges from the kitchen, bright and happy, with a bowl
of warm soup broth for the man she now calls her “grandpa.” Some things still
haven’t changed, however. Dodge is as irascible as ever. He refuses to eat the
soup and complains loudly that Vince didn’t return the previous night and
probably stole the money he was given to buy Dodge’s whiskey.


While Shelly
attempts to calm and care for Dodge, Halie, who was also gone all night,
returns home with Father Dewis. She is now wearing a bright yellow dress, with
no sign of her black mourning clothes, and carrying an armful of roses. Both
Halie and the Father are a little drunk and have obviously been out for a night
on the town. Halie attempts to assume her usual position in the house, nagging
Dodge, scolding Bradley, and completely ignoring Shelly.


The balance
of power shifts again, and Shelly takes a stand. She grabs Bradley’s artificial
leg, wielding it like a weapon and leaving the once tyrannical bully helpless
and whimpering on the sofa. As the shocked family and pastor listen in
amazement, Shelly’s frustrations pour out. She describes what she and Vince had
hoped to find — the perfect American family he remembered from his past. She
confronts them with what they really are: strangers in their own house who
commit murder and bury the bodies in their backyard.





Would You Like it ? Why ?




ملخص البحث النهائي ماعدا رقم 7 في البحث

Regards
Saleh [ندعوك للتسجيل في المنتدى أو التعريف بنفسك لمعاينة هذه الصورة]

يا جماعة الشيتات كلها في مكتبة روكيت الي جمب مكتبة ريهام والف الف الف الف شكر ع الموضوع

للأسف ليست مختصرة

وإحنا مش بنحل شيت ده حل أبحاث

حل الشيت موجود في عدة مكاتب

وايضا مكتبة جراند مول المقابلة لمكتبة ريهام للدكتور كريم

وللدكتور هاني عطية ( الديزل ) في مكتبة روكيت

شكرا لمروركم

تقبول تحياتي

صالح