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s e m it e m o S . y ti l a e r n i a tr e c n u s a h y a l p s ’ o ll e d n a ri P t a h t d n u o f s i ti , t n e m e t a t s e h t m o r F
n i t h g ir b e ti u q s i o ll e d n a ri P . n o i s u ll i d n a y ti l a e r n e e w t e b h s i u g n it s i d o t d r a h s i t i
o e r a w a r e d a e r r o e c n e i d u a e h t g n i k a
m fthe realtiy .Through the play ,he want sto
. e fi l f o y ti l a e r e h t o t k c a b s u g n ir b
s w e i v e r n a m tl A , d n a h r e h t o e h t n
O SixCharactersi n Searcho fan Author sa
a t e
m -thearte .In t he t hesi senitlted Six Characters i n Search o fan Author :Adapitng
it c e r i D d n
a ngaModernDramaf o raContemporaryAudience. Hes tates:
e ti u q , s i y a l p s i h t f o e r n e g e h
T famously and undoubtedly ,meta-thearte . .
y a l p a s a f l e s ti t r e s s a t s u m y a l p e h t ,s i h t n e v i
G Ther evelaitonoft her ehearsa l b
m e o ll e d n a ri P t u b , s i h t s e v e i h c a s s e c o r
p race sthi smeta-theat ircaltiy more e c n e i d u a e h t k c ir t o t t o n s a w l a o g e h T . y a l p e h t t u o h g u o r h t y lt n e l a v e r
n i s e c n a t s m u c ri c e t a e r c o t , r e h t a r t u b ” ,l a e r “ e r a s r e t c a r a h C e h t g n i v e il e b
e h t h c i h
w rtuthoft heCharacters’r ealtiyi sundeniable.( 2009:14)
a t e m s i y a l p e h t f o e m e h t e h t s n i a l p x e n a m tl A , e v o b a n o it a t o u q e h t m o r
F -thearte .
o ll e d n a ri P t a h t s i h t u rt e h t t u b l a e r e r a s r e t c a r a h c t a h t e c n e i d u a e h t s k c ir t o ll e d n a ri P
h c f o h t u rt e h t h c i h w n i e c n a t s m u c ri c a s e t a e r
c aracter’ srealtiy i sundeniable .The
characters tisefl arecreatedf romt he aspec to fal lou r ilve ,srearrangedand ampil ifed
e t a e r c o
t ani ndependentr ealtiy.
r o h t u A n a f o h c r a e S n i s r e t c a r a h C x i
S i sa complex drama because i tuse s
’ y a l p n i h ti w y a l
p sconcept .The character sand the plo tbecome the signi ifcan t
f o a e d i e h t g n il a e v e r n i s n o it u b ir t n o c e v a h y e h t e s u a c e b a m a r d s i h t n i t n e m e l e
. m s i n r e d o
m The aciton sand reaciton so fthe character sin lfuence the movemen to f
y r o t s e h t n i t o l p , n e h T . y r o t s e h
t show sthe movemen tevent stha tare done by the
e h t f o a e d i n i a m e h t t e g s u s p l e h t o l p d n a s r e t c a r a h c f o n o it a n i b m o c e h T .s r e t c a r a h c
. y r o t s
a n I , n o it i d d a n
I tyasi nhert hesis ,AStudyo fCharacte randPlott oConveyt he
’ n a T y m A n i n e e S s a e m e h
T s t he K tichen God’ sWfie ,discusses t he combinaiton o f
t a h t s e t a t s e h S . t o l p d n a r e t c a r a h c
o t y r o t s e h t y fi n u y e h T . t o l p e h t n i d n u o f e b n a c s r e t c a r a h c e h t f o n o it c a e h T
f o t n e m e g n a r r a e h t m r o f r e p o t d e s u s i t o l p e h T . y r o t s e h t f o e m e h t e h t w o h s
s t n e v e e h
t .A si ti sfound in the plot ,the characte rt ire sto survive and e h T . e v l o s o t s a h e h s t a h t s m e l b o r p y n a m s a h e h s h g u o h tl a e fi l r e h e u n it n o c
y r o t s e h t f o a e d i l a rt n e c e h t s a e m e h
t The Ktichen God’ sWfie tha tcan be l
a n a e h t y b d e c r o f n i e r s i ti s a , d e y e v n o
c ysi so fcharacte rand plo,ti spaitence )
a n I o t g n i d r o c c
A tyas ,character sand plo tunfiyt o show t he t heme of t he story .The
a r e t c a r a h c f o s i s y l a n a e h t y b d e c r o f n i e r s i y r o t s e h t f o a e d i l a rt n e
c ndplo.t
n i y ti l a e r f o t p e c n o c e h t s i d e s s u c s i d e u s s i e h t ,s w e i v e r d n a s c it ir c s u h t m o r F
s i y d u t s f o c i p o t e h t , r a li m i s s i y d u t s f o t c e j b o e h t h g u o h tl A . s k r o w s ’ o ll e d n a ri P
t n e r e f fi
d .The previou sstudy concerns the realtiy and meta-thearte in drama whlie
s i h t , r e v o e r o M . m s i n r e d o m f o a e d i e h t n o s n r e c n o c s i s e h t e t a u d a r g r e d n u s i h t
t s e t a u d a r g r e d n
u udy i sdfiferen tfrom Inatyas’ sstudy .The topic i ssimliar bu tthe
a n I . t n e r e f fi d s i k r o
w tya sused nove lThe K tichen God’ sWfie as t he objec to fstudy
a m a r d d e s u s i s e h t e t a u d a r g r e d n u s i h t e li h
w SixCharactersi nSearcho fanAuthor.
f o a e d i e h t n o s n r e c n o c y d u t s e t a u d a r g r e d n u s i h t , n o i s u l c n o c e h t s A
s i h t , e s a c s i h t n I . t o l p d n a s r e t c a r a h c n i a m m o r f d e l a e v e r t a h t m s i n r e d o m
s i t i , s u h T . k r o w s ’ o ll e d n a ri P n i w e n g n i h t e m o s r e v o c s i d o t s e ir t e t a u d a r g r e d n u
. e n o d n e e b s a h t a h t y d u t s s u o i v e r p e h t m o r f t n e r e f fi d
.
B Reviewo fRelatedTheories
; d e v l o s e b o t d e e n t a h t s m e l b o r p e e r h t s a h s i s e h t e t a u d a r g r e d n u s i h T
, t o l p , s r e t c a r a h
c andt hei deao fmodernism .Therearesomer elevantt heo ires t ha tare
.
1 TheoryonCharacter
t s o m e h t s i r e t c a r a h c , n e h T . n o it c a n i n a m f o n o it a t n e s e r p e r e h t s i y a l p A
n o it c a n i n a m u h s y a rt r o p t i e c n i s y a l p e h t f o t n e m e l e t n a tr o p m
i .Abram sstate s
n o r e t a l e r a o h w k r o w e v it a r r a n r o c it a m a r d a n i d e t n e s e r p s n o s r e p e h t e r a s r e t c a r a h c “
y b d e t e r p r e t n
i the reader sfrom t hei rsay and acitons .What t hey say and do i sshow
e l b a t s n i a m e r y a m t I . ) 3 2 : 3 3 9 1 ( ” s e it il a u q l a n o it o m e d n a , l a n o it i s o p s i d , l a r o m “ r i e h t
a h g u o r h t r e h ti e s e g n a h c e m o s e v a h y a m r o , y r o t s e h t f o d n e e h t g n i n n i g e b e h t m o r f
r o s s e c o r p l a u d a r
g inas hockingway.
s t n e d i c n i r o f ,t o l p f o e c r u o s l a p i c n ir p e h t s i r e t c a r a h C “ , tt e k c o r B o t g n i d r o c c A
. s e g a n o s r e p c it a m a r d f o r o i v a h e b d n a h c e e p s e h t h g u o r h t y l n i a m d e p o l e v e d e b n a c
t c il f n o c e h t f o t u o s e s ir a y ll a u s u n o it c a , e r o m r e h tr u
F ing desrie sof t hese characters”
) 9 2 : 4 6 9 1
( In othe rwords ,characte rdoe sno tonly presen tthe characte irsitc o f
. r o i v a h e b d n a h c e e p s r i e h t h g u o r h t y r o t s e h t f o t n e m e v o m e h t o s l a t u b r e t c a r a h c
b u s e h t n o d n e p e d o s l a n a c s r e t c a r a h c f o y ti l a u q e h t s e m it e m o
S genret owhich aplay
e h t s a r a f s a n e v e s n o it n e v n o c n i a tr e c w o ll o f y ll a n o it i d a rt s e r n e g e s u a c e b s g n o l e b
e a n o s r e p s it a m a r
d .Dramait spersonaecanbede ifnedast hes umo fallt he ifgurest ha t
. y a l p e h t n i r a e p p a
.
2 TheoryonCharacteriza iton
u o t l a n if e h
T chstone ,perhapst hemosti mpo tran to fal,li nevaluaitnganyplay
tr a f o k r o w a s
a -and the mos t ce trainly in evaluaitng today’ s thearte- si
J . n o it a z ir e t c a r a h
c us ta sa play wli lcome t o l fie wtih l tilte more t han a single fully
y a l p a , r e t c a r a h c d e z il a e
e h t l a e v e r o t r e d r o n i n o it a z ir e t c a r a h c s e s u y ll a u s u t s it a m a r d e h t , r e t c a r a h c e h t
f o s n a e m e h t s i n o it a z ir e t c a r a h C “ , tt e k c o r B o t g n i d r o c c A . r e t c a r a h c f o c it s ir e t c a r a h c
a m a r d e n o g n it a it n e r e f fi
d itc personage from another .Since a dramaits tmay endow
o it a z ir e t c a r a h c , s ti a rt y n a m r o w e f h ti w s t n e g a s i
h n va ire smarkedly i n complextiy”
.) 9 2 : 4 6 9 1
(
. r e t c a r a h c e h t d e l a e v e r t h g ir w y a l p e h t w o h t u o b a d e n i a l p x e e h e r o m r e h tr u F
t a h t d i a s tt e k c o r B
t c a r a h c
A er i srevealed t hrough a numbe ro fdevices: t hrough desc irpiton i n e h t f o t r a p t o n l a ir e t a m y r o t a n a l p x e r e h t o r o , s e c a f e r p , s n o it c e ri d e g a t s
y a s s r e h t o t a h w h g u o r h t ; s y a s f l e s m i h e h t a h w h g u o r h t ; n o it c a r o e u g o l a i d
m i t s o m s p a h r e p , d n a ; m i h t u o b
a po tran,tt hroughwha thedoe s(1964 :30). u
t c
A ally,t herearesevera lway swhichenableaplayw irghtt opresentt hecharacteri n
a , e n o t s d l o G o t g n i d r o c c A . s r e d a e r e h t r o f y l e v il d n a e l b a d n a t s r e d n u y r o t s e h t
h g u o r h t d e h s il b a t s e y a l p a n i r e t c a r a h
c dialogue spoken by the character ,dialogue
r e t c a r a h c e h t t u o b a n e k o p
s , aciton taken by the character ,the personaltiy and
e l o r a d e s o p m o c n e tf o e v a h s t h g ir w y a l P . e l o r e h t g n i y a l p r o t c a e h t f o n o it a t e r p r e t n i
e p s h ti
w ci ifcacto ro racrtessi nmind(1960 :6).
t e g o t r e d r o n
I deepe ranalysi sabout t hecharacte ,rt here aresome t echnique s
4 8 1 : 0 0 0 2 ( r e t s if P o t g n i d r o c c A . r e t s if P y b d e v ir e d n o it a z ir e t c a r a h c f
o -195) ,
ti c il p x e ; s e u q i n h c e t n o it a z ir e t c a r a h c f o s e s s a l c r u o f o t n i d e d i v i d s i n o it a z ir e t c a r a h
c
-ti c il p m i ,l a r u g
ti c il p x e l l
A - ifgura l characte irzaiton technique s are verbal . They may be
fl e s e h t ; s e ir o g e t a c o w t o t n i d e d i v i
d -commentaryandcommentarybyother .s I n sefl
-ti y a w e h t e t a l u c it r a y lt i c il p x e e r u g if e h t , y r a t n e m m o
c see stisel fwh liei ncommentary
fl e S . r e h t o n a y b y lt i c il p x e d e z ir e t c a r a h c s i e r u g if e n o , s r e h t o y
b -commentary and
. y u q o li l o s d n a e u g o l a i d y b e n o d e r a s r e h t o y b y r a t n e m m o c
ti c il p m
I - ifgura lcharacte irzaitont echnique sareonlyparitallyverba lbecausea
r
d amaitc ifgure i spresentedi mpilciltyno tonlyt hroughwhat i tsay sand howi tsays ,
s e t a r e p o t i h c i h w n i h ti w t x e t n o c e h t d n a r o i v a h e b s ti , e c n a r a e p p a s ti h g u o r h t o s l a t u b
e c n a r a e p p a l a c i s y h p h g u o r h t d e h s il b a t s e s i t I . ) c t e , r o ir e t n i , s e it r e p o r p , g n i h t o l c
( ,
, r o i v a h e b , g n it t e s , s p o r p e g a t s , s e m u t s o c d n a s k s a m , n o i s s e r p x e l a i c a f d n a e r u t s e g
. )t c e l a i d ( e g a u g n a l d n a e c i o v
ti c il p x
E -autho ira l characte irzaiton technique s are the desc irpiton s o f
. s e m a n g n il l e t ; s n o it c e ri d e g a t s r o y r a t n e m m o c r o h t u a n i s r e t c a r a h
c Name ssuch a s
r o s i h e r o f e b n e v e e r u g if a e n if e d o t e v r e s ti e v o L . s r M , tr o f h s i W y d a L , e fi w h c n i P . r M
. e g a t s e h t n o e c n a r a e p p a t s ri f r e h
ti c il p x
E - ifgura l characte irzaiton technique s are the emphasi s on
g if e n o n e e w t e b t s i x e t a h t t s a rt n o c d n a e c n e d n o p s e r r o
c ure and t he others; i ndrieclty
d n a d e v i e c r e p e b n a c s t s a rt n o c d n a s e c n e d n o p s e r r o c e s e h t , s u h T . s e m a n g n il l e t
g n i k a m o t n i r e v i e c e r e h t e t a l u m it s o t s a o s , s e v l e s m e h t e r u g if e h t y b d e t a l u c it r a
.
3 TheoryonPlot
e h t e v i g s t n e v e e h T . t n e v e d n a r e t c a r a h c , e g a u g n a l f o g n i n r e tt a p a s i a m a r d A
d n a d e r e d r o s i h c i h w s n o it c a e h t f o e r u t c u rt s e h t s i t o l P . t o l p , y r o t s e h t f o t n e m e v o m
e h T . a m a r d a n i s t c e f f e c it s it r a d n a l a n o it o m e r a l u c it r a p e v e i h c a o t r e d r o n i d e t n e s e r p
o l
p to fa drama , ilke t ha to fa novel ,a shor tstory ,o reven a narraitve poem,i s t he
l l e t o t n e s o h c s a h t h g ir w y a l p e h t y a w e h t s i t o l P “ , tr e n i e R o t g n i d r o c c A . y r o t s l a u t c a
b f o g n i n a e m m u m i x a m r o f s t n e d i c n i f o t n e m e g n a r r a s li a t e d e h t , y r o t s s i
h eauty o r
p s u
s ense” (1964 :23). In sho tr ,plo ti sthe over-al lsrtucture o fa play ,and maybe
. g n i d n e d n a e l d d i m , g n i n n i g e b s ti f o s m r e t n i d e n i m a x e
s i a m a r d f o e r u t c u rt s l l a r e v o e h t e b ir c s e d o t d e s u y lt n e u q e r f l e d o m r e h t o n A
d e b ir c s e d g a t y e r F . d i m a r y P s ’ g a t y e r F d e ll a
c a classica l ifve-ac tsrtucture o fplays i n
u f r a l u c it r a p a d e t u b ir tt a e h d n a , d i m a r y p f o e p a h s e h
t nciton t o each of t he ifve- sa ct
) 9 9 : 8 0 0 2 , e g d ir b h t e L
( . TheFreytag’ sPyramidcanbes chemaitzedasf ollows
) n o it i s o p x E ( n o it c u d o r t n I I t c
A contain salli nrtoductoryandt hu sservea sexposiiton :
e h t s e r a p e r p y a l p e h t ,t c il f n o c a g n it n e s e r p y b , d n a d e c u d o rt n i e r a s r e t c a r a h c n i a m e h t
y r o t s f o g n i n n i g e b e h t t a s tr a t s y a l p e h T . s t c a t n e u q e s b u s n i n o it c a e h t r o f e c n e i d u a
o it a m r o f n i y r a s s e c e n e h t l l a s e d i v o r p d n
a n concerning the characters , thei r
s i h c i h w k c a tt a t n i o p e h t s i g n i n n i g e b f o t c e p s a r e h t o n A . c t e , t c il f n o c , s e c n a t s m u c ri c
n o it c A g n it a c il p m o C I I t c
A usually propel s the plo t by inrtoducing fu trhe r
o t s tr a t s t c il f n o c n i a m e h T . e u s s i n i a m e h t o t d e t a l e r s m e l b o r p r o s e c n a t s m u c ri c
.s li a t e d r e t a e r g n i d e t n e s e r p e r a s r e t c a r a h c d n a p o l e v e d
x a m il c s ti s e h c a e r t o l p e h t II I t c
A .A c irsi soccur swhere t he deed i scommitted t ha t
o t d a e l ll i
w thecatasrtophe ,andt hi sb irng sabou tat urni naplo.t
n o it c A g n il l a F V I t c
A create snew tension in tha ti tdelay sthe ifna lcatasrtophe by
.s t n e v e r e h tr u f
e h p o r t s a t a C V t c
A ifnally offer sasoluitont o a confilc tpresented i n t he play .Whlie
e i d e g a
rt sendi ncatasrtopheusuallyt hedeathoft heprotagonist ,comedie saresimply
s i g n i d n e s u h t h t o b r o f e l b a c il p p a s i t a h t m r e t A . d e v l o s e
r denouementwhich mean s
. t o l p e h t f o ’ g n it t o n k n u ‘ e h t
o t s r e f e r t a h t t n e d i c n i s ’ y a l p f o y r a m m u s a t s u j s i t o l p , s u h
T theorganizaitono fallt he
. g n i d n e d n a , e l d d i m , g n i n n i g e b s a h t a h t n r e tt a p l u f g n i n a e m a o t n i s t n e d i c n i
.
4 TheoryonModernism
d n a , r e t c a r a h c , t h g u o h t n r e d o m s i , n o it i n if e d t s e d a o r b s ti n i , m s i n r e d o M
m l a r u tl u c g n i m r o f e r f o s e ir e s a s e b ir c s e d t I . e c it c a r
p ovement sin a tr ,archtiecture ,
, l a r e n e g n I . y r u t n e c h t n e e t e n i n n i d e g r e m e h c i h w s tr a d e il p p a d n a , e r u t a r e ti l , c i s u m
t l e f o h w e s o h t f o t u p t u o d n a s e it i v it c a e h t s e s s a p m o c n e m s i n r e d o m m r e t e h t
l a i c o s , h ti a f s u o i g il e r , e r u t c e ti h c r a , tr a f o s m r o f ’ l a n o it i d a rt
n a f o s n o it i d n o c l a c it il o p d n a , l a i c o s , c i m o n o c e w e n e h t n i d e t a d t u o g n i m o c e b e fi l
. ’ y ti n r e d o m ‘ m r e t h ti w s l a e d n e tf o m s i n r e d o M . d lr o w d e z il a ir t s u d n i y ll u f g n i g r e m e
o t n i e m o c e v a h o t d l e h y ll a r e n e g s i y ti n r e d o M “ , p u r a S o t g n i d r o c c
A being wtih t he
e v it a rt s i n i m d a d n a c i m o n o c e e v i s s e r g o r p e h t s e il p m i y ti n r e d o M . e c n a s s i a n e R
f fi d d n a n o it a z il a n o it a
r erenitaiton o fthe socia lwo lrd.” (1993:130) In othe rword ,
l a c y ll a u s u t n e m e v o m s i h t f o e r u g if e h t d n a y ti n r e d o m f o e r u tl u c e h t s i m s i n r e d o
m led
. t s i n r e d o m
0 0 9 1 n e e w t e b e p o r u E n i t h g i e h s ti d e h c a e r t n e m e v o m y r a r e ti l a s a m s i n r e d o M
y r a r e ti l e h t f o s c it s ir e t c a r a h c e m o s d e n i a l p x e y r r a B . s ’ 0 2 9 1 e l d d i m e h t d n a
s w o ll o f s a m s i n r e d o m
.
1 Anewemphasi soni mpressionismands ubjecitvtiy,t hati s ,onh w o wes ee n
a h t r e h t a
r what wesee( apreoccupaiton evident i nt heuse oft hesrteam -f
o -consciousnesst echnique .) .
2 A movemen taway i(n novels )from t he apparen tobjecitv tiy provided by f o s t n i o p e v it a r r a n d e x if , n o it a r r a n l a n r e t x e t n e i c s i n m o : s a s e r u t a e f h c u s
r a e l c d n a w e i
v -cu tmora lposiiton .s .
3 A blur irng o fthe disitnciton between genres ,so tha tnovel stend sto c
it e o p d n a l a c ir y l e r o m e m o c e
b , fo r instance , and poem s more e
s o r p d n a y r a t n e m u c o
d -il ke.
.
4 A new ilking f orf ragmented f orms ,disconitnuou snarraitve ,and r andom -.s
l a ir e t a m e t a r a p s i d f o s e g a ll o c g n i m e e s .
5 A tendency toward s‘re lfexivtiy’ ,so tha tpoems ,plays ,and novel sraise s
e u s s
i concerningt hei rownnature,s tatu sandr ole.(2009 :79)
n o it a t n e m ir e p x e s e z i s a h p m e m s i n r e d o m t a h t d i a s e b n a c t i ,s c it s ir e t c a r a h c e s o h t m o r F
f o t ir i p s e h t , n e h T . e c n a r a e p p a e c a f r u s d n i h e b h t u rt r e n n i g n i d n if f o m i a e h t d n a
s a e r f o r e w o p e h t s i m s i n r e d o
m on .Howeve ,r t he fragmentaiton i sa t one of l ament ,
n i n o it a t n e s e r p e r e t a ir p o r p p a s ti s d n if h c i h w d lr o w e h t t u o b a r i a p s e d d n a , m s i m i s s e p
. t c a t n i y ti r o h t u a d n a l l u f s a
w Thet endencyt owards r e lfexivtiyi sclea lryf ound i nt he
. e l o r d n a , s u t a t s , e r u t a n n w o r i e h t g n i n r e c n o c e u s s i e h t e s i a r y e h T . e r u t a r e ti l f o s m r o f
. y a l p a n i h ti w y a l p a t i d e ll a c e w r o y a l p a t u o b a y a l p a , e c n a t s n i r o F
m f o s e r u t a e f c i s a b e h t , n o it i d d a n
I odernism can be summa irzed as :an
fl e s c it e h t s e
a -consciousnes sand re lfexiveness ;a rejeciton o fnarraitve srtucture in
n e p o , e g a t n o m d n a y tl e n a tl u m i s f o r u o v a
f -endednatureofr ealtiy ;andt her ejecitono f
r u o v a f n i y ti l a n o s r e p d e t a r g e t n i n a f o n o it o n e h
t o fan emphasi supon t he Freudian
t c e j b u s ’t il p s
‘ (Sarup ,1993 :131).
.
C Theore itca lFramework
g n i z y l a n a n i l u f p l e h y r e v e r a r e t p a h c s i h t n i d e t a t s s e ir o e h t e h
T SixCharacter s
a f o h c r a e S n
i n Author .The t heory on characters ,characte irzaiton and plo tare used
g n i d n if n i d e s u e b l li w y ti n r e d o m n o y r o e h t e h t , n e h T . s i s y l a n a c i s a b e h t e d i v o r p o t
. y a l p e h t f o t o l p d n a s r e t c a r a h c n i d n u o f s i t a h t m s i n r e d o m f o e u l a v e h t
s e n i m a x e y d u t s t n e s e r p s i h
T thedesc irpitono fmaincharacteri nt heplay .The
f o y r o e h
t characte rby Abram sand Brockett i sused t o ifnd ou tthe characteirs itc o f
y a l p e h t n i r e t c a r a h c n i a
m .In orde rto ifnd ou tmain character’ scharacte irsitc, the
f o y r o e h T . r e t s if P d n a t t e k c o r B y b n o it a z ir e t c a r a h c f o y r o e h t s e s u o s l a r e ti r w
y r o e h t g n i y l p p a y B . r e t c a r a h c e h t t u o d n if r e ti r w e h t p l e h o t d e s u s i n o it a z ir e t c a r a h c
n o it a l u m r o f m e l b o r p t s ri f e h t d e v l o s d a h r e ti r w e h t , n o it a z ir e t c a r a h c d n a r e t c a r a h c
