Music and creativity in Ancient Greece - Tim Hansen

709,179 views ใƒป 2013-12-03

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Ariella Cwikel ืขืจื™ื›ื”: Ido Dekkers
00:06
We live in a society
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ืื ื—ื ื• ื—ื™ื™ื ื‘ื—ื‘ืจื”
00:08
obsessed with music.
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ืขื ืื•ื‘ืกืกื™ื” ืœืžื•ื–ื™ืงื”.
00:10
We use music to worship,
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ืื ื—ื ื• ืžืฉืชืžืฉื™ื ื‘ืžื•ื–ื™ืงื” ืœืคื•ืœื—ืŸ,
00:12
tell stories,
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ื›ื“ื™ ืœืกืคืจ ืกื™ืคื•ืจื™ื,
00:13
to celebrate,
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ื›ื“ื™ ืœื—ื’ื•ื’,
00:14
to work,
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ื›ื“ื™ ืœืขื‘ื•ื“,
00:16
exercise,
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ืœื”ืชืขืžืœ,
00:17
declare our love
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ืœื”ื‘ื™ืข ืืช ืื”ื‘ืชื ื•
00:19
and sometimes our hatred,
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ื•ืœืคืขืžื™ื ืืช ื”ืฉื ืื” ืฉืœื ื•,
00:21
and, arguably most importantly,
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ื•ืื•ืœื™ ื”ื›ื™ ื—ืฉื•ื‘,
00:23
to dance.
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ื›ื“ื™ ืœืจืงื•ื“.
00:25
And, of course, we play music ourselves
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ื•ื›ืžื•ื‘ืŸ, ืฉืื ื—ื ื• ืžื ื’ื ื™ื ืžื•ื–ื™ืงื” ื‘ืขืฆืžื ื•
00:27
because, well, it's a pleasant thing to do.
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ื‘ื’ืœืœ ืฉ... ื˜ื•ื‘, ื–ื” ื“ื‘ืจ ื ืขื™ื ืœืขืฉื•ืช.
00:30
Thousands of years ago in Ancient Greece,
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ืœืคื ื™ ืืœืคื™ ืฉื ื™ื ื‘ื™ื•ื•ืŸ ื”ืขืชื™ืงื”,
00:33
when it came to music,
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ื‘ื›ืœ ืžื” ืฉืงืฉื•ืจ ืœืžื•ื–ื™ืงื”,
00:34
things weren't much different.
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ื”ื“ื‘ืจื™ื ืœื ื”ื™ื• ืžืื“ ืฉื•ื ื™ื.
00:36
They might have had lyres and tunics
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ืื•ืœื™ ื”ื™ืชื” ืœื”ื ื”ืœื™ืจื” ื•ื˜ื•ื ื™ืงื•ืช
00:39
instead of MP3 players and jeans,
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ื‘ืžืงื•ื MP3 ื•ื’'ื™ื ืก,
00:41
but the Ancient Greeks were just as obsessed
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ืื‘ืœ ืœื™ื•ื•ื ื™ื ื”ืขืชื™ืงื™ื ื”ื™ืชื” ืื•ื‘ืกืกื™ื”
00:43
with music as we are today.
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ืœืžื•ื–ื™ืงื” ื‘ื“ื™ื•ืง ื›ืžื• ืฉืœื ื• ื™ืฉ ื”ื™ื•ื.
00:45
In fact, music was such an important part
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ืœืžืขืฉื”, ืžื•ื–ื™ืงื” ื”ื™ืชื” ื—ืœืง ื›ื” ื—ืฉื•ื‘
00:47
of Ancient Greek society
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ื‘ื—ื‘ืจื” ื‘ื™ื•ื•ืŸ ื”ืขืชื™ืงื”
00:48
that it makes us seem tame by comparison.
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ืฉื–ื” ื’ื•ืจื ืœื ื• ืœื”ื™ืจืื•ืช ืจื’ื•ืขื™ื ื‘ื”ืฉื•ื•ืื” ืืœื™ื”ื.
00:51
To really understand just how integral music was
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ื›ื“ื™ ืœื”ื‘ื™ืŸ ื‘ืืžืช ืขื“ ื›ืžื” ืžื•ื–ื™ืงื” ื”ื™ืชื” ืื™ื ื˜ื’ืจืœื™ืช
00:54
to the Ancient Greeks,
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ืœื™ื•ื•ื ื™ื ื‘ื™ื•ื•ืŸ ื”ืขืชื™ืงื”,
00:55
let's begin by acquainting ourselves
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ื‘ื•ืื• ื ืชื—ื™ืœ ื‘ื”ื™ื›ืจื•ืช
00:57
with a bit of their mythology.
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ืขื ื—ืœืง ืงื˜ืŸ ืžื”ืžื™ืชื•ืœื•ื’ื™ื” ืฉืœื”ื.
00:59
In Ancient Greek mythology,
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ื‘ืžื™ืชื•ืœื•ื’ื™ื” ื”ื™ื•ื•ื ื™ืช,
01:01
it was believed that human creativity
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ื”ืืžื™ื ื• ืฉื”ื™ืฆื™ืจืชื™ื•ืช ืฉืœ ื‘ื ื™ ื”ืื“ื
01:03
was the result of divine inspiration
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ื”ื™ืชื” ืชื•ืฆืื” ืฉืœ ื”ืฉืจืื” ืืœื•ื”ื™ืช
01:05
from a group of goddesses known as the Muses.
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ืฉื”ื’ื™ืขื” ืžืงื‘ื•ืฆื” ืฉืœ ืืœื•ืช ืฉื ืงืจืื• ื”ืžื•ื–ื•ืช.
01:08
While scholars have argued over the years
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ื‘ืขื•ื“ ืžืœื•ืžื“ื™ื ื˜ืขื ื• ืœืื•ืจืš ื”ืฉื ื™ื
01:11
that there are anything between 3 and 13 Muses,
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ื›ื™ ื™ืฉ ื‘ื™ืŸ 3 ืœ-13 ืžื•ื–ื•ืช,
01:14
the standard number accepted today is 9.
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ื”ืžืกืคืจ ื”ืžืงื•ื‘ืœ ื›ื™ื•ื ื”ื•ื 9.
01:17
Each Muse oversees her own specific area
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ืœื›ืœ ืžื•ื–ื” ืื—ืจื™ื•ืช ืžืฉืœื” ืขืœ ืชื—ื•ื ืกืคืฆื™ืคื™
01:19
of artistic expertise,
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ืฉืœ ืžื•ืžื—ื™ื•ืช ืืžื ื•ืชื™ืช,
01:21
ranging from song and dance
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ื”ื—ืœ ืžืฉื™ืจื” ื•ืจื™ืงื•ื“
01:23
to history and astronomy.
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ืขื“ ื”ื™ืกื˜ื•ืจื™ื” ื•ืืกื˜ืจื•ื ื•ืžื™ื”.
01:26
It might seem strange to categorize
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ืื•ืœื™ ื ืจืื” ืžืฉื•ื ื” ืœืงื˜ืœื’
01:27
history and astronomy as creative pursuits,
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ื”ื™ืกื˜ื•ืจื™ื” ื•ืืกื˜ืจื•ื ื•ืžื™ื” ื›ืžืฉืœื— ื™ื“ ื™ืฆื™ืจืชื™,
01:29
but the Ancient Greeks saw these disciplines
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ืื‘ืœ ื‘ื™ื•ื•ืŸ ื”ืขืชื™ืงื” ื”ืืžื™ื ื• ืฉื”ื“ื™ืกืฆื™ืคืœื™ื ื•ืช ื”ืืœื•
01:31
as more than just school subjects.
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ื”ื™ื• ื™ื•ืชืจ ืžืกืชื ืžืงืฆื•ืข ื‘ื‘ื™ืช ื”ืกืคืจ.
01:33
These were the hallmarks of civilization
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ืืœื• ื”ื™ื• ื—ื•ืชืžื•ืช ื”ืื™ื›ื•ืช ืฉืœ ืชืจื‘ื•ืช
01:37
in what, to their eyes,
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ื‘ืžื”, ืฉื”ื™ื” ื‘ืขื™ื ื™ื”ื,
01:38
was a pretty barbaric world.
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ืขื•ืœื ื“ื™ ื‘ืจื‘ืจื™.
01:40
An educated, civilized person
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ืžืื“ื ืžื—ื•ื ืš ื•ืชืจื‘ื•ืชื™
01:42
was expected to be proficient
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ื”ื™ื” ืžืฆื•ืคื” ืœื”ื™ื•ืช ืžื•ืžื—ื”
01:44
in all aspects of creative thought
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ื‘ื›ืœ ื”ื”ื™ื‘ื˜ื™ื ืฉืœ ื—ืฉื™ื‘ื” ื™ืฆื™ืจืชื™ืช
01:46
inspired by the Muses,
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ืฉื”ืžื•ื–ื•ืช ื ืชื ื• ืœื”ื ื”ืฉืจืื”,
01:48
and the common medium
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ื•ื”ืืžืฆืขื™ ื”ื ืคื•ืฅ
01:49
through which these disciplines were taught,
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ืฉืฉื™ืžืฉ ืœื”ื•ืจืืช ื”ื“ื™ืกืฆื™ืคืœื™ื ื•ืช ื”ืืœื•,
01:50
studied,
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ืœืœืžื™ื“ื”,
01:51
and disseminated
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ื•ื”ื”ืคืฆื” ืฉืœื”ืŸ
01:52
was music.
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ื”ื™ื” ื”ืžื•ื–ื™ืงื”.
01:54
You see, it's no coincidence
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ืชื‘ื™ื ื•, ืื™ืŸ ื–ื” ืžืงืจื™
01:56
that the word Muse is very similar
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ืฉื”ืžื™ืœื” ืžื•ื–ื” ื“ื•ืžื” ืžืื“
01:58
to the word music.
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ืœืžื™ืœื” ืžื•ื–ื™ืงื”.
02:00
It's where the word originates.
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ื–ื”ื• ื”ืžืงื•ืจ ืฉืœ ื”ืžื™ืœื”.
02:02
Poetry, be it a love poem
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ืฉื™ืจื”, ื‘ื™ืŸ ืื ื–ื• ืฉื™ืจืช ืื”ื‘ื”
02:04
or an epic poem about a dragon-slaying hero,
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ืฉื™ืจื” ืืคื™ืช ืื•ื“ื•ืช ื’ื™ื‘ื•ืจ ืงื•ื˜ืœ-ื“ืจืงื•ื ื™ื,
02:07
was sung with a musical accompaniment.
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ื”ื™ืชื” ืžื•ืฉืจืช ื‘ืœื™ื•ื•ื™ ืžื•ื–ื™ืงืœื™.
02:09
Dancing and singing, obviously,
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ืจื™ืงื•ื“ ื•ืฉื™ืจื”, ื›ืžื•ื‘ืŸ,
02:11
were accompanied by music.
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ื”ื™ื• ืžืœื•ื•ื™ื ืขืœ ื™ื“ื™ ืžื•ื–ื™ืงื”.
02:13
Theater was always a combination
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ืชืื˜ืจื•ืŸ ืชืžื™ื“ ื”ื™ื” ืฆื™ืจื•ืฃ
02:15
of spoken word and music.
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ืฉืœ ื”ืžื™ืœื” ื”ืžื“ื•ื‘ืจืช ื•ืžื•ื–ื™ืงื”.
02:18
History was recounted through song.
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ื”ื™ืกื˜ื•ืจื™ื” ืชื•ืืจื” ื‘ืืžืฆืขื•ืช ืฉื™ืจื”.
02:20
Even the study of astronomy
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ืืคื™ืœื• ืœื™ืžื•ื“ื™ ืืกื˜ืจื•ื ื•ืžื™ื”
02:22
was linked to the same physical principles
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ื”ื™ื• ืงืฉื•ืจื™ื ืœืขืงืจื•ื ื•ืช ืคื™ื–ื™ืงืœื™ื™ื ื–ื”ื™ื
02:24
as musical harmony,
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ืœืืœื• ืฉืœ ื”ืจืžื•ื ื™ื” ืžื•ื–ื™ืงืœื™ืช,
02:25
such as the belief held by many Greek thinkers
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ื›ืžื• ื”ืืžื•ื ื” ืฉื”ื—ื–ื™ืงื• ื”ื•ื’ื™ื ื™ื•ื•ื ื™ื ืจื‘ื™ื
02:27
that each of the planets and stars
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ื›ื™ ื›ืœ ืื—ืช ืžื”ืคืœื ื˜ื•ืช ื•ื”ื›ื•ื›ื‘ื™ื
02:29
created their own unique sound
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ื™ื•ืฆืจื™ื ืฆืœื™ืœ ื™ื™ื—ื•ื“ื™ ืžืฉืœื”ื
02:31
as they traveled through the cosmos,
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ื‘ืขื•ื“ ื”ื ื ืขื™ื ื“ืจืš ื”ื™ืงื•ื,
02:32
thrumming like an enormous guitar string
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ืคื•ืจื˜ื™ื ื•ืžื”ื“ื”ื“ื™ื ื›ืžื• ืžื™ืชืจ ื’ื™ื˜ืจื” ืขืฆื•ื
02:35
light-years long.
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ื‘ืื•ืจืš ืฉื ื•ืช-ืื•ืจ.
02:36
However, music pervaded more aspects of their lives
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ืื•ืœื, ื”ืžื•ื–ื™ืงื” ื—ื“ืจื” ืœื”ื™ื‘ื˜ื™ื ืื—ืจื™ื ืฉืœ ื—ื™ื™ื”ื
02:39
than just education.
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ื•ืœื ืจืง ืœื—ื™ื ื•ืš.
02:41
Ancient Greeks considered music
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ื‘ื™ื•ื•ืŸ ื”ืขืชื™ืงื” ื”ื—ืฉื™ื‘ื• ืžื•ื–ื™ืงื”
02:42
to be the basis for understanding
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ืœื”ื™ื•ืช ื”ื‘ืกื™ืก ืœื”ื‘ื ื”
02:44
the fundamental interconnectedness
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ืฉืœ ืงื™ืฉื•ืจื™ื•ืช ื‘ืกื™ืกื™ืช
02:46
of all things in the universe.
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ืฉืœ ื›ืœ ื”ื“ื‘ืจื™ื ื‘ื™ืงื•ื.
02:48
This concept of connectivity
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ื”ืžื•ืฉื’ ื”ื–ื” ืฉืœ ื—ื™ื‘ื•ืจื™ื•ืช
02:50
is known as harmonia,
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ื ืงืจื ื”ืจืžื•ื ื™ื”,
02:51
and it's where we get the word harmony.
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ื•ืžืฉื ืžื’ื™ืขื” ื”ืžื™ืœื” ื”ืจืžื•ื ื™ื” ("ื”ืจืžื•ื ื™" ื‘ืื ื’ืœื™ืช).
02:54
Music was used as a form of medicine
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ืžื•ื–ื™ืงื” ืฉืžืฉื” ื›ืืžืฆืขื™ ืœืจื™ืคื•ื™
02:56
to treat illnesses and physical complaints,
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ืœื˜ื™ืคื•ืœ ื‘ืžื—ืœื•ืช ื•ืชืœื•ื ื•ืช ืคื™ื–ื™ื•ืช,
02:58
as a vital accompaniment to sporting contests,
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ื”ื™ื•ื•ืชื” ืœื™ื•ื•ื™ ื—ื™ื•ื ื™ ืœืชื—ืจื•ื™ื•ืช ืกืคื•ืจื˜,
03:01
and as a means to keep workers in time
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ื•ื›ืืžืฆืขื™ ืœืฉืžื•ืจ ืขืœ ืงืฆื‘ ืฉืœ ืขื•ื‘ื“ื™ื
03:03
as they toiled away on monotonous or menial tasks.
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ื‘ืขื•ื“ื ืขืžืœื™ื ืขืœ ืžื˜ืœื•ืช ืžื•ื ื•ื˜ื•ื ื™ื•ืช ืื• ื‘ื–ื•ื™ื•ืช.
03:08
One of the most important applications
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ืื—ื“ ื”ื™ื™ืฉื•ืžื™ื ื”ื—ืฉื•ื‘ื™ื ื‘ื™ื•ืชืจ
03:10
of music in Ancient Greek society
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ืฉืœ ืžื•ื–ื™ืงื” ื‘ื—ื‘ืจื” ื”ื™ื•ื•ื ื™ืช ื”ืขืชื™ืงื”
03:12
is found in the belief
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ืžืฆื•ื™ื” ื‘ืืžื•ื ื”
03:13
that music can affect a person's ethos.
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ืฉืžื•ื–ื™ืงื” ื™ื›ื•ืœื” ืœื”ืฉืคื™ืข ืขืœ ื”ืืชื•ืก ืฉืœ ื‘ืŸ ืื“ื.
03:16
A word we still use today,
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ื–ื• ืžื™ืœื” ืฉืื ื—ื ื• ืขื“ื™ื™ืŸ ืžืฉืชืžืฉื™ื ื‘ื” ื”ื™ื•ื,
03:17
ethos is a person's guiding beliefs
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ืืชื•ืก ื”ื•ื ื”ืืžื•ื ื” ื”ืžื ื—ื” ืฉืœ ืื“ื
03:19
or personal ethics,
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ืื• ืืชื™ืงื” ืื™ืฉื™ืช,
03:20
the way that one behaves
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ื”ืฆื•ืจื” ืฉื‘ื” ืื“ื ืžืชื ื”ื’
03:22
towards oneself and others.
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ื›ืœืคื™ ืขืฆืžื• ื•ื”ืื—ืจื™ื.
03:24
The Greek philosopher Plato,
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ื”ืคื™ืœื•ืกื•ืฃ ื”ื™ื•ื•ื ื™ ืืคืœื˜ื•ืŸ,
03:25
one of the most famous
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ืžื”ืžืคื•ืจืกืžื™ื
03:27
and influential Greek thinkers of the time,
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ื•ื”ืžืฉืคื™ืขื™ื ืฉื‘ื”ื•ื’ื™ื ื”ื™ื•ื•ื ื™ื ื‘ื–ืžื ื•,
03:29
asserted that music had a direct effect
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ื˜ืขืŸ ื›ื™ ืœืžื•ื–ื™ืงื” ื™ืฉ ื”ืฉืคืขื” ื™ืฉื™ืจื”
03:31
on a person's ethos.
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ืขืœ ื”ืืชื•ืก ืฉืœ ืื“ื.
03:33
Certain kinds of music
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ืกื•ื’ื™ ืžื•ื–ื™ืงื” ืžืกื•ื™ืžื™ื
03:34
could incite a person to violence
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ืขืฉื•ื™ื™ื ืœืขื•ืจืจ ืืœื™ืžื•ืช ื‘ืื“ื
03:36
while others could placate a person
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ื‘ืขื•ื“ ืื—ืจื™ื ื™ื›ื•ืœื™ื ืœื”ืจื’ื™ืข ืื•ืชื•
03:38
into a benign, unthinking stupor.
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ืขื“ ืœืขืจืคื•ืœ ื—ื•ืฉื™ื ื ืขื™ื.
03:41
According to Plato,
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ืœื“ื‘ืจื™ ืืคืœื˜ื•ืŸ,
03:42
only very specific types of music
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ืจืง ืกื•ื’ ืžืกื•ื™ื ืžืื“ ืฉืœ ืžื•ื–ื™ืงื”
03:44
were beneficial to a person's ethos.
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ื”ื™ื” ื‘ืขืœ ืขืจืš ืœืืชื•ืก ืฉืœ ืื“ื.
03:47
One should only listen to music
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ืขืœื™ื ื• ืœื”ืื–ื™ืŸ ืจืง ืœืžื•ื–ื™ืงื”
03:49
that promotes intelligence,
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ืฉืžืงื“ืžืช ืื™ื ื˜ืœื™ื’ื ืฆื™ื”,
03:50
self-discipline,
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ืžืฉืžืขืช ืขืฆืžื™ืช,
03:51
and courage,
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ื•ืื•ืžืฅ,
03:52
and all other kinds of music must be avoided.
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ื•ื™ืฉ ืœื”ื™ืžื ืข ืžื›ืœ ืฉืืจ ืกื•ื’ื™ ื”ืžื•ื–ื™ืงื”.
03:56
Furthermore, Plato fervently denounced
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ื™ืชืจื” ืžื–ืืช, ืืคืœื˜ื•ืŸ ื”ื•ืงื™ืข ื‘ืœื”ื˜
03:58
any music that deviated
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ื›ืœ ืžื•ื–ื™ืงื” ืฉืกื˜ื˜ื”
04:00
from established musical conventions,
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ืžืžื•ืกื›ืžื•ืช ืžื•ื–ื™ืงืœื™ื•ืช ืžื‘ื•ืกืกื•ืช,
04:01
fearing that doing so
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ืžื—ืฉืฉ ืฉืื ืœื ื›ืš
04:03
would lead to the degradation
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ื™ื•ื‘ื™ืœ ื”ื“ื‘ืจ ืœื‘ื™ื–ื•ื™
04:04
of the standards of civilization,
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ื”ืกื˜ื ื“ืจื˜ื™ื ืฉืœ ื”ืชืจื‘ื•ืช,
04:06
the corruption of youth,
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ื”ื”ืฉื—ืชื” ืฉืœ ื”ื ื•ืขืจ,
04:07
and eventually complete and utter anarchy.
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ื•ืœื‘ืกื•ืฃ ืชื•ื‘ื™ืœ ืœืื ืจื›ื™ื” ื’ืžื•ืจื”.
04:12
While Plato's fears can seem extreme,
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ื‘ืขื•ื“ ื”ื—ืฉืฉ ืฉืœ ืืคืœื˜ื•ืŸ ื ื“ืžื” ื›ืงื™ืฆื•ื ื™,
04:14
this argument has appeared in modern times
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ื–ื”ื• ื”ื˜ื™ืขื•ืŸ ืฉื”ื•ืคื™ืข ื‘ื–ืžื ื™ื ื”ืžื•ื“ืจื ื™ื™ื
04:16
to condemn musical trends
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ื›ื“ื™ ืœื”ื•ืงื™ืข ืกื’ื ื•ื ื•ืช ืžื•ื–ื™ืงืœื™ื™ื
04:17
such as jazz or punk or rap.
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ื›ืžื• ื’'ื–, ืื• ืคืื ืง, ืื• ืจืืค.
04:20
What do you think Plato would say
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ืžื” ืืชื ื—ื•ืฉื‘ื™ื ืฉืืคืœื˜ื•ืŸ ื”ื™ื” ืื•ืžืจ
04:21
about the music you listen to?
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ืขืœ ื”ืžื•ื–ื™ืงื” ืฉืืชื ืžืื–ื™ื ื™ื ืœื”?
04:23
Is it beneficial to your ethos,
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ื”ืื ื”ื™ื ืžื•ืขื™ืœื” ืœืืชื•ืก ืฉืœื›ื,
04:26
or will it degenerate you
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ืื• ื”ืื ื”ื™ื ืžื•ืจื™ื“ื” ืืชื›ื ืœืจืžื”
04:27
into a gibbering, amoral barbarian?
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ืฉืœ ื‘ืจื‘ืจื™ ืงืฉืงืฉืŸ ื•ืœื ืžื•ืกืจื™?
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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