DOCSLIB.ORG

The Naughty Boy / by Leah Goldberg Gad Tries So Hard to Be Polite and To

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Naughty Boy / by Leah Goldberg Gad Tries So Hard to Be Polite and To The Naughty Boy / by Leah Goldberg Gad tries so hard to be polite and to satisfy the grown-ups’ wishes, but when least expected, he acts inappropriately, swears, or hits. The adults are angry and disappointed, and Gad wants to explain why he acted the way he did, but feels that nobody understands him. The book depicts aggressive behavior that is experienced at first as uncontrollable. At the end of the story, Gad feels that the “naughty boy” is part of him. He tries to drive out the “naughty boy”, and asks him to stop interfering in his life. The Naughty Boy is a rhyming story written by Leah Goldberg over fifty years ago. Today, it is not customary to call children names like “naughty boy”, but rather to point out behaviors and actions are hurtful, inappropriate, wrong, etc. Leah Goldberg (1911-1970), born in Kovno, Lithuania, was a poet, author, and translator. She studied at the universities of Berlin and Bonn, and received a PhD in Semitic Linguistics at the age of 22. Two years later (in 1935), she made aliyah to Israel and established herself as a renowned poet. She edited and wrote children books, including Where Is Pluto?, Apartment for Rent, and many others which have become classics of Israeli literature. Goldberg also headed the Comparative Literature Department at the Hebrew University of Jerusalem. In 1970, she was awarded the Israel Prize for literature, but unfortunately passed away two months before the prize ceremony. Her mother accepted the prize in her name. Who is a Hero? (Eze’hu Gibor?) In Jewish tradition, there are many proverbs and rules that deal with proper behavior. We all have a hard time controlling ourselves at times and do not always know how to behave. In the Mishna it is written: “Who is a hero? He who conquers his evil inclination”(Pirke Avot, chapter 4, verse 1). The word “conquer” means “control”, and the Rabbinic sages tell of two kinds of “conquerors”: The first are strong people who can wage war and conquer a city, and the other are strong people who can control their urges, “conquering” them. The sages of the Mishna say that a real hero is one who can overcome his urges and control his behavior! Self control is a challenge for adults and children alike. Like Gad in the book, young children learn to control their urges to hit or hurt someone else’s feelings. How do you think does a child feels after managing to overcome this challenge? Family Activity: • Gad feels that there is a “naughty boy” inside of him that is making trouble and irritating him. Discuss together: Is there really a “naughty boy” inside of him? Who swears at the auntie and pushes Yocheved: Gad, the “naughty boy”, or both of them together? Where is the “naughty boy” when Gad is not angry? What do you think? • The illustrator Danny Kerman chose to represent the “naughty boy” by drawing a small shadow of Gad. Look at them both (Gad and the “naughty boy”). What is the “naughty boy” doing when someone is angry with Gad? Choose one of the illustrations and make up a “shadow conversation” between two characters, using your hands: Shine a bright light on the wall, using a lamp or flashlight. One of you will make shadows with your hands as if you were the “naughty boy”, and the other will respond as if they were Gad. • The adults are upset with Gad: Father says he is acting like a baby, Yocheved’s mother calls him a “savage”, and Grandmother is so angry her nose turns green. What do you think about the behavior of the adults who talk to Gad? • Discuss with your child an incident when you could not overcome your anger. What can one do in order to prevent this? If we are angry, how can we deal with the consequences of this feeling? • Gad says: “I have tried everything… in order to make the ‘naughty boy’ go away.” There are seven illustrations in the book that describe Gad’s attempts to deal with the “naughty boy”. Look at these illustrations and try to identify how he is dealing with the “naughty boy”. • Gad asks: “What shall I do with him, with the ‘naughty boy’?” Like Gad, we all have urges and habits that we are not proud of. Choose a habit that you would like to overcome and in this way become a hero or heroine! Make a “Badge of Bravery” to award the heroes (e.g.: a medal, crown, sticker, etc.) and award it to the children when they overcome their urges and behave maturely. • The “naughty boy” is often troublesome, but he also has some good characteristics: courage, independence and a strong will. Surprisingly, he even knows how to dance! Inside the book cover there are a series of illustrations of the “naughty boy”. When one looks at them in sequence, it seems as though the “naughty boy” turns his anger into dancing. You’re welcome to dance with him. Choose a few moves for the children to do and create a little dance. You can sing or drum to accompany the dancing. .
Load more

Recommended publications
  • “Something About the Critic's Taste”: Leah Goldberg's Cultural and Literary Critiques in Davar Leyeladim Ayelet Gil-Rone
    “Something about the Critic’s Taste”: Leah young readers of Davar Leyeladim. I will also address the distinctive Goldberg’s Cultural and Literary Critiques in Davar manner in which these critiques were written, which exemplifies Leyeladim Goldberg’s central position as a “tastemaker” in the local field of 2 Ayelet Gil-Ronen children’s culture in Eretz Israel. In her essay, “Something about the Child’s Taste” (1943a), Leah The Eretz Israel literary field in the 1930s-1940s Goldberg claims that most children are inclined toward a sentimental Background: and mawkish taste which she identifies as “kitsch.” However, she In the 1930s and 1940s, the literary field in Eretz Israel was adds that: “The good thing about children’s taste is that it’s flexible; highly polarized, both ideologically and aesthetically. On one 3 the child has an inherent imagination which can be influenced and hand, the political atmosphere in the Yishuv demanded a fervent guided in the right direction” (Goldberg, 1943a, pp. 55-56). In commitment to the Zionist cause (as implemented mainly by the addition, Goldberg states that it is the role of those adults who have Labor Movement), and in the literary context this was translated a fine taste in the arts to guide the child’s taste. into a dictate to publish ideologically-motivated texts. On the Goldberg’s prolific work in the field of children’s literature other hand, and in opposition to the above zealous movement, indicates that she considered herself as belonging to this group of some writers advocated a depoliticized, autonomous writing idiom adults.
    [Show full text]
  • Leah Goldberg's Lady of the Castle and Shulamith
    Discourses of Mourning and Rebirth in Post- Holocaust Israeli Literature: Leah Goldberg’s Lady Of The Castle and Shulamith Hareven’s “The Witness”* Rachel Feldhay Brenner The University of Wisconsin-Madison Abstract Both Godberg’s play and Hareven’s short story illustrate the failure of the Israeli to come to terms with the Holocaust catastrophe. In Goldberg’s play the characterization of the protagonist runs against the popular myth of the Holocaust victim gratefully embracing the hope of a new future embodied in the heroically idealistic Israeli. Hareven’s story rules out the possibility of a mutually accepted coexistence between the Israeli and the Holocaust survivor. Both works present the treatment of the outsider as a reflection of the emotional insecurity of the majority group, since the arrival of the survivor undermines the Zionist ideological tenets of the “negation of the Diaspora” and the creation of the “new” Jew in Eretz Israel. The events of the Holocaust effected a complicated discourse in Israeli literature. This literature, which had long been preoccupied with the themes of Israeli nation building, was suddenly compelled to search for proper modes of response to the Diaspora destruction. The difficulty of approaching the unspeakable was compounded from the outset by the Yishuv’s powerfully promoted notion of “a new beginning” which posited “an ideological divide” between the Diaspora Jews and the Israeli born sabras (Yudkin 1984: 1-2). In many of their programmatic statements, leading politicians and writers of the Yishuv manifested a tendency to subsume the catastrophe into the triumphant process of Jewish rebirth. Avraham Shlonsky, for instance, “claimed that the most significant act of defiance that the inhabitants of the Yishuv could engage in would be to carry on business as usual and to show that in at least one corner of the world Jews were thriving” (Ezrahi 1985-1986:252).
    [Show full text]
  • Landscapes of Israel
    Landscapes of Israel Shalom Orzach and Rabbi Avi Orlow P’Shat D’rash Here- Leah Goldberg May 29, 1911- January 15, 1970 the cuckoo – Cuckoos are one of the few birds whose name was a prolific Hebrew-language writer. in English and Latin comes from the call made by males on Goldberg was born to a Jewish Lithuanian the lookout for a mate. It’s a bird defined by its call. Also, family from Kaunas. the cuckoo The cuckoo Cuckoos are known for laying its eggs in other birds’ nests. is a kind of bird. A majority of them are Shakespeare refers to them as hated for their compromise arboreal. They exist all over the world and of the marital home (Love's Labor's Lost Spring V, ii). The some of them are migratory in nature. cape cuckoo may represent the success of not having a home of of snow– She is referencing one’s own, a skill and identity that Goldberg hopes to lose. Like the cuckoo, the Jew is אורן ,לאה גולדברג the European snow covered Pine, Leah Goldberg named for its home of Judea כאן לא אשמע את קול trees of her youth. these Here I will not hear the pines- In 1935 Goldberg voice of the cuckoo. where they have not lived for two thousand years. A Jew in הקוקיה made Aliyah and settled in Here the tree will not wear Hebrew is called Ivri coming כאן לא יחבוש העץ מצנפת .Tel Aviv later moving to a cape of snow from the otherside of the שלג Jerusalem.
    [Show full text]
  • Idiom by Rachel (1926)
    4. Idiom By Rachel (1926) I know embellished sayings galore, Endless flowery phrases, Walking jauntily - trotting With a haughty glance. My heart is for the innocent idiom –like an infant Humble like dirt. I know uncountable words – Therefore I hush. Does your ear hear even in silence My lowly idiom? Will you treasure it like a brother, As a mother in her lap? Translation by Rachel Korazim and Michael Bohnen Biography: Rachel Bluwstein Sela (1890 –1931) was a Hebrew-language poet who immigrated to Palestine, then part of the Ottoman Empire, in 1909. She is known by her first name, Rachel, or as Rachel the Poetess. Rachel was born in Saratov in Imperial Russia, the eleventh daughter of her parents and granddaughter of the rabbi of the Jewish community in Kiev. During her childhood, her family moved to Poltava, Ukraine, where she attended a Russian-speaking Jewish school and, later, a secular high school. She began writing poetry at age 15. Two years later she moved to Kiev and began studying painting. At the age of 19, Rachel visited Palestine with her sister en route to Italy, where they were planning to study art and philosophy. They decided to stay on as Zionist pioneers, learning Hebrew by listening to children’s chatter in kindergartens. They settled in Rehovot and worked in the orchards. Later, Rachel moved to Kvutzat Kinneret on the shores of the Sea of Galilee, where she studied and worked in a women's agricultural school. In 1913 she journeyed to France to study agronomy and drawing. When World War I broke out, unable to return to Palestine, she returned instead to Russia where she taught Jewish refugee children.
    [Show full text]
  • The Heartache of Two Homelands…’: Ideological and Emotional Perspectives on Hebrew Translingual Writing
    L2 Journal, Volume 7 (2015), pp. 30-48 http://repositories.cdlib.org/uccllt/l2/vol7/iss1/art4/ ‘The Heartache of Two Homelands…’: Ideological and Emotional Perspectives on Hebrew Translingual Writing MICHAL TANNENBAUM Tel Aviv University E-mail: [email protected] The work of immigrant writers, whose professional identity is built around language, can deepen understandings of sociolinguistic and psychological issues, including aspects of the immigration experience; the position of language in the ideological and emotional value systems, and the significance of language for individual development. This paper deals with a number of translingual writers who immigrated to Israel prior to its establishment as an independent state and who chose Hebrew as their language. The paper focuses on three figures—Alexander Penn, Leah Goldberg, and Aharon Appelfeld—who came from different countries and different language backgrounds but have in common that Hebrew was not their first language. Two issues are discussed in depth in this article. One is the unique position of Hebrew, a language that retains high symbolic significance given its association with holy texts and the ideological role its revival played in the Zionist enterprise. Its association with identity issues or childhood memories may thus be somewhat different from that of other second languages. The other issue is the psychological motivations that affected these writers’ language shift. Despite the broad consensus on this shift as having been inspired by ideological/Zionist motives, my claim is that their motives may have been broader. Ideologies may at times serve as camouflage—used either by wider society’s collective interest in promoting its ethos, or by the individuals themselves, who prefer to be viewed as part of the collective and lean on its ideology to serve their own psychological needs.
    [Show full text]
  • Yehoyada Amir
    THE TIKVAH CENTER FOR LAW & JEWISH CIVILIZATION Professor Moshe Halbertal Professor J.H.H. Weiler Directors of The Tikvah Center Tikvah Working Paper 06/12 Yehoyada Amir Prophecy and Halakhah Towards Non-Orthodox Religious Praxis in (Eretz) Israel NYU School of Law New York, NY 10011 The Tikvah Center Working Paper Series can be found at http://www.nyutikvah.org/publications.html All rights reserved. No part of this paper may be reproduced in any form without permission of the author. ISSN 2160‐8229 (print) ISSN 2160‐8253 (online) Copy Editor: Danielle Leeds Kim © Yehoyada Amir 2012 New York University School of Law New York, NY 10011 USA Publications in the Series should be cited as: AUTHOR, TITLE, TIKVAH CENTER WORKING PAPER NO./YEAR [URL] Prophecy and Halakhah PROPHECY AND HALAKHAH TOWARDS NON-ORTHODOX RELIGIOUS PRAXIS IN (ERETZ) ISRAEL By Yehoyada Amir Abstract Non-Orthodox Jewish thinkers and writers confront two different layers of classic Jewish culture: the emphasis on deed and the legalistic manner in which rabbinical Judaism forms its deed as Halakhah. While commonly rejecting the latter, the earlier is celebrated. The paper deals with the attempts of several (Eretz) Israeli thinkers and writes to constitute a non-Orthodox, non-legalistic sense of Halakhah that would shape Jewish Zionist life. Chayyim Nachman Bialik's call to form new Halakhah, alongside with the prevailing Agaddah; Aharon David Gordon notion of "Life of Expansion", based on wo\man's "life perception" (chavayya); Lea Goldberg's praying poetry; Eliezer Schweid prophetic-Halahhic cry. It confronts the question whether such a Halakhah can be valid and sustainable, and to which extent it could determine individual and communal life? Hebrew Union College – Jewish Institute of Religion, [email protected] 1 Contents I.
    [Show full text]
  • Ibsen and Israeli Modernist Writers
    humanities Article Exile, Pistols, and Promised Lands: Ibsen and Israeli Modernist Writers Irina Ruppo Discipline of English, School of English and Creative Arts, National University of Ireland Galway, H91 TK33 Galway, Ireland; [email protected] Received: 2 August 2019; Accepted: 12 September 2019; Published: 17 September 2019 Abstract: Allusions to Henrik Ibsen’s plays in the works of two prominent Israeli modernist writers, Amos Oz’s autobiographical A Tale of Love and Darkness (2004) and David Grossman’s The Zigzag Kid (1994) examined in the context of the Israeli reception of Ibsen in the 1950s and 1960s. To establish the variety of meanings Ibsen’s plays had for the audiences of the Habimah production of Peer Gynt in 1952 and The Kameri production of Hedda Gabler in 1966, this article draws on newspaper reviews and actors’ memoirs, as well as providing an analysis of Leah Goldberg’s translation of Peer Gynt. It emerges that both authors enlisted Ibsen in their exploration of the myths surrounding the formation of Israeli nationhood and identity. Keywords: Ibsen; Henrik; Oz; Amos; Grossman; David; Goldberg; Leah; modernism; Israel; Israeli literature; Peer Gynt; Hedda Gabler; translation; adaptation; Zionism 1. Introduction The year is 1970, the setting is a Jerusalem school, and the dramatis personae are an irate teacher, the near-13-year-old Nonny Feuerberg, and Gabi, his beloved guardian and his father’s secretary. Gabi demands that Nonny be given one more chance to stay in the school despite his ‘limitations’: ‘What you may see as limitations, I happen to consider advantages!’ She swelled larger in front of Mrs Marcus, like a cobra protecting her young.
    [Show full text]
  • Russian Translation and Hebrew Foundations
    Prior to the collapse of the Russian Empire, a sizable percentage of world Jewry lived in its western borderlands. Although the vast ma- jority did not live in ethnic Russian territory, many East European Jews developed a strong connection to Russian high culture. They tried to maintain this connection even after migrat- ing from Eastern Europe, or staying behind in lands that ceased to be part of the empire. One example of this is the Hebrew transla- tion of an iconic work of Russian literature, Eugene Onegin. Despite all the energy that such Russian Translation a project expended on non-Jewish literature, the Hebrew-language version of Eugene Onegin and Hebrew served as an achievement of, rather than a distraction from, the project of developing a Foundations new and modern Hebrew culture. The author of this verse novel, Alex- Sara Feldman ander Pushkin (1799–1837), is a figure whose stature might be compared to that of Shake- speare, but whose iconicity in Russian culture as an artist and character has no parallel in English-language literature. Many East Euro- pean Jews understood Pushkin, and some could recite his works by heart. Eugene Onegin represented Pushkin and, by proxy, Russian literature and modern culture. East European Jewish writers absorbed the Russian concept of a “national poet.” Whether they admired Pushkin or wished to avoid being compared to him, a number of them aspired to become Jewish national poets in Russian (Semion Frug), Hebrew (H. N. Bialik), and, arguably, Yiddish (A. Layvick). Jewish writers who embraced literary modernism did not abandon this concept— or Pushkin— right away.
    [Show full text]
  • Dr. Habil. Szilvia Peremiczky, Phd Leah Goldberg: a Kastély Úrnője
    Dr. habil. Szilvia Peremiczky, PhD Leah Goldberg: A Kastély úrnője – Ellentétes interpretációk: a színdarab izraeli és európai olvasatai Leah Goldberg: Lady of the Castle - Contrasting Interpretations: Israeli and European Readings of the Play ABSZTRAKT A Kastély úrnője egyszerre két olvasattal is szolgál. A cionista olvasat középpontjában a diaszpóra- zsidó identitástól való hangsúlyozott eltávolodást hirdető Soá utáni izraeli zsidó identitás áll. Ezzel ellentétben az európai olvasat az európai identitás és kultúra Soá utáni válságára fókuszál. Zsidó szempontból azonban Európa nemcsak az üldöztetéseket és a Soát jelenti, hanem az európai zsidó identitás kialakulásában meghatározó szerepű európai kultúra értékeit és vonzóerejét is. Goldberg mindezt egy gótikus drámába ágyazva mutatja be, amelyben megkísérli a két olvasat egyeztetését. ABSTRACT The Lady of the Castle offers two parallel readings. The focus of the Zionist reading is the post- Shoah Israeli Jewish identity, which emphatically proclaims the imperative of rejecting the diaspora Jewish identity. In contrast, the focus of the European reading is the post-Shoah crisis of European identity and culture. From a Jewish perspective, however, Europe does not only signify persecutions and the Shoah, but also the values and attractions of European culture that had a defining role in the formation of European Jewish identity. Goldberg embeds all of these parallel and contrasting threads in a Gothic drama, in which she attempts a certain measure of conciliation between them. Dr. habil. Peremiczky Szilvia, PhD irodalomtörténész, hebraista, 2018 óta az OR-ZSE habilitált egyetemi oktatója. Az ELTE-n végzett magyar-hebraisztika szakon, és 2008-ban szerzett PhD- fokozatot összehasonlító irodalomtörténetből. 2010 óta az OR-ZSE adjunktusa, 2014 óta a MAZSIHISZ tudományos igazgatója, 2004 óta óraadó az ELTE-n.
    [Show full text]
  • In Three Landscapes: Leah Goldberg's Early
    IN THREE LANDSCAPES: LEAH GOLDBERG’S EARLY WRITINGS, Natasha Gordinsky. Jerusalem, Magnes Press, 2016 Natasha Gordinsky's In Three Landscapes focuses on the first decade of Leah Goldberg’s writings in Hebrew. Gordinsky selects the year 1935 as the starting point of her research; it is the year that Goldberg first came to Israel, as well as the year that her first poetry book in Hebrew, Tabaot was published. Gordinsky examines Goldberg’s ,(טבעות עשן) Ashan writings throughout the subsequent years until the end of World War II. During this period, following her transition to life in Israel, Goldberg had to establish her poetic voice and create her unique poetic persona. Goldberg had to make ethical and aesthetic decisions in her writing, and Gordinsky shows this long and fascinating dialectic process through the reading of Goldberg’s works. Gordinsky highlights the artistic choices Goldberg made, outlining their literal and cultural values. Gordinsky’s book is the first comprehensive study that thoroughly explores this period in Goldberg’s writings and the issues that concerned her. In this book, Gordinsky deals with a number of texts which are considered to be Goldberg’s most important and canonic pieces, giving them a new and fresh context and meaning. While confined to a relatively short period in Goldberg’s writings, this research establishes the connection between Goldberg’s different texts and pieces, giving the readers a broad and vivid picture of the formative first years of this important poet and writer. Gordinsky’s book is, therefore, for scholars and readers, who are interested in Goldberg’s struggle between the new and the old, between the homeland and culture she had to leave and the new homeland and language she was trying to create.
    [Show full text]
  • Modern Hebrew Poetry Throughout the Ages
    About the Series Henry & Delia Meyers Library Henry & Delia Meyers Library and Media Center and Media Center Hebrew poetry has been a part of Jewish culture since the time of King David, reflecting Francine Menken, director: Modern Hebrew Poetry both national events and yearnings, and [email protected] or 248.432.5546 private thoughts. Throughout the Ages JOIN US FOR “Modern Hebrew Poetry Throughout the Ages” History of the Jews, Israel and Israelis will focus on writing from mid-19th century The Meyers Library Book Club as reflected in Hebrew poetry Europe to contemporary Israel. Classes will Wednesdays at 1:30 p.m. Presented by Dina Routin consider the individual intentions of poets Opening Program: October 21 and the way their works narrate the times, the Mondays, growth of Zionism and the development of the Hebrew language. October 12 – December 7, 2015 All classes begin at 11 a.m. About the Presenter and will be held at the library, A native of Jerusalem, Dina located on the lower level of the JCC Routin holds a master’s degree, with honors, in Hebrew Co-sponsored by: Literature and Poetry from the Hebrew University of Facilitated by Marilyn Schelberg, Ph.D. Jerusalem, and she is certified in text editing at the David Yellin Jewish Community Center of Metropolitan Detroit College of Jewish Education. D. Dan & Betty Kahn Building Eugene & Marcia Applebaum Jewish Community Campus Today, Dina serves as development associate 6600 W. Maple Road, West Bloomfield, MI 48322 at the Jewish Community Center of Metropolitan www.jccdet.org Detroit, tutors English, is a freelance text editor The Jewish Community Center and teaches at Oakland Community College.
    [Show full text]
  • A Hebrew Liederabend an Evening of Hebrew Song Tuesday, June 4, 2019
    A Hebrew Liederabend An Evening of Hebrew Song Tuesday, June 4, 2019 ANNE E. LEIBOWITZ MEMORIAL CONCERT Program 6:00pm Pre-Concert Lecture Including music by 7:00pm Concert JOSEPH ACHRON JOEL ENGEL Performed by ALEXANDER KREIN ILANA DAVIDSON PAUL BEN-HAIM RAPHAEL FRIEDER OFER BEN-AMOTS ELIZABETH SHAMMASH and poetry by YEHUDI WYNER and guest artist RONN YEDIDIA SHAUL TCHERNICHOVSKY AVIGDOR HAMEIRI Devised by YEHUDA HALEVI NEIL W. LEVIN LEAH GOLDBERG RACHEL HAYIM NAHMAN BIALIK This event is part of the Smithsonian Year of Music. and others… YIVO INSTITUTE FOR JEWISH RESEARCH in the Center for Jewish History 15 WEST 16TH STREET · NYC PROGRAM INTERMISSION אומרים: ישנה ארץ | THEY SAY THERE IS A LAND נעמי שמר | Music by Naomi Shemer | 1930-2004 שאול טשרניחובסקי | Words by Shaul Tchernichovsky | 1875-1943 כיבוי אורות | LIGHTS OUT נעמי שמר | Music and Words by Naomi Shemer | 1930-2004 אומרים: ישנה ארץ | THEY SAY THERE IS A LAND מנחם ויזנברג | Arranged by Menachem Wiesenberg | 1950- יואל אנגל | Music by Joel Engel | 1868-1927 שאול טשרניחובסקי | Words by Shaul Tchernichovsky | 1875-1943 שיר ליקינתון | THE HYACINTH רבקה גוילי | Melody by Rivka Gwily שני מכתבים | TWO LETTERS לאה גולדברג | Words by Lea Goldberg | 1911-1970 יואל אנגל | Music by Joel Engel | 1868-1927 מנחם ויזנברג | Arranged by Menachem Wiesenberg | 1950- אביגדור המאירי | Words by Avigdor Hameiri | 1890-1970 הנך יפה רעיתי | BEHOLD, THOU ART FAIR גלות | IN EXILE ידידיה אדמון | Music by Yedidiya Admon | 1894-1982 היינריך שליט | Music by Heinrich Schalit | 1886-1976 שיר השירים | Words
    [Show full text]