Etihadaou_AA100B_FINAL

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1 Etihadaou_AA100B_FINAL Chapter 6 Seamus Heaney s The Burial at Thebes ا ل ٢ ٤ ٤ 6 ا لك ك ٢ ٤ جخ ا ول خ Introduaction Heaney s play is based on the ancient Greek tragedy Antigone, created by the Athenian dramatist Sophocles (c BCE) in the fifth century BCE.Heaney s play text is a modern one, created in his own idiom and for a contemporary audience. It was commissioned for first performance at the Abbey Theatre, Dublin, in May 2004 to mark the centenary anniversary of that theatre, which was founded in 1904 by the poet and dramatist W.B. Yeats ( ) and his collaborator Lady Gregory (Augusta Gregory, ). ٣ ز ل ا ؼت ٢ ٤ ػ ٠ ا ؤ بح ا ٤ ب ٤ خ ا ول ٣ خ أ ز ٤ غ ا ز ٢ أ ؤ ب ا ٧ ص ٢ ٤ وؽ ٢ ك ٤ ك ٢ ا وو ا قب هج ا ٤ ك. ا ؼت ا ٢ ٤ ظب ا ؾل ٣ ضخ ا ز ٢ أ ئذ ك ٢ زبث خ ا قب خ غ ه ا ؼب و. ق م ي ػ ا ٧ كاء ا ٧ ك ٢ ك ٣ و ا وػ كث ك ٢ ب ٣ 2004 اؽزلب ثب ن و ا ئ ٣ خ نا ا وػ ا ز ٢ رؤ ذ ك ٢ ػب 1904 هج ا بػو ا وؽ ٢ ٤٣ ز WB ) ( ؼب ٤ لح ؿو ٣ ه ١ Reading The Burial at Thebes Both Heaney s and Sophocles plays are set in ancient Thebes (the Greek Thebes which is north-west of Athens, not the Egyptian Thebes, which is on the River Nile, near Luxor). A. The Mythological Story behind the Play Antigone s opening speech refers to her and Ismene s situation as daughters of Oedipus, and this theme gathers significance throughout the scene. Oedipus was the ruler of Thebes, the man who unwittingly killed his father and married his mother. B. Greek Social Values 1. Treatment of the Dead The image of leaving a body to rot and to be picked over by wild animals and birds is a standard one in Greek literature, where it is often used as an image of the sufferings of war. The social and religious conventions of funeral rites and practices were elements that bound society together. Women played an important role in these, in contrast to their exclusion from public and political life. You will find supporting evidence for this statement in the images in the IllustrationBook, Plates , and in the following extract from Thucydides fifth-century History of the Peloponnesian War, Book 2: 34: هواءح ا لك ك ٢ ٤ جخ ٣ ز رؼ ٤٤ ا وؽ ٤ بد ٢ ٤ ك ٤ "ك ٢ ٤ جخ ا ول ٣ خ ٤ جخ ا ٤ ب ٤ خ ا ز ٢ ٢ ب ؿوة أص ٤ ب ٤ جخ ٤ ا و ٣ خ ا ز ٢ روغ ػ ٠ و ا ٤ ثب ووة ا ٧ ه و. ا و خ ا ٧ ط ه ٣ خ هاء ا ؼت ٤ ٣ و فطبة اكززبػ أ ز ٤ غ ب ا غ Ismene ثبػزجبه ب ث بد أ ك ٣ ت نا ا ع ٣ غ غ أ ٤ خ ك ٢ ع ٤ غ أ ؾبء ا ب. ب أ ك ٣ ت ؽب ٤ جخ ا وع ا ن ١ هز ػ ؿ ٤ و ه ل ا ل ري ط ا لر. ا و ٤ ا عز بػ ٤ خ ا ٤ ب ٤ خ 1 ا ؼ ط ا ٤ ذ هح روى ا غ ززؼل ٣ ا ؾ ػ ٤ ب هج ا ؾ ٤ ا بد ا جو ٣ خ ا ط ٤ ه ٢ ؼ ٤ به اؽل ك ٢ ا ٧ كة ا ٤ ب ٢ ؽ ٤ ش ؿب جب ب ٣ ز ا زقلا هح ؼب بح ا ؾوة. ب ذ ا زوب ٤ ل ا عز بػ ٤ خ ا ل ٤ ٣ خ ا طو ا به بد ا غ بئي ٣ خ ا ؼ ب و ا ز ٢ روث ا غز غ ؼب. ؼجذ ا وأح ك ها ب ب ك ٢ ن ػ ٠ ا و ٤ ا زجؼبك ا ؾ ٤ بح ا ؼب خ ا ٤ ب ٤ خ. ف رغل ا ٧ ك خ ا ئ ٣ لح نا ا ج ٤ ب ك ٢ ا ه ك ٢ ر ٤ ؾبد زبة ؽبد ك ٢ ا وزطق ا زب ٢ ص ٤ ٤ ل ٣ ل ٣ ي ا قب - ربه ٣ هو ا ؾوة ا ج ٤ ث ٤ ٤ خ In the same winter [431 BCE] the Athenians gave a funeral at thepublic cost to those who had first fallen in this war [the warbetween Athens and Sparta] [...] Any citizen or stranger whopleases joins the procession: and the female relatives are there towail at the burial. (Crawley, 1997 [1874], Book 2: 34) Creon s edict that Polyneices be denied burial not only distinguishedbetween insiders/friends and outsiders/enemies but also subordinatedfamily ties to the interests of the state. C. The Function of the Passage within the Play

2 This opening sequence introduces several issues that will be developed in the rest of the play. The first is the nature of Creon s rule and his attempt to forge unity after civil war ( Whoever isn t for us/is against us in this case, p. 3). Second, there is the potential conflict between the laws of the land and the laws of the gods, which require respect to be shown to the dead. Third, there is a question about whether women should or could take any public action as Ismene puts it, We re weak where they are strong... We must do as we re told (p. 5). D. The Function of the Prologue The discussion between the two sisters acts as a kind of Prologue to the play in that it has the function of orientating the audience and reminding them of the salient aspects of the myth, and Heaney follows Sophocles closely in this respect. However, it is different from the kind of prologue found in other Greek plays, which is usually delivered by a minor character and not by one prominently involved in the action. The Sophocles/Heaney strategy is also different from that used for the Prologue at the beginning of Doctor Faustus. ظ ٤ لخ ا و كاف ا ؼت نا ا ز اكززبػ ٣ ول ا ؼل ٣ ل ا و ب ٣ ب ا ز ٢ ٤ ز رط ٣ و ب ك ٢ ثو ٤ خ ا وؽ ٤ خ. ا ٧ ج ٤ ؼخ ا ؾ و ٣ ؾب ز زؾو ٤ ن ا ؽلح ثؼل ؽوة أ ٤ خ. صب ٤ ب بى واع ؾز ث ٤ "ه ا ٤ ا ٧ ه ' ' ه ا ٤ ا ٥ خ" ا ز ٢ رزط ت ا ؽزوا ٤ ز ػو ب ر ٠. صب ضب بى ئا ؽ ب اما ب ذ ا وأح ٣ ج ٢ أ ٣ أ رزقن أ ١ اعواء ا غ ه - ب ٣ و Ismene " ؾ ؼلبء أ ٣ ه ٣ خ... ؾ ٣ غت أ لؼ ب ٣ وب ب" ظ ٤ لخ ول خ به خ ث ٤ ا و ٤ وز ٤ رؼ ع ول خ ؼت ك ٢ أ ل ٣ ب ظ ٤ لخ ٣ ع ا غ ه رن ٤ و ا غ ا ت ا جبهىح ٨ ط هح ٢ ٣ ٢ ٤ ك ٤ ث ص ٤ ن ك ٢ نا ا لك. غ م ي كب ٣ قز ق ػ ع ول خ علد ك ٢ ا وؽ ٤ بد ا ٤ ب ٤ خ ا ٧ فو ا ز ٢ ػبكح ب ٣ ز ر ٤ ث ا طخ ؽوف ث ٤ ٤ عب ت اؽل ثبهىح ر بهى ك ٢ ا ؼ. ا زوار ٤ غ ٤ خ ك ٤ / ٢ ٤ ٢ أ ٣ ب قز لخ ػ ر ي ا زقل خ ول خ ك ٢ ثلا ٣ خ ك ز ه كب ذ. Activity (p. 196) As you read the parodos, think about the language used and how this communicates the feelings of the Chorus on the dawn of the first day after the end of the civil war. Then compare it with the language used by Creon. ا زل ٤ و ك ٢ ا خ ا زقل خ ٤ ق أ نا ٣ ز بػو ع هخ ك ٢ كغو ا ٤ ا ٧ ثؼل ب ٣ خ ا ؾوة ا ٤ ٧ خ. ص وبه ز ب غ ا خ ا زقل خ هج و ٣. Discussion The parodos is strongly poetic, both on the page and when heard spoken or sung on your Audio CD. Heaney s diction combines the language of light ( shining guardian, dazzle the city, p. 8) with images of metal, which is also shining but vulnerable in its inflexibility ( smashed into shards ). The almost incantatory Glory be to brightness, to the gleaming sun celebrates the new day that marks victory and liberation from civil war. The invocation to Bacchus (god of wine, dance and theatre) provides an almost frenzied climax to the song. This intensifies the contrast with Creon s speech (the technical name in Greek theatre for this kind of solo speech is rhesis, linked with the derivation of the English word rhetoric). The rhythm, tone and language of Creon s speech make an almost shocking contrast with the Chorus (as well as with the exchange between Antigone and Ismene). This is the public speech of a politician and here Heaney uses the iambic beat that you have already met in your study of Doctor Faustus. The sentences are quite long with well-marked beats (blank verse). Note also the metaphor of the ship of state, the appeal to the sense of civic identity of the crew ( Solidarity, friends,/is what we need ) and the appeal to duty. This is the context that Creon uses to justify his edict denying burial to Polyneices. In theatre performance, it would depend on the director s approach whether Creon addresses the Chorus only or whether the speech is delivered to the audience, making them part of the community of citizens in the play. You may have spotted yet another contrast in tone when Creon turns from public pronouncement and speaks directly to the old men in the Chorus, who then take on the role of questioners. At this point Creon becomes much less secure and seems to anticipate opposition from the people of Thebes. به خ: parodos ا ؼو ١ ثو ح اء ػ ٠ ا لؾخ ػ ل ب ؼذ ط هخ أ ؾ ػ ٠ CD ا د ا قب ثي. ا وبء ٣ غ غ ٢ ٤ ث ٤ خ ا ء غ ه ا ؼل ا ز ٢ ٢ أ ٣ ب وهخ ؼلب ك ٢ ػل ا و خ ك ٢ 'ا طل ذ ظب ٣ ب ". incantatoryروو ٣ جب " جؾب ا ط ع ٧ ؼخ ا ا ؼخ" رؾزل ا ٤ ا غل ٣ ل ا ن ١ ٣ ض ا و ا زؾو ٣ و ا ؾوة ا ٤ ٧ خ. اؽزغبط جبف ا ا ق و ا وه ا وػ ٣ كو مه ر ب ا ؼ ه روو ٣ جب ا ٠ ا ٧ ؿ ٤ خ. نا ٣ ي ٣ ل ؽلح ا ز به غ فطبة و ٣ ا ا زو ٢ ك ٢ ا وػ ا ٤ ب ٢ نا ا ع ا قطبة ا لوك rhesis ورجطخ غ ا زوبم خ ا قطبة ا ٩ غ ٤ ي ٣ خ. ا ٣٩ وبع غخ خ فطبة و ٣ رغؼ رجب ٣ ل خ روو ٣ جب غ ع هخ ن ي غ ا زجبك ث ٤ أ ز ٤ غ Ismene. نا فطبة ػب ٤ ب ٢ ب ٣ زقل ٢ ٤ ك ى ا زلبػ ٤ ا ز ٢ ذ هل اعز ؼذ ثب لؼ ك ٢ كها زي ل ز ه كب ذ. ا غ ٣ خ علا غ ٣ لم ع ٤ لا ؾ ظ ا ٣٥ خ كبهؿخ. ؽع أ ٣ ب ا زؼبهح " ل ٤ خ ا ل خ" لاء ا ٠ ا ؼ ه ثب ٣ خ ا ل ٤ خ 'ا طبه ' 'ا ز ب ا ٧ لهبء / ب ؾزبع " ا غ ء ا ٠ اعت. نا ا ٤ بم ا ن ١ ٣ زقل و ٣ زجو ٣ و و ا به ا لك Polyneices. ك ٢ ػو وؽ ٢ كب ٣ ؼز ل ػ ٠ ظ ا قوط اء و ٣ ٣ ز ب ع هخ كو أ ب اما ب ٣ ز ر ٤ ا قطبة غ ه ب ٣ غؼ ب عيءا ا غز غ ا ا ٤ ك ٢ ا وؽ ٤ خ. ذ هل ه لد ثؼل ا و ٤ آفو ك ٢ غخ ػ ل ب ٣ زؾ و ٣ ر و ٣ ؼ ػ ٢ ٣ زؾلس جب وح ا ٠ جبه ا ا وعب ك ٢ ع هخ ا ن ١ ص رؤفن ػ ٠ ك ه ا بئ ٤. ػ ل ن ا وطخ ٣ جؼ و ٣ أه أ ب ث ض ٤ و ٣ جل أ ر هغ ا ؼبه خ أ ٤ جخ. Activity (p. 197) Next, read the first exchange between Creon and the Guard (pp ) and make short notes on the dramatic function of the scene (how it develops the action of the play and what it tells us 1

3 about the people involved). Also, take into account the tone, rhythm and vocabulary used by the Guard. What does this add to the perspectives that have already been introduced in the play? ثؼل م ي هواءح أ رجبك ث ٤ و ٣ ا ؾو رول ٣ ا ؽظبد ه ٤ وح ػ ٠ ظ ٤ لخ كها ٤ خ ل ٤ ق رط ه ا ؼ ا ؼت ب ٣ قجو ب ػ ا ٧ قب ا ؼ ٤٤. أ ٣ ب رؤفن ثؼ ٤ ا ػزجبه غخ ا ٣٩ وبع ا لوكاد ا زقل خ هج ا ؾو. بما ٣ ؼ ٢ نا ا بكخ ا ٠ ع بد ا ظو ا ز ٢ جن أ هل ذ ك ٢ ا وؽ ٤ خ Discussion The effect of the exchange is both to demonstrate the authority of Creon and also to show that Creon s fears were justified. The Guard s prevarication builds up suspense and introduces another register of language broadening the social scope of the play and giving a different perspective from that of the ruling elite who have figured so far. You will remember from your reading of Sillitoe s story Pit Strike in Chapter 4 that register is one way of marking social and cultural identity. It allows the author to colour the text and shape the response of readers and audiences, and this is particularly important in Heaney s play. Unlike the Chorus, the Guard speaks here in prose, not verse, and his idiom is colloquial ( I was over a barrel, p. 12). Heaney also makes the idiom that of Irish/English ( Somebody s after attending to it right, p. 13). The Guard s language becomes plainer and penetratingly direct ( Somebody observing all the customs, p. 13). In this respect, the Guard also becomes an observer/ commentator, remarking on the absence of tracks. He speaks from the point of view of someone with knowledge of the land ( No rut-marks from a wheel. Nothing but the land, the old hard scrabble, p. 13). There is a humorous side to this scene but it is not simply a comic interlude. In the course of the scene the Guard moves from the appearance of a working-class stereotype (perhaps even with parodic elements of a stage Irishman ) to being an authentic voice for truth ( Your conscience is what s doing the disturbing, p. 15; the judge/has misjudged everything, p. 16). به خ أصو رجبك ػ ٠ ؽل اء ٩ صجبد طخ و ٣ أ ٣ ب ٩ ظ به أ ا قب ف و ٣ ب ب ٣ جوه ب. ا وا ؿخ ا ؾو ٣ زوا ا ز ٣ ن ٣ لف ا غ آفو ا خ - ر ٤ غ طبم ا عز بػ ٢ وؽ ٤ خ اػطبء ع خ ظو قز لخ ػ ر ي ا قجخ ا ؾب خ ا ن ٣ ثوىد ؽز ٠ ا ٥. ؼ رن و هواءري و خ Sillitoe ك ٢ "ؽلوح زوا ٣ ي" ك ٢ ا ل 4 ا ز ٢ ر غ ٢ و ٣ وخ اؽلح ػ بد ا ٣ خ ا عز بػ ٤ خ ا ضوبك ٤ خ. أ ٣ ؼ ئ ق ز ٣ ا ر ٤ ا زغبثخ ا وواء ا ب ل ٣ نا ث فب ك ٢ ا ؼت ٢ ٤. ف كب غ هخ ا ؾو ٣ زؾلس ب ك ٢ ا ضو ٤ ا ٣٥ خ خ ػب ٤ خ. ٢ ٤ أ ٣ ب ٣ غؼ خ أ "ا ٣ و ل ٣ خ / ا ٩ غ ٤ ي ٣ خ. ر جؼ ا خ ا ؾو ك ٢ ا ١ جب وح penetratingly. ك ٢ نا ا لك ب ٣ جؼ ا ؾو واهت / ا ؼ ن ؽظب ػ ٠ ػل ع ك ا بهاد. هب ا ٣ زؾلس ع خ ظو ق ط غ ػ ٠ ا ٧ ه. بى عب ت ه ػ ا لػبثخ نا ا ل ب ٤ ذ غوك كب خ ا هح. ك ٢ ٤ بم ا ل ا ؾو ٣ زو ظ ه ا هح ا ط ٤ خ طجوخ ا ؼب خ هث ب ؽز ٠ غ ػ ب و parodic ' وؽ خ ا ٣ و ل ١ " ا د ا ؾو ٤ و ٢ ػ ا ؾو ٤ وخ. E. Reading the Play: the Formal Conventions of Greek Tragedy As you read the rest of The Burial at Thebes you will spot that it is very carefully structured into sections, each of which uses different kinds of language and rhythms. 1. Parodos In the ancient context the opening Chorus was called the parodos(first Choral song, taken from the word for entry ). The Chorus in Greek tragedy was a group of fifteen, which sang and danced and also linked episodes, rather like recitative in opera. (This is difficult to transpose to the modern stage where the Chorus is often reduced in number, sometimes speaks rather than sings, and rarely dances.) In Greek drama the Chorus had a major part in the play. It usually combined a number of functions. As well as singing in elevated poetic language the Chorus interacted and discussed with the main characters and offered moral comment. It also usually represented a group affected by the main action of the play but not powerful enough to dominate it in this case the Theban Elders. So you can see that the Chorus in Sophocles/Heaney is very different from the Chorus you encountered in Doctor Faustus. 2. Stichomythia You probably noticed the impact of the short one-line exchanges between Creon and the Guard (p. 15). This is an example of stichomythia, a convention of Greek drama in which brisk one- or two-line exchanges are used to accelerate the pace and point up key issues. You will find some more extended examples of this later in the play. 3. Agon Agons are paired speeches in which opposing characters debate theissues. This feature is called the agon (Greek for contest) and is afeature of each main episode (you can find another in the episode withcreon and his son Haemon, pp ). 4. Messenger Speech 2

4 Notice, too, how the Guard s role is developed (pp ). In his second intervention he describes in closely observed detail what has happened offstage, so as you read be aware of ways in which this picture is built up. In this aspect, the Guard represents another convention in Greek drama, that of Messenger speech. This is used to enable the audience to integrate their observation of what happens on stage with their imaginative recreation of what takes place offstage. The Messenger speech convention is also used on pages 49 52, especially to describe the awful climax to Creon s action. 5. Kommos You will also find examples of the kommos or lament (notice especially who is doing the lamenting, who is the object of it, and the terms in which the lament is expressed). 6. Exodos The closing short Chorus, at the end of the exodos or final scene, is another convention of Greek tragedy in which the Chorus usually offers a moral comment (often platitudinous). It is also often characterised by language that helps bring the audience back to their own world. هواءح ا ؼت: ارلبه ٤ بد ه ٤ خ ا ؤ بح ا ٤ ب ٤ خ ب رووأ ثو ٤ خ ا لك ك ٢ ٤ جخ ف ثوؼخ أ ب ر ظ ٤ ب كه ٤ وب علا ا ٠ أه ب ب ٣ زقل أ اع قز لخ ا خ ا ٣٩ وبػبد. ك ٢ ٤ بم ا ول ٣ خ ب ذ ر ٠ ع هخ اكززبػparodos أ أؿ ٤ خ ها ٢ ؤف مح خ "كف ". ب ذ ع هخ ك ٢ ا ؤ بح ا ٤ ب ٤ خ غ ػخ ف خ ػ و ا ز ٢ ؿ ذ هه ذ ؽ وبد ٣ ورج أ ٣ ب ٤ ض وك ١ ك ٢ ا ٧ ثوا. نا أ و ٣ ؼت رجل ٣ ا ٠ ا وؽ خ ا ؾل ٣ ضخ ؽ ٤ ش ؿب جب ب ٣ ز رو ٤ ع هخ ك ٢ ػلك أؽ ٤ ب ب ٣ زؾلس ثل ٣ ٢ بكها ب ا وه بد. ك ٢ ا لها ب ا ٤ ب ٤ خ ب ذ ع هخ ك ها هئ ٤ ٤ ب ك ٢ ا وؽ ٤ خ. كب ػبكح ا غ غ ث ٤ ػلك ا ظبئق. ن ي ا بء ك ٢ ورلؼخ ا خ ا ؼو ٣ خ ع هخ رلبػ ذ به غ ا ق ٤ بد ا وئ ٤ ٤ خ ػو ذ رؼ ٤ ن ا ٧ ف ه ٢. ب أ ػبكح ب ٣ ض ع بػخ زؤصوح ا ؼ ا وئ ٢ ٤ وؽ ٤ خ ٤ ه ٣ خ ث ب ٣ ل ٢ ٤ طوح ػ ٤ - ك ٢ ن ا ؾب خ ٤ جخ ؽ بء. ؽز ٠ ر زط ٤ غ أ رو أ ع هخ ك ٢ ك ٤ / ٢ ٤ قز لخ علا ع هخ اع ذ ك ٢ ك ز ه كب ذ. Stichomythia هث ب ذ ؽظذ رؤص ٤ و ه ٤ وح ا زجبك طو اؽل ث ٤ و ٣ ا ؾو. نا ضب stichomythia ارلبه ٤ خ ا لها ب ا ٤ ب ٤ خ ا ز ٢ ر زقل ا جبك د اؽل أ طو ٣ ا و ٣ غ ز و ٣ غ ر ٤ وح ر ٤ و ر ا و ب ٣ ب ا وئ ٤ ٤ خ. ف رغل ثؼ ا ٧ ض خ أ ضو زلح م ي ؽوب ك ٢ ا وؽ ٤ خ. واع ث ٤ ق ٤ بد ا وؽ ٤ خ ٣ ز اهوا Agons ا قطت ا ز ٢ ر به ق ٤ بد ؼبه خ theissues. ر ٠ ن ا ٤ يح AGON ا ٤ ب ٤ خ بثوخ ؿ ٤ و afeature ؽ وخ هئ ٤ ٤ خ ه ا ؽع أ ٣ ب ٤ ق ر رط ٣ و ك ه ا ؾو ك ٢ لاف ز ا ضب ٤ خ ا ز ٢ ٣ ق ثب زل ٤ اؽظذ ػ ضت ب ؽلس ك ٢ ا ا ٤ ؽز ٠ أ ذ رووأ ٣ ػ ٠ ث ٤ خ ا طوم ا ز ٢ ث ٤ ذ ن ا هح ؽز ٠. ك ٢ نا ا غب ت ا ؾو ٣ ض ارلبه ٤ خ أفو ك ٢ ا لها ب ا ٤ ب ٤ خ أ ا زؼج ٤ و ه. ٣ زقل نا ز ٤ ا غ ه ل ظ ؽظبر ػ ٠ ب ٣ ؾلس ػ ٠ ف جخ ا وػ غ ا ق ٤ ب اػبكح ف ن ب ٣ غو ١ ك ٢ ا ا ٤. ٣ ز ا زقلا ا ط ػ خ ه أ ٣ ب ػ ٠ لؾبد فب خ ق مه ر ب كظ ٤ ؼخ ؼ و ٣. Kommos ف رغل أ ٣ ب أ ض خ kommos أ هصبء ؽع ف ب ا ن ٣ رو ث ا وصبء ا ن ١ بئ ؽ ٤ ش ٣ ز ك ٤ ا زؼج ٤ و ػ هصبء. Exodos ع هخ ه ٤ وح ا قزب ٤ خ ك ٢ ب ٣ خ exodos أ ا ل ا ٧ ف ٤ و ارلبه ٤ خ أفو ؤ بح ا ٤ ب ٤ خ ا ز ٢ ع هخ ػبكح ب رول رؼ ٤ ن ا ٧ ف ه ٢ ؿب جب ب جزن. أ ٣ ب ض ٤ وا ب ٣ ز ٤ ي ا خ ا ز ٢ ر بػل ػ ٠ ع ت ا غ ه ا ٠ ػب ا قب. F. Similar Traditions in Ancient Greece and Modern Ireland The sequence with the Guard is followed by a Choral Ode (pp ; track 4 of the first Audio CD). This is based on the famous Ode to Man in Sophocles play. As you read and listen to it, savour the language and notice how Heaney s use of material first created by Sophocles emphasises some of the aspects which ancient Greek and modern Irish consciousness might have in common, including traditions of agriculture and religious observance. The reference to beyond the pale (p. 17) alludes to the area in and around Dublin that, from the earliest times of Norman and English rule, was associated with the supremacy of urban civic society over the rural hinterland. So the sequence not only develops the contrast between the new laws of the city-state and the persistence of traditional values and practices, but it also metaphorically relates the situation in Thebes to that of the colonially dominated Ireland of the past. ا زوب ٤ ل بص خ ك ٢ ا ٤ ب ا ول ٣ خ ا ؾل ٣ ضخ ا ٣ و لا ٣ زجغ ا ز غ ا ؾو هج ا غ هخ ه ٤ لح. ٣ ز ل نا ػ ٠ "ه ٤ لح وع " ا ٤ و ك ٢ وؽ ٤ خ ك ٤ ". ب رووأ ا ز بع ا ٤ ب رن م ا خ ؽع ٤ ق ا زقلا ٢ ٤ ا اك أ ئذ ٧ وح هج ك ٤ ٣ ئ ل ثؼ ا غ ا ت ا ز ٢ هل ٣ ػ ٤ ا ٣ و ل ١ ا ٤ ب ٢ ا ول ٣ ا ؾل ٣ ش ا و ا ا زو خ ث ب ك ٢ م ي روب ٤ ل ا يهاػخ ا ؼبئو ا ل ٤ ٣ خ. ا ٩ بهح ا ٠ " ب هاء بؽت" ٣ ؼ ا ٠ ا طوخ ك ٢ كث ؽ م ي أهوة ا ٧ هبد ه ب ٤ بكح ا ٩ غ ٤ ي ٣ خ ب ورجطب غ ٤ بكح ا غز غ ا ل ٢ ك ٢ ا ب ن ا ؾ و ٣ خ ػ ٠ ا ب ن ا بئ ٤ خ ا و ٣ ل ٤ خ. ن ي ا ز ٣ زط ه ا ا ز به ث ٤ ا و ا ٤ ا غل ٣ لح ل خ ا ل ٣ خ ا ز واه ا و ٤ ا به بد ا زو ٤ ل ٣ خ ب أ ٣ ب رزؼ ن غبىا ا غ ك ٢ ٤ جخ ا ٠ أ ا ٣ و لا ٤ ٣ ػ ٤ ب زؼ وح ا ب ٢. G. The Structure of the Play The structure of the play is marked both by the theatrical conventions of Greek drama (episodes, Chorus, Messenger, etc.) and by the language that is used within these conventions(the language of the single speech or rhesis, the language in the agon between paired contesting speeches, the elevated poetic language of the Choral Odes). ٤ ا ؼت ٣ ز غ ػ خ ث ٤ خ ا وؽ ٤ خ ا رلبه ٤ بد ا وؽ ٤ خ ؽ وبد ا لها ب ا ٤ ب ٤ خ ع هخ ه ب ا ٠ م ي ا خ ا ز ٢ ٣ ز ا زقلا ب كاف ن ا رلبه ٤ بد خ فطبة اؽل ٧ و ؽخ ا خ ك ٢ واع ث ٤ ق ٤ بد ا وؽ ٤ خ ث ٤ ٣ وزو ف ا قطت ا خ ا ؼو ٣ خ ورلؼخ ه بئل ا غ هخ. Activity (p. 198) 3

5 I would now like you to read the rest of the play and listen to it on the Audio CDs. As you do so, make a short summary of the dramatic turning points and climaxes in the play, and of the ways in which Heaney s language (both poetry and prose) communicates these. A summary is most definitely not a retelling of the story. It should include identification of the main features of the structure of the play. These are: Prologue(already discussed) Chorus(already introduced, but you will need to add notes on its function and poetic and dramatic impact) Episodes(the main scenes in the play) Exodos(the closing sequence). Look carefully at the placing of the Choral Odes and at their tone and content and at the way in which each episode is linked to the next. Heaney has taken over this structure directly from Sophocles. After the first Choral song (parodos), the other Odes are called stasima (singular stasimon). Look for the architectural effect of the successive episodes between Creon and Antigone, Creon and Haemon, and Creon and Tiresias, and comment on what each adds to the action and to the arguments on the central themes of the play. How do these episodes create the transformations of understanding that are so crucial both for the characters within the play and for the audience/ readers? Add your own notes next to the skeletal outline of the structure of the play in the table below. أ ك ا ٥ ض ي وواءح ثو ٤ خ ا ؼت ا ز بع ا ٤ ب ػ ٠ أهوا ا د. ب ذ رلؼ م ي عؼ عي ه ٤ و وب رؾ عنه ٣ خ مه ح ك ٢ ا وؽ ٤ خ ا طوم ا ز ٢ ا خ ٢ ٤ اء ا ؼو ا ضو ٣ ز ن. ق ا ٧ ضو ثب زؤ ٤ ل ٤ ذ ه ا ٣ خ ا و خ. ٣ ج ٢ أ ر ا زؼوف ػ ٠ ا ؼ ا وئ ٤ ٤ خ ج ٤ خ ا وؽ ٤ خ. ن ٢ : ول خ جن ع هخ هل ثب لؼ ف رؾزبط ا ٠ ا بكخ ؽظبد ػ ٠ ظ ٤ لز ب رؤص ٤ و ب ا ؼو ١ ا لها ٢ ا ؾ وبد " ب ل" ا وئ ٤ ٤ خ ك ٢ ا وؽ ٤ خ Exodos ر ا ٩ ؿ م. ظو ثؼ ب ٣ خ ك ٢ غ ه بئل ا ها ك ٢ غخ ػ ٠ ا طو ٣ وخ ا ز ٢ ٣ ورج ؽ وخ ا ٠ أفو. هل ارقند ٢ ٤ ػ ٠ نا ا ٤ جب وح ك ٤. ثؼل أ أؿ ٤ خ ا غ هخ parodos ر ٠ ر ي ا ٧ فو stasimon stasimon ا لوك. اثؾش ػ ا زؤص ٤ و ا ؼ به ١ ؾ وبد زؼبهجخ ث ٤ و ٣ أ ز ٤ غ و ٣ ب ٣ و ٣ ر ٤ و ٤ ٣ ب ا زؼ ٤ ن ػ ٠ ب ٤ ٣ ق ا ٠ ػ ا ؾغظ ػ ٠ ا ا ٤ غ ا و ي ٣ خ وؽ ٤ خ. ٤ ق ٣ ن ا ؾ وبد رق ن ا زؾ د ا زلب ا ز ٢ رؼزجو ؽب خ م ي ػ ٠ ؽل اء ق ٤ بد كاف ا وؽ ٤ خ ا غ ه / ا وواء ا بكخ ا ؽظبد ا قب خ ثي ثغ اه قط ا ٤ ا ؼظ ٢ ج ٤ خ ا وؽ ٤ خ ك ٢ ا غل أك ب. H. Antigone and Creon Was Creon a well-intentioned leader who went wrong in trying to restore cohesion after civil war, or was he a tyrant? Is Antigone a fighter for moral values or an obsessive with a death wish? In coming to a judgement about such questions you will need to think about how each character develops in the course of the play. Think especially about the various arguments that they use with different people in order to justify their conduct. Think, too, about how your own views develop in the course of studying the play. How much do you think you are influenced by what goes on in the play, and how much by the views you already hold on such questions because of your own values and life experience? Needless to say critics are not agreed on these issues, and indeed many people find that the range of perspectives in the play is so rich that it is impossible, and undesirable, to reduce the play to one unequivocal meaning. In the introduction to his edition and commentary to Sophocles play, Mark Griffith writes: Antigone may seem to switch back and forth between being a piece of moral or political philosophy, a religious rite, a sociological treatise, an imaginative poem, a stage drama, a political rally, a psychotherapy session, and more [...] this play can be, and should be, all of these things. (Griffith, 1999, p. 26) أ ز ٤ غ و ٣ ب و ٣ ىػ ٤ ا ا ٣ ب ا ؾ خ ا ن ٣ م ج ا فطؤ ك ٢ ؾب خ زؼبكح ا ز ب ي ثؼل ا ؾوة ا ٤ ٧ خ أ ب بؿ ٤ خ ؿ ٤ و أ ز ٤ غ وبر و ٤ ا ٧ ف ه ٤ خ أ ا غ هؿجخ ك ٢ ا د ك ٢ ا ز ا ٠ ا ؾ ػ ض ن ا ٧ ئ خ ف رؾزبط ا ٠ ا زل ٤ و ؽ ٤ ل ٤ خ رط ه ؽوف ك ٢ ٤ بم ا وؽ ٤ خ. أػزول ف ب ؽ ا ؾغظ ا قز لخ ا ز ٢ ٣ زقل ب غ قز ق ا ب زجو ٣ و. أػزول أ ٣ ب ؽ ٤ ل ٤ خ ع بد ا ظو ا قب خ ثي رزط ه ك ٢ ٤ بم كها خ ا وؽ ٤ خ. ذ أػزول رزؤصو ي هج ب ٣ ل ه ك ٢ ا وؽ ٤ خ ع بد ا ظو ا ز ٢ رؾ ب ثب لؼ ػ ٠ ن ا ٧ ئ خ ث جت ا و ٤ ا قب خ ثي رغوثخ ا ؾ ٤ بح ارلن ؿ ٢ ػ ا و ا وبك ؽ ن ا و ب ٣ ب ث ٣ غل ض ٤ و ا ب أ غ ػخ ع بد ا ظو ك ٢ وؽ ٤ خ ؿ ٤ خ ثؾ ٤ ش ٣ ا زؾ ٤ ؿ ٤ و وؿ ة ك ٤ ؾل ا ؼت ؽل ج ك ٤ ' ؼ ٠ '. ك ٢ ول خ جؼخ ا زؼ ٤ ن ػ ٠ ؼت ك ٤ " بهى ؿو ٣ ل ٤ ش ٣ زت: هل ٣ جل أ ز ٤ غ ا ٠ ا زوب م بثب ا ٣ بثب ث ٤ أ ر هطؼخ ا ل لخ ا ٧ ف ه ٤ خ أ ا ٤ ب ٤ خ ؼ ٤ وح ك ٤ ٣ خ أ و ؽخ ا عز بػ ٤ خ ه ٤ لح ا ق ٤ ب ا لها ب ا وؽ خ رغ غ ٤ ب ٢ ع خ ا ؼ ط ا ل ٢ أ ضو ]...[ نا ا ؼت ٣ أ ٣ ٣ غت أ ٣ ن ا ٤ ٧ بء. I. Modern Views Vs. Ancient Views to Antigone In recent years, Sophocles play has often been staged and interpreted with Antigone in the role of a protester either on behalf of women or as a kind of freedom fighter (you may have spotted elements of both in Heaney s approach). Nevertheless, it is worth remembering that, in the Greek context, Antigone was a member of the ruling family in Thebes and her contest with Creon could also be read as one about how the ruling class should act. Furthermore, the values on which she stands are, in ancient Greek terms, quite conservative in their emphasis on religious values and the traditional role of women in funerary and family 4

6 religious rituals. For evidence from ancient painted pottery, see Plates It is well worth thinking about how and why such traditional values can come to be thought of as subversive, not only in the fifth century BCE Athenian context of change from a society dominated by aristocratic families to a citizen democracy, but also in our modern world. ا ؾل ٣ ضخ ا ب لاد وبث ا ب لاد ا ول ٣ خ ا ٠ أ ز ٤ غ ك ٢ ا اد ا ٧ ف ٤ وح ك ٠ ض ٤ و ا ٧ ؽ ٤ ب ظ ا ا ؼت رل ٤ و ب غ أ ز ٤ غ ك ٢ ك ه أؽل ا زظب و ٣ - ا ب ب ؼ ا وأح أ ع " ك ٤ وبر أع ا ؾو ٣ خ" ذ هل ه لد ػ ب و ك ٢ ٢ ٤ ك ٢ ا ظ. غ م ي ك ا غل ٣ و ثب ن و أ ك ٢ ا ٤ بم ا ٤ ب ٢ ب أ ز ٤ غ ػ ك ٢ ا ٧ وح ا ؾب خ ك ٢ ٤ جخ بثوخ ب غ و ٣ ٣ أ ٣ ب أ رووأ اؽلح ؽ ا ٤ ل ٤ خ ا ز ٢ ٣ ج ٢ أ رؼ ا طجوخ ا ؾب خ. ػ ح ػ ٠ م ي كب ا و ٤ ا ز ٢ روق ٢ ؽ ٤ ش ا ٤ ب ٤ خ ا ول ٣ خ ا ؾبكع علا ك ٢ ا زو ٤ ي ػ ٠ ا و ٤ ا ل ٤ ٣ خ ا ل ه ا زو ٤ ل ١ وأح ك ٢ ا ٧ وح ا غ بئي ٣ خ ا طو ا ل ٤ ٣ خ. ؾ ػ ٠ أك خ ا ول ٣ ا لقبه ه ذ ا ظو ؽبد أ ب ر زؾن ا زل ٤ و ٤ ق بما ن ا و ٤ "ا زو ٤ ل ٣ خ" ٣ أ رؤر ٢ ز ؽ ٤ ش ا ل و "رقو ٣ ج ٤ خ" ٤ كو ك ٢ ا وو ا قب هج ا ٤ ك ٤ بم ا ٧ ص ٢ ٤ ا ز ٤٤ و غز غ ر ٤ ػ ٤ ا ؼبئ د ا ٧ ه زووا ٤ خ ا ٠ ك ٣ ووا ٤ خ ا ا أ ٣ ب ك ٢ ػب ب ا ؼب و. I. Translating Sophocles Antigone You can see that the published text of The Burial at Thebes is described on the title page as Sophocles Antigone translated by Seamus Heaney. In fact, Heaney has described his work as not a translation. It s a version. I was looking for meaning, not language (see Reading 6.1). روع خ ك ٤ "أ ز ٤ غ ٣ ي أ رو أ ٣ ق ا ا ه ا لك ك ٢ ٤ جخ ػ ٠ لؾخ ا ؼ ا ى " ك ٤ " أ ز ٤ غ روع هج ". ٢ ٤ ٤ ك ٢ ا اهغ هل لذ ٢ ٤ ػ "٤ ا زوع خ. ا ب قخ. ذ أثؾش ػ ا ؼ ٠ ٤ ا خ" A. Differences between Translation and Version There are several reasons why the distinction between translation and version might be made. In the first place, the word translation has normally been used to describe what is produced when the translator knows the language of the original (or source ) text (in this case Sophocles of the fifth century BCE) and works closely with it, trying to reproduce its meaning as accurately as possible in the target language (in this case English of the twenty-first century CE). This is, of course, a highly problematic undertaking. However great the translator s knowledge of the source language, decisions have to be made about the intended readership. Does the reader, for example, require a close line-by-line rendering that will help him or her to refer to the source language? In an extreme case, this might require what is called an interlinear translation that places each English word under the Greek to which it refers, but this would read very strangely in English in terms of word order and idiom. More probably the translator would try to produce a readable translation. This would involve decisions not only about the meaning of the Greek but also about how that might best be communicated to people of another time, place and culture, who would be reading in a language that has different rhythms and patterns. So, even in a translation that aims to be close and scholarly, there is always an interpretative element, involving both the source and target languages. ا فز كبد ث ٤ ا زوع خ ا قخ بى ػلح أ جبة بما ا ز ٤٤ ي ث ٤ "ا زوع خ" " قخ" هل ثن. ك ٢ ا وب ا ٧ خ "روع خ" عود ا ؼبكح ػ ٠ ا زقلا ب ق ب ر زظ ػ ل ب ب ا زوع ٣ ؼوف خ ا ا ٢ ٧ )أ 'ا له'( ا )ك ٢ ن ا ؾب خ ك ٤ " ا وو ا قب هج ا ٤ ك( رؼ ث ص ٤ ن غ م ي ك ٢ ؾب خ ٩ ػبكح ا زبط ؼ ب ب ثؤ جو هله ك ٢ ا خ 'ا لف' )ك ٢ ن ا ؾب خ ا خ ا ٩ غ ٤ ي ٣ خ ا وو ا ؾبك ١ ا ؼ و ٣ CE). نا ثطج ٤ ؼخ ا ؾب و ع ا ب ٤ خ ب ٣ خ. غ م ي ؼوكخ ج ٤ وح ا زوع ا خ ا له ا وواهاد ٣ غت أ رز ػ ا وواء ا و ك. ا وبهة ػ ٠ ج ٤ ا ضب رزط ت ف طوا رول ٣ ص ٤ وخ ؤ ب أ ر بػل أ ب بهح ا ٠ خ ا له ك ٢ ؽب خ زطوكخ هل ٣ زط ت نا ب ٠ ٣ روع خ ث ٤ ا ط ه أ ٣ غ خ ا ٩ غ ٤ ي ٣ خ رؾذ ا ٤ ب ٤ خ ا ز ٢ ر ٤ و ا ٤ ب نا ؤ أ هواءح ا و ٣ ت علا ك ٢ ا خ ا ٩ غ ٤ ي ٣ خ ؽ ٤ ش رور ٤ ت ا بد خ. هث ب أ ضو ا زوع زؾب ا زبط روع خ "هواءح". ٣ ط ١ م ي ػ ٠ ا وواهاد ٤ كو ؽ ؼ ٠ ا ٤ ب ٤ خ أ ٣ ب ؽ ٤ ق ٣ أ ٣ أك اث ؽ ا ب هذ آفو ا ب ا ضوبكخ ا ن ١ ؤ أ ر ا وواءح ك ٢ ا خ ا ز ٢ ل ٣ ب ا ٣ وبػبد أ ب قز لخ. ن ي ؽز ٠ ك ٢ ا زوع خ ا ز ٢ ر لف ا ٠ أ ر ص ٤ وخ ا ؼ بء بى كائ ب ػ و ا زل ٤ و ١ ر ا له ا بد ا ز لكخ. B. Why Heaney Did Not Aim to Produce a Scholarly Translation? He did not aim to produce a scholarly translation for (at least) two reasons. The first is that he is not a classical scholar(although he has studied Latin, he does not read Greek). He therefore worked from a number of existing translations, most notably that of the late nineteenth-century Cambridge scholar Professor Richard Jebb. The second reason is that Heaney, like Sophocles, was creating a play for the stage. However distinguished a scholar of Greek may be, it is extremely unlikely that he or she is also a poet, let alone a dramatist. Scholarly translations are comparatively rarely staged in commercial theatres in the English-speaking world, although continental Europe is more confident about doing this, and in presenting avant-garde productions. When a scholarly translation is staged, revisions usually have to be made in the text so that the actors can both speak it easily and move and act. A further complication in terms of the staging is as we shall see that the 5

7 ancient Greek and the modern theatre contexts are also very different; a close scholarly translation will tend to reflect the ancient theatre environment that shaped its language, and this may create problems in modern theatre spaces. There is also a third factor that influences Heaney s approach. He is a celebrated poet. The works he produces are, and must be seen to be, distinctively his own. So the translations or versions of classical material produced by Heaney and writers like him (Ted Hughes and Frank McGuinness come to mind, as well as Tony Harrison) have to be seen as part of the creative oeuvre of the star writer. This is in contrast to notions that the hand of the translator should be invisible (and consequently even of low status), although, as I mentioned above, there is always an active shaping and interpretative role for the translator. There is, in fact, a long tradition in the UK of poets producing new translations and versions of Greek and Roman material which then became outstanding literary works in their own right: for example, Gavin Douglas s Eneidos (an Aeneid in Middle Scots, 1553), Alexander Pope s Iliad ( ), John Dryden s Aeneid (1697), Robert Browning s Agamemnon (1877) and, most recently, Christopher Logue s War Music (which he calls Accounts of Homer and is still in progress). بما ٢ ٤ ر لف ا ٠ اػلاك ا زوع خ ا ؼ ٤ خ هب ا لف ا ٠ ا زبط روع خ ػ ٤ خ )ػ ٠ ا ٧ ه ( جج ٤. ا ٧ أ ٤ ػب ب ا ٢ ٤ )ػ ٠ ا وؿ أ هل كه ا ر ٤ ٤ خ هب ا ٣ ووأ ا ٤ ب ٤ خ(. ن ي كول ػ ذ ػلك ا زوع بد ا ع كح أثوى ب أ أ افو ا وو ا زب غ ػ و ب جو ٣ لط ا جبؽش ا جو ك ٤ ه ه ٣ ز بهك عت. ا جت ا ضب ٢ أ ٢ ٤ ض ك ٤ ف ن وؽ ٤ خ وؽ خ. غ م ي ٤ ي ا جبؽش ا ٤ ب ٤ خ هل ٣ أ ؿ ٤ و ا وعؼ ب ٣ خ أ ب أ ٢ أ ٣ ب بػو ب ٤ ي ػ وؽ ٢. بكها ج ٤ ب ظ ا روع خ ػ ٤ خ ك ٢ ك ه ا ؼو ا زغبه ٣ خ ك ٢ ا ؼب ا ب وخ ثب خ ا ٩ غ ٤ ي ٣ خ ػ ٠ ا وؿ أ ه ثب ا وبه ٣ خ أ ضو صوخ ػ ا و ٤ ب ثن ي رول ٣ زغبد ا ط ٤ ؼ ٤ خ. ػ ل ب ظ ا ا زوع خ ا ؼ ٤ خ ب ا ز و ٤ ؾبد ػبكح ٤ ك ٢ ا ثؾ ٤ ش ا غ بد ا لبػ خ ػ ٠ ؽل اء ٣ ا زؾلس ث ب ث خ ا زؾوى ا ز وف. ا بػلبد ي ٣ ل ؽ ٤ ش ا زله ٣ ظ - ب و - أ ا خ ا ٤ ب ٤ خ ا ول ٣ خ ا ٤ بهبد ا وػ ا ؾل ٣ ضخ ٢ أ ٣ ب قز لخ علا. ف روع خ ػ ٤ خ ص ٤ وخ ر ٤ ا ٠ رؼ ا ج ٤ ئخ ا وػ ا ول ٣ خ ا ز ٢ ذ ز ب نا هل ٣ ق ن ب ك ٢ ا ٧ ب ا وػ ا ؾل ٣ ضخ. بى أ ٣ ب ا ؼب ا ضب ش ا ن ١ ٣ ئصو ظ. ٢ ٤ ا بػو ا ه. ا ا ٧ ػ ب ا ز ٢ ر زظ ٣ غت ٢ أ ٣ ظو ا ٠ أ ٣ ز ٤ ي ر وبء ل. ن ي كب "روع خ" أ "ا لاهاد" ا اك ا ٤ ٤ خ ا ز ٢ ر زغ ب ٢ ٤ ا زبة ض )ر ٤ ل ٤ ى كوا ي ب ٤ ٤ رزجبكه ا ٠ ا ن ن ي ر ٢ به ٣ ( أ ٣ ظو ا ٤ ثبػزجبه عيءا بىا ا ٩ ثلاػ ٢ ' غ خ' ا برت. نا ػ ٠ ا و ٤ ا لب ٤ أ ٣ ل ا زوع ٣ غت أ ٣ "ؿ ٤ و وئ ٤ خ" ) ثب زب ٢ ؽز ٠ ا غ ا زل ٢ ( ػ ٠ ا وؿ ب م ود أػ بى كائ ب "ر ٤ " ا زل ٤ و ٣ خ ك ه زوع. بى ك ٢ ا اهغ رو ٤ ل ٣ ك ٢ ا خ ا زؾلح ا ؼواء ا زبط "روع خ" ا غل ٣ لح "ا لاهاد" ا ٤ ب ٤ خ ا اك ا و ب ٤ خ ا ز ٢ أ جؾذ ثؼل م ي ا ٧ ػ ب ا ٧ كث ٤ خ ا جبهىح ك ٢ ؽل مار ب: ػ ٠ ج ٤ ا ضب Eneidosؿبك ك ؿ )٢ ا ٤٤ ٣ ل ك ٢ ا وم ا ز ل ٤٣ 1553( ا ٤ ٩ بمح ا له ا جبثب ) ( ا ٤٤ ٣ ل ع كها ٣ ل )1697( أعب ه ثود ثوا ظ )1877( ئفوا و ٣ ز كو ؽ ك ٢ ا ؾوة اؿب ٢ )ا ز ٢ ٤ ٣ ب "ا ؾ بثبد" ٤ و ٣ يا ك ٢ ا زول Activity (p. 205) Now turn to the Resources section and look at the extracts from four translations of Sophocles Antigone into English (Readings ). All are translations of the opening words spoken by the Guard (lines in Sophocles). Think about the words used and the rhythms (it will help if you read the passages aloud). Then see if you can suggest what kinds of readership or audience they were intended for. أ زو ا ٥ ا ٠ ه ا اهك ا وبء ظوح ػ ٠ وزطلبد أهثغ روع بد ك ٤ "أ ز ٤ غ ا ٠ ا خ ا ٩ غ ٤ ي ٣ خ )هواءاد (. ب روع بد ا بد ا كززبؽ ٤ خ ا ز ٢ ٣ زؾلس ث ب ا ؾو )فط ك ٢ ك ٤ (. ا زل ٤ و ك ٢ ا بد ا زقل خ ا ٣ وبػبد )أ ب ف ر بػل اما ذ رووأ ا وب غ ث د ػب (. ص و ب اما ب ٣ أ ر ٤ و ا ٠ ب ٢ أ اع ا وواء أ ا غ ه أ ب ب ذ ر لف 1. Reading 6.2: Jebb s Translation of Antigone There are several different ways in which these translations might be categorised. It is quite easy to tell from the language that Jebb s is the oldest (Reading 6.2). Words like the doer and sore wonder (with its biblical echoes of the shepherds who were sore afraid ), abbreviations like e en and expressions like come nigh and we were not privy differentiate it from late twentieth- or early twenty-first-century diction. Nevertheless, the language is direct and for a late nineteenthor early twentieth-century readership would have seemed literary rather than unduly archaic. Another way of describing Jebb s translation would be to say that it follows Sophocles closely. Even if you do not know any Greek you do not have to take my word for that, for if you were to consult the complete work you would find that the translation was produced as part of Jebb s critical edition with introduction, Greek text, translation and commentary. You can also get a sense of the translator s precision in his choice of words and verbal images. هواءح 6.2: روع خ عت ٨ ز ٤ غ بى ا ؼل ٣ ل ا طوم ا قز لخ ا ز ٢ ٣ أ ر ق ن ا زوع بد. ك ا علا أ و ا خ ا ز ٢ ك ٢ عت أهل. بد ض "ا لبػ " "ػغت هوؽخ" ) غ أ لاء ا زبة ا ول ا وػبح ا ن ٣ ب ا "هوؽخ فبئق '( ا فز بهاد ض e'en" ' رؼج ٤ واد ض 'رؤر ٢ اهزوة " " ؾ ط ؼ ٤ ' ر ٤٤ ي أ افو ا ؼ و ٣ - أ أ ائ ا وبء ك ٢ ا وو ا ؾبك ١ ا ؼ و ٣. غ م ي كب ا خ ٢ ا جب وح ل ٢ هذ زؤفو ص ه ر ؼخ ػ و أ ائ هواء ا وو ا ؼ و ٣ ب هل ثلا 'ا ٧ كث ٤ خ' ثل هل ٣ خ ك جوه. بى و ٣ وخ أفو ق ا زوع خ عت ٤ و ٤ أ ٣ زجغ ك ٤ ػ ضت. ؽز ٠ ذ رؼوف أ ١ ا ٤ ب ٤ خ ٣ ل ٣ ي زؤفن خ ث ل ١ ن ي ٧ اما ذ ز بهح ا ؼ ا ب ف رغل أ ر ا زبط روع خ غيء ا طجؼخ عت ا ؾب خ غ ول خ ا ا ٤ ب ٢ ا زوع خ ا زؼ ٤ ن. ٣ ي أ ٣ ب ا ؾ ػ ٠ ؼ ه ا لهخ ا زوع ك ٢ افز ٤ به بد ا ه ا لظ ٤ خ. 2. Reading 6.3: Hugh Lloyd-Jones s Translationof Antigone 6

8 That precision is also evident in the close translation by the academic Hugh Lloyd-Jones(Reading 6.3). There is a slight formality in the language ( each of us was the doer, but no one manifestly so ) and this distances the speech from contemporary idiom or the immediacy of staging. Lloyd-Jones s translation was made for the Loeb series of classical texts which has the Greek or Latin on facing pages to the English translation in order to help readers who wish to follow the ancient language. هواءح ٣ ل ٤ 6.3: ع ي Translationof أ ز ٤ غ ا ا لهخ ا ؾخ أ ٣ ب ك ٢ روع خ ص ٤ وخ هج ا ٧ بك ٤ ٣ خ ٣ ل ٤ ع ي )هواءح 6.3(. بى ٢ ل ٤ ق ك ٢ ا خ )' اؽل ب ب ا لبػ أؽل ؽز ٠ ا ؼ'( ن ا بكبد خ خ ا ؼب و أ ا ل ه ٣ خ ا زله ٣ ظ. ر ذ ا زوع خ ٣ ل ع ي خ ة ا ا ٤ ٤ خ ا ز ٢ ل ٣ ب ا ٤ ب ٤ خ أ ا ر ٤ ٤ خ ػ ٠ ا لؾبد ا زوبث خ ا ٠ ا زوع خ ا ٩ غ ٤ ي ٣ خ أع بػلح ا وواء ا ن ٣ ٣ وؿج ك ٢ زبثؼخ ا خ ا ول ٣ خ. 3. Reading 6.4:Franklin and Harrison s Translation of Antigone The translation in Reading 6.4 is from an edition by David Franklinand John Harrison(no relation to the poet and dramatist Tony Harrison), who are also trained classicists. However, it seems to me that this version might be more speakable in a theatre situation than the previous extracts. The syntax and language are direct and the rhythm is that of the spoken word (you will have discovered this if you read it aloud). It was created for a series that does not include the Greek but does have notes on the text and background information on the facing pages. One of the stated aims of the series to which it belongs (of which John Harrison is joint editor) is to bridge the gap between classical scholarship and modern readers and theatre, and a number of the translations in the series have been successfully staged. ا وواءح 6.4: كوا ٤ به ٣ روع خ أ ز ٤ غ ا زوع خ ك ٢ ا وواءح ٢ 6.4 جؼخ ك ٣ ل ٤ ل Franklinand ع به ٣ ) ػ هخ بػو برت وؽ ٢ ر ٢ به ٣ ( ا ن ٣ ٣ ز رله ٣ ج أ ٣ ب ا ٤٤ ٤. غ م ي كب ٣ جل ٢ أ نا ا ٩ لاه هل ر أ ضو " ز " ك ٢ غ ا وػ وزطلبد ا بثوخ. ث بء ا غ خ ا خ ا جب و ا ٣٩ وبع أ ا خ ا ط هخ ) ذ هل ا ز لذ نا اما ذ رووأ ث د ػب (. ر ا بإ خ ٣ ز ا ٤ ب ٤ خ ل ٣ ؽظبد ػ ٠ ا ا ق ل ٤ خ ا ؼ بد ػ ٠ لؾبد زوبث خ. أؽل ا ٧ لاف ا ؼ خ خ ا ز ٢ ٣ ز ٢ ا ٤ ب ) ب ع به ٣ ؾوه ا زوى( أع ل ا لغ ح ث ٤ ا جؾش ا ؼ ٢ ا ٤ ٤ خ ا ؾل ٣ ضخ ا وواء ا وػ ػلك ا زوع بد ك ٢ خ هل ظ ا ث غبػ. 4. Reading 6.5: Morrison s Translationof Antigone The extract from Blake Morrison stranslation in Reading 6.5 is from a version created especially for theatre, to be performed by the company Northern Broadsides, directed by Barrie Rutter. In his introduction to the published text (2003), Morrison refers to contemporary stimuli for his work. One was his sense that war in Iraq showed that the struggle between Antigone and Creon was still going on (an aspect that was important for a number of responses to the play at that time, including Heaney s). Morrison s version is the most colloquial and he is the only writer out of the four to have adapted or added to the Sophocles text, partly to emphasise the sense of place and partly to add a rough-and-ready edge to the figure of the Guard. These are aspects that perhaps make it even more appropriate to use the word version rather than translation to describe his play. هواءح 6.5: ه ٣ Translationof أ ز ٤ غ زق ث ٤ ي Morrison'stranslation ك ٢ هواءح 6.5 ا لاه ا بإ ب فب خ وػ ا ز ٢ ٣ زؼ ٤ ا و ٤ ب ث ب هج ا و خ ا ب ٤ خ ا ز ؼبد افواط ثبه ١ ه رو. ك ٢ ول ز ا ٠ ا ا ه )2003( ه ٣ ٤ ٣ و ا ٠ ا ؾلياد ا ؼب وح ؼ. ب اؽلا اؽ ب ثؤ ا ؾوة ك ٢ ا ؼوام أظ ود أ ا واع ث ٤ أ ز ٤ غ و ٣ ب ٣ يا ز وا ػ ٠ )أؽل ا غ ا ت ا ز ٢ ب ا ؼلك ا وك ك ػ ٠ ا ؼت ك ٢ م ي ا هذ ث ب ك ٢ م ي ك ٢. ٢ ٤ قخ ه ٣ ا ٧ ضو ػب ٤ خ ا ا برت ا ؽ ٤ ل قو ط أهثؼخ ا ٠ ر ٤ لذ أ ا بكز ب ا ٠ ا ك ٤ م ي عيئ ٤ ب زؤ ٤ ل ػ ٠ ا ٩ ؽ ب ثب ب عيئ ٤ ب ٩ بكخ ؽبكخ ف خ عب يح نا ا وه ا ؾو. ن ٢ ا غ ا ت ا ز ٢ رغؼ هث ب ؽز ٠ أ ضو ء خ زقلا خ " قخ" ثل "ا زوع خ" ق وؽ ٤ ز. Approaches to Translation Translation that attempts above all to be accurate, communicating the letter of the original. The emphasis is on understanding and communicating the original Greek and assumes that it has a settled meaning which can be transferred into another language. Translation that concentrates on communicating the spirit of the original. This approach recognises that the idioms and cultural frameworks of ancient and modern are not congruent, but works on the basis that the sense and the feel of the source text and context can be represented. The translator therefore also has to make judgements about what will be effective in the language of the target audience/readers. Pragmatic translation, which places particular emphasis on the target language and culture and the purposes for which the translation is made. You can see that there are overlaps between these approaches but that the emphasis shifts along a line from the primacy of the Greek source language to the primacy of the modern language and its users. 7

9 ظ ا زوع خ ا زوع خ ا ز ٢ ٣ ؾب هج ٢ ء أ ر كه ٤ وخ ا ز ا ؽوف ا ٢ ٧. ٣ ت ا زو ٤ ي ػ ٠ ا زلب ا ز ا ا ٤ ب ٢ ا ٢ ٧ ٣ لزو أ ل ٣ ب ؼ ٠ ا زوو ا ز ٢ ٣ و ب ا ٠ خ أفو. ا زوع خ ا ز ٢ رو ي ػ ٠ ا ز ا ه ػ ا ا ٢ ٧. ٣ وو نا ا ظ أ ا زؼبث ٤ و ا ٧ و ا ضوبك ٤ خ ا ول ٣ خ ا ؾل ٣ ضخ ٤ ذ زطبثوخ ٣ ؼ ػ ٠ أ ب أ ا ؼ ه " ٣ ؼو" ا ا له ا ٤ بم ٣ أ ر ض خ. ا زوع ثب زب ٢ أ ٣ ب ٩ لاه ا ٧ ؽ ب ؽ ب ف ر كؼب خ ك ٢ خ ا غ ه ا ز لف / ا وواء. روع خ اهؼ ٤ خ ا ٧ و ا ن ١ ٣ غ ا زو ٤ ي ث ع فب ػ ٠ ا خ ا لف ا ضوبكخ ا ٧ ؿوا ا ز ٢ ٣ ز ا زوع خ. ٣ ي أ رو أ بى رلاف ث ٤ ن ا ظ م ي ٣ زؾ ا زو ٤ ي ػ ٠ ا ق ر ٤ ت خ له ا ٤ ب ٤ خ ا ٠ ر ٤ ت خ ا ؾل ٣ ضخ زقل ٤ ب. II. Texts and Contexts: Ancient and Modern Once we start to identify contexts for the play we move beyond the text and need to use other sources of evidence, as you have done when exploring contexts for other chapters in this book. This does not mean that we lose sight of the text; in fact, when we return to it our understanding should be richer. Nevertheless, there was a very good reason for engaging with the text itself before looking in detail at the various contexts to which it can be related. I think it is very important that in reading the text (or seeing it performed) we feel the freshness of that first experience and base our responses on what is triggered by the form, language and content of the text or performance itself, rather than reading into it aspects that have been suggested by external material. There is always more than one context and in your readingfor this section you will meet several: 1. the context in which Heaney splay was commissioned; 2. the context and literary traditions in whichthe author worked; 3. the context in which the ancient play was created; 4. and the performance history of the play. A. The Commissioning of Heaney s Play Heaney s play was commissioned by the Abbey Theatre, Dublin to celebrate its centenary anniversary season, and that the theatre was founded in 1904 by W.B. Yeats and Lady Gregory to be an emblem of cultural nationalism. The 2004 season was called The Abbey and Europe and it took place at the time when Ireland held the presidency of the European Union (January June 2004). This situation was reflected in the articles in the play s programme. During this season, the theatre also hosted debates on the relationship between Irish and European cultural identity and on the role of a national theatre in the artistic life of the nation. In the programme notes, Pat Cox, MEP and President of the European Parliament, praised the theatre for its ability to facilitate cultural exchanges across languages, traditions and varied historical experiences. Other articles in the programme notes also emphasized the importance that European drama had in the repertoire of the Abbey Theatre, as well as its other aims of encouraging new work and providing a national stimulus to displace colonial stereotypes of Irishness by encouraging Irish playwrights to produce Irish plays for Irish audiences (the academic Patrick Mathews in a programme article; see also Mathews, 2003). ا ا ٤ بهبد: ا ول ٣ خ ا ؾل ٣ ضخ ث غوك أ رجلأ ك ٢ رؾل ٣ ل ٤ بهبد وؽ ٤ خ زغب ى ا رؾزبط ا ٠ ا زقلا بكه أفو ا ٧ ك خ ب كؼ ذ ػ ل ب ا ز بف ٤ بهبد ل أفو ك ٢ نا ا زبة. نا ٣ ؼ ٢ أ ب ل ػ ا ك ٢ ا اهغ ػ ل ب ؼ ك ا ٠ أ ٣ ج ٢ أ ٣ ك ب أ ضو صواء. غ م ي ٣ بى جت ع ٤ علا به خ غ ا ل هج ا ظو ثب زل ٤ ك ٢ قز ق ا ٤ بهبد ا ز ٢ ٣ أ ر ماد خ. أػزول أ ا علا أ ك ٢ هواءح ا )أ هإ ٣ ز ب ٣ ئك ٣ ب( ؼو بهح ر ي ا زغوثخ ا ٠ ٧ هبػلح هك ك ب ػ ٠ ب ا بع خ ػ خ ؾز ا أ ا ٧ كاء ل ب ثل "هواءح ك ٢ ا ب ا غ ا ت ا ز ٢ ر اهزوؽ ب ا اك ا قبهع ٤ خ. بى كائ ب أ ضو ٤ بم readingforثي نا ا و ف ٣ غز غ ػلح:. 1 ا ٤ بم ا ن ١ ق. Heaney'splay. 2 ػ ذ ا زوب ٤ ل ا ٤ بم ا ٧ كث ٤ خ ك ٢ ئ ق. whichthe. 3 ا ٤ بم ا ن ١ ر ا بء ا ؼت ا ول ٣.. 4 ربه ٣ أكاء ا وؽ ٤ خ.. A ا ز ٤ ق ا ؼت ٢ ٤ ق ا ؼت ٢ ٤ هج ك ٣ و ا وػ كث ؽزلب ثب ن و ا ئ ٣ خ زؤ ٤ ب ا ا ا وػ رؤ ذ ك ٢ ػب 1904 هج ا ج ي ا ل ٢ ٤٣ ز ٤ لح ؿو ٣ ه ١ ٤ ه يا و ٤ خ ا ضوبك ٤ خ. ب ٠ ٣ ا 2004 ك "ا ل ٣ و أ ه ثب أ ب هؼذ ك ٢ ا هذ ا ن ١ ػولد ا ٣ و لا هئب خ ا رؾبك ا ٧ ه ث ٢ ) ٣ ب ٣ و ا ٠ 2004(. ٤ ٣ هل ا ؼ نا ا غ ك ٢ ا وب د ك ٢ ثو ب ظ ا وؽ ٤ خ. ف نا ا ا ز بف وػ أ ٣ ب به بد ؽ ا ؼ هخ ث ٤ ا ٣ خ ا ضوبك ٤ خ ا ٣ و ل ٣ خ ا ٧ ه ث ٤ خ ؽ ك ه ا وػ ا ٢ ك ٢ ا ؾ ٤ بح ا ل ٤ خ ٨ خ. ك ٢ ا ؽظبد ا جو ب ظ ثبد ا ل خ ا وثبئ ٤ خ ا ٤ ب ٤ ٤ خ هئ ٤ ا جو ب ا ٧ ه ث ٢ أ بك ا وػ ولهر " ز ٤ ا زجبك د ا ضوبك ٤ خ ػجو ا بد ا زوب ٤ ل ا قجواد ا زبه ٣ ق ٤ خ ا ز ػخ". أ ل اك أفو ك ٢ ا ؽظبد ا جو ب ظ أ ٣ ب ػ ٠ أ ٤ خ أ ا لها ب ا ٧ ه ث ٢ ى ٣ بهر ب ك ٢ عؼجز ك ٣ و ا وػ ك ػ أ لاف أفو ب ز غ ٤ غ ا ؼ ا غل ٣ ل ر ك ٤ و ا ؾ اكي ٢ "ر غ ٤ و ا ه ا ط ٤ خ ا زؼ به ٣ خ Irishness ف ر غ ٤ غ ا وؽ ٤٤ ا ٣ و ل ٣ خ ٩ زبط ا وؽ ٤ بد ا ٣ و ل ٣ خ غ ب ٤ و ا ٣ و ل ٣ خ ")ا ٧ بك ٢ ٣ ثبرو ٣ ي بص ٤ ى ك ٢ بكح ا جو ب ظ ا ظو أ ٣ ب بص ٤ ى 1. The Context in Which Heaney splay Was Commissioned Seamus Heaney s Perspective Heaney relates his work both to his literary and cultural traditions and to the impact of current events Heaney also faced the daunting precedent of Yeats, who was not only dominant in the Abbey tradition but had also written versions of Sophocles Oedipus plays, although not a full Antigone. Heaney s discussions also show his sense of writing within a rich Irish literary context that draws on Gaelic, Anglo-Saxon, Irish/English and European traditions in which translations and adaptations of Greek drama have had a distinctive role. He explains how this background interacted with his decisions about the language and metre given to each of the characters. He also reveals a strong cultural politics, which links his poetic 8

10 idiom both to issues raised by earlier colonial domination of Ireland by the English and to his perception of contemporary neo-colonialism in the global policies of the USA and its allies. It is noticeable that in The Burial at Thebes the Chorus is not given a specifically contemporary political voice, although many critics have found that Creon s stance and speech resonate with those of President George W. Bush. ك ٢ ا ٤ بم ا ن ١ ؼت ٢ ٤ ب ثز ٤ ق ظ ه ٣ ز ٢ ٤ ٢ ٤ ٤ ػ ػ ٠ ؽل اء هلل ا زوب ٤ ل ا ٧ كث ٤ خ ا ضوبك ٤ خ رؤص ٤ و ا ٧ ؽلاس ا ؾب ٤ خ... ب اع ذ ٢ ٤ بثوخ ا بهخ ا ز ض خ ك ٢ ٤٣ ز ا ن ١ ٣ ا ٤ خ كو ك ٢ رو ٤ ل ك ٣ و ب هل زت أ ٣ ب ا لاهاد ك ٤ "أ ك ٣ ت ٣ ؼت ا ٣ أ ز ٤ غ ا ب. رظ و به بد ٢ ٤ أ ٣ ب اؽ ب ا زبثخ ك ٢ ٤ بم أكث ٢ ا ٣ و ل ١ ا ٤ خ ا ز ٢ رؼز ل ػ ٠ ا ٤ ٤ خ ا ٧ غ ٤ خ ا ٣ و ل ٣ خ / ا ٩ غ ٤ ي ٣ خ ا زوب ٤ ل ا ٧ ه ث ٤ خ ا ز ٢ ب ا زوع بد ا ز ٤٤ ق ا لها ب ا ٤ ب ٤ خ ك ها ٤ يا. ب ٣ ل و ٤ ق رلبػ ذ ن ا ق ل ٤ خ غ هواهار ؽ ا خ ظوا زو ا ٠ ا ٧ ؽوف. هب ا ٣ ق أ ٣ ب ا ٤ ب خ ا ضوبك ٤ خ ا و ٣ خ ا ز ٢ روث رؼج ٤ و ا ؼو ١ اء و ب ٣ ب ا ز ٢ أصبهر ب ٤ خ ا زؼ به ٣ خ ا بثوخ ا ٣ و لا ا خ ا ٩ غ ٤ ي ٣ خ ر ه ا ؼب و ا زؼ به ا غل ٣ ل ك ٢ ا ٤ ب بد ا ٤ خ ٣ بد ا زؾلح ؽ لبئ ب. ا ؽع أ ك ٢ ا لك ك ٢ ٤ جخ ٣ ؼط ٠ ع هخ د ا ٤ ب ٢ ا ؼب و رؾل ٣ لا ػ ٠ ا وؿ أ علد ا ؼل ٣ ل ا وبك أ هق و ٣ ا ٣ زوكك لا ب غ ر ي وئ ٤ ع هط كث ٤ ث. 2. The Context and Literary Traditions in Whichthe Author Worked The Context of Ancient Greek Theatre Sophocles wrote his plays for performance in the public dramatic festivals in Athens. In the main festival, the Great Dionysia, which took place annually, there were drama competitions in which three poet-playwrights competed, each with four plays (three tragedies followed by a satyr play, which was designed to provide a degree of comic relief after the harrowing experience of watching the tragedies). The playwrights were chosen by a public official (perhaps after a preliminary reading). The expenses of training the Chorus and of costumes were met by a wealthy citizen as a liturgy, a form of taxation that had considerable status as a public service. The polis (citystate of Athens) paid the leading actors and the dramatists and the winning writer received a crown of ivy. The plays were performed in daylight hours in the huge open-air Theatre of Dionysus. Estimates of audience capacity vary (and some researchers are revising these downwards), but probably as many as 14,000 could have attended, including foreign visitors. It is not certain whether women could attend. The plays were part of a festival that was both civic and religious. They included processions, religious sacrifices, libations to the gods, a parade of war orphans and performances of dithyramb (sung poetry) as well as drama. The festivals provided a cultural and political showcase for Athens which, at that time, was leader of an arche, an alliance of Greek city-states that had been set up earlier in the fifth century to defend Greece against Persian invasion. However, there was competition for power among the Greek states, and Athens and Sparta became locked in a debilitating war. Towards the end of the fifth century, when the Athenian population was depleted, demoralised and impoverished by the war with Sparta, payment for attending the theatre was instituted. The tragedies and comedies performed at the festivals combined spoken and sung verse. All the actors were male. The Chorus for tragedy consisted initially of twelve and later of fifteen who were trained in singing, dancing and movement. Three actors divided the main parts among themselves. They wore masks that covered the whole face (see Plate ), which meant that their gestures and body movements were important as their facial expressions could not be seen. The acting space was called the orchestra (initially a rectangular space, but later this became circular) and behind it developed a stage building, the skene. The spectators sat on tiered stone seats (see Plate and Figure 6.3). The judges were appointed from the ten citizen divisions and records were kept of the results (some of which survive, see Figure 6.4). There were smaller theatres in rural centres. In the fourth century BCE plays continued to be performed and in 338 BCE legislation was introduced to prevent alteration to the texts of the great fifth-century writers. The texts that have survived were transmitted on manuscripts that were copied and recopied over the centuries before the invention of printing. They represent only a small proportion of those written by Sophocles and the other major tragedians Aeschylus and Euripides. Seven plays survive out of the 120 plus that are attributed to Sophocles. There are also some fragments which are important for reconstructing his work as a whole. Sophocles career as a dramatist was a long one. ا ٤ بم ا زوب ٤ ل ا ٧ كث ٤ خ ك ٢ أ ١ ا برت ػ ذ ٤ بم وػ ا ٤ ب ٤ خ ا ول ٣ خ زت ك ٤ وؽ ٤ بر ٨ كاء ك ٢ ا وعب بد ض ٤ وح ا ؼب خ ك ٢ أص ٤ ب. ك ٢ ا وعب ا وئ ٢ ٤ ك ٤ ٤ ٣ ب ا ؼظ ٠ ا ز ٢ هؼذ ٣ ب ب ذ بى بثوبد ك ٢ ا لها ب ا ز ٢ ر بك ذ ص س اد ا وؽ ٤٤ ا بػو ب أهثغ وؽ ٤ بد )ص صخ ا آ ٢ ر ٤ ب وؽ ٤ خ جن ا ن ١ ر ر ٤ ز ك ٤ و كهعخ ا ٩ ؿبصخ ي ٤ خ ثؼل رغوثخ و ػخ ب لح ا آ ٢ (. هل ر افز ٤ به ا زبة ا وؽ ٤٤ عب ت ظق ػ ٢ )هث ب ثؼل هواءح أ ٤ خ(. ر ذ ر ج ٤ خ لوبد رله ٣ ت ع هخ ا ٧ ى ٣ بء ا ا ٧ صو ٣ بء ب ا ولا أ ب ا وائت ا ز ٢ ب و ي ج ٤ و قل خ ػب خ. ث ٤ (citystate أص ٤ ب( ككغ ا غ بد ا وائلح ا وؽ ٤٤ ر و ٠ ا برت ا ل ى "ربط" ا ج ة. أعو ٣ ذ ٣ ؼت ك ٢ بػبد ا به ك ٢ ق خ لز ؽخ ا اء وػ ك ٤ ٣. رول ٣ واد هلهح ا غ ه رقز ق ) ثؼ ا جبؽض ٤ ث واعؼخ ن ا ٧ ل ( هث ب ب ٣ ا ٠ ا أ ؽ و ث ب ك ٢ م ي ا ي اه ا ٧ عب ت. ٤ ا ئ ل ب اما ب ذ ا وأح هل ٣ ؾ و. ب ذ ا وؽ ٤ بد عيء ا وعب ا ن ١ ب ػ ٠ ؽل اء ا ل ٤ خ ا ل ٤ ٣ خ. ب ث ٤ ا ا ت ا ز ؾ ٤ بد ا ل ٤ ٣ خ ا ٩ هاهخ ٦ خ ت أ ٣ زب ا ؾوة ا ؼو ه ٤ لح ٤ ئخ ثب ؾ ب خ )ا ؼو ؾ( ن ي ا لها ب. هل ذ ا وعب بد ؼو ب ا ضوبك ٢ ا ٤ ب ٢ ٧ ص ٤ ب ا ز ٢ ك ٢ م ي ا هذ ب ىػ ٤ ثلائ ٢ رؾب ق 9