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By Sophocles

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Aeschylus just one actor was once hired, and during this play we discover Creon (1G2, 766, 1091), and afterwards the messenger (1155, 1244), on my own upon the degree in a colloquy with the refrain. The 3rd actor used to be brought first by way of Sophocles. within the Antigone the 3 actors are jointly at the level basically within the moment epeis'odion, or even there purely individuals at a time (not counting the refrain) are engaged within the discussion; the safeguard continues to be silent once Antigone starts to talk, and so does Antigone while phrases cross betweeii Ismene and Creon. The parodos comprises anapaestic verses, the normal rhythm in Greek marches, and states the social gathering of the doorway of the refrain. this can be the previous shape. The refrain declares the doorway of the entire valuable folks, other than in relation to Tiresias. The anapaestic and iambic verses that finish mclic strophes are likewise in strophic correspondence. Sophocles has kept away from purely during this play a metamorphosis of speaker in the li

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There was therefore a gain of sorts so far as ‘texturing’ the play was concerned; but, on the other hand, the Scots intensifies the pathos. In such situations there is not a loss of equivalence in terms of meaning but the dialect option can again sometimes have a level of effect beyond meaning alone. In addition to respecting meaning in the source text so far as was consistent with dialect usage, I attempted to replicate Cousse’s distinctive style and what he describes in the play’s opening stage direction as “the musical unity of the text”.

The elevated classic German of Schiller, for example, invites translation into Standard English, whereas the Silesian dialect of Gerhart Hauptmann’s The Weavers invites translation into Scots dialect (Findlay 1998b; MacDonald 1998). On occasion, an additional factor influencing such a linguistically determined choice is the sociolinguistic dimension to the relationship between standard and nonstandard language; that is, the source language, in being either standard or non-standard, may contain within it an important signifier of social class.

It seems that the emotional landscapes of Quebec and Scotland differ considerably, particularly in the expression of love and other positive emotions. Thus Bill and I find it impossible to have a Scots-speaking character say in what would be a literal translation, “I admire you, Thérèse”, and have to adopt an expression such as “Yur an angel” as an equivalent. Over and over this kind of introduction of figurative language transfigures, as it were, the original text because of demands made by the culture of the target language, which may accommodate references to mosquitoes and Coca-Cola but not simple expressions of respect and affection.

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