نماذج اختبارات e303b
شرح جابتر 7 الكتاب الثالث A230B
In particular, Dancing at Lugbnasa seems to express /perform the nuances of memory and migration in ways that both resonate with and stand out as distinctive within the body of Friel's plays.
دور الذاكرة في المسرحية كان موضعا للنقد خاصة من خلال علاقته بالتاريخ. فالتاريخ هو طريقة لفهم الماضي, أما الذاكرة طريقة سلسلة وفردية في استدعاء الماضي.
History is a mode of understanding the past in a structured and consensual way, whereas memory is a somewhat fluid and individual way of recalling the past.
To underpin that device, in his narrative monologues Michael makes an explicit theme of memory. He speaks of his memories as memories, seeming to reflect on memory itself at times.
Michael recalls: August 1936 in the imaginary village of Ballybeg in
the real County. The audience isn't informed what year or place the narrator Michael is speaking from; they know only that it must be after the mid-1950s. Little mention is made of political events or socio-historical observations related to the village, county or Ireland generally in the play. There isn't any direct reference to recognisable events of Irish history. On the contrary, the historical events mentioned are deliberately outside the local sphere and even outside the nation: Jack's involvement in the First World War
and location is created, details that hold in a general way with any
awareness of Ireland's social history that an audience may have. The importance of the radio; the persistence of pagan rituals like the Festival of Lughnasa; Maggie's Wild Woodbine cigarettes; Kate's allegiance to her Catholic heritage and neighbourhood. These small, everyday details accrue to convey a strong socio-historical sense of the context. It is evidently a context caught in transition; a rural society in which a passing way of life contends with the appearance of mechanisation and modernity.
A close consideration of the role of memory and history in the play suggests that the former dominates over the latter. Dancing at Lughnasa is structured around memory and attends to the workings of memory considerably more emphatically than it dwells on historical events and narratives.
The manner of distinguishing between 'memory' (fluid and more individual) and 'history' (organised, evidenced and relatively consensual) may appear artificial.
Dancing at Lughnasa seemed to provide a pointed counterpoint in emphasising memory over history.
Richard Pine: using memory to articulate the everydayness of 'home' in Ireland: It concentrates on forms of truth, on different kinds of memory'.
over history
Friel evokes the collective memory that persists in rural Ireland through pagan rituals, such as the Festival of Lughnasa.
Three Sisters by Anton Chekhov (1860-1904) comes to mind as resonating with Dancing at Lughnasa in various ways: in its focus on a predominantly female household of sisters; as a 'lucid picture of profound transition' without explicit allusions to historical events; and in the manner in which characters articulate their desires and relationships and losses through a web of memories. The obvious parallel is in using the device of a narrator looking back from an indefinite present, a narrator who is also a character in the events recalled onstage.
اختيار التعامل مع الواقع في مسرحية الذاكرة هو تقدر لقوة الذاكرة ففي المسرحية استخدم الكاتب المسرحي شكل مسرحية الذاكرة (تجلت في صورة واقعية ومنطقية للحياة المنزلي في منزل مندي بينما تشوه الذاكرة او اخفاقها قد صقل من خلال حديث الراوي مايكل المتصل)
The manner of dealing with reality in a 'memory play' is a reckoning with the operations of memory itself. In Dancing at Lughnasa Friel uses the form of the 'memory play': It presents a coherent and realistic picture of the domestic setting of the Mundy household while simultaneously foregrounding the slippages and distortions of memory -smoothed over by narrator Michael's linking speeches.
· It is implausible that the boy Michael would have the kind of photographic memory that his adult self would be able to recall accurately. This is particularly so since the boy lives in his own child-world, making kites and given to childlike imagining. The power of the child's imagination is vividly conveyed when he feels that he has actually seen the imaginary bird Maggie had pretended to let fly (p. 14).
وايضا بعض الذكريات تبدو كفوتوغراف فقط في بداية وهاية المسرحية فالذكريات التي تحدثت عنها الشخصيات في المسرحية مثل الحنين للوطن مشبعة اكثر بالمتعة التي تثيرها اكثر من الجروح الواقعية.
The flow of memories that the play seems to be set off by and returns to still photographic moments at the beginning and end of the play. The memories that characters speak of within the play are nostalgic, imbued more with the pleasure they evoke than the abrasions and equivocations of reality:
- Maggie's memory of her escapade with Bernie when she was sixteen (p. 20) is a memory of a youthful and exciting past; in Jack's memory everything to do with Ryanga is painted in idyllic colours, untainted by cultural and colonial conflicts; nothing about Chris's memories of Gerry sullies her love for him.
____________________________________________________________________________________________
Migration
****The play's
structuring through and thematic preoccupation with memory is inextricably
bound to the theme of migration.
بناء المسرحية من خلال استغراق الافكار مع الذاكرة
هو مرتبط دون انفصال مه موضوع الهجرة.
صاوميل دين لاحظ اهمية موضوع المنفى في
الاعمال المسرحية المبكرة. والموروثة من التقليد المسرحي الايرلندي.
تجربة الهجرة متجذرة بعمق في التاريخ الاستعماري
وما بعد الاستعمار الايرلندي و الذاكرة الفردية والجماعية. في المسرحية نجد ان
الهجرة غدت موضوعا في عدة طرق من الشخصيات.
·
Seamus Deane has
noted the importance of the 'theme of exile' in the
playwright's early work, inherited from 'Irish theatrical tradition.
-
The
experience of migration is deeply rooted in Irish colonial/postcolonial history
and collective/individual memory
-
In Dancing at Lughnasa migration is
thematised in a number of unmistakable ways.
_______________________________________
الشخصيات
التي هاجرت او اغتربت واسباب هجرتها وتاثير ذلك عليهم
The characters who are or
become migrants in the play\ the reasons for migration \\ effects it has on
them.
الراوي
مايكل واضح انه يتحدث عن ذكرياته ليس كانها بعيدة فقط لانها حدثت في طفولته ولكن
ايضا بعيدة في الوقت والمكان. لا يوجد سبب واضح لذلك ولكنها رغبة في الرحيل فقط
وهذا الاحساس جعله ما بين الولاء وما بين الواجب لسعي نفسه للحرية
·
The narrator Michael: It is clear from the
beginning that he is recalling 1936 from a significant distance in time and
place; his vivid memories are not merely of a distant childhood but of a
distant home that he has left behind. No clear explanation of his reasons for leaving or his career away from
the childhood home emerges, except the briefest note on the 'simple desire to
leave'. That feeling of being torn between loyalty to a backward area and
obligation to the self seeking freedom saturates the play as a whole - both in
the narrator's nostalgic reminiscing and in what's revealed of each character.
جاك
المهاجر العائد من غربته وضح ان هجرته لم تكن جسديا فقط وانما رحيل ثقافة واستبدالها. وهو واضح في امكاناته اللغوية
وتقاليده الدينية. هو لا يشعر بانه قادر على تقبل المنطقة كوطن بعد عدوته
او انه ينتمي للعائلة وكذلك في علاقاته
(يعمل في اوغندا مبشرا بالمسيحية والمبشر هو الشخص الذي يدعو للدين
المسيحي)
·
Jack: The returned emigre Jack's alienation in
Ballybeg demonstrates that migration is not merely about physical movement but,
more importantly, about cultural displacements and replacements. Every aspect
of Jack's sensibility had migrated: his linguistic ability, religious
convictions, cherished memories, relationships, adaptation to everyday life.
The return is a process of incomplete re-adaptation wherein he is unable to
accept Baliybeg as home again or regain his sense of belonging to the family.
In fact, for Jack the missionary purpose of migration - cultivating Christian
religious beliefs and practices in Kyanga - has been subverted by the
comprehensiveness of his migration.
·
Gerry: In Michael's 'memory play' Gerry is a
perpetual migrant, a drifter always looking for 'a named destination).
Gerry's constant movement within Ireland, to Spain, back to Wales, the land of
his birth, seems to be not so much due to restlessness and alienation as due to
an easy and detached ability to adapt quickly wherever he is. The itinerant
Gerry's home is, evidently, wherever he is: 'Wales isn't my home any more. My
home is here - well, Ireland' (p. 31).
جيري
هو
مهاجر دائم\ غير مستقر الوجهة \ يبحث عن جنة عن ديموقراطية..... فهو هاجر في ايرلندا الى اسبانيا ثم عاد الى
ويلز مكان ولادته وبسبب كثر الهجرة اصبح قادرا على التكيف في أي مكان ولم تعد ويلز
موطنه بل ايرلندا .
·
Rose and Agnes: Their emigration and sad
ending after the events covered in the play is speculatively explained by
narrator Michael:
روز
واغنس كانت ع\هجرتهم لاسباب اقتصادية
Only Kate, Chris and Maggie aren't or do not
become migrants. They experience at different points in the play feelings of
oppression with their circumstances in Ballybeg, but appear to be unable or
unwilling to try to escape them.
الاخوات
الثلاثة بقين في المنطقة ولم يهارجن رغم رغبتهن بذلك
_______________________________________
الهجرة
يمكن اعتبارها هي البعد عن الوطن او المنزل, لفظ HOME في تلك الفترة كان دايما يرمز ويشار به للوطن
·
Migration is usually understood as departure from
a 'home', where 'home' is a space of domicile or a space with regard to which
some rooted allegiance or notion of belonging is entertained.
·
The dominant critical convention at present is to think of such
a 'home' as territorially described, most often as a country (a nation or a state)
from which emigration happens or to which immigration takes place.
موضوع الهجرة في المسرحية مرتبط بالقومية الايرلندية
(وخاصة الانقاسامت في الدولة بين الشمال والجنوب لتحقيق الجمهورية الايرلندية )
-
The
theme of migrations in Dancing at 'Lughnasa has been critically engaged
primarily in terms of the Irish nation: in terms of movements related to the
complex split between North and South, or the Republic of Ireland (what was the
Free State in 1936), or a composite Irish nation and people.
تعقد الولاء تجاه ايرلندا كوطن والهجرة من ايرلندا كوطن
هو لجذب الانتباه تجاه التاريخ الاجتماعي الايرلندي
***The
conflict between allegiance to Ireland as 'home' and emigration from Ireland as
'home' has usually been accounted for by drawing attention to Irish social history.
Ex: the pressured environment of Ballybeg in
1936 depicted in the play, caught between the traditional rural lifestyle and
the appearance of modernity (heralded by the radio and the glove factory.
ما بين اسلوب الحياة الريفي التقليدي وما بين الحداثة
هيلين لوجيك ناقشت الحدود
التي تعاني منها اخوات مندي ضد الرؤية الرومانسية تجاه المراة الايرلندية
(رومانسية كما في الفترة الرومانسية أي ان المراة زوجة وام فقط حياتها من اجل
زوجها وهو ما قيد دور المراة خارج المنزل ولم يساويها بلمواطنة كالرجل)
-
Helen Lojek
has understood the variously expressed sense of limitations that the Mundy
sisters suffer against the following background: A romantic vision of Irish
woman meant 'wife and mother': her 'life' (not her work) within the home 'gives
to the State a support without which the common good cannot be achieved.' Such
legislative paternalism restricted women's roles outside the home and granted
them less than equal citizenry.
وبالنسبة لجون دين فان هنالك بعض القضايا المتعلقة
بالجندر كانت تدعم تجربة الشخصيات في
المسرحية مثل ان الاخوات غير متزوجات فنسبة كبيرة جدا من النساء لم تكن
متزوجات
-
Joan
Fitzpatrik Dean cites socially indicative statistics of Ireland to understand
some of the gender issues that underpin the experience of characters in the
play, noting that: the sisters' unmarried state was more common than not at the
time; and Rose and Agnes's emigration was part of a larger trend of female
migration.
هذه الخلفية الثقافية
التاريخية مهمة لفهم المسرحية خاصة فيما يخص مفهوم الوطن والهجرة
Useful as such socio-historical backgrounds and details
are for understanding the play, thinking of the theme of migration vis-a-vis
Ireland as 'home' seems to go against the grain of the play.
HOME في
المسرحية هو منزل الاخوات مندي في القري. هذا الحس بالهوم كان من خلال ذاكرة وقتية
ومكانية كما وضحها الراوي مايكال والهجرة هنا يمكن ان نفهمها من خلال ما يسترجعه
المهاجر بذاكرته اكثر من كونه أض او دولة كايرلندا. هذا معناه هجرة بالذاكرة وليس
الهجرة عن الارض.
-
The 'home' of the play is certainly inside the Ireland of
1936, but the 'home' is not Ireland itself. The 'home' is something more
specific; it is no more than the Mundy household in Ballybeg in the few days of
August 1936 that are etched in the narrator Michael's memory.
-
This sense of 'home' is characterised by the specific memory of
a time and place, where the 'homeliness' for Michael is defined by the unusual
togetherness of all the characters then.
-
Migration is understood here in terms of what migrants recall as
'home' rather than of some objective territory — a region or nation - as 'home'.
Such an
understanding of 'home', as migrant memory rather than country, gels with other
aspects of the play.
_______________________________________
_______________________________________
****Amidst the interstices of individual and
collective memory and the migrations from the 'home' that are held by memory,
there are expressions that cannot be put into words and which destabilise the
space of 'home' and plough into deeper underpinnings of human society and consciousness. This is most cogently realised
in the performance of, rather than through the words of, Dancing at Lughnasa.
____________________________________________________________________________________________
Language and performance in Dancing at Lughnasa
Anita Pacbeco
***The dramatic devices
Friel employs to give vivid theatrical shape to his theme of memory:
-
The tableaux that
start and finish the play;
-
the use of the
adult Michael as a narrator;
-
The convention of
having the boy Michael as an 'absent-presence' on the stage, visible only to
the characters.
-
Friel's use of
props, like the radio and the kites, that take on a symbolic charge.
_______________________________________
Activity 1 من الكتاب كامل
·
The sisters speak in a
colloquial, everyday register.
·
The similarities
between the sisters' speech patterns do not obscure the differences between
them.
·
Looking at language and
characterisation in the excerpt tells us a good deal about its mood and tone
and pace.
·
The actors would need to convey the complex emotions of this
episode through their delivery of the lines, their facial expressions and such
body language as is allowed by their seated positions and/or engagement with
their respective chores.
_______________________________________
Activity 2 FROM THE BOOK
·
The metaphorical use of
language here conveys the power of memory and contributes to the 'poetic'
quality that characterises the speech as a whole.
·
The repetitions and the
careful balance of phrasing here ('both / and') give the language a
distinctive, almost hypnotic rhythm, akin to that of the music Michael is
describing.
·
Alliteration ('sweet
sounds') and those two adverbs -'rhythmically, languorously' - that, with their
combined eight syllables, seem to mimic the floating motion that dominates his
memory.
·
Through the language of
Michael's closing monologue, then, Friel foregrounds the non-verbal activity
that lies at the heart of his play as the sentences build to a climactic
statement of the transcendence of language: 'Dancing as if language no longer
existed because words were no longer necessary ...'
The language is crucial, any actor playing Michael would need
to keep the audience focused on him through a delivery of the speech attentive
to its lyrical qualities and pronounced rhythms.
شرح جابتر 2 الكتاب الثالث A230B
'Clay'
في هذه الفترة مصير النساء كان مقدرا بالزواج والامومة وتعد العنوسة فشلا وفي القرن العشرين اصبح هنالك ازديادا في فرص التعليم والعمل للنساء
In this period, a woman's destiny was largely regarded as marriage and motherhood, and spinsterhood as a failure. However, from the turn of the twentieth century, increasing numbers of women had begun to press for access to education and to wider employment opportunities, and to envisage lives for themselves beyond marriage.
بطلة قصة كلاي معتمدة على نفسها وتعمل ولكنها وحيدة
- Maria clearly reflects on this as she confidently 'arranged in her mind all she was going to do and thought how much better it was to be independentand to have your own money in your pocket' .
______________________________________________________________________
'Clay' has a third-person narrator. This informs us to several different aspects of Maria's physical appearance, character and life, (omniscient (or all-seeing and all-knowing) style)
الراوي في القصة كما ايفلين متحدث الثالث ولكنه متحدث عالم بكل شيء وليس محدود العلم
*** The term 'point of view' signifies the perspective from which a story is told.
مصطلح وجهة النظر يعني من أي زاوية تروى الاحداث؟ من خلال تفكير شخصية ام يتحدث عن كل الشخصيات؟ في هذه القصة وجهة النظر هي ماريا لاننا نعرف عن ماريا وافكارها ومشاعرها...
Joyce was using a third-person narrator. The narrator tells the story for the most part from the protagonist's point of view. The narrator rarely seems to be 'omniscient'. The narrative is often filtered through Maria's consciousness: what we get is her particular view of reality, and events are ordered according to her experience of them.
هذه التقنية (حيث يكون هنالك ارتباط بين صوت الراوي وصوت الشخصية) يعرف باسلوب غير المباشر الحر. وهي تمكن من تمثيل كلام وافكار الشخصية
مثالا من عندي بدلا من ان نقول: قالت ماريا أنها ليست بخير \ نقول\ قالت ماريا: أنا لست بخير
· This technique, which involves a very close correlation between the narrative voice and the voice of a character, is usually known as free indirect style (sometimes called 'free indirect speech').
- Free indirect style is one of the forms of representing characters' speech and consciousness.
- The effect of free indirect speech is to locate the narrative in the character's consciousness.
***Dubliners is well known for its use of free indirect style.
عرفت هذه المجموعة القصصية باستخدماها لهذه التقنية حيث لما مكان للتعليق او الحكم على الاحداث او التصرفات في القصص. وايضا الكاتب بدا بالراوي المتحدث الاول ومع تغير عمر بطل او بطلة القصة بدأ باستخدام المتحدث الثالث وقلة الحكم او التعليق هي من ميزات نصوص الحداثة (يعني تقنية جديدة اضيفت لبقية التقنيات)
· One major effect of Joyce's employment of free indirect style is that there is no narrator passing comment, or making overt moral judgements, on events as they unfold.
· Joyce switches from first-person narration as his main characters 'grow up', and therefore might reasonably be expected to know more about their world, and their narratives.
· By then choosing in later stories to present the action through the consciousness of the older characters, he also denies to his third-person narrators the God-like knowledge of the omniscient narrator.
· The lack of omniscience and overt moral judgement are notable features of all the tales in this collection, and, apply to modernist narrative styles.
· Joyce rejected omniscience, in the main, along with any idea that readers had to be told what to think.
ومع ذلك نلاحظ ان وجهة نظر ماريا محدودة فالقارئ يعلم اكثر منها مما يدور في القصة
Maria's perspective is limited, we are able to see more than she sees, or at least to suspect that her perception of events going on around her is less than acute.
· The limited point of view helps to ensure that frequently in this story. Joyce's skilful deployment of the third-person narrator and devices like free indirect style give to the story the opacity for which the collection as a whole is famous.
وفي نهاية القصة يبدو كما لو ان ماريا عالمة في بعض المستويات انها فقدت حياتها
Joyce complicates the narrative perspective at the story's conclusion, suggesting that Maria is aware on some level that she has missed out on life.
______________________________________________________________________
'A Painful Case'
· Point of view is more telling. Mr Duffy's is the central consciousness of the story.
Mrs Sinico كانت مسيطر عليها من الرجال كاي امراة
Men controlled her life, and they narrate her death:
- The Deputy Coroner, the train driver, the railway porter, the policeman, the doctor, the newspaper reporter and her husband combine with a powerful and patriarchal eloquence.
- (((male verdict on a constrained female life)))
موضوع الشلل في هذه القصة مختلف قليلا ففي البداية قد يكون دفي متماسكا ومتحكما بحياته ولكن مشلول بخوفه من التواصل مع الاصدقاء. وتحليله الغريب عن استحالة علاقات الحب ليس الا وسيلة ليسامح نفسه على أي تواصل بشري. وقد اتيحت له فرصة للسعادة لكنه لم يستغلها مثل ايفلين
***The theme of paralysis is employed by Joyce in a slightly different manner from the way he uses it elsewhere in the collection.
- He is paralysed by fear of contact, of what a close friendship, let alone a lover, might mean in his emotionally impoverished life.
على الرغم من الالفة والتواصل في دبلن كانا متاحين الا انه وضع صورة مقنعة لنمو الالفة خارج جدران المدينة. عقدة الحداثة واضحة في هذه القصة. فابطال القصة يرغبان بالعدودة للماضي والذكريات. والذاكرة كانت الدالة للحظة الابفاني في القصة
· The complexity of modernity, when Dublin is the context, is at its clearest in this late tale (important, too, in The Dead').
· Once Duffy's revulsion has been indulged, the way is open to the operation of a more interesting human process: memory. Memory - by its nature more obviously relevant as Dublin 'grows up' — leads to the epiphany in this story, and though it is limited, personal, and ultimately questioned by Mr Duffy
______________________________________________________________________
The
'Dead'
'scrupulous meanness' تعني
ان الكاتب كتب القصة بحيث انه ترك اشياء فارغة ومبهمة للقارئ وتيرنس براون ربطها
باستخدام غير محدد لتقنية الكلام غير المباشر الحر. ولبطبيعة الحياة التي صورها
والفجوة في النص (كل قصة تختلف عن الاخرى ولكنها مرتبطة بدبلن) وكذلك استخدام
تقنية الابفاني التي عطلت او عرقلت تناغم القصة من خلال خلق دفعات شديدة من الطاقة
المدوية (يعني تاتي فجاة مثل طلقات النار) عندما تختبر الشخصيات الهامها \
Joyce described his narrative style as one of 'scrupulous
meanness'
Terence Brown relates this 'scrupulo-us meanness' to the
'troubling indeterminacy' of Joyce's employment of free indirect style and the
ultimately fragmentary nature of the portraits of life he provides. He also
relates it to the gaps in the text — those aspects Joyce's narrators neglect
to, or cannot, explain.
Epiphanies
disrupt the tone too, creating intense bursts of resonant energy as characters
experience their revelations.
بالنسبة للشلل فيقول الكاتب
انه استخدمها لانه اراد ان يكتب عن التاريخ الاخلاقي لدولته واختار دبلن لانها
بالنسببة له مصدر هذا الشلل في الدولة
'Paralysis':
Joyce declared famously that his 'intention was to write a chapter of the moral
history of my country and I chose Dublin for the scene because that city seemed
the centre of paralysis'
Paralysis
is a dominant theme in this example of city literature.
الشلل
هو الموضوع السائد في ادب المدينة
***'The Dead' challenges and reinforces,
those representations of Dublin life and culture.
A rural, or 'villagey' past was very much part of Dublin's modern
urban character.
كانت
الحياة الريفية او الماضي الريفي جزءا من شخصية دبلن الحديثة المتحضرة. في القصة
نجد في غابريال حس الكابة والحزن تجاه العصر الحديث. القصة لها بعد اخر واكثر
تعقيدا فيما يخص مفهوم الشلل
Gabriel Conroy's sense of gloom about the
modern age counters
'The Dead' is different in its scope and offers a more complex take
on Dublin as 'the centre of paralysis'.
______________________________________________________________________
The
Dead': the party
القصة اهتمت بموضوع الوطنية (لا ننسى ان ايرلندا كانت مستعمرة
من بريطانيا اذا تذكرون يو تو عن الاستعمار بالجزر البريطانية واللغة هنا هي لغة
السلتك والجاليك وليس الانجليزية) ولكن الاستعمار اثر فيها. والكاتب يظن ان السبب
الاول لتخلف دبلن كان الكنيسة الكاثوليكية كما راينا اما السبب الثاني كما نراه
هنا هو بريطانيا) ((واساسا كانو ينظرون لايرلندا على انهم قذرين وانهم كانجليز
ارقى منهم الخ) ومن هنا نلاحظ ان بطل القصة وضع نفسه في محيط خارج المجتمع الدبلني
والايرلندي ككل عقليا وجسديا ( يقرا الصحف الانجليزية )
Their brief but heated argument raises issues of nationalism
that were fundamental to Joyce's conception of the story, and remain important
for the remainder of the text.
·
Gabriel
is shown regularly to place himself outside Dublin
society, and Irish society, in mind first
of all (his reviewing for an English newspaper; his
love of books and other European languages) and then in body too.
·
The ground they cover, politics and history and language and
nationhood, still transforms Gabriel, agitating him to the extent that he
blurts out that he is 'sick of [his] own country' (p. 190) and reveals his
proprietary attitude to his wife's identity.
رمز الغرب هنا يدل على عدة معاني تخص نهضة واعادة احياء
ايرلندا وخاصة من ناحية اللغة والوطنية وكذلك الريف الايرلندي
The
symbolic 'west' is site of many ideas central to the Irish revival, including
those related to language and nationhood — as well as for rural Ireland.
لاحقا بعد الحفلة نرى غابريال
يتطلع من النافذة الى حيث الهواء النقي وهنا كما لو انه يضع نفسه في الماضي
ويسترجع اجيالا مضت مما يضعه في تناقض مع موقفه غير محلي (نظرته لدولته) ----العلاقة بين الماضي والحاضر--- هنا تمثل شللا
Gabriel Conroy locates firmly in the past, evoking dead
generations and reminding us of the contradictions in his cosmopolitan stance.
______________________________________________________________________
The
Dead': the past and memory
دبلن غير قادرة على مواكبة
اوروبا وانها تمنع مواطنيها من الذهاب لاي مكان
Dublin's inability to keep up
with mainland Europe was one message that we took from the party; Johnny
reinforces the message that Dublin prevents its inhabitants from going anywhere
too.
من خلال الذاكرة يعود الحب
وتعود الرغبة والحنان
Love comes back; desire comes
back; tenderness comes back, all with memory.
استخدام الكاتب للزمن الماضي المستمر يعني ان تذكره
انتهى والماضي يبدو كما لو انه اتحد بالحاضر. في نهاية القصة حس الماضي
والحاضر تفاعلا واصبحا اكثر احتدادا في الشخصية
The effectiveness of the
tense Joyce uses: The past continuous tense means that nothing he's remembering
ever, technically, ends. The past seems to merge with the present.
As the story comes to a close, this sense of the present and
the past interacting through and in the characters intensifies still more.
______________________________________________________________________
حياة غريتا العاطفية كانت في زمن اخر وهو الريف تتعلق
بذكرى ولد ريفي مات ولكنه داهم وعيها عند سماعها للموسيقى التراثية. وهو ما يبدو
واضحا كيف ان ماضي غريتا الريفي كان ذو
اولية عندها اكثر من حاضرها المتحضر مع زوجها الذي ذاكرتها وذاكرته ليسا كذلك
(مختلفين عن بعض
كالغرباء)
Gretta's emotional life takes place in what is another period:
a rural past. It is entangled with the memory of a rural boy, now dead, who
haunts her consciousness, and will now haunt Gabriel's too. It also makes
possible Gretta's distinction between her rural past, which has precedence in
her consciousness, and the urban present, which neither she nor Gabriel finds
stimulating in comparison with memory.
لدبلن اثر ودور هام في لحظة ابفاني الخاصة بغابريال . فهو جرب روح الكرم في
المجتمع وغاص في تخيل الماضي والحاضر العيش والموت الغرب والمدينة التي تقع خارج
النافذة تحت الثلج. هنا كان هطول الثلج ختام القصة مما ساهم في خلق جو الموتوحس
ارتباط لا مفر منه بين كل مكونات شبه
الحلم الذي اعترى غابريال.
Eventually, Dublin assumes a yet more important role In
Gabriel's own epiphany. He experiences a more general generosity and
communality of spirit, joining in imagination the past and the present, the
living and the dead, the west and the city that lies just outside the window,
all of it under the same snow.
The snow wraps up this story. It contributes more to the
deathly atmosphere, and to the sense of inescapable connectivity between all
the constituents of Gabriel's half-dream.
'The west' is ranged close to Dublin as part of the
conclusion of Dubliners. Personal memory and the national past combine
to produce this effect in 'The Dead'.
______________________________________________________________________
Dubliners: portrait of a city
The characters in Dubliners strive with economic,
social, physical and moral difficulty, of a kind that can be found in other
urban-based fiction of the period, as well as of earlier periods.
الشخصيات في هذه المجموعة المسماة دبلنرز
ناضلت اجتماعيا واقتصاديا وجسديا واخلاقيا وهو ما يمكن ان يوجد في أي قصص باساس
التمدن