Selasa, 10 April 2012

ANTIGONE DRAMA

                                                                       ANTIGONE
                                                                       ANTIGONH
                                                                       (c. 441 B.C.)


ANTIGONE
by Sophocles
Characters
Antigone, daughter of Oedipus ANTIGONH
Ismene, daughter of Oedipus ISMHNH
Eurydice, wife of Creon EURUDIKH
Creon, King of Thebes KREWN
Haimon, son of Creon AIMWN
Teiresias, A blind seer TEIRESIAS
Sentry FULAX
Messenger AGGELOS
Priest IEREUS
Chorus COROS
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Scene: Before the palace of Creon, King of Thebes. A central double door, and two lateral doors. A platform
extends the length of the façade, and from this platform three steps lead down into the orchestra, or dancing
place. Or, simply, in front of the palace at Thebes.
Time: Dawn of the day after the repulse of the Argive army from the assault on Thebes, and the brothers
Eteocles and Polyneices have killed each other.
Prologue
(Antigone and Ismene enter.)
ANTIGONE
You would think that we had already suffered enough for the curse on our father, Oedipus. I cannot imagine
any grief that you and I have not gone through. And now--have they told you of the new decree of our uncle,
King Creon?
ISMENE
I have heard nothing. I know that two sisters lost two brothers, a double death in a single hour; and I know
that the Argive army fled in the night; but beyond this, nothing.
ANTIGONE
I thought so. And that is why I wanted you to come out here with me. This is something we must do.
ISMENE
Why do you speak so strangely?
ANTIGONE
Listen, Ismene: Creon buried our brother, Eteocles, with military honors, gave him a soldier's funeral, and it
was right that he should--but Polyneices, who fought as bravely and died as miserably--they say that Creon
has sworn no one shall bury him, no one mourn for him, but his body must lie in the fields, a sweet treasure
for carrion birds to find as they search for food. That is what they say, and our good Creon is coming here to
announce it publicly; and the penalty--stoning to death in the public square! There it is, and now you can
prove what you are: a true sister, or a traitor to your family.
ISMENE
Antigone, you are mad! What could I possibly do?
ANTIGONE
You must decide whether you will help me or not.
ISMENE
I do not understand you. Help you in what?
ANTIGONE
Ismene, I am going to bury him.
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ISMENE
Bury him! You have just said the new law forbids it.
ANTIGONE
He is my brother. And he is your brother, too.
ISMENE
But think of the danger! Think what Creon will do!
ANTIGONE
Creon is not strong enough to stand in my way.
ISMENE
Ah sister! Oedipus died, everyone hating him for what his own search brought to light, his eyes ripped out by
his own hand, and Jocasta died, his mother and wife at once, our mother: she twisted the cords that strangled
her life; and our two brothers died, each killed by the other's sword. And we are left. But, oh, Antigone, think
how much more terrible than this our own death would be if we should go against Creon and do what he has
forbidden! We are only women. We cannot fight with men, Antigone! The law is strong, we must give in to
the law in this thing. I beg the Dead to forgive me, but I am helpless: I must yield to those in authority, and I
think it is dangerous business to be always meddling.
ANTIGONE
If that is what you think, then I should not want you, even if you asked to come. You have made your choice;
you can be what you want to be. But I will bury him, and if I must die, I say that this crime is holy. I shall lie
down with him in death, and I shall be as dear to him as he to me. It is the dead, not the living, who make the
greatest demands: we die forever. . .
ISMENE
I have no strength to break laws that were made for the public good.
ANTIGONE
That must be your excuse, I suppose. But as for me, I will bury the brother I love.
ISMENE
Antigone, I am so afraid for you!
ANTIGONE
You need not be: you have yourself to consider, after all.
ISMENE
But no one must hear of this, you must tell no one! I will keep it a secret, I promise!
ANTIGONE
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O tell it! Tell everyone!
ISMENE
So fiery! You should be cold with fear.
ANTIGONE
Perhaps. But I am doing only what I must.
ISMENE
But can you do it? I say that you cannot.
ANTIGONE
When my strength gives out, I shall do no more.
ISMENE
Impossible things should not be tried at all.
ANTIGONE
Go away, Ismene: I shall be hating you soon, and the dead will, too. For your words are hateful. Leave me my
foolish plan: I am not afraid of the danger; if it means death, it will not be the worst of deaths--death without
honor.
ISMENE
Go then, if you feel that you must. You are unwise, but a loyal friend indeed to those who love you.
(Exit)
Parodos
Strophe 1
CHORUS
Now the long blade of the sun, lying
Level east to west, touches with glory
Thebes of the Seven Gates. Open, unlidded
Eye of golden day! O marching light
Across the eddy and rush of Dirce's stream,
Striking the white shields of the enemy
thrown headlong backward from the blaze of morning!
PRIEST
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Polyneices their commander
Roused them with windy phrases
He the wild eagle screaming
Insults above our land,
His wings their shields of snow,
His crest their marshalled helms.
Antistrophe 1
CHORUS
Against our seven gates in a yawning ring
The famished spears came onward in the night;'
But before his jaws were sated with our blood,
Or pine fire took the garland of our towers,
He was thrown back, and as he turned, great Thebes--
No tender victim for his noisy power--
Rose like a dragon behind him, shouting war.
PRIEST
For God hates utterly
The bray of bragging tongues;
And when he beheld their smiling,
Their swagger of golden helms,
The frown of his thunder blasted
Their first man from our walls.
Strophe 2
CHORUS
We heard his shout of triumph high in the air
Turn to a scream; far out in a flaming arc
He fell with his windy torch, and the earth struck him.
And others storming in fury no less than his
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Found shock of death in the dusty joy of battle.
PRIEST
Seven captains at seven gates
Yielded their clanging arms to the god
That bends the battle-line and breaks it.
These two only, brothers in blood,
Face to face in matchless rage,
Mirroring each other's death
Clashed in long combat.
Antistrophe 2
CHORUS
But now in the beautiful morning of victory
Let Thebes of the many chariots sing for joy!
With hearts for dancing we'll take leave of war:
Our temples shall be sweet with hymns of praise,
And the long nights shall echo with our chorus.
SCENE 1
PRIEST
But now at least our new King is coming. Creon of Thebes, Menoeceus's son. In this auspicious dawn of his
reign, what are the new complexities that shifting Fate has woven for him? What is his counsel? Why has he
summoned us to hear him?
(Enter Creon from the palace, center. He addresses the Chorus from the top step.)
CREON
Gentlemen: I have the honor to inform you that our Ship of State, which recent storms have threatened to
destroy, has come safely to harbor at last, guided by the merciful wisdom of Heaven.
(Cheers from the crowd.)
I have summoned you here this morning because I know that I can depend upon you: your devotion to King
Laios was absolute; you never hesitated in your duty to our late ruler Oedipus, and when Oedipus died, your
loyalty was transferred to his children. Unfortunately, as you know, his two sons, the princes Eteocles and
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Polyneices, have killed each other in battle: and I, as the next in line, have succeeded to the full power of the
throne.
I am aware, of course, that no Ruler can expect complete loyalty from his subjects until he has been tested in
office. Nevertheless, I say to you at the very outset that I have nothing but contempt for the kind of Governor
who is afraid, for whatever reason, to follow the course that he knows is best for the State: and as for the man
who sets private friendship above the public welfare, --I have no use for him, either. I call God to witness that
if I saw my country headed for ruin, I should not be afraid to speak out plainly; and indeed hardly remind you
that I would never have any dealings with an enemy of the people. No one values friendship more highly than
I; but we must remember that friends made at the risk of destroying the State are not real friends at all.
These are my principles, at any rate, and that is why I have made the following decision concerning the sons
of Oedipus. Eteocles, who died as a man should die, fighting for his country, is to be buried with full military
honors, with all the ceremony that is usual when the greatest heroes die,
(Positive reaction from crowd.)
but his brother Polyneices, who broke his exile to come back with fire and sword against his native city and
the shrines of his fathers' gods,
(Boos from crowd.)
whose one idea was to spill the blood of his blood and sell his own people into slavery--
(More boos.)
Polyneices, I say, is to have no burial, no man is to touch him or say the least prayer for him.
(This is a surprise for the crowd, and they are shocked at the severity of the decree.)
He shall lie on this plain, unburied, and the birds and the scavenging dogs can do with him whatever they like.
(Utter silence from the crowd.)
This is my command, and you can see the wisdom behind it. As long as I am King, no traitor is going to be
honored.
PRIEST
If this is your will, Creon, son of Menoeceus,
You have the right to enforce it. We are yours.
(Chants of "WE ARE YOURS!" The crowd is back with him, maybe because of fear.)
CREON
That is my will. Take care that you do your part.
PRIEST
What is it that you would have us do?
CREON
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You will give no support to whoever breaks this law.
PRIEST
Only a crazy man is in love with death!
CREON
And death it is; yet money talks, and the wisest have sometimes been known to count a few coins too many.
(Entry Sentry from left.)
SENTRY
I'll not say that I'm out of breath from running, King, because every time I stopped to think about what I have
to tell you, I felt like going back. And all the time a voice kept saying, "You fool, don't you know you're
walking straight into trouble?"; and then another voice, "Yes, but if you let somebody else get the news to
Creon first, it will be even worse than that for you!" But good sense won out, at least I hope it was good
sense, and here I am with a story that makes no sense at all; but I'll tell it anyhow, because, as they say, what's
going to happen is going to happen and--
CREON
Come to the point. What have you to say?
SENTRY
I did not do it. I did not see who did it.
You must not punish me for what someone else has done.
CREON
A comprehensive defense! More effective, perhaps,
If I knew its purpose. Come, what is it?
SENTRY
A dreadful thing...I don't know how to put it--
CREON
Out with it!
SENTRY
Well, the-- the dead man--Polyneices--
(Pause. The Sentry is overcome, fumbles for words; Creon waits impassively.)
--out there--someone,--New dust on the slimy flesh! Someone has given it burial that way, and gone...
(Long pause. Creon finally speaks with deadly control.)
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CREON
And the man who dared do this?
SENTRY
I swear I do not know! You must believe me! The ground was dry, not a sign of digging, no, not a wheeltrack
in the dust, no trace of anyone. It was when they relieved us this morning, and one of them, the corporal,
pointed to it. There it was, the strangest--Look: The body, just mounded over with light dust, you see? Not
buried really, but as if they'd covered it Just enough for the ghost's peace. And no sign of dogs or any wild
animal that had been there.
And then what a scene there was! Every man of us accusing the other. We all proved the other man did it. We
all had proof that we could not have done it. We were ready to take hot iron in our hands, Walk through fire,
swear by all the gods "It was not I! I do not know who it was but it was not I!"
(Creon's rage has been mounting steadily, but the Sentry is too intent upon his story to notice it.)
And then, when this came to nothing, someone said A thing that silenced us and made us stare down at the
ground, you had to be told the news, And one of us had to do it! We threw the dice, and the bad luck fell to
me. So here I am, no happier to be here than you are to have me. Nobody likes the messenger who brings bad
news.
PRIEST
I have been wondering, King. Can it be that the gods have done this?
CREON
(Furiously.)
Stop! The gods"! Intolerable! The gods favor this corpse? Why? How had he served them? Tried to loot their
temples, burn their images, Yes, and the whole State, and its laws with it! Is it your senile opinion that the
gods love to honor bad men? A pious thought--No, from the very beginning There have been those who have
whispered together, Stiff-necked anarchists, putting their heads together, Scheming against me in alleys.
These are the men, And they have bribed my own guard to do this thing.
(He has figured it out, he thinks.)
Money! There's nothing in the world so demoralizing as money. Down go your cities, Homes gone, men gone,
honest hearts corrupted, Crookedness of all kinds, and all for money!
(To Sentry)
But you--I swear by God and the throne of God. The man who has done this thing shall pay for it! Find that
man, bring him here to me, or your death will be the least of your problems: I'll string you up alive! And the
process may teach you a lesson you seem to have missed: a fortune won is often misfortune.
SENTRY
King, may I speak?
CREON
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Your very voice distresses me.
SENTRY
Are you sure; that is my voice, and not your conscience?
CREON
By God, he wants to analyze me now!
SENTRY
It is not what I say, but what has been done, that hurts you.
CREON
You talk too much.
SENTRY
Maybe, but I've done nothing.
CREON
Sold your soul for some silver; that's all you've done.
SENTRY
How dreadful it is when the right judge judges wrong!
CREON
Your figures of speech may entertain you now. Bring me the man.
(Exit Creon into the palace.)
SENTRY
"Bring me the man!" I'd like nothing better than bringing him the man! But bring him or not, you have seen
the last of me here. At any rate, I am safe!
(Exit Sentry.)
Ode 1
Strophe 1
CHORUS
Numberless are the world's wonders, but none
More wonderful than man; the storm gray sea
Yields to his prows, the huge crests bear him high;
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Earth, holy and inexhaustible, is graven
With shining furrows where his plows have gone
Year after year, the timeless labor of stallions.
Antistrophe 1
The light-boned birds and beasts that cling to cover,
The lithe fish lighting their reaches of dim water,
All are taken, tamed in the net of his mind;
The lion on the hill, the wild horse windy-maned,
Resign to him; and his blunt yoke has broken
The sultry shoulders of the mountain bull.
Strophe 2
Words also, and thought as rapid as air,
He fashions to his good use; statecraft is his
And his the skill that deflects the arrows of snow,
The spears of winter rain: from every wind
He has made himself secure--from all but one:
In the late wind of death he cannot stand.
Antistrophe 2
O clear intelligence, force beyond all measure!
O fate of man, working both good and evil!
When the laws are kept, how proudly his city stands!
When the laws are broken, what of his city then?
Never may the anarchic man find rest at my hearth,
Never be it said that my thoughts are his thoughts.
Scene 2
(Re-enter Sentry leading Antigone.)
PRIEST
What does this mean? Surely this captive woman Is the Princess, Antigone? Why should she be taken?
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SENTRY
Here is the one who did it! We caught her In the very act of burying him. Where is Creon?
PRIEST
Just coming from the house.
(Enter Creon, center.)
CREON
What has happened? Why have you come back so soon?
SENTRY
(Expansively.)
O King, A man should never be too sure of anything: I would have sworn That you'd not see me here again:
your anger Frightened me so, and the things you threatened me with, But how could I tell then That I'd be
able to solve the case so soon? No dice-throwing this time: I was only too glad to come! Here is this woman.
She is the guilty one: We found her trying to bury him. Take her, then; question her; judge her as you will. I
am through with the whole thing now, and glad of it.
CREON
But this is Antigone! Why have you brought her here?
SENTRY
She was burying him, I tell you!
CREON (severely)
Is this the truth?
SENTRY
I saw her with my own eyes. Can I say more?
CREON
Tell me quickly!
SENTRY
It was like this: After those terrible threats of yours, King, we went back and brushed the dust away from the
body. The flesh was soft by now, and stinking, so we sat on a hill upwind and kept guard. No napping this
time! We kept each other awake. And then we looked, and there was Antigone! I have seen a mother bird
come back to a stripped nest, heard her crying bitterly a broken note or two for the young ones stolen, just so,
when this girl found the bare corpse, and all her love's work wasted, she wept, and cried on heaven to damn
the hands that had done this thing. And then she brought more dust and sprinkled wine three times for her
brother's ghost. We ran and took her at once. She was not afraid, not even when we charged her with what
she had done. She denied nothing.
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CREON
(slowly, dangerously)
And you, Antigone, you with your head hanging, do you confess this thing?
ANTIGONE
I do. I deny nothing.
CREON
You may go.
(Exit Sentry.)
(To Antigone.)
Tell me, tell me briefly: had you heard my proclamation touching this matter?
ANTIGONE
It was public. Could I help hearing it?
CREON
And yet you dared defy the law.
ANTIGONE
I dared. It was not God's proclamation. That final Justice that rules the world makes no such laws. Your edict,
King, was strong, but all your strength is weakness itself against the immortal laws of God. They are not
merely now: they were, and shall be, operative forever, beyond man utterly.
I knew I must die, even without your decree: I am only mortal. Can anyone living, as I live, with evil all about
me, think Death less than a friend? This death of mine
is of no importance; but if I had left my brother lying in death unburied, I should have suffered. Now I do not.
You smile at me. Ah, Creon, think me a fool, if you like, but it may well be that a fool convicts me of folly.
PRIEST
Like her father, Oedipus, both head strong and deaf to reason! She has never learned to yield.
CREON
She has much to learn. The inflexible heart breaks first, the toughest iron cracks first, and the wildest horses
break their necks at the pull of the smallest cart. Pride? In a slave? This girl is guilty of a double insolence,
breaking the given laws and boasting of it. Who is the man here, she or I, if this crime goes unpunished? She
and her sister win bitter death for this!
(To Servants)
Go, some of you, arrest Ismene. I accuse her equally. Bring her: you will find her sniffling in the house there.
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Her mind's a traitor: crimes kept in the dark cry for light, but how much worse than this is brazen boasting of
barefaced anarchy!
ANTIGONE
Creon, what more do you want than my death?
CREON
Nothing. That gives me everything.
ANTIGONE
Then I beg you: kill me. This talking is a great weariness; your words are distasteful to me, and I am sure that
mine seem so to you. And yet they should not seem so: I should have praise and honor for what I have done.
All these men here would praise me were their lips not frozen shut with fear of you. (Bitterly) Ah the good
fortune of kings, licensed to say and do whatever they please!
CREON
You are alone here in that opinion.
ANTIGONE
No, they are with me. But they keep their tongues in leash.
CREON
Maybe, but you are guilty, and they are not.
ANTIGONE
There is no guilt in reverence for the dead.
CREON
But Eteocles--was he not your brother, too?
ANTIGONE
My brother, too.
CREON
And you insult his memory?
ANTIGONE
(softly) The dead man would not say that I insult it.
CREON
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He would: for you honor a traitor as much as him.
ANTIGONE
His own brother, traitor or not, and equal in blood.
CREON
He made war on his country. Eteocles defended it.
ANTIGONE
Nevertheless, there are honors due all the dead.
CREON
But not the same for the wicked as for the just.
ANTIGONE
Ah, Creon, Creon. Which of us can say what the gods hold wicked?
CREON
An enemy is an enemy, even dead.
ANTIGONE
It is my nature to join in love, not hate.
CREON
(finally losing patience) Go join them then; if you must have your love. Find it in hell!
PRIEST
But see, Ismene comes:
(Enter Ismene, guarded)
Those tears are sisterly, the cloud that shadows her eyes rain down gentle sorrow.
CREON
You too, Ismene, snake in my ordered house, sucking my blood stealthily--and all the time I never knew that
these two sisters were aiming at my throne! Ismene, do you confess your share in this crime, or deny it?
Answer me.
ISMENE
Yes, if she will let me say so. I am guilty.
ANTIGONE
(coldly) No, Ismene. You have no right to say so. You would not help me, and I will not have you help me.
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ISMENE
But now I know what you meant; and I am here to join you, to take my share of punishment.
ANTIGONE
The dead man and the gods who rule the dead know whose act this was. Words are not friends.
ISMENE
Do you refuse me, Antigone? I want to die with you: I too have a duty that I must discharge to the dead.
ANTIGONE
You shall not lessen my death by sharing it.
ISMENE
What do I care for life when you are dead?
ANTIGONE
Ask Creon. You're always hanging on his opinions.
ISMENE
You are laughing at me. Why, Antigone?
ANTIGONE
It's a joyless laughter, Ismene.
ISMENE
But can I do nothing?
ANTIGONE
Yes. Save yourself. I shall not envy you. There are those who will praise you; I shall have honor, too.
ISMENE
But we are equally guilty!
ANTIGONE
No more, Ismene. You are alive, but I belong to Death.
CREON (to the Chorus)
Gentlemen I beg you to observe these girls: one has just now lost her mind; the other, it seems, has never had
a mind at all.
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ISMENE
Grief teaches the steadiest minds to waver, King.
CREON
Yours certainly did, when you assumed guilt with the guilty!
ISMENE
But how could I go on living without her?
CREON
You are. She is already dead.
ISMENE
But your own son's bride!
CREON
There are places enough for him to push his plow. I want no wicked women for my sons!
ISMENE
O dearest Haimon, how your father wrongs you!
CREON
I've had enough of your childish talk of marriage!
PRIEST
Do you really intend to steal this girl from your son?
CREON
No; Death will do that for me.
PRIEST
The she must die?
CREON
(ironically) You dazzle me. --But enough of this talk!
(To Guards) You, there, take them away and guard them well: for they are but women, and even brave men
run when they see Death coming.
(Exeunt Ismene, Antigone, and Guards)
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Ode 2
Strophe 1
CHORUS
Fortunate is the man who has never tasted God's vengeance!
Where once the anger of heaven has struck, that house is shaken
Forever: damnation rises behind each child
Like a wave cresting out of the black northeast,
When the long darkness under sea roars up
And bursts drumming death upon the wind-whipped sand.
Antistrophe 1
I have seen this gathering sorrow from time long past
Loom upon Oedipus's children: generation from generation
Takes the compulsive rage of the enemy god.
So lately this last flower of Oedipus's line
Drank the sunlight! But now a passionate word
And a handful of dust have closed up all its beauty.
Strophe 2
What mortal arrogance
Transcends the wrath of Zeus?
Sleep cannot lull him nor the effortless long months
Of the timeless gods: but he is young for ever,
And his house is the shining day of high Olympus.
And that is and shall be,
And all the past, is his.
No pride on earth is free of the curse of heaven.
Antistrophe 2
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The straying dreams of men
May bring them ghosts of joy:
But as they drowse, the waking embers burn them;
Or they walk with fixed eyes, as blind men walk.
But the ancient wisdom speaks for our own time:
Fate works most for woe
With Folly's fairest show.
Man's little pleasure is the spring of sorrow.
Scene 3
PRIEST
But here is Haimon, King, the last of all your sons. Is it grief for Antigone that brings him here, and bitterness
at being robbed of his bride?
(Enter Haimon.)
CREON
We shall soon see, and no need of diviners. Son, you have heard my final judgment on that girl: have you
come here hating me, or have you come with deference and with love, whatever I do?
HAIMON
I am your son, father. You are my guide. You make things clear for me, and I obey you. No marriage means
more to me than your continuing wisdom.
CREON
Good. That is the way to behave; subordinate everything else, my son, to your father's will. So you are right
not to lose your head over this woman. Your pleasure with her would soon grow cold, Haimon, And then
you'd have a hellcat in bed and elsewhere. Let her find her husband in hell! Of all the people in this city, only
she has had contempt for my law.
The woman dies. I suppose she'll plead "family ties." Well, let her. If I permit my own family to rebel, how
shall I earn the world's obedience? Show me the man who keeps his house in hand, he's fit for public
authority. I'll have no dealings with lawbreakers, critics of the government: Whoever is chosen to govern
should be obeyed--Must be obeyed, in all things, great and small, Just and unjust! O Haimon, the man who
knows how to obey, and that man only, knows how to give commands when the time comes. You can depend
on him, no matter how fast the spears come: he's a good soldier, he'll stick it out. Anarchy, anarchy! Show me
a greater evil! This is why cities tumble and the great houses fall, this is what scatters armies! No, no: good
lives are made good by discipline. We keep the laws then, and the lawmakers, and no woman shall seduce us.
If we must lose, let's lose to a man, at least! Is a woman stronger than we?
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PRIEST
Unless time has rusted my wits, what you say, King, is said with point and dignity.
HAIMON
(boyishly earnest) Father: reason is God's crowning gift to man, and you are right to warn me against losing
mine. I cannot say--I hope that I shall never want to say!--that you have reasoned badly. Yet there are other
men who can reason, too; and their opinions might be helpful. You are not in a position to know everything
that people say or do, or what they feel: your temper terrifies--everyone will tell you only what you like to
hear. But I, at any rate, can listen; and I have heard them muttering and whispering in the dark about this girl.
They say no woman has ever, so unreasonably, died so shameful a death for a generous act: "She covered her
brother's body. Is this indecent? She kept him from dogs and vultures. Is this a crime? Death?--She should
have all the honor that we can give her!" This is the way they talk out there in the city. You must believe me:
nothing is closer to me than your happiness. I beg you, do not be unchangeable: do not believe that you alone
! can be right. It is not reasonable never to yield to reason!
In flood time you can see how some trees bend, and because they bend, even their twigs are safe, while
stubborn trees are torn up, roots and all. Forget you are angry! Let yourself be moved! I know I am young;
but please let me say this: the ideal condition would be, I admit, that men should be right by instinct; but since
we are all too likely to go astray, the reasonable thing is to learn from those who can teach.
PRIEST
You will do well to listen to him, King, If what he says is sensible. And you, Haimon, must listen to your
father. --Both speak well.
CREON
You consider it right for a man of my years and experience to be schooled by a boy?
HAIMON
It is not right If I am wrong. But if I am young, and right, what does my age matter?
CREON
You think it right to stand up for an anarchist?
HAIMON
Not at all. I pay no respect to criminals.
CREON
Then she is not a criminal?
HAIMON
The City would deny it, to a man.
CREON
And the City proposes to teach me how to rule?
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HAIMON
Ah. Who is it that's talking like a boy now?
CREON
My voice is the one voice giving orders in this City!
HAIMON
It is not a City if it takes order from one voice.
CREON
The State is the King!
HAIMON
Yes, if the State is a desert.
(Pause)
CREON
This boy, it seems, has sold out to a woman.
HAIMON
My concern is only for you.
CREON
So? Your "concern"! In a public brawl with your father!
HAIMON
How about you, in a public brawl with justice.
CREON
With justice, when all that I do is within my rights?
HAIMON
You have no right to trample on God's right.
CREON
(completely out of control) Fool, adolescent fool! Taken in by a woman!
HAIMON
You'll never see me taken in by anything vile.
CREON
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Every word you say is for her!
HAIMON
(quietly, darkly) And for you. And for me. And for the gods.
CREON
You'll never marry her while she lives.
HAIMON
Then she must die.--But her death will cause another.
CREON
Another? Have you lost your senses? Is this an open threat?
HAIMON
There is no threat in speaking to emptiness.
CREON
I swear you'll regret this superior tone of yours! You are the empty one!
HAIMON
If you were not my father, I'd say you were perverse.
CREON
You girl-struck fool, don't play at words with me!
HAIMON
I am sorry. You prefer silence.
CREON
Now, by God--I swear, by all the gods in heaven above us, You'll watch it, I swear you shall!
(To the servants.)
Bring her out! Bring the woman out! Let her die before his eyes! Here, this instant, with her bridegroom
beside her!
HAIMON
Not here, no; she will not die here, King. And you will never see my face again. Go on raving as long as
you've a friend to endure you.
(Exit Haimon.)
PRIEST
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Gone, gone. Creon, a young man in a rage is dangerous!
CREON
Let him do, or dream to do, more than a man can. He shall not save these girls from death.
PRIEST
These girls? You have sentenced them both?
CREON
No, you are right. I will not kill the one whose hands are clean.
PRIEST
But Antigone?
CREON
(somberly) I will carry her far away out there in the wilderness, and lock her living in a vault of stone. She
shall have food, as the custom is, to absolve the State of her death and to escape pollution. And there let her
pray to the gods of hell: They are her only gods: perhaps they will show her an escape from death, or she may
learn, though late, that piety [pity] shown the dead is piety [pity] in vain.
(Exit Creon.)
Ode 3
Strophe
CHORUS
Love, unconquerable
Waster of rich men, keeper
Of warm lights and all-night vigil
In the soft face of a girl:
Sea-wanderers, forest-visitor!
Even the pure Immortals cannot escape you,
And mortal man, in his one day's dusk,
Trembles before your glory.
Antistrophe
Surely you swerve upon ruin
The just man's consenting heart,
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As here you have made bright anger
Strike between father and son--
And none has conquered but Love!
A girl's glance working the will of heaven:
Pleasure to her alone who mocks us,
Merciless Aphrodite.
Scene 4
PRIEST
(As Antigone enters guarded.)
But I can no longer stand in awe of this,
Nor, seeing what I see, keep back my tears.
Here is Antigone, passing to that chamber
Where all find sleep at last.
Strophe 1
ANTIGONE
Look upon me, friends, and pity me
Turning back at the night's edge to say
Good-by to the sun that shines for me no longer;
Now sleepy Death
Summons me down to Acheron, that cold shore:
There is no bridesong there, nor any music.
CHORUS
Yet not unpraised, not without a kind of honor,
You walk at last into the underworld
Untouched by sickness, broken by no sword.
What woman has ever found your way to death?
Antistrophe 1
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ANTIGONE
How often have I heard the story of Niobe,
Tantalus's wretched daughter,
they say
The rain falls endlessly
And sifting soft snow; her tears are never done.
I feel the loneliness of her death in mine.
CHORUS
But she was born of heaven, and you
Are woman, woman-born. If her death is yours,
A mortal woman's, is this not for you
Glory in our world and in the world beyond?
Strophe 2
ANTIGONE
You laugh at me. Ah, friends, friends,
Can you not wait until I am dead? Oh, Thebes,
O men many-charioted, in love with Fortune,
Dear springs of Dirce, sacred Theban grove,
Be witnesses for me, denied all pity,
Unjustly judged! and think a word of love
For her whose path turns
Under dark earth, where there are no more tears.
CHORUS
You have passed beyond human daring and come at last
Into a place of stone where Justice sits.
I cannot tell
What shape of your father's guilt appears in this.
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Antistrophe 2
ANTIGONE
You have touched it at last: that bridal bed
Unspeakable, horror of son and mother mingling:
Their crime, infection of all our family!
O Oedipus, father and brother!
Your marriage strikes from the grave to murder mine.
I have been a stranger here in my own land:
All my life
The blasphemy of my birth has followed me.
CHORUS
Reverence is a virtue, but strength
Lives in established law: that must prevail.
You have made your choice,
Your death is the doing of your conscious hand.
Epode
ANTIGONE
Then let me go, since all your words are bitter, and the very light of the sun is cold to me. Lead me to my
vigil, where I must have neither love nor lamentation; no song, but silence.
(Creon interrupts impatiently.)
CREON
If dirges and planned lamentations could put off death, men would be singing forever.
(To the Servants.)
Take her, go! You know your orders: take her to the vault and leave her alone there. And if she lives or dies,
that's her affair, not ours: our hands are clean.
ANTIGONE
O tomb, vaulted bride-bed in eternal rock, soon I shall be with my own again where Persephone welcomes the
thin ghosts underground: and I shall see my father again, and you, mother, and dearest Polyneices--dearest
indeed to me, since it was my hand that washed him clean and poured the ritual wine: And my reward is death
before my time!
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And yet, as men's hearts know, I have done no wrong, I have not sinned before God. Or if I have, I shall
know the truth in death. But if the guilt lies upon Creon who judged me, then, I pray, may his punishment
equal my own.
PRIEST
O passionate heart, unyielding, tormented still by the same winds!
CREON
Her guards shall have good cause to regret their delaying.
ANTIGONE
Ah! That voice is like the voice of death!
CREON
I can give you no reason to think you are mistaken.
ANTIGONE
Thebes, and you my father's gods, And rulers of Thebes, you see me now, the last unhappy daughter of a line
of kings, your kings, led away to death. You will remember what things I suffer, and at what men's hands,
because I would not transgress the laws of heaven.
(To the Guards, simply.)
Come, let us wait no longer.
(Exit Antigone, left, guarded.)
Ode 4
Strophe 1
CHORUS
All Danaë's beauty was locked away
In a brazen cell where the sunlight could not come:
A small room still as any grave, enclosed her.
Yet she was a princess, too,
And Zeus in a rain of gold poured love upon her.
O child, child,
No power in wealth or war
Or tough sea-blackened ships
Can prevail against untiring Destiny!
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Antistrophe 1
And Dryas's son also, that furious king,
Bore the god's prisoning anger for his pride:
Sealed up by Dionysos in deaf stone,
His madness died among echoes.
So at the last he learned what dreadful power
His tongue had mocked:
For he had profaned the revels,
And fired the wrath of the nine
Implacable Sisters that love the sound of the flute.
Strophe 2
And old men tell a half-remembered tale
Of horror where a dark ledge splits the sea
And a double surf beats on the gray shores:
How a king's new woman, sick
With hatred for the queen he had imprisoned,
Ripped out his two sons' eyes with her bloody hands
While grinning Ares watched the shuttle plunge
Four times: four blind wounds crying for revenge,
Antistrophe 2
Crying, tears and blood mingled.--Piteously born,
Those sons whose mother was of heavenly birth!
Her father was the god of the North Wind
And she was cradled by gales,
She raced with young colts on the glittering hills
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And walked untrammeled in the open light:
But in her marriage deathless Fate found means
To build a tomb like yours for all her joy.
Scene 5
(Enter blind Teiresias, led by a boy. The opening speeches of Teiresias might be in singsong contrast to the
realistic lines of Creon, or perhaps there is another way to establish that Teiresias is 'weird.')
TEIRESIAS
This is the way the blind man comes, Princes, Princes, Lockstep, two heads lit by the eyes of one.
CREON
What new thing have you to tell us, old Teiresias?
TEIRESIAS
I have much to tell you: listen to the prophet, Creon.
CREON
I am not aware that I have ever failed to listen.
TEIRESIAS
Then you have done wisely, King, and ruled well.
CREON
I admit my debt to you. But what have you to say?
TEIRESIAS
This, Creon: you stand once more on the edge of fate.
CREON
What do you mean? Your words are a kind of dread.
TEIRESIAS
Listen, Creon: I was sitting in my chair of augury, at the place where the birds gather about me. They were all
a-chatter, as is their habit, when suddenly I heard a strange note in their jangling, a scream a whirring fury; I
knew that they were fighting, tearing each other, dying In a whirlwind of wings clashing. And I was afraid. I
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began the rites of burnt-offering at the altar but Hephaistos failed me: instead of bright flame, there was only
the sputtering slime of the fat thigh-flesh melting: the entrails dissolved in gray smoke, the bare bone burst
from the welter. And no blaze!
This was a sign from heaven. My boy described it, seeing for me as I see for others. I tell you, Creon, you
yourself have brought this new calamity upon us. Our hearths and altars are stained with the corruption of
dogs and carrion birds that glut themselves on the corpse of Oedipus's son. The gods are deaf when we pray to
them, their fire recoils from our offering, their birds of omen have no cry of comfort, for they are gorged with
the thick blood of the dead. O my son, these are no trifles! Think: all men make mistakes, but a good man
yields when he knows his course is wrong and repairs the evil. The only crime is pride.
Give in to the dead man, then: do not fight with a corpse--What glory is it to kill a man who is dead? Think, I
beg you: it is for our own good that I speak as I do. You should be able to yield for your own good.
CREON
It seems that prophets have made me their especial province. All my life long I have been a kind of butt for
the dull arrows of doddering fortune-tellers. No, Teiresias, if your birds--if the great eagles of God himself
should carry him stinking bit by bit to heaven, I would not yield. I am not afraid of pollution: no man can
defile the gods. Do what you will, go into business, make money, speculate in India gold or that synthetic gold
from Sardis, get rich otherwise than by my consent to bury him. Teiresias, it is a sorry thing when a wise man
sells his wisdom, lets out his words for hire!
TEIRESIAS
Ah Creon! Is there no man left in the world--
CREON
To do what? --Come, let's have the aphorism!
TEIRESIAS
No man who knows that wisdom outweighs any wealth?
CREON
As surely as bribes are baser than any baseness.
TEIRESIAS
You are sick, Creon! You are deathly sick!
CREON
As you say: it is not my place to challenge a prophet.
TEIRESIAS
Yet you have said my prophecy is for sale.
CREON
The generation of prophets has always loved gold.
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TEIRESIAS
The generation of kings has always loved brass.
CREON
You forget yourself! You are speaking to your King.
TEIRESIAS
I know it. You are a king because of me.
CREON
You have a certain skill; but you have sold out.
TEIRESIAS
King, you will drive me to words that--
CREON
Say them, say them! Only remember: I will not pay you for them.
TEIRESIAS
No, you will find them too costly.
CREON
No doubt. Speak: Whatever you say, you will not change my will.
TEIRESIAS
Then take this, and take it to heart! The time is not far off when you shall pay back corpse for corpse, flesh of
your own flesh. You have thrust the child of this world into living night, you have kept from the gods the child
that is theirs the one in a grave before her death, the other, dead, denied the grave. This is your crime: and the
Furies and the dark gods of Hell are swift with terrible punishment for you.
Do you want to buy me now, Creon?
Not many days, And your house will be full of men and women weeping, and curses will be hurled at you
from far cities grieving for sons unburied, left to rot before the walls of Thebes.
These are my arrows, Creon: they are all for you.
(to Boy.) But come, child: lead me home. Let him waste his fine anger upon younger men. Maybe he will
learn at last to control a wiser tongue in a better head.
(Exit Teiresias.)
PRIEST
The old man has gone, King, but his words remain to plague us. I am old, too, but I cannot remember that he
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was ever false.
CREON
That is true. It troubles me. Oh, it is hard to give in! But it is worse to risk everything for stubborn pride.
PRIEST
Creon, take my advice.
CREON
What shall I do?
PRIEST
Go quickly: free Antigone from her vault and build a tomb for the body of Polyneices.
CREON
You would have me do this!
PRIEST
Creon, yes! And it must be done at once: God moves swiftly to cancel the folly of stubborn men.
CREON
It is hard to deny the heart! But I will do it: I will not fight with destiny.
PRIEST
You must go yourself, you cannot leave it to others.
CREON
I will go. --Bring axes, servants: come with me to the tomb. I buried her, I will set her free. Oh quickly! My
mind misgives--the laws of the gods are mighty, and a man must serve them to the last day of his life!
(Exit Creon.)
Paean
Strophe 1
PRIEST
God of many names
CHORUS
O Iacchos
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son
of Kadmeian Semele
O born of the Thunder!
Guardian of the West
Regent
of Eleusis's plain
O Prince of maenad Thebes
and the Dragon Field by rippling Ismenos.
Antistrophe 1
PRIEST
God of many names
CHORUS
the flame of torches
flares on our hills
the nymphs of Iacchos
dance at the spring of Castalia:
from the vine-close mountain
come ah come in ivy:
Evohe evohe! sings through the streets of Thebes
Strophe 2
PRIEST
God of many names
CHORUS
Iacchos of Thebes
heavenly Child
of Semele bride of the Thunderer!
The shadow of plague is upon us:
come
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with clement feet
oh come from Parnasos
down the long slopes
across the lamenting water
Antistrophe 2
PRIEST
Io Fire! Chorister of the throbbing stars!
O purest among the voices of the night!
Thou son of God, blaze for us!
CHORUS
Come with choric rapture of circling Maenads
Who cry Io Iacche!
God of many names!
Exodos
(Enter Messenger from left)
MESSENGER
Men of the line of Cadmus, you who live Near Amphion's citadel, I cannot say
of any condition of human life "This is fixed, this is clearly good, or bad." Fate raises up, and Fate casts down
the happy and unhappy alike: no man can foretell his Fate. Take the case of Creon: Creon was happy once, as
I count happiness; Victorious in battle, sole governor of the land, fortunate father of children nobly born, and
now it has all gone from him! Who can say that a man is still alive when his life's joy fails? He is a walking
dead man. Grant him rich, let him live like a king in his great house: if his pleasure is gone, I would not give so
much as the shadow of smoke for all he owns.
PRIEST
Your words hint at sorrow; what is your news for us?
MESSENGER
They are dead. The living are guilty of their death.
PRIEST
Who is guilty? Who is dead? Speak!
MESSENGER
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Haimon. Haimon is dead; and his own hand has shed his blood.
PRIEST
His father's? Or his own?
MESSENGER
His own, driven mad by the murder his father had done.
PRIEST
Teiresias, Teiresias, how clearly you saw it all!
MESSENGER
This is my news: you must draw what conclusions you can from it.
PRIEST
But look: Eurydice, our Queen: Has she overhead us?
(Enter Eurydice from the palace, center.)
EURYDICE
I have heard something, friends: As I was unlocking the gate of Pallas's shrine, For I needed her help today, I
heard a voice telling of some new sorrow. And I fainted there at the temple with all my maidens about me.
But speak again: whatever it is, I can bear it: grief and I are no strangers.
MESSENGER
Dearest Lady, I will tell you plainly all that I have seen
comfort could lie only in what is not true. The truth is always best. I went with Creon to the outer plain where
Polyneices was lying, No friend to pity him, his body shredded by dogs. We made our prayers in that place to
Hecate And Pluto, that they would be merciful, And we bathed the corpse with holy water, and we brought
fresh-broken branches to burn what was left of it, and upon the urn we heaped up a towering barrow of the
earth of his own land. When we were done, we ran to the vault where Antigone lay on her couch of stone.
One of the servants had gone ahead, and while he was yet far off he heard a voice grieving within the
chamber, and he came back and told Creon. And as the king went closer, The air was fully of wailing, the
words lost, and he begged us to make all haste. "Am I am prophet?" He said, weeping, "And must I walk this
road, the saddest of ! all that I have gone before? My son's voice calls me on. Oh quickly, quickly! Look
through the crevice there, and tell me if it is Haimon, or some deception of the gods!"
We obeyed; and in the cavern's farthest corner we saw her lying: She had made a noose of her fine linen veil
and hanged herself. Haimon lay beside her, his arms about her waist, lamenting her, his love lost under
ground, crying out that his father had stolen her away from him.
When Creon saw him the tears rushed to his eyes and he called to him: "What have you done, child? speak to
me. What are you thinking that makes your eyes so strange? O my son, my son, I come to you on my knees!"
But Haimon spat in his face. He said not a word, staring--and suddenly drew his sword and lunged. Creon
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shrank back, the blade missed; and the boy, desperate against himself, drove it half its length into his own
side, and fell. And as he died he gathered Antigone close in his arms again, choking, his blood bright red on
her white cheek. And now he lies dead with the dead, and she is his at last, his bride in the house of the dead.
(Exit Eurydice into the palace.)
PRIEST
She has left us without a word. What can this mean?
MESSENGER
It troubles me, too; yet she knows what is best, her grief is too great for public lamentation, and doubtless she
has gone to her chamber to weep for her dead son, leading her maidens in his dirge.
(Pause.)
PRIEST
It may be so: but I fear this deep silence.
MESSENGER
I will see what she is doing. I will go in.
(Exit Messenger into the palace.)
(Enter Creon with attendants, bearing Haimon's body.)
PRIEST
But here is the king himself; oh look at him, bearing his own damnation in his arms.
CREON
Nothing you say can touch me anymore. My own blind heart has brought me from darkness to final darkness.
Here you see the father murdering, the murdered son--And all my civic wisdom!
Haimon my son, so young, so young to die, I was the fool, not you; and you died for me.
PRIEST
That is the truth; but you were late in learning it.
CREON
This truth is hard to beat. Surely a god has crushed me beneath the hugest weight of heaven, and driven me
headlong a barbaric way to trample out the thing I held most dear.
The pains that men will take to come to pain!
(Enter Messenger from the palace.)
MESSENGER
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The burden you carry in your hands is heavy, but it is not all; you will find more in your house.
CREON
What burden worse than this shall I find there?
MESSENGER
The Queen is dead.
CREON
O port of death, deaf world, Is there no pity for me? And you, Angel of evil, I was dead, and your words are
death again. Is it true, boy? Can it be true? Is my wife dead? Has death bred death?
MESSENGER
You can see for yourself.
(The doors are opened and the body of Eurydice is disclosed within.)
CREON
Oh pity! All true, all true, and more than I can bear! Oh my wife, my son!
MESSENGER
She stood before the altar, and her heart welcomed the knife her own hand guided, and a great cry burst from
her lips for Megareus dead, and for Haimon dead, her sons, and her last breath was a curse for their father,
the murderer of her sons. And she fell, and the dark flowed in through her closing eyes.
CREON
O God, I am sick with fear. Are there no swords here? Has no one a blow for me?
MESSENGER
Her curse is upon you for the deaths of both.
CREON
It is right that it should be. I alone am guilty. I know it, and I say it. Lead me in, quickly, friends. I have
neither life nor substance. Lead me in.
PRIEST
You are right, if there can be right in so much wrong. The briefest way is best in a world of sorrow.
CREON
Let it come. Let death come quickly, and be kind to me. I would not ever see the sun again.
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PRIEST
All that will come when it will; but we, meanwhile, have much to do. Leave the future to itself.
CREON
All my heart was in that prayer!
PRIEST
Then do not pray any more; the sky is deaf.
CREON
Lead me away. I have been rash and foolish. I have killed my son and my wife. I look for comfort; my
comfort lies here dead. Whatever my hands have touched has come to nothing. Fate has brought all my pride
to a thought of dust.
(As Creon is being led into the house, the PRIEST advances and speaks directly to the audience.)
PRIEST
There is no happiness where there is no wisdom; no wisdom but in submission to the gods. Big words are
always punished, and proud men in old age learn to be wise.
CURTAIN
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Sabtu, 07 April 2012

Summary of The Bonesetter’s Daugter

Chapter 1
Introduction

The Bonesetter’s Daugter is a fiction story written by Amy Tan, she was born in Oakland, California, on February 19, 1952. She is a famous Chinese American woman writer in American literary. She extanded her gratitude for her dear friend and editor, the late, great Faith Sale, to her writing teacher and mentor, Molly giles, and also for all who have the help, kindness, and protection of the novel.
The novel published in 2001 and it is Amy Tan's fourth novel. There are three parts which consists some chapters in every part in this novel which told about many things, how the past shapes the present, how family and cultural history influence the direction of the future. And also about the importance of language and memory, the relationship of words and perception and experience. Most of all, about mothers and daughters.
There are two major stories in this novel. The first is about Ruth, a Chinese-American woman living in San Francisco. She worries that her elderly mother, Lu Ling, is gradually becoming more and more demented. Lu Ling seems increasingly forgetful, and makes bizarre comments about her family and her own past. The second major story is that of Lu Ling herself, as written for Ruth, her daughter. Several years earlier, Lu Ling had written out her life story in China. Ruth arranges to have the document translated, and learns the truth about her mother's life in China. There is friction because Ruth does not understand her mother. Her mother is from China and after moving to America held on to a lot of her Chinese Culture. LuLing has been in the United States for almost 50 years yet doesn't speak or understand English that well. LuLing is also secretive of her past. All these situations lead to a very strained relationship that leave both Ruth and LuLing feeling unappreciated and misunderstood by one another.




Chapter2
Point of view

Point of view comes in three varietiens,which the english scholars have handily numbered for your convinience :
First-person view
In a first-person narrative the story is relayed by a narrator who is also a character within the story, so that the narrator reveals the plot by referring to this viewpoint character as "I”,”me”,”my”,and “mine" (or, when plural, "we"). Oftentimes, the first-person narrative is used as a way to directly convey the deeply internal, otherwise unspoken thoughts of the narrator. Frequently, the narrator's story revolves around him-/herself as the protagonist and allows this protagonist/narrator character's inner thoughts to be conveyed openly to the audience, even if not to any of the other characters. It also allows that character to be further developed through his/her own style in telling the story. First-person narrations may be told like third-person ones, with a person experiencing the story without being aware that they are actually conveying their experiences to an audience; on the other hand, the narrator may be conscious of telling the story to a given audience, perhaps at a given place and time, for a given reason. In extreme cases, the first-person narration may be told as a story within a story, with the narrator appearing as a character in the story. The first-person narrator also may or may not be the focal character.
Second-person view
Probably the rarest mode in literature (though quite common in song lyrics) is the second-person narrative mode, in which the narrator refers to one of the characters as "you", therefore making the audience member feel as if he or she is a character within the story. Another common place to see this is in preschool television shows in which characters will tell the audience to follow them, or ask the audience questions. Second-person narrative mode is often paired with the first-person narrative mode in which the narrator makes emotional comparisons between the thoughts, actions, and feelings of "you" versus "I". Often the narrator is also a character in his or her story, in which case it would technically still be employing the first-person narrative mode; an example of this form is A Song of Stone by Iain Banks.
In letters and greeting cards, the second-person narrative mode is often used in a non-fictional atmosphere.
Third-person view
Third-person narration provides the greatest flexibility to the author and thus is the most commonly used narrative mode in literature. In the third-person narrative mode, each and every character is referred to by the narrator as "he", "she", "it", or "they", but never as "I" or "we" (first-person), or "you" (second-person). In third-person narrative, it is necessary that the narrator be merely an unspecified entity or uninvolved person that conveys the story, but not a character of any kind within the story being told. Third-person singular (he/she) is overwhelmingly the most common type of third-person narrative, although there have been successful uses of the third-person plural (they), as in Maxine Swann's short story "Flower Children". Even more common, however, is to see singular and plural used together in one story, at different times, depending upon the number of people being referred to at a given moment in the plot. Sometimes in third-person narratives, a character would refer to himself in the third-person e.g., "(Character name) would like to come with you".[citation needed]
The third-person modes are usually categorized along two axes. The first is the subjectivity/objectivity axis, with "subjective" narration describing one or more character's feelings and thoughts, while "objective" narration does not describe the feelings or thoughts of any characters. The second axis is between "omniscient" and "limited", a distinction that refers to the knowledge available to the narrator. An omniscient narrator has omniscient knowledge of time, people, places and events; a limited narrator, in contrast, may know absolutely everything about a single character and every piece of knowledge in that character's mind, but it is "limited" to that character—that is, it cannot describe things unknown to the focal character.
In the Bonesetter’s Daugter novel,the writer using more than one point of view.
The first she is using first person point of view,we can analyst from using “i,me or my” to tell about story
For example
I suppose most people want to write their own book  (page 29)
I used to be in communication.the I stared freelance editing,and a few years ago I took on more full-scale book collaboration......(page 28)
“I made my face and heart a stone wall. “Yes”. I lied. Precious Auntie sighed, relieved. This was the first time she had believed a lie of mine.(page:198)
“I instantly revived from the listlessness of the heat and my hunger.”(page:199)
 I hope so,because i was just about to call the police to get a restraining order (page 52)
I hope you will still forgive me.please knowthat my life has been miserable ever since you left me.that is why i ask you to take my life,but to spare my doughter if the curse cannot be changed ( page 80)

And other point of view that narrator use to tell about story is third person point of view because we can find the narrator use “she” to tell about main character.
Hadn’t she told her mother fu-fu had died?she must have have or ard had.(page 62)
She was nearly yanked from this life and on har way to the yellow springs...(page 75)
Mouth! ”her mother cried,tracing over the square.”that’s the character for’mouth’she stared at ruth.(page 80)
“She thought everyone must secretly do the same, but no one talked openly about it except her mother.”(page:112)
“Buth as Ruth reached for the old towels, she found she could not get rid of them any more than her mother could.’(page: 139)





Chapter3
Plot
Plot is a literary term defined as the events that make up a story, particularly as they relate to one another in a pattern, in a sequence, through cause and effect, or by coincidence. One is generally interested in how well this pattern of events accomplishes some artistic or emotional effect. An intricate, complicated plot is called an imbroglio, but even the simplest statements of plot may include multiple inferences, as in traditional ballads.
The plot from the novel The Bonesetter’s Daughter is flashback in the begin of story
For example
“For the past eighty years, always starting on August twelfth, Ruth Young lost her voice.”(page:9)
“During the peak of the Perseids, around August 12th, hundreds of ‘shooting’ or ‘falling’ stars streak the sky every hour.”(page:9)
Then, in the middle story the narator retell about Ruth in the last time when she was in kindergarten.
 For example:
“The next day, Ruth was playing in the schoolyard. Her mother was on the other side of the yard, monitoring other kids.”(page:71)
“At the end of the day, Ruth’s mother went to her classroom to pick her up. Miss Sondegard took LuLing aside, and Ruth had to act as though she were not listening.”(page:75)

and other pages the story back to normal.
The next morning,baby uncle came back with three stemfuls of lychees for precious auntie as a gift of appreciation.(page 175)
Baby uncle went to fortune teller in the mouth of the mountain,an old lady with a face more wrinkled than her palm(page 176)

Chapter4
Theme
In contemporary literary studies, a theme is the central topic, subject, or concept addressed in a story, not to be confused with whatever message, moral, or commentary it may send or be interpreted as sending regarding said concept (i.e., its inferred "thesis"). While the term "theme" was for a period used to reference "message" or "moral," literary critics now rarely employ it in this fashion,[citation needed] namely due to the confusion it causes regarding the common denotation of theme: "[t]he subject of discourse, discussion, conversation, meditation, or composition; a topic. One historic problem with the previous usage was that readers would frequently conflate "subject" and "theme" as similar concepts, a confusion that the new terminology helps prevent in both scholarship and the classroom. Thus, according to recent scholarship and pedagogy, identifying a story's theme—for example, "death"—does not inherently involve identifying the story's thesis or claims about "death's" definitions, properties, values, or significance. Like morals or messages, themes often explore historically common or cross-culturally recognizable ideas and are almost always implied rather than stated explicitly. Along with plot, character, setting, and style, theme is considered one of the fundamental components of fiction.
The Mother-Daughter Bond

           Ruth’s bond to her demented, depressed, and isolated mother overcame the dictates of pragmatic culture and she finally succeeded where LuLing failed: showing her love to her mother as a daughter before her time was up.
“Ruth felt a twinge in her chest. It quickly grew into an ache. She wanted to embrace her mother, shield her, and at the same time wanted her mother to cradle her, to assure her that she was okay, that she had not had a stroke or worse. That was how her mother had always been, difficult, oppressive, and odd. And in exactly that way, LuLing had loved her. Ruth knew that, felt it. No one could have loved her more. Better perhaps, but not more.”(page 59).
Even from across the big room, Ruth could see that LuLing was beaming at her with motherly adoration. This gave Ruth heart pangs, made her both happy and sad to see her mother on this special day. (page 90)

Chapter5
Conclusion

The Bonesetter’s Daugter is a fiction story written by Amy Tan, she was born in Oakland, California, on February 19, 1952. She is a famous Chinese American woman writer in American literary.this novel using two types of point of view to tell this novel.the first narrator use first person point of view.we can analyst from “i or my to tell main character” and narrator use third person point of view because writer use “she and her”to tell about main character.beside that The Bonesetter’s Daugter using flashback technique as the plot because the writer begun to tell the story on August twelfth and then she jumps to write the situation when she was in kindergarten. And the theme in this novel is about the Mother and daughter bond.

REFERENCES :

•    Tan, Amy. 2001. The Bonesetter’s Daughter. New York : The Ballantine Publishing Group.
•    Klarer, Mario. 2004 . An Introduction To Literary Studies. Second Edition : London and Nev . Routledge.



CONTOH HOMONYM, HOMOFON DAN HOMOGRAF

Homographs

bass        /beıs/    types of fish
bass        /bæs/    low deep voice
close        /kləʊz/    nearby
close        /kləʊs/    so shut
bow        /baʊ/    type of knot
bow        /bəu/    to incline
contract    /kɒntræk/    a legal  document
contract    /kəntrækt/    to become affected with
dove        /dʌv/    a bird
dove        /daʊv/    to pluge into water
project    /prɒʤekt/    to speak loudly
project    /prəʤekt/    a task
resume    /rızju:m/    start again
resume    /rezjumeı/    job history

wind        /wınd/    movement of air
wind        /waind/    to twist

homonym
dear    /dıə(r)/    During the Christmas time we love to buy gifts for our near and dear ones.
deer    /dıə(r)/ The hunter was trying hard to shoot the deer
dissent    /dı’sent/ He is going to dissent whatever I speak in the meeting
descent    /dı’sent/ His slow descent from the mountain was a cause of worry for his family
device        /dı’vaız/ Cell phone is indeed a useful device to communicate with people
devise        /dı’vaız/ Do not devise plans to harm him
dual    /dju:əı/ more than one
duel    /dju:əı/ fight
deverse    /daı’vɜ:s/ India is known for its diverse culture
divers        /daı’vɜ:s/ Divers face many challenges while working underwater
Homophones
write     /raıt/
right     /raıt/

see     /sı:/ look
sea    /sı:/    ocean

there    /ðeə(r)/ far
their    /ðeə(r)/


feat    /fı:t/
feet    /fı:t/ trotters

hi     /haı/ greeting
high    /haı/ tall

Homonim
bisa     : dapat
bisa     : racun
buku     : ruas
buku     : kitab
salak     : nama buah
salak     : bunyi gonggongan anjing
bulan     : waktu 30 hari
bulan     : nama satelit bumi
genting : gawat
genting : benda penutup atap rumah
malam : nama waktu lawannya siang
malam : nama zat bahan membatik

Homograf
apel    : upacara
apel    : nama buah
seminar: bersinar-sinar
seminar : pertemuan ilmiah
teras     : inti kayu
teras     : bagian depan rumah  
memerah    susu sapi
 memerah    menjadi merah
letak    tempat
letak    jilat "sunda"
ngepel    bersihkan lantai
ngepel    genggam jari
cela    bantah
cela    lubang keci
semi    musim
 semi    level diatas standar
cek    faktur bank
 cek    panggilan bibik

Homofon

sangsi     : ragu-ragu
sanksi     : hukuman
bank     : tempat menanbung
bang    : panggilan untuk orang laki-laki
hak    : hak (sepatu)
hak    : hak (asasi)
tank    :kendaraan militer
tang    :perkakas
masa    :waktu
massa    :sekelompok orang

RPP bahasa Inggris kelas 7


                                       RENCANA PELAKSANAAN PEMBELAJARAN (RPP)


SMP/MTs        : ……
Kelas/Semester        : VII (Tujuh) / 1(ganjil)
==================================================================
Standar Kompetensi    : 1. Memahami makna dalam percakapan transaksional dan interpersonal sangat sederhana untuk berinteraksi dengan lingkungan terdekat

Kompetensi Dasar    : 1.1 Merespon makna dalam percakapan transaksional (to get things done) dan  interpersonal (bersosialisasi) yang menggunakan ragam bahasa lisan sangat sederhana secara akurat, lancar, dan berterima untuk berinteraksi dengan lingkungan terdekat yang melibatkan tindak tutur: menyapa orang yang belum/sudah dikenal, memperkenal-kan diri sendiri/orang lain, dan memerintah atau melarang

Indikator   
•    Meminta dan merespon berbagai informasi
•    Mengidentifikasi berbagai informasi dalam teks bergambar
•    Mengidentifikasi berbagai informasi dalam teks fungsional pendek berupa instruksi.

Jenis teks        : Transactional / Interpersonal
Tema            : Introductory Chapter, dan Family Life
Aspek/Skill        : Mendengarkan
Alokasi Waktu        : 2 x 40 menit



1.    Tujuan Pembelajaran
Pada akhir pembelajaran, siswa dapat:
a.    Menjawab pertanyaan berdasarkan suatu percakapan
b.    Menjawab pertanyaan berdasarkan gambar
c.    Merespon pertanyaan
d.    Merespon instruksi

2.    Materi Pembelajaran
a.    Communication Practice.
•     script dialog
•     gambar dan pilihan jawaban
b.    Recalling Vocabulary
•    Gambar
c.    Grammar Practice
•    Penjelasan dan latihan
3.    Metode Pembelajaran: -
4.    Langkah-langkah Kegiatan
a.    Kegiatan Pendahuluan
•    Berdoa,cek kehadiran siswa.
•    Membahas  dan mengulas materi sebelumnya
b.    Kegiatan Inti
•    Mendengarkan istilah-istilah
•    Mendengarkan dan merespon yang disampaikan guru
•    Menyampaikan informasi berdasarkan gambar.
•    Memberikan umpan balik kepada siswa yang lain
•    Membaca dan memahami paragrap
c.    Kegiatan Penutup
•    Menanyakan kesulitan belajar siswa
•    Menyimpulkan kegiatan pembelajaran
5.    Sumber belajar
a.    buku
b.    lembar kerja
6.    Penilaian
a.    Teknik: tes tertulis
b.    Bentuk: isian



Uraian    Skor
Isi benar, tata bahasa benar
Isi benar, tata bahasa kurang tepat
Isi dan tata bahasa kurang tepat
Tidak menjawab    3
2
1
0



Mengetahui :                                                                                               ......................., ...................
Kepala Sekolah                                                                                          Guru Mata Pelajaran


________________________                                                                   ______________________
NIP.                                                                                                            NIP














RENCANA PELAKSANAAN PEMBELAJARAN
(RP

Kamis, 05 April 2012

Research Paper

Effective Communication in Business Meetings

Outline
Abstract
1.    Communicating in business.
2.    Communication techniques.
3.    Effective communication skills.
4.    Ten methods to ensure your speeches are successful.
5.    Hold effective meetings.
6.    Practical recommendations in business communication.
7.    Conclusion.

Abstract
Effective communication will increase productivity in business meetings. It is the oil that greases the business machinery. When one cannot communicate effectively, business meetings are unsuccessful. The competitive environment demands that communication should be prompt and more informal than ever before. Communication methods are among those that workers find most vital, and they play a major role in each functional field of business.
The skills achieved in studying communication methods will help people do their job well. Effective communication skills will help a speaker effectively deliver his or her point of view to others. Carrying out verbal presentations well will expand a person’s opportunities.
Strong verbal communication skills are just as necessary as writing skills to help a person to contribute to the success of a company. Many people have an inborn fear of speaking in the presence of others. By practicing and using several simple rules, one can overcome such fears and present effective verbal presentations.
The simple recommendations describe how to obtain organizational objectives with particular focus on communication rules for effective meetings. People call meetings for a common goal. A clear process will make a meeting efficient and useful for the benefit of everyone.
Be an attentive listener, show people that you are really interested in the topic. Listening to the interviewer is an activity; it is not a passive process. Show your interviewer that you fully understand his or her point of view, that you are filled with his or her feelings, thoughts and the reasons of his or her actions. When your interviewer sees that you fully understand his point of view, he starts trusting you. Good listeners are people who can communicate successfully and who know how to show their respect and understanding for others. Owing to this, a person becomes friendly and frank.  Consequently, if one wishes to communicate successfully, he or she should stick to this rule: take an interest in other people.


1. Communicating in business.
Communication plays a great role in making advantageous or disadvantageous impressions. If one were to recall a positive or negative experience that he or she has encountered in a business – one would see that someone’s methods in communicating or lack of them helped create that experience.
Communication is of primary importance since the earliest times. Nowadays effective communication is significant in everyday life and in business meetings in particular. Therefore, the problem arouses: how to make the communication in business effective enough that it would help to achieve professional goals? What methods and techniques should be used in solving this problem?
The purpose of this research paper is in applying all the recommended communication techniques that are examined in the given paper when considering this problem. The considered effective skills and techniques in this paper are naturally based on the knowledge of psychology.
Many researchers and psychologists have dealt with the problem of effective communication in business. When writing the paper such works have been used as: “Communicating in Business: an action-oriented Approach” by F. Wayne; “How to Win Friends and Influence People” by D. Carnegie; “International Dimensions of Organizational Behavior” by N. Adler and others (see references).
As the success of business meetings is in effective communication, the paper forecasts the development of the given problem and includes the following points: communication in business in general, effective communication techniques, skills and methods, practical recommendations in particular.


2. Communication techniques.
From a business outlook, “communication is the oil that greases the organizational machine and makes it run easily” (Wayne, 1994, p. 4). Effective communication in business meetings keeps the potential partner coming back. When we associate with people in business, or they associate with us, all parties desire to gain some objective. Knowing how to communicate to encourage productive action is important.
The definition of an organization is “a group of people with a special purpose, such as business” (Active Study Dictionary of English, Longman Group Limited, 1983, p. 420). Communication techniques, consequently, are necessary to make an organization work well.
A person will have to apply strong communication techniques in any job he or she holds. Survey results conclude that communication techniques – written, verbal, and nonverbal – are among those that employers find most necessary in potential employees. By improving these techniques, one will learn how to organize his or her thoughts, and effectively communicate with people. A speaker will conduct his or her presentations with confidence, and the intended message will be communicated.
Communication in management. Almost every individual in a business institution is a part of management in one way or another, whether it is by leading people, guiding projects, or directing activities. Managers at all levels scheme, organize, guide, and control institutional activities. Each of these functions rests heavily on communication to achieve desired goals.
Planning requires good communication. Planning, whether for the strategic instructions of a company or for good communication, contains the same activities: collecting information, interpreting information, drawing conclusions, and defining what communication actions to undertake.


3. Effective communication skills.
Verbal communication skills are significant in effectively contributing to your firm and gaining profit. Verbal reporting includes everything from formal meetings with different types of exhibits, to informal, unprepared question-and-answer presentations.
The value of obtaining strong verbal skills. Many presentations that take place in business include oral reports. Those who listen to speeches may remember the successful speeches, but most likely will never forget the unsuccessful speeches.
In presenting a good speech or presentation, it is necessary to apply the same techniques as applied for other types of communication. Nevertheless, a person needs to know and practice additional techniques if he or she wishes to excel in presenting a good speech or presentation.
Improve your entire communication package. By mastering the techniques of effective oral presentations, a speaker can diminish the anxiety that surrounds presenting a speech. When a speech is presented, the words used and the way in which they are used influence information the listener receives. For instance, the precision of a speaker’s pronunciation affects the information the listeners receive. When what a person says contradicts what he or she does, people generally perceive that person’s nonverbal signs to be more accurate. Actions speak louder than words, and presenting a speech effectively depends upon the speaker’s actions accompanying the speech.
Overcome the fear of public speaking. Many people have physical symptoms of anxiety when they are informed that they must present a speech. Remember that when presenting a formal speech, the audience hopes for the speaker to succeed. Nevertheless, many people are afraid something awful will happen when they are giving a presentation. The secret to conquering the nervousness and fear of presenting speeches is to be prepared and to practice.
By brainstorming all the possible cases that could occur, one can create a plan for how to deal with them.


4. Ten methods for successful speeches.
When people present speeches, they “wish to report information in which in their opinion the audience is interested” (Zenker, 1992, p.19-21). The following methods can help a speaker better communicate with an audience:
1) Restrict the objectives. The objective in a speech is to discuss one or two main ideas in which the audience will be interested.
2) Retell in simple words. When addressing a miscellaneous audience, it is wise to remember that rarely can a speaker know what people are not familiar with. Make your speech understandable for a Doctor of Philosophy as well as for a seller. Use simple phrases and sentences. Do not use jargon.
3) Tell a story from your own experience. After a speaker states all of the necessary points in his or her presentation, the audience will recall the story used as a sample.
4) Generalize. As a specialist, a speaker would like to talk about what he knows. Nevertheless, by relating the specific information to the general world a speaker can overcome the gap between the audience the speaker.
5) Add spice to the speech. Spice up the speech with slides or video materials. Keep the speech varied to maintain the audience’s interest.
6) Reduce the gap. A speaker should not only stay in front of the audience, being at a distance from them. Instead, the speaker should move closer or even go out into the audience and engage people personally.
7) Have a good time. If a speaker enjoys presenting his or her speech and projects with enthusiasm and energy, he or she is more likely to arouse interest and enthusiasm in the audience.
8)  Take a risk. Take a risk by telling a personal story to make a point more vivid. This will make the speech memorable.
9) Be concise. A good speaker will give the audience enough information and at the same time leave them wanting more.  The speaker should know when enough information has been given, and stop. “The brevity is the main feature of good speech” (Brown, 2004, p. 126).
10) Know the expectations of the audience. The speaker and the person planning the presentation are to know what the audience expects from the speech. This will decrease the likelihood of disappointment among the speaker, planner, and audience.


5. Hold effective meetings.
Meetings permit teams to work together to share data and determine solutions for the plans in which they are mutually committed to. Meetings should only be held when deemed the best way for a group to fulfill a task at hand.
Work out an agenda. An agenda is an abstract or a plan of points that those attending the meeting regard. A well-prepared agenda presents a meeting with a focus, lists the members, and gives the subjects and time limits for presentation. Usually, the agenda contains main topics of discussion with short summary of their importance. It may also include the names of people who are responsible for each task and who will present each agenda subject to the members. A precise, allotted amount of time should be spent presenting each agenda subject and an allotted amount of time for the entire meeting should be adhered to.
Start the meeting on time. An effective meeting will begin on time and follow the agenda. At the commencement of the meeting, the members should be aware of how they will discuss and solve various problems.
Listen to yourself when you speak. As a speaker delivers oral presentation, he is to listen to himself. When he speaks in front of others, he is to put himself in his listener’s position and ask himself if he understands what he is saying.
Follow your plan. It is easy to get off-topic in a speech as a person tries to explain a point; do not allow this happen. Unless it is absolutely necessary to deviate from the topic, a speaker should follow his or her plan. Additional information can be useful to aid listeners in understanding the points being made.
Ensure that your nonverbal cues correspond with your oral messages. Realize that the way a word or phrase is orally stressed, transmits meaning. Apply this to help stress your points. The application of vocal emphasis gives meaning not inserted in the wording. Pause at major points, transmitting at varying rates of pace and at various volumes. “The silence can be very eloquent. A pause made in time is effective” (Wayne, 1994, p. 605).
Follow-up after the meeting. After the meeting, an abstract of what was discussed should be developed and distributed to all team members and others who may require knowledge of this data. This helps the members determine what should be addressed during future meetings.
6. Practical recommendations in business communication.
One of the keys for gaining success in any job is the ability to have sincere, warm relations with people. If a person attempts to recall what he was taught at school or a university, he or she will rarely remember a course of lectures that would help to communicate successfully in business. Usually we have warm and sincere relations with our relatives, spouses, close friends, and even with our neighbors. Then why is it that we cannot build such relationships with everyone? The answer is simple, yet complicated at the same time: we cannot build such relationships with everyone, because such relationships require commitment, strenuous work and concentration that is not easy to achieve.
We all can master the art of communication. There are several rules regarding how to maintain sincere and warm relations:
1. Look in the face of your interviewer. Eye contact is very important. Look in the face of your interviewer with confidence. This will help to create the atmosphere of trust.
2. Be a good listener. “Be good listeners. Make others speak about themselves” (Carnegie, 1965, p. 70). Active listening is the best proof of approval.
    Dale Carnegie, the author of a well-known book in the world “How to Win Friends and Influence People: Simon and Schuster” that was republished 111 times in the USA, was once invited to play bridge. Among the guests was a woman who, having found out about Carnegie’s trip across Europe, asked him to tell her more about it. The woman told Carnegie that she had recently come back from a trip to Africa. Carnegie showed his interest to her trip. He began asking her about it and the woman told him about it with pleasure. Her speech lasted 45 minutes. Subsequently, the woman did not ask about Carnegie’s trip. She appreciated having an attentive listener because everyone likes to be listened to. To be a good listener will help a person to achieve his professional goals. The secret of success in business conversation is paying attention to your interviewer.
3. Ask questions that require complex answers. Remember, people are not interested in how much you know until they find out how much you are interested in them. “Make your interviewer talk much more than you do it by yourself” (Carnegie, 1964, p. 116). A person who asks questions is showing the other person that he or she is interested in him or her.
Once I had a business meeting with a lawyer, Anthony, concerning my project. Anthony was very serious and began discussing the project at once. Surely I could accept such style of behavior. Figuring that during the work over the project I would need the help of the lawyer, I decided to have good relations which would contribute to our successful work.    I asked questions which displayed my interest in Anthony’s personality. I asked how long Anthony had been working as a lawyer, where he had studied, what he liked most in his profession, and so on. While listening to me, Anthony noticed my interest to his personality and he began asking questions. As soon as our relations became friendly, the work became more pleasant and the lawyer desired to finish his work in the best way though the time of our meeting had finished.
4. Be confident in yourself. People want to communicate with those who believe in themselves. “The true belief starts from the belief in yourself” (Spiegel, 2000, p. 145).
5. Show others that you have a sense of humor. We all feel well with people who can laugh about themselves and the whole world.
6. Be honest and sincere. A person should keep his word and show up on-time. One should also acknowledge his or her faults. One should respect other people, so that he or she in-turn, will be respected.
7. Love and respect people. “Captiousness closes the doors. Goodwill opens them” (Spiegel, 2000, p. 144).
8. Maintain a positive mood. “You represent what you think about yourself. Think about yourself only good” (Spiegel, 2000, p. 145).
9. Show interest towards other people. “We are interested in others when they are interested in us” (Carnegie, 1964, p. 70). Listen as much as possible, show your interest in the topic and in people you are communicating with. Even in business negotiations a person will keep an interest and kindly attitude of his or her partner, having shown the partner that he or she fully understands his point of view. A famous psychologist, wrote: “People who do not show any interest to their relatives and other people have many problems in life.”(Adler, 1975, p.6). People should understand all the importance of true relations with each other.
Consequently, if one wishes to communicate successfully, he or she should stick to this rule: take an interest in other people.


7. Conclusion.
Knowing how to present effective oral reports in business will greatly enhance a person’s presentation. Using these techniques will help an individual to overcome their fear of public speaking. One will be self-confident as he or she verbally presents his or her messages in the best possible way.
A person will likely be a member of some kind of a team that will help in decision making or problem solving. Being a good speaker will allow an individual to actively take part in the meetings that directly influence him or her in the company.
    Knowing how to form, take part in, and manage any situation, including presenting effective speeches, can aid in working with others. Knowing how to communicate effectively, and how to have warm and sincere relations with people will help a person become successful in business.





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