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<?xml version="1.0" standalone="yes"?> <Paper uid="C80-1023"> <Title>Summary A formal grammar accounting for artistic</Title> <Section position="2" start_page="0" end_page="159" type="metho"> <SectionTitle> A FORMAL GRAMMAR OF EXPRESSIVENESS FOR SACRED LEGENDS </SectionTitle> <Paragraph position="0"> F. Dreizin, A. Shenhar, H. Bar-ltzhak Haifa University, Haifa, Israel Examples: a door / the first door, the second door, the third door .... ; a waiter / the first waiter, the second waiter ....</Paragraph> <Paragraph position="1"> Variation (VAR) - a substitution of a series of substantially different elements X I, X 2 ..... X n for an element X so that each one is the result of an EMBOD applied to X.</Paragraph> <Paragraph position="2"> Examples: a man / a carpenter, a student, a taxi-driver .... ; a building / a church, a mosque, ...</Paragraph> <Paragraph position="3"> Detailization (DET) - a substitution of a detailed description Y1 of a thing, situation or action Y, for Y.</Paragraph> <Paragraph position="4"> Examples: X is ill / X stays in bed and X has no appetite and X has a high temperature; an old Jew dies / an old Jew isn't well, other Jews come, they pray together, the Rabbi comes to visit the old Jew, the old Jew is dead and the body is carried to the cemetery.</Paragraph> <Paragraph position="5"> Compare an EMBOD of 'X is ill' / 'X has pneumonia' Contrast (CONTR) - a substitution of two contrasting elements X and Anti-X for an element x.</Paragraph> <Paragraph position="6"> Examples: death / perfect health, death; treachery / loyalty, treachery.</Paragraph> <Paragraph position="7"> Exposition (EXPO) - a substitution of two elements pre-X and X for X, where pre-X precedes X in the text; pre-X may be: a) incomplete X (the shadow of X appears and then X itself); b) the felt absence of X (everybody is waiting for X, then X appears); c) Anti-X followed by X. The only difference between this case and CONTR is the order of Anti-X and X.</Paragraph> <Paragraph position="8"> Adjustment (ADJ) - of X to Y with respect to a feature f: X 1 is substituted for X, where X 1 has all the essential properties of X, plus some feature f of an element Y occurring in the derivation of a text.</Paragraph> <Paragraph position="9"> Examples: touch (X), love (Y); Xl = embrace; house (X), many people meet (y); X 1 = club.</Paragraph> <Paragraph position="10"> Amalgamation (AMALG) - of X with Y - a substitution of an element Z for X and Y where Z is the result of EMBODs applied both to X and Y.</Paragraph> <Paragraph position="11"> Examples: death (X), love (Y=); Z = romantic suicide; presence (X), absence (Y), Z = a person in disguise.</Paragraph> <Paragraph position="12"> Reduction (RED) - a substitution of X 1 for X, where X 1 is such a part of X that all the thematically important information contained in X can be restored by means of X I.</Paragraph> <Paragraph position="13"> Examples: M. Dayan / one-eyed Israeli Minister; murder + a blood-stained knife; Jewish religion / a Torah scroll; communism / The Red Banner. Compare EMBOD: Jewish religion / orthodox Jewish religion; communism / Chinese communism.</Paragraph> <Paragraph position="14"> It seems to us that the most important innovations of ShcheglovandZholkovsky are ADJ and AMALG. The hypothesis that these principles are employed in the construction of literary texts means the presence of intensive links between text elements. Let us give a simple example of the intensification of such links. Consider a &quot;theme&quot; I. A person X uses an object Y to injure a person g who uses an object d for aggressive purposes. We shall establish links between some elements of this text. First, we shall declare Y and d to be the same object: 2. A person X uses an object s to injure a person g who injures others with this very object s. Now we shall establish a link between g and s. Let's make s a sort of RED(g): 3. A person X uses an object s, which is used for aggression by g and is inherently typical of g, to injure g. This quasi-text has obvious artistic qualities and may be interpreted, for example, as: 4. The hero causes the situation where the Dragon bites itself with its venomous teeth.</Paragraph> <Paragraph position="15"> &quot;k &quot;k Some applications and specifications of the above ideas follow.</Paragraph> <Paragraph position="16"> We were looking for the answers to questions like: What are creative abilities of folklore story-tellers? What are poetic systems of different folklore genres? As the first object of our investigation we have chosen sacred legends of Moroccan Jews.</Paragraph> <Paragraph position="17"> To make the &quot;Principles of Expressiveness&quot; technically workable, we represent steps of text generations by formulae of a formal language devised especially for this purpose. So analyzing a given text (a legend) - re-written in our formal language - means construction of a minimal sequence of formulae of this language so that: I. The last formula is an approximation of a given text.</Paragraph> <Paragraph position="18"> 2. One or more formulae of the sequence are themes (&quot;messages&quot;).</Paragraph> <Paragraph position="19"> 3. Every formula Q4, which is not a &quot;message&quot;, is obtainable with an appli null cation of a rule of embellishment from one or more formulae Qj, j < i.</Paragraph> <Paragraph position="20"> This resembles a proof of a theorem, where a &quot;message&quot; is a sort of axiom, Rules of Embellishment are rules of inference, and a text is a theorem to be proved. By the set of possible &quot;messages&quot; and Rules of Embellishment, the set of all possible texts(i.e., the genre of Moroccan Jewish sacred legends) is given as the set of all provable theorems of our calculus.</Paragraph> </Section> <Section position="3" start_page="159" end_page="160" type="metho"> <SectionTitle> 2. Well-Formed Formulae </SectionTitle> <Paragraph position="0"> We present below a grammar of the context-free language defining the set of all well-formed sentences (formulae) used to represent steps in the generation of sacred legends. The well-formedness is understood as a purely syntactical feature, Rule I.</Paragraph> <Paragraph position="1"> <text>/#<t-section>(><t-section>)*# Here #~ a terminal boundary symbol, ~ means &quot;then&quot;, &quot;and after that&quot;, * is Kleene's star operator; the parentheses are neither terminal nor nonterminal symbols, they only mean that the sequence ><t-section> is to be repeated as a whole, A t-section represents an event. For example we may obtain with the Rule I:</Paragraph> <Paragraph position="3"> The sign + marks an event which is good for the Jews; the sign - marks an event which is bad for the Jews; the sign = marks an event which is particularly bad for the Jews; an event with is neither bad nor good for the Jews, but implies a hope or a possibility for the good, Rule 4.</Paragraph> <Paragraph position="4"> <t-section> / (<t-section>(~<t-section>)*) Here the inner pair of parentheses is used as in Rule I. The siqn ~ is used to say that two or more events are amalgamated:(a~b) is one event which is an AMALG for two events a and b; ~Qb~c) means that three events, a,b, and c are amalgamated into one, etc. More about the amalgamation of events will be said below.</Paragraph> <Paragraph position="5"> Rule 5.</Paragraph> <Paragraph position="6"> <t-section> / STAT(<t-section>) The operator STAT can make any event into a &quot;stative&quot; event. A stative event is, in a way, timeless. STAT makes a lasting situation out of an event. For example, STAT(x loses y) may mean &quot;x has lost y&quot;, or else &quot;x would usually lose y&quot;.</Paragraph> <Paragraph position="7"> An action in the scope of STAT loses in part its usual consequences (a crime against the Jews performed under STAT is not punished, for example). Protagonists involved in actions under STAT may be more general than outside the scope of STAT (Jewish community vs a Jew, for example). That is, a term in the scope of STAT may not undergo an EMBOD affecting its occurences in the rest of the formula.</Paragraph> <Paragraph position="8"> Rule 6.</Paragraph> <Paragraph position="9"> <t-section> + STEP(<t-section>) The operator STEP makes a partial event from a complete one. For example, STEP(x comes) may be understood as &quot;x knocks at the door&quot;, or else &quot;x is seen through the window&quot;, etc. In this case, STEP(STEP(x comes)) may be understood as &quot;x is unclearly (or partially) seen through the window&quot;.</Paragraph> <Paragraph position="10"> Rule 7.</Paragraph> <Paragraph position="11"> <t-section> / QUASl(<t-section>) The operator QUASI is used to designate a symbolic or ritual counterpart of an event. For example, QUASl (The army occupies the city) may be &quot;The army leader receives the keys of the c i ty&quot;.</Paragraph> <Paragraph position="12"> Rule 8.</Paragraph> <Paragraph position="13"> <t-section> / <adverb>(<t-section>) Rule 9.</Paragraph> <Paragraph position="14"> <adverb> / MIR I ANTI I NOT MIR means &quot;miraculously&quot;; ANTI means &quot;opposite to...&quot;; NOT may be understood as negation. Rule I0.</Paragraph> <Paragraph position="15"> <t-section> / <predicate expression>(&<predicate expression>) A more complex event is represented as an unordered set of simpler events.</Paragraph> <Paragraph position="16"> DISTRESSED(x) is a state or an event which is bad for x with respect to material, moral or physical conditions. PROSELYTIZED (x) means that x imposes on himself, partially or completely, the laws of the Jewish religion, GUILTY(x) is a state of x which is punishable by the authorities for an offence against them. USE (x,y) is a typical, normal relation between human x and a thing y, y being conceived exclusively as a means of x's well-being. The exact nature of this relation depends on x and y. For example, x beinq a community and y saint's shrine, USE becomesvisitingandpraylng, asking for help, being cured, etc. INJURE(x,y) is x's doing any harm to y. CAUSE (A,B) means: the event A happens and involves the event B. RESTORE (x,y) means liquidation of the consequences of x's injuring y. DISABLE and PETRIFY are two forms of paralysis, the first one partial, the second one complete. INATTACK (x,y) is involuntary injuring y by x. CANCELED (A) means: all the consequences of the event A become non-existent. MAKESEE (x,y) means that x causes the blind y to see.</Paragraph> <Paragraph position="17"> Rule 14.</Paragraph> <Paragraph position="18"> > < The symbol over a term may be rewritten as ~ - ~,~_mean For a term x the expressions T, respectiyely, that the occurrence of a predicate, with x, ~, x filling up a slot, is bad for x, good for x, or involves a hope for the good for x. > < may also be omitted.</Paragraph> <Paragraph position="19"> This rule can be easily rewritten in a context-free form, without diacritical marks and the possibility of a mark deletion. (A change in the Rule 13 is also needed.) Rule 15.</Paragraph> <Paragraph position="20"> <term> / <variable feature>(~<feature>)*l <feature>(,<feature>) The asterisk occurring between features is a terminal symbol and should not be confused with SYMBOL is an important object which has some ideological value for a community. VALOBJ is a valuable object without ideological importance. J means Jewish. A means Arabic. SP is an object possessing sacred power. CON means community. VERIMP means a very important person. RELA is religious authority. SECA is secular authority. TROUBLED means in trouble. HYPOCRITE means &quot;pretending to be a friend of the Jews&quot;. A term including a negative feature is characterized by the negation of at least one simple feature included in the given negative feature. A term corresponds, generally, to an object characterized by the conjunction of the non-negative features which it is composed of. For The well-formedness of the above four messages can be easily verified. Using the informal semantics given above with the formal syntactical rules of our language, we can read, for example, the second message approximately as follows: &quot;A human Arab agent (HUMAN,A) injures a Jewish object (J), which is bad for the Jews (the event is marked by minus), and after that (>) a Jewish bearer of Sacred Power (J*SP) miraculously (MIR) protects the (above) Jewish object, which is good for the Jews (marked by plus).&quot; The above messages can be developed into separate stories. But a subset of them can be also &quot;amalgamated&quot; to a single story by the appropriate rule of embellishment.</Paragraph> </Section> <Section position="4" start_page="160" end_page="160" type="metho"> <SectionTitle> 4. The &quot;Rules of Embellishment.&quot; </SectionTitle> <Paragraph position="0"> These rules are the central part of our grammar. There are many of them; we cannot present here more than several typical examples taken from our technical reports(see 2).The set of possible objects (protagonists and things) of the legends is described in 2 by a network grammar: a possible object is an unordered set of features picked up from the arcs of the network by moving from the initial state to a final state. Asterisks are inserted between the features. Examples: the term HUMAN,SINGLE, VERIMP,RELA*J*SP*MALE can be understood as &quot;A Jewish Saint&quot;; the term THING*SINGLE*SYMBOL*A* GRAVE(HUMAN*SINGLE*VERIMP*RELA*A*MALE*KADI) can be read as &quot;the grave of an Arab Kadi.&quot; The same network serves to EMBOD terms: to any set of features which belong to a path in the network we may add any set of features which belong to the same path. So, for example,</Paragraph> <Paragraph position="2"> is a rule of embodiment for terms by virtue of the fact that there is a path in the network to which both the left-hand set of features and the right-hand set belonq (see the network in 2 pp. 15-18; the report 2 is to be distributed among the participants of COLING-80).</Paragraph> <Paragraph position="3"> NB: Any rule of embodiment, when chosen, is to be applied to every occurrence of the expression Ifor exampie, the term) which is to be substituted for. There are complications, for example, with EMBOD of RESPECT, but we shall not deal with them here.</Paragraph> <Paragraph position="4"> By a rule of such kind we can obtain, for example, from the second message the following formula: # -(INJURE(HUMAN*A*VERIMP,SlMPLE*J)) > +(MIR (PROTECT(J*SP,SIMPLE*J)))#.</Paragraph> <Paragraph position="5"> The following rule is an example of EMBOD for predicate expressions: INJURE(HUMAN,A, HUM~) / MISAPPROPRIATE(HUMAN, ~, PROPERTY(HUMAN*J)).</Paragraph> <Paragraph position="6"> The applicability of such rules is conceived so as to make possible the application of this rule to the above formula (cf. 2, pp. 29-32), with the following result:</Paragraph> <Paragraph position="8"> The feature HUMAN (which is, in our grammar, predictable by the feature SIMPLE) can be introduced to the last term by obligatory ADJ to SIMPLE*HUMAN,J (which is considered an immediate descendant of SIMPLE,J), with the So the identity of the Jewish protagonist is restored, Now we can amalgamate the above formula with the third message. This is the simplest case of AMALG: the two chains of events are mixed up to produce one chain comprising all the events. This is done under control of the (thematic) principle prescribing that all &quot;minus-events&quot; precede all &quot;plus- null Now, we do not need two different villains.</Paragraph> <Paragraph position="9"> One villain will do: we can polish the formula by ADJ of the term HUMAN,A to the term HUMAN,A, VERIMP. This optional adjustment is a specific case of EMBOD: an expression is EMBODed so as to become similar (in the limit case-identical) to another expression of the operand formula.</Paragraph> <Paragraph position="10"> So we obtain: Two different acts of'~njuring&quot; can be amalgamated to one by the followin 9 rule: two different t-sections X and Y such that Y can be obtained from X by rules of EMBOD, can be amalgamated by dropping X. Now Y serves to represent both X and itself. By applying this rule to the above formula, we obtain: This formula can be read as follows: &quot;A human Arab agent belonging to the highest social stratum misappropriates a property of a Jewish person of low status. After that an event occurs which is at the same time an act of Jewish Saint's revenge with respect to the Arab, and an act of this Saint's protection with respect to the Jew.&quot; This story still needs an interpretation, but we think that even at this stage the above text possesses some artistic potential accumulated in the process of its derivation from the themes (messages). A rough interpretation of this text could run as follows: &quot;The Sheik misappropriates a valuable thing belonging to a Jewish shoemaker (or carpet-maker), and the Rabbi causes this thing to return miraculously to its legal possessor In a way which damages the Sheik.&quot; A more delicate interpretation can give us something like: &quot;...the misappropriated carpet (in the case of a carpet-maker, with an appropriate ADJ) miraculously returns to its possessor carrying the frightened Sheik on it.&quot; Or else: &quot;... the misappropriatedpair of shoes (in the case of a shoemaker, with an appropriate ADJ) miraculously returns to its possessor carrying the Sheik wearing them.&quot; Such interpretations are beyond the capabilities of our grammar, but (we hope) not far beyond the capabilities of grammars of the kind proposed.</Paragraph> <Paragraph position="11"> Interpretations for simpler cases of AMALG for events are easily achievable technically, for example: (INJURE(A,J) ~ INJURE(HAWKER,SHEPHERD)) / INJURE(A,HAWKER,J,SHEPHERD), etc.</Paragraph> <Paragraph position="12"> Amalgamated events are usually good for the Jews. Events which happen to be good for the Arabs are simple, trivial. Let us take now one more example, rather typical for our material: Amalgamating injuries with two different persons injured is a typical artistic device in Moroccan Jewish sacred legends. At present, we only assume the &quot;intention&quot; of a story-teller (or a story author) to amalgamate the above events: ... ~ +(INJURE(SP,SlMPLE,A) ~ INJURE(SP, VERIMP,A)) > ...</Paragraph> <Paragraph position="13"> Now, how is this aim achieved? Typical Jewish legend uses a technicality which may be called Deposite. Deposite is a thing or a person related to authorities but temporarily under the responsibility of a &quot;simple&quot; person. Injuring a deposite means injuring both the &quot;simple&quot; person and the &quot;very important&quot; person involved. In the story analyzed in 2 the deposite is the Sheik's son. In another story the role of a deposite is played by a gift (of a group of &quot;simple&quot; Arabs to the Sheik).</Paragraph> <Paragraph position="14"> The amalgamated character of SP actions is so typical of our legends that it may be conceived as nearly thematical. In general, an optional artistic device can move to the thematic sphere and become obligatory. It is nearly so in the case under discussion where the amalgamation around an SP action is preferable, though a concrete realization of the operator~leaves considerable freedom to a story-teller.</Paragraph> <Paragraph position="15"> There follow more examples of rules of embellishment.</Paragraph> <Paragraph position="16"> #s(a)>+ #s(STAT(s(a))) Here s is a sign. This rule serves to turn the opening event of a story to the exposition, a standing situation which is to become the background for the rest of events.</Paragraph> <Paragraph position="17"> >s(a)# /~s(STAT(s(a)))# This is an analogous rule for the transformation of the last event to the coda, the epilogue of a story.</Paragraph> <Paragraph position="18"> There follow two rules for EMBOD of STEP: STEP(a) / QUASI(a) s(STEP(s(a I &a 2&... &ak))) + s(ai)(i=l, or i=2 ..... or i=k) The last rule is a way to EMBOD an EXPO for a set of events: an event from the set occurs.</Paragraph> <Paragraph position="19"> Now we shall present a rule of EXPO (which exists in three different forms):</Paragraph> <Paragraph position="21"> TAe above rule works for a t-section T where t appears in the first place of the highest predicate of T which does not appear immediately after ANTI or NOT; otherwise Y should appear in the first place of the highest predicate.</Paragraph> <Paragraph position="22"> Example: the expression ... ~ +(ANTI(DISTRESSED(HUM~)))~ ...</Paragraph> <Paragraph position="23"> can be transformed by the above rule to Here P(tl) is a predicate expression with a term ~I in its first place (or the only place). The t-section P(A) is obtained by substituting the term corresponding to A (an a~ab_agent) for t I in P(t), and changing any tilt I to t i. This is an AMPLIF for prohibition: an Arab agent not only prohibits t's doing P, but does P himself (or herself). Example: The principle of CONTR is exemplified also by the following rule: s(TRY(-t-,T)) / s(TRY=(-t-,T)) > FAIL(t,T), where s is a sign, t is a term and T is a tsection. null Many other rules of embellishment, amon~ them some more sophisticated ones, see in 2 Some transformations, which we call Formal Equivalences, do not contribute to expressiveness, but serve only to improve readability of a formula and to facilitate implementation of the Rules of Embellishment. There are rules eliminating adverbial expressions:</Paragraph> <Paragraph position="25"> there are rules dealing with signs:</Paragraph> <Paragraph position="27"> Here s o and s I are signs, t I and t 2 are terms, and T is a t-section.</Paragraph> </Section> <Section position="5" start_page="160" end_page="160" type="metho"> <SectionTitle> 5. The Final Example. </SectionTitle> <Paragraph position="0"> We present below a typical Moroccan Jewish sacred legend - the text and the final step of a rather lengthy derivation representing an analysis of the legend in our grammar. This is a very rough approximation of the Text. The derivation see in 2 The formula is obtained from the &quot;messages&quot; i and 4.</Paragraph> <Paragraph position="1"> HOW A HOLY JEWISH TOMB WAS DISCOVERED Once the Arabs of Teluat near Marrakesh built a fence around their graveyard. In this graveyard was buried a great and learned rabbi. The Arabs did not know of this, for in the village in which the graveyard was situated there were only Arabs, and no Jews at all.</Paragraph> <Paragraph position="2"> One night one of the women of the village dreamed that a man dressed in a long white shirt and with a long white beard came to her. He said to the woman: &quot;In the morning inform the men of the burial society of the Jews in the neighbouring town that their rabbi, who is buried in the Moslem graveyard in the village, has no peace.&quot; &quot;Iris just a dream,&quot; said the woman to herself. But the dream was repeated. Again the woman said: &quot;It is just a dream.&quot; But when the dream was repeated for the third time, she knew that the dream spoke truly to her.</Paragraph> <Paragraph position="3"> On the following day she went to the town to tell about her dream.</Paragraph> <Paragraph position="4"> Themen of the burial society came to the sheik of Tthe village and said to him: &quot;Our,~rabbi is buried in yQur graveyard. Permit us to seek outthe place. We shall pay you much money if you will allow us to build over the grave a place for prayer.&quot; &quot;Good,&quot; the sheik agreed.</Paragraph> <Paragraph position="5"> The men Of the burial society sought and sought but they found nothing. The son ~'the sheik began to get angry and began to durse them and &ay: &quot;What are you looking for ~pre? A rabbiwwho died a hundred years ago? &quot; He turned aside to,,ease himself b~tHe fence, and then suddenly he stood like-a stone, paralysed.</Paragraph> <Paragraph position="6"> When the men of the burial society who were already getting ready to go back to the town saw the sheik's son standing like:a stone statue, they understood: Here was the grave of the rabbi.</Paragraph> <Paragraph position="7"> The Arabs asked: &quot;What shall we do with, the sheik's son? The sheik will kill us if ,he hears that his son has become paralysed.&quot;&quot; &quot;Break down the fence!&quot; the men of the burial society commanded. And straight away the Arabs broke down the fence.</Paragraph> <Paragraph position="8"> Then they drew a circle about the spot where the sheik's son was standing,,took stones and wrote upon it &quot;A holy ~e~i,sh grave&quot;. Then the sheik's son began to move,~is limbs and move from the place. &quot;Where am I?&quot; he asked. &quot;What has happened to me?&quot; They told him everything and then he said: &quot;If that is the case then your rabbi is indeed great.&quot; The Arabs erected a monument on the grave, and every year the Jews came there to celebrate the Rabbi's birthday.</Paragraph> <Paragraph position="9"> See Dov Noy 3 , pp. 42-43. The last few lines are an addition from the Hebrew version of the legend.</Paragraph> <Paragraph position="10"> The final step of our derivation: We shall informally describe some artistic features of this legend which we tried to account for by our analysis.</Paragraph> <Paragraph position="11"> The discovery of the holy grave is preceded by attempts to find it. This is not a simple repetition which is characteristic of fairy tales (&quot;... tried once and did not succeed, tried the second time and did not succeed, tried the third time and succeeded...&quot;). In our legend the failure is to be taken more seriously: the Jews acknowledged the defeat and were ready to leave the graveyard. A professional story writer (for example, a detective story writer) would not ignore such a device: the detective tries to find the decisive evidence, admits his failure (for example, calls to the police office: &quot;Nothing of interest!&quot;) and then - by accident - finds the desired object. In our story, too, the discovery is accidental. It does not result from any additional effort by the Jews. More than that, it is caused by a hostile action.</Paragraph> <Paragraph position="12"> The punitive action by SP (the Sheik's son being petrified) creates a knot of entangled events; in fact, one event which comprises different actions. The petrification is, at the same time, the discovery of the holy grave by the Jews (no separate action of finding is involved). The petrification means that the Jews have found the holy grave, Tt is a sign of the holy grave being here. More than that: the Sheik's son being pet~ied means danger for the group of Arabs who are responsible for his peaceful return home. The Arab community is punished by endangering a representative group of Arabs (&quot;officials&quot;). The last component of the complex event under consideration is the Sheik's son's being turned to a sort of stone, a sort of statue. The symbolic significance of this act was recognized not only by us but also by some students, including those of Moroccan Jewish origin: petrifying the Sheik's son is a symbolic counterpart of erecting a monument on the holy grave. The Sheik's son is forced to erect a sort of monument with his own body. Thus an action which is to be performed by the Jewish community is in fact performed (in symbolic form) by a hostile agent. This is a manifestation of a principle which the whole story is permeated with: plus-actions are regularly performed by the potential or actual enemy - the Arabs. The Rabbi appears in the dream to an Arab woman. It is up to her to inform the Jewish community of the problem which has arisenl. The symbolic monument is first erected with the Sheik's son's body. The Arabs themselves destroy the wall around the cemetery, not just permitting the Jews to do so. The Arabs encircle the holy grave, to designate its exterritoriality in the Arab graveyard.</Paragraph> <Paragraph position="13"> They then erect a temporary monument with some stones. Finally, the Arabs build the proper monument.</Paragraph> </Section> class="xml-element"></Paper>