274:
prize for helping the
Athenians in battle. They are here to ask about having children. Ion introduces himself as an orphan slave who was brought up by the priestess of Apollo. When Creusa asks if he has ever tried to find his mother, he says he has no token of her. Moved by the thought of his mother, Creusa tells Ion that she has come in advance of her husband to question the oracle on behalf of "a friend" who had a child by Apollo, which she abandoned. She has come, she tells him, to ask the god if her friend's child is still alive. He would be about your age now, she tells him. Ion warns her to abandon the inquiry, saying that no one would dare accuse the god of such a deed in his own temple. Seeing Xuthus approaching, Creusa asks Ion to reveal nothing of their conversation. Xuthus arrives and expresses confidence that he will receive good news from the oracle. He sends Creusa with laurel branches to make the rounds of the external altars and goes into the sanctuary. After they both leave, Ion questions how the gods, who punish evildoing among mortals, can engage in abusive behavior themselves. Before going off to finish his chores, he indignantly advises the gods not to sleep with mortal women just because they can.
282:
questions who his mother might be, Xuthus says that perhaps she was someone he met at a
Bacchic festival. Ion accepts Xuthus as his father but thinks wistfully of the mother he longs to meet. Creusa's servants wish that their mistress could share in the happiness. Xuthus proposes that Ion come back to Athens with him, but the young man is reluctant to take on the role of "the bastard son of an imported father." He compares the happiness of kings to an outward façade of prosperity masking fear and suspicion within. When he says that he would prefer to remain a temple attendant, Xuthus breaks off the conversation with "Enough of that. You must learn to be happy." Ion will come back with him as a house guest. When the time is right, he will arrange for Ion to be his heir. As he leaves to offer sacrifice, he names the boy Ion because he met him 'coming out' and tells him to arrange for a banquet to celebrate his departure from Delphi. He enjoins the chorus to reveal nothing of what has happened. Ion reluctantly agrees to go to Athens, but he longs to meet his unknown mother and fears he will not be well received.
352:). Athena explains that Apollo thought it best not to show himself in person lest he be blamed for what happened, but sent Athena in his place to tell Ion that he is Ion's father and Creusa is his mother. Athena tells Ion that Apollo brought them together on purpose, to provide Ion with a proper place in a noble house. Apollo had planned for Ion to discover the truth after he went to Athens, but since the plot was discovered, he decided to reveal the secret here to prevent either of them from killing the other. Athena then tells Creusa to establish Ion on the ancient Athenian throne where he will be famous throughout Hellas. He and his half brothers will establish the Ionian, Dorian, and Achaean races of Greeks (thus going from being an orphan to ultimately becoming a patriarch of his people). Apollo, the goddess concludes, has managed all things well. As she leaves, Athena orders them not to tell Xuthus but to let him think that Ion is his son.
188:, a young and willing servant in Apollo's temple, as he inadvertently discovers his biological origins. As it unfolds the play is also the powerful story of his mother, Creusa, as she strives to guide her own life after having experienced terrible abuse at the hands of a god who is beyond her power (or that of any mortal). Euripides' retelling of this myth is a radical step forward among the Greek tragedies: while in other plays of classical Athens individuals often rail against the disasters that the Fates or the gods have caused to befall them, in this powerful play both Creusa and Ion actually challenge whether the gods have any right to govern the destinies of human beings. In the end, however, Euripides takes a step back from this precipitous development in human thought.
335:
to search for her. She advises him to start his search in Delphi. As he peers into the basket, Ion marvels at the fact that it shows no sign of age or decay. Recognizing the basket, Creusa knows immediately that Ion is her son. She leaves the altar to embrace him even at the risk of her life. When she announces that she is his mother, Ion accuses her of lying. In an attempt to discredit her, he challenges her to name what is in the basket. There is an unfinished weaving with a Gorgon in the center fringed with serpents like an aegis; a pair of golden serpents in memory of
Erichthonius, fashioned into a necklace; and a wreath of olive branches which ought to still be green. Convinced, Ion flies to Creusa's welcoming arms — her long-dead son has been returned alive.
316:. The messenger then reports how the plan went awry. Ingratiating himself with the crowd, the old tutor took on the role of wine steward and slipped the poison into Ion's cup as planned; but just as they were about to drink, someone made an ill-omened remark and Ion called on the company to pour out their cups as libations. When a flock of doves drank the spilled wine, all survived except the dove that drank the wine intended for Ion. The bird died in torment, revealing the plot. Ion grabbed the old tutor, found the vial and forced a confession from him. Then he successfully brought a charge of murder against Creusa at a hastily assembled court of Delphian leaders. Now the entire city is searching for her.
36:
244:, was raped by Apollo in a cave at Long Rocks under the Acropolis. Apollo concealed her pregnancy from her father and Creusa secretly gave birth to a child, whom she left in a basket, along with some sacred trinkets to protect him, expecting that he might be devoured by beasts. However, when she returns to find him he has disappeared because, unknown to her, Apollo has sent Hermes to bring the boy to Delphi where he has grown up as an attendant at the temple.
929:
941:
296:. She describes how he came to her as she was gathering flowers — a shining god who grabbed her by the waist and took her into a cave as she screamed for her mother. She says she was seduced, taking responsibility for her part in the seduction. She gave birth to a child and left him in the cave in the hope that God would save him. Now she realizes that Apollo has completely abandoned her and their son.
289:
Creusa was barren, sired the child by a slave, and gave him to a
Delphian to raise. The old man tells Creusa that she must not allow the bastard child of a foreigner to inherit the throne. Instead, she must kill her husband and his son to prevent further treachery. He volunteers to help her. The servants pledge their support.
356:
power of the play and the characters' very poignant situation, the ending seems somewhat tacked on, perhaps deliberately so on
Euripides' part in order not to upset his audience by challenging too strongly the traditional order of gods and humans. It is quite contrary to the overall thrust of the play up to that point.
259:. Xuthus won Creusa by assisting the Athenians in a war against the Chalcidians. Xuthus and Creusa have come to Delphi to ask if they can have children. Hermes says that Apollo will give the boy, soon to be named Ion, to Xuthus who will take him home to Athens where he will be recognized by his mother.
311:
Following the Chorus' song, a messenger arrives, announcing that the plot has failed. He tells them (in a typically
Euripidean messenger speech) that a Delphian mob is searching for Creusa to stone her to death. He says that Xuthus arranged for Ion to host a banquet under a tent, while he went off to
211:
raped her in a cave; there she secretly gave birth to his son whom she intended to kill by exposure to the elements for fear of the terrible punishment she would receive at the hands of her parents for having a child apparently out of wedlock. Throughout her life only she knows of this secret. Many
334:
emerges from the temple. Advising Ion to go to Athens with his father, she shows him the basket he was found in. She has kept it secret all these years, but now that Ion's father has been revealed, she can give it to him to help in the search for his mother. Ion vows to travel all of Asia and Europe
262:
Hermes steps into a wooded grove when Ion arrives to begin his morning chores. As Ion sweeps the steps of the temple with a broom of laurel, he sings the praise of the god who is like a father to him. His reveries are disturbed by birds which he shoos away with his arrows in order to keep the sacred
281:
Ion returns as Xuthus emerges from the inner sanctuary. He calls the young man "my boy" and rushes to embrace him. Ion is wary and at one point he even draws his bow. Xuthus explains that the god told him that the first person he encountered when he came out of the shrine would be his son. When Ion
322:
Creusa then enters, saying that she is pursued by the
Delphian mob. On the advice of her servants, she seeks sanctuary at the altar of Apollo, just as Ion arrives with a sword in hand. Each accuses the other of treachery. He says that she tried to murder him; she says that he tried to overturn the
273:
Creusa introduces herself to Ion as the daughter of
Erectheus. Ion is impressed, as he is familiar with the old stories about her family. Ion's casual mention of Long Rocks startles Creusa but she reveals nothing of her past. She tells him that she has married a foreigner, Xuthus, who won her as a
355:
The testimony of the goddess convinces Ion, who affirms that Apollo is his father and Creusa his mother. For her part, Creusa swears that she will now praise Apollo because he gave her son back. The gods may be slow to action, Athena observes, but in the end, they show their strength. Despite the
338:
Embracing her son and heir, Creusa expresses her joy. There is no more unlikely chance than this, Ion tells her than to discover that you are my mother. I am childless no longer, she tells him. When Ion questions her about his father, Creusa tells him with some embarrassment that he is the son of
339:
Apollo and that she reluctantly abandoned him in a deserted cave to be the prey of birds. As they celebrate their change of fortune, Ion takes her aside to ask if perhaps she conceived him with a mortal father and made up the story about Apollo. After all, Apollo said that Xuthus was his father.
288:
Creusa returns to the temple gate accompanied by her father's elderly tutor. Sensing that something is amiss, Creusa presses her maids to tell what they know. They reveal that Apollo gave Ion to Xuthus as a son while she will remain childless. The old tutor speculates that Xuthus discovered that
277:
While Xuthus is inside, the Chorus of Creusa's servants prays to Athena and
Artemis, recalling the joys of fertility and raising children. Recalling the story of the daughters of Cecrops and Aglauros, they conclude that children born of mortals by gods are fated for ill-fortune.
368:
is not among
Euripides' most revered plays, some critics have cited its unconventionality in the context of Greek tragedy as making it unique, while its direct questioning of a god's actions and role in human affairs makes it all the more radical. In
299:
The tutor encourages her to avenge herself by torching Apollo's temple, but she refuses. When she also refuses to kill her husband, the tutor unexpectedly suggests that she kill the young man. Creusa agrees, telling him that she has two drops of the
307:
The Chorus prays for the plot's success, fearing that if it fails, Creusa will take her own life before allowing a foreigner to take over Athenian rule. They condemn the ingratitude of Apollo who gave preference to Xuthus over their mistress.
270:, consisting of Athenian maidens, arrives at the temple and marvels at the stonework depicting ancient legends. They identify themselves to Ion as servants of the Athenian rulers and soon spot their mistress arriving at the temple doors.
304:'s blood that Erichthonius received from Athena. One drop kills and the other cures. She gives the deadly drop to the tutor to poison Ion during his farewell banquet, then they go their separate ways.
342:
Convinced that only Apollo can tell him for certain who his father is, Ion starts toward the sanctuary to confront the god, but he is stopped by the appearance of the goddess
782:
511:
420:
373:, Spencer Cole defended another scholar's argument that the play is "self-referential to a degree unparalleled anywhere else in Euripides," and wrote that
949:
220:, they traveled to Delphi to seek a sign from the oracles regarding whether there was any hope of their having any children in the future.
1285:
976:
825:
760:
1270:
850:
285:
The Chorus of Creusa's maids, suspecting treachery, pray for the death of Xuthus and Ion, whom they consider interlopers.
196:
969:
1224:
212:
years later, near the end of childbearing age and so far unable to have a child with her husband Xuthus, a
1280:
1260:
263:
temple clean, though not without a twinge of regret as he also sees them as being connected to the gods.
1275:
1050:
757:
404:
292:
With her hopes in the god completely dashed, Creusa finally reveals what Apollo did to her, in a sung
1265:
1168:
1057:
962:
817:
217:
169:
893:
1238:
1099:
1064:
1022:
20:
8:
1203:
1154:
1147:
1078:
1189:
1182:
1120:
731:
723:
327:
1036:
1029:
842:
821:
806:
778:
735:
908:
Zeitlin, Froma (1996). "Mysteries of identity and designs of the self in Euripides'
678:
653:
1196:
1175:
1161:
1071:
875:
846:
786:
715:
683:
Oxford World's Classics: Euripides: Ion, Orestes, Phoenician Women, Suppliant Women
658:
Oxford World's Classics: Euripides: Ion, Orestes, Phoenician Women, Suppliant Women
481:
319:
The Chorus sings a song anticipating their death at the hands of the Delphian mob.
148:
101:
1217:
1008:
348:
185:
35:
1106:
1001:
813:
541:
496:
719:
1254:
1127:
1043:
753:
435:
184:, thought to have been written between 414 and 412 BC. It follows the orphan
111:
1092:
1015:
597:
267:
1113:
882:(full text). Translated by Theodoridis, George – via wordpress.com.
450:
377:
was the work in which the tragedian's will to innovate was most evident.
312:
offer sacrifice. The messenger describes the banquet tent, in a detailed
933:
727:
945:
569:
213:
200:
1231:
986:
954:
871:
801:
774:
749:
527:
313:
241:
181:
49:
1210:
914:
Playing the Other: Gender and society in classical Greek literature
940:
928:
121:
343:
331:
301:
293:
252:
248:
237:
233:
229:
208:
204:
132:
91:
87:
79:
75:
67:
702:
Cole, Spencer (May 2008). "Annotated innovation in Euripides'
916:. Chicago, IL: University of Chicago Press. pp. 285–338.
71:
466:
256:
154:
157:
894:
https://pwcenter.org/play-profile/ion-adapted-euripides}}
160:
247:Creusa, meanwhile, was married to the foreign-born
151:
805:
1252:
907:
240:recalls the time when Creusa, the daughter of
970:
948:has original text related to this article:
977:
963:
714:(1). Cambridge University Press: 313–315.
346:on the roof of the temple (an instance of
34:
870:
800:
773:
748:
685:, Oxford University Press, pp. 1–183
676:
660:, Oxford University Press, pp. 1–183
651:
328:the laws that protect convicted assassins
1253:
984:
958:
840:
761:Massachusetts Institute of Technology
756:(full text). Classics. Translated by
701:
207:and daughter of the king. The god
13:
1286:Plays based on classical mythology
901:
16:Ancient Greek tragedy by Euripides
14:
1297:
921:
939:
927:
147:
380:
131:before the Temple of Apollo at
886:
864:
834:
794:
767:
742:
695:
670:
645:
180:) is an ancient Greek play by
1:
639:
191:
912:". In Zeitlin, Froma (ed.).
804:(1996). Peter Burian (ed.).
791:— available for digital loan
627:
613:
601:
586:
573:
561:
558:
545:
531:
515:
500:
485:
470:
455:
439:
424:
408:
359:
7:
1271:Plays set in ancient Greece
10:
1302:
173:
18:
1137:
993:
720:10.1017/S0009838808000268
127:
117:
107:
97:
63:
55:
45:
33:
28:
851:University of California
841:Gamel, Mary-Kay (1996).
677:Euripides (2001-01-01),
652:Euripides (2001-01-01),
223:
203:, was a noble native of
818:Oxford University Press
708:The Classical Quarterly
371:The Classical Quarterly
781:(text). Translated by
323:house of her fathers.
228:Outside the temple of
326:As Ion rails against
1100:The Phoenician Women
1023:Children of Heracles
467:Doolittle, H. (H.D.)
393: Year
59:Creusa's handmaidens
21:Ion (disambiguation)
19:For other uses, see
1155:Alcmaeon in Psophis
1148:Alcmaeon in Corinth
1079:Iphigenia in Tauris
849:). Santa Cruz, CA:
611:Theodoridis, George
40:Statue of Euripides
1281:Fiction about rape
1261:Plays by Euripides
1121:Iphigenia in Aulis
1276:Delphi in fiction
1248:
1247:
1140:fragmentary plays
932:Works related to
827:978-0-19-509451-0
635:
634:
332:Pythian priestess
138:
137:
108:Original language
1293:
1266:Ionian mythology
1072:The Trojan Women
979:
972:
965:
956:
955:
943:
931:
917:
896:
890:
884:
883:
868:
862:
861:
859:
857:
838:
832:
831:
811:
798:
792:
790:
787:Internet Archive
771:
765:
764:
746:
740:
739:
699:
693:
692:
691:
690:
674:
668:
667:
666:
665:
649:
421:Coleridge, E.P.
387:
386:
175:
167:
166:
163:
162:
159:
156:
153:
38:
26:
25:
1301:
1300:
1296:
1295:
1294:
1292:
1291:
1290:
1251:
1250:
1249:
1244:
1139:
1133:
989:
983:
924:
904:
902:Further reading
899:
891:
887:
869:
865:
855:
853:
839:
835:
828:
799:
795:
772:
768:
747:
743:
700:
696:
688:
686:
675:
671:
663:
661:
650:
646:
642:
556:Gamel, Mary-Kay
512:Willetts, R.F.
383:
362:
349:deus ex machina
226:
194:
150:
146:
98:Place premiered
90:
86:
84:
82:
78:
74:
70:
41:
24:
17:
12:
11:
5:
1299:
1289:
1288:
1283:
1278:
1273:
1268:
1263:
1246:
1245:
1243:
1242:
1235:
1228:
1221:
1214:
1207:
1200:
1193:
1186:
1179:
1172:
1165:
1158:
1151:
1143:
1141:
1135:
1134:
1132:
1131:
1124:
1117:
1110:
1103:
1096:
1089:
1082:
1075:
1068:
1061:
1054:
1051:The Suppliants
1047:
1040:
1033:
1026:
1019:
1012:
1005:
997:
995:
991:
990:
982:
981:
974:
967:
959:
953:
952:
937:
923:
922:External links
920:
919:
918:
903:
900:
898:
897:
885:
863:
833:
826:
814:W. S. Di Piero
793:
783:Willetts, R.F.
766:
741:
694:
669:
643:
641:
638:
637:
636:
633:
632:
631:rhymed verse
629:
626:
622:
621:
618:
615:
612:
608:
607:
605:
603:
600:
594:
593:
591:
588:
585:
581:
580:
578:
575:
572:
566:
565:
562:
560:
557:
553:
552:
550:
547:
544:
542:W. S. Di Piero
538:
537:
535:
533:
530:
524:
523:
520:
517:
514:
508:
507:
505:
502:
499:
493:
492:
490:
487:
484:
482:Vellacott, P.
478:
477:
475:
472:
469:
463:
462:
460:
457:
454:
453:and McLean, J.
447:
446:
444:
441:
438:
432:
431:
429:
426:
423:
417:
416:
413:
410:
407:
401:
400:
397:
394:
391:
382:
379:
361:
358:
225:
222:
199:, daughter of
193:
190:
136:
135:
129:
125:
124:
119:
115:
114:
109:
105:
104:
99:
95:
94:
65:
61:
60:
57:
53:
52:
47:
43:
42:
39:
31:
30:
15:
9:
6:
4:
3:
2:
1298:
1287:
1284:
1282:
1279:
1277:
1274:
1272:
1269:
1267:
1264:
1262:
1259:
1258:
1256:
1241:
1240:
1236:
1234:
1233:
1229:
1227:
1226:
1222:
1220:
1219:
1215:
1213:
1212:
1208:
1206:
1205:
1201:
1199:
1198:
1194:
1192:
1191:
1187:
1185:
1184:
1180:
1178:
1177:
1173:
1171:
1170:
1166:
1164:
1163:
1159:
1157:
1156:
1152:
1150:
1149:
1145:
1144:
1142:
1136:
1130:
1129:
1125:
1123:
1122:
1118:
1116:
1115:
1111:
1109:
1108:
1104:
1102:
1101:
1097:
1095:
1094:
1090:
1088:
1087:
1083:
1081:
1080:
1076:
1074:
1073:
1069:
1067:
1066:
1062:
1060:
1059:
1055:
1053:
1052:
1048:
1046:
1045:
1041:
1039:
1038:
1034:
1032:
1031:
1027:
1025:
1024:
1020:
1018:
1017:
1013:
1011:
1010:
1006:
1004:
1003:
999:
998:
996:
992:
988:
980:
975:
973:
968:
966:
961:
960:
957:
951:
947:
942:
938:
936:at Wikisource
935:
930:
926:
925:
915:
911:
906:
905:
895:
889:
881:
880:Bacchic Stage
877:
873:
867:
852:
848:
844:
843:"Productions"
837:
829:
823:
819:
815:
812:. Translator
810:
809:
803:
797:
788:
784:
780:
776:
770:
762:
759:
755:
751:
745:
737:
733:
729:
725:
721:
717:
713:
709:
705:
698:
684:
680:
673:
659:
655:
648:
644:
630:
625:Vinero, Brian
624:
623:
619:
616:
610:
609:
606:
604:
599:
596:
595:
592:
589:
584:Kovacs, David
583:
582:
579:
576:
571:
568:
567:
563:
555:
554:
551:
548:
543:
540:
539:
536:
534:
529:
526:
525:
521:
518:
513:
510:
509:
506:
503:
498:
495:
494:
491:
488:
483:
480:
479:
476:
473:
468:
465:
464:
461:
458:
452:
449:
448:
445:
442:
437:
434:
433:
430:
427:
422:
419:
418:
414:
411:
406:
403:
402:
399: Refs
398:
395:
392:
389:
388:
385:
384:
378:
376:
372:
367:
357:
353:
351:
350:
345:
340:
336:
333:
329:
324:
320:
317:
315:
309:
305:
303:
297:
295:
290:
286:
283:
279:
275:
271:
269:
264:
260:
258:
255:, the son of
254:
250:
245:
243:
239:
235:
231:
221:
219:
215:
210:
206:
202:
198:
189:
187:
183:
179:
171:
170:Ancient Greek
165:
144:
143:
134:
130:
126:
123:
120:
116:
113:
112:Ancient Greek
110:
106:
103:
100:
96:
93:
89:
81:
77:
73:
69:
66:
62:
58:
54:
51:
48:
44:
37:
32:
27:
22:
1237:
1230:
1223:
1216:
1209:
1202:
1195:
1188:
1181:
1174:
1167:
1160:
1153:
1146:
1126:
1119:
1112:
1105:
1098:
1091:
1085:
1084:
1077:
1070:
1063:
1056:
1049:
1042:
1035:
1028:
1021:
1014:
1007:
1000:
994:Extant plays
944: Greek
913:
909:
888:
879:
866:
854:. Retrieved
836:
807:
796:
785:– via
769:
744:
711:
707:
703:
697:
687:, retrieved
682:
672:
662:, retrieved
657:
647:
598:Poulton, M.
381:Translations
374:
370:
365:
363:
354:
347:
341:
337:
325:
321:
318:
310:
306:
298:
291:
287:
284:
280:
276:
272:
265:
261:
246:
227:
195:
177:
141:
140:
139:
1225:Philoctetes
1190:Cresphontes
1183:Bellerophon
497:Murray, G.
405:Potter, R.
216:and son of
83:Old Servant
1255:Categories
1037:Andromache
1030:Hippolytus
946:Wikisource
856:17 January
845:(academic
758:Potter, R.
689:2022-11-10
664:2022-11-10
640:References
570:Roche, P.
436:Way, A.S.
390:Translator
214:Thessalian
201:Erechtheus
192:Background
64:Characters
46:Written by
1232:Theristai
1197:Hypsipyle
1176:Archelaus
1162:Andromeda
987:Euripides
985:Plays by
872:Euripides
802:Euripides
775:Euripides
750:Euripides
736:170740682
451:Hadas, M.
364:Although
360:Reception
314:ekphrasis
251:, son of
242:Erectheus
182:Euripides
85:Messenger
50:Euripides
1239:Thyestes
1218:Phaethon
1211:Peliades
1169:Antigone
1138:Lost and
1065:Herakles
1009:Alcestis
874:(2006).
777:(1958).
752:(1781).
728:27564144
620:
564:
528:Lan, D.
522:
415:
1204:Oedipus
1114:Bacchae
1107:Orestes
1058:Electra
1002:Cyclops
128:Setting
122:Tragedy
1128:Rhesus
1044:Hecuba
824:
734:
726:
344:Athena
330:, the
302:Gorgon
294:monody
268:Chorus
253:Aeolus
249:Xuthus
238:Hermes
234:Delphi
230:Apollo
218:Aeolus
209:Apollo
205:Athens
197:Creusa
133:Delphi
102:Athens
92:Athena
88:Pythia
80:Xuthus
76:Creusa
68:Hermes
56:Chorus
1093:Helen
1016:Medea
892:|url=
876:"Ion"
779:"Ion"
754:"Ion"
732:S2CID
724:JSTOR
679:"Ion"
654:"Ion"
617:prose
590:prose
577:verse
549:verse
519:verse
504:verse
489:verse
474:verse
459:prose
443:verse
428:prose
412:verse
224:Story
118:Genre
858:2021
847:c.v.
822:ISBN
820:US.
628:2024
614:2006
602:2004
587:1999
574:1998
559:1996
546:1996
532:1994
516:1958
501:1954
486:1954
471:1937
456:1936
440:1912
425:1891
409:1781
396:Form
266:The
257:Zeus
1086:Ion
950:Ἴων
934:Ion
910:Ion
808:Ion
716:doi
706:".
704:Ion
375:Ion
366:Ion
232:at
186:Ion
178:Iōn
174:Ἴων
142:Ion
72:Ion
29:Ion
1257::
878:.
816:.
730:.
722:.
712:58
710:.
681:,
656:,
236:,
176:,
172::
168:;
155:aɪ
978:e
971:t
964:v
860:.
830:.
789:.
763:.
738:.
718::
164:/
161:n
158:ɒ
152:ˈ
149:/
145:(
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
