原文地址：医疗私有化暴利已经超过了贩毒，为啥不打击？！！作者：东方风雨-
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
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[转载]医疗私有化暴利已经超过了贩毒，为啥不打击？！！
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
莎士比亚《错误的喜剧》The Comedy of Errors(纽约,2013年)（片段）
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http://www.56.com/u51/v_OTI5MjEwMDA.html
...
LUCIANA Well, I will marry one
day, but to try.
Here comes your man; now is your husband nigh.
[Enter DROMIO of Ephesus]
ADRIANA Say, is your tardy master
now at hand?
DROMIO OF EPHESUS Nay, he's at
two hands with me, and that my two ears can
witness.
ADRIANA Say, didst thou speak
with him? know'st thou his mind?
DROMIO OF EPHESUS Ay, ay, he told
his mind upon mine ear:
Beshrew his hand, I scarce could understand it.
LUCIANA Spake he so doubtfully,
thou couldst not feel his meaning? 50
DROMIO OF EPHESUS Nay, he struck
so plainly, I could too well feel his
blows; and withal so doubtfully that I could scarce
understand them.
ADRIANA But say, I prithee, is he
coming home? It seems he
hath great care to please his wife. 55
DROMIO OF EPHESUS Why, mistress,
sure my master is horn-mad.
ADRIANA Horn-mad, thou
villain!
DROMIO OF EPHESUS I mean not
cuckold-mad;
But, sure, he is stark mad.
When I desired him to come home to
dinner, 60
He ask'd me for a thousand marks in gold:
''Tis dinner-time,' quoth I; 'My gold!' quoth he;
'Your meat doth burn,' quoth I; 'My gold!' quoth he:
'Will you come home?' quoth I; 'My gold!' quoth he.
'Where is the thousand marks I gave thee,
villain?' 65
'The pig,' quoth I, 'is burn'd;' 'My gold!' quoth he:
'My mistress, sir' quoth I; 'Hang up thy mistress!
I know not thy mistress; out on thy mistress!'
LUCIANA Quoth who?
DROMIO OF EPHESUS Quoth my
master: 70
'I know,' quoth he, 'no house, no wife, no mistress.'
...
ANTIPHOLUS OF
SYRACUSE What is she?
DROMIO OF SYRACUSE A very
reverent body; ay, such a one as a man may
not speak of without he say 'Sir-reverence.' I have
but lean luck in the match, and yet is she a
wondrous fat marriage. 90
ANTIPHOLUS OF SYRACUSE How dost
thou mean a fat marriage?
DROMIO OF SYRACUSE Marry, sir,
she's the kitchen wench and all grease;
and I know not what use to put her to but to make a
lamp of her and run from her by her own light. I
warrant, her rags and the tallow in them will burn
a 95
Poland winter: if she lives till doomsday,
she'll burn a week longer than the whole world.
ANTIPHOLUS OF SYRACUSE What
complexion is she of?
DROMIO OF SYRACUSE Swart, like my
shoe, but her face nothing half so
clean kept: for why, she sweats; a man may go
over 100
shoes in the grime of it.
ANTIPHOLUS OF SYRACUSE That's a
fault that water will mend.
DROMIO OF SYRACUSE No, sir, 'tis
in grain; Noah's flood could not do it.
ANTIPHOLUS OF SYRACUSE What's her
name?
DROMIO OF SYRACUSE Nell, sir; but
her name and three quarters, that's 105
an ell and three quarters, will not measure her from
hip to hip.
ANTIPHOLUS OF SYRACUSE Then she
bears some breadth?
DROMIO OF SYRACUSE No longer from
head to foot than from hip to hip:
she is spherical, like a globe; I could find
out 110
countries in her.
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
↧
[转载]敬爱的温总理，您在哪里？
↧
[转载]错误的喜剧（The Comedy of Errors）
原文地址：错误的喜剧（The Comedy of Errors）作者：药师天善
莎士比亚最短的一部，构思巧妙，匠心独具，妙语连珠，that's all！
如果看过《双龙会》，就知道源头在这儿。
以弗所公爵索列纳斯（SOLINUS）因叙拉古商人伊勤（AEGEON）违反法律进入以弗所判处其死刑，老人向公爵讲述自己悲惨的一生：二十年前，因为船只失事，伊勤与妻子爱米莉亚（AEMILLA）分别被两艘来往船只救起，伊勤携带者一个儿子大安提福勒斯（ANTIPHOLUS OF Ephesus）及养子大德罗米奥（DROMIO OF Ephesus）来到叙拉古，直到七年前，大安提福勒斯与大德罗米奥出海寻找失散的家人，却一直了无音信，伊勤为了寻子寻妻也相继遍访诸国，希冀能找到大家，误打误撞来到以弗所境内，触犯了法律。
公爵同情伊勤的遭遇，然而却又不能破坏法律的威权，依律规定，只有一个以弗所公民愿意出钱保释，伊勤才能获救。公爵将伊勤游街希望以弗所有他的远房的亲戚。
大安提福勒斯与大德罗米奥此时恰也在叙拉古，却不知老父的遭遇，不料却在酒店被陌生的侍女请回“家”去，迎接二人的也是他们的妻子，大安提福勒斯的妻子是一位贵妇，阿德里安娜（ADRIANA），大德罗米奥的妻子则是一位又胖又丑的厨娘——缘来两人是被小安提福勒斯（ANTIPHOLUS OF Syracuus）及小德罗米奥（DROMIO OF Syracuse）的家人所错认——当然，大家都不知道这一点。
不过，大安提福勒斯和大德罗米奥没有成婚是肯定的，于是主仆二人认定来到了“妖精的国度”，商议着如何逃跑并乘船出海，其间大安提福勒斯却对“妻子”的妹妹露西安娜（LUCIANA）一见钟情。
小安提福勒斯因随先王征战四方而立有战功，是以弗所的名流，喜欢没日没夜的与在外厮混。认错人的阿德里安娜决定紧闭大门，不再招待那些小安提福勒斯的狐朋狗友。大安提福勒斯没头没脑地被关在房间里，小安提福勒斯恰好和一班朋友相约回家痛饮，不料大门紧闭，等来的只是一场来自大德罗米奥的臭骂。
勃然大怒的小安提福勒斯决定把从金匠安德鲁（ANGELO）那儿预订的金项链送给相好的妓女，并去妓女的住所打发一下时间。大安提福勒斯和大德罗米奥费力逃出“妖精的洞窟”，正遇到金匠安德鲁来送项链，二人顺势收下，继续寻找出海的便船。
傍晚时分，小安提福勒斯和小德罗米奥准备回家，小安提福勒斯吩咐小德罗米奥去买马鞭，扬言给妻子一点教训，恰好遇到安德鲁索要金项链的钱，小安提福勒斯当然不给，二人争执之下，安德鲁报告了差役将小安提福勒斯逮捕。此时大德罗米奥路过集市，小安提福勒斯命其回家取钱给金匠解救自己，大德罗米奥拿到一袋金币，又遇到了大安提福勒斯，二人依旧前往码头。
买过马鞭的小德罗米奥来到集市，见主人被捕，却又拿不出钱来，只能一道被抓起来。从大德罗米奥处得知丈夫被捕的阿德里安娜及露西安娜赶来集市，在“开门”和“拿钱”的问题上，主仆二人和姊妹俩发生了分歧。众人都认为主仆二人着了魔，于是请来教士兼巫师来驱魔，阿德里安娜愿意再回家取钱为丈夫进行赔偿，但小安提福勒斯主仆二人必须囚禁在家而不是送进监狱。
大安提福勒斯主仆在集市巧遇付过赔偿金的阿德里安娜，前者目后者为妖精，拔腿就跑，后者则以为前者疯病发作，紧追不舍。情急之下大安提福勒斯躲进了修道院，一位老修女认为二人应该获得宁静，拒绝将人交给阿德里安娜，阿德里安娜求助于押着犯人示众的公爵，由于各方说法迥异，公爵也一筹莫展。
此时，挣脱绳索的小安提福勒斯主仆来到修道院，要惩罚不贞的妻子，老修女唤出躲在修道院中的大安提福勒斯主仆，众人如堕云里雾中，此时犯人伊勤认出了自己的儿子，而老修女也认出了丈夫伊勤——当年爱米莉亚和小安提福勒斯虽被救起，却再被歹人掳去，爱米莉亚出家为修女，而小安提福勒斯与小德罗米奥则流落到以弗所……
故事到此真相大白，在皆大欢喜中散场，很巧妙的一部喜剧。
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
莎剧译选和比读：And may it be that you hav ...
|
The Comedy of Errors 3.2：1-52 |
|
|
William Shakespeare |
朱生豪译 吴兴华校 |
|
And may it be that you have quite forgot |
安提福勒斯你难道已经忘记了 |
|
A husband's office? Shall, Antipholus, |
一个男人对他妻子应尽的本分？ |
|
Even in the spring of love, thy love-springs rot? |
在热情的青春，你爱苗已经枯槁？ |
|
Shall love, in building, grow so ruinous? |
恋爱的殿堂没有筑成就已坍倾？ |
|
If you did wed my sister for her wealth, |
你娶我姊姊倘只为了贪图财富， |
|
Then, for her wealth's sake use her with more kindness: |
为了财富你也该向她着意温存； |
|
Or, if you like elsewhere, do it by stealth; |
纵使另有新欢，也只好鹊桥偷渡， |
|
Muffle your false love with some show of blindness; |
对着眼前的人儿献些假意殷勤。 |
|
Let not my sister read it in your eye: |
别让她在你眼里窥见你的隐衷， |
|
Be not thy tongue thy own shame s orator; |
别让你的嘴唇宣布自己的羞耻； |
|
Look sweet, speak fair, become disloyalty; |
你尽管巧言令色，把她鼓里包蒙， |
|
Apparel vice like virtue's harbinger; |
心里奸淫邪恶，表面上圣贤君子。 |
|
Bear a fair presence, though your heart be tainted; |
何必让她知道你已经变了心肠？ |
|
Teach sin the carriage of a holy saint; |
哪一个笨贼夸耀他自己的罪状？ |
|
Be secret-false: what need she be acquainted? |
莫在她心灵上留下双重的创伤， |
|
What simple thief brags of bis own attaint? |
既然对不起她，就不该恶声相向。 |
|
'Tis double wrong to truant with your bed, |
啊，可怜的女人！天生来柔弱易欺， |
|
And let her read it in thy looks at board: |
只要你们说爱我们，我们就相信； |
|
Shame hath a bastard fame, well managed; |
躯体被别人占据了，给我们外衣， |
|
Ill deeds are doubled with an evil word. |
我们也就心满意足，不发生疑问。 |
|
Alas! poor women, make us but believe, |
姊夫，进去吧，安慰安慰我的姊姊， |
|
Being compact of credit, that you love us; |
劝她不要伤心，把她叫一声我爱； |
|
Though others have the arm, show us the sleeve; |
甜言蜜语的慰藉倘能息争解气， |
|
We in your motion turn, and you may move us. |
何必管它是真心，是假惺惺作态。 |
|
Then, gentle brother, get you in again; |
|
|
Comfort my sister, cheer her, call her wife: |
|
|
Tis holy sport to be a little vain, |
|
|
When the sweet breath of flattery conquers strife. |
|
(选自《错误的喜剧》第三幕第二场)
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
↧
莎剧译选和比读：Sweet mistress,—what your name is ...
|
The Comedy of Errors 3.2：29-52 |
|
|
William Shakespeare |
朱生豪译 吴兴华校 |
|
Sweet mistress,—what your name is else, I know not, |
亲爱的姑娘，我叫不出你的芳名， |
|
Nor by what wonder you do hit of mine,— |
更不懂我的名姓怎会被你知道； |
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Less in your knowledge and your grace you show not |
你绝俗的风姿，你天仙样的才情， |
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Than our earth's wonder; more than earth divine. |
简直是地上的奇迹，无比的美妙。 |
|
Teach me, dear creature, how to think and speak: |
好姑娘，请你开启我愚蒙的心智， |
|
Lay open to my earthy-gross conceit. |
为我指导迷津，扫清我胸中云翳， |
|
Smother'd in errors, feeble, shallow, weak, |
我是一个浅陋寡闻的凡夫下士， |
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The folded meaning of your words' deceit. |
解不出你玄妙神奇的微言奥义。 |
|
Against my soul's pure truth why labour you |
我这不敢欺人的寸心惟天可表， |
|
To make it wander in an unknown field? |
你为什么定要我堕入五里雾中？ |
|
Are you a god? would you create me new? |
你是不是神明，要把我从头创造？ |
|
Transform me then, and to your power I'll yield. |
那么我愿意悉听摆布，唯命是从。 |
|
But if that I am I, then well I know |
可是我并没有迷失了我的本性， |
|
Your weeping sister is no wife of mine, |
这一门婚事究竟是从哪里说起？ |
|
Nor to her bed no homage do I owe: |
我对她素昧平生，哪里来的责任？ |
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Far more, far more, to you do I decline. |
我的情丝却早已在你身上牢系。 |
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O! train me not, sweet mermaid, with thy note, |
你婉妙的清音就像鲛人的仙乐， |
|
To drown me in thy sister flood of tears: |
莫让我在你姊姊的泪涛里沉溺； |
|
Sing, siren, for thyself, and I will dote: |
我愿意倾听你自己心底的妙曲， |
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Spread o'er the silver waves thy golden hairs, |
迷醉在你黄金色的发浪里安息， |
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And as a bed I'll take them and there he; |
那灿烂的柔丝是我永恒的眠床， |
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And, in that glorious supposition think |
|
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He gains by death that hath such means to die: |
|
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Let Love, being light, be drowned if she sink! |
把温柔的死乡当作幸福的天堂！ |
(选自《错误的喜剧》第三幕第二场)
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
QUOTES FROM THE COMEDY OF ERRORS
The pleasing punishment that women bear. (1.1.47)
I to the world am like a drop of
water
That in the ocean seeks another drop,
Who, falling there to find his fellow forth,
Unseen, inquisitive, confounds himself. (1.2.36)
A wretched soul bruised with
adversity,
We bid be quiet when we hear it cry;
But were we burdened with like weight of pain,
As much, or more, we should ourselves complain. (2.1.35)
Every why hath a wherefore. (2.2.45)
Small cheer and great welcome makes a merry feast. (3.1.29)
They brought one Pinch, a hungry,
lean-faced villain,
A mere anatomy, a mountebank,
A threadbare juggler, and a fortune-teller,
A needy, hollow-eyed, sharp-looking wretch,
A living-dead man. (5.1.239)
Let's go hand in hand, not one before another. (5.1.432)
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
[转载]莎士比亚《错误的喜剧》（The Comedy of Errors）
The Comedy of Errors
From Wikipedia, the free encyclopedia
The
Comedy of Errors is one of William Shakespeare's earliest
plays, believed to have been written between 1592 and 1594. It is
his shortest and one of his most farcical comedies, with a major
part of the humour coming from slapstick and mistaken identity, in
addition to puns and word play. The Comedy of Errors (along
with The Tempest) is one of only two of Shakespeare's plays
to observe the classical unities. It has been adapted for opera,
stage, screen and musical theatre.
The
Comedy of Errors tells the story of two sets of identical twins
that were accidentally separated at birth. Antipholus of Syracuse
and his servant, Dromio of Syracuse, arrive in Ephesus, which turns
out to be the home of their twin brothers, Antipholus of Ephesus
and his servant, Dromio of Ephesus. When the Syracusans encounter
the friends and families of their twins, a series of wild mishaps
based on mistaken identities lead to wrongful beatings, a
near-seduction, the arrest of Antipholus of Ephesus, and
accusations of infidelity, theft, madness, and demonic
possession.
Sources
Key
plot elements are taken from two Roman comedies of
Plautus.
From
Menaechmi comes the main premise of mistaken identity
between identical twins with the same name, plus some of the stock
characters such as the comic courtesan. In Menaechmi one of
the twins is from Epidamnus; Shakespeare changes this to
Ephesus and includes many allusions to St Paul's Epistle to
the Ephesians.
From
Amphitruo he borrows the twin servants with the same name,
plus the scene in Act 3 where a husband is shut out of his house
while his wife mistakenly dines with a look-alike.
The
frame story of Egeon and Emilia derives from Apollonius of
Tyre, also a source for Twelfth Night and Pericles,
Prince of Tyre.
Date & text
The
play contains a topical reference to the wars of succession in
France which would fit any date from 1589 to 1595. William
Warner's translation of the Menaechmi was entered into
the Register of the Stationers Company on June 10, 1594, and
published in 1595. Warner's translation was dedicated to
Lord Hunsdon, the patron of the Lord Chamberlain's Men. It has been
supposed that Shakespeare might have seen the translation in
manuscript before it was printed — though it is also true that
Plautus was part of the curriculum of grammar school
students. Charles Whitworth, in his edition of the play, argues
that The Comedy of Errors was written "in the latter part of
1594."[1] The play was not published until it appeared in the First
Folio in 1623.
Characters
Solinus, the Duke of Ephesus
Egeon (or Ægeon), a merchant of Syracuse
Emilia (or Æmilia), his lost wife, now Lady Abbess at
Ephesus
Antipholus of Ephesus and Antipholus of Syracuse, twin
brothers, sons of Egeon and Emilia
Dromio of Ephesus and Dromio of Syracuse, twin brothers,
bondmen, each serving his respective Antipholus
Adriana, wife of Antipholus of Ephesus
Luciana, her sister
Luce, maid to Adriana, sometimes confused for Nell.
Nell, Antipholus of Ephesus's obese kitchen-maid and Dromio of
Ephesus's wife. ("a mountain of mad flesh that claims marriage of
me" -- Dromio of Syracuse)
Balthazar, a merchant
Angelo, a goldsmith
Courtesan
First merchant of Ephesus, friend to Antipholus of
Syracuse
Second merchant of Ephesus, to whom Angelo is in debt
Doctor Pinch, a conjuring schoolmaster
Gaoler, Headsman, Officers, and other Attendants
Plot summary
Due to
a law forbidding the presence of Syracusian merchants in Ephesus,
elderly Syracusian trader Egeon faces execution when he is
discovered in the city. He can only escape by paying a fine of a
thousand marks. He tells his sad story to the Duke. In his youth,
he married and had twin sons. On the same day, a poor woman also
gave birth to twin boys, and he purchased these as slaves to his
sons. Soon afterwards, the family made a sea voyage, and was hit by
a tempest. Egeon lashed himself to the main-mast with one son and
one slave, while his wife was rescued by one boat, Egeon by
another. Egeon never again saw his wife, or the children with her.
Recently, his son Antipholus of Syracuse, now grown, and his son’s
slave Dromio of Syracuse, left Syracuse on a quest to find their
brothers. When Antipholus of Syracuse did not return, Egeon set out
in search of him.
Solinus, Duke of Ephesus, is moved by this story,
and grants Egeon one day to pay his fine.
That same day, Antipholus of Syracuse arrives in Ephesus,
searching for his brother. He sends Dromio of Syracuse to deposit
some money at The Centaur (an inn). He is confounded when the
identical Dromio of Ephesus appears almost immediately, denying any
knowledge of the money and asking him home to dinner, where his
wife is waiting. Antipholus, thinking his servant is making
insubordinate jokes, beats Dromio.
Dromio
of Ephesus returns to his mistress, Adriana, saying that her
"husband" refused to come home, and even pretended not to know her.
Adriana, concerned that her husband's eye is straying, takes this
news as confirmation of her suspicions.
Antipholus of Syracuse, who complains "I could
not speak with Dromio since at first I sent him from the mart,"
meets up with Dromio who now denies making a "joke" about
Antipholus having a wife. Antipholus begins beating him. Suddenly,
Adriana rushes up to Antipholus and begs him not to leave her. The
Syracusans cannot but attribute these strange events to witchcraft,
remarking that Ephesus is known as a warren for witches. Antipholus
and Dromio go off with this strange woman, to eat dinner and keep
the gate, respectively.
Antipholus of Ephesus returns home for dinner and
is enraged to find that he is rudely refused entry to his own house
by Dromio of Syracuse, who is keeping the gate. He is ready to
break down the door, but his friends persuade him not to make a
scene. He decides, instead, to dine with a Courtesan.
Inside
the house, Antipholus of Syracuse discovers that he is very
attracted to his "wife"'s sister, Luciana, telling her "train me
not, sweet mermaid, with thy note / To drown me in thy sister's
flood of tears." She is flattered by his attentions, but worried
about their moral implications. After she exits, Dromio of Syracuse
announces that he has discovered that he has a wife: Nell, a
hideous kitchen-maid. He describes her as "spherical, like a globe;
I could find out countries in her...buttocks: I found it out by the
bogs." He claims he has discovered America and the Indies "upon her
nose all o'er embellished with rubies, carbuncles, sapphires,
declining their rich aspect to the hot breath of Spain; who sent
whole armadoes of caracks to be ballast at her nose." This is one
of Shakespeare's few references to America. The Syracusans decide
to leave as soon as possible, and Dromio runs off to make travel
plans. Antipholus is apprehended by Angelo, a goldsmith, who claims
that he ordered a chain from him. Antipholus is forced to accept
the chain, and Angelo says that he will return for payment.
Antipholus of Ephesus dispatches Dromio of
Ephesus to purchase a rope so that he can beat his wife Adriana for
locking him out, then is accosted by Angelo, who tells him "I
thought to have ta'en you at the Porpentine" and asks to be
reimbursed for the chain. He denies ever seeing it, and is promptly
arrested. As he is being led away, Dromio of Syracuse arrives,
whereupon Antipholus dispatches him back to Adriana's house to get
money for his bail.
After
completing this errand, Dromio of Syracuse mistakenly delivers the
money to Antipholus of Syracuse. The Courtesan spies Antipholus
wearing the gold chain, and says he promised it to her. The
Syracusans deny this, and flee. The Courtesan resolves to tell
Adriana that her husband is insane. Dromio of Ephesus returns to
the arrested Antipholus of Ephesus, with the rope. Antipholus is
infuriated. Adriana, Luciana and the Courtesan enter with a
conjurer named Pinch, who tries to exorcise the Ephesians, who are
bound and taken to Adriana's house. The Syracusans enter, carrying
swords, and everybody runs off for fear: believing that they are
the Ephesians, out for vengeance after somehow escaping their
bonds. Adriana reappears with henchmen, who attempt to bind the
Syracusans. They take sanctuary in a nearby priory, where the
Abbess resolutely protects them.
The
Duke and Egeon enter, on their way to Egeon's execution. Adriana
begs the Duke to force the Abbess to release her husband. Then, a
messenger from Adriana's house runs in and announces that the
Ephesians have broken loose from their bonds and tortured Doctor
Pinch. The Ephesians enter and ask the Duke for justice against
Adriana. Egeon believes he has found his own son, Antipholus, who
will be able to bail him, but both Ephesians deny having ever seen
him before.
Suddenly, the Abbess enters with the Syracusan twins, and
everyone begins to understand the confused events of the day. Not
only are the two sets of twins reunited, but the Abbess reveals
that she is Egeon's wife, Emilia. The Duke pardons Egeon. All exit
into the abbey to celebrate the reunification of the family.
Analysis
For
centuries, scholars found little thematic depth in The Comedy of
Errors. Its origins in The Menaechmi led many to see the
play as a light, farcical work. It was often assumed that
Shakespeare was deliberately avoiding the more serious themes of
his histories, tragedies or later comedies.
Recent
scholarship, however, has taken a different view. Particularly
notable in the play is a series of social relationships, which, if
rooted in a Roman past, acquire special significance in the
transition to early modernity that constantly guides Shakespeare's
drama. As Eric Heinze has noted, those relationships include
dichotomies of master-servant, husband-wife, parent-child,
native-alien, buyer-seller, and monarch-parliament. Each
relationship is in crisis as it sheds its feudal forms, and
confronts the market forces of early modern Europe [2].
Performance
Two
early performances of The Comedy of Errors are recorded.
One, by "a company of base and common fellows," is mentioned in the
Gesta Grayorum ("The Deeds of Gray") as having occurred in Gray's
Inn Hall on Dec. 28, 1594. The second also took place on
"Innocents' Day," but ten years later: Dec. 28, 1604, at
Court.[3]
Artistic Features
In the
opening scene Egeon delivers by far the longest speech of the play
("A heavier task could not have been imposed"), explaining how the
two sets of twins were separated at an early age. At 421 words it
is also the longest piece of pure exposition in the canon. Egeon
(and also the Duke) are then absent until the final scene.
Adaptations
Plays
In
1734, an adaptation called See If You Like It was staged at Covent
Garden. Drury Lane mounted a production in 1741, in which Charles
Macklin played Dromio of Syracuse — in the same year as his famous
breakthrough performance as Shylock. In the 1980s, the Flying
Karamazov Brothers performed a unique adaptation of this play at
Lincoln Center; it was shown on MTV and PBS. The Regent's Park Open
Air Theatre are due to be staging a new production of the play as
part of their 2010 summer season, directed by Philip Franks.
Opera
On 27
December, 1786, the opera Gli Equivoci by Stephen Storace received
its première at the Burgtheater in Vienna. The libretto, by Lorenzo
da Ponte, follows the play's plot fairly closely, though some
characters were renamed. [4]
Frederic Reynolds staged an operatic version in
1819, with music by Henry Bishop supplemented with some songs by
Mozart and Arne. Various other adaptations were performed down to
1855, when Samuel Phelps revived the Shakespearean original at
Sadler's Wells Theatre.[5]
Musicals
The
play has been adapted as a musical at least three times, first as
The Boys from Syracuse with a score by Richard Rodgers and Lorenz
Hart, then as a West End musical that won the Laurence Olivier
Award for best musical in 1977, and in 1981 as Oh, Brother! with a
score by Michael Valenti and Donald Driver A hip-hop musical
adaptation, The Bomb-itty of Errors, won 1st Prize at HBO's Comedy
Festival and was nominated opposite Stephen Sondheim for the Best
Lyrics Drama Desk Award in 2001.
Film
The
film Big Business is a modern take on A Comedy of Errors. Bette
Midler and Lily Tomlin star in the film as two sets of twins
separated at birth, much like the characters in Shakespeare's play.
Indian cinema has also made films on this play. 1. Do Dooni Char
starring Kishore Kumar 2.starring Sanjeev Kumar called
Angoor.
Television
The
popular TV show The X-Files features an episode called "Fight
Club", the story of which heavily parallels many elements from this
play.
In the Yes Prime Minister patron of the arts Prime minister
james Hacker complains " they(the national theatre)set the comedy
of errors in number 10 downing street"
Notes
^ Charles Walters Whitworth, ed., The Comedy of Errors,
Oxford, Oxford University press, 2003; pp. 1-10.
^ Eric Heinze, '"Were it not against our laws": Oppression and
Resistance in Shakespeare's Comedy of Errors, 29 Legal Studies
(2009), pp. 230 – 63
^ The identical dates may not be coincidental; the Pauline and
Ephesian aspect of the play, noted under Sources, may have had the
effect of linking The Comedy of Errors to the holiday season—much
like Twelfth Night, another play secular on its surface but linked
to the Christmas holidays.
^ Holden, Amanda; (editor), with Kenyon, Nicholas and Walsh,
Stephen. The Viking Opera Guide. London: Viking. pp. 1016. ISBN
0-670-81292-7.
^ F. E. Halliday, A Shakespeare Companion 1564-1964,
Baltimore, Penguin, 1964; p.112.
References
This article incorporates text from a
publication now in the public domain: Chisholm, Hugh, ed (1911).
Encyclopædia Britannica (Eleventh ed.). Cambridge University
Press.
以下迻录一节露西安娜的对白（28个诗行中的前12行），原诗为抒情的四行诗体，交叉韵式，每个诗行一般是10音节。朱生豪的诗体译文是严整的每行13字，韵式一如原诗，有明显汉化改写（28个诗行节略成24行），突出了中国式的道德感，例如“纵使另有新欢，也只好鹊桥偷渡”（Or, if you like elsewhere, do it by stealth;），“心里奸淫邪恶，表面上圣贤君子”（Apparel vice like virtue's harbinger;），
|
The Comedy of Errors 3.2：1-12 |
|
|
William Shakespeare |
朱生豪译 吴兴华校 |
|
And may it be that you have quite forgot |
安提福勒斯你难道已经忘记了 |
|
A husband's office? Shall, Antipholus, |
一个男人对他妻子应尽的本分？ |
|
Even in the spring of love, thy love-springs rot? |
在热情的青春，你爱苗已经枯槁？ |
|
Shall love, in building, grow so ruinous? |
恋爱的殿堂没有筑成就已坍倾？ |
|
If you did wed my sister for her wealth, |
你娶我姊姊倘只为了贪图财富， |
|
Then, for her wealth's sake use her with more kindness: |
为了财富你也该向她着意温存； |
|
Or, if you like elsewhere, do it by stealth; |
纵使另有新欢，也只好鹊桥偷渡， |
|
Muffle your false love with some show of blindness; |
对着眼前的人儿献些假意殷勤。 |
|
Let not my sister read it in your eye: |
别让她在你眼里窥见你的隐衷， |
|
Be not thy tongue thy own shame s orator; |
别让你的嘴唇宣布自己的羞耻； |
|
Look sweet, speak fair, become disloyalty; |
你尽管巧言令色，把她鼓里包蒙， |
|
Apparel vice like virtue's harbinger; |
心里奸淫邪恶，表面上圣贤君子。 |
Shakespeare is famous for his skill as
a poetic dramatist and his ability to use blank
verse
as a supple, evocative, and eloquent medium
of expression. His main plot scenes are filled
with
verse, but the subplot or comic scenes are
often prose, and it must also be acknowledged
that
Shakespeare writes some of the best prose
in the English Renaissance. Couplets are used
for
closure at the end of scenes. All these uses
are fully displayed in The Comedy of
Errors, but so
is a great deal of rhyme.
Why
rhyme—couplets, quatrains, even perhaps a sexain?
Romeo and Juliet notably includes several
sonnets, and critics therefore believe it follows
the period in which Shakespeare wrote his sonnets
and narrative poems, the years 1592-93 when the
theatres were closed due to a fierce outbreak of
the plague. But The Comedy of Errors? For
many decades it was conjecturally dated 1590 or
so, well before the lyrical period of sonnets and
plays (Romeo and Juliet, A Midsummer
Night's Dream,Merchant of Venice, and Richard
II). More contemporary scholars now date
Comedy just before
or just after the plague closings, near the
"lyrical" period. Rhyme abounds in Comedy, and its
role deserves consideration.
A quick overview reveals:
1.1—all blank verse, with 2 couplets by Egeon
1.2— all blank verse
2.1—opens in blank verse; quickly shifts
to couplets, a bit of prose on D/E's entry, then
to
blank verse and couplets
2.2—blank verse and prose; Adriana's blank
verse shifts to couplets, and so the scene
continues
with only a brief section of blank verse near
the end
3.1—blank verse gives way to long-line couplets (hexameters and
even fourteeners), then returns to blank
verse
3.2—opens with 13 quatrains, shifts to
couplets, and then to prose on D/S's entry; back
to blank
verse and some rhyme for the resolve to
leave and meeting with Angelo
4.1—blank verse
4.2—potential sexain (or quatrain and
couplet), then couplets, another quatrain,
then couplets intermixed with some blank
verse
4.3—blank verse, prose, blank verse
4.4—blank verse, prose, blank verse, prose
5.1—blank verse, a triplet
And who
uses these couplets? In 2.1 it is Adriana
and Luciana; in 2.2 they begin with Adriana, then
spread to all; 3.1, the Dromios; 3.2, Luciana and
A/S. The women in private, the love concerns, and
the door scene get rhyme. The rhyme works
rhetorically as well. Look at its use in 2.1
between Adriana and her sister. We meet them for
the first time waiting to have
dinner (the midday meal) because
Antipholus of Ephesus is late. Adriana is
frustrated; her
sister tries to calm her. In the 11th line,
Luciana begins to rhyme her sister with the social
facts of gender roles in the play—the
husband/male may do as he likes:
ADR: Why should their liberty than ours be more?
LUC: Because their business still lies out o' door.
Luciana's speech about male
mastery and female subservience sits ill with
Adriana, who protests at length, her five-couplet
speech exactly matching the length of her
sister's.
Because Luciana achieves most of the
rhyme, we may begin to associate the effect
with
reasonableness or submission until
Adriana throws the form back in her face in
protest.
Dromio of Ephesus re-introduces the rhyme in
protest as Adriana just used it. Adriana's tirade
tries to discern what the problem is, asking if
it is a change in her, then shifs to fear of
infidelity and lost love and then to
tears. She returns to couplets in 2.2 as
she beseeches her husband, as she thinks, to
come home to dinner; it is actually his twin who
has just arrived in Ephesus. She ends her
37-line speech to him with a couplet; his 5-line
denial also ends in a couplet. Then just when it
seems she might launch into scolding (lines
159-161), she begins to rhyme instead. The effect
is almost that of channeling Luciana, for she
is self-deprecating and cajoling, the vine to his
elm. Antipholus is mystified but picks up her
couplet form in his aside. He denies her in blank
verse, but agrees to come after the couplets.
Rhyme has a genuine potency here (as does the
lure of a free meal).
The
quatrains of 3.2 are equally
interesting. Quatrains are the bulk of every
Shakespeare
sonnet, so to find thirteen of them opening
the scene, half preaching stealth and lying if
love has changed or strayed (Luciana ostensibly to
her brother-in-law), half pledging a new but
eternal
and life-altering love (Antipholus of Syracuse
to the young woman whose name he does not
even
know). Only when she protests his
seemingly incestuous proposal do they shift to
stichomythia
and couplets, with him rhyming her
protests with more love claims. It is the
aftermath of this scene, 4.2, between the sisters,
that completes the play's exploration of
rhyme.
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
秦大川英译：木心诗五首（5）
秦大川英译：木心诗五首（5）
(5)
你这样吹过
清凉，柔和
再吹过来的
我知道不是你了
Five Poems (5)
By Mu Xin
Tr. Qin Dachuan
The air you breathed
through,
Soft, and cool.
But next time,
I know, it doesn't come from you.
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
↧
秦大川英译：木心诗五首（1）
秦大川英译：木心诗五首（1）
(1)
从前的人，多认真
认真勾引，认真失身
峰回路转地颓废
Five Poems (1)
By Mu Xin
Tr. Qin Dachuan
How serious the people were in the old days!
They solicited with all their heart, and so did they lose
virginity.
When beat, they beat it to the mountains and valleys.
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
[转载]希腊的魅力 15夕阳与明月
原文地址：希腊的魅力 15夕阳与明月作者：张海
葛乾巽的博客
到希腊的圣托里尼岛旅游，一定不会错过一个到伊亚去看日落的节目，因为这是一个全世界最美日落的地方。
伊亚被称为是“艺术家的村落”的小镇，以日落景色最迷人，这里号称拥有全世界最美的夕阳。
刚开岛，来的人不多，上千个看夕阳的朋友拥挤在一起。
一点遗憾，日落并不精彩，但回头一看，一轮圆月升起在海面上，真是有所失必有所得啊！
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
[转载]希腊的魅力 14耀眼的明珠
原文地址：希腊的魅力 14耀眼的明珠作者：张海
葛乾巽的博客
伊亚小镇，地处希腊的王冠
伊亚小镇是岛上最耀眼的明珠，小镇的建筑大多修建于13至16世纪，但是粉刷一新让小镇看起来依旧精神饱满。
伊亚是圣托里尼岛最北端的一个小镇，这里无数精致的彩色房子与蓝顶教堂，在阳光的照耀下小镇令人沉迷而醉。
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
[转载]看门人译著出版通告
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
↧
[转载]一首献给男人的情诗•林徽因
原文地址：一首献给男人的情诗•林徽因作者：现代诗选粹
一首献给男人的情诗•林徽因
林徽因（1904年6月10日－1955年4月1日），女，汉族，福建闽县（今福州）人，出生于浙江杭州，原名林徽音，其名出自“《诗·大雅·思齐》：大姒嗣徽音，则百斯男”。后因常被人误认为当时一作家林微音，故改名徽因。
中国著名建筑师、诗人、作家。人民英雄纪念碑和中华人民共和国国徽深化方案的设计者、建筑师梁思成的第一任妻子。三十年代初，同梁思成一起用现代科学方法研究中国古代建筑，成为这个学术领域的开拓者，后来在这方面获得了巨大的学术成就，为中国古代建筑研究奠定了坚实的科学基础。文学上，著有散文、诗歌、小说、剧本、译文和书信等，代表作《你是人间四月天》，《莲灯》，《九十九度中》等。其中，《你是人间四月天》最为大众熟知，广为传诵。
激昂
林徽因
我要借这一时的豪放
和从容，灵魂清醒的
在喝一泉甘甜的鲜露，
来挥动思想的利剑，
舞它那一瞥最敏锐的
锋芒，像皑皑塞野的雪
在月的寒光下闪映，
喷吐冷激的辉艳；——斩，
斩断这时间的缠绵，
和猥琐网布的纠纷，
剖取一个无瑕的透明，
看一次你，纯美，
你的裸露的庄严。
……
然后踩登
任一座高峰，攀牵着白云
和锦样的霞光，跨一条
长虹，瞰临着澎湃的海，
在一穹匀净的澄蓝里，
书写我的惊讶与欢欣，
献出我最热的一滴眼泪，
我的信仰，至诚，和爱的力量，
永远膜拜，
膜拜在你美的面前！
一首献给男人的情诗
李齐坚
《激昂》无疑是一首极富个性的爱情诗，它不似《邶风·静女》的调皮可爱，不似李清照《声声慢》的缠绵离愁，不似徐志摩《雪花的快乐》的忧伤惆怅，甚至不似叶芝《当你老了》的深情怅望，《激昂》是绝美的，美得高贵而神圣。
首先，诗中的“你”几近绝美。为了呈现出一个绝美的“你”，作者开篇选取了一个绝美的时间：“豪放和从容”的“灵魂清醒”之际，啜饮“鲜露”之时，此时她要做什么呢？她要挥舞“思想的利剑”去斩“时间的缠绵”，挥去“猥琐网布的纠纷”，目的是剖取你来细细审看。这是个什么样的“你”呢——是“ 纯美”的你，挥洒着“无暇的透明”，放射出“ 裸露的庄严”。诗写到此已很有意味，但还不能让人过瘾，这个“你”也尚不足以让读者体悟绝美。
更令人目不暇接的是，诗人接下来用一个省略段来表达无限深意后，突然激情喷涌地将抒情主体“我”置身在风华绝代的虚幻境界中：登一座高峰，攀牵着白云和霞光，跨一条长虹，瞰临着澎湃的海。这是何等壮阔明丽的风光！诗人如此挥洒的目的是什么呢？为了在“匀净的澄蓝”里书写“我的惊讶与欢欣”，同时“献出我最热的一滴眼泪，/ 我的信仰，至诚，和爱的力量，/永远膜拜，/膜拜在你美的面前！”
由此，女诗人终于把这个绝美的“你”，浓墨重彩地渲染烘托出来了，读者终于可以感到，这个拥有“无瑕的透明”、“ 纯美”和“ 裸露的庄严”的“你”，实在太超凡独立了。这个“你”，应该是一个囊括了人世间奇男子所有优异特质的“你”，是一个无可言说的极品男人。所幸中国有一个词能接近它的大意，那就是孟子所谓的“大丈夫”！
我们不需知道这诗是写给谁的，因为它本身就是一个美丽的人生谜语。但可以推测，只有林徽因这样几近绝美的女子，才能写出如此旷世绝唱的爱情诗。两情相悦、软玉温香的情诗也许同样优美，但只有如此豪放、如此神奇的爱情咏叹，才能激发出读者滚烫的热泪。
许多现代经典诗歌今天读来，难免让人感到时过境迁，但这首小诗却如此活泼鲜丽，仿佛永远不会苍老的碧海阳光。这首《激昂》，放在当今“高富帅”横行一时，不知男人该为何物，只知膜拜金钱权势的语境来读，不是更有特殊意义吗？
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
↧
[转载]希腊的魅力 16圣托里尼岛
原文地址：希腊的魅力 16圣托里尼岛作者：张海
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
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[转载]希腊的魅力 17海滩边宾馆
原文地址：希腊的魅力 17海滩边宾馆作者：张海
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
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[转载]欧洲游之 维罗纳“朱丽叶的阳台”
原文地址：欧洲游之 维罗纳“朱丽叶的阳台”作者：张海
青蛇qsh的博客
今天我们要去的是维罗纳，
它是意大利最古老、最美丽和最荣耀的城市之一，
也是仅次于威尼斯的第二大城市。
维罗纳盛产葡萄酒、蔬菜和水果，还有著名的维罗纳大理石，
维罗纳的确是一座非常高雅的城市，她拥有无数的自然美景，
它更拥有许多著名的纪念性的建筑物，具有独特的城镇美景。
维罗纳也被称作是“爱之城”，
莎士比亚笔下的罗密欧与朱丽叶的爱情故事就发生在这里。
这是著名的“爱墙”，就在阳台的下方，
墙上密密麻麻写满、贴满了各种语言的两个连在一起的名字，
用心圈在一起，或用丘比特的箭穿在一起，用各种颜色和图案装饰起来，据说在墙上把两个相爱的人的名字写在一起就可使他们的爱情天长地久。
你相信这个说法吗？
罗密欧与朱丽叶的故事感动了无数人，
这里成了世界青年男女膜拜的爱情场所。
由于传说触摸塑像的右胸能带来美好的爱情，
到此游览的游客，尤其是恋人们无不笃信其实。
因此铜像常年来遭受到游客的咸猪手袭胸，胸部已被摸变形，
乳头已被摸没，现出了一个小孔洞.......
这些游客实在是太不文明了。
铜像左侧就是那个令无数青年男女神往、举世闻名的“朱丽叶的阳台”。
阳台不大，外面雕有简单的图案，两边可见两扇小窗。
罗密欧就是在这个阳台下与朱丽叶秘密幽会，互诉衷肠，
并从这个阳台爬上去，与朱丽叶私定终身。
有兴趣的游客需要另付费用才可进入阳台留影。
罗密欧与朱丽叶的故事世纪流传，是否真实已经变得不再重要，
爱情成了维罗纳的一种宗教。
虽然这部戏剧的最早版本发生在锡耶纳而不是维罗纳，
实际上也并不存在“朱丽叶的阳台”，
维罗纳人不得不一次又一次地向慕名而来的游客解释这一遗憾的事实，
但他们出于旅游业的目的还是在故居后院中按照莎士比亚的巨作
建造起一座象征性阳台，以供游客朝拜这座“爱的圣地”，
故居的墙上也留下了无数游客爱情誓言的涂鸦。
欧式大院墙的二面有许多有情人的签名，还有上千把定情锁
所有门墙上也都写满了祝福爱情的话语。
朱丽叶抗婚、墓地殉情，
传说那是罗密欧与朱丽叶秘密结婚的地方，
因而每年都有不少情侣专程从世界各地赶到这里结婚，
为的是要像罗密欧与朱丽叶一样誓死捍卫爱情。
其中有一家专门在围裙上绣字的店铺。
店里摆着各种围裙，游客可任意挑选，
店家会按游客的意愿在围裙上绣字，多是绣恋人的名字，或表达爱意。
一件围裙加上绣字价格在15到20欧元，喜欢的话可以买一件留作纪念。
![欧洲游之 维罗纳“朱丽叶的阳台”]( "欧洲游之 维罗纳“朱丽叶的阳台”")
![欧洲游之 维罗纳“朱丽叶的阳台”]( "欧洲游之 维罗纳“朱丽叶的阳台”")
![欧洲游之 维罗纳“朱丽叶的阳台”]( "欧洲游之 维罗纳“朱丽叶的阳台”")
![欧洲游之 维罗纳“朱丽叶的阳台”]( "欧洲游之 维罗纳“朱丽叶的阳台”")
![欧洲游之 维罗纳“朱丽叶的阳台”]( "欧洲游之 维罗纳“朱丽叶的阳台”")
踩缝纫机的是一位帅哥
这儿还有位美女
这上面的名字自然是要保密的
不去摸铜雕，俺就在小院中留个影。
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
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莎剧译选和比读：Cease to persuade, my loving Proteus
VALENTINE
Cease to
persuade, my loving Proteus:
Home-keeping youth have ever homely wits.
Were't not affection chains thy tender days
To the sweet glances of thy honour'd love,
I rather would entreat thy company
To see the wonders of the world abroad,
Than, living dully sluggardized at home,
Wear out thy youth with shapeless idleness.
But since thou lovest, love still and thrive therein,
Even as I would when I to love begin.
(选自《维洛那二绅士》第一幕第一场）
梁实秋 译：
瓦：
别再劝我了，亲爱的普洛蒡阿斯；年轻人闷在家里，总是要头脑简单的。若不是恋爱把你的青春时光锁在你的爱人的秋波上面，我颇想请你和我结伴去看看外面世界的形形色色，总比懒洋洋的厮守在家里，作些无聊的事消磨掉你的青春，要好得多。
朱生豪 译：
凡伦丁
不用劝我，亲爱的普洛丢斯；年轻人株守家园，见闻总是限于一隅。倘不是爱情把你锁系在你情人的温柔的眼波里，我倒很想请你跟我一块儿去见识见识外面的世界，那总比在家里无所事事，把青春销磨在懒散的无聊里好得多多。可是你现在既然在恋爱，那就恋爱下去吧，祝你得到美满的结果；我要是着起迷来，也会这样的。
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
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[转载]美国国歌“星条旗永不落”
原文地址：美国国歌“星条旗永不落”作者：赵西征
原文地址：美国国歌“星条旗永不落”__半月一歌(7)作者：
半月一歌(7)
星条旗永不落
The Star
Spangled Banner
Idina Menzel激情献唱美国国歌！
(视频)美国7岁女童惊人歌喉演唱美国国歌
http://www.tudou.com/programs/view/_gC6jATMNik/
Beyonce唱美国国歌RnB版本
http://v.youku.com/v_show/id_XMTUwNTkwOA==.html?from=y1.3-idx-uhome-1519-20887.205905.1-1.1-8-1-1-0
美国国歌玛莉亚·凯丽版
http://v.youku.com/v_show/id_XMTMzMTY5NTY=.html?from=y1.2-1-95.3.11-1.1-1-1-10-0 青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
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[转载]转：－张张令人心寒的图片！
原文地址：转：－张张令人心寒的图片！作者：瑞志
大方县将军山小学，一个十岁的小女孩因为交不起学费不能上学，她只能坐在一年级的教室门口听着。
孩子们的"运动场"
透过"窗户"往外看的孩子
教室外,墙角的孩子们
不是我爱打赤脚,而是我没有鞋可穿."
草稿纸和笔只好用"免费"的
这是他的早餐。在当地，大米是到了节日才能享用的食物
大方县大水乡大石村小学，一个一年级的孩子吃完一把玉米面后将手添干净。
青春就应该这样绽放 游戏测试：三国时期谁是你最好的兄弟！！ 你不得不信的星座秘密
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