By JESS WINFIELD
Reviewed by LIESL SCHILLINGER
A debut novel about William Shakespeare and his American alter ego, a hash-smoking grad student named Willie Shakespeare Greenberg.
 The first folio was one of several items stolen in 1998 |
A man has been bailed by police after being detained over the theft of the "most important book in the English language" that was stolen 10 years ago.
The 1623 first folio (wide-paged book) of a collection of works by William Shakespeare could be worth £15m.
It was one of a number of literary works taken from Durham university in December 1998.
Police said the suspect, aged 51, allegedly asked a library in the US to value the work.
The unnamed man was bailed after being questioned at Durham City police station.
A Durham Police spokesman said a man, claiming to be an international businessman who had acquired the volume in Cuba, showed it to staff at the Folger Shakespeare Library in Washington DC and asked them to verify it was genuine.
He agreed to leave it with librarians, whose research revealed it to have been stolen.
It was one of the first collected editions of Shakespeare's plays printed. Only between 200 and 300 copies are thought to have survived around the world.
 |  This book is a national treasure giving a rare and beautiful snapshot of Britain's incredible literary heritage  Durham University chancellor Bill Bryson |
A spokesman for Durham University said staff were "rejoicing" following the recovery of the book, described by experts as "the most important book in the English language" at the time of its theft.
The man was arrested on Thursday at an address in Wigeon Close, Washington, Tyne and Wear, after the British Embassy in the US alerted Durham Police to the find two weeks ago.
The stolen items were part of an exhibit of 50 examples of English literature dating from the Middle Ages to the 20th Century.
Other items taken in the university raid included a handwritten manuscript of an English translation of the New Testament from the 14th Century.
Also stolen was a book by 10th Century scholar Aelfric, written in 1566, a first edition of Beowulf from 1815 and a handwritten manuscript from the early 15th Century containing a fragment of a poem by Canterbury Tales author Geoffrey Chaucer.
The Durham Police spokesman said officers were working with the FBI in the United States.
Security reviewed
Bill Bryson, chancellor of Durham University and author of an acclaimed book on Shakespeare, said: "This is not only wonderful news for Durham University but for all Shakespeare's scholars and fans around the world, of which I am most definitely one.
"Like Shakespeare himself, this book is a national treasure giving a rare and beautiful snapshot of Britain's incredible literary heritage."
The Shakespeare first folio was acquired by John Cosin, former Bishop of Durham, and was part of the library he established in Durham in 1669.
University vice-chancellor, Prof Chris Higgins, added: "Our security has been very significantly reviewed and enhanced to the highest standards since the theft 10 years ago and we are confident the first folio will be safe when it arrives back in Durham."原本收藏在英國德倫大學圖書館的一本1623年「第一對開本」（First Folio）莎士比亞劇作集，失竊10年後終於尋獲。德倫大學表示，此書若保存完好，價值高達1500萬英鎊（台幣9億元）。
德倫大學圖書館1998年12月舉辦展覽，「第一對開本」與同一展示櫃裡另6部古籍與手稿同時失竊。10年來警方束手無策，苦無線索。一直到上個月16 日，一名自稱是國際貿易商的男子拿了「第一對開本」到美國華盛頓特區的「福爾傑莎士比亞圖書館」鑑定真偽，此書才再度與世人見面。
這名男子表示，「第一對開本」是他在古巴時購得。
當「福爾傑莎士比亞圖書館」確定此書為真後，立即通知聯邦調查局，美國警方隨後透過國際管道展開緝捕行動，10日當天英國警方在達勒姆附近的華盛頓鎮逮到捕51歲男性嫌犯，並搜索了他的住處。
福爾傑莎士比亞圖書館的外務處處長史考特（Garland Scott）說，失而復得的「第一對開本」大體上保存完整，但封底和前幾頁已經被拆下了。
德倫大學校長布萊森（Bill Bryson）表示，「就像莎士比亞本人一般，這本書是國家的寶藏，它讓世人得以一窺令人驚嘆的英國文學遺產」。布萊森本人著有關於莎翁的專書。學界認為，「第一對開本」是以英文印行的最重要書籍之一。
「第一對開本」在莎士比亞死後七年出版，是第一本莎翁的劇作集，當時共印行約750本，但僅1/3流傳至今，而且多不完整，現在據說只有40本「完整版」存在，多為博物館或官方所收藏。
這本「第一對開本」暫時存放在福爾傑莎士比亞圖書館一個有溫濕度控制的保險庫裡，正在安排送回德倫大學圖書館。
| PAGE ONE | ||
TEh INTeRn3T i5 THr3@+EN1N9 t0 Ch@n93 thE W4Y wE $p34k.
(Translation: The Internet is threatening to change the way we speak.)
For years, heavy users of Internet games and chat groups have conversed in their own written language, often indecipherable to outsiders. Now, some of those online words are gaining currency in popular culture -- even in spoken form.
Online gamers use "pwn" to describe annihilating an opponent, or owning them. The word came from misspelling "own" by gamers typing quickly and striking the letter P instead of the neighboring letter O. Other words substitute symbols or numbers for similar-looking letters, such as the number 3 for the letter E. The language is sometimes called elite speak, or leetspeak, written as l33t 5p34k.
![[will_shakespeare.jpg]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vjfmOjvL-J4OI8d5aRdjzXZ5qWQBrVBXr6LHby8vXfGrrZvhLjAHg1f8sEYYTpTZbq7ds-SjGnqD8RyQfgBQMyW279nFmk49mFSEAI7ADRzL8QeIqk5q8_QJE8KG8Ev_qxurPupy6Cj2GzYG9bqCNrCc5Z=s0-d)
There is no standardized code. The letter A, for example, can have several replacements, including 4, /\, @ , /-\, ^, and aye.
As the Internet becomes more prevalent, leetspeak, including acronyms that used to appear only in text messages like "LOL" for laughing out loud, is finding a voice.
"I pone you, you're going down dude, lawl!" is how Johnathan Wendel says he likes to taunt opponents in person at online gaming tournaments. Pone is how he pronounces "pwn," and lawl is how "LOL" usually sounds when spoken. Mr. Wendel, 26 years old, has earned more than $500,000 in recent years by winning championships in Internet games like Quake 3 and Alien vs. Predator 2. His screen name is Fatal1ty.
During the televised World Series of Poker last year, one player, remarking on a deft move, told an opponent that he had been "poned." In an episode of the animated TV show "South Park," one of the characters shouted during an online game, "Looks like you're about to get poned, yeah!" Another character later marveled, "That was such an uber-ponage."
One problem with speaking in such code: there is little agreement on pronunciation.
![[Jarett Cale]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vVOKDk7ekdigCsWl-A2Agb5ILNR7DknYA4kr5SZaydnRQApM5Nc5sHqYIpfx2Y9kDByf1306GvgNX3LGRv8vgnRQlTGu5Ow9-AsGMDxK8ENPNkNjTjWPmboInFOaUX2znZXFLP8T5dF5GZmixbwq2AdQ=s0-d)
Jarett Cale, the 29-year-old star of an Internet video series called "Pure Pwnage," enunciates the title "pure own-age." This is correct since "pwn" was originally a typo, he argues, and sounds "a lot cooler." But many of the show's fans, which he estimates at around three million, prefer to say pone-age, he acknowledges. Others pronounce it poon, puh-own, pun or pwone.
"I think we're probably losing the war," says Mr. Cale, whose character on the show, Jeremy, likes to wear a black T-shirt with the inscription, "I pwn n00bs." (That, for the uninitiated, means "I own newbies," or amateurs.)
Those who utter the term "teh" are also split. A common online misspelling of "the," "teh" has come to mean "very" when placed in front of an adjective -- such as "tehcool" for "very cool." Some pronounce it tuh, others tay.
The words' growing offline popularity has stoked the ire of linguists, parents and others who denounce them as part of a broader debasement of the English language.
"There used to be a time when people cared about how they spoke and wrote," laments Robert Hartwell Fiske, who has written or edited several books on proper English usage, including one on overused words titled "The Dimwit's Dictionary."
When a reader of his online journal, called the Vocabula Review, proposed "leet," as in leetspeak, for his list of best words, Mr. Fiske rejected it.
"Leet: slang for 'good' or 'great,' apparently, and 'idiotic,' certainly," he wrote on the Vocabula Web site. "Leet" is in dictionaries with other meanings, including a soft-finned fish.
Lake Superior State University, in Sault Ste. Marie, Mich., this year included "pwn" on its annual list of banned words and phrases -- those it considers misused, overly used and just plain useless. Others on the list included "awesome" and "Gitmo" (shorthand for Guantanamo Bay).
Some suggest such verbal creations are nothing new and are integral to how language evolves.
Gail Kern Paster, director of the Folger Shakespeare Library in Washington, D.C., has reason to believe that a certain English poet and playwright would cheer the latest linguistic leap. Just as the rise of the printed word and the theater spurred many new expressions during Shakespeare's time, the computer revolution, she notes, has necessitated its own vocabulary -- like "logging in" and "Web site."
"The issue of correctness didn't bother him," says Ms. Paster. "He loved to play with language." As for leet, "He would say, 'Bring it on,' absolutely."
The word "OK," one of the most widely used words in many languages, first appeared in a Boston newspaper in 1839 as an abbreviation for "oll korrect," according to Allan Metcalf, a professor of English at MacMurray College in Jacksonville, Ill. Other abbreviations, such as O.F.M. for our first men, referring -- sometimes sarcastically -- to a community's leading citizens, also became briefly popular in Boston newspapers at the time, says Mr. Metcalf.
The Internet is not the first technological advancement to change the way language is used. The telegraph required people to communicate "with lots of dots and dashes and abbreviations," says Mr. Metcalf. "Since it charged by the word, you compressed your message as much as possible -- grammar be damned."
Some of those words, like SOS, the popular call for help, have survived from their telegraph-era origins.
Leetspeak first became popular in the 1980s among hackers and those adept enough to gain access to an early form of online chat forums called bulletin boards. These "elite" users developed leetspeak, occasionally to conceal their hacking plans or elude text filters. (It still has that use for some: "pr0n" is leetspeak for pornography.)
But leetspeak's growing appeal, and use among the un-cool, could undermine it. "Now moms are saying, 'LOL,' so that takes away from it," says Mr. Cale of the Internet show "Pure Pwnage."
A couple of years ago, Katherine Blashki, a professor of new media studies, didn't understand some of the words used by her students at Deakin University in Melbourne, Australia. Her subsequent, semester-long research on the subject found their use of leetspeak stemmed partly from wanting to find faster ways to express themselves online. As with other forms of jargon, it also enhanced a sense of belonging to a community, she says.
"It's ultimately about creating a secret language that can differentiate them from others, like parents," says Ms. Blashki. "That's part of being a teenager."
She presented her work at a conference in Spain and has since written nearly a dozen research papers on the topic. She admits she hasn't received much grant funding for her work. "My peers were aghast," she says.
Despite their facility with the new language, some leet fans insist that good grammar is still important.
Mr. Wendel, the online gamer, says he makes a point of using proper capitalization and punctuation in his online missives during competition. "It's always a last resort," says Mr. Wendel. "If you lose you can say, 'At least I can spell.'"
Write to Christopher Rhoads at christopher.rhoads@wsj.com
LOVE'S LABOUR'S LOST by William Shakespeare
(愛的徒勞)；. Love's Labour's Lost. 莎士比亞喜劇【空愛一場】。1594或1595年首演。諷刺當時裝腔作勢的社會風氣。
Wikipedia article "Love's Labour's Lost".---
電影(2000),：愛情急轉彎,
紐約時報
---韓國鬧劇：兩名星結婚12天後說再見
Where the Wrong Gift Can Mean Loves Labors Lost
SEOUL, South Korea When two young television stars called it quits only 12 days after their wedding recently, their very public and acrimonious divorce shined a rare spotlight on the underside of marriage in South Korea.
華爾街日報的舞評 DANCE | ||
Annandale-on-Hudson, N.Y.
Independence was in the air as well as on the calendar for the world premiere on July 4 of Mark Morris's "Romeo & Juliet, on Motifs of Shakespeare." His Prokofiev-inspired, four-act ballet came to the stage of Bard College's Fisher Center innocently independent of some 70 years of history framing the work born in Russia.
What Sergey Prokofiev and his dramatist collaborator Sergey Radlov planned initially for Moscow's Bolshoi Ballet was scuttled in the mid-1930s under the terrible regime of Stalin, ostensibly for its rewriting of Shakespeare to give the stage classic a "happy" ending.
But such upbeat endings were not without precedent in Soviet art. Tchaikovsky's intended, tragic conclusion for "Swan Lake" was readily changed to a lyrical alternative in productions within Soviet Russia. What seems to have rankled Stalin's watchdogs was Prokofiev's temerity in bucking an authority such as Shakespeare and proceeding independently with ideas of his own. As Prokofiev put it, recalling his motivation to rework Shakespeare's tragedy and keep Romeo and Juliet alive: "Living people can dance; the dying cannot."
![[The second cast for the title roles in 'Romeo & Juliet,' Maile Okamura and Noah Vinson, fared better than the premiere cast.]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sUGngUCpSy9gsDA-xbuk71I2TlQh6v_v0nlNNFzYKdL_M2LhFNNRC8Lm_x8PrUHIVIz7L0riBgz2Zgvw9TSMm2YbaJF78VrSjmqRcZYzv6YMDq7PqH7CPyRk6qpz_7LqUHE3zfGqR6fnWcPXzFBw=s0-d) |
| Gene Schiavone |
| The second cast for the title roles in 'Romeo & Juliet,' Maile Okamura and Noah Vinson, fared better than the premiere cast. |
Eventually, in 1940, an approved, reworked Prokofiev score for "Romeo and Juliet," with the title characters meeting tragic ends, was staged by Leonid Lavrovsky for Leningrad's Kirov Ballet. Over the next decades, some 90 choreographic hands inside and outside Russia have had their go at the altered work.
Enter Prokofiev scholar Simon Morrison and his recent discovery of the original score and its plans in a Moscow archive. He chose Mr. Morris to stage the work as originally written and conceived by Prokofiev. The modern-dance choreographer and director of his own company, the Mark Morris Dance Group, has said that he took on the project only because the score was now fresh and thus presented a challenging opportunity to create a vehicle for his own dancers.
Mr. Morris has noted in interviews that the 1930s "Romeo and Juliet" is more "through-composed," meaning that the famously music-minded choreographer found the older four-act score less choppy than the reworked three-act version the composer was forced to accept.
Mr. Morris's production, as shown over the weekend in the cozy confines of the Fisher Center's Sosnoff Theater, is about as intimate and idiosyncratic as many previous versions have been large-scale and sweeping. Allen Moyer's sets are natural-wood-toned in hue and include charming little Renaissance buildings that act as much like furniture as like background architecture. Martin Pakledinaz's costumes are dance-friendly reductions of 14th-century Italianate fashion.
Mr. Morris decidedly avoids ballet's way with applause-getting high points, such as punctuational strokes that use expansively taut, dramatically held poses and acrobatically scaled lifts to cap individual scenes. With his modern-dance stress on gesture -- often colorfully and wittily detailed here with Italian street gesticulation of Mr. Morris's own inventive devising -- and on weighted footwork that paces the narrative action noticeably on the pulse of Prokofiev's rhythms, this "Romeo and Juliet" is more like a pageant and home-spun tapestry than a cinematic, operatic spectacle. The swordplay is all with wooden weapons, lending the artfully reductive nature of Mr. Morris's theatrics a faux-naïf dimension: Think a little of "Peter Pan."
The Mark Morris Dance Group rises happily to the occasion. Almost every subsidiary character is clear and colorful without distorting the "through-line" of the choreography's internal impetus. Joe Bowie's formidable but never bluff Escalus, Samuel Black's amusing but not cutesy Peter, and Lauren Grant's feisty but not vulgar Nurse are just three of the lesser roles that stand out amid the storytelling. The casting of female dancers as the male characters Tybalt and Mercutio, however, is occasionally more puzzling than pointed.
Not all of Prokofiev's original intentions serve the unfolding drama well. The repeated scenes of the festival that frame Romeo and Juliet's arresting wedding scene seem to cry out for trimming. The three gift-presentation dances to celebrate the planned nuptials of Juliet and Paris are show-stopping in a less than desirable sense.
So far, also, the respective title roles -- which fared better in a second cast, with Noah Vinson and Maile Okamura, than with David Leventhal and Rita Donahue in the premiere cast -- fail to claim the full focus of our attention. Mr. Morris introduces his protagonists neatly: Romeo as something of a poetic loner on a Verona street and Juliet as a delicately willful daughter in her father's house. But, while the choreographer's direction of each often shows them consistently outside the social life of their elders, as single-minded teens can tend to be, their specific choreography seems almost offhand at times.
Both characters memorably share a recurring and pretty pose -- the flicking of one leg behind the other as if confidently kicking up their heels. It's essentially, however, not until the elegiac "happy ending" duet that constitutes the newly discovered Act 4 epilogue -- set with a blue sky and glowing stars -- that the couple's choreography sets them truly apart in notable dance terms.
But Mr. Morris's ambitious undertaking seems still to be evolving. When I noted to a company spokesman that much of the music sounded more similar than I expected to the Stalin-approved version, with its attendant heaviness, I was told that there was some disagreement with Leon Botstein, the American Symphony Orchestra conductor and Bard College president, about this, and that Mr. Morris plans to work further to get the score eventually lightened to what he and Mr. Morrison understand to be Prokofiev's intentions.
More work and more independence remain in the stars for Prokofiev's "Romeo and Juliet." Happy endings rarely come easily.
Mr. Greskovic writes about dance for the Journal.
根據Shakespeares Words一書，Quality 一字在莎士比亞作品中有九義。
現在談一義，它出自Sir Edward Elgar( 1857-1934，今年是誕生150年慶)的(威儀堂堂進行曲)（Pomp and Circumstance March No.1 In D Major Op.39）--英國的地下（非正式）國歌，曲名引莎士比亞的Othello說法。中文的音樂blog不多，不過可以找到：
「Pomp and Circumstance March No.1
London Symphony Orchestra Sir George Solti
Pomp and Circumstance，中譯『威風凜凜』。此詞乃引用莎士比亞於奧泰羅的名句，後成了英國人朗朗上口的名言。現在多指"正式典禮或聚會".....
Elgar於1907年完成此曲，其中以第一號最為著名。二次大戰期間，英國國勢大不如前，靠著英吉利海峽及英吉利空戰的短暫勝利才勉強撐到美國的加入。期間這首曲子幾乎成了英國的第二國歌，在那段黑暗的日子陪伴英國人躲避希特勒的空襲，在烽煙漫天裡維持著英國人的尊嚴。
這樣的時節，或許我們需要音樂來振奮一下心情，找回人民的尊嚴。
由 chinchun 發表於 March 27, 2004 04:54 PM
本文的引用網址:
http://blog.bluecircus.net/cgi-bin/mt-tkbk.cgi/1235」
我要談莎翁作品及其中文翻譯之比較：
POMP AND CIRCUMSTANCE MARCHES, OP. 39
(Note: March No. 1 later became "Land of Hope and Glory") Duration for all five marches: 30 minutes
The title is taken from from Act III, Scene 3, lines 347--354 of Shakespeare's Othello, where Othello says:
O, now for ever
Farewell the tranquil mind! farewell content!
Farewell the plumed troop, and the big wars
That make ambition virtue! O, farewell!
Farewell the neighing steed and the shrill trump,
The spirit-stirring drum, th'ear-piercing fife,
The royal banner, and all quality,
Pride, pomp, and circumstance of glorious war!
這段，都只是散文體 梁實秋的翻譯比較按部就班 朱的有掉plumed等字眼：
永別了安寧的心境；永別了滿足；永別了使野心成為美德的羽軍和大戰！啊！永別了！永別了嘶鳴的戰馬，銳聲的喇叭，助威的顰鼓，刺耳的軍笛，威風凜凜的大纛，以及光榮戰爭中的一切璀爍壯麗的鋪張！
朱生豪的翻譯比較簡麗：
永別了，安寧的心緒！永別了，平和的幸福！永別了！威武的大軍，激發壯志的戰爭！啊！永別了！永別了，長嘶的駿馬，銳利的號角，驚魂的顰鼓，刺耳的橫笛、莊嚴的大旗和一切戰陣上的威儀！
, David 1717–1779.British actor and theater manager who was considered the foremost Shakespearean player of his time.
"I am disappointed by that stroke of death that has eclipsed the gaiety of nations, and impoverished the public stock of harmless pleasure."
如 新帕尔格雷夫经济学大词典专题
所以日本解釋路德的論文
The Social Background of Luther's "Trade and Usury" ... ルター「商業・利子論」の社会的背景.
Did you but know the city's usuries And felt them knowingly; the art o' the court As hard to leave as keep; whose top to climb ...
現在有許多專業詞點攻參考
Shakespeare's Legal Language: A Dictionary - Google Books Result
| by B. J. Sokol, Mary Sokol - 2005 - Literary Criticism - 497 pages |
