New Bond Street

"世界最大的私營房產公司「高緯環球」（Cushman & Wakefield）的一份報告顯示，英國倫敦新邦德街（New Bond Street）已超過巴黎的香榭麗舍大道，成為歐洲租金最貴的商業街，聚集了阿瑪尼（Armani）等各種頂級奢侈品牌。"http://www.bbc.co.uk/zhongwen/trad/uk/2010/09/100923_life_rent.shtml



Bond Street is a major shopping street in London which runs through Mayfair from Piccadilly in the south to Oxford Street in the north. It is one of the principal streets in the West End shopping district and is more upmarket than nearby Regent Street and Oxford Street. It is in the Mayfair district of London, and has been a fashionable shopping street since the 18th century. Technically "Bond Street" does not exist: The southern section is known as Old Bond Street, and the northern section, which is rather more than half the total length, is known as New Bond Street. This distinction, however, is not generally made in everyday usage.



英國小說中的倫敦名街（4）

龐德（或邦德）街
Bond Street - Wikipedia, the free encyclopedia
http://www.answers.com/topic/bond-street?method=22

龐（邦）德街與Virginia Wolf 很有緣。譬如說，小說『達洛衛夫人』 （1925），原為短篇『達洛衛夫人在龐（邦）德街』（1923） 問市。（Mrs. Dalloway - Virginia Woolf - 1925The story of Mrs. Dalloway, by Virginia Woolf, first appeared as a short story, Mrs. Dalloway in Bond Street, published in 1923. The novel was published in 1925.）
這本雖說是意識流作品，不過有些街景，最能影響主角之心境。

「邦德街使她著迷，旺季中的邦德街清晨吸引著她：街上旗幟飄揚，兩旁商店林立，毫無俗氣的炫耀…..父親在那兒買衣服達五十年之久…..」（引上海譯文版；台北的志文版，注解比較多，或許更佳……）
（Jean Moorcroft Wilson points out how Woolf uses external scenes in London to reflect the characters' internal reality (see pp 125-126 re MD). She illustrates with quotations about Clarissa on Bond Street (see p 11, beginning with "Bond Street fascinated her")）
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Bond Street tube station is a London Underground station on Oxford Street, near the junction with New Bond Street. The entrance to the station is inside a shopping arcade on Oxford Street.
The station is on the Central Line between Marble Arch and Oxford Circus and on the Jubilee Line, between Baker Street and Green Park. It is in Travelcard Zone 1. The station was first opened on 24 September 1900 by the Central London Railway, three months after the first stations on the Central Line opened. Jubilee Line services commenced on 1 May 1979.



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Howards End by Forster, E. M.
Sabin drove slowly down Bond Street, and was rewarded by seeing her brougham outside a famous milliner's.

mil•li•ner (mĭl'ə-nər)
n.
One that makes, trims, designs, or sells hats.
[Probably alteration of Middle English Milener, native of Milan, from MILAN, the source of goods such as bonnets and lace.]
brougham (brūm, brū'əm, brōm, brō'əm)
n.
1. A closed four-wheeled carriage with an open driver's seat in front.
2. An automobile with an open driver's seat.
3. An electrically powered automobile resembling a coupé.
[After Henry Peter Brougham, First Baron Brougham and Vaux (1778–1868), Scottish-born jurist.]
Our Mutual Friend by Dickens, Charles
In Bond Street he found a hansom with a good horse.

Sign of the Four by Doyle, Sir Arthur Conan
She even made George Osborne contribute, and nothing loth (for he was as free-handed a young fellow as any in the army), he went to Bond Street, and bought the best hat and spenser that money could buy.
Vanity Fair by Thackeray, William Makepeace
In that of the Bond Street jeweller it was a trusty accomplice; in the present instance, a more intimate knowledge of the house.
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Bond Street tube station is a London Underground station on Oxford Street, near the junction with New Bond Street. The entrance to the station is inside a shopping arcade on Oxford Street.
The station is on the Central Line between Marble Arch and Oxford Circus and on the Jubilee Line, between Baker Street and Green Park. It is in Travelcard Zone 1. The station was first opened on 24 September 1900 by the Central London Railway, three months after the first stations on the Central Line opened. Jubilee Line services commenced on 1 May 1979.
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習題一：Virginia Woolf 在『普通讀者』上如何引邦德街的裁縫師作為比喻？
Night and Day by Woolf, Virginia
Towards the end of the morning, however, Catherine, having occasion for some indispensable yard of ribbon which must be bought without a moment's delay, walked out into the town, and in Bond Street overtook the second Miss Thorpe as she was loitering towards Edgar's Buildings between two of the sweetest girls in the world, who had been her dear friends all the morning.


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習題一：Virginia Woolf 在『普通讀者』上如何引邦德街的裁縫師作為比喻？

習題二：
"My dear Mrs. Palmer!"
"Upon my honour I did.--I met Colonel Brandon Monday morning in Bond-street, just before we left town, and he told me of it directly."
"You surprise me very much. Colonel Brandon tell you of it! Surely you must be mistaken. To give such intelligence to a person who could not be interested in it, even if it were true, is not what I should expect Colonel Brandon to do."
"But I do assure you it was so, for all that, and I will tell you how it happened. When we met him, he turned back and walked with us; and so we began talking of my brother and sister, and one thing and another, and I said to him, 'So, Colonel, there is a new family come to Barton cottage, I hear, and mama sends me word they are very pretty, and that one of them is going to be married to Mr. Willoughby of Combe Magna. Is it true, pray? for of course you must know, as you have been in Devonshire so lately.'"

Sense and Sensibility by Jane Austen - Volume II, Chapter VII (29)spacer. Previous Chapter | Table of Contents | Next Chapter • Back to E-Texts. Sense and Sensibility ... "Bond Street, January. "MY DEAR MADAM,. "I have just had the honour of receiving your letter, for which I beg to return my sincere ...

the owl was a baker's daughter

卞之琳先生的翻譯《丹麥王子哈姆雷特悲劇》卞之琳譯

Ophelia warns, "They say the owl was a baker's daughter. Lord, we know what we are, but know not what we may be."

Owl was a Baker's Daughter — Infoplease.com

- [ 翻譯此頁 ]Owl was a Baker's Daughter. (The). According to legend, our Saviour went into a baker's shop to ask for something to eat. The mistress of the shop instantly ...

貓頭鷹_Owl(北美館提供)

passages of proof

Hamlet, Act IV, Scene 7 :|: Open Source Shakespeare

- [ 翻譯此頁 ]

But what I know love is begun by time;
And that I see, in passages of proof, Time qualifies the spark and fire of it. ... Hamlet return'd shall know you are come home. 3275 ...


passages of proof 注
by instances drawn from experience

所以卞之琳先生的翻譯:
只是我知道愛心是時會引起的
我從經驗證明的事實裡看見過
愛的火花會隨時間而冷淡的

Shakespeare’s Julius Caesar wanted to have men about him who were fat

Shakespeare’s Julius Caesar wanted to have men about him who were fat because lean and hungry men were dangerous. If the same principle applies in international relations, this week’s news that China has overtaken the world’s second-largest economy, Japan, in terms of nominal gross domestic product should be welcome to the rest of the world. Yet nominal GDP is unfortunately a poor guide to what constitutes a satisfied, unthreatening state. Per capita income is a better, if imperfect, pointer. And since China’s per capita income of $3,678 is still less than a 10th of Japan’s, Caesar would have drawn little comfort from this watershed, given that China clearly remains a very poor country despite its spectacular recent growth rate.

莎翁(Shakespeare)笔下的凯撒大帝(Julius Caesar)希望自己周围都是膘肥体胖的人，因为精瘦、饥饿的人比较危险。如果该准则同样适用于国际关系，那么，世界其它各国应该会对上周的一则消息表示欢迎：即，按名义国内生产总值(GDP)计算，中国已经超过日本，成为世界第二大经济体。不过，遗憾的是，名义GDP并不能很好地反映出一个自在满足、对外无威胁国家的内部实情。人均收入是一个相对更好的指标——尽管可能并非完美。所以，鉴于中国3678美元的人均收入尚不到日本的十分之一，上述转折点可能不会给凯撒带来多少安慰，因为尽管中国近年的增长速度惊人，但它显然仍是一个很穷的国家。

"I see my reputation is at stake."

At risk to be won or lost, as in We have a great deal at stake in this transaction. This phrase uses stake in the sense of something that is wagered. Shakespeare used it in Troilus and Cressida (3:3): "I see my reputation is at stake." [Late 1500s]

a good kissing carrion

Spinoza and Time (1921) by S. Alexander 或他處談Hamlet 2:2, 185

中"a good or God kissing carrion" 因為有WALTER RALEIGH的說法"a good kissing carrion"說法很平常如喝杯水般而讓大家放心

Germans count Shakespeare as one of their own

Theater | 21.07.2010

Germans count Shakespeare as one of their own, says festival director

Großansicht des Bildes mit der Bildunterschrift: Almost 400 years after his death, the Bard's works remain a fixture on stages everywhere

German may be the language of Goethe but that's not holding Germans back from a love of Shakespeare, says Neuss Shakespeare Festival Director Rainer Wiertz. In translation, however, a lot more liberties are taken.

The Neuss Shakespeare Festival takes place each summer in the small western German city of Neuss. It features productions from all over the world and also includes performances in the original English. This year, the festival celebrates its 20th anniversary, and director Rainer Wiertz spoke with Deutsche Welle about why German theater-goers can't get enough of the Bard.

Deutsche Welle: Twenty years on, what have been some of the major hurdles that you've had to overcome in order to make sure that this festival has continued to thrive?

Rainer Wiertz: I have to admit that there were no major hurdles, as you say, because this festival is so beloved by the audiences and the city of Neuss alike, that we didn't have really big problems. Another point is always the financial side of the thing. But as we don't have subsidies in this festival's budget - in every festival's budget we do not have any subsidies - that means we have to rely on the box office and on sponsorships and people contributing money to the festival. (…)

We can just rely on our fans - and they keep on coming.

Bildunterschrift: Großansicht des Bildes mit der Bildunterschrift: The Shakespeare Festival has centred around the Neuss Globe Theater

Does it surprise you that there is this very deep love and understanding of Shakespeare in many ways?

It should surprise one, but on the other hand, you know Shakespeare is so popular in Germany and has been so popular in Germany since 1800 when Schlegel and Tieck did their famous translations into German. Since then many, many Germans think he's a German author, you know? And he's the most-played author on German stages. In Germany we have Goethe, we have Schiller, we have plenty of other authors, but who is most played? It's Shakespeare.

So it's not that surprising that he is most popular. (…) What is so nice about it is that we also organize the plays in the original language. So that means people are curious to hear the play in that original Shakespearean language, and that's what makes the success of our theater.

It certainly does. Now, over 20 years, you must have experienced a number of the trends and the various ideas people have about performing Shakespeare in a certain way. What are some of the trends you've noticed along the way?

What we have nowadays is a much freer approach to the text, let's say, in continental Europe. Of course not in England, because they cannot. In England, you have the text and the only thing you can do with the text is to shorten it. In Germany, the text has to be translated first and the theaters nowadays tend to have their own translation, a new translation.

Bildunterschrift: Großansicht des Bildes mit der Bildunterschrift: Festival director Wiertz says Shakespeare will continue to be relevant for audiences

If you translate Shakespeare in a new, modern language, you have all sorts of things which wouldn't occur in Elizabethan language. So that provokes, of course, if you have that contemporary language; it provokes to do modern-times productions, and these productions are very, very different from the production, for instance, from the Globe Touring Company [from London], and which is not only - as we say in Germany - close to the text, it is the text. Nothing else.

Twenty years is a long time, but you must be able to tell me some of the highlights of those 20 years, some of the things that remain in your mind and in your heart as a great Shakespeare-lover?

I remember when Edward Hall came with the [all male] Propeller Company from Newbury for the first time, and they came with "Henry the Fifth" and played outside the Globe. A third of the play was played outside, everything that happened in England. Then they went to France, and the outside of the Neuss Globe was transformed into the ramparts of the Harfleur. And once the Lord Mayor of Harfleur was killed and Harfleur was conquered, everybody moved inside the Globe. And then (...) when they came back to England and Catherine has to learn English, and she does the thing, the arm, the finger, the nail, these things - you remember that - that was all outside, and she was sitting in the bathtub outside the Globe.

This was one of those companies who would really try to play the Globe, to play with the whole site.

Bildunterschrift: Großansicht des Bildes mit der Bildunterschrift: On the 2010 festival lineup is "Warum, warum" by veteran director Peter Brook

What's going to be important for the Neuss Shakespeare Festival to continue to thrive? What do you think is going to make the festival the success that it is today?

You must not have any standstills. You must really move forward, you must improve the environment here of the Globe Theater. You must always feel the audiences coming here, welcome them immediately when they arrive here; they must like the site. You have to have good wine. (…) All these kind of things make the festival what the festival is.

Do you think Shakespeare will remain relevant to 21st-century audiences?

You know, an author who was relevant for more than 400 years will do it for 500 years, I'm quite sure.

The Neuss Shakespeare Festival runs through August 14. Click on the link to the festival's homepage below for more information.

Interview: Breandain O-Shea (skt)
Editor: Kate Bowen