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“Twelfth Night” At the Old Vic ** Written in 1933
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Shakespeareans are divided, it is well known, into three classes; those who prefer to read Shakespeare in the book; those who prefer to see him acted on the stage; and those who run perpetually from book to stage gathering1 plunder2. Certainly there is a good deal to be said for reading Twelfth Night in the book if the book can be read in a garden, with no sound but the thud of an apple falling to the earth, or of the wind ruffling3 the branches of the trees. For one thing there is time — time not only to hear “the sweet sound that breathes upon a bank of violets” but to unfold the implications of that very subtle speech as the Duke winds into the nature of love. There is time, too, to make a note in the margin4; time to wonder at queer jingles5 like “that live in her; when liver, brain, and heart” . . . “and of a foolish knight6 that you brought in one night” and to ask oneself whether it was from them that was born the lovely, “And what should I do in Illyria? My brother he is in Elysium.” For Shakespeare is writing, it seems, not with the whole of his mind mobilized and under control but with feelers left flying that sort and play with words so that the trail of a chance word is caught and followed recklessly. From the echo of one word is born another word, for which reason, perhaps, the play seems as we read it to tremble perpetually on the brink7 of music. They are always calling for songs in Twelfth Night , “0 fellow come, the song we had last night.” Yet Shakespeare was not so deeply in love with words but that he could turn and laugh at them. “They that do dally8 with words do quickly make them wanton.” There is a roar of laughter and out burst Sir Toby, Sir Andrew, Maria. Words on their lips are things that have meaning; that rush and leap out with a whole character packed in a little phrase. When Sir Andrew says “I was adored once,” we feel that we hold him in the hollow of our hands; a novelist would have taken three volumes to bring us to that pitch of
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1
gathering
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n.集会,聚会,聚集 | |
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2
plunder
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vt.劫掠财物,掠夺;n.劫掠物,赃物;劫掠 | |
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3
ruffling
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弄皱( ruffle的现在分词 ); 弄乱; 激怒; 扰乱 | |
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4
margin
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n.页边空白;差额;余地,余裕;边,边缘 | |
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5
jingles
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叮当声( jingle的名词复数 ); 节拍十分规则的简单诗歌 | |
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knight
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n.骑士,武士;爵士 | |
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brink
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n.(悬崖、河流等的)边缘,边沿 | |
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8
dally
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v.荒废(时日),调情 | |
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intimacy
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n.熟悉,亲密,密切关系,亲昵的言行 | |
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10
imprison
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vt.监禁,关押,限制,束缚 | |
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11
acting
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n.演戏,行为,假装;adj.代理的,临时的,演出用的 | |
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12
metaphor
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n.隐喻,暗喻 | |
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13
austere
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adj.艰苦的;朴素的,朴实无华的;严峻的 | |
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14
gaping
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adj.口的;张口的;敞口的;多洞穴的v.目瞪口呆地凝视( gape的现在分词 );张开,张大 | |
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travesty
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n.歪曲,嘲弄,滑稽化 | |
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remodel
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v.改造,改型,改变 | |
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robustness
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坚固性,健壮性;鲁棒性 | |
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robust
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adj.强壮的,强健的,粗野的,需要体力的,浓的 | |
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shrug
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v.耸肩(表示怀疑、冷漠、不知等) | |
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crevasses
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n.破口,崩溃处,裂缝( crevasse的名词复数 ) | |
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precipices
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n.悬崖,峭壁( precipice的名词复数 ) | |
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22
ecstasy
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n.狂喜,心醉神怡,入迷 | |
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23
entirely
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ad.全部地,完整地;完全地,彻底地 | |
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24
simultaneously
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adv.同时发生地,同时进行地 | |
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25
solidifying
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(使)成为固体,(使)变硬,(使)变得坚固( solidify的现在分词 ); 使团结一致; 充实,巩固; 具体化 | |
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intensifying
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v.(使)增强, (使)加剧( intensify的现在分词 );增辉 | |
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courteous
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adj.彬彬有礼的,客气的 | |
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twitching
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n.颤搐 | |
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momentary
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adj.片刻的,瞬息的;短暂的 | |
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30
invoked
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v.援引( invoke的过去式和过去分词 );行使(权利等);祈求救助;恳求 | |
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subdued
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adj. 屈服的,柔和的,减弱的 动词subdue的过去式和过去分词 | |
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possessed
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adj.疯狂的;拥有的,占有的 | |
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33
exquisite
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adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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friendliness
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n.友谊,亲切,亲密 | |
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complexion
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n.肤色;情况,局面;气质,性格 | |
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prodigality
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n.浪费,挥霍 | |
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metaphors
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隐喻( metaphor的名词复数 ) | |
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falters
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(嗓音)颤抖( falter的第三人称单数 ); 支吾其词; 蹒跚; 摇晃 | |
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groves
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树丛,小树林( grove的名词复数 ) | |
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toll
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n.过路(桥)费;损失,伤亡人数;v.敲(钟) | |
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conspiring
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密谋( conspire的现在分词 ); 搞阴谋; (事件等)巧合; 共同导致 | |
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culmination
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n.顶点;最高潮 | |
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43
whetted
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v.(在石头上)磨(刀、斧等)( whet的过去式和过去分词 );引起,刺激(食欲、欲望、兴趣等) | |
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orchard
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n.果园,果园里的全部果树,(美俚)棒球场 | |
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Jones and Wilkinson
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Madame de Sévigné
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