朱自清日記 :311206 翻譯文 所以用紅字說明朱先生在"公園"一文使用的字眼
六曰星期日晴今天是倫敦冬季罕見的一個晴天。約了周和馮兩位先生出去走走,我們信步穿過雷根特 (攝政)公園。這是一次有趣的散步。被里昂的收款員弄得很尷尬,我給她一個英鎊買入場券,她說她沒有零的銀幣可 .. ...
倫敦報紙在第二次世界大戰前還有惡劣的習慣將天氣放在頭條新文 (GEORGE ORWELL 戰時日記)
St. Georges Hall, Langham Place, Regent Street, London
Also known as St. George's Theatre / St. George's Opera House / Matinee Theatre / Maskelyne's Theatre of Mystery
Above The interior of the St. George's Hall, Langham Place - From the Illustrated London News 1867.
The St. George's Hall in Langham Place originally opened as a concert hall for the New Philharmonic Society on April the 24th 1867. Right from the start the Hall could also be used as a Theatre and in such a form it was known as St. George's Theatre. The first performance at the St. George's Theatre was 'A Woman's Whim' by Walter Stephens on the 3rd of December 1867.
Right - Programme for 'Maskelyne and Devant's Mysteries' at the St. George's Hall in August 1910 - Click to see the entire Programme. - For more information on Maskelyne see furthur down on this page.
In it's 23rd of April 1867 edition, the ERA wrote on the opening of St. George's Hall (Reprinted in Mander & Mitchenson's 'Lost Theatres of London') saying:
'On Wednesday night the new Hall, built for the New Philharmonic Society, was formally opened with a Conversazione. Dr. Wylde, the President, will conduct the first concert in the room on Wednesday next. The Council had issued a large number of invitations, and the Hall, with its galleries, will accommodate from twelve to fifteen hundred persons. The salon to be henceforth occupied by the Society is 110 feet in length, 50 in breadth, and 45 in height. The elliptical roof is of wood, the lighting is managed by sunlights, and proper ventilation is secured by double windows and a perforated frieze in communication with the lanterns in the roof. The balcony runs round three sides of the room, and is very shallow, space for two rows of seats only being allowed. Facilities for exit are provided, and occupants of seats on the ground floor will find no steps to ascend or descend. Colour is extensively made use of in the decorations, and the architect is Mr. John Taylor, of Whitehall. A combined entertainment was submitted to the visitors, the proceedings commencing with a poetical address, written by Mr. H. T. Braithwaite. This was read by Mrs. Stirling, and formed the prelude to a concert, in which Mdlle. Poellnitz, Miss Abbott (London Academy of Music), Miss Madeline Schiller, Miss Rose Hersee, Herr Ganz, Herr Reichardt, the Brothers Thern, and Messrs. T. H. Wright, Chipp, Paque, and Ould, appeared Works of art, comprising water-colour drawings, portraits, &c., were open for the inspection of visitors. St. George's Hall has three separate entrances, from Langham Place, Regent Street; Mortimer Street, and Great Portland Street.'
The Hall had a change of name in December 1867 to St. George's Opera House when Thomas German Read took over the management of the Theatre. He opened it with a production of 'The Contrabandista' by F. C. Burnand and Arthur Sullivan. The Hall's name was changed back to St. George's Hall again in March of the following year. Thomas retired in 1871 and his son, Alfred, took over with his mother. (Thomas Reed died in 1877.) Thomas Reed was previously a conductor for the Haymarket Theatre Orchestra, and his wife an actress and singer at the Covent Garden Theatre. Mrs. Reed retired in 1879.
Left - Programme cover for 'Cherry Tree Farm' and 'All at Sea' from 'Mr. and Mrs. German Reed's Entertainment' at the St. George's Hall in October 1881.
As a Theatre the building really came into its own when 'Mr. and Mrs. German Reed's Entertainment,' as it was known, began regular seasons, beginning on the 20th of April 1874 and staying successful and very popular until March of 1895.
The ERA reviewed the opening night of this new entertainment in its 26th of April 1874 edition (Reprinted in Mander & Mitchenson's 'Lost Theatres of London') saying:
'Mrs. German Reed and her small but talented company have now taken possession of St. George's Hall, where during the season they propose to reintroduce to those in search of merriment a series of those charming little sketches with which they have already delighted thousands at the Gallery of Illustration. Two special favourites have seceded-Mr. Arthur Cecil going to the Globe and Miss Fanny Holland to the Criterion; but their places have been judiciously filled, and still everything goes 'merry as a marriage bell.' Mr. W. S. Gilbert's romantic legend Ages Ago, enlivened by Mr. F. Clay's lively and tasteful music, has been revived, and the applause with which it was greeted on the opening night fully testified to the fact that its popularity is far from being exhausted.
Right - Programme detail for 'Cherry Tree Farm' and 'All at Sea' from 'Mr. and Mrs. German Reed's Entertainment' at the St. George's Hall in October 1881.
Mrs. Reed is equally amusing as Mistress Maggie McMotherly, the superstitious old Scotchwoman, and as Dame Cherry Maybud, the vivified portrait painted by Sir Godfrey Kneller; and we need hardly say that to her artistic skill both as vocalist and actress much of the success attending the performance is still due. Miss Leonora Braham, who succeeds Miss Fanny Holland, is a charming singer and a pleasing actress, and she met with much favour as Rose and the vivified Lady Maud de Bohun, her rendering of 'So please you, sir, 'tis I' narrowly escaping an encore. Mr. Alfred Reed displayed considerable versatility as Sir Ebenezer Tare, the pompous alderman and tallow-chandler, and as Lord Carnaby Poppytop, Maud's great-great-great-great grandson. Mr. Stanley Betjeman's excellent voice was heard to advantage in the roles of Mr. Columbus Hebblethwaite and Sir Aubrey de Beaupre; and Mr. Corney Grain as usual proved thoroughly efficient as Angus MacTavish.. The last-named gentleman furnished the only novelty of the evening. This was a musical sketch entitled A Day in Town in fifteen Minutes. He introduced us to 'Ma,'' up from the country with the girls; described to us in amusing fashion how they shopped; how they walked in the 'Row;' how they visited the Royal Academy, the Soho Bazaar, and the Panorama; and then took us with them to Signor Scracci's annual concert, and showed us how easy it is to turn a comic song into a classical air; imitated the Italian gentleman whose object it is to get through the music allotted to him at railway speed; the French singer, whose mission it is to cry himself, and to make his hearers cry with him; the ballad vocalist, whose conundrums are always answered by the man with the trombone; the Spanish singer; and his sisters Georgie and Porgie in their duet. He introduced us to sundry specimens of the genus swell at Lord's, and illustrated the music and the 'fiery steeds,' at the Circus. Whether talking, singing, or playing Mr. Corney Grain was always in his element, and the fifteen minutes which were comprised in his Day in Town afforded fifteen minutes of irresistible mirth, followed by a double call to the footlights for himself. This sketch is certainly one of his happiest efforts, and is sure of protracted popularity. The concluding item was Charity Begins at Home, and once more, in the persons of Mrs. Reed, Miss Braham, and Mr. Corney Grain, Mr. Alfred Reed, and Mr. W. A. Law, did we make the acquaintance respectively of Mrs. Bumpus, the fisherwoman of the old school; of Rebecca Giles, with her awkward questions; of Susan Bumpus, with her pretty song of the pump, and Betsy Clark, taking a prominent share in the arithmetical duct; of Mr. Gorringe, the wandering photographer, anxious to take the village pump and 'make a carte of it'; of the parish beadle, horrified at the thought; and of the charity boy, 'dressed up such a guy'. The whole entertainment has lost none of its freshness, and the large and fashionable audience present sufficiently indicated that in their new home the clever little company will find a renewal of the patronage they so well deserve, and which hitherto they have never failed to command.'
Corney Grain, who was a piano entertainer, became a partner to Alfred Reed in 1877 and they leased the Hall for many years, letting the building to amateurs when they were not performing themselves. However, Alfred Reed died on the 10th of March 1895, and Corney Grain died on the 16th, and Mrs. German Reed died on the 18th and that was the end of 'Mr. & Mrs. German Reed's Entertainment.'
Left - Programme cover for 'An Odd Pair,' 'Piano on Tour,' and 'Box B' from 'Mr. and Mrs. German Reed's Entertainment' at the St. George's Hall.
Shortly after this the building had a change of name again to the Matinee Theatre, on April the 17th 1897, presenting 'High Class' Vaudeville but it was not very successful. A series of German plays were introduced for a while but in 1904 the Hall closed down.
In 1905 John Nevil Maskelyne, who had previously run the Egyptian Hall until it was pulled down in 1904, took over and reopened the St. George's Hall after making improvements and adding the house next door to the building. The name was changed again, this time to Maskelyne's Theatre of Mystery, opening on January the 2nd 1905 with 'The Coming Race' by David Christie Murray and Nevil Maskelyne.
'The hall has been wonderfully improved, and now presents more the appearance of an immense drawing-room than of a theatre. The stage has been brought forward, and its capacity thereby much increased. There are no wings, their place being taken by an inner and outer proscenium. The curtain of the inner is a clever painting of the exterior of the Egyptian Hall in Piccadilly, and what may be called the act-drop represents a pretty classic landscape. As the Messrs. Maskelyne contemplate producing a series of important magical pieces, the machinery and lighting of the stage have become naturally matters of the first importance.
Right - Programme detail for 'An Odd Pair,' 'Piano on Tour,' and 'Box B' from 'Mr. and Mrs. German Reed's Entertainment' at the St. George's Hall.
Framing the outer proscenium are no less than 300 electric bulbs. This arrangement entirely disposes of unnecessary shadows, which are so difficult to get rid of. When the actor walks to the footlights he is surrounded by a ring of unseen lamps of which there are no less than two thousand on the stage, and the power can be lowered to the merest glimmer, or by insensible gradation increased to a potential glare. Thus all sorts of effects, from the feeble light of the breaking dawn to the blaze of noonday sunshine can be readily simulated. These results are obtained by the employment of Wirt dimmers, of which twenty-seven are required for the eight hundred lamps affixed to the battens, besides the movable lamps which will be used at special points.
In their new scheme of amusement the Maskelyne management come into line with the theatres, and in their production challenge criticism in serious drama with magical effects. For this purpose Lord Lytton's novel, The Coming Race has been fashioned into a play by Mr. David Christie Murray and Mr. Nevil Maskelyne.
Before the curtain rose on the drama, Mr. J. B. Hansard came through the inner proscenium, and in the dress of an ancient Crier, addressed the audience as follows:-'Oyez, Oyez, Oyez! It having been decreed that the ancient, and at one time refined thoroughfare, known as Piccadilly, shall henceforth be devoted to the consumption of grub-where you may upset your little Marys from the modest sum of one and six - science and art are constrained to seek a pure atmosphere. We have therefore turned our backs upon the old and dingy Egyptian Hall - we have left Isis and Osiris to the flesh pots, and have turned to St. George, purity, and truth. Be it known, therefore, that this hall, dedicated to our patron saint, shall henceforth receive the sub-title, 'England's New Home of Mystery.'
Left - Programme cover for the St. George's Hall, England's Home of Mystery, under the direction of Maskelynes Ltd in March 1917.
The lessee and his sons will continue to emulate St. George by giving death-thrusts to the dragon of superstition and imposture, in whatever guise he may appear, and by providing high-class, interesting, and wholesome amusement at reasonable prices they hope for a continuance of that patronage so liberally bestowed upon them for thirty-one years at the old home of mystery. Oyez, Oyez, Oyez! As loyal and dutiful subjects of his Majesty King Edward the Seventh, it is meet we inaugurate these proceedings by singing the National Anthem. Miss Iris Lincoln and Mr. Leslie Burgess will therefore appear upon the auxiliary stage and sing, 'God save the King.' Let us all join in the refrain with heart and voice, for our Teddy's a good one, and don't you forget it!' Miss Lincoln and Mr. Leslie Burgess then sang the soli, and the audience assisted with impressive cordiality. The small orchestra is under the direction of Mr. Cramer, and the accomplished 'cellist, Mr. Ivimey, and the clever violinist, Mr. Denti, played some capital solos during the entr'actes.'
Above - Programme detail for the St. George's Hall, England's Home of Mystery, under the direction of the Maskelynes Ltd in March 1917.
Various other changes of name on a variation of Maskelyne's Theatre followed and this new home of Magic became well known all over the world and very successful until in 1933 the BBC took over the building as a studio and concert hall.
The building was destroyed by enemy action on the 10th of May 1941 and the St. George's Hotel and Henry Wood House were later to be built on the site in 1963.
A Candid View of Maskelyne's 1916-17 by Anne Davenport and John Salisse is packed full of valuable information and wonderful photos and plans of this once famous venue. The book is based on Rupert Woodhouse Pitman and his sister Mabel's reports of Maskelyne's shows at the St. George's Hall, Maskelyn ran the Egyptian Hall and then the St. George's Hall for a total of 44 years. The book forms a kind of diary of events held at the Theatre and has details of many of the illusions performed there, and also later on in other venues around London. A fascinating read.
Copies of the book priced at a very reasonable £15 (including postage and
St. George's Hall: Behind the Scenes at England's Home of Mystery by Anne Davenport and John Salisse, who invite you to join them backstage to peek into the Maskelyne workshop where so many classic illusions first saw the light of day, to eavesdrop on board meetings where egos and personalities often clashed, and to watch from the wings as the world's top conjurors entertain generations of London theatre goers. The story of St. George's Hall is the history of magic in England during its glorious golden age.
In light of Anne Hathaway's mangling of the Queen's English in One Day, TIME pays tribute to those thespians who have struggled through the years to pull off a convincing British accent
Anne Hathaway is no Gwyneth Paltrow. That's not editorializing on TIME's part but a simple fact when it comes to comparing the two American actresses' attempts to nail a convincing British accent. While Paltrow has excelled in the likes of Emma, Sliding Doors, Shakespeare in Love and Sylvia, Hathaway's hapless hammering of the Yorkshire dialect via the part of Emma Morley in One Day is heinous enough to almost bar her from visiting England.
And unfortunately for Hathaway, the critics have sharpened their pencils in almost unanimous agreement. "Her dodgy, hodgepodge British accent," wrote the Village Voice. "I was so distracted, wondering what version of the mother tongue she was going to attempt next — veering from wartime-BBC to proper 'Eeee by gum' clangers — I actually forgot to cry," noted Caroline Frost in the Huffington Post. And most damning: "If Hathaway's inconsistent British accent was the only problem in her acting, you could easily forgive and forget it. But rendering one of her weakest performances, she seems lost in the puzzle ..." said film critic Emanuel Levy. Perhaps she should stick to the Oscar-hosting gig after all.
.. favourahle critical attention given to the 'Recent Developments in British Painting' exhihition at Tooth's Gallery in the autumn of 1931 isee 41). ...
Against this are opposed a few artists anxious to go forward from the point they have reached instead of turning with the tide … The formation of Unit One is a method of concentrating certain individual forces: a hard defence, a compact wall against the tide, behind which development can proceed and experiment continue.In addition to the group there was a book entitled Unit One. Subtitled ‘the modern movement in English painting, sculpture, and architecture’, it was introduced by the poet and art critic Herbert Read, and comprised short contributions by all but one of the participants alongside reproductions of their work (that for Edward Burra was supplied by Douglas Cooper). The book was published in April 1934 by Cassell (whose chairman, Desmond Flower, was a friend of Nash) to coincide with the Unit One exhibition held that month at the Mayor Gallery, Cork Street, London. After London, the show toured to local authority art galleries in Liverpool, Manchester, Hanley, Derby, Swansea, and Belfast, where it closed in April 1935. This proved to be the sum of the group's activity, though it was not formally disbanded. Though short-lived, Unit One was very influential in establishing modernist art and architecture in Britain, and led directly to further initiatives that established London for a brief period in the 1930s as the leading European centre for modernist, especially abstract, art.
垃圾桶、路燈、汽車、電話亭等都是城市裡的尋常風景，但一群來自倫敦的知名設計師，卻能在這些平凡物件上施加魔法，打破框限，創造出讓人驚嘆的作品。台北市立美術館現正舉辦倫敦設計博物館策劃的「倫敦超當代設計展」，邀請時尚設計師保羅.史密斯（Paul Smith）、名建築師薩哈.哈帝（Zaha Hadid）等十五位當代英倫設計名家，打造屬於倫敦的創意風景。
融合古典與前衛的設計重鎮倫敦，是工業革命的火車頭，也是普普文化、迷幻藥和龐克的發源地，兼具美學傳統及爆發力的次文化能量。因此，除 了十四件以城市為題的創作，另還藉由一千五百多幅影像與物件，展示一九六○年至今英國社會與設計發展，如一九六○年代瑪莉.官（Mary Quant）的時裝設計、搖滾樂與迷幻風潮，八○年代柴契爾夫人上台與罷工議題，到九○年代倫敦市容改頭換面等。
Savoy Place is a large red brick building on the north bank of the River Thames in London, England. It is on a street called Savoy Place and Savoy Street runs along the side of the building up to the Strand. In front is the Victoria Embankment, part of the Thames Embankment. Close by are the Savoy Hotel and Waterloo Bridge. There are commanding views over to the South Bank and the London Eye.
The building is the headquarters for the Institution of Engineering and Technology (IET), formed from the Institution of Electrical Engineers (IEE) and the Institution of Incorporated Engineers (IIE) in 2006.
The location of Savoy Place was originally called the Savoy Manor, taking its name from Peter II, Count of Savoy. He was given the land by Henry III on 12 February 1246 and built a palace on the site. After his death in 1268, the property was left to a French hospice. The Savoy Palace was extended by successive Earls of Lancaster and John of Gaunt, but was burnt down during the Peasant's Revolt of 1381. The palace was modified to become a prison in the 15th century.
In 1509, Henry VII left money in his will for a hospital. This was completed on the site in 1517. The hospital fell into decline and eventual became a military barracks and prison.
Various religious institutions were based on the site, including a Jesuit school. The area was also a retreat for the families of French Protestants. In 1723, a German Lutheran church was built on part of the site, but demolished in 1877 for the construction of the Thames Embankment.
The current building, completed in 1889, was originally built to serve as an examination hall for the Royal College of Physicians and the Royal College of Surgeons. The foundation stone at the front of the building was laid by Queen Victoria on 24 March 1886.
On 1 June 1909, the IEE bought the lease and various alterations were carried out by H. Percy Adams and Charles Holden.
Behind Savoy Place is a building originally known as Lancaster House and later as Savoy Mansions. It was built in 1880 by the Savoy Building Company. Occupants included beer merchants, architects, solicitors, and even Turkish baths in the basement.
Hard work and effort in difficult circumstances.
The expression 'blood, sweat and tears' is usually said to have been coined by Sir Winston Churchill in his famous "I have nothing to offer but blood, toil, tears and sweat" speech in 1940, when he warned the British people of the hardships to come in fighting WWII. Each country seems to have a shortlist of people to whom they attribute colourful quotations that lack an accredited author. In the USA the sage of choice is Mark Twain; in Ireland, Oscar Wilde and in England, Winston Churchill. However, it wasn't Churchill who coined 'blood, sweat and tears' - ultimately it is has a biblical source.
The first occurrence of the expression that I can find in print is in Sermons on Various Subjects by Christmas Evans, translated from the Welsh by J. Davis, 1837:
Christ the High Priest of our profession, when he laid down his life for us on Calvary, was bathed in his own blood, sweat and tears.
Evans, a.k.a. 'The John Bunyan of Wales' (25 December 1766 - 1838) was an eccentric but widely admired preacher. We can't now be sure if it was he who coined the phrase or his translator. Either way, we can be sure that the phrase was in the language by 1837.
Christmas Evans knew the Bible by heart and was no doubt influenced in his choice of words by this passage from The King James Bible, Luke 22:44:
And being in an agony he prayed more earnestly: and his sweat was as it were great drops of blood falling down to the ground.
Churchill, although no great theological scholar, borrowed 'blood, sweat and tears' for his famous wartime speech and can certainly take the credit for the popular take-up of the phrase into everyday language.
Al Cooper picked up on the phrase as the name for his new jazz-rock band in 1967. Cooper could hardly have known how apt a choice it was. The band has gone through more disagreements, sackings and changes of direction than most, with at least 140 musicians having been members at some point.
Many of the things Churchill is supposed to have said are wrongly attributed. One of the better ones that can be verified is his exchange with the socialite and politician Nancy Astor:
Astor: Winston, if I were your wife I would put poison in your coffee!
Churchill: And if I were your husband I would drink it.
My favourite Churchillism is a supposed reply to an unwelcome letter that has all the hallmarks of the man's work but is probably apocryphal:
"Dear Sir, I am in the smallest room in the house and your letter is before me. Very soon it will be behind me."
1931/9/17日 四 雨
早讀 Loci Critici 下午閱報及文學史….
此為George Saintsbury 批評史之副冊
At the turn of the century, Saintsbury edited and introduced an English edition of Honoré de Balzac's novel series La Comédie humaine, translated by Ellen Marriage and published in 1895-8 by J. M. Dent. He went on to edit the series of "Periods of European Literature," contributing the volumes on The Flourishing of Romance and the Rise of Allegory (1897), and The Earlier Renaissance (1901). He subsequently produced some of his most important works, A History of Criticism (3 vols., 1900–1904), with the companion volume Loci Critici, Passages Illustrative of Critical Theory and Practice (Boston, U.S.A., and London, 1903), and A History of English Prosody from the 12th Century to the Present Day (i., 1906; ii., 1908; iii., 1910); also The Later Nineteenth Century (1909).
[名]（複-ci 〔-sai〕, -ca 〔k〕）
1 ((形式))場所, 位置；《数学》軌跡.
2 《遺伝学》（染色体内の）遺伝子座, 座.
英文勇氣為courage，更是重要。所以戴名博士在倫敦喝到牌子為Courage 的啤酒，不禁說笑話，參考《戴明修煉 II》。
|Owner(s)||Wells & Youngs|
The Illustrated London News 1932 Events of this year in the Illustrated London News
The Noël Coward Theatre, formerly known as the Albery Theatre, is a West End theatre on St. Martin's Lane in the City of Westminster. It opened on 12 March 1903 as the New Theatre, and was built by Sir Charles Wyndham behind Wyndham's Theatre which was completed in 1899. The building was designed by architect W.G.R. Sprague with an exterior in the Classical style and an interior in the Rococo style.
In 1973 it was renamed the Albery Theatre in tribute to the late Sir Bronson Albery who had presided as its manager for many years. Since September 2005, the theatre has been owned by Delfont-Mackintosh Ltd. It underwent major refurbishment in 2006, and was renamed the Noël Coward Theatre when it re-opened for the London premiere of Avenue Q on 1 June 2006. Noël Coward, one of Britain's greatest playwrights and actors, appeared in his own play, I'll Leave It To You, at the then New Theatre in 1920, the first West End production of one of his plays.
The theatre seats 872 patrons on four levels. The building is now a Grade II Listed structure.