吉伯特與蘇利文 / (Alan James)著 WHEN THE FOEMAN BEARS HIS STEEL LYRICS
東海的人與書 (76):
現在,我只能憑記憶說張伯權是東海歷史系的學長:
張伯權譯作Graham Creene《權力與榮耀》 臺北: 遠景,1982-/桂冠,2006《卡夫卡的寓言與格言》高雄復文,1986
《卡夫卡的故事》台北:時報,1983 (卡夫卡百年誕辰;【譯序】說,極少部分刊於1974年的中國時報的人間副刊,可能在東海時即喜愛此書。這本書是許多發人深省的極短篇《哥德談話錄》。) 應該抄些嘉言錄:......只有說是不過的,人一定要去生活它,而語言則是很重要的媒介,一種活的東西。但是亦必須不得把語言當做一種手段,而一定要去經驗、去忍受。語言是位永恆的情婦。(202頁)
拉格維斯特-《侏儒》(張伯權翻譯) 志文出版張伯權作《美國生活辭典》台灣東華書局股份有限公司出版社
張伯權: ( 講義雜誌‧走出荒野) 2012.01
張己任
狗兒!生日快樂!
英國喜歌劇作曲家沙利文(Sir Arthur Sullivan, 1842-1900)回憶他與羅西尼(Gioacchino Rossini, 1792-1868)見面的一幕:
有一天早上,我拜訪羅西尼,進門時他正在鋼琴上試彈一首小曲。我有點驚喜的說:「那是什麼?為什麼而寫的曲子?」
羅西尼看了看我,表情嚴肅地說:「今天是我的愛狗的生日,我每年都為牠的生日寫一首小曲祝賀牠,今年的,就是這個!」
東海的人與書 (75):
現在劉述先教授(1934年- ,筆名音衍)的著述等身,參考http://www.scu.edu.tw/philos/liu-writings.pdf。.
他早期在東海教過書,出道時翻譯過一些名著:
七、主編、翻譯及其他著作方式之專書(論文集)
1. 阿爾柏特.許懷徹(Albert Schweitzer)原著,劉述先譯。1958年。《文明的衰敗和復興》。臺中市:中央書局。2. 歐因斯特.卡西勒(Ernst Cassirer)原著,劉述先譯。1959年。《論人》。臺中市:東海大學。---在東海創校60周年的2015.11,我們討論1959年出版的第一本【東海學報】,對其人其文有更深入的了解。
"Be a good glad thing, why should we make us merry
Because a year of it is gone? but Hope
Smiles from the threshold of the year to come
Whispering ‘It will be happier;’ and old faces
Press round us, and warm hands close with warm hands,
And thro’ the blood the wine leaps to the brain
Like April sap to the topmost tree, that shoots
New buds to heaven, whereon the throstle rock’d
Sings a new song to the new year—and you,
Strike up a song, my friends, and then to bed."
― from "The Foresters" by Alfred, Lord Tennyson
Alfred Tennyson wrote his verse play about the famous English outlaw, and his last book in his lifetime, The Foresters: Robin Hood and Maid Marian, at the request of the America theatre manager Augustin Daly in 1892, when he was 82 years old. Daly, who had met Arthur Sullivan in California, asked him to write the music and Sullivan composed the nine short numbers which comprise the score.Sullivan probably undertook the work out of regard for Tennyson rather than any real enthusiasm for the play itself and tried to persuade Tennyson to make changes. He objected strongly to the title of the play, finding it colourless, and urged Tennyson to change it to Maid Marian, but the elderly poet refused.
「何必歡欣鼓舞,我們為何要歡慶?
只因為一年已逝?但希望
在來年的門檻上微笑
輕聲低語『那一年會更美好』;
老人們圍攏過來,溫暖的手緊緊相握,
美酒佳釀,如四月的汁液湧入頭頂,
長出新芽,直衝雲霄,
畫眉鳥在其上搖曳,
為新年唱新歌——而你們,
朋友們,奏起歌來吧,然後安然入睡。 」
——摘自阿爾弗雷德·丁尼生勳爵的《林中人》
阿爾弗雷德·丁尼生應美國劇院經理奧古斯丁·戴利之邀,於1892年創作了關於英國著名俠盜羅賓漢的詩劇《林中人:羅賓漢與瑪麗安》,這也是他生前最後一部作品。當時他已82歲。戴利在加州結識了亞瑟·沙利文,便請他為這部劇譜曲。沙利文創作了構成全劇的九首短曲。沙利文或許是出於對丁尼生的敬重而非對劇作本身的真正熱情才接下這項工作,他曾試圖說服丁尼生做出修改。他強烈反對劇名,認為它平淡無奇,力勸丁尼生將其改為《瑪麗安少女》,但這位年邁的詩人拒絕了。
當敵人露出鋼劍時
警察入場,排成一列。他們面向觀眾列隊。
警官:
當敵人露出鋼劍時,
警察:
塔蘭塔拉!塔蘭塔拉!
警官:
我們感到不安,
警察:
塔蘭塔拉!
警官:
我們找到了最明智的做法,
警察:
塔蘭塔拉!塔蘭塔拉!
警長。
拍打胸膛,放聲歌唱,
警長和警察。
塔蘭塔拉!塔蘭塔拉!
警長。
當受到威脅時,
警察。
塔蘭塔拉!塔蘭塔拉!
警長。
心跳加速,
警察。
塔蘭塔拉!
警長。
沒有什麼能帶來振奮,
比小號激昂的號角聲更能振奮人心,
比小號激昂的號角聲更能振奮人心。
警長和警察。
塔蘭塔拉!塔蘭塔拉!
警長和首席低音提琴手。
塔蘭塔拉!塔蘭塔拉!
塔蘭塔拉!塔蘭塔拉!
塔蘭塔拉!塔蘭塔拉!
塔蘭塔拉!塔蘭塔拉!
塔蘭塔拉,啦,啦,
塔蘭塔拉!
第二低音。
啦啦啦啦,
啦啦啦啦,
啦啦啦啦,
啦啦啦啦,
啦啦啦啦,
塔蘭塔拉,啦啦,
塔蘭塔拉!
梅布爾。
去吧,英雄們,奔向榮耀,
即便你們戰死沙場,
你們也將永垂不朽。
奔向永生!
奔向死亡,奔向屠戮;
死去吧,每一位康沃爾郡的女兒,
都將用她們的淚水澆灌你們的墳墓。
去吧,英雄們,去死吧!
女孩們。
去吧,英雄們,去死吧!
去吧,英雄們,去死吧!
警官。
雖然對我們來說顯而易見,
警察。
塔蘭塔拉!塔蘭塔拉!
警官。
這些關心是出於好意,
警察。
塔蘭塔拉!
警官。
這樣的表情並不常見,
警察。
塔蘭塔拉!塔蘭塔拉!
警官。
那些精心策劃的人會歡呼,
警察。
塔蘭塔拉!
警官。
他們即將面對自己的命運,
在極度緊張的狀態下。
警察。
塔蘭塔拉!塔蘭塔拉!塔蘭塔拉!
警官。
但對我們來說,很明顯,
這些關心是出於好意。
警察。
塔蘭塔拉!塔蘭塔拉!塔蘭塔拉!
伊迪絲。
去吧,盡你所能,
在我們斷絕所有聯繫之前,
我們將永別。
奔向榮耀和墳墓!
女孩們。
奔向榮耀和墳墓!
因為你的敵人兇猛殘暴,
虛偽無情,毫無真心;
無論老幼,無論牙齒掉光,
都徒勞地乞求他們的憐憫。
警官:
我們注意到,
對我們所面臨的風險過於重視,
而對
我們能否生還卻缺乏關注。
不過,或許明智的做法是
不要吹毛求疵,
因為很明顯,
這些關心是出於好意。
警察:
是的,很明顯,
這些關心是出於好意,
顯而易見,
是的,出於好意;
顯而易見,
警官和警察:
啊,是的,出於好意!
(三人同時重複。)
將軍:
快走,快走!
殺光這些海盜!
那就不要停留!
那為什麼還要耽擱!
是的,但是你們不能走!
沒錯,但你們別走!
他們終於走了,
他們終於走了,他們終於走了!
他們終於真的走了!
姑娘們。
是的,衝向敵人,
他們走了,他們走了!
是的,衝向敵人,
他們終於走了,
他們終於走了,他們終於走了!
他們終於真的走了!
警察。
是的,是的,我們走!
塔蘭塔拉!
塔蘭塔拉!
好,我們走!
是的,衝向
敵人,是的,衝向敵人,
我們走,我們走!
是的,衝向
敵人,是的,衝向敵人,
我們走,我們走,
我們走,我們走,我們走,我們走,我們走!
現在,我只能憑記憶說張伯權是東海歷史系的學長:
張伯權譯作
Graham Creene《權力與榮耀》 臺北: 遠景,1982-/桂冠,2006
《卡夫卡的寓言與格言》高雄復文,1986
《卡夫卡的故事》台北:時報,1983 (卡夫卡百年誕辰;【譯序】說,極少部分刊於1974年的中國時報的人間副刊,可能在東海時即喜愛此書。這本書是許多發人深省的極短篇《哥德談話錄》。)
《卡夫卡的故事》台北:時報,1983 (卡夫卡百年誕辰;【譯序】說,極少部分刊於1974年的中國時報的人間副刊,可能在東海時即喜愛此書。這本書是許多發人深省的極短篇《哥德談話錄》。)
應該抄些嘉言錄:......只有說是不過的,人一定要去生活它,而語言則是很重要的媒介,一種活的東西。但是亦必須不得把語言當做一種手段,而一定要去經驗、去忍受。語言是位永恆的情婦。(202頁)
拉格維斯特-《侏儒》(張伯權翻譯) 志文出版
張伯權作《美國生活辭典》台灣東華書局股份有限公司出版社
張伯權: ( 講義雜誌‧走出荒野) 2012.01
張己任
狗兒!生日快樂!
英國喜歌劇作曲家沙利文(Sir Arthur Sullivan, 1842-1900)回憶他與羅西尼(Gioacchino Rossini, 1792-1868)見面的一幕:
有一天早上,我拜訪羅西尼,進門時他正在鋼琴上試彈一首小曲。我有點驚喜的說:「那是什麼?為什麼而寫的曲子?」
羅西尼看了看我,表情嚴肅地說:「今天是我的愛狗的生日,我每年都為牠的生日寫一首小曲祝賀牠,今年的,就是這個!」
東海的人與書 (75):現在劉述先教授(1934年- ,筆名音衍)的著述等身,參考http://www.scu.edu.tw/philos/liu-writings.pdf。.
他早期在東海教過書,出道時翻譯過一些名著:
七、主編、翻譯及其他著作方式之專書(論文集)
1. 阿爾柏特.許懷徹(Albert Schweitzer)原著,劉述先譯。1958年。《文明的衰敗和復興》。臺中市:中央書局。
2. 歐因斯特.卡西勒(Ernst Cassirer)原著,劉述先譯。1959年。《論人》。臺中市:東海大學。---在東海創校60周年的2015.11,我們討論1959年出版的第一本【東海學報】,對其人其文有更深入的了解。
"Be a good glad thing, why should we make us merry
Because a year of it is gone? but Hope
Smiles from the threshold of the year to come
Whispering ‘It will be happier;’ and old faces
Press round us, and warm hands close with warm hands,
And thro’ the blood the wine leaps to the brain
Like April sap to the topmost tree, that shoots
New buds to heaven, whereon the throstle rock’d
Sings a new song to the new year—and you,
Strike up a song, my friends, and then to bed."
― from "The Foresters" by Alfred, Lord Tennyson
Alfred Tennyson wrote his verse play about the famous English outlaw, and his last book in his lifetime, The Foresters: Robin Hood and Maid Marian, at the request of the America theatre manager Augustin Daly in 1892, when he was 82 years old. Daly, who had met Arthur Sullivan in California, asked him to write the music and Sullivan composed the nine short numbers which comprise the score.Sullivan probably undertook the work out of regard for Tennyson rather than any real enthusiasm for the play itself and tried to persuade Tennyson to make changes. He objected strongly to the title of the play, finding it colourless, and urged Tennyson to change it to Maid Marian, but the elderly poet refused.
- 「何必歡欣鼓舞,我們為何要歡慶?
- 只因為一年已逝?但希望
- 在來年的門檻上微笑
- 輕聲低語『那一年會更美好』;
- 老人們圍攏過來,溫暖的手緊緊相握,
- 美酒佳釀,如四月的汁液湧入頭頂,
- 長出新芽,直衝雲霄,
- 畫眉鳥在其上搖曳,
- 為新年唱新歌——而你們,
- 朋友們,奏起歌來吧,然後安然入睡。 」
- ——摘自阿爾弗雷德·丁尼生勳爵的《林中人》
- 阿爾弗雷德·丁尼生應美國劇院經理奧古斯丁·戴利之邀,於1892年創作了關於英國著名俠盜羅賓漢的詩劇《林中人:羅賓漢與瑪麗安》,這也是他生前最後一部作品。當時他已82歲。戴利在加州結識了亞瑟·沙利文,便請他為這部劇譜曲。沙利文創作了構成全劇的九首短曲。沙利文或許是出於對丁尼生的敬重而非對劇作本身的真正熱情才接下這項工作,他曾試圖說服丁尼生做出修改。他強烈反對劇名,認為它平淡無奇,力勸丁尼生將其改為《瑪麗安少女》,但這位年邁的詩人拒絕了。
- 當敵人露出鋼劍時
- 警察入場,排成一列。他們面向觀眾列隊。
- 警官:
- 當敵人露出鋼劍時,
- 警察:
- 塔蘭塔拉!塔蘭塔拉!
- 警官:
- 我們感到不安,
- 警察:
- 塔蘭塔拉!
- 警官:
- 我們找到了最明智的做法,
- 警察:
- 塔蘭塔拉!塔蘭塔拉!
- 警長。
- 拍打胸膛,放聲歌唱,
- 警長和警察。
- 塔蘭塔拉!塔蘭塔拉!
- 警長。
- 當受到威脅時,
- 警察。
- 塔蘭塔拉!塔蘭塔拉!
- 警長。
- 心跳加速,
- 警察。
- 塔蘭塔拉!
- 警長。
- 沒有什麼能帶來振奮,
- 比小號激昂的號角聲更能振奮人心,
- 比小號激昂的號角聲更能振奮人心。
- 警長和警察。
- 塔蘭塔拉!塔蘭塔拉!
- 警長和首席低音提琴手。
- 塔蘭塔拉!塔蘭塔拉!
- 塔蘭塔拉!塔蘭塔拉!
- 塔蘭塔拉!塔蘭塔拉!
- 塔蘭塔拉!塔蘭塔拉!
- 塔蘭塔拉,啦,啦,
- 塔蘭塔拉!
- 第二低音。
- 啦啦啦啦,
- 啦啦啦啦,
- 啦啦啦啦,
- 啦啦啦啦,
- 啦啦啦啦,
- 塔蘭塔拉,啦啦,
- 塔蘭塔拉!
- 梅布爾。
- 去吧,英雄們,奔向榮耀,
- 即便你們戰死沙場,
- 你們也將永垂不朽。
- 奔向永生!
- 奔向死亡,奔向屠戮;
- 死去吧,每一位康沃爾郡的女兒,
- 都將用她們的淚水澆灌你們的墳墓。
- 去吧,英雄們,去死吧!
- 女孩們。
- 去吧,英雄們,去死吧!
- 去吧,英雄們,去死吧!
- 警官。
- 雖然對我們來說顯而易見,
- 警察。
- 塔蘭塔拉!塔蘭塔拉!
- 警官。
- 這些關心是出於好意,
- 警察。
- 塔蘭塔拉!
- 警官。
- 這樣的表情並不常見,
- 警察。
- 塔蘭塔拉!塔蘭塔拉!
- 警官。
- 那些精心策劃的人會歡呼,
- 警察。
- 塔蘭塔拉!
- 警官。
- 他們即將面對自己的命運,
- 在極度緊張的狀態下。
- 警察。
- 塔蘭塔拉!塔蘭塔拉!塔蘭塔拉!
- 警官。
- 但對我們來說,很明顯,
- 這些關心是出於好意。
- 警察。
- 塔蘭塔拉!塔蘭塔拉!塔蘭塔拉!
- 伊迪絲。
- 去吧,盡你所能,
- 在我們斷絕所有聯繫之前,
- 我們將永別。
- 奔向榮耀和墳墓!
- 女孩們。
- 奔向榮耀和墳墓!
- 因為你的敵人兇猛殘暴,
- 虛偽無情,毫無真心;
- 無論老幼,無論牙齒掉光,
- 都徒勞地乞求他們的憐憫。
- 警官:
- 我們注意到,
- 對我們所面臨的風險過於重視,
- 而對
- 我們能否生還卻缺乏關注。
- 不過,或許明智的做法是
- 不要吹毛求疵,
- 因為很明顯,
- 這些關心是出於好意。
- 警察:
- 是的,很明顯,
- 這些關心是出於好意,
- 顯而易見,
- 是的,出於好意;
- 顯而易見,
- 警官和警察:
- 啊,是的,出於好意!
- (三人同時重複。)
- 將軍:
- 快走,快走!
- 殺光這些海盜!
- 那就不要停留!
- 那為什麼還要耽擱!
- 是的,但是你們不能走!
- 沒錯,但你們別走!
- 他們終於走了,
- 他們終於走了,他們終於走了!
- 他們終於真的走了!
- 姑娘們。
- 是的,衝向敵人,
- 他們走了,他們走了!
- 是的,衝向敵人,
- 他們終於走了,
- 他們終於走了,他們終於走了!
- 他們終於真的走了!
- 警察。
- 是的,是的,我們走!
- 塔蘭塔拉!
- 塔蘭塔拉!
- 好,我們走!
- 是的,衝向
- 敵人,是的,衝向敵人,
- 我們走,我們走!
- 是的,衝向
- 敵人,是的,衝向敵人,
- 我們走,我們走,
- 我們走,我們走,我們走,我們走,我們走!
WHEN THE FOEMAN BEARS HIS STEEL LYRICS
Enter Police, marching in single file. They form in line, facing audience.
Sergeant.
When the foeman bares his steel,
Police.
Tarantara! tarantara!
Sergeant.
We uncomfortable feel,
Police.
Tarantara!
Sergeant.
And we find the wisest thing,
Police.
Tarantara! tarantara!
Sergeant.
Is to slap our chests and sing,
Sergeant & Police.
Tarantara! tarantara!
Sergeant.
For when threatened with emeutes,
Police.
Tarantara! tarantara!
Sergeant.
And your heart is in your boots,
Police.
Tarantara!
Sergeant.
There is nothing brings it round
Like the trumpet's martial sound,
Like the trumpet's martial sound
Sergeant & Police.
Tarantara! tarantara!
Sergeant& First Bass.
Tarantara! tarantara!
Tarantara! tarantara!
Tarantara! tarantara!
Tarantara! tarantara!
Tarantara! tarantara!
Tarantara, ra, ra,
Tarantara!
Second Bass.
Ra, ra, ra, ra,
Ra, ra, ra, ra,
Ra, ra, ra, ra,
Ra, ra, ra, ra,
Ra, ra, ra, ra,
Tarantara, ra, ra,
Tarantara!
Mabel.
Go, ye heroes, go to glory,
Though you die in combat gory,
Ye shall live in song and story.
Go to immortality!
Go to death, and go to slaughter;
Die, and every Cornish daughter
With her tears your grave shall water.
Go, ye heroes, go and die!
Girls.
Go, ye heroes, go and die!
Go, ye heroes, go and die!
Sergeant.
Though to us it's evident,
Police.
Tarantara! tarantara!
Sergeant.
These attentions are well meant,
Police.
Tarantara!
Sergeant.
Such expressions don't appear,
Police.
Tarantara! tarantara!
Sergeant.
Calculated men to cheer,
Police.
Tarantara!
Sergeant.
Who are going to meet their fate
In a highly nervous state.
Police.
Tarantara! tarantara! tarantara!
Sergeant.
Still to us it's evident
These attentions are well meant.
Police.
Tarantara! tarantara! tarantara!
Edith.
Go and do your best endeavour,
And before all links we sever,
We will say farewell for ever.
Go to glory and the grave!
Girls.
Go to glory and the grave!
For your foes are fierce and ruthless,
False, unmerciful, and truthless;
Young and tender, old and toothless,
All in vain their mercy crave.
Sergeant.
We observe too great a stress,
On the risks that on us press,
And of reference a lack
To our chance of coming back.
Still, perhaps it would be wise
Not to carp or criticise,
For it's very evident
These attentions are well meant.
Police.
Yes, it's very evident
These attentions are well meant,
Evident,
Yes, well meant;
Evident,
Sergeant & Police.
Ah, yes, well meant!
(All three parts repeat at same time.)
General.
Away, away!
These pirates slay!
Then do not stay!
Then why this delay!
Yes, but you don't go!
Yes, but you don't go!
At last they go,
At last they go, at last they go!
At last they really, really go!
Girls.
Yes, forward on the foe,
They go, they go!
Yes, forward on the foe,
At last they go,
At last they go, at last they go!
At last they really, really go!
Police.
Yes, yes, we go!
Tarantara!
Tarantara!
All right, we go!
Yes forward
on the foe, Yes, forward on the foe,
We go, we go!
Yes forward
on the foe, Yes, forward on the foe,
We go, we go,
We go, we go,
We go, we go, we go, we go!
Exeunt Police. MABEL tears herself from FREDERIC and exit, followed by her sisters, consoling her. The MAJOR-GENERAL and others follow. FREDERIC remains alone.
Sergeant.
When the foeman bares his steel,
Police.
Tarantara! tarantara!
Sergeant.
We uncomfortable feel,
Police.
Tarantara!
Sergeant.
And we find the wisest thing,
Police.
Tarantara! tarantara!
Sergeant.
Is to slap our chests and sing,
Sergeant & Police.
Tarantara! tarantara!
Sergeant.
For when threatened with emeutes,
Police.
Tarantara! tarantara!
Sergeant.
And your heart is in your boots,
Police.
Tarantara!
Sergeant.
There is nothing brings it round
Like the trumpet's martial sound,
Like the trumpet's martial sound
Sergeant & Police.
Tarantara! tarantara!
Sergeant& First Bass.
Tarantara! tarantara!
Tarantara! tarantara!
Tarantara! tarantara!
Tarantara! tarantara!
Tarantara! tarantara!
Tarantara, ra, ra,
Tarantara!
Second Bass.
Ra, ra, ra, ra,
Ra, ra, ra, ra,
Ra, ra, ra, ra,
Ra, ra, ra, ra,
Ra, ra, ra, ra,
Tarantara, ra, ra,
Tarantara!
Mabel.
Go, ye heroes, go to glory,
Though you die in combat gory,
Ye shall live in song and story.
Go to immortality!
Go to death, and go to slaughter;
Die, and every Cornish daughter
With her tears your grave shall water.
Go, ye heroes, go and die!
Girls.
Go, ye heroes, go and die!
Go, ye heroes, go and die!
Sergeant.
Though to us it's evident,
Police.
Tarantara! tarantara!
Sergeant.
These attentions are well meant,
Police.
Tarantara!
Sergeant.
Such expressions don't appear,
Police.
Tarantara! tarantara!
Sergeant.
Calculated men to cheer,
Police.
Tarantara!
Sergeant.
Who are going to meet their fate
In a highly nervous state.
Police.
Tarantara! tarantara! tarantara!
Sergeant.
Still to us it's evident
These attentions are well meant.
Police.
Tarantara! tarantara! tarantara!
Edith.
Go and do your best endeavour,
And before all links we sever,
We will say farewell for ever.
Go to glory and the grave!
Girls.
Go to glory and the grave!
For your foes are fierce and ruthless,
False, unmerciful, and truthless;
Young and tender, old and toothless,
All in vain their mercy crave.
Sergeant.
We observe too great a stress,
On the risks that on us press,
And of reference a lack
To our chance of coming back.
Still, perhaps it would be wise
Not to carp or criticise,
For it's very evident
These attentions are well meant.
Police.
Yes, it's very evident
These attentions are well meant,
Evident,
Yes, well meant;
Evident,
Sergeant & Police.
Ah, yes, well meant!
(All three parts repeat at same time.)
General.
Away, away!
These pirates slay!
Then do not stay!
Then why this delay!
Yes, but you don't go!
Yes, but you don't go!
At last they go,
At last they go, at last they go!
At last they really, really go!
Girls.
Yes, forward on the foe,
They go, they go!
Yes, forward on the foe,
At last they go,
At last they go, at last they go!
At last they really, really go!
Police.
Yes, yes, we go!
Tarantara!
Tarantara!
All right, we go!
Yes forward
on the foe, Yes, forward on the foe,
We go, we go!
Yes forward
on the foe, Yes, forward on the foe,
We go, we go,
We go, we go,
We go, we go, we go, we go!
Exeunt Police. MABEL tears herself from FREDERIC and exit, followed by her sisters, consoling her. The MAJOR-GENERAL and others follow. FREDERIC remains alone.
| 主要作者 | 詹姆斯 (James, Alan) |
| James, Alan | |
| 書名/作者 | 偉大作曲家群像 : 吉伯特與蘇利文 / 艾倫.詹姆斯(Alan James)著; 徐仲秋譯 |
| 出版項 | 臺北市 : 智庫文化出版 臺北縣新店市 : 貞德總經銷, 1996[民85] |
| 版本項 | 第一版 |
| 總圖2F藝術資料區 | 910.994 4422 v.25 | 2435738 | 可流通 |
| 其他書名 | 藝術生活 25 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 吉伯特與蘇利文 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 稽核項 | [10],307面 : 圖,像 ; 25公分 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 叢書名 | 藝術生活; 25 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 附註 | 附錄:譯名對照表 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 譯自 | The illustrated lives of the great composers Gilbert & Sullivan
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