By William Shakespeare, Liang Shiqiu
It's a Bilingual version of chinese language and English.
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Extra info for A Midsummer-Night's Dream (The Complete Shakespeare Translated by Liang Shiqiu, Book 8) (Bilingual Edition)
Polish the bells. Bells? I'll be fixing a few, down by the front door. Brass. Well, I ... I never done caretaking before, you know ... I mean to say ... I never ... what I mean to say is I never been a caretaker before. [Pause]. How do you feel about being one, then? Well, I reckon ... Well, I'd have to know ... you know ... What sort of ... Yes, what sort of ... you know ... 5* The anaphoric co-reference also promotes the appearance of continuity in the universe created by the theatre discourse.
London: Eyre Methuen, 1962), p. 38. 56. (Buenos Aires: Editorial Astral, 1967), pp. 30 and 90 respectively (our translation). 57. William Shakespeare, Hamlet. The Riverside Shakespeare. (Boston: Houghton Mifflin Company, 1974), Act I, Scene V, pp. 1149-1150 and Act III, Scene II, p. 1164, respectively. 58. (London: Eyre Methuen, 1979), p. 51. 59. The Semiotics of Theatre and Drama, pp. 152-153. 60. Universi di discorso (Milano: Feltrinelli, 1979). 61. For more on referentiality in theatre, see chapter III of this book.
Universi di discorso (Milano: Feltrinelli, 1979). 61. For more on referentiality in theatre, see chapter III of this book. 62. The Semiotics of Theatre and Drama, p. 150. 63. For a complete classification of deixis and anaphora, see table I at the end of chapter I. 64. "Toward a Segmentation of the Dramatic Text", 169-171. See also Anne Ubersfeld, Lire le theatre (1982), chapters VI and VII; and L'ecole du spectateur, chapter IV. Also, Keir Elam, The Semiotics of Theatre and Drama, chapter V, pp.