Glub, in that phrase of yours, Judy, I realized I had better look up.
Thus:
glub
1.
The sound one makes whilst drowning
*falls into pool* Aah I can't swi--m-aa *glub glub*
glub gurgle drowning sound cannot swim
2.
slow, lacking energy, sleepy
synonym for torpid
"Oh man I hardly slept at 4 last night, I feel so glub today."
3.
The space in between two beds pushed together where missing things are usually
located.
"So, I made love in the glub last night."
I shall tell Carl you have a fan.
Max
Quoting Judy Prince <[log in to unmask]>:
> Oh Max, let's sponsor Carl's global attendance at 'versions' of Shak's
> plays!
> Carl needs a surname, and we could provide him with our homes as "stations"
> on his tour of well publicised, 'gently'-reminding, below-footlight
> performances!
>
> I think I'm in love, Max. Best to keep his surname safely away from me.
> <g>
>
> You and Carl have made my day.
>
> joooooooodles for Partick's sake
>
>
> 2008/8/31 Max Richards <[log in to unmask]>
>
> > Yes. (I think I know what you mean by the glub of understandings.)
> >
> > I guess O'Connor hopes his versions will be used in the theatre.
> >
> > Years ago the very successful Australian playwright David Williamson wrote
> > a
> > prose version of Lear which was produced in the theatre at Monash
> > University,
> > Melbourne (and, for all I know, elsewhere).
> > My friend and colleague Carl sat in the front row intoning as loud as he
> > dared
> > from memory as much of the original Shakespeare as he could, an unusual
> > sort of
> > disruption for the poor actors...
> >
> > (Another Aussie writer, John Marsden, whose books are 'junior fiction' has
> > just
> > brought a novel called Hamlet, which I saw today in a shop but couldn't
> > bring
> > myself to look inside.)
> >
> > Max
> >
> > Quoting Judy Prince <[log in to unmask]>:
> >
> > > It would seem that way from these comparison readings, Max. But,
> > actually,
> > > the glub of understandings fixes mostly on the 'thou', 'thy', 'thee'
> > words.
> > > And they're relatively few in most of the plays. That being the case,
> > I'd
> > > rather do my own "translations" than give way to another
> > English-speaker's
> > > translation of an Elizabethan English-speaker. Not like so many of the
> > > modern-published plays' written texts aren't lavishly editorially
> > footnoted
> > > for contexts and synonyms.
> > > not yet named me
> > >
> > > 2008/8/30 Max Richards <[log in to unmask]>
> > >
> > > > Stumbling on this just now, my first response was negative, but as his
> > > > example
> > > > is a few lines of Thersites which most would stumble over, I begin to
> > feel
> > > > O'Connor has a case for his offering...
> > > >
> > > > Max in Melbourne
> > > >
> > > > "William Shakespeare's Troilus and Cressida: A Modern English
> > Translation
> > > >
> > > > Imagine that you are playing Shakespeare's Thersites, and another
> > character
> > > > has
> > > > just invited you to "Come in and vituperate" (Act 2, scene 3 of Troilus
> > and
> > > > Cressida). Which of these two speeches would you rather deliver? ...
> > > >
> > > > You! if I had space in my mind's purse for a fake gold coin, you'd
> > never
> > > > have
> > > > slipped my memory. No matter. I'll tack on a curse for you: Yourself
> > upon
> > > > yourself!. . . May the itch in your blood be your guiding star through
> > > > life!
> > > > Then if the old woman who lays you out thinks you make a pretty corpse,
> > > > I'll be
> > > > sure she's only done lepers. Amen. [translation]
> > > >
> > > > OR:
> > > > If I could `a rememb'red a gilt counterfeit, thou wouldst not have
> > slipped
> > > > out
> > > > of my contemplation: but it is no matter; thy self upon thy self! . .
> > .Let
> > > > thy
> > > > blood be thy direction till thy death! then if she that lays thee out
> > says
> > > > thou
> > > > art a fair corse, I'll be sworn and sworn upon't she never shrouded any
> > but
> > > > lazars. Amen. [original]
> > > >
> > > > Mark O'Connor writes:
> > > >
> > > > "My aim is translation, not adaptation. I translate prose with prose,
> > blank
> > > > verse with blank verse, a couplet with a couplet (though not
> > necessarily
> > > > the
> > > > same rhyming words), and an outdated pun or joke with a comparable
> > modern
> > > > one.
> > > > The aim is to keep open the ambiguities and multiple possibilities of
> > the
> > > > original text, while removing the accidental obscurities caused by
> > > > linguistic
> > > > change."
> > > >
> > > > australianpoet.com is the offical web site of the Australian poet Mark
> > > > O'Connor
> > > > - (c) Mark O'Connor 2008
> > > > contact Mark O'Connor on email [log in to unmask]; tel +61 2 6247
> > > > 3341
> > > >
> > > >
> > > >
> > > >
> > > > ------------------------------------------------------------
> > > > This email was sent from Netspace Webmail: http://www.netspace.net.au
> > > >
> > >
> >
> >
> >
> >
> >
> >
> > ------------------------------------------------------------
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> >
>
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