場，僨，場面，塲屋，發光，粉墨，僨事，僨興，夾路，粉墨登場

七二
「車鼓」、「採茶」，皆民間一種歌曲；亦能扮演小劇。如「桃花過渡」，一男一女粉墨登場，彼唱此酬，辭近淫渫。村橋野店，燈影迷離、游人雜沓，每至僨事；故舊時禁之。

NHK 的英文教學都有一段"名作名場面"
第3回是 Dickens的OLIVER tWIST
2回是ALICE和牛津

1.　僨　　部首　人　部首外筆畫　12　總筆畫　14
注音一式　ㄈㄣˋ
漢語拼音　ｆ ｎ	注音二式　ｆ ｎ
倒仆。左傳˙隱公三年：「庚戌，鄭伯之車僨于濟。」呂氏春秋˙似順論˙慎小：「明日有人能僨南門之外表者，仕長大夫。」 覆敗﹑敗壞。禮記˙大學：「此謂一言僨事，一人定國。」 見「僨興」條。動起。左傳˙僖公十五年：「張脈僨興，外彊中乾。」

1.　僨事
注音一式　ㄈㄣˋ　ㄕˋ
漢語拼音　ｆ ｎ　ｓｈ	注音二式　ｆ ｎ　ｓｈ
敗事。如：「他膽大而又粗心，只能僨事。」

ば‐めん【場面】

１ 変化する状況の、ある部分。物事が行われているその場のようす。「苦しい―に直面する」
２ 演劇・映画などの一情景。シーン。「―が変わる」「出会いの―」
３ 市場の状況。場況。

Editorial | Sunday Observer

The Whirling Sound of Planet Dickens

By VERLYN KLINKENBORG

Published: January 14, 2012

In death, Charles Dickens still keeps his greatest secret to himself — the essence of his energy. None of the physical relics he left behind betray it. The manuscripts of his novels — like “Our Mutual Friend” at the Morgan Library — look no more fevered or hectic than the manuscripts left behind by other novelists.

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Charles Dickens, from a negative by Herbert Watkins.

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• Times Topic: Charles Dickens

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Two memorable characters from Charles Dickens, Micawber and the young Copperfield.

The handwritten words on the page, round and legible in blue ink, are the marks of a mind that has already settled itself to composition.
Dickens, who was born 200 years ago, wrote a long shelf of novels, 14 in all, not counting “The Mystery of Edwin Drood,” which lay half-finished at his death. They sit plump and bursting with life, spilling over with the chaos of existence itself. It’s easy to imagine writers working the way Dickens’s prolific contemporary, Anthony Trollope, did — steadily, routinely, knocking off his 2,000 words a day until, by the end of his life, he had written 47 novels. But this is not how Dickens wrote.
Find the tumultuous heart of your favorite Dickens novel, the place where 19th-century London seems to be seething, smoking, overcrowded, in a state of vulgar contradiction. Then imagine Dickens working in the midst of it — a small, brisk figure rushing past you on a dark and dirty street. He is lost in a kind of mental ventriloquism, calling up his emotions and studying them. Every night he walked a dozen miles, without which, he said, “I should just explode and perish.”
Under the pseudonym Boz, he wrote, “There is nothing we enjoy more than a little amateur vagrancy,” walking through London as though “the whole were an unknown region to our wandering mind.” Yet there was nothing remotely solitary about Dickens. One person who saw him in the highest spirits at a family party wrote that he “happily sang two or three songs, one the patter song, ‘The Dog’s Meat Man,’ and gave several successful imitations of the most distinguished actors of the day.”
It’s a wonder Dickens didn’t explode and perish long before his death in 1870, at age 58. Quite apart from the act of composing his novels, he was a whirlwind, living a life that is nearly unmatched in its vigor. He had one entire career as a magazine editor, another as an actor and manager of theatrical productions, still another as a philanthropist and social reformer. The record of his private engagements alone — dinners, outings, peregrinations with his entourage of family and friends — is exhausting to read. The novels stand out against the backdrop of hundreds of other compositions, all of them written against tight deadlines.
Dickens’s energy, which he made no effort to husband until he was nearly dead, was inexplicable. Call it metabolic if you like. Perhaps it was a reaction to the uncertainties of his childhood and the shame of his days as a child laborer, when he knew that as a precocious young entertainer he was already a spectacle well worth observing.
He was driven by gargantuan emotions, and the ferocious will needed to keep them in check, to release them in the creation of characters he loved more than some of his children. He could drive himself to anguished tears while writing the death of Little Nell, in “The Old Curiosity Shop.” And yet he could also coldly disown anyone who sided with his wife, Catherine, when they separated, including his namesake son.
Even Dickens didn’t understand his energy. He grasped that there was a wildness in him, and so did nearly everyone who knew him. When Dostoevsky met Dickens in 1862 — a meeting that is hard to imagine — Dickens explained that there were two people inside him, “one who feels as he ought to feel and one who feels the opposite.”
Out of these two people he constructed his universe of characters, good and evil. Dostoevsky’s comment is laconic and ambiguous. “Only two people?” he asked. Dickens’s public readings, which began in 1858, drew tens of thousands of people in England and America. They came not only to see the author himself but also the people who inhabited him — Scrooge and Pickwick, Micawber and Mrs. Gamp.
Those characters, and dozens more, still live with all their old vitality. And though we feel the unevenness of Dickens’s novels more plainly than when they were appearing in monthly parts, it’s easier now to see that the unevenness in most of them is symptomatic of his overpowering energy.
The man himself was uneven and could not be beaten into consistency any more than he could beat every one of his novels into perfection. The fact is that Charles Dickens was as Dickensian as the most outrageous of his characters, and he was happy to think so, too. Soon after the publication of “A Christmas Carol” in 1843, he wrote of himself to a close friend: “two and thirty years ago, the planet Dick appeared on the horizon. To the great admiration, wonder and delight of all who live, and the unspeakable happiness of mankind.” Planet Dickens feels as real as it does to us because he stalked the world around him.
And when he finally settled at his desk, he was still driving himself through a world of his own invention, peopled by characters waiting, as he said, to come “ready made to the point of the pen.”




 發光/ 場
陳劭彥 巴黎、倫敦時裝週發光
自由時報
〔駐歐洲特派記者胡蕙寧、記者王瀅娟／綜合報導〕台灣服裝設計師陳劭彥的作品，不但再度入選倫敦時裝週所策劃的Ones To Watch SS12展，也首次入選巴黎時裝週，並將在十月下旬帶作品回台灣參加紡拓會「Taipei in Style」的走秀，讓台灣民眾一睹他的作品風采。 ...


這"發光" 是第三義 增光/成功

.　發光
注音一式　ㄈㄚ　ㄍㄨㄤ
漢語拼音　ｆ 　 ｕ ｎ	注音二式　ｆ 　ｇｕ ｎｇ
放射光輝。唐˙李賀˙日出行：「白日下崑崙，發光如舒絲。」 分送完了，什麼也沒剩下。如：「免費供人使用的試用品，一下就發光了。」

領頭字
場
解形
《說文》：“場，祭神道也；一曰田不耕；一曰治穀田也。從土，昜聲。”朱駿聲通訓定聲：“場，字亦作土钫骡。”
注音	釋義
（一）ｃｈａｎｇ２《廣韻》直良切，平陽澄。陽部。	（１） 古代祭神用的平地。《說文‧土部》：“場，祭神道也。”段玉裁注：“‘也’，《廣韻》作‘處’。《玉篇》引《國語》：屏攝之位曰壇（今訛場），壇之所 除地曰場。”《孟子‧滕文公上》：“子貢反，築室於場，獨居三年然後歸。”趙岐注：“場，孔子冢上祭祀壇場也。”《史記‧文帝本紀》：“其廣增諸祀墠場珪 幣。” （２）用於收打莊稼、翻曬糧食的平坦場也。古代與園圃同地，後世農村多闢有專用場地。《說文‧土部》：“場，一曰治穀田也。”桂馥義證：“《玉篇》引作 ‘一曰治穀處。’《廣韻》：‘場，治穀地也。”《詩‧豳風‧七月》：“九月築場圃，十月納禾稼。”毛傳：“春夏為圃，秋冬為場。”鄭玄箋：“場圃同地，自物生之時，耕治之以種菜茹，至物盡成熟，築堅以為場。”唐白居易《納粟》：“家人不待曉，場上張燈燭。”周立波《山鄉巨變‧雙搶》：“盛淑君和陳雪春帶領 一幫婦女和小孩，分散在各個屋場的地坪裏，清掃垃圾，鋤除雜草，有些地方糊上一層牛屎漿，整得一掌平，作為曬穀的禾場。” （３）泛指進行某種活動的場所。（今讀ｃｈａｎｇ３）。清朱駿聲《說文通訓定聲‧壯部》：“今闈場，謂春秋試士之所，必有平坦大庭以容眾，故曰場。”清翟灝《通俗編‧居處》：“《日知錄》：場屋者，于廣場之中而為屋，不必開科試士之地也。《隋唐音樂志》： 每歲正月十五日，于端門外建國門內，綿鳔八里，列為戲場，百官起棚夾路，從昏達旦以縱觀之。故戲場亦謂之場屋。” （４）泛指某種領域。漢揚雄《劇秦美新》：“遙集乎文雅之囿，翱翔乎禮樂之場。”南朝宋謝靈運《遊名山志》：“豈以名利之場，賢於清曠之域耶﹖” （５）鹿棲息的處所。《小爾雅‧廣獸》：“兔之所息謂之窟，鹿之所息謂之場。”《詩‧豳風‧東山》：“町畽鹿場。”孔穎達疏：“鹿場者，場是踐地之處，故知町畽是鹿之跡也。” （６）集；市集。如：趕場；三天一場。清劉獻廷《廣陽雜記》卷二：“後世市謂之墟……蜀謂之場。” （７）物理學對物質相互作用範圍之稱，它是物質存在的一種基本形式。可按其相互作用的性質區分為各種類型。如：電子場；電磁場等。也指分佈在空間區域內的物理量或數學函數。如溫度場；速度場等。 （８）量詞。常指事件的過程。如：一場大雨；一場大戰；大幹一場。唐高適《邯鄲少年行》：“千場縱博家仍富，幾處報讎身不死。”宋王禹偁《芍藥詩三首》之一：“牡丹落盡正凄涼，紅藥開時醉一場。”老舍《駱駝祥子》十九：“兩場病教他明白了自己並不是鐵打的。”
（二）ｃｈａｎｇ３	（１） 眾人會聚進行某樁事情的處所；事件發生的處所。如：會場；操場；市場；商場等。《文選‧張衡〈東京賦〉》：“秦政利嘴長距，終擅一場。”李善注：“利喙長 距者終擅一場也。”宋陸游《小舟游近村舍舟步歸》：“斜陽古柳趙家莊，負鼓盲翁正作場。”老舍《駱駝祥子》四：“年輕的時候，他當過庫兵，設過賭場。” （２）舞臺。如：上場；下場；粉墨登場。 （３）戲劇作品中故事情節的段落，或表演的一個片段。如：分場；場次。也用以稱演劇的起止。如：開場；終場。 （４）量詞。用於文娛體育活動。如：一場電影；三場球賽；某劇團在某地演出十二場。
（三）ｓｈａｎｇ１	《集韻》尸羊切，平陽書。同“土钫骡”。浮土。《集韻‧陽韻》：“土钫骡，《方言》：蚍蜉犁鼠之土钫骡謂之坻土钫骡，一曰浮壤。或作場。”
（四）ｄａｎｇ４	方言。用耙鋤覆蓋種下地的種子。章炳麟《新方言‧釋言》：“今江南浙江擾摩曰場，讀如盪。”

塲屋
塲屋者，於廣塲之中而為屋，不必皆開科試士之地也。《隋書．音樂志》：｢每歲正月，萬國來朝，留至十五日，於端門外建國門內，綿亙八里，列為戲場， 百官起棚夾路。從昏達旦，以縱觀之，至晦而罷。｣故戲場亦謂之場屋。唐元微之《連昌宮辭》：｢夜半月高弦索鳴，賀老琵琶定塲屋。｣

1.　夾路
注音一式　ㄐ｜ㄚˊ　ㄌㄨˋ
漢語拼音　ｊｉ 　ｌ	注音二式　ｊｉ 　ｌ
列在道路兩旁。文選˙孫綽˙遊天台山賦：「雙闕雲竦以夾路，瓊臺中天而懸居。」唐˙岑參˙稠桑驛喜逢嚴河南中丞便別詩：「駟馬映花枝，人人夾路窺。」

倫敦警方反擊搜屋逮暴徒
自由時報
〔中央社〕蘇格蘭警場（Scotland Yard）1名高階警官說，此場為誤譯 不過習慣就好

yard[yard²]

• レベル：最重要
• 発音記号[jɑ'ːrd]

[名]

1 ((英))建物に隣接する［を囲む, に囲まれた］（しばしば舗装された）地面；構内；中庭, 庭；((米))Harvard大学（のキャンパス）；((米))（特に芝生の生えた）裏庭（((英))garden）；((英))（芝生のない）小さな裏庭

the front ［the back］ yard
前［裏］庭.

2 ((しばしば複合語))特定の目的のために囲った地面；仕事場, 作業場；物置場；（家畜の）囲い, おり

a navy yard
海軍造船所

a chicken ［a poultry］ yard
養鶏場.

3 《鉄道》ヤード, 操車場.

4 ((米))（シカ類の）冬の草食い場.

5 ((the Y-))((英略式))ロンドン警視庁(Scotland Yard).

6 野菜畑.

━━[動](他)〈家畜を〉囲いに入れる.

━━(自)((米))〈シカなどが〉冬の草食い場に集まる((up)).

［古英語geard（囲い）. △GARDEN］

Scótland Yárd[Scótland Yárd]

1 ロンドン警視庁, （特に）ロンドン警視庁刑事捜査部. ▼警視庁がもとスコットランドヤード街にあったことから. ⇒YARD²[名]5

2 スコットランドヤード（街）：London中央の通りの名；スコットランド王の宮殿跡.

1.　粉墨
注音一式　ㄈㄣˇ　ㄇㄛˋ
漢語拼音　ｆ ｎ　ｍ	注音二式　ｆ ｎ　ｍ
敷面畫眉的白粉與黑墨，指婦女的妝飾。 演戲化裝。五代史平話˙唐史˙卷下：「或時自傅粉墨，與伶人共舞於庭，以娛悅劉太后。」 比喻事物迥然有別。後漢書˙卷六十一˙黃瓊傳：「使朱紫共色，粉墨雜蹂，所謂扺金玉於沙礫，碎珪璧於泥塗。」 比喻美麗的色彩。唐˙杜甫˙畫鶻行：「乾坤空崢嶸，粉墨且蕭瑟。」 修飾文詞，使其含義有所分別。北齊˙顏之推˙顏氏家訓˙風操：「凡親屬名稱，皆須粉墨，不可濫也。」

 粉墨登場
 化裝登臺演戲。引申為上臺。如：「演員們聽見鑼鼓響起，於是粉墨登場，唱了一齣大登殿。」