:: wikimiki.org ::

Romeo Et Juliette

Romeo et Juliette

Roméo et Juliette is a "symphonie dramatique", a large scale work in French for mixed voices and orchestra, by French composer Hector Berlioz. It premiered in 1839. It is based on Shakespeare's play Romeo and Juliet. Category:Compositions by Hector Berlioz Category:Symphonies

French language

French (French: français) is the third of the Romance languages in terms of number of speakers, after Spanish and Portuguese, being spoken by about 67 million people as a mother tongue, and altogether by some 128 million people, which includes second-language speakers who use French for daily communication. French is thus the 18^th most spoken language in the world by number of native speakers, and 9^th in terms of daily speakers. It is an official language in 29 countries. It is also an official or administrative language in various communities and organisations (such as the European Union, IOC, United Nations and Universal Postal Union). Before World War II, French was considered the international language, particularly in such fields as diplomacy, trade, shipping, and transportation.

History

The Roman invasion of Gaul

The French language is a Romance language, meaning that it is descended from Latin. Before the Roman invasion of what is modern-day France by Julius Cæsar (58–52 BC), France was inhabited largely by a Celtic people that the Romans referred to as Gauls, although there were also other linguistic/ethnic groups in France at this time, such as the Iberians in southern France and Spain, the Ligurians on the Mediterranean coast, Greek colonies such as Massalia (i.e. present-day Marseille), Phoenician outposts, and the Vascons on the Spanish/French border. Although in the past many Frenchmen liked to refer to their descent from Gallic ancestors (nos ancêtres les Gaulois), perhaps fewer than 200 words with a Celtic etymological origin remain in French today (largely place and plant names and words dealing with rural life and the earth). In the reverse direction, some words for Gallic objects which were new to the Romans and for which there were no words in Latin were imported into Latin – for example, clothing items such as les braies. Latin quickly became the lingua franca of the entire Gallic region for mercantile, official and educational purposes, yet it should be remembered that this was Vulgar Latin, the colloquial dialect spoken by the Roman army and its agents and not the literary dialect of Cicero.

The Franks

From the third century on, Western Europe was invaded by Germanic tribes from the east, and some of these groups settled in Gaul. For the history of the French language, the most important of these groups are the Franks in northern France, the Alemanni in the German/French border, the Burgundians in the Rhone valley and the Visigoths in the Aquitaine region and Spain. These Germanic-speaking groups had a profound effect on the Latin spoken in their respective regions, altering both the pronunciation and the syntax. They also introduced a number of new words: perhaps as much as 15% of modern French comes from Germanic words, including many terms and expressions associated with their social structure and military tactics.

Langue d'Oïl

Linguists typically divide the languages spoken in medieval France into three geographical subgroups: Langue d'oïl and Langue d'oc are the two major groups; the third group, Franco-Provençal, is considered a transitional language between the two other groups. The Oïl–Oc divide is broadly comparable to the divide illustrated by the use of "yes" in English and "aye" in Scots. Langue d'oïl, the languages which use oïl (in modern usage, oui) for "yes", is the language group in the north of France. These languages, like Picard, Walloon, Francien and Norman, were influenced by the Germanic languages spoken by the Frankish invaders. From the time period Clovis I on, the Franks extended their rule over northern Gaul. Over time, the French language developed from either the Oïl language found around Paris (the Francien theory) or from a standard administrative language based on common characteristics found in all Oïl languages (the lingua franca theory). Langue d'oc, the languages which use oc for "yes", is the language group in the south of France and northern Spain. These languages, such as Gascon and Provençal, have relatively little Frankish influence. (Modern French has two words for "yes", oui and si; the latter is used to contradict negative statements. Si derives from Latin sic "thus", and is cognate to the word for "yes" in Spanish, Italian, and Catalan. Oïl/oui derive, according to Larousse, from Latin hoc ille "thus he (did)".)

Other linguistic groups

The early middle ages also saw the influence of other linguistic groups on the dialects of France: From the 5th to the 8th centuries, Celtic-speaking peoples from southwestern Britain (Wales, Cornwall, Devon) travelled across the English Channel, both for reasons of trade and as a result of the Anglo-Saxon invasions of England. They established themselves in Bretagne (Brittany). Their language was a dialect of the Brythonic languages, which has been named Breton in more recent centuries. It is part of the larger Celtic language family, though the modern dialects reflect a noticeable influence from French in their vocabulary. From the 6th to the 7th centuries, the Vascons crossed over the Pyrénées, a mountain range in the south of France. Their presence influenced the Occitan language spoken in southwestern France, resulting in the dialect called Gascon. Scandinavian vikings invaded France from the 9th century onwards and established themselves in what would come to be called Normandie (Normandy). They took up the langue d'oïl spoken there and contributed many words to French related to maritime activities, amongst other things. With their conquest of England in 1066, the Normans brought their language. The dialect that developed there as a language of administration and literature is referred to as Anglo-Norman. Anglo-Norman served as the language of the ruling classes and commerce in England from the time of the conquest until 1362, when the use of English became dominant again. Because of the Norman Conquest, the English language has borrowed a considerable amount of its vocabulary from French. The Arab peoples also supplied many words to French around this time period, including words for luxury goods, spices, trade stuffs, sciences and mathematics.

History of French

For the period up to around 1300, some linguists refer to the oïl languages collectively as Old French (ancien français). The earliest extant text in French is the Oaths of Strasbourg from 842; Old French became a literary language with the chansons de geste that told tales of the paladins of Charlemagne and the heroes of the Crusades. By the Ordinance of Villers-Cotterêts in 1539 King Francis I made French the official language of administration and court proceedings in France, ousting the Latin that had been used before then. With the imposition of a standardised chancery dialect and the loss of the declension system, the dialect is referred to as Middle French (moyen français). Following a period of unification, regulation and purification, the French of the 17th to the 18th centuries is sometimes referred to as Classical French (français classique), although many linguists simply refer to French language from the 17th century to today as Modern French (français moderne). The foundation of the Académie française (French Academy) in 1634 by Cardinal Richelieu created an official body whose goal has been the purification and preservation of the French language. This group of 40 members is known as the Immortals, not, as some erroneously believe, because they are chosen to serve for the extent of their lives (which they are), but because of the inscription engraved on the official seal given to them by their founder Richelieu—"À l'immortalité" ("to the Immortality (of the French language)"). The foundation still exists and contributes to the policing of the language and the adaptation of foreign words and expressions. Some recent modifications include the change from software to logiciel, packet-boat to paquebot, and riding-coat to redingote. The word ordinateur for computer was however not created by the Académie, but by a linguist appointed by IBM (see :fr:ordinateur). From the 17th to the 19th centuries, France was the leading power of continental Europe; thanks to this, together with the influence of the Enlightenment, French was the lingua franca of educated Europe, especially with regards to the arts, literature, and diplomacy; monarchs like Frederick II of Prussia and Catherine the Great of Russia could both speak and write in French. Through the Académie, public education, centuries of official control and the role of media, a unified official French language has been forged, but there remains a great deal of diversity today in terms of regional accents and words. For some critics, the "best" pronunciation of the French language is considered to be the one used in Touraine (around Tours and the Loire River valley), but such value judgments are fraught with problems, and with the ever increasing loss of lifelong attachments to a specific region and the growing importance of the national media, the future of specific "regional" accents is difficult to predict.

Modern issues

There is some debate in today's France about the preservation of the French language and the influence of English (see franglais), especially with regard to international business, the sciences and popular culture. There have been laws (see Toubon law) enacted which require that all print ads and billboards with foreign expressions include a French translation and which require quotas of French-language songs (at least 40%) on the radio. There is also pressure, in differing degrees, from some regions as well as minority political or cultural groups for a measure of recognition and support for their regional languages.

Geographic distribution

regional language
French is an official language in the following countries or parts thereof: La Francophonie is an international organization of French-speaking countries and governments.

Legal status in France

Per the Constitution of France, French is the official language of the Republic since 1792 [http://www.languefrancaise.net/dossiers/dossiers.php?id_dossier=50]. France mandates the use of French in official government publications, public education outside of specific cases (though these dispositions are often ignored) and legal contracts; advertisements must bear a translation of foreign words. See Toubon Law. Contrary to a misunderstanding common in the American and British media, France does not prohibit the use of foreign words in websites or any other private publication, which would anyway contradict constitutional guarantees on freedom of speech. The misunderstanding may have arisen from a similar prohibition in the Canadian province of Quebec which made strict application of the Charter of the French Language between 1977 and 1993, although these regulations addressed language used in advertising and the provision of commercial services offered within the province, not the language of private communication. There exist in addition to French a variety of languages spoken in France by minorities; see Languages of France.

Legal status in Canada

About 12% of the world's francophones are Canadian, and French is one of Canada's two official languages, with English; various provisions of the Canadian Charter of Rights and Freedoms deal with the right of Canadians to access services in English and French all across Canada. By law, the federal government must operate and provide services in both English and French; proceedings of the Parliament of Canada must be translated into both English and French; and all Canadian products must be labelled in both English and French. Overall about 22% of Canadians speak French as a first language and 18% are bilingual. French has been the only official language of Quebec since 1974, although it is commonly (and incorrectly) believed that the designation of French as the sole official language occurred in 1977 with the adoption of the Charter of the French Language (which is popularly referred to as Bill 101). By far the provision of Bill 101 with the most significant impact has been that which mandates French-language education, unless a child's parents or siblings have received the major part of their own education in English within Canada. That provision has reversed a historical trend whereby a large number of immigrant children were being sent to English schools by their parents. In so doing, Bill 101 has greatly contributed to the "visage français" (French face) of Quebec. Other provisions of Bill 101, on the other hand, have been ruled unconstitutional over the years, including those mandating French-only commercial signs, court proceedings, and debates in the legislature. Some of those provisions have remained in effect, for a while, using the constitutional "notwithstanding" clause that permits a non-compliant law to temporarily remain. No "notwithstanding provision" is currently in effect. In 1993 the Charter was changed to allow signage in other languages so long as French is markedly "predominant". The Charter also provides for a measure of access by Anglophones to health and social services in their own language. The only province which has French as an official language is New Brunswick. In Ontario and Manitoba, French does not have full official status, although the provincial governments do provide full French-language services in all communities where significant numbers of francophones live. All of the other provinces do make some effort to accommodate the needs of their francophone citizens, although the level and quality of French-language service varies significantly from province to province.

Legal status in Switzerland

French is an official language in Switzerland. It is spoken in the part of Switzerland called Romandy.

Dialects of French

- Acadian French
- African French
- Belgian French
- Cajun French
- Canadian French
- Cambodian French
- Louisiana Creole French
- français d'Aoste
- français-germanique
- Indian French
- Levantine French
- Maghreb French
- Newfoundland French
- North American French
- Oceanic French
- Quebec French
- South East Asian French
- Swiss French
- West Indian French
- [http://www.linguasphere.org/langues_romanes.pdf linguasphere on Romance languages]

Languages derived from French

- Antillean Creole
- Haitian Creole
- Lanc-Patuá
- Mauritian Creole
- Michif
- Louisiana Creole French
- Réunionese Creole
- Seychellois Creole
- Tay Boi

Sounds

:Main article: French phonology and orthography French pronunciation follows strict rules based on spelling, but French spelling is often based more on history than phonology. The rules for pronunciation vary between dialects, but the standard rules are:
- liaison or linking: Final single consonants, in particular s, x, z, t, d, n and m, are normally silent. (The final letters 'c', 'r', 'f', and 'l' however are normally pronounced.) When the following word begins with a vowel, though, a silent consonant may once again be pronounced, to provide a "link" between the two words and avoid a glottal stop between them. Some liaisons are mandatory, for example the s in les amants or vous avez; some are optional, depending on dialect and register, for example the first s in deux cents euros or euros irlandais; and some are forbidden, for example the s in beaucoup d'hommes aiment. The t of et is never pronounced and the silent final consonant of a noun is only pronounced in the plural and in set phrases like pied-à-terre. Doubling a final consonant and adding a silent e at the end of a word (e.g. Parisien → Parisienne) makes it clearly pronounced, always.
- elision or vowel dropping: Monosyllabic words such as je or que drop their final vowel before another word beginning with a vowel. The missing vowel is replaced by an apostrophe. (e.g. je ai is instead pronounced and spelt → j'ai)
- nasal "n" and "m". When "n" or "m" follows a vowel combination, the "n" and "m" become silent and cause the preceding vowel to become nasalized (i.e. pronounced with the soft palate extended downward so as to allow part of the air to leave through the nostrils). Exceptions are when the "n" or "m" is doubled, or immediately followed by a vowel. The prefixes en- and em- are always nasalized. The rules get more complex than this but may vary between dialects.
- digraphs French does not introduce extra letters or diacritics to specify its large range of vowel sounds and diphthongs, rather it uses specific combinations of vowels, sometimes with following consonants, to show which sound is intended. (See French phonology and orthography or [http://www.languageguide.org/francais/grammar/pronunciation/ French Pronunciation Guide] for more details.)
- accents are used sometimes for pronunciation, sometimes to distinguish similar words, and sometimes for etymology alone.
- Accents that affect pronunciation:
- "é", is pronounced instead of the defaults or,
- "è" (e.g., secrète) means that the vowel is pronounced (as usual),
- dieresis (e.g. naïve, Noël) as in English, specifies that this vowel is pronounced separately from the preceding one (or following one in some cases), not combined,
- the "ç" means that the letter c is pronounced in front of A, O, or U. ("c" is otherwise hard before a hard vowel.)
- The circumflex (e.g. pâté, forêt) shows that an e is pronounced and that an o is pronounced . In some dialects it also signifies a pronunciation of for the letter a, but this differentiation is disappearing. It usually indicates a former long vowel created by the dropping of an "s" from the Latin root (as in English "paste", "forest"),
- Accents with no pronunciation effect:
- The circumflex does not affect the pronunciation of the letters i or u, and in most dialects, a as well.
- All other accents are used only to distinguish similar words or for etymological reasons, as in the case of distinguishing the adverbs là and où ("there", "where") from the article la and the conjunction ou ("the fem. sing.", "or") respectively.

Grammar

:Main article: French grammar French grammar shares several notable features with most other Romance languages, including:
- the loss of Latin's declensions
- only two grammatical genders
- the development of grammatical articles from Latin demonstratives
- new tenses formed from auxiliaries French word order is Subject Verb Object, except when the object is a pronoun, in which case the word order is Subject Object Verb.

Vocabulary

Word origins

The majority of French words derive from vernacular or "vulgar" Latin or were constructed from Latin or Greek roots. There are often pairs of words, one form being popular (noun) and the other one savant (adjective), both originating from Latin. Example:
- brother: frère (brother) / fraternel
- finger: doigt / digital
- faith: foi (faith) / fidèle
- cold: froid / frigide
- eye: œil / oculaire The French words which have developed from Latin are usually less recognisable than Italian words of Latin origin because as French developed into a separate language from Vulgar Latin, the unstressed final syllable of many words was dropped or elided into the following word. It is estimated that 12 percent (4,200) of common French words found in a typical dictionary such as the Petit Larousse or Micro-Robert Plus (35,000 words) are of foreign origin. About 25 percent (1,054) of these foreign words come from English and are fairly recent borrowings. The others are some 707 words from Italian, 550 from ancient Germanic languages, 481 from ancient Gallo-Romance languages, 215 from Arabic, 164 from German, 160 from Celtic languages, 159 from Spanish, 153 from Dutch, 112 from Persian and Sanskrit, 101 from Native American languages, 89 from other Asian languages, 56 from Afro-Asiatic languages, 55 from Slavic languages and Baltic languages, and 144 from other languages (3 percent of the total). Source: Henriette Walter, Gérard Walter, Dictionnaire des mots d'origine étrangère, 1998.

Levels of register

French, like many other languages, possesses a continuum of several levels of register. The colloquial register is used in almost any circumstance of life, and should not be confused with slang or rude talk. Formal French is used in writing or in formal occasions (when people make official speeches or when they are interviewed on television, for instance). Some level of formality is also normally used in classrooms in France, although colloquial French is now spoken by more and more professors with their students. Colloquial French differs from formal French in terms of grammar. For instance, the negation in formal French is "ne... pas", whereas in colloquial French it is simply "... pas", such as "I don't think so", which is "Je ne crois pas" in formal French, and "Je crois pas" in colloquial French. Another example of change in grammar is the way to ask a question: by inverting verb and subject in formal French, or also by using "est-ce que", whereas in colloquial French a question is phrased exactly as an affirmation, with the voice rising in the end. E.g.: "Is he sick?" would be "Est-il malade?" or "Est-ce qu'il est malade?" in formal French, and "Il est malade?" in colloquial French. On the other hand, questions with "est-ce que" are more colloquial than using inversion. Secondly, colloquial French differs from formal French in terms of pronunciation. Some words undergo shortening, or sound change, whereas some syllables are dropped altogether. For instance, "yes" is "oui" in formal French, and becomes "ouais" in colloquial French; "I" is "je" in formal French, but becomes "j' " in colloquial French; so a sentence like "I think he'll come" is "Je pense qu'il viendra" in formal French, and "J'pense qu'i'viendra" in colloquial French. There are many instances of shortening of words, such as "teacher", which is "professeur" in formal French, but becomes "prof'" in colloquial French.

Counting system

The French counting system is partially vigesimal: twenty () is used as a base number in the names of numbers from 70-99. So for example, means 4 times 20, i.e. is the French word for 80, and (literally "sixty-fifteen") means 75. This is comparable to archaic English use of "score", as in "fourscore and seven" (87), or "threescore and ten" (70). Belgian French and Swiss French are different in this respect.

Writing system

French is written using the Latin alphabet, plus five diacritics (the circumflex accent, acute accent, grave accent, diaeresis, and cedilla) and two ligatures (æ, œ). French spelling, like English spelling, tends to preserve obsolete pronunciation rules. This is mainly due to extreme phonetic changes since the Old French period, without a corresponding change in spelling. However, some conscious changes were also made to restore Latin orthography:
- Old French doit > French doigt "finger" (Latin digitum)
- Old French pie > French pied "foot" (Latin pedem) As a result, it is nearly impossible to predict the spelling on the basis of the sound alone. Final consonants are generally silent, except when the following word begins with a vowel. For example, all of these words end in a vowel sound: nez, pied, aller, les, finit, beaux. The same words followed by a vowel, however, may sound the consonants, as they do in these examples: beaux-arts, les amis, pied-à-terre. On the other hand, a given spelling will almost always lead to a predictable sound, and the Académie française works hard to enforce and update this correspondence. In particular, a given vowel combination or diacritic predictably leads to one phoneme. The diacritics have phonetic, semantic, and etymological significance.
- grave accent (à, è, ù): Over a or u, used only to distinguish homophones: à ("to") vs. a ("has"), ou ("or") vs. où ("where"). Over an e, indicates the sound .
- acute accent (é): Over an e, indicates the sound , the ai sound in such words as English hay or neigh. It often indicates the historical deletion of a following consonant (usually an s): écouter < escouter.
- circumflex (â, ê, î, ô û): Over an e or o, indicates the sound or , respectively. Most often indicates the historical deletion of an adjacent letter (usually an s or a vowel): château < castel, fête < feste, sûr < seur, dîner < disner. By extension, it has also come to be used to distinguish homophones: du ("of the") vs. dû (past participle of devoir "to owe"; note that dû is in fact written thus because of a dropped e: deu).
- diaeresis or tréma (ë, ï, ü): Indicates that a vowel is to be pronounced separately from the preceding one: naïve, Noël. Diaeresis on ÿ only occurs in some proper names (such as l'Haÿ-les-Roses) and in modern editions of old French texts. Since the 1990 orthographic rectifications, the diaeresis in words containing guë (such as aiguë or ciguë) was moved onto the u: aigüe, cigüe. Words coming from German retain the old Umlaut if applicable but uses French pronounciation, such as capharnaüm(mess).
- cedilla (ç): Indicates that an etymological c is pronounced when it would otherwise be pronounced /k/. Thus je lance "I throw" (with c = before e), je lançai "I threw" (c would be pronounced before a without the cedilla). The ligature œ is a mandatory contraction of oe in certain words (sœur "sister" , œuvre "work [of art]" , cœur "heart" , cœlacanthe "Coelacanth" ), sometimes in words of Greek origin, spelled with an οι diphthong which became oe in Latin, pronounced in French (and other Romance languages): œsophage , œnologie . It may also appear in œu digraph (or œ alone in œil "eye"), in words that were once written with eu digraph (which could be read or , depending on the word): bœuf "ox" (Old French buef or beuf), mœurs "custom", œil "eye" , etc. In these cases, the Latin etymon must be spelled with an o where the French word has œu: bovem > bœuf, mores > mœurs, oculum > œil. Some attempts have been made to reform French spelling, but few major changes have been made over the last two centuries.

Some common phrases

- French: français ("fran-seh")
- hello: bonjour ("bon-zhoor")
- I love you.: Je t'aime. ("jhe tem")
- My name is _____: Je m'appelle _____ ("jhe-ma-pelle")
- good-bye: au revoir ("o-ruh-vwar")
- please: s'il vous plaît (Literally: if it please you) ("sill voo pleh")
- thank you: merci ("mairr-see")
- you are welcome: de rien (Literally: Of nothing) ("duh ryeh"), je vous en prie, il n'y a pas de quoi (France); bienvenue ("byeh-venuh") (Quebec)
- that one: celui-là ("su-lwee la"), colloq. ("swee la"), or celle-là (feminine) ("cell-la")
- how much?: combien? ("kom-byen")
- English: anglais ("ahng-gleh")
- yes: oui ("wee"), colloq. ouais (seldom written) ("way")
- no: non ("non")
- I am sorry: Je suis désolé(e). (add the "e" if the speaker is feminine); ("zhahn swee deh-zo-leh"), colloq. ("shswee deh-zo-leh"). Pardon ("par-dohn")
- I do not understand: Je ne comprends pas. ("zhuh nuh comprahn pa"), colloq. Je comprends pas (with dropping of "ne") ("shcomprahn pa")
- Where are the toilets?: Où sont les toilettes ? ("oo son leh twa-let")
- Cheers (toast to someone's health): Tchin ("chin"), Santé ("san-teh") or À la vôtre ("a la votr")
- Do you speak English?: Parlez-vous anglais ? ("par-leh voo ang-gleh") OR "Est-ce que vous parlez anglais?" ("voo par-leh ang-leh")
- Excuse me: Excusez-moi. ("eh-skyu-zay mwa")
- Good night: Bonne nuit ("bun nwee")
- Hi!: Salut ! ("sal-oo")
- I am tired: Je suis fatigué(e). (add the "e" if the speaker is feminine) ("jhe swee fah-tee-gay")
- Are you coming?: Venez vous ?, Est-ce que vous venez ? (or with close friends and relatives: tu viens?)
- I am thinking about it: J'y pense. ("jhee pahnss")
- I am going to the grocery store: Je vais à l'épicerie. ("jhe vay a lay-pee-ser-ee")
- We are going to school: On va à l'école. (colloquial) ("ohn va a lay-cohl")
- She is so pretty.: Elle est si jolie. ("el ay see jho-lee")
- our neighbors to the South: Nos voisins du sud ("noh vwah-zen due sued")
- Could you help me?: Pourriez-vous m'aider ? ("poo-ree-ay voo may-day")
- May I help you?: Puis-je vous aider? ("pwee-jha voo zay-day")
- It is the best of worlds: C'est le meilleur des mondes. ("say le may-yuhr day mohnd")
- Go to bed!: Va te coucher ! ("vah te coo-shay")
- I'm watching TV.: Je regarde la télé. ("jhe re-gard lah tay-lay")
- Wikipedia, the free encyclopedia: Wikipédia, l'encyclopédie libre. ("wee-kee-pay-dee-ah, lahns-ee-kloh-pay-dee lee-bruh")
- I am the state.: L'État, c'est moi. ("leh-tah seh-mwa")

External links

-
- [http://www.dicts.info/dictlist1.php?k1=33 All free French dictionaries] Collection of free French dictionaries.
- [http://www.declan-software.com/french French language learning audio software]
- [http://www.window.to/french/ Learn French online]
- [http://www.academie-francaise.fr/ Académie Française]
- [http://french.about.com/library/begin/bl_begin_vocab.htm Beginning French Vocabulary]
- [http://radio-canada.ca/education/francaismicro/ Capsules linguistiques - Radio-Canada.ca]
- [http://www.moelc.moe.edu.sg/french/ Département de Français, Ministry of Education Language Centre, Singapore]
- [http://www.ethnologue.com/show_language.asp?code=fra Ethnologue report for French]
- [http://www.sprachprofi.de.vu/english/f.htm Free online resources for learners]
- [http://www.lexilogos.com/french_language_dictionary.htm French-English : all online dictionaries]
- [http://www.jump-gate.com/languages/french/ French Language Course]
- [http://www.ielanguages.com/french.html French Language Tutorial at ielanguages.com]
- [http://www.intuxication.org/~webtypo/le_francais_facile.htm Le français facile]
- [http://portal.wikinerds.org/rapidfrench How to learn French in 10 months]
- [http://dhost.info/defu/wiki/index.php?id=French_accentuation_rules Basic tips of French accentuation]
- [http://www.languagehelpers.com/words/french/basics.html LanguageHelpers]
- [http://www.lightandmatter.com/french/ Liberté, an online first-year French textbook]
- [http://www.listenandlearn.org/learn/french/index.php Learn French by reading and listening]
- [http://www.how-to-learn-any-language.com/e/languages/french/index.html A profile of the French language]
- [http://dhost.info/defu/wiki/index.php?id=Virtual_French_Keyboard A virtual French keyboard]
- [http://linearb.co.uk:8080/memory/ Searchable French-English dictionary, with example sentences]
- [http://atilf.atilf.fr/ Le Trésor de la Langue Française informatisé] (very comprehensive)
- [http://truckspeak.monsite.wanadoo.fr Truck Drivers' French - English, English - French Dictionary]
- [http://www.loecsen.com/travel/discover_pop.php?lang=en&to_lang=3&learn-French/ Listen to useful French expressions]
- [http://www.FrenchLanguageTips.com/ Learn French Fast & Easy]
- [http://www.wordreference.com/ Wordreference.com dictionary]
- [http://www.my-french-dictionary.com/ My French Picture Dictionary] Category:French language Category:Oïl languages Category:Languages of Belgium Category:Languages of Canada Category:Languages of France Category:Languages of Luxembourg Category:Languages of Switzerland Category:Languages of French Guiana Category:Languages of Morocco Category:Languages of French Polynesia Category:Languages of Wallis and Futuna Category:Languages of New Caledonia Category:Synthetic languages Category:Guttural R als:Französische Sprache zh-min-nan:Hoat-gí ko:프랑스어 ja:フランス語 simple:French language th:ภาษาฝรั่งเศส

William Shakespeare

, artist and authenticity unconfirmed.]] William Shakespeare (baptised April 26, 1564 – died April 23, 1616) was an English poet and playwright. Shakespeare has the reputation of one of the greatest writers in the English language and in Western literature, as well as one of the world's preeminent dramatists. Indeed, some critics have raised their praise of him to the level of bardolatry. Shakespeare wrote his works between 1586 and 1616, although the exact dates and chronology of the plays attributed to him are often uncertain. Shakespeare is among the very few playwrights who have excelled in both tragedy and comedy, and his plays combine popular appeal with complex characterisation, poetic grandeur and philosophical depth. Shakespeare's works have been translated into every major living language, and his plays are continually performed all around the world. In addition, quotations from his plays have passed into everyday usage in many languages. Over the years, many people have speculated about Shakespeare's life, raising questions about his sexuality and debating whether someone else wrote his plays and poetry.

Life

Early life

Shakespeare (also spelled Shakspere, Shaksper, and Shake-speare, due to the fact that Elizabethan spelling was very erratic) was born in and lived on Henley Street, in Stratford-upon-Avon, Warwickshire, England, in April 1564, the son of John Shakespeare, a successful tradesman and alderman, and of Mary Arden, a daughter of the gentry. Shakespeare's baptismal record dates to April 26 of that year. Because baptisms were performed within a few days of birth, tradition has settled on April 23 as his birthday. This date provides a convenient symmetry because Shakespeare died on the same day in 1616. As the son of a prominent town official, Shakespeare was entitled to attend King Edward VI Grammar School in central Stratford, which may have provided an intensive education in Latin grammar and literature. Also, mainstream scholars assume that Shakespeare was a student at the Stratford Free School, since he would have been entitled to attend it, and textbooks used at the Stratford Free School are alluded to in the plays. At the age of 18, he married Anne Hathaway, who was 26, on November 28, 1582 at Temple Grafton, near Stratford. Two neighbours of Anne posted bond that there were no impediments to the marriage. There appears to have been some haste in arranging the ceremony, presumably due to the fact that Anne was three months pregnant. Temple Grafton After his marriage, William Shakespeare left few traces in the historical record until he appeared on the London theatrical scene. Indeed, the late 1580s are known as Shakespeare's "Lost Years" because no evidence has survived to show exactly where he was or why he left Stratford for London. On May 26, 1583, Shakespeare's first child, Susannah, was baptised at Stratford. A son, Hamnet, and a daughter, Judith, were baptised on February 2, 1585.

Later years

1585 Shakespeare's last two plays were written in 1613, after which he appears to have retired to Stratford. He died on April 23, 1616, at the age of 52. He remained married to Anne until his death and was survived by his two daughters, Susannah and Judith. Susannah married Dr John Hall, but there are no direct descendants of the poet and playwright alive today. Shakespeare is buried in the chancel of Holy Trinity Church in Stratford-upon-Avon. He was granted the honour of burial in the chancel not on account of his fame as a playwright but for purchasing a share of the tithe of the church for £440 (a considerable sum of money at the time). A bust of him placed by his family on the wall nearest his grave shows him posed in the act of writing. Each year on his claimed birthday, a new quill pen is placed in the writing hand of the bust. He is believed to have written the epitaph on his tombstone: :Good friend, for Jesus' sake forbear, :To dig the dust enclosed here. :Blest be the man that spares these stones, :But cursed be he that moves my bones.

Works

Plays

A number of Shakespeare's plays have the reputation of being among the greatest in the English language and in Western literature. His plays cover tragedy, history, and comedy and have been translated into every major living language, in addition to being continually performed all around the world. As was normal in the period, Shakespeare based many of his plays on the work of other playwrights and recycled older stories and historical material. For example, Hamlet (c. 1601) is probably a reworking of an older, lost play (the so-called Ur-Hamlet), and King Lear is an adaptation of an older play, King Leir. For plays on historical subjects, Shakespeare relied heavily on two principal texts. Most of the Roman and Greek plays are based on Plutarch's Parallel Lives (from the 1579 English translation by Sir Thomas North), and the English history plays are indebted to Raphael Holinshed's 1587 Chronicles. Shakespeare's plays tend to be placed into three main stylistic groups: his early comedies and histories (such as A Midsummer Night's Dream and Henry IV, Part 1), his middle period (which includes his most famous tragedies, Othello, Macbeth, Hamlet, and King Lear), and his other romance, The Merchant of Venice and Romeo and Juliet.later romances (such as The Winter's Tale and The Tempest). The earlier plays tend to be more light-hearted, while the middle-period plays tend to be darker, addressing such issues as betrayal, murder, lust, power, and egotism. By contrast, his late romances feature a redemptive plotline with a happy ending and the use of magic and other fantastical elements. However, the borders between these groups are extremely blurry. Some of Shakespeare's plays first appeared in print as a series of quartos, but most remained unpublished until 1623 when the posthumous First Folio was published. The traditional division of his plays into tragedies, comedies, and histories follows the logic of the First Folio. However, modern criticism has labelled some of these plays "problem plays" as they elude easy categorisation, or perhaps purposefully break generic conventions, and has introduced the term "romances" for the later comedies. There are many controversies about the exact chronology of Shakespeare's plays. In addition, the fact that Shakespeare did not produce an authoritative print version of his plays during his life accounts for part of the textual problem often noted with his plays, which means that for several of the plays there are different textual versions. As a result, the problem of identifying what Shakespeare actually wrote became a major concern for most modern editions. Textual corruptions also stem from printers' errors, compositors' misreadings or wrongly scanned lines from the source material. Additionally, in an age before standardised spelling, Shakespeare often wrote a word several times in a different spelling, contributing further to the transcribers' confusions. Modern scholars also believe Shakespeare revised his plays throughout the years, sometimes leading to two existing versions of one play.

Sonnets

Shakespeare's sonnets are a collection of 154 poems that deal with such themes as love, beauty, politics, and mortality. All but two first appeared in the 1609 publication entitled Shakespeare's Sonnets; numbers 138 ("When my love swears that she is made of truth") and 144 ("Two loves have I, of comfort and despair") had previously been published in a 1599 miscellany entitled The Passionate Pilgrim. The conditions under which the sonnets were published is unclear. The 1609 text is dedicated to one "Mr. W. H.", who is described as "the only begetter" of the poems by the publisher Thomas Thorpe. It is not known who this man was although there are many theories. In addition, it is not known whether the publication of the sonnets was authorised by Shakespeare. The poems were probably written over a period of several years.

Other poems

In addition to his sonnets, Shakespeare also wrote several longer narrative poems, Venus and Adonis, The Rape of Lucrece and A Lover's Complaint. These poems appear to have been written either in an attempt to win the patronage of a rich benefactor (as was common at the time) or as the result of such patronage. For example, The Rape of Lucrece and Venus and Adonis were both dedicated to Shakespeare's patron, Henry Wriothesley, 3rd Earl of Southampton. In addition, Shakespeare wrote the short poem The Phoenix and the Turtle. The anthology The Passionate Pilgrim was attributed to him upon its first publication in 1599, but in fact only five of its poems are by Shakespeare and the attribution was withdrawn in the second edition.

Style

Shakespeare's impact on modern theatre cannot be overestimated. Not only did Shakespeare create some of the most admired plays in Western literature, he also transformed English theatre by expanding expectations about what could be accomplished through characterisation, plot, action, language and genre. His poetic artistry helped raise the status of popular theatre, permitting it to be admired by intellectuals as well as by those seeking pure entertainment. Theatre was changing when Shakespeare first arrived in London in the late 1580s or early 1590s. Previously, the commonest forms of popular English theatre were the Tudor morality plays. These plays, which blend piety with farce and slapstick, were allegories in which the characters are personified moral attributes who validate the virtues of Godly life by prompting the protagonist to choose such a life over evil. The characters and plot situations are symbolic rather than realistic. As a child, Shakespeare would likely have been exposed to this type of play (along with mystery plays and miracle plays). Meanwhile, at the universities, academic plays were being staged based on Roman closet dramas. These plays, often performed in Latin, used a more exact and academically respectable poetic style than the morality plays, but they were also more static, valuing lengthy speeches over physical action. By the late 1500s the popularity of morality and academic plays waned as the English Renaissance took hold, and playwrights like Thomas Kyd and Christopher Marlowe began to revolutionize theatre. Their plays blended the old morality drama with academic theatre to produce a new secular form. The new drama had the poetic grandeur and philosophical depth of the academic play and the bawdy populism of the moralities. However, it was more ambiguous and complex in its meanings, and less concerned with simple moral allegories. Inspired by this new style, Shakespeare took these changes to a new level, creating plays that not only resonated on an emotional level with audiences but also explored and debated the basic elements of what it meant to be human.

Reputation

Shakespeare's reputation has grown considerably since his own time. During his lifetime and shortly after his death, Shakespeare was well-regarded but not considered the supreme poet of his age. He was included in some contemporary lists of leading poets, but he lacked the stature of Edmund Spenser or Philip Sidney. After the Interregnum stage ban of 1642–60, the new Restoration theatre companies had the previous generation of playwrights as the mainstay of their repertory, most of all the phenomenally popular Beaumont and Fletcher team, but also Ben Jonson and Shakespeare. As with other older playwrights, Shakespeare's plays were mercilessly adapted by later dramatists for the Restoration stage with little of the reverence that would later develop. Beginning in the late 17th century, Shakespeare began to be considered the supreme English-language playwright (and, to a lesser extent, poet). Initially this reputation focused on Shakespeare as a dramatic poet, to be studied on the printed page rather than in the theatre. By the early 19th century, though, Shakespeare began hitting peaks of fame and popularity. During this time, theatrical productions of Shakespeare provided spectacle and melodrama for the masses and were extremely popular. Romantics critics such as Samuel Taylor Coleridge then raised admiration for Shakespeare to adulation or bardolatry (from bard + idolatry), in line with the Romantic reverence for the poet as prophet and genius. In the middle to late 19th century, Shakespeare also became an emblem of English pride and a "rallying-sign", as Thomas Carlyle wrote in 1841, for the whole British empire. This reverence has of course provoked a negative reaction. In the 21st century most inhabitants of the English-speaking world encounter Shakespeare at school at a young age, and there is a common association of his work with boredom and incomprehension. At the same time, Shakespeare's plays remain more frequently staged than the works of any other playwright and are frequently adapted into film. See also: Timeline of Shakespeare criticism

Speculations about Shakespeare

Identity

Over the years such figures as Walt Whitman, Mark Twain, Henry James, and Sigmund Freud have expressed disbelief that the man from Stratford-upon-Avon actually produced the works attributed to him. These claims necessarily rely on conspiracy theories to explain the lack of direct historical evidence for them, although their advocates also point to evidentiary gaps in the orthodox history. Most professional scholars consider the argument baseless, and attribute the debate to the scarcity and ambiguity of many of the historical records of Shakespeare's life. Edward de Vere, the 17th Earl of Oxford, an English nobleman and intimate of Queen Elizabeth, became the most prominent alternative candidate for authorship of the Shakespeare canon, after having been identified in the 1920s. Oxford partisans note the similarities between the Earl's life, and events and sentiments depicted in the plays and sonnets. The principal hurdle for Oxfordian theory is the evidence that many of the Shakespeare plays were written after their candidate's death, but well within the lifespan of William Shakespeare. Christopher Marlowe is considered by some to be the most highly qualified to have written the works of Shakespeare. It has been speculated that Marlowe's recorded death in 1593 was faked for various reasons and that Marlowe went into hiding, subsequently writing under the name of William Shakespeare. A related question in mainstream academia addresses whether Shakespeare himself wrote every word of his commonly accepted plays, given that collaboration between dramatists routinely occurred in the Elizabethan theatre. Serious academic work continues to attempt to ascertain the authorship of plays and poems of the time, both those attributed to Shakespeare and others.

Sexuality

The content of Shakespeare's works has raised the question of whether he may have been bisexual. It should be noted that the question of whether an Elizabethan was "gay" in a modern sense is anachronistic, as the concepts of homosexuality and bisexuality did not emerge until the 19th century; while sodomy was a crime in the period, there was no word for an exclusively homosexual identity (see History of homosexuality). Elizabethans also frequently wrote about friendship in more intense language than is common today. Although twenty-six of the sonnets are love poems addressed to a married woman (the "Dark Lady"), one hundred and twenty-six are addressed to a young man (known as the "Fair Lord"). The amorous tone of the latter group, which focus on the young man's beauty, has been interpreted as evidence for Shakespeare's bisexuality, although others interpret them as referring to intense friendship, not sexual love. Another explanation is that the poems are not autobiographical, but mere fiction, so that the "speaker" of the Sonnets should not be simplistically identified with Shakespeare himself. Despite these alternative interpretations, many readers have suspected otherwise. For example, in 1954, C.S. Lewis wrote that the sonnets are "too lover-like for ordinary male friendship" (although he added that they are not the poetry of "full-blown pederasty") and that he "found no real parallel to such language between friends in the sixteenth-century literature" . Some readers have found similar evidence in the plays. The most commonly cited example is a number of comedies such as Twelfth Night and As You Like It, which contain comic situations in which a woman poses as a man, a device that exploits the fact that in Shakespeare's day women's roles were played by boys. While the situations thus presented are heterosexual in terms of the story, the stage image of men wooing and kissing may well have been titillating to those of a homosexual orientation, and while other dramatists occasionally used the same device, Shakespeare seems to have had an exceptional preference for it, using it in five of his plays.

Bibliography

Comedies

- The Tempest
- The Two Gentlemen of Verona
- The Merry Wives of Windsor
- Measure for Measure
- The Comedy of Errors
- Much Ado About Nothing
- Love's Labour's Lost
- A Midsummer Night's Dream
- The Merchant of Venice
- As You Like It
- Taming of the Shrew
- All's Well That Ends Well
- Twelfth Night or What You Will
- The Winter's Tale
- Pericles, Prince of Tyre
- The Two Noble Kinsmen

Histories

- King John
- Richard II
- Henry IV, part 1
- Henry IV, part 2
- Henry V
- Henry VI, part 1
- Henry VI, part 2
- Henry VI, part 3
- Richard III
- Henry VIII

Tragedies

- Troilus and Cressida
- Coriolanus
- Titus Andronicus
- Romeo and Juliet
- Timon of Athens
- Julius Caesar
- Macbeth
- Hamlet
- King Lear
- Othello
- Antony and Cleopatra
- Cymbeline

Lost plays

- Love's Labour's Won
- Cardenio

Poems

- Shakespeare's Sonnets
- Venus and Adonis
- The Rape of Lucrece
- The Passionate Pilgrim
- The Phoenix and the Turtle
- A Lover's Complaint

Apocrypha

- Edward III
- Sir Thomas More

Notes

# [http://shakespeareauthorship.com/name1.html The Spelling and Pronunciation of Shakespeare's Name by David Kathman]. Accessed 10/22/05. # [http://www.perseus.tufts.edu/JC/plutarch.north.html Plutarch's Parallel Lives]. Accessed 10/23/05. # Shakespeare's Reading by Robert S. Miola, Oxford University Press, 2000. # Ibid. # [http://www.findarticles.com/p/articles/mi_qa3709/is_199810/ai_n8827074 Was Shakespeare gay? Sonnet 20 and the politics of pedagogy.]

External links

- [http://www.opensourceshakespeare.org Open Source Shakespeare]
- [http://www.cummingsstudyguides.net/xShakeSph.html#top Study Guides for all the plays and poems]
- [http://www.bl.uk/treasures/shakespeare/homepage.html British Library; Original 93 copies in quarto]
- [http://william-shakespeare.classic-literature.co.uk/ Classic-literature.co.uk ]
-
- [http://onlinebooks.library.upenn.edu/webbin/book/search?author=Shakespeare%2C+William Upenn.edu online books page for Shakespeare]
- [http://www.shakespeare-literature.com Chapter-indexed, searchable versions of Shakespeare's works]
- [http://www.touchstone.bham.ac.uk/index.html Touchstone - UK Shakespeare collections]
- [http://shakespeare-1.com/doubtful/ Full text of plays erroneously attributed to Shakespeare]
- [http://literalsystems.com/abooks/doku.php?id=author:shakespeare_william "Sonnets 29, 40, 55, 100, 106, 116" Creative Commons audio recording.]
- [http://shakespeare.nowheres.com/ The original shakespeare.com]
- [http://www.cosmoetica.com/S3-DES3.htm Essay on Shakespeare and Wallace Stevens]
- [http://wiredforbooks.org/shakespeare/ Shakespeare's plays and poems in audio and video]
- [http://digital.library.wisc.edu/1711.dl/IllusShake The Illustrated Shakespeare]
- [http://shakespeareforums.com William Shakespeare Forums]
- [http://www.shakespeare-online.com/ Shakespeare Online]
- [http://news.nationalgeographic.com/news/2004/04/0419_040419_shakespeare.html National Geographic Article About Shakespeare's Coinages] ko:윌리엄 셰익스피어 ms:William Shakespeare ja:ウィリアム・シェイクスピア simple:William Shakespeare th:วิลเลียม เชกสเปียร์

Category:Compositions by Hector Berlioz

Berlioz

Category:Symphonies

See: Symphony. Category:Musical compositions Category:Classical music ja:Category:交響曲 ko:Category:교향곡

Ace of the Pile

Aces Up (also known as Idiot's Delight, Once in a Lifetime or Ace of the Pile) is a solitaire card game using a deck of 52 playing cards. One advantage this game has is the minimal use of space; one can even play this game on an area as small as an encyclopedia volume cover. Game starts with four cards dealt in a tableau. Then the player searches for two or more cards with the same suit. If two cards of the same suit are found, only the lower card is discarded and the higher one retained. If three or four cards of the same suit are found, all are discarded except the highest one. Aces are considered high in this game and only the top card of each of the four piles are in play. Example: 5♥, 7♠, 8♥, 10♣. 5♥ is removed because it is lower than 8♥. Any empty piles are filled from any top card of the other three piles. However, if there are three cards currently in play, gaps are filled with cards from the stock. If none of the cards have the same suit, a new card is dealt onto each pile. The removal of lower cards from the same suit and addition of new cards continue until the stock runs out. The game is won when all four aces remain in the tableau with all other cards discarded. The game is lost however when there are still cards on the tableau other than the four aces. Category:Solitaire card games

Malaga accommodation programy p2p Black-Breath prace magisterskie penisy

:: RELATED NEWS ::

Body Snatchers
Invasion of the Body Snatchers is a 1956 science fiction film. It stars Kevin McCarthy, Dana Wynter, King Donovan and Carolyn Jones and is based on the novel The Body Snatchers by Jack Finney. The film has been remade a nu

Chalk Farm tube station
Chalk Farm tube station is a London Underground station near Camden Town in London. The station is on the Edgware branch of the Northern Line, between Camden Town and Belsize Park stations, and in German sounding name, Liederkranz cheese was a United States innovation, a recreation of Limburger cheese that was subtly different because the bacterial culture that ripened it was not the same. Liederkranz is an extinct cheese. Like almost every American cheese, Liederkranz was a cow's milk<

Xerox Development Environment
The Xerox Development Environment was one of the first Integrated Development Environments. It was first implemented on the Xerox Alto in 1977.

External links

- [http://www.apearson.f2s.com/xde.html The Xerox Development Environment (XDE)]
- [h

List of New Zealand tertiary students' associations
The following is a list of New Zealand Tertiary (University and Polytechnic) Student's Associations: University Student Associations:
- Auckland University of Technology : AUSM
- Massey University : MUSA
- Victoria University of Wellington : VUWSA (Neolithic communities who lived in the Yiluo river valley in Henan Province, China. The culture existed from 7000 BC to 5000 BC. Over 70 sites have been identified with the Peiligang culture. The culture is named after the site discovered in 1977 at Peiligang. Archaelogists believe that the Peiligang culture was egalitarian

Epsilon Minus
Epsilon Minus can refer to the lowest caste in Aldous Huxley's Brave New World Epsilon Minus is a successful Canadian EBM/techno/trance band formed in 2000 by Bogart Shwadchuck and

Auckland uni
The University of Auckland is New Zealand's largest research-based university. Established in 1883 as the third constituent college of the University of New Zealand, the university is now made up of eight faculties over six campuses, and has more than 33,500 students. It is a research-led University that tops the 2003 Performance Based Research Fund (PBRF) exercise conducted by the government that evaluates the quality of researchers and r

Claudio Magris
Claudio Magris (born in Trieste April 10 1939) is an Italian scholar, translator and writer. He has studied Germanistics and graduated from the University of Turin. He is professor of Modern German Literature at the University of Trieste since 1978. He is an essayist and columnist for the Italian newspaper Corriere della Sera and other European journals and newspapers. His numerous studies have helped promote an

Mineriad
The Mineriad (Mineriada in Romanian) is a parody term following the names of classic events like the Olympics (Olimpiada in Romanian) or the Crusades (Cruciada in Romanian) representing a gathering of people with a usually honourable goal. In the case of the Mineriads, the Romanian miners of Jiu Valley were deceived by occult networks that "foreign forces were trying to compromise the Roman

Romeo et Juliette

French language

History

The Roman invasion of Gaul

The Franks

Langue d'Oïl

Other linguistic groups

History of French

Modern issues

Geographic distribution

Legal status in France

Legal status in Canada

Legal status in Switzerland

Dialects of French

Languages derived from French

Sounds

Grammar

Vocabulary

Word origins

Levels of register

Counting system

Writing system

Some common phrases

See also

External links

William Shakespeare

Life

Early life

Later years

Works

Plays

Sonnets

Other poems

Style

Reputation

Speculations about Shakespeare

Identity

Sexuality

See also

Bibliography

Comedies

Histories

Tragedies

Lost plays

Poems

Apocrypha

Notes

Further reading

External links

Category:Compositions by Hector Berlioz

Category:Symphonies

Ace of the Pile

See also

External links