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1. Green-Eyed Monster: ¼µ¶Ê

How Shakespeare used it:
The evil Iago plants doubts in Othello's mind about his wife's faithfulness, while advising him, "O, beware, my lord, of jealousy! / It is the green-eyed monster which doth mock / The meat it feeds on." (Othello, Act 3, Scene 3)
ɯʿ±ÈÑÇÔ­ÎÄ£ºÐ°¶ñµÄÒÁ°¢¹ÅÈðÂÈüÂÞ¶ÔÆÞ×ÓµÄÖÒÐÄÆðÁËÒÉÐÄ£¬ÌáÐÑËû˵£¬“àÞ£¬´óÈË£¬ÒªÐ¡Ðļµ¶ÊÖ®ÐÄ£¡ÄÇ¿ÉÊÇÒ»Ö»ÂÌÑÛµÄÑýħ£¬Ëü¹ßÓÚˣŪצϵÄÁÔÎï¡£”£¨¡¶°ÂÈüÂÞ¡·£¬µÚ3Ä»µÚ3³¡£©

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".... if jealousy wasn't a factor, three out of every four married people were highly satisfied with the emotional facets of their marriage. However, when the 'green-eyed monster' entered the mix, levels of satisfaction dropped to less than half for married folk." — Michelle Lodge, HealthDay.com, Feb. 12, 2010

2. In a Pickle: ´¦ÓÚÀ§¾³

How Shakespeare used it:
In The Tempest, King Alonso asks his jester, Trinculo, "How camest thou in this pickle?" And the drunk Trinculo – who has indeed gotten into trouble – responds "I have been in such a pickle since I saw you last ..." (Act 5, Scene 1)
ɯʿ±ÈÑÇÔ­ÎÄ£ºÔÚ¡¶±©·çÓê¡·ÖУ¬ÄDz»ÀÕ˹¹úÍõ°¢ÀÊË÷ÎÊËûµÄŪ³¼ÌØÁÖð¯ÂÞ£¬“ÄãÔõôÈÃ×Ô¼ºµ½Õâ°ã¾³µØÁË£¿”µÄÈ·ÉîÏÝÀ§¾³ÇÒÒÑÀÃ×íµÄÌØÁÖð¯Â޻شð˵£º“ÎÒ×Ô´ÓÉϴβμû¹ýÄúÖ®ºó¾ÍÒ»Ö±´¦ÓÚÕâ°ã¾³µØÁË…”£¨µÚ5Ä»µÚ1³¡£©

One theory has it that the phrase in a pickle entered English from an old Dutch expression that translates as something like "sit in the pickle".
ÓÐÒ»ÖÖ˵·¨ÈÏΪin a pickleÕâ¸ö¶ÌÓïÀ´Ô´ÓÚÒ»¸ö¹Å´úµÄºÉÀ¼Óï±í´ï£¬ÀàËÆÓÚ“×øÔÚÏ̲˸הÀïÕâÑùÒ»¸ö˵·¨¡£

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"Has the NYT got itself into a pickle over digital editions on Kindle and iPad?" — adamhodgkin on Twitter, May 6, 2010

3. Love Is Blind: °®ÊÇäĿµÄ

This phrase has more than one meaning: we overlook flaws in those we love (that's good), but love can blind us to serious issues (that's bad).
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How Shakespeare used it:
In The Merchant of Venice, Jessica is shy about her beloved Lorenzo seeing her disguised as a boy, but recognizes that it won't affect his love for her, saying, "But love is blind and lovers cannot see / The pretty follies that themselves commit ..." (Act 2, Scene 6)
ɯʿ±ÈÑÇÔ­ÎÄ£ºÔÚ¡¶ÍþÄá˹ÉÌÈË¡·ÖУ¬½ÜÎ÷¿¨²»ºÃÒâ˼ÈÃÉî°®µÄÂÞÂ××ô¿´µ½Ëýαװ³ÉÒ»¸öÄк¢£¬²»¹ýÒ²Òâʶµ½Õâ²¢²»·Á°­Ëû°®Ëý£¬Ëý˵£¬“¿É°®ÇéÊÇäĿµÄ£¬°®ÂÂÃÇ¿´²»µ½ËûÃÇ×Ô¼º·¸ÏµÄÄÇЩÃÀÀöÓÖÓÞ´ÀµÄ´íÎ󅔣¨µÚ2Ä»£¬µÚ6³¡£©

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"Jonathan Rhys Meyers thinks love is blind. The actor ... thinks it is easy to fall for someone without knowing much about them, just like his alter-ego does...." — ShowbizSpy.com, Feb. 7, 2010

4. Salad Days: Ò»¸öÈ˵ÄÇà´ºÄêÉÙʱ¹â

How Shakespeare used it:
In Antony and Cleopatra, Cleopatra recalls her relationship with Julius Caesar that occurred during, "My salad days, / When I was green in judgment...." (Act 1, Scene 5)
ɯʿ±ÈÑÇÔ­ÎÄ£ºÔÚ¡¶°²¶«ÄáÓë¿ËÀò°ÂÅåÌØÀ­¡·ÖУ¬¿ËÀò°ÂÅåÌØÀ­»ØÒäÆðËýÓë¿­ÈöµÄÄÇÒ»¶Î¸ÐÇéÔÚ“ÎÒÇà´ºÄêÉÙµÄʱ¹â£¬ÎÒ»¹²»Ì«»á¿´È˵Äʱºò…”£¨µÚ1Ä»µÚ5³¡£©

Originally, English speakers used salad days with Cleopatra's meaning: a time of youthful inexperience or indiscretion. These days, however, it usually means "an early flourishing period" – in other words, a heyday.
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"I know there are some people who still think this show is good, or watchable.... Just because there are a few cool things left from the salad days doesn't mean Heroes isn't a mess." — Darren Franich, EntertainmentWeekly.com, Nov. 10, 2009

5. Wear My Heart on My Sleeve: ¹«¿ª±í´ï¸ÐÇé

How Shakespeare used it:
Discussing his planned betrayal of Othello, the villain Iago says, "But I will wear my heart upon my sleeve / For daws to peck at: I am not what I am." (Othello, Act 1, Scene 1)
ɯʿ±ÈÑÇÔ­ÎÄ£ºÔÚ˵µ½¶Ô°ÂÈüÂ޵ı³ÅѼƻ®Ê±£¬Ð°¶ñµÄÒÁ°¢¹Å˵£¬“¿ÉÊÇÎһ᳨¿ªÐÄì飬ÈÃÄñ¶ùËæÒâ·­×Ä£ºÎÒ²¢²»ÊÇÄãÃÇ¿´µ½µÄÎÒ¡£”£¨¡¶°ÂÈüÂÞ¡·£¬µÚ1Ä»µÚ1³¡£©

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"I wear my heart on my sleeve and confessed my true feelings to a man who did not reciprocate. Now I am free to move on ..." — Daydreamin on Twitter, Mar. 12, 2010


6. There's the Rub: Õâ¾ÍÊÇÎÊÌâËùÔÚ

How Shakespeare used it:
In Hamlet's famous "To be or not to be" soliloquy, "ay, there's the rub" is the tormented prince's acknowledgement that death may not end his difficulties because the dead may perhaps still be troubled by dreams. (Hamlet, Act 3, Scene 1)
ɯʿ±ÈÑÇÔ­ÎÄ£ºÔÚ¡¶¹þÄ·À×ÌØ¡·ÄǾäÖøÃûµÄ“Éú´æ»òÕßËÀÍö”¶À°×ÖУ¬“°¦£¬Õâ¾ÍÊÇÎÊÌâËùÔÚ”±íʾ±¥ÊÜÕÛÄ¥µÄÍõ×ÓÈÏʶµ½£¬ËÀÍö²¢²»ÄܽáÊøËûµÄÍ´¿à£¬ÒòΪËÀÈË¿ÉÄÜÈÔÈ»»á±»Ãξ³À§ÈÅ¡££¨¡¶¹þÄ·À×ÌØ¡·£¬µÚ3Ä»µÚ1³¡£©

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"There's the rub. What does a progressive institution like Smith [College] do when Barbara decides to become Bert? It's a problem." — Roger Kimball, The New Criterion, May 2005

7. Cruel to Be Kind: ÒªÏëÉÆÁ¼£¬±ØÏȲÐÈÌ£»ÖÒÑÔÄæ¶ú

How Shakespeare used it:
"I must be cruel only to be kind; / Thus bad begins, and worse remains behind," says the tormented Hamlet. He has just mistakenly killed Polonius, and it's clear that he doesn't know how bad things are going to get. (Hamlet, Act 3, Scene 4)
±¥ÊÜÕÛÄ¥µÄ¹þÄ·À×ÌØËµ£º“ÒªÏëÉÆÁ¼£¬±ØÏȲÐÈÌ£¬»µÊ¿ªÁËÍ·£¬¸üÔã¸âµÄ»¹ÔÚºóÃæ¡£”Ëû¸Õ¸ÕÎóɱÁ˲¨ÂåÄá¶ò˹£¬¶øÇÒºÜÃ÷ÏÔËû¸ù±¾²»ÖªµÀÊÂÇé»áÔã¸âµ½Ê²Ã´³Ì¶È¡££¨¡¶¹þÄ·À×ÌØ¡·£¬µÚ3Ä»µÚ4³¡£©

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"The government has portrayed the cull [of 400 kangaroos] as a necessary case of being cruel to be kind, but the international focus has been mostly on the cruelty." — Tim Johnston, New York Times, Mar. 14, 2008

8. Wild Goose Chase: ¸´ÔÓÓÖÎÞ¹ûµÄ׷Ѱ»òËÑË÷£»Í½ÀÍÎÞ¹û

How Shakespeare used it:
In Romeo and Juliet, Mercutio likens the rapid exchange of jokes between Romeo and himself to the cross-country horse race of Shakespeare's time, known as the wild goose chase, in which any number of riders tried to keep up with and accurately follow the lead rider's course:

"Nay, if our wits run the wild-goose chase, I am done; for thou / hast more of the wild goose in one of thy wits than, I am sure, I / have in my whole five." (Act 2, Scene 4)
ɯʿ±ÈÑÇÔ­ÎÄ£ºÔÚ¡¶ÂÞÃÜÅ·ÓëÖìÀöÒ¶¡·ÖУ¬Âí¿âÐÞ½«ËûºÍÂÞÃÜÅ·Ö®¼ä»úÖǵÄЦ»°±ÈÆ´±È×öɯʿ±ÈÑÇʱÆÚµÄ¿ç¾³ÈüÂí£¬¼´“×·Ò°¶ì”£¬±ÈÈüÖÐËùÓÐÆïÊÖ¶¼Òª¾¡Á¦×·Éϲ¢¾«×¼¸úËæÔÚÆïÊÖÁìÐäµÄÕóÐÍÖУº“²»Ðа¡£¬Èç¹ûÔÛÃÇÁ©µÄÖÇÉÌ±ÈÆ´Ïñ×·Ò°¶ìÄÇÑùµÄ»°£¬ÎÒ¾ÍÍêµ°ÁË£¬ÒòΪÄãÈκÎÒ»¸öÖÇ»ÛÕóÐÍÖеÄÒ°¶ì¶¼±ÈÎÒÈ«²¿5¸öÕóÐÍÀïµÄ¶à¡£”£¨µÚ2Ä»µÚ4³¡£©

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"Seriously just went on a wild goose chase for a place to study. Everything is packed so I found an empty classroom in the math building." — TheHeartquake on Twitter, May 11, 2009

9. Dogs of War: Õ½ÕùµÄ¿Ö¾åÖ®´¦

How Shakespeare used it:
In Julius Caesar, Act 3, Scene 1, a grief-stricken Mark Antony predicts that the instability following Caesar's murder will result in civil war: "Cry 'havoc!' And let slip the dogs of war!"

("Cry havoc" was the military order for soldiers to seize plunder from an enemy.)
ɯʿ±ÈÑÇÔ­ÎÄ£ºÔÚ¡¶¿­Èö´óµÛ¡·µÚ3Ä»µÚ1³¡ÖУ¬±¯É˹ý¶ÈµÄÂí¿Ë•°²¶«ÄáÔ¤ÑԳƣ¬¿­Èö´óµÛ±»Ä±É±ºóµÄ²»Îȶ¨¾ÖÊÆ»áµ¼ÖÂÄÚÕ½£º“ÏÂÁîÇÀ½Ù£¡ÈÃÕ½ÕùµÄ¿Ö¾åÁï×ß°É£¡”£¨Cry havocÊǾü¶ÓÖеÄÃüÁîÓÃÓָÏÂÁîÈÃÊ¿±ø´ÓµÐÈËÊÖÖÐÇÀÂÓ¡££©

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"If you doubt that Obama is about to let slip the dogs of war, you need only look back at what he said as a long-shot presidential hopeful in a controversial August 2007 foreign policy speech." — James Gordon Meek, New York Daily News, May 10, 2010

10. Strange Bedfellows: ²»¿ÉÄܽáÃ˵ÄÁ½¸öÈË£»Í¬´²ÒìÃÎ

How Shakespeare used it:
When Trinculo seeks shelter from a storm under the cloak of a creature he's very unsure about – he wonders if it's a man or a fish – he comments "misery acquaints a man with strange bed-fellows." (The Tempest, Act 2, Scene 2)
ɯʿ±ÈÑÇÔ­ÎÄ£ºÌØÁÖð¯ÂÞÔÚÒ»¸öËû²»ÖªÎªºÎÎïµÄÉúÎïµÄ¶·Åñ϶ã±Ü±©·çÓêʱ£¬Ëû²»ÖªµÀÄÇÊǸöÈË»¹ÊÇÌõÓ㣬Ëû˵£º“´¦ÓÚ±¯²Ò¾³µØ£¬ÈË¿ÉÒÔ¸úÈκζ«Î÷½á³ÉÁªÃË¡£”£¨¡¶±©·çÓê¡·£¬µÚ2Ä»µÚ2³¡£©

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"But there's another key reason Philip Morris lobbied hard for FDA regulation, aligning itself with strange bedfellows like the Campaign for Smoke-Free Kids [and] the American Lung Association ..." — Kate Pickert, Time, June 12, 2009


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