of, particular words and phrases in his lectures; it’s a way for him to make audible Shakespeare’s “funny ear,” “funny mind,” and “funny tongue” (“funny” carrying senses of idiosyncratic, playful, uncanny, queer). And Leinwand speaks grippingly about Berryman’s work on his never-completed edition of King Lear, including his long, carefully penned lists of Shakespearean coinages, and his elaborately evolved emendations—for instance, the case where, after much reflection, he finds behind Edgar’s speaking of his father as “poorlie, leed” (Q1A), “parti, eyed” (Q1B), and “poorely led” (Q2 and F), the lost original words, “My father, pearly-ey’d” (4–5). Berryman the fanatical editor becomes a mirror of Berryman the poet “collating bones.” Leinwand hints at what of Shakespeare—and of Shakespearean madness—is doubled in the poet’s frenzied, multiform annotations of his own dark dreams, his tracking in those dreams of “new readings, sophistications, inversions, equivalents, additions, strange variants, corrections, and corruptions” (131). Leinwand suggests that he wants to speak to “any reader” (11) of Shakespeare, even, perhaps, a “common reader” (65) (uncommon as his own writing readers are). At the same time, the idiosyncratic modes of study, response, appropriation, and instruction that he traces in his writers often speak very plainly to the particular work and methods of scholars, editors, and teachers of Shakespeare, even as he shows how that work can be animated by a kind of irregular, obsessive, or hallucinatory energy that puts such work in a different light. The book indeed evokes an orbit of possibilities, strange occasions, where the stakes of our professional work come into play and under scrutiny. I can see myself using the word “funny” a bit more frequently in my Shakespeare classes.

中文翻译：

---

迈克尔·安德雷格的林肯和莎士比亚

他讲课中的特定单词和短语；这是他使莎士比亚的“有趣的耳朵”、“有趣的头脑”和“有趣的舌头”（“有趣的”带有特殊的、俏皮的、不可思议的、奇怪的感觉）的一种方式。莱因万德 (Leinwand) 讲述了贝里曼 (Berryman) 在他从未完成的《李尔王》(King Lear) 中所做的工作，包括他精心编写的长长的莎士比亚硬币清单，以及他精心演变的修订——例如，经过多次反思，他发现埃德加的演讲背后的案例他父亲的“可怜，leed”（Q1A），“parti，eyed”（Q1B）和“poorely led”（Q2和F），丢失的原始词，“我的父亲，peelly-ey'd”（4 –5）。狂热的编辑贝里曼成为诗人“整理骨头”的一面镜子。莱因万德暗示莎士比亚——以及莎士比亚的疯狂——在诗人的疯狂中加倍了，他自己的黑暗梦的多种形式的注释，他在这些梦中的“新解读、复杂性、倒置、等效、添加、奇怪的变体、更正和损坏”（131）。莱因万德建议他想与莎士比亚的“任何读者”（11）交谈，甚至可能是“普通读者”（65）（他自己的写作读者并不常见）。与此同时，他在作家中所描绘的特殊的学习、反应、挪用和教学模式，经常非常清楚地说明莎士比亚的学者、编辑和教师的特定工作和方法，即使他展示了这些工作是如何工作的可以被一种不规则的、强迫性的或幻觉的能量所激发，使这种工作以不同的方式呈现。这本书确实唤起了一种可能性的轨道，奇怪的场合，我们专业工作的利害关系在这里发挥作用并受到审查。我可以看到自己在莎士比亚课上更频繁地使用“有趣”这个词。