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But even if we admit that Kutuzov and Tchitchagov and the others were responsible for the non-success of the Russians, it is still impossible to understand why, in the position the Russian troops were in at Krasnoe and the Berezina, on both occasions with numerically superior forces, the French army and marshals were not taken prisoners, if that really was the aim of the Russians.

然而，退一万步来说，让我们假定，俄国人的失误是库图佐夫和奇恰戈夫等人的罪过。然而仍然难于理解的是，为什么俄国军队在克拉斯诺耶和在别列济纳拥有那些条件（俄国军队在这两处均占据优势），而法国军队及其元帅们、王侯们和皇帝没有被俘获，而这又正是俄国人的目的，这又是什么原因呢？

And in a recent history inspired by promptings from the highest quarters, Kutuzov is spoken of as a designing, intriguing schemer, who was panic-stricken at the name of Napoleon, and guilty through his blunders at Krasnoe and Berezina of robbing the Russian army of the glory of complete victory over the French.

不久前，遵照最高当局旨意编写的历史，就说库图佐夫是一个老奸巨滑的宫廷骗子，连拿破仑这个名字都害怕，由于他在克拉斯诺耶和别列济纳的错误，使俄国军队失去了获得彻底胜利的荣誉①。

The French army went on melting away and disappearing in the same ratio from Moscow to Vyazma, from Vyazma to Smolensk, from Smolensk to the Berezina, from the Berezina to Vilna, apart from the greater or less degree of cold, the pursuit and barring of the way, and all other conditions taken separately.

从莫斯科到维亚济马，从维亚济马到斯摩棱斯克，从斯摩棱斯克到别列济纳，从别列济纳到维也纳，法军就是按照上述比例减员和毁灭的，法军的减员和毁灭与天气寒冷的程度、追击、道路阻障以及一切其他的条件无关。

Like a wild beast mortally wounded, bleeding and licking its wounds, for five weeks the French remain in Moscow, attempting nothing; and all at once, with nothing new to account for it, they flee back; they make a dash for the Kaluga road (after a victory, too, for they remained in possession of the field of battle at Maley Yaroslavets); and then, without a single serious engagement, fly more and more rapidly back to Smolensk, to Vilna, to the Berezina, and beyond it.

他们犹如受了致命伤的野兽，流着血，舔舐着伤口，五个星期呆在莫斯科毫无动静，突然，毫无缘由地向后逃跑；窜向卡卢日斯卡雅公路，同时，（在打了胜仗之后，因为小雅罗斯拉维茨城附近的战场对他们有利），一仗也不打地退得更快，退向斯摩棱斯克，退离斯摩棱斯克，逃至维尔纳，逃至别列济纳河，向更远的地方逃跑。

French philosopher Henri Bergson has said in an essay: In every wit there is something of a poet.

法国哲学家伯格森曾在一篇文章：在每一个智慧也有一些是一个诗人。

Ensemble GRENZENLOS is to bring us a number of music works which premiere in China, including Vortex Temporum by Gérard Grisey, one of the founders of French Spectral Music, Air from Opera by Luciano Berio, a well-known Italian composer, Tetras by Iannis Xenakis, a famous Greek composer of stochastic music, 'Grido' String Quartet by Helmut Lachenmann, a German composer of noise music.

多国组成的无疆界新音乐团为我们带来了许多中国首演的作品，比如法国频谱学派鼻祖格里塞的《旋涡》、意大利著名作曲家贝里奥的《咏叹调》、希腊著名随机作曲家泽纳基斯的《忒塔》和德国噪音作曲家拉亨曼的弦乐四重奏《哭泣》。

"In the French milieu, innovations in romantic style and form were further developed by Berlioz, Chopin and Liszt."

在法国乐坛上，柏辽兹、肖邦和李斯特进一步推动了对浪漫派风格和曲式的改良。

This "soprano problem" was formally recognized at least as far back as 1843, when French composer Hector Berlioz wrote in his Treatise on Instrumentation that " should not be required to sing many words on high phrases, since this makes the pronunciation of syllables very difficult if not impossible."

这个"女高音问题"早在至少1843年就已经被认识到。当时法国作曲家埃克托·柏辽兹在他的《管弦乐法》中写道："不应该被要求在高音域演唱太多的歌词，因为这使得发音非常困难，甚至不可能。"

This "soprano problem" was formally recognized at least as far back as 1843 when French composer Hector Berlioz wrote in his Treatise on Instrumentation that " should not be required to sing many words on high phrases since this makes the pronunciation of syllables very difficult if not impossible."

这个"女高音问题"早在至少1843年就已经被熟悉到。当时法国作曲家埃克托·柏辽兹在他的《管弦乐法》中写道："不应该被要求在高音域演唱太多的歌词，因为这使得发音非常困难，甚至不可能。"

The place of manufacture is St-Imier, in the French-speaking part of the Bernese Jura mountains.

并在Bernese Jura山区的瑞士法语区St Imier建立了生产基地。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。