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Then, together, we built up the sotry like a chronicle, yet loosely enough to leave the last word to improvisation. In my last two films the choice of subject had scarcely encouraged improvisation. With Fahrenheit 451 and The Bride Wore Black I had ended up being interested in abstractions, and l felt the need to return to hte concrete, to the small happenings of life, even if l never los sight of Renoir's very true saying:"Reality is always like a fairy tale."

然后，我们创作了一个像编年史一样的故事，但仍然留有即席创作的自由空间，在我们最后的两部电影中，主题的选择上已经很少鼓励即席创作了，在&华氏温度451&和&黑色新娘&中，我已经失去了提炼的兴趣，而感到有需要回到一些具体的生活中发生的小事上来，即使我从来没有忘记里拉莉说的名言，&现实总是像神话故事一样&。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。