一张

Your lighter boxes of family papers went up-stairs into a Barmecide room, that always had a great dining-table in it and never had a dinner, and where, even in the year one thousand seven hundred and eighty, the first letters written to you by your old love, or by your little children, were but newly released from the horror of being ogled through the windows, by the heads exposed on Temple Bar with an insensate brutality and ferocity worthy of Abyssinia or Ashantee.

你装有家庭文件的较轻的箱子则被送到楼上一间巴米赛德型的大厅里，那里永远有一张巨大的餐桌，却从来没摆过筵席。在那儿，即使到了一千七百八十年，你的情人给你写的初恋的情书和你的幼年的孩子给你写的最初的信件刚才免于受到一排首级窥看的恐怖不久。那一排首级挂在法学会大门口示众。这种做法之麻木、野蛮和凶狠可以跟阿比西尼亚和阿善提媲美。

With foreboding, Mammy had brought her young mistress a small package, addressed in a strange hand from New Orleans, a package containing a miniature of Ellen, which she flung to the floor with a cry, four letters in her own handwriting to Philippe Robillard, and a brief letter from a New Orleans priest, announcing the death of her cousin in a barroom brawl.

嬷嬷有所预感地给她的小主妇拿来一个从新奥尔良寄来的小包裹，上面的通讯地址是个陌生人写的，里面装着爱伦的一张小照（爱伦一见便惊叫一声把它丢在地上），四封爱伦写给菲利普？罗毕拉德的亲笔信以及一位新奥尔良牧师附上的短简，它宣布她的这位表哥已经在一次酒吧的斗殴中死了。

War Buddies Let's be war buddies Waist deep in big money side by side I'd be the atheist in your foxhole, anytime Let's be friendly fire Body count's a mountain on a bed of barbed wire, coldly stashed As soon as the morning light has broken, then we attack If nobody tries too hard to kill you I got your back across the desert Back to brave the burning sand Back to question every effort Back to challenge your command If you got guns, well, now's the time for sticking Resistance is already forming The second shot won't be a warning Let's be collateral damage Looking down your nose like it's the best you can manage just to stand Indignity after indignation The threat of a hostile occupation The better to form a sovereign nation Here's the plan: That every man who disagrees Be roughly brought down to his knees Be starved to death and made to freeze And sentenced to the Gulag If you got guns, well, now's the time for sticking Resistance is already forming The second shot won't be a warning When the tanks roll into Warsaw, will I find you at the front Singing into a tape recorder, shouldering the brunt of the attack? Has it come to that?

战争巴迪让我们成为战争伙计在大的钱的深处肩并肩的腰我将是在你的战壕的无神论者，任何时候让我们成为友好的火在一张有刺铁丝的床上，死亡总人数是一座山，冷淡贮存早上光一打破，然后我们攻击如果没人试试太艰难不能杀死你我使你的背通过沙漠回到勇敢的烧制沙回到询问每努力回到挑战你命令如果你得到枪，嗯，现在是粘住的时间抵抗已经形成第2 枪将不是警告让我们成为附带损害看起来沿着你的鼻子象它是最好的你能应付仅仅为了站在义愤之后轻蔑一种敌对的职业的威胁更好的形成一个独立自主的国家这是计划：不同意的那每个人人被粗略带来到他的膝被饥饿死并且对冻结做并且对Gulag 宣判如果你得到枪，嗯，现在是粘住的时间抵抗已经形成第2 枪将不是警告当油箱卷成华沙，意愿时，我在前面发现你唱歌进一台磁带录音机，扛着攻击的冲击吗？

MY home, then — when I at last find a home — is a cottage; a little room with whitewashed walls and a sanded floor, containing four painted chairs and a table, a clock, cupboard, with two or three plates and dishes, and a set of tea-things in delf.

我的家是一所小屋；一间小房间，墙粉得雪白，地板上铺了沙子，有四把上了油漆的椅子和一张桌子，一只钟，一个餐具柜，两三只盆子和碟子，一套荷兰式白釉蓝彩陶茶具。

After a turn-up a small red paper,with scissors,"Kacha" sound, a cow, a dove, a tree, a flower willcome alive to be displayed in a pair of stout men's fingers ......52-year-old Ma Kam-yee, with a pair of seemingly clumsy hands, oneby one ordinary red paper, but cut into a beautiful newworld.

一张小小的红纸几经翻折，随着剪刀的"咔嚓"声响，一头牛、一只鸽、一棵树、一朵花便活灵活现地展现在一双男人粗壮的手指间……今年52岁的马锦仪，用一双看似笨拙的手，一张张普普通通的红纸，却剪出了一个美丽新世界。

Never look for a Gud Face, it'll turn old one day; Never luk for a Gud Skin, it'll wrinkle one day; But luk for a loyal heart, that'll miss u every day.

别去找一张完美的脸，总有一天会变老；也别去找一幅完美的肌肤，终有一天会起皱；找一颗真挚的心吧，它会想你每一天。

One would approach at first warily through the shrub oaks, running over the snow-crust by fits and starts like a leaf blown by the wind, now a few paces this way, with wonderful speed and waste of energy, making inconceivable haste with his "trotters," as if it were for a wager,and now as many paces that way, but never getting on more than half a rod at a time; and then suddenly pausing with a ludicrous expression and a gratuitous somerset, as if all the eyes in the universe were eyed on him —— for all the motions of a squirrel, even in the most solitary recesses of the forest, imply spectators as much as those of a dancing girl —— wasting more time in delay and circumspection than would have sufficed to walk the whole distance—— I never saw one walk —— and then suddenly, before you could say Jack Robinson, he would be in the top of a young pitch pine, winding up his clock and chiding all imaginary spectators, soliloquizing and talking to all the universe at the same time —— for no reason that I could ever detect, or he himself was aware of, I suspect.

有一只赤松鼠开始谨慎地穿过矮橡树丛，跑跑停停地在雪地奔驰，像一张叶子给风的溜溜地吹了过来；一忽儿它向这个方向跑了几步，速度惊人，精力也消耗得过了份，它用&跑步&的姿态急跑，快得不可想象，似乎它是来作孤注一掷的，一忽儿它向那个方向也跑那么几步，但每一次总不超出半杆之遥；于是突然间做了一个滑稽的表情停了步，无缘无故地翻一个觔斗，仿佛全宇宙的眼睛都在看着它，——因为一只松鼠的行动，即使在森林最深最寂寞的地方，也好像舞女一样，似乎总是有观众在场的，——它在拖宕，兜圈子中，浪费了更多的时间，如果直线进行，早毕全程，——我却从没有看见过一只松鼠能泰然步行过，——然后，突然，刹那之间，它已经在一个小苍松的顶上，开足了它的发条，责骂一切假想中的观众，又像是在独白，同时又像是在向全宇宙说话，一我丝毫猜不出这是什么理由，我想，它自己也未必说得出理由来。

When I was in the Just Jack hiphop label affixed, I also find themselves made a mistake, but I do not know how to correct such a mistake, started from the DJ Just Jack concerts give you a rap music Feeling, but also the United Kingdom than The Streets, Just Jack is right or more like a singing, and Just Jack has an indie folk singing voice, I would hope that he can really sing some of the flavor of a melody Works, but do not misunderstand me, it was precisely because in a beautiful album to add a lot of the rap part, seemed offensive, in the main song Starz In Their Eyes in, breakdance style of the song to song sounds More like a European dance music, the same Styles also reflected in another one song I Talk Too Much above, hiphop album of songs is another theme, the album from the start of the Glory Days, and then to Disco Friends and Lost Full of British-style hiphop, in more than half of the album, the album's tone and transferred to another like some indie, some folk feel, but also from time to time with some electronic elements, like this you have to listen to the music Hold On, that is, to the later, the album only gradually become the acoustic, into a sentimental, has become another Just Jack, Mourning Morning: Some of the flavor of the atmosphere, in particular, his included with the accompaniment of a string , The guitar more to increase the effectiveness of the appeal of the song, the album is the most outstanding works of the gas, and the last one of the songs have a similar Spectacular Failures of the same style, hidden track, and The Offspring of some punk rap categories have similar accidents .

当我在把 Just Jack 贴上hiphop标签之后，我发觉自己又犯了一个错误，但是我却不知道该如何去改正这样一个错误，从DJ起家的 Just Jack 的音乐会给你一种说唱音乐的感觉，但是比起同样是英国的The Streets， Just Jack 说得还是更像是唱，加上 Just Jack 有着一副唱indie民谣的嗓音，我倒希望他能够真正唱出一些有味道的有旋律的作品，但是也别误解我的话，正是因为在本来一张优美的专辑中加入了许多说唱的部分，所以显得有些唐突，在主打歌曲 Starz In Their Eyes 中，breakdance风格的曲子让歌曲听起来更像是一首欧洲舞曲，同样的曲风还体现在另外一首歌曲I Talk Too Much上面，hiphop的歌曲是专辑的另外一个主题，从专辑一开始的Glory Days，再到Disco Friends和Lost充满着英国式的hiphop，就在专辑过半的时候，专辑的基调又转到了另外一个样子，有些indie，有些民谣的感觉，还时不时加上一些电子的元素，喜欢这样的音乐你要听听Hold On，也就是到了后来，专辑才渐渐变成的acoustic，变成了sentimental，变成了另外一个 Just Jack ，Mourning Morning颇有些大气的味道，特别是他的配器加上了弦乐的伴奏，吉他的效果更加增加了歌曲的感召力，是专辑中最出色的作品之气，最后一首歌曲的Spectacular Failures同样有着类似的风格，hidden track和The Offspring的有些说唱类punk有着意外地相似。

After a turn-up a small red paper, with scissors,"Kacha" sound, a cow, a dove, a tree, a flower will come alive to be displayed in a pair of stout men's fingers ...... 52-year-old Ma Kam-yee, with a pair of seemingly clumsy hands, one by one ordinary red paper, but cut into a beautiful new world.

一张小小的红纸几经翻折，随着剪刀的&咔嚓&声响，一头牛、一只鸽、一棵树、一朵花便活灵活现地展现在一双男人粗壮的手指间……今年52岁的马锦仪，用一双看似笨拙的手，一张张普普通通的红纸，却剪出了一个美丽新世界。

After a turn-up a small red paper,with scissors,"Kacha" sound, a cow, a dove, a tree, a flower willcome alive to be displayed in a pair of stout men's fingers ......52-year-old Ma Kam-yee, with a pair of seemingly clumsy hands, oneby one ordinary red paper, but cut into a beautiful newworld.

一张小小的红纸几经翻折，随着剪刀的&咔嚓&声响，一头牛、一只鸽、一棵树、一朵花便活灵活现地展现在一双男人粗壮的手指间……今年52岁的马锦仪，用一双看似笨拙的手，一张张普普通通的红纸，却剪出了一个美丽新世界。

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。