一张

Oh, don't, don't, please don't, shouted Edmund, but even while he was shouting she had waved her wand and instantly where the merry party had been there were only statues of creatures (one with its stone fork fixed forever half-way to its stone mouth) seated round a stone table on which there were stone plates and a stone plum pudding.

爱德蒙叫道，但就在他大声喊叫时，她已经挥动了魔杖，刚才一群动物欢宴的地方，立刻出现了一个个动物的石像(其中一只就永远举着石叉凝固在离嘴一半的地方)，围坐在一张石桌前，桌上是石盘和石头的葡萄干布丁。

Leblanc. Now, in order to form an idea of the scene which is to follow, let the reader picture to himself in his own mind, a cold night,the solitudes of the Salpetriere covered with snow and white as winding-sheets in the moonlight, the taper-like lights of the street lanterns which shone redly here and there along those tragic boulevards,and the long rows of black elms, not a passer-by for perhaps a quarter of a league around, the Gorbeau hovel, at its highest pitch of silence, of horror, and of darkness; in that building,in the midst of those solitudes, in the midst of that darkness,the vast Jondrette garret lighted by a single candle, and in that den two men seated at a table, M.

现在，为了对以后的情节能有一个概念，希望读者能从自己心中想象出一个严寒的夜晚，妇女救济院那一带荒凉地段全盖满了雪，在月光中，白得象一幅漫无边际的殓尸巾，稀疏的路灯把那些阴惨惨的大路和长列的黑榆树映成了红色，在周围四分之一法里以内，也许一个行人也没有，戈尔博老屋寂静、黑暗，可怕到了极点，在这老屋里，在这凄凉昏黑的环境中，唯有容德雷特的那间空阔屋子里点着一支蜡烛，两个男人在这穷窟里坐在一张桌子的两旁，白先生神色安详，容德雷特笑容可掬而险恶骇人，他的女人，那头母狼，待在一个屋角里。

If Richard Prince, who is having a retrospective at the Guggenheim museum in New York, can "rephotograph" a photograph and present it as original work, if Gus Van Sant can do a frame-by-frame remake of Alfred Hitchcock's Psycho, why not "reproduce" a handbag and present it as an homage?

如果理查德普林斯——正在纽约古根海姆博物馆举行回顾展——能够"复照"一张照片，然后把它当作原作展示，如果格斯范桑能够一帧一帧地复制阿尔弗莱德希区柯克的《精神病患者》，为什么不"复制"一只手袋，以此表达敬意呢？

If Richard Prince, who is having a retrospective at the Guggenheim museum in New York, can "rephotograph" a photograph and present it as original work, if Gus Van Sant can do a frame-by-frame remake of Alfred Hitchcocks Psycho, why not "reproduce" a handbag and present it as an homage?

如果理查德·普林斯——正在纽约古根海姆博物馆举行回顾展——能够"复照"一张照片，然后把它当作原作展示，如果格斯·范·桑能够一帧一帧地复制阿尔弗莱德·希区柯克的《精神病患者》，为什么不"复制"一只手袋，以此表达敬意呢？

The reasoning is fairly simple, when you buy a couch, you have to have a rug, coffee table and lamps to make it a place to live.

道理其实很简单，当你购买一台沙发，那你同时就要搭配一条地毯，一张咖啡桌，一盏台灯，这样才能整体构成一个住所的样子。

They took and shoved the bag through a rip in the straw tick that was under the feather-bed, and crammed it in a foot or two amongst the straw and said it was all right now, because a nigger only makes up the feather-bed, and don't turn over the straw tick only about twice a year, and so it warn't in no danger of getting stole now.

他们拿过袋子，往羽绒褥子底下一张草垫子的裂缝里使劲塞，塞了足足有一两英尺深。还说，这么一放，不会有什么问题了，因为一个黑奴只会整理整理羽绒褥子，不会动草垫子，草垫子一年只翻两回，把钱塞在里面，就不会有被偷的危险啦。

For All Souls (1988) the artist photocopied images of a fetus that she found in a Japanese anatomy book, and used them to make screenprints on fine, translucent paper.4 Each print is glued to another to form a single sheet that hangs unframed like a tapestry on the wall.

所有的灵魂（1988）——SMITH 影印了一些胎儿的图片，这些图片是她从一本日本的解刨学书中找到的，并且她把他们用于制作网屏印刷品，在精美的半透明的纸张上。4每一份印刷品粘连着另一副，形成单张，无框地挂在墙上，象一张织毯。

He was a dirty, little, used-up old man with evil eyes and a weak mouth, who swallowed an opium pill every two hours, and in defiance of common decency wore his hair uncovered and falling in wild stringy locks about his wizened grimy face.

Joseph Conrad， Lord Jim 他是个龌龊，短小，困顿不堪的老头子，一对阴险的眼睛，一张没有气力的嘴，每隔两点钟就吞一粒鸦片药丸，他不管通常的礼节，头上不戴帽子，一串一串散乱的头发垂在他那个皱瘪不洁的脸旁。

It's moving...opening and clasping...

它一直在动。。。一张一合，一紧一松。。。

Between these two parties--Antony and the mob on one side,and the majority of the Senate on the other--stood the young Octavius,Caesar's grand-nephew and heir,with an army at his back;a young man,not yet twenty,but wiser than other young men,with a handsome,expressionless,inscrutable face,a heart without feeling,and a temper inhumanely cold and obstinate--an enigma to all,and as yet perhaps even to himself.

站在两派中间的——安东尼和群众是一派，大多数元老是另一派——是年轻的屋大维，恺撒的侄孙和继承人，他有一支军队做后盾。他是一个还不到20岁的年轻人，但他比其余的年轻人聪明，生就一张英俊，漠然，令人捉摸不透的面孔，一颗冷若冰霜的心，和一种淡漠无情，刚愎自用的脾性；他对所有人来说都是一个迷，甚至也许对他自己来说，也不例外。

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。