一张

E frothing on the round table before him, is to be seen in any circuit of five or six miles among these hills, if you go at the right time after dinner.

有这样一个主人：一个普通的北方农民，一张古板的脸，一双被绑腿马裤衬托得尤为粗壮的腿，那么房子和家具也就没有什么特别之处了，而且在五六英里外的山上，如果你去的时间恰巧是午饭之后的话，你可以看见他坐在他的扶手椅上，一杯冒着泡沫的啤酒放在他前面的圆桌上。

The challenge is in the choice of the subjects: on a big canvas is often represented one big object, extrapolated from daily life as a newspaper, an airplane, a car… In different occasions art has helped simple objects to become "great". In this case the artist can accomplish this with a more personal touch, hinting mysteriousness, suspense typical of thrillers, as in the portrayal of a broken ATM screen, of a watch abandoned on the grass or of a cutter with traces of blood.

画布上往往呈现一个大的物体，它通常来自日常生活中，如一张报纸，一架飞机或一辆汽车……艺术可以使简单东西变得很奇妙，而这里，艺术家以更个性的方法，有时甚至是神秘的暗示，一个悬念，有如惊险小说中一样，比如取款机打碎的屏幕，被丢弃在草地中的手表以及带有血迹的刀。

The challenge is in the choice of the subjects: on a big canvas is often represented one big object, extrapolated from daily life as a newspaper, an airplane, a car… In different occasions art has helped simple objects to become "great". In this case the artist can accomplish this with a more personal touch, hinting mysteriousness, suspense typical of thrillers, as in the portrayal of a broken ATM screen, of a watch abandoned on the grass or of a cutter with

画布上往往呈现一个大的物体，它通常来自日常生活中，如一张报纸，一架飞机或一辆汽车……艺术可以使简单东西变得很奇妙，而这里，艺术家以更个性的方法，有时甚至是神秘的暗示，一个悬念，有如惊险小说中一样，比如取款机打碎的屏幕，被丢弃在草地中的手表以及带有血迹的刀。

The challenge is in the choice of the subjects: on a big canvas is often represented one big object, extrapolated from daily life as a newspaper, an airplane, a car… In different occasions art has helped simple objects to become "great". In this case the artist can accomplish this with a more personal touch, hinting mysteriousness, suspense typical of thrillers, as in the portrayal of a broken ATM screen, of a watch abandoned on the grass or of a cutter with tra

画布上往往呈现一个大的物体，它通常来自日常生活中，如一张报纸，一架飞机或一辆汽车……艺术可以使简单东西变得很奇妙，而这里，艺术家以更个性的方法，有时甚至是神秘的暗示，一个悬念，有如惊险小说中一样，比如取款机打碎的屏幕，被丢弃在草地中的手表以及带有血迹的刀。

Hans Holbein's sketch of a marksman shows mainly his face, the one eye closed, the other sighting down the crossbow.

汉斯？霍尔班的一张神射手素描主要显现出他的脸，一只眼睛紧闭，另一只眼顺着十字弓瞄准。

This was done to keep anyone else from picking up a discarded ticket and claiming it was his own (a train ticket did not lose all value when it was punched because the same ticket was used for each leg of a trip). Hollerith realized how useful it would be to punch new cards based upon an analysis of some other set of cards.

因为相同的票作为一次旅行的每只腿，所以当它被以拳重击的时候，一张火车票不失去所有的价值Hollerith 了它会是多么的有用以拳重击基于卡片的一些其他的组合一项分析的新卡片。

Mila in thumbing through a National Geographic the other day came upon a photo of a spiritual leader conducting an initiation ceremony for the young men of a small African tribe; it was an initiation into manhood.

有一天Mila在翻阅一本国家地理杂志时，看到一张某非洲小部落的灵性长老主持年轻人启蒙仪式的图片，那是成人的启蒙仪式。

Have an adult search out a recent electric bill and help you determine how much it costs for 1 kilowatt-hour of power.

让一位成年人找出一张最近的电费单，帮你查出一千瓦小时的电收多少钱。

The apartment and furniture would have been nothing extraordinary as belonging to a homely, northern farmer, with a stubborn countenance, and stalwart limbs set out to advantage in knee- breeches and gaiters. Such an individual seated in his arm-chair, his mug of ale frothing on the round table before him, is to be seen in any circuit of five or six miles among these hills, if you go at the right time after dinner.

有这样一个主人：一个普通的北方农民，一张古板的脸，一双被绑腿马裤衬托得尤为粗壮的腿，那么房子和家具也就没有什么特别之处了，而且在五六英里外的山上，如果你去的时间恰巧是午饭之后的话，你可以看见他坐在他的扶手椅上，一杯冒着泡沫的啤酒放在他前面的圆桌上。

The apartment furniture would have been nothing extraordinary as belonging to a homely, northern farmer, with a stubborn countenance, stalwart limbs set out to advantage in knee- breeches gaiters.

有这样一个主人：一个普通的北方农民，一张古板的脸，一双被绑腿马裤衬托得尤为粗壮的腿，那么8ttt8房子和家具也就没有什么特别之处了，而且在五六英里外的山上，如果8 tt t8.com 你去的时间恰巧是午饭之后的话，你可以 www.ssbbww.com 看见他坐在他的扶手椅上，一杯冒着泡沫的啤酒放在他前面的圆桌上。

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。