一张

S. Lewis' Chronicles of Narnia, The Last Battle, a devious ape named Shift finds an old lion's skin and persuades a simpleminded donkey to put it on.

故事里有一只名叫席夫特的诡诈猿猴，发现一张老狮子的皮，于是说服一只头脑简单的驴子穿上。

I'd see him standing my watch on top of his'n,'stead of calling me, so I could go on sleeping; and see him how glad he was when I come back out of the fog; and when I come to him again in the swamp, up there where the feud was; and such-like times; and would always call me honey, and pet me and do everything he could think of for me, and how good he always was; and at last I struck the time I saved him by telling the men we had small-pox aboard, and he was so grateful, and said I was the best friend old Jim ever had in the world, and the ONLY one he's got now; and then I happened to look around and see that paper.

我看到，当我从一片浓雾中回来，当我在世仇械斗那儿，在泥塘里又见到了他，在所有这类的时刻里，他是多么兴高采烈，总要叫我乖乖，总要宠我，总要想尽一切方法为我设身处地设想，他对我始终如一这么好啊。最后我又想起了那一回的事：我对划拢来的人们说，我们木筏子上有害天花的，从而搭救了他，这时他是多么地感激，说我是老杰姆在这个世上最好的朋友，也是他如今唯一的朋友。正是这个时刻，我碰巧朝四下里张望，一眼看到了那一张纸。

There's a sofa,a coffee table,a lamp,a chair,a rug,and a TV.

那里有一个沙发，一张咖啡桌，一盏灯，一把椅子、一个地毯和一台电视。

See teacher ZHU only to put the spirit lamp, a Chinese brush-pen, a white paper and milk respectively on the platform, the teacher spread the paper even first, then took a Chinese brush-pen 蘸 milk in the measuring cup of 蘸, then wrote four big words on the white paper.

只见朱老师分别把酒精灯、一支毛笔、一张白纸和牛奶放在讲台上，老师先把纸铺平，然后拿了一只毛笔蘸了蘸量杯里的牛奶，然后在白纸上写了四个大字。

A modern astrological interpretation of Matthew's account of the star , based on the Magi role as astrologers, claims to" decode" the Star of Bethlehem as a star configuration that was visible only to astrologers because the" star " was revealed in an astrological chart.

基于东方三博士的角色是占星家，一位现代占星家对马太福音的记载作了解释，声称"译解"了作为一颗恒星外形的圣诞星是只有占星家才看得见，因为这颗"星"是揭露在一张占星图表上。

A modern astrological interpretation of Matthew's account of the star, based on the Magi role as astrologers, claims to decodethe Star of Bethlehem as a star configuration that was visible only to astrologers because the starwas revealed in an astrological chart.

基于东方三博士的角色是占星家，一位现代占星家对马太福音的记载作了解释，声称"译解"了作为一颗恒星外形的圣诞星是只有占星家才看得见，因为这颗"星"是揭露在一张占星图表上。

She came home at 11 o'clock in the evening one day, see the daughter bent over to be asleep on the desk, there is the operation that one pile did not keep on the side, still have the alarm clock of a superior bell, a piece of a brief informal note stayed to say to mom on the desk: I decide alarm clock to 1 o'clock half, if cannot wake, you must call me.

她有一天晚上11点回家，看到女儿趴在写字台上睡着了，旁边放着一大堆没写完的作业，还有一个上好铃的闹钟，桌上给妈妈留了一张条子说："我把闹钟定到1点半，如果醒不了，你一定要叫我。"

Carl Ludwing explains how this technique differs from traditional texture mapping : when you want something to be in a certain area, like a grease spot, everyone else tends to do it with standard texture-mapping tools. But if I take a painted map and map it on, then I've wrapped a two-dimensional object around a three-dimensional object, and there are all sorts of positioning problems associated with that. Also, when you transition to another subpart of the character, you have to provide a whole new set of coordinates.

卡尔·路德温解释了这一技术与传统材质贴图技术的不同之处，比如说：如果想把油点一类的东西贴到某个地方，别人都会用标准的材质贴图工具来完成，但是如果我先拿来一张着色的地图，把这个油点标在上面，那就等于把一个三维物体安置在二维环境当中，随之会出现各种定位方面的问题，同样，如果你要观察目标的另一处次要部位，就必须给出新的坐标。

As another safeguard, a computer tape inside the machine records each transaction and the number and denomination of the bills dispensed.

另外一项安全措施是机器内部的一个计算机软盘，它记录下每一笔交易，以及所吐出的每一张钞票的面额和号码。

But somehow I was changing my mind about her almost against my will and I said,"Listen, my Z is out front and if you got no place better to go my apartment is in Lafayette," and shesaid,"I'd love to see it lap the miles," but then she explained that she had to get back to the nineteenth century and she was gone like that just gone and I noticed the whole time we'd been talking she'd been shredding up a paper napkin and it lay in a littlepile like snowflakes that had drifted against the ashtray except of course they weren't snowflakes at all but little shreds of paper, little teensy shreds, and I tried to get one more shot but it was too late.

不过不知怎的，我几乎违背意愿的在改变对她的看法，那我就说："听着，我的 Z 出去了，那如果你没有更好的地方去，我的公寓在拉斐特，"那她说，"我很愿意绕几哩路去看看，"但是接着又解释说她得回十九世纪去，她就无影无踪了，就这么不见了，而我一直注意着，我们一边谈着话，她就这么一边在撕着一张纸巾，现在它堆在那儿就像一堆从烟缸里飘下来的雪片，当然这不是雪片而是小碎纸片，细细的小碎片，而我想再喝一杯但是已经太迟了。

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。