一见钟情

I liked you on the instant.

我对你一见钟情。

This haughty beauty, whom the duke Orsino had loved so long in vain, at first sight conceived a passion for the supposed page

那个骄傲的美人，公爵奥西诺久恋不得，却一见钟情，爱上了这个乔装的童仆。

This haughty beauty, whom the duke Orsino had loved so long in vain, at first sight conceive d a passion for the supposed page

那个骄傲的美人，公爵奥西诺久恋不得，却一见钟情，爱上了这个乔装的童仆。

He's in hopes of repeating what he did with little Jonquier. You remember: Jonquier was Rose's man, but he was sweet on big Laure. Now Mignon procured Laure for Jonquier and then came back arm in arm with him to Rose, as if he were a husband who had been allowed a little peccadillo. But this time the thing's going to fail.

她对旺德夫尔伯爵说道，他希望再次耍弄对付小戎基埃的花招……你还记得吧，戎基埃是罗丝的顾客，同时又对大块头洛尔一见钟情……米尼翁帮戎基埃把洛尔弄到手，然后又同戎基埃手挽手地回到罗丝家里，就像一个得到妻子允许刚刚干了一件荒唐事的丈夫一样……可是，这次这个办法可不灵了。

He was a premed student, also at Cornell, who incidentally also had a bad cold. I fell in love with Milton the instant I met him.

他也就读康奈儿大学，医学院预科生，顺便提及一下，他也患了重感冒，我与弥尔顿遂一见钟情。

Though I know I am a hardly-girl-attracted guy,but I still scrupulously abide by my so-called rules.

她是我一见钟情的恋人，虽然我知道我是一个难以吸引女孩的家伙，但是我依然固执的坚守着我所谓的原则。

Love doesn't always happen at sight. Or second or third.

爱，不总是会一见钟情的，也许二次，也许三次也不会。

Therefore single men or women in France have more opportunities to (3) indulge in self-admiration and less opportunities to fall in love at first sight.

再者，家人、同事、朋友，也往往不愿意涉足他人的私生活，所以法国的大男大女们就享有更多的孤芳自赏的机会，由此一见钟情的机会也就更少。

Shortly after I met you, I know I was in love with you.

我对你一见钟情。

Sine the first time I saw you , I felt something inside, I don't know if love at first sight, I do know I really like you a lot.

自从第一次见到你，我的内心无法平静，我不知道这是否是一见钟情，我只知道我真的很喜欢你。

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。