上酒人

A little after Noon I found the Sea very calm, and the Tyde ebb'd so far out, that I could come within a Quarter of a Mile of the Ship; and here I found a fresh renewing of my Grief, for I saw evidently, that if we had kept on board, we had been all safe, that is to say, we had all got safe on Shore, and I had not been so miserable as to be left entirely destitute of all Comfort and Company, as I now was; this forc'd Tears from my Eyes again, but as there was little Relief in that, I resolv'd, if possible, to get to the Ship, so I pull'd off my Clothes, for the Weather was hot to Extremity, and took the Water, but when I came to the Ship, my Difficulty was still greater to know how to get on board, for as she lay a ground, and high out of the Water, there was nothing within my Reach to lay hold of; I swam round her twice, and the second Time I spy'd a small Piece of a Rope, which I wonder'd I did not see at first, hang down by the Fore-Chains so low, as that with great Difficulty I got hold of it, and by the help of that Rope, got up into the Forecastle of the Ship; here I found that the Ship was bulg'd, and had a great deal of Water in her Hold, but that she lay so on the Side of a Bank of hard Sand, or rather Earth, that her Stern lay lifted up upon the Bank, and her Head low almost to the Water; by this Means all her Quarter was free, and all that was in that Part was dry; for you may be sure my first Work was to search and to see what was spoil'd and what was free; and first I found that all the Ship's Provisions were dry and untouch'd by the Water, and being very well dispos'd to eat, I went to the Bread-room and fill'd my Pockets with Bisket, and eat it as I went about other things, for I had no time to lose; I also found some Rum in the great Cabbin, of which I took a large Dram, and which I had indeed need enough of to spirit me for what was before me: Now I wanted nothing but a Boat to furnish my self with many things which I forsaw would be very necessary to me.

午后不久，海面风平浪静，潮水也已远远退去。我只要走下海岸，泅上几十米，即可到达大船。这时，我心里不禁又难过起来。因为我想到，倘若昨天我们全船的人不下小艇，仍然留在大船上，大家必定会平安无事。这时就可安抵陆地；我也不会像现在这样，孤苦伶仃孑然一身了。而现在，我既无乐趣，又无伴侣。想到这里，我忍不住流下泪来。可是，现在悲伤于事无济，我即决定只要可能就先上船去。当时，天气炎热，我便脱掉衣服，跳下水去。可是，当我泅到船边时，却没法上去，因为船已搁浅，故离水面很高；我两臂所及，没有任何可以抓住的东西。我绕船游了两圈，忽然发现一根很短的绳子。我惊异自己先前竟没有看见这根绳子。那绳子从船头上挂下来，绳头接近水面；我毫不费力地抓住绳子往上攀登，进入了船上的前舱。上去后发现船已漏水，舱底进满了水。因为船搁浅在一片坚硬的沙滩上，船尾上翘，船头几乎都浸在水里，所以船的后半截没有进水。可以想像，我急于要查看一下哪些东西已损坏，哪些东西还完好无损。首先，我发现船上的粮食都还干燥无恙。这时，我当然先要吃些东西，就走到面包房去，把饼干装满了自己的衣袋，同时边吃边干其他活儿，因为我必须抓紧时间才行。我又在大舱里找到了一些甘蔗酒，就喝了一大杯。此时此刻，我极需喝点酒提提神。我这时只想有一只小船，把我认为将来需要的东西，统统运到岸上去。

Chateau Pichon Baron has won popular praise because of its majesty.

喝过碧尚男爵堡的人，都说它雄浑立体，堪称酒中伟丈夫，就如酒标上的格里芬狮鹫。

The realist in murder writes of a world in which gangsters can rule nations and almost rule cities, in which hotels and apartment houses and celebrated restaurants are owned by men who made their money out of brothels, in which a screen star can be the fingerman for a mob, and the nice man down the hall is a boss of the numbers racket; a world where a judge with a cellar full of bootleg liquor can send a man to jail for having a pint in his pocket, where the mayor of your town may have condoned murder as an instrument of moneymaking, where no man can walk down a dark street in safety because law and order are things we talk about but refrain from practising; a world where you may witness a hold-up in broad daylight and see who did it, but you will fade quickly back into the crowd rather than tell anyone, because the hold-up men may have friends with long guns, or the police may not like your testimony, and in any case the shyster for the defense will be allowed to abuse and vilify you in open court, before a jury of selected morons, without any but the most perfunctory interference from a political judge.

写谋杀小说的现实主义作家所写的世界中，歹徒可能统治国家，甚至城市。在那里，旅馆公寓、有名的酒楼餐厅的主人是靠开妓院发财的，电影明星可能是盗匪的眼线，大厅里那个彬彬有礼的人可能是彩票老板。在这个世界里，法官藏有一地窖的私酒，却可能因一个人口袋里有一瓶酒而送他进监牢；你家乡的市长可能为了到手钱财而对谋杀案眼开眼闭；入夜之后无人敢在街上行走，因为法律和治安是句空话，从来没有实行过。在这个世界里，你很可能在光天化日之下见到有人沿路拦劫，明明看清楚是谁在作案，但是你马上躲开，混到人群中去，不愿出来告发，因为拦劫的人可能有朋友为他报复，或者警方可能不喜欢你出庭作证，不管怎样，为被告辩护的恶讼师可以在法庭上对你百般侮辱，因为陪审团里都是他们挑选的低能儿。有党派背景的法官除了敷衍一下外不会加以干涉。

Behold the days come, saith the Lord, when the ploughman shall overtake the reaper, and the treader of grapes him that soweth seed: and the mountains shall drop sweetness, and every hill shall be tilled.

看，时日将到──上主的断语──那时耕田的人要紧靠著收割的人，榨酒的人要紧靠著播种的人；山岭要滴下新酒，丘陵都要溶化奔流。

Although the China wine of Oriental brewery production, east is male wine, ZhongGuanCun, Gong Lang, Oriental wine bully waited for series brand to have the honor to win association of Chinese food industry " famous liquor " honorary title, it is good that its vinosity compares some brand vinosity even, price is lower, but the person already inferiored to prepare on the imposing manner that from its cloth exhibits conduct propaganda only.

虽然东方酒厂生产的中华酒、东方雄酒、中关村、红郎、东方酒霸等系列品牌荣获了中国食品工业协会"知名白酒"荣誉称号，其酒质甚至比有些名品牌酒质好，价位更低，但仅从其布展宣传的气势上就已逊人一筹。

Yes, days are coming, says the LORD, When the plowman shall overtake the reaper, and the vintager, him who sows the seed; The juice of grapes shall drip down the mountains, and all the hills shall run with it.

看，时日将到，──上主的断语──那时耕田的人要紧靠着收割的人，榨酒的人要紧靠着播种的人；山岭要滴下新酒，丘陵都要溶化奔流。

On the one side, Bakhtin borrows resources from the mythological world, and permutes"Dionysus"with the"Carnival"by way of"displacement"in discourse, and at last, develops Nietzsche's Dionysian spirit into his unique carnival spirit; on the other side, Bakhtin apparently leads a different way from Nietzsche ranging from interpreting contexts to religious attitudes and spiritual orientations in the following souls of the Dionysiac Theory. He eventually transforms Nietzsche's aesthetically artistic ideal of"Traum und Rausch"("Dream and Drunk") into a religious spiritual demand of"leading two lives", and fulfills"a transcendental journey from the God to the man".

尼采的酒神理论和巴赫金的狂欢理论之间，存在着无比亲密的&对话关系&：一方面巴赫金从神话世界中索取理论资源，通过话语的置换，用&狂欢&取代了&酒神&，将尼采倡导的酒神精神发展成自己独特的狂欢精神；另一方面巴赫金又在遵循酒神理论精髓的同时，在阐释语境、宗教态度、精神所指上，与尼采存在明显的不同，并最终将尼采&梦与醉&的审美艺术理想转换为走向&两种生活&的宗教精神诉求，实现了一种&从神到人的超越之路&。

On the one side, Bakhtin borrows resources from the mythological world, and permutes"Dionysus"with the"Carnival"by way of"displacement"in discourse, and at last, develops Nietzsche's Dionysian spirit into his unique carnival spirit; on the other side, Bakhtin apparently leads a different way from Nietzsche ranging from interpreting contexts to religious attitudes and spiritual orientations in the following souls of the Dionysiac Theory. He eventually transforms Nietzsche's aesthetically artistic ideal of"Traum und Rausch"("Dream and Drunk") into a religious spiritual demand of"leading two lives", and fulfills"a transcendental journey from the God to the man".

尼采的酒神理论和巴赫金(来源：A4eBC论文网www.abclunwen.com)的狂欢理论之间，存在着无比亲密的&对话关系&：一方面巴赫金从神话世界中索取理论资源，通过话语的置换，用&狂欢&取代了&酒神&，将尼采倡导的酒神精神发展成自己独特的狂欢精神；另一方面巴赫金又在遵循酒神理论精髓的同时，在阐释语境、宗教态度、精神所指上，与尼采存在明显的不同，并最终将尼采&梦与醉&的审美艺术理想转换为走向&两种生活&的宗教精神诉求，实现了一种&从神到人的超越之路&。

On the first goblet this inscription could be read, monkey wine; on the second, lion wine; on the third, sheep wine; on the fourth, hog wine. These four legends express the four stages descended by the drunkard; the first, intoxication, which enlivens; the second, that which irritates; the third, that which dulls; and the fourth, that which brutalizes.

在第一个爵杯上刻着&猴酒&两字，第二个上刻着&狮酒&，第三个上刻着&羊酒&，第四个上刻着&猪酒&那四种铭文标志着人饮酒入醉的四个阶段：第一阶段是活跃阶段，第二，激怒，第三，迟钝，最后，胡涂。

Simon turned to see that Fengbald had knocked a flagon of wine into the lap of another man, who was drunkenly wringing out his shirt while Elias and Guthwulf and the other nobles jibed and shouted.

Simon转头，看到Fengbald把一杯酒扣到另一个人的腿上，这人醉醺醺地拧着衣服上的酒， Elias、Guthwulf，和别的贵族们又是嘲笑，又是大叫。

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。