到那时

I don't rely on them. But when I'm driven into a corner or I'm at the end of my inspiration, my brain does seem to bring out something dreamlike. But it is dangerous. Once you open that little box under your brain, you can't easily close it!

也没有。但是当我开车行使到一个拐弯处的时候或是在灵感快要消失的时候，我脑子里就浮现出一些梦一般的东西，但是那时是很危险的，一旦你打开了藏在你脑子里的小匣子时，你就不容易关上它！

Bumble, who happened to be in London on business.

那时他正有事到伦敦一趟。

Bunt was probablyanickname given to him at school, for going around with hisheadlowered, ready to bump and shove anybody aside.

铁头可能是他上学时得的绰号，那时他总低着头走路，一副准备随时一头把人撞到一边的架势。

"All the audience burse out laughing at his words.when the boss helped him and left the stage,Charlie said,"the boss must have put the money into his pockets,I have to go to ask him.

老板帮他捡起了钱并离开了舞台，他说'老板把钱放自己口袋了我德去找他'然后离开舞台，观众被他逗的眼泪都笑出来了，从那时起他无论走到哪里都受到观众的欢迎和喜爱，他就是这样开始演艺生涯的

"At that time, from the United States to China is always full of aircraft cabin, first class investors in the economic Cangli a casual stroll, we can find a few returning entrepreneurs, many of cooperation from the aircraft began."

"那时从美国飞往中国的飞机总是满舱，头等舱里的投资者随便到经济舱里一逛，就能发现几个归国创业者，不少合作就从飞机上开始。"

By the time of Louis XIV's death in 1715, ballet had al ready got the basis of its technique and its terminology (entrechat, coupe, cabriole, chasse were steps codified by then).

到1715年路易十四去世时，芭蕾已经有了它的技巧基础和术语（跳跃交叉舞姿、向对舞者施礼、分腿跳跃然后两脚很快并拢、快滑步这些步伐就是那时编制的）。

By the time of louis xiv death in 1715 ,ballet had al ready got the basis of its technique and its terminology (entrechat , coupe ,cabriole ,chasse were steps codified by then ).

到1715年路易十四去世时，芭蕾已经有了它的技巧基础和术语(跳跃交叉舞姿、向对舞者施礼、分腿跳跃然后两脚很快并拢、快滑步这些步伐就是那时编制的)。

These reflections came to mind while recalling the sensation experienced once when I played Mozart's D minor Concerto [K. 466] at a prominent European music festival, with Beethoven's magnificent cadenza.

这些想法源于我对往事的回忆，那时我在欧洲的一个著名音乐节上演奏莫扎特的D小调协奏曲[K.466]，中间用到了贝多芬所写的华采段。

I was probably off the road, behind a bush, answering a call of nature .

那时我可能刚巧离开公路，到树丛后面解手去了。

There were treatises on catallactics which dealt only incidentally and cursorily with monetary matters, and there were books on currency and banking which did not even attempt to integrate their subject into the structure of a catallactic system.

那时的一些关於交换问题的论著，只是偶尔草率地讨论到货币，有些讨论通货和银行的书，甚至於不把这两个主题纳之於交换理论的体系中。

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。