卡萨

We didn't have, we lost it, until you came to Casablanca .

我们以前没有，我们失去了她，直到你来到了卡萨布兰卡。

I'm gonna die in Casablanca too.

我也会死在卡萨布兰卡。

We didn't have … We lost it until you came to Casablanca.

我们没有了……我们曾失去了它，直到你来到卡萨布兰卡为止。

Please come back to me in Casablanca.

在卡萨布兰卡的时光里，请回到我的身边。

I guess there are many broken hearts in Casablanca.

我想，在卡萨布兰卡一定有许多破碎的心。

I guess there're many broken hearts In Casablanca.

你知道我从未真正的到过卡萨布兰卡。

We didn't have it we lost it until you came to Casablanca .

我们没有拥有它--我们失去了它--直到你来到卡萨布兰卡。

Please come back to me in Casablanca .

请回到我身边来，在卡萨布兰卡。

My favorite movie is "Casablanca".

我最喜欢的电影是《卡萨布兰卡》。

CoM Laszlo: You must know that it's very important I get out of Casablanca.

拉兹洛：你应该知道我离开卡萨布兰卡是相当重要的。

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。