在那个时候

This afternoon i went to the lecture,which was about consecutive interpreting.well,thanks god,eventually,i widened my sight,that lady was really powerful,maybe i seldom touch those of top man in this aspect.therefore,she'll be my goddness ever since.i just pretty shocked by her who nodoubt had 2 aspects of behavior above and below the stage.at her first coming,it could give you the impression of amiableness ,gentleness and softness.nevertheless,when she standing in the platform with the fluent and fast-speaking spoken english,we totally atonished by her and just nearly could not come to ourselves.

今天下午去听了讲座，是关于交替传译的。well，今天总是打开眼界了，那个lady真的是超级无敌强，或者是我接触的人少吧，所以，真的从今天起她就成了我的女神了，呵呵！我真的是很震撼丫，她简直就是台上台下两个样的，刚开始她进来的时候，给人的感觉就是很和蔼可亲，很温柔贤惠的女子。然而，当她站在讲台上的时候，一口流利爽朗的英文，真让我们大吃一惊，反应不过来！

The Met has a 1660 portrait of Stoffels, but it is not by the same artist who made Bathsheba as a self-adoring little operator and gave Herman Doomer eternal youth.

大都会博物馆收藏了一幅1660年画的 Stoffels 的肖像。但是伦勃朗在画这幅画的时候已经不再是那个把 Herman Doomer 画成永远年轻，把拔仕芭画成精于算计自恋的小女人的那个画家了。

Therefore, the so-called Leifeng Spirit which is not what it used to be, at the right time and right place, becomes the symbol of pharisaism.

于是，那个所谓的"雷锋精神"，就在现在这个时候，成为了一种形式主义的符号，虽然它已经不是过去的那个雷锋精神了。

Pick up the silver from the altar. Again wait for the patrolling guard to turn his back, then walk forward (on the carpet, since this deadens the noise) as far as the centre of the nave, hide between the pews, let the guard pass by and pick up the key without waking the second sleeping guard. Same manoeuvre in reverse, and use the door which is on the left as you look at the altar.

从祭坛上边把税金拿走然后等那个巡逻兵背对你的时候，沿着地毯走，走到中间的时候，藏到旁边长凳之间，让巡逻兵从旁边过去，然后直径早走到房间的后部，在左墙角有一个水池，从水池中拿到钥匙，同时注意不要把旁边睡觉的士兵弄醒，然后用同样的办法向祭坛走，在祭坛的左边有一扇门，走到门前按ctrl键进入下一个房间。

In a narrow creek she found a whole troop of little human children, quite naked, and sporting about in the water; she wanted to play with them, but they fled in a great fright; and then a little black animal came to the water; it was a dog, but she did not know that, for she had never before seen one.

现在最大的那位公主已经到了15岁，可以升到水面上去了。当她回来的时候，她有无数的事情要讲；不过她说，最美的事情是当海上风平浪静的时候，在月光底下躺在一个沙滩上，紧贴着海岸，凝望那个大城市里亮得像无数星星的灯光，静听音乐、闹声以及马车和人的声音，观看教堂的圆顶和尖塔，倾听叮当的钟声。

For example, in the case of Donna, a county attorney who prosecuted the case against her best friend's father, said to her in her mother's presence, Why didn't you get out of the car when that guy went after you?

例如，在Donna的案件里，一个起诉她最好朋友的父亲的乡镇律师在她母亲在场的时候对她说，当那个人追你的时候你为什么不从车里跑出去？

Therefore, the so-called Leifeng Spirit which is not what it used to be, at the right time and right place, becomes the symbol of pharisaism.

于是，那个所谓的&雷锋精神&，就在现在这个时候，成为了一种形式主义的符号，虽然它已经不是过去的那个雷锋精神了。

When she came back, she had hundreds of things to talk about; but the most beautiful, she said, was to lie in the moonlight, on a sandbank, in the quiet sea, near the coast, and to gaze on a large town nearby, where the lights were twinkling like hundreds of stars; to listen to the sounds of the music, the noise of carriages, and the voices of human beings, and then to hear the merry bells peal out from the church steeples; and because she could not go near to all those wonderful things, she longed for them more than ever.

当她回来的时候，她有无数的事情要讲；不过她说，最美的事情是当海上风平浪静的时候，在月光底下躺在一个沙滩上，紧贴着海岸，凝望那个大城市里亮得像无数星星的灯光，静听音乐、闹声以及马车和人的声音，观看教堂的圆顶和尖塔，倾听叮当的钟声。正因为她不能到那儿去，所以她也就最渴望这些东西。

My most memorable moment was being drafted, and getting up and walking across that stage in front of everyone.

我最值得纪念的经历是选秀的时候，当我站起身来，走到那个台上，站在大家面前的那个瞬间。

This information is cut off in REM sleep.

但是我们身体内的那个内在感觉，我是指当我们清醒的时候来感知方位和四肢运动的那个感官，它的信息源在速动睡眠时被关闭了。

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。