在那时

They say to their mothers, Where is the grain and the wine? When they faint like one wounded In the streets of the city, When they pour out their soul Into their mothers' bosom.

2：12 那时他们在城内街上发昏，好像受伤的，在母亲的怀里将要丧命，对母亲说，谷和酒在那里呢？

I used to be a teacher for ten years.it was 1926 I finished my study in American and became a teacher in national department of almamater Yangjing university.most of directors and teachers are my teacher.also other departments has my teacher.anyway,all the teachers in the school are my predecessors.so when it came to professoriate,I always chose a corner or an edge ,stayed very terrified.people all joked me as faculty baby.i was less than 26 that term.

我只当过十年的教师。那是一九二六年我从美国留学回来，在母校燕京大学国文系当了一名教师。那时系里的主任和教师大半是我的老师。校内其他科、系里也有我的老师。总之，全校的教师都是我的师辈！因此在开教授会的时候，我总是挑个极边极角的座位，惶恐地缩在一旁。大家都笑着称我为 Faculty Baby。那一学期我还不满二十六岁。

Upon rejoining, and throughout my time in the band, I was very excited about exploring the musical possibilities inherent in a rock band, and doing so with those people in particular.

当我那时重新加入辣椒的时候，我的整个时间都用在乐队上面，在乐队中尽可能探索音乐的潜能，尤其是和大伙在一起的时候。

So void was I of every Thing that was good, or of the least Sense of what I was, or was to be, that in the greatest Deliverances I enjoy'd, such as my Escape from Sallee; my being taken up by the Portuguese Master of the Ship; my being planted so well in the Brasils; my receiving the Cargo from England, and the like; I never had once the Word Thank God, so much as on my Mind, or in my Mouth; nor in the greatest Distress, had I so much as a Thought to pray to him, or so much as to say, Lord have Mercy upon me;no nor to mention the Name of God, unless it was to swear by, and blaspheme it.

那时，我完全没有善心，也不知道自己的为人，不知道该怎样做人；因此，即使上帝赐给我最大的恩惠，在我心里或嘴里却从未说过一句"感谢上帝"的话。譬如，我从萨累出逃，被葡萄牙船长从海上救起来，在巴西安身立命并获得发展，从英国运回我采购的货物，凡此种种，难道不都是上帝的恩赐吗？另一方面，当我身处极端危难之中时，我从不向上帝祈祷，也从不说一声"上帝可怜可怜我吧"。在我的嘴里，要是提到上帝的名字，那不是赌咒发誓，就是恶言骂人。

Every evening I have permission to take home to my poor sick mother the scraps*(1) from the table; she lives down by the sea-shore, and as I come back I feel tired, and I sit down in the wood to rest, and listen to the nightingale's song.

每天晚上大家准许我把桌上剩下的一点儿饭粒带回家去，送给我可怜的生病的母亲--她住在海岸旁边。当我在回家的路上走得疲倦了的时候，我就在树林里休息一会儿，那时我就听到夜莺唱歌。

Traveled to Taiwan, Hong Kong, Singapore with solo exhibitions in 1949. Traveled again from Hong Kong to Indonesia in 1950, created plenty of landscaping and still life drawings in the peak of his career. Returned to China in 1959. Teacher of Shanghai Art College, member of Shanghai Oil Paintings and Sculptures Studio in 1965. Syndic of Shanghai Art Association, Shanghai Culture Committee, Shanghai Jiaotong University Art Consultant.

先后在上海美专、新华艺专、杭州艺专执教。1949年间赴台湾、香港、新加坡旅行写生并举办画展。1950年由香港赴印度尼西亚，在那里创作了大量风景和静物画，那时可说进入了他的艺术鼎盛期。1959年离开印度尼西亚回国，到上海美术专科学校任教，1965年在上海油画雕塑创作室从事绘画创作。

And Saul, spear in hand, was seated under the tamarisk tree on the hill at Gibeah, with all his officials standing around him.

那时扫罗在基比亚坐在山上一棵垂柳树下，手中拿着枪，众臣仆侍立在他周围。

Saul was staying in Gibeah under the tamarisk tree at the worship site with his spear in his hand and all his officials standing around him.

那时扫罗在基比亚坐在山上一棵垂柳树下，手中拿着枪，众臣仆侍立在他周围。

When forty winters shall besiege thy brow, And dig deep trenches in thy beauty's field, Thy youth's proud livery so gazed on now, Will be a tattered weed of small worth held: Then being asked, where all thy beauty lies, Where all the treasure of thy lusty days; To say within thine own deep sunken eyes, Were an all-eating shame, and thriftless praise.

当四十个冬天围攻你的朱颜，在你美的园地挖下深的战壕，你青春的华服，那么被人艳羡，将成褴褛的败絮，谁也不要瞧：那时人若问起你的美在何处，哪里是你那少壮年华的宝藏，你说，在我这双深陷的眼眶里，是贪婪的羞耻，和无益的颂扬。

When forty winters shall beseige thy brow,And dig deep trenches in thy beauty's field,Thy youth's proud livery, so gazed on now,Will be a tatter'd weed, of small worth held:Then being ask'd where all thy beauty lies,Where all the treasure of thy lusty days,To say, within thine own deep-sunken eyes,Were an all-eating shame and thriftless praise.

当四十个冬天围攻你的朱颜，在你美的园地挖下深的战壕，你青春的华服，那么被人艳羡，将成褴褛的败絮，谁也不要瞧：那时人若问起你的美在何处，哪里是你那少壮年华的宝藏，你说，"在我这双深陷的眼眶里，是贪婪的羞耻，和无益的颂扬。"

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。