埃德

Edna: I wished I could do that.

埃德娜：我但愿我能这么做。

Edna: If that was the case, you would never be allowed to sing again!

埃德娜：如果是这样的话，那你永远都不要再唱了！

Edna: It is a very competitive industry.

埃德娜：那是个竞争很激烈的产业。

Edna: With all of those actors, producers, directors and music stars I think you are right.

埃德娜：有那么多的演员、制片人、导演和音乐明星，我想你是对的。

Edna: Do you mean, what is the story about?

埃德娜：你是指，故事说什么？

Edna : Well, I think it takes more than that to be a great actor these days.

埃德娜：但我认为，现在要想成为一名伟大的演员，只有这些还远远不够。

Edna: If you sing anything, I will run away so fast that you will never catch me!

埃德娜：如果你要唱，我要跑得快快的，让你永远都追不上我！

Edna: But most of them fail, right?

埃德娜：不过他们中的大多数人失败了，对吗？

He's still alive, Edna!

他还活着，埃德娜

Edna: It is a romantic comedy that makes you laugh and cry at the same time.

埃德娜：那是一部浪漫的喜剧片，让我同时又笑又哭。

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。