大理石的

Above all this scenery of perfect human life, rose dome and bell-tower, burning with white alabaster and gold: beyond dome and bell-tower the slopes of mighty hills, hoary with olive; far in the north, above a purple sea of peaks of solemn Apennine(5), the clear, sharp- cloven Carrara mountains(6) sent up their steadfast flames of marble summit into amber sky; the great sea itself, scorching with expanse of light, stretching from their feet to the Gorgonian isles(7); and over all these, ever present, near or far--seen through the leaves of vine, or imaged with all its march of clouds in the Arno's stream,(8) or set with its depth of blue close against the golden hair and burning cheek of lady and knight,-- that untroubled and sacred sky, which was to all men, in those days of innocent faith, indeed the unquestioned abode of spirits, as the earth was of men; and which opened straight through its gates of cloud and veils of dew into the awfulness of the eternal world; a heaven in which every cloud that passed was literally the chariot of an angel and every ray of its Evening and Morning streamed from the throne of God.

在这一片人世间完美无缺的景色之上，高耸着发出白雪花石膏和黄金的辉煌光芒的圆拱屋顶和钟楼，在拱顶和钟楼的后面是雄伟的山脉，山上长满了灰色的油橄榄树，遥远的北方，在威严的亚平宁山脉紫色的群峰之上，轮廓分明的卡拉拉山把永恒不变的火焰似的大理石山顶插入琥珀色的天空，光芒夺目的浩瀚大海从山脚下一直延伸到戈尔高尼群岛，而在这一切之上，无论是透过葡萄叶丛所见到的，还是阿尔诺河上伴着飘忽的云影所反映出来的，还是同贵妇人和骑士的金色头发和红润面颊相映衬的，是一片蔚蓝的天空，无远弗届，无时不在，宁静而庄严。在那信仰单纯的年月里，对所有的人来说，那苍天无容置疑地是神仙的住所，就象地球是人的住所一样。穿过云端的大门，透过露珠的纱幕，一直通向令人敬畏的永恒世界--那就是天国，在那儿朵朵飘过的云彩实际上都是天使的战车，晨曦和晚霞的每缕光芒都来自上帝的宝座。

Drinking-cups of gold and ivory, chiseled by Benvenuto Cellini; cabinets of buhl and porcelain, bearing the cipher of Austrain Marie Antoinette, amid devices of rose-buds and true-lovers' knots, birds and butterflies, cupidons and shepherdesses, goddesses, courtiers, cottagers and milkmaids; statuettes of Parian marble and biscuit china; gilded baskets of hot-house flowers; fantastical caskets of Indian filigree work; fragile tea-cups of turquoise china, adorned by medallion miniatures of Louis the Great and Louis the Well-beloved, Louise de la Vallière, and Jeannne Marie du Barry; cabinet pictures and gilded mirrors, shimmering satin and diaphanous lace; all that gold can buy or art devise had been gathered together for the beautification of this quiet chamber in which my lady sat listening to the moaning of the shrill March wind and the flapping of the ivy leaves against the casements, and looking into the red chasms in the burning coals.

黄金和象牙的酒杯，都是本文纳托·切利尼③雕刻的；镶嵌金、银、鳖甲的布尔柜子和瓷器，在玫瑰花苞、真情同心结、飞鸟与蝴蝶、爱神与收女、女神与廷臣、村民与挤奶女等所构成的装饰性图案之中，还有着奥斯特里安·玛莉·昂朵涅特④的花押；用帕洛岛的大理石制作的小雕像和本色瓷器；盛放着暖房花卉的镀金花篮；妙想天开的用金银丝编织的印度首饰匣；薄而脆的青瓷茶杯，杯子上还雕着微型雕像，伟大的路易⑤啦，受人爱戴的路易啦，瓦里埃的路易啦，让娜·玛莉·迪·巴列⑥啦；六时大小的图画和镶着镀金框子的镜子，微微闪光的锦缎和半透明的花边；一切金钱买得到、艺术设计得出的东西，都收集拢来美化这安静的房间；爵士夫人便坐在这房间里，谛听着料峭的三月风的呜咽以及长春藤叶子在窗扉上飘飘拂拂的声音，凝望着熊熊燃烧的煤块之间殷红的空隙。

Partly it has great practical value – you can wrap it around you for warmth as you bound across the cold moons of Jaglan Beta; you can lie on it on the brilliant marble-sanded beaches of Santraginus V, inhaling the heady sea vapours; you can sleep under it beneath the stars which shine so redly on the desert world of Kakrafoon; use it to sail a mini raft down the slow heavy river Moth; wet it for use in hand-to-hand-combat; wrap it round your head to ward off noxious fumes or to avoid the gaze of the Ravenous Bugblatter Beast of Traal (a mindboggingly stupid animal, it assumes that if you can't see it, it can't see you – daft as a bush, but very ravenous); you can wave your towel in emergencies as a distress signal, and of course dry yourself off with it if it still seems to be clean enough.

一方面是由于它有着非常实际的使用价值——当你跳跃着穿越Jaglan Beta的冰冷的月亮中间时，可以把毛巾裹在身上用来取暖；在Santraginus V的灿烂的大理石沙子的海滩，你也可以躺在毛巾上，呼吸浓烈醉人的海洋蒸汽；也可以在Kakrafoon的沙漠世界里，在红色的恒星照耀下，盖着毛巾睡觉；用它做帆，在缓慢宽阔的Moth河上泛舟；在近身搏斗中打湿了做武器；包住脑袋来防止毒气侵袭或者避开Traal的贪婪虫鸣兽的喋喋不休（一种发自内心的愚蠢的动物，它总是认为如果你看不到它，它也就看不到你——蠢得像灌木，却很贪婪）；可以在紧急情况下挥动毛巾表示求救信号；当然，也可以用来擦干身体——如果它看起来还是足够干净的话。

I invoke your consideration of the scene--the marble-topped tables, the range of leather-upholstered wall seats, the gay company, the ladies dressed in demi-state toilets, speaking in an exquisite visible chorus of taste, economy, opulence or art; the sedulous and largess-loving garcons, the music wisely catering to all with its raids upon the composers; the melange of talk and laughter--and, if you will, the Wurzburger in the tall glass cones that bend to your lips as a ripe cherry sways on its branch to the beak of a robber jay.

我提到下面的情景定会引起你的思考——大理石桌面的桌子，一排排靠墙的皮革椅座，愉快的侣伴，稍加打扮的女士们正以微妙而又明显可见的情趣争相谈论着经济、繁盛和艺术，小心周到喜欢慷慨的侍者，使作曲家慌忙不迭的音乐机灵地满足一切人的口味，还有杂七杂八的谈话声、欢笑声——假如你乐意的话，高高的玻璃锥体维尔茨堡酒将躬身到你的唇边，就像那枝头上的熟樱桃摇晃进强盗樫鸟的嘴壳一样。

They have audaciously adjusted, in the name of "good taste," upon the wounds of gothic architecture, their miserable gewgaws of a day, their ribbons of marble, their pompons of metal, a veritable leprosy of egg-shaped ornaments, volutes, whorls, draperies, garlands,fringes, stone flames, bronze clouds, pudgy cupids, chubby-cheeked cherubim, which begin to devour the face of art in the oratory of Catherine de Medicis, and cause it to expire,two centuries later, tortured and grimacing, in the boudoir of the Dubarry.

时之所尚，甚至打着风雅情趣的旗号招摇过市，厚颜无耻地在峨特艺术的伤口上敷以时髦一时的庸俗不堪的各种玩艺儿，饰以大理石饰带，金属流苏，形形色色的装饰，卵形的，涡形的，螺旋形的，各种各样的帷幔、花彩、流苏、石刻火焰、铜制云霞、胖乎乎的小爱神、圆滚滚的小天使，总之，真正的麻风病！它先是开始吞噬卡特琳·德·梅迪奇斯小祈祷室的艺术容颜，两百年后，继而在杜巴里夫人小客厅里肆虐，使其建筑艺术在经受折磨和痛苦之后，终于咽气了。

Neither the killing of Mr Zarqawi nor any breakthrough on the political front will stop the insurgency and the fratricidal murders in their tracks.

在对危险的南部地区访问时，他斥责什叶派民兵领导人对中央集权的挑衅行为。

In fact,I've got him on the satellite mobile right now.

实际上 我们已接通卫星可视电话了