孤儿

So if it wasn't for me, they'd put you in an orphanage.

那么假如你没有我……，人家会把你关在孤儿院内？

These orphans in the orphange are starved of / starve for affection and care.

这些孤儿院的孤儿们渴望人们的关爱。

There day I chat with Belinda, she said not all the children in Angel Orphange is orphan, actually some of them they are parents still alive but because of some private reason cannot take care on the childrens.

那天与安琪儿童园的负责人Belinda闲聊才知道有些儿童并非孤儿，父母健在只因某些特殊的原因才被安顿在儿童园。

An orphan, Jar Jar was not even 20 years old by the time he was exiled from Otoh Gunga.

恰恰宾克斯是个孤儿，当他被逐出奥图刚加时还未满20岁。

In the chaos, there has been a special outpouring of concern for the thousands of children who may have been orphaned.

在这场混乱里，特别值得关注的是，可能有数以千计的孩子已经成了孤儿。

Replied O liver, greatly alarmed.'I haven't got a sister, either. I'm an orphan. I live in Pentonville.

奥利弗非常惊恐地说，"更没有姐妹，我是个孤儿，我住在本顿维尔区。"

Pepys was the hardy orphans, to provide for his sister grew up.

匹普是个苦命的孤儿，姐姐扶养他长大。

The second section mainly focuses on the initial stage of Chinese film, its imitation of foreign movies while showing distinctive inclination towards Chinese and Western styles. The early films by Commercial Press Film Studio, Shanghai Photoplay Company and Star Film Company will be discussed in this section.

第二部分《初始的模仿与选择》，讨论1920年代初期中国电影如何从仿制入手，开始了侦探片、爱情片和喜剧片的试验与探索，以《阎瑞生》、《红粉骷髅》、《海誓》和《劳工之爱情》等影片为例，探讨了中国试制电影与欧美影片的影响关系，在此部分还讨论了在"商务"、"上海影戏"和"明星"形成的竞拍态势中，初露端倪的"欧化"与"华式"两条发展路径，包括"商务"早期长片的国家意识和影像风格上"欧化"色彩；"上海影戏"对欧美儿童片的摹仿以及"明星"以《孤儿救祖记》为代表的比较民族化的创作方向。

The orphan had learned to be a pick pocket to survive.

这个孤儿为了生存学会了偷钱包。

On behalf of the "Pickwick Papers""Tale of Two Cities""Great Expectations""Oliver Twist" and so on.

代表有《匹克威克外传》《双城记》《远大前程》《雾都孤儿》等。

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。