孤儿

Noah was a charity－boy, but not a workhouse orphan; he at least knew who his parents were.

诺厄是个慈善学校的男孩，但并不是济贫院里的孤儿；他起码还知道自己的父母是谁。

Let him not peep or steal, or skulk up and down with the air of a charity boy, a bastard, or an interloper in the world which exists for him.

在这个为他而存在的世界上，让他不要像慈善堂的孤儿、私生子、或爱管闲事的人那样探头探脑，偷偷摸摸，鬼鬼祟祟。

I am an orphan, the daughter of a clergyman.

我是一个孤儿，一个牧师的女儿。

"We really wanted to tell a story about troops going into a foreign land, maybe being a little insensitive to the people, but growing fond of them and coming to love them and wanting to rescue them from their plight," says Henry Gilroy, co-writer of the episode."We saw it as an opportunity to reflect those great World War II stories of the American GIs moving through Europe and encountering the people of those areas, particularly orphans."

"我们是真的很想讲一个关于士兵进入外国人的土地的故事，也许一开始士兵们对那里的人民有点生疏，但渐渐喜欢起他们，并且爱上他们，想要把他们从困境中解救出来，"本集的合作编剧Henry Gilroy说，"我们将这看作一个机会，可以借此影射二战时期美军穿越欧洲，遇见那些国度的人民，尤其是那些孤儿时发生的那些伟大故事。"

Colby: How can you not trust people who are working to help orphans?

你怎能不相信那些想帮助孤儿的人？

18 I will not leave you comfortless: I will come to you.

14：18 我不撇下你们为孤儿，我必到你们这里来。

I will not leave you comfortless: I will come to you.--- John 14:18

我不撇下你们为孤儿，我必到你们这里来。

Set in Paris, France, it is a critical story of a comfortless as well as dysfunctional love.

在巴黎，法国，设置它是一个孤儿，以及不正常的爱情故事的关键。

The hope I dreamed of was a dream, Was but a dream; and now I wake, Exceeding comfortless, and worn, and old, For a dream's sake.

希望我的时候，您的梦想工作是一个梦，不过是场梦；现在我醒来的时候，超过为孤儿，穿，旧的，对于一个梦想的缘故。

His first public appearance as pianist and composer was on 29 March 1795 at the Burgtheater, at the first of the two annual benefit concerts for the widows and orphans of the musicians of Vienna. He performed his Piano Concerto no. 1 in C major, and the story goes that he finished the Rondo only two days before the concert, and as the piano was a semitone flat, he had to play his part in C# major, with its seven sharps.

贝多芬在宫廷及维也纳贵族的城内住宅演奏，他的即兴演奏才能也名扬天下。1995年3月29日，他首次作为钢琴家和作曲家在柏基剧院公开露面，出席为维也纳音乐家的遗孀和孤儿而举行的年度慈善音乐会两次中的第一次。

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。