巴黎人

It was neither an assault by Picards or Burgundians, nor a holy image carried in procession, nor a riot of the students in the vineyard of Laas, nor the entry into the city of "our most dread Lord the King," nor even a fine stringing up of thieves, male and female, at the Justice of Paris. Neither was it the unexpected arrival, so frequent in the fifteenth century, of some foreign ambassador with his beplumed and gold-laced retinue.

既不是庇卡底人或是勃艮第人来攻城②，也不是抬着圣物盒的巡列仪，也不是拉阿斯葡萄园③的学子们起来造反，也不是&我们称为无比威赫之主国王陛下&进城，甚至也不是在巴黎司法广场对男女扒手进行赏心悦目的绞刑，更不是十五世纪司空见惯的某外国使者身著奇装异服，头饰羽冠，突然而至。

Pedal - his legs started to leave the ground One day in 1863, Frenchman Pierre Mijiaokeshi riding a bicycle early two out of the house, in the streets of Paris St. Maarten people are staring him.

脚蹬——双脚开始离开地面 1863年的一天，法国人皮埃尔·米乔克斯骑着一辆早期二轮脚踏车出了家门，在巴黎圣马丁大街上的人全都凝视着他。

An opposition leader pounced Sunday and Web surfers gawked by the hundreds of thousands over video footage showing Sarkozy snapping at a man in a crowd at a Paris trade fair.

萨科齐在一次巴黎贸易展上与人对骂的视频吸引了成千上万的人的观看，同时也引来反对派的抨击。

However unfortunately, his face is destroyed has accommodated, the semblance is extremely ugly, therefore frequently causes the person to receive frightens and encounters people's loathing, therefore he can not but put on the mask, roosts the body in the Paris opera house labyrinth basement, becomes in the fable also the person also clever "the opera house spirit".

然而不幸的是，他的面孔被毁了容，外表极其丑陋，因此常常使人受到惊吓并遭到人们的厌恶，所以他不得不戴上面具，栖身于巴黎歌剧院迷宫般的地下室中，成为传说中亦人亦鬼的&歌剧院幽灵&。

French businessmen in China say that they are worried by apparently spontaneous signs of anti-French feeling but say that there is no sign, so far, of any official willingness to "punish" Paris.

&法国没有保护好火炬，&《环球时报》抗议说，&这样的表演令全世界看到西方一些人丧失理性的偏激，也让人看到了巴黎警方的无能。&

Lang, in his "Making of Religion"(New York, 1898), have emphasized a point too often overlooked by students of religion, namely, that with all their religious crudities and superstitions, such low-grade savages as the Pygmies of the Northern Congo, the Australians, and the natives of the Andaman Islands entertain very noble conceptions of the Supreme Deity.

罗伊乐主教，他感兴趣的工作，&宗教之primitifs &（巴黎， 1909年），以及郎先生，在他的&制作的宗教&（纽约， 1898年），都强调一点常常被忽视的学生宗教，即与所有crudities他们的宗教和迷信，这种低度野蛮人的俾格米人，北刚果，澳大利亚，以及当地人的安达曼群岛娱乐非常崇高的概念，最高神。

All well and good, except that Virgin's proposed business-class-only service to New York from Amsterdam, Frankfurt, London, Milan, Paris and Zurich runs counter to this idealism. Branson has been quoted as saying that he may use Boeing 787 Dreamliners for this, an aircraft designed to accommodate up to 330 seats (and use 20 per cent less fuel than other aircraft of that size). Yet he would need to carry fewer than half this amount if the Virgin service is to compete with, say, Silverjet, whose 767s have been adapted to accommodate 100 (compared with 252 on a regular aircraft of that type). Perhaps those flatbeds aren't so comfortable after all.

好倒是好，只可惜维珍航空提议的从纽约到阿姆斯特丹、法兰克福、伦敦、米兰、巴黎和苏黎士的商务舱专用服务，与其理想完全背道而驰布兰信曾说可能为此使用波音787梦幻客机，该机设计载客量为330座（与其大小相当的其它飞机相比，燃料消耗可节省20%）如果维珍航空服务与Silverjet竞争，他就需搭载不到一半的乘客Silverjet的767客机已经过改装，容纳100人（同型普通飞机可容纳252人）大概平板车确实不太舒服吧！

Balzac in their own life experiences, through detailed descriptions and penetrating portrait of a capitalist society between people naked money relations, with a sharp pen portrait of a contemporary Paris, France - which flourished behind temporary society forward to the many stories, it is a microcosm of Bourbon is a true portrayal of the capital class.

巴尔扎克以自己的生活体验，通过细致描写，入木三分地刻画了资本主义社会里人与人之间赤裸裸的金钱关系，用锋利的笔刻画出了当代法国巴黎--哪一个兴盛一时的社会背后隐藏着的许许多多的故事，它就是波旁王朝的缩影，就是资本阶级的真实写照。

Balzac in their own life experiences, through detailed descriptions and penetrating portrait of a capitalist society between people naked money relations, with a sharp pen portrait of a contemporary Paris, France - which flourished behind temporary society forward to the many stories, it is a microcosm of Bourbon is a true portrayal of the capital class.

巴尔扎克以自己的生活体验，通过细致描写，入木三分地刻画了资本主义社会里人与人之间赤裸裸的金钱关系，用锋利的笔刻画出了当代法国巴黎--哪个兴盛一时的社会背后隐藏着的许许多多的故事，它就是波旁王朝的缩影，就是资本阶级的真实写照。

Balzac in their own life experiences, through detailed descriptions and penetrating portrait of a capitalist society between people naked money relations, with a sharp pen portrait of a contemporary Paris, France - which flourished behind temporary society forward to the many stories, it is a microcosm of Bourbon is a true portrayal of the capital class.

巴尔扎克以自己的生活体验，通过细致描写，入木三分地刻画了资本主义社会里人与人之间************裸的金钱关系，用锋利的笔刻画出了当代法国巴黎--哪个兴盛一时的社会背后隐藏着的许许多多的故事，它就是波旁王朝的缩影，就是资本阶级的真实写照。

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。