巴黎人

A Shenyang lively area, my this year XX year old, I excel at the human relations, the skidding of the wheels, the model, I compare like Japan's sado, but I dislike the digit: In each individual heart some yearned for country, I, therefore I yearned for the country has a romantic name, not wrong, Paris, I am yearning for that beautiful dim light of night, therefore my desire is when a country leads, like this I might go to Paris, certainly I knew that should study the good English first, certainly my school English, will tell the sentence truth diligently, how did I not like this school, but had an archaism: Also comes to settle it; Therefore I let cause my life change am more splendid, thanks, I love you!

沈阳市一个热闹的地区，我今年XX岁，我擅长交际，轮滑，模特，我比较喜欢日本的茶道，但是我讨厌数字：每个人心中都有一个向往的国家，我所以我向往的国家是有着一个浪漫之都之称，没错，巴黎，我向往着那美丽的夜色，所以我的愿望就是当一名国导，这样我就可以去巴黎了，当然我知道应该先学习好英文，当然我会努力学校英文的，说句实话，我不怎么喜欢这个学校，但是有句古语：既来之则安之；所以我让使我的生活变的更加精彩，谢谢，我爱你们！

The distress of the people, the laborers without bread, the last Prince de Conde engulfed in the shadows, Brussels expelling the Nassaus as Paris did the Bourbons, Belgium offering herself to a French Prince and giving herself to an English Prince, the Russian hatred of Nicolas, behind us the demons of the South, Ferdinand in Spain, Miguel in Portugal, the earth quaking in Italy, Metternich extending his hand over Bologna, France treating Austria sharply at Ancona, at the North no one knew what sinister sound of the hammer nailing up Poland in her coffin, irritated glances watching France narrowly all over Europe, England, a suspected ally, ready to give a push to that which was tottering and to hurl herself on that which should fall, the peerage sheltering itself behind Beccaria to refuse four heads to the law, the fleurs -de -lys erased from the King's carriage, the cross torn from Notre Dame, Lafayette lessened, Laffitte ruined, Benjamin Constant dead in indigence, Casimir Perier dead in the exhaustion of his power; political and social malady breaking out simultaneously in the two capitals of the kingdom, the one in the city of thought, the other in the city of toil; at Paris civil war, at Lyons servile war; in the two cities, the same glare of the furnace; a crater-like crimson on the brow of the people; the South rendered fanatic, the West troubled, the Duchesse de Berry in la Vendee, plots, conspiracies, risings, cholera, added the sombre roar of tumult of events to the sombre roar of ideas.

人民的疾苦，没有面包的劳动人民，最后一个孔代亲王的横死②，仿效驱逐波旁家族的巴黎而驱逐纳索家族的布鲁塞尔，自愿归附一个法兰西亲王而终被交给一个英格兰亲王的比利时，尼古拉的俄罗斯仇恨，站在我们背后的两个南方魔鬼西班牙的斐迪南和葡萄牙的米格尔，意大利的地震，把手伸向博洛尼亚的梅特涅，在安科纳以强硬手段对付奥地利的法兰西，从北方传来把波兰钉进棺材的那阵无限悲凉的锤子声音，整个欧洲瞪眼望着法国的那种愤激目光，随时准备趁火打劫、落井下石的不可靠的盟国英格兰，躲在贝卡里亚背后拒绝向法律交出四颗人头的贵族院，从国王车子上刮掉的百合花，从圣母院拔去的十字架，物化了的拉斐德，破产了的拉菲特，死于贫困的班加曼·贡斯当，死于力竭的卡齐米尔·佩里埃，在这王国的两个都市中棗一个思想的城市，一个劳动的城市棗同时发生的政治病和社会病，巴黎的民权战争，里昂的奴役战争，两个城市中的同一种烈焰，出现在人民额头上的那种类似火山爆发的紫光，狂烈的南方，动荡的西方，待在旺代的德·贝里公爵夫人，阴谋，颠覆活动，暴乱，霍乱，这些都在种种思潮的纷争之上增添了种种事变的纷起。①在法国一八三○年革命中，拉斐德是自由保王派，波林尼雅克是被推翻的查理十世王朝的内阁大臣。②孔代，波旁家族的一个支系，一八三○年孔代亲王被人吊死在野外，未破案。

If there were question of the vagaries of many Nominalists, as, eg, that a bilocated person could be living in Paris and at the same time dying in London, hating in Paris and at the same time loving in London, the impossibility would be as plain as day, since an individual, remaining such as he is, cannot be the subject of contrary propositions, since they exclude one another.

如果有问题的变幻莫测的许多nominalists ，因为，例如，在某bilocated人可住在巴黎，并在同一时间内死亡，在伦敦，恨在巴黎和在同一时间，爱在伦敦，是不可能的，将作为中原为一天，由于个人，其余如他的地方，不能得到解决，有待相反的主张，因为他们排斥另一种。

Quadrille in 1973 and then Coryphaeus in 1974, he danced Aureole and Les Quatre temperaments. Subject in 1975, he took on the role of Tristan created by Noureev at the Paris Opera. Named leading dancer in 1976, he won with Florence Clerc the Bronze medal prize at the International Tokyo competition.

在尼斯艺术学校接受教育以后，他于1972年被巴黎国家歌剧院芭蕾舞团聘用。1973年表演四人方步舞，1974年担任领舞，他表演了保罗·泰勒的光环和乔治·巴兰钦的Les Quatre temperaments.1975年，他在巴黎歌剧院演出了努尔瑞夫的崔斯坦。1976年他被任命为首席舞蹈者，和弗洛伦斯·克勒克一起在国际东京比赛中获得铜奖。

CHAPTER X ECCE PARIS, ECCE HOMO Chinese To sum it all up once more, the Paris gamin of to-day, like the graeculus of Rome in days gone by, is the infant populace with the wrinkle of the old world on his brow.

十 瞧这巴黎，瞧这人英文再简括起来谈谈，今日巴黎的野孩，正如当年罗马的剽民，他是那种额上有古国皱纹的人民孩子①。①在手稿上雨果对"人民孩子"是这样解释的："人民孩子两词并立，两词表达一个意思：孩子。"

Born 1974 in Paris, France, Fabrice Guyot is a multidisciplinary artist and curator working in Paris and Shanghai.

Fabrice Guyot于1974年出生于法国巴黎，他集艺术家和策展人等多重身份于一身，在上海和巴黎两地工作。

It's a little bit of Paris in a town where hardly anyone has been to Paris, and the aromas are to die for.

在这座几乎没人到过巴黎的小城里，它就像是巴黎一样，那里的香味让人爱死了。

These are beings of the great neuter species: impotent men, parasites, cyphers, who have a little land, a little folly, a little wit; who would be rustics in a drawing-room, and who think themselves gentlemen in the dram-shop; who say,"My fields, my peasants, my woods"; who hiss actresses at the theatre to prove that they are persons of taste; quarrel with the officers of the garrison to prove that they are men of war; hunt, smoke, yawn, drink, smell of tobacco, play billiards, stare at travellers as they descend from the diligence, live at the cafe, dine at the inn, have a dog which eats the bones under the table, and a mistress who eats the dishes on the table; who stick at a sou, exaggerate the fashions, admire tragedy, despise women, wear out their old boots, copy London through Paris, and Paris through the medium of Pont-A-Mousson, grow old as dullards, never work, serve no use, and do no great harm.

他们全是那一大堆无用人群的组成部分；不事生产，食人之力，一无所长，有一点地产，一点戆气，一点小聪明，在客厅里是乡愚，到了茶楼酒馆又以贵人自居，他们的常用语是&我的草场，我的树林，我的佃户&，在剧场里叫女演员们的倒彩，以图证明自己是有修养的人，和兵营中的官长争辩，以图显示自己深通韬略，打猎，吸烟，打呵欠，酗酒，闻鼻烟，打弹子，看旅客们下公共马车，坐咖啡馆，上饭店，有一只在桌子下面啃骨头的狗和一个在桌子上面张罗的情妇，一毛不拔，奇装异服，幸灾乐祸，侮蔑妇女，使自己的旧靴子更破，在巴黎模仿伦敦的时装，又在木松桥模仿巴黎的时装，顽冥到老，游手好闲，毫无用处，但也不碍大事。

These are beings of the GRE at neuter species: impotent men, parasites, cyphers, who have a little land, a little folly, a little wit; who would be rustics in a drawing-room, and who think themselves gentlemen in the dram-shop; who say,"My fields, my peasants, my woods"; who hiss actresses at the theatre to prove that they are persons of taste; quarrel with the officers of the garrison to prove that they are men of war; hunt, smoke, yawn, drink, smell of tobacco, play billiards, stare at travellers as they descend from the diligence, live at the cafe, dine at the inn, have a dog which eats the bones under the table, and a mistress who eats the dishes on the table; who stick at a sou, exaggerate the fashions, admire tragedy, despise women, wear out their old boots, copy London through Paris, and Paris through the medium of Pont-A-Mousson, grow old as dullards, never work, serve no use, and do no great harm.

他们全是那一大堆无用人群的组成部分；不事生产，食人之力，一无所长，有一点地产，一点戆气，一点小聪明，在客厅里是乡愚，到了茶楼酒馆又以贵人自居，他们的常用语是&我的草场，我的树林，我的佃户&，在剧场里叫女演员们的倒彩，以图证明自己是有修养的人，和兵营中的官长争辩，以图显示自己深通韬略，打猎，吸烟，打呵欠，酗酒，闻鼻烟，打弹子，看旅客们下公共马车，坐咖啡馆，上饭店，有一只在桌子下面啃骨头的狗和一个在桌子上面张罗的情妇，一毛不拔，奇装异服，幸灾乐祸，侮蔑妇女，使自己的旧靴子更破，在巴黎模仿伦敦的时装，又在木松桥模仿巴黎的时装，顽冥到老，游手好闲，毫无用处，但也不碍大事。

For the first-timer there will always be several must-dos at the top of the list, but a visit to Paris will never be quite as simple as a quick look at Notre- Dame, the Louvre, and the Eiffel Tower.

对于初到巴黎的人来说，有些事情是行程安排中必须列出的。但巴黎之行绝不只是到巴黎圣母院、卢浮宫和埃菲尔铁塔这些地方走马观花般看看那么简单。

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。