巴黎人

Then all is said, the tempest is loosed, stones rain down, a fusillade breaks forth, many precipitate themselves to the bottom of the bank, and pass the small arm of the Seine, now filled in, the timber-yards of the Isle Louviers, that vast citadel ready to hand, bristle with combatants, stakes are torn up, pistol-shots fired, a barricade begun, the young men who are thrust back pass the Austerlitz bridge with the hearse at a run, and the municipal guard, the carabineers rush up, the dragoons ply their swords, the crowd disperses in all directions, a rumor of war flies to all four quarters of Paris, men shout:"To arms!"

石块乱飞，枪声四起，许多人跳到河岸下，绕过现已填塞了的那段塞纳河湾，卢维耶岛，那个现成的巨大堡垒上聚满了战士，有的拔木桩，有的开手枪，一个街垒便形成了，被撵回的那些青年，挽着柩车，一路飞跑，穿过奥斯特里茨桥，向着保安警察队冲去，卡宾枪连冲来了，龙骑兵逢人便砍，群众向四面八方逃散，巴黎的四面八方都响起了投入战斗的吼声，人人喊着："拿起武器！"

The historians, in reply to that inquiry, lay before us the sayings and doings of some dozens of men in one of the buildings of the city of Paris, summing up those doings and sayings by one word—revolution. Then they give us a detailed biography of Napoleon, and of certain persons favourably or hostilely disposed to him; talk of the influence of some of these persons upon others; and then say that this it is to which that activity is due, and these are its laws.

历史学家回答这一问题时，向我们叙述巴黎城内一座大楼里的几十个人的言行，称这些言行为革命；然后出版拿破仑的，以及同情或敌视他的人物的详细传记，讲述其中一些人对另一些人的影响，说出：这就是这一运动发生的原因，这就是它的规律。

Lacroix's style is not only gorgeous, but he also likes to use a lot of gold. In the usually depressed atmosphere of Paris, it can boost your spirits and make the entire person brighten up.

Lacroix不但华丽，而且喜欢用大量的金色，在巴黎常年阴郁的气氛里，可以让人精神一振，整个人都亮起来了。

Introducing Gershwin's "American in Paris," Lorin Maazel , the Philharmonic's music director, said,"Someday a composer may write a work entitled "Americans in Pyongyang.""

乐队音乐指挥 Lorin Maazel 在介绍 Gershwin 的《美国人在巴黎》的时候说："说不定某天有作曲家就写出一曲《美国人在平壤》"

Do not care at Parisian society affection, love, and some just relations between people's money.

在巴黎上流社会无所谓亲情、爱情，有的只是人与人之间的金钱关系。

Moreover, Paris was not tranquil: political troubles presented this inconvenient feature, for any one who had anything to conceal in his life, that the police had grown very uneasy and very suspicious, and that while seeking to ferret out a man like Pepin or Morey, they might very readily discover a man like Jean Valjean.

另外，当时巴黎不平静，政治上的动乱，对那些隐瞒身世的人来说，带来这样一种麻烦，那就是警察已变得非常紧张，非常多疑，他们在搜寻象佩潘或莫雷①那样一个人时，是很可能会发现象冉阿让这样的人的。

The promenader in the yellow coat evidently did not belong in the quarter, probably did not belong in Paris, for he was ignorant as to this detail.

有跑来看热闹的人，有挤在路边的人，因为8 Tt t 8。 com 国王经过 ssbbww ，总是一件惊扰大家的事。国王在巴黎的街道上忽来忽往，总不免引起人心一度紧张。他那队伍，转瞬即逝，却也威风。

One day in 1863, the French Pierre Miqiaokesi an early second-round riding a bicycle out of the house, in the streets of Paris Saint-Martin were all looked at him.

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。

Hundreds fled from Paris, self-constituted exiles from their native land, in many cases thus giving the first intimation that they favored the reformed faith.

成千成万的人逃出了巴黎，自愿离开祖国，流亡在外；许多人借此第一次声明了自己赞助改正教的信仰。

Could he, for an instant, have supposed that, i n my admonisher at Eton -- in the destroyer of my honor at Oxford,-- in him w ho thwarted my ambition at Rome, my revenge at Paris, my passionate love at Na ples, or what he falsely termed my avarice in Egypt,-- that in this, my arch- enemy and evil genius, could fall to recognise the William Wilson of my school boy days,-- the namesake, the companion, the rival,-- the hated and dreaded rival at Dr. Bransby's? Impossible!

难道一时间，他还以为在伊顿书院忠告我的——在牛津大学毁了我的——在罗马不让我称心，在巴黎不让我报仇，在那不勒斯不让我热恋，在埃及不让我那被他诬称做贪心的欲望满足的——我的心腹之患，附在我身上的魔鬼，我认不出这人就是我小学时代的威廉·威尔逊——那个同名同姓的人，那个伙伴，那个对头——勃兰斯比博士的书院中那可恨又可怕的对头冤家么？

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。