巴黎人的

CHAPTER X ECCE PARIS, ECCE HOMO To sum it all up once more, the Paris gamin of to...

第一卷从巴黎的原子看巴黎第10章瞧这巴黎，瞧这人

A long time afterwards he was seen again in Auvergne; then in Paris, where he is said to have been a wheelwright, and to have had a daughter, who was a laundress; but that has not been proved.

经过了许多年，有人在奥弗涅遇见过他，嗣后，在巴黎又有人遇见过这人，据说他在巴黎做造车工人，并且有过一个洗衣姑娘，但是那些经过是没有被证实的；最后，到了本地。

In a fascinating speech in Paris in January, he described it as "the synthesis of economic efficiency, capitalism and social justice"; then, in words the general would have relished, as "a certain idea of the human condition faced with the reductionist and destructive forces of history".

在今年1月在巴黎发表的一次吸引人的演讲中，他将其称为"经济效率、资本主义和社会公正的综合体"；接着他用戴高乐将军应该会喜欢的词汇，将其称为"对面对历史简化和破坏力量的人类状况的一种看法"。

Franz did not doubt that these plans were the same concerning which the count had dropped a few words in the grotto of Monte Cristo, and while the Count was speaking the young man watched him closely, hoping to read something of his purpose in his face, but his countenance was inscrutable especially when, as in the present case, it was veiled in a sphinx-like smile.

弗兰兹怀疑这些计划是否和他在基督山的岩洞里所透露出的那一点口风有关，所以当伯爵说话的时候，这位青年仔细地观察着他，希望能从他脸上看到一点蛛丝马迹，究竟是什么计划促使他到巴黎去。但要看透那个人的心是非常困难的，尤其当他用一个微笑来掩饰着的时候。

One thing leads to another and that evening Antoine informs his friends that he has been taken on as a trainee by the famous Blady Detective Agency, which is familiar to most Parisians because of a subway poster showing the black silhouette of a man with his face half-concealed behind a newspaper.

事情一件接着一件，当天晚上安托万告诉他的朋友，他已经被著名的侦探社雇为实习生了，这家侦探社很多巴黎人都认识因为它的一张地铁里的广告画着一个用报纸遮着半张脸，只剩漆黑的半张脸部轮廓的男人。

This form of a ship had also struck the heraldic scribes; for it is from that, and not from the siege by the Normans, that the ship which blazons the old shield of Paris,comes, according to Favyn and Pasquier.

这种大船形状也曾引起纹章记述家的震惊，因为，据法万和帕斯基埃说，巴黎古老城徽之所以以船做为纹章，原因就在于此，而并不是由于诺曼底人围攻巴黎。

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。

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。

Even the French were astonished by the freshness of his vision, Delacroix himself repainting the background of his Massacre at Chios after seeing the Constables exhibited at the 1824 Paris Salon.

至此，甚至法国人也惊叹他的视觉的新颖性。德拉克洛瓦本人在看过康斯太布尔1824 年在巴黎沙龙的画展后修改了他的《希阿岛的屠杀》一画的背景。

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。