弗里克

Appearing briefly in his own films was a trademark of Alfred Hitchcock.

在自己的影片里短暂露面是阿尔弗雷德·希区柯克的特点。

Gowns featured were from Raynne Designers, Ingrid Hocking, Anan, The Foxworth Effect and Jean Francis Bride Couture.

晚礼服出自雷恩设计师、英格里德·霍京、阿南、福克斯华绥·伊费可以及新娘礼服设计师约安·弗朗西斯。

Hoofer's Brewery was right next to where the Waldorf-Astoria is now.

刚开始开出租的时候，有钱人待的派克大街几乎全是一片煤场，胡弗啤酒厂正靠近现在的沃尔多夫·阿斯托里亚。

Horsley will play a mercenary general and father to the characters of Christopher Lambert, Kevin Sorbo and Victoria Maurette.

horsley将扮演一个雇佣兵秘书长和父亲的特点，克里斯托弗兰伯特，凯文sorbo和维多利亚莫雷特。

It accepts everything royally; it is not too particular about its Venus; its Callipyge is Hottentot; provided that it is made to laugh, it condones; ugliness cheers it, deformity provokes it to laughter, vice diverts it; be eccentric and you may be an eccentric; even hypocrisy, that supreme cynicism, does not disgust it; it is so literary that it does not hold its nose before Basile, and is no more scandalized by the prayer of Tartuffe than Horace was repelled by the "hiccup" of Priapus.

巴黎每天要唱一百万公升的水，但是这并不妨碍它在适当的时候打鼓吹号敲钟，进入警备状态。①普卢塔克（Plutaroue，约46？25），古希腊唯心主义哲学家，古希腊罗马杰出活动家传记的作者。②多米齐安（Domitian，51？6），罗马皇帝（81？6）。除此之外，巴黎是个好孩子。它豁达大度地接受一切，在美女面前它是不难说话的，它的美女是霍屯督①，只要它笑，凡事都好商量，丑态使它欢跃，畸形使它喜悦，恶德使它忘忧，只要与众不同，便可博得众人欢心，伪善即使是绝顶无耻的行为，也不会使它暴跳。它是那样爱好文学，以致在巴西尔②的跟前也不会捂着鼻子，它对达尔杜弗③的祈祷所起的反感并不比贺拉斯对普里阿普斯打嗝的反感来得更强烈。

Sir Christopher has long been fascinated by the horror genre[12]—he once presented a popular television programme on the topic—and his favourite painting is Fuseli's "The Nightmare", an unsettling image of a sleeping maiden, with an incubus[13] perched[14] on her stomach and a ghoulish[15] horse peering through a curtain.

克里斯托弗爵士长期以来痴迷恐怖艺术曾以此为主题推出一档颇受的电视节目他最钟爱的画作是富塞利的《梦魇》，画中描绘的是一位熟睡的女人，腹部上栖息着一个梦淫恶鬼，而布帘后面一匹长得像食尸鬼一般的马正探头窥视，整幅画看了让人感到心神不宁。

Sir Christopher has long been fascinated by the horror ★genre[12]—he once presented a popular television programme on the topic—and his favourite painting is Fuseli's "The Nightmare", an unsettling image of a sleeping maiden, with an ★incubus[13] ★perched[14] on her stomach and a ★ghoulish[15] horse peering through a curtain.

克里斯托弗爵士长期以来痴迷恐怖艺术——曾以此为主题推出一档颇受欢迎的电视节目 20 / 617 ——他最钟爱的画作是富塞利的《梦魇》，画中描绘的是一位熟睡的女人，腹部上栖息着一个梦淫恶鬼，而布帘后面一匹长得像食尸鬼一般的马正探头窥视，整幅画看了让人感到心神不宁。

Sir Christopher has long been fascinated by the horror ★genre[12]—he once presented a popular television programme on the topic—and his favourite painting is Fuselis "The Nightmare", an unsettling image of a sleeping maiden, with an ★incubus[13] ★perched[14] on her stomach and a ★ghoulish[15] horse peering through a curtain.

克里斯托弗爵士长期以来痴迷恐怖艺术——曾以此为主题推出一档颇受欢迎的电视节目——他最钟爱的画作是富塞利的《梦魇》，画中描绘的是一位熟睡的女人，腹部上栖息着一个梦淫恶鬼，而布帘后面一匹长得像食尸鬼一般的马正探头窥视，整幅画看了让人感到心神不宁。

Sir Christopher has long been fascinated by the horror ★ genre[12]-he once presented a popular television programme on the topic-and his favourite painting is Fuseli's "The Nightmare", an unsettling image of a sleeping maiden, with a n ★ incubus[13] ★ perched[14] on her stomach and a ★ ghoulish[15] horse peering through a curtain.

克里斯托弗爵士长期以来痴迷恐怖艺术--曾以此为主题推出一档颇受欢迎的电视节目--他最钟爱的画作是富塞利的《梦魇》，画中描绘的是一位熟睡的女人，腹部上栖息着一个梦淫恶鬼，而布帘后面一匹长得像食尸鬼一般的马正探头窥视，整幅画看了让人感到心神不宁。

Sir Christopher has long been fascinated by the horror ★genre[12]—he once presented a popular television programme on the topic—and his favourite painting is Fuseli's "The Nightmare", an unsettling image of a sleeping maiden, with an ★ incubus[13] ★perched[14] on her stomach and a ★ghoulish[15] horse peering through a curtain.

克 里斯托弗爵士长期以来痴迷恐怖艺术——曾以此为主题推出一档颇受欢迎的电视节目——他最钟爱的画作是富塞利的《梦魇》，画中描绘的是一位熟睡的女人，腹部上栖息着一个梦淫恶鬼，而布帘后面一匹长得像食尸鬼一般的马正探头窥视，整幅画看了让人感到心神不宁。

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。