撒赖

It was a collaboration in 1919 with Irving Caesar that gave Gershwin his first hit: Swanee, which had originally been played by the popular Arthur Pryor band, but it was only when Al Jolson sang it in the musical, Sinbad, that it became a success.

正是1919年与欧文·凯撒的合作，给了格什文第一次打击。斯旺尼一直以来都是由流行的阿瑟普赖尔乐队演奏的，但只有阿尔乔森在音乐片辛巴德中演唱它时，才一举成名。

And these are the sons of Benjamin: Sallu the son of Meshullam, the son of Joed, the son of Pedaiah, the son of Kolaiah, the son of Maaseiah, the son of Ithiel, the son of Jeshaiah

11：7 便雅悯人中有米书兰的儿子撒路，米书兰是约叶的儿子，约叶是毗大雅的儿子，毗大雅是哥赖雅的儿子，哥赖雅是玛西雅的儿子，玛西雅是以铁的儿子，以铁是耶筛亚的儿子

And these are the sons of Benjamin; Sallu the son of Meshullam, the son of Joed, the son of Pedaiah, the son of Kolaiah, the son of Maaseiah, the son of Ithiel, the son of Jesaiah.

11：7 便雅悯人中、有米书兰的儿子撒路、米书兰是约叶的儿子、约叶是毗大雅的儿子、毗大雅是哥赖雅的儿子、哥赖雅是玛西雅的儿子、玛西雅是以铁的儿子、以铁是耶筛亚的儿子。

From the descendants of Benjamin: Sallu son of Meshullam, the son of Joed, the son of Pedaiah, the son of Kolaiah, the son of Maaseiah, the son of Ithiel, the son of Jeshaiah

便雅悯人中、有米书兰的儿子撒路、米书兰是约叶的儿子、约叶是毘大雅的儿子、毘大雅是哥赖雅的儿子、哥赖雅是玛西雅的儿子、玛西雅是以铁的儿子、以铁是耶筛亚的儿子。

Thus Satan talking to his neerest Mate With Head up-lift above the wave, and Eyes That sparkling blaz'd, his other Parts besides Prone on the Flood, extended long and large [ 195 ] Lay floating many a rood, in bulk as huge As whom the Fables name of monstrous size, Titanian, or Earth-born, that warr'd on Jove, Briareos or Typhon, whom the Den By ancient Tarsus held, or that Sea-beast [ 200 ] Leviathan, which God of all his works Created hugest that swim th' Ocean stream: Him haply slumbring on the Norway foam The Pilot of some small night-founder'd Skiff, Deeming some Island, oft, as Sea-men tell, [ 205 ] With fixed Anchor in his skaly rind Moors by his side under the Lee, while Night Invests the Sea, and wished Morn delayes: So stretcht out huge in length the Arch-fiend lay Chain'd on the burning Lake, nor ever thence [ 210 ] Had ris'n or heav'd his head, but that the will And high permission of all-ruling Heaven Left him at large to his own dark designs, That with reiterated crimes he might Heap on himself damnation, while he sought [ 215 ] Evil to others, and enrag'd might see How all his malice serv'd but to bring forth Infinite goodness, grace and mercy shewn On Man by him seduc't, but on himself Treble confusion, wrath and vengeance pour'd.

V2：撒但这样对他最亲近的伙伴说着，把他的头抬出火焰的波浪上面，两只眼睛，发射着炯炯的光芒，身体的其他部分平伏在火的洪流上，又长又大的肢体，平浮几十丈，体积之大，正象神话中的怪物，象那跟育芙作战的巨人泰坦，地母之子，或象百手巨人布赖利奥斯，或是古代那把守塔苏斯岩洞的百头神台芬，或者象那海兽列未坦，就是上帝所创造的一切能在大海洪波里游泳的生物中最巨大的怪物：据舟子们说，他有时在汹涌的挪威海面上打瞌睡，常有小舟夜航而遇险的时候，以为他是个岛屿，抛锚扎在他的鳞皮上，碇泊在他身旁的背风处，在黑夜的笼罩中等待姗姗来迟的黎明。大魔王就是这样横陈巨体，被锁在炎炎的火湖上面，既不能起立，也不能昂起头来，但由于那统治万汇的天神的意志和他的洪量，让他自由地得逞阴谋，他心想危害别人，却终于加重自己的罪行，刑上加刑，让他懊恼地看见自己一切的恶意怎样在他所引诱的人身上带来无穷的善意、恩惠和怜悯，而在他自己身上却招来了三倍的慌乱、惩罚和报复。

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。