有条不紊的

Some of the characters gaze at a traffic jam or watch each other; all of this appears in the paintings, hinting at the fretfulness in life and a desire for some kind of mercy. Wang Nanfei put herself above the street, viewed what happened below and hints at what is to come; she creates a new point of view, while at the same time facing everything that involves her, because she is a part of this environment too; she must sink or swim in the same pool of fortune with everyone else.

王南飞把自己置于街道和马路的上空，俯视这里已经发生和即将发生的一切，她异在于眼前的一切，同时又与眼前的一切有着千丝万缕的联系和瓜葛，因为这是她自己不得不生活于其中的环境与室外街面上的各色人等混杂交错的场面相比，室内生活也并非有条不紊，酒桌旁、泳池里、澡盆边和果树下，到处都充满了欲望的诱惑。

So saying, with dispatchful looks in haste She turns, on hospitable thoughts intent What choice to chuse for delicacie best, What order, so contriv'd as not to mix Tastes, not well joynd, inelegant, but bring [ 335 ] Taste after taste upheld with kindliest change, Bestirs her then, and from each tender stalk Whatever Earth all-bearing Mother yields In India East or West, or middle shoare In Pontus or the Punic Coast, or where [ 340 ] Alcinous reign'd, fruit of all kindes, in coate, Rough, or smooth rin'd, or bearded husk, or shell She gathers, Tribute large, and on the board Heaps with unsparing hand; for drink the Grape She crushes, inoffensive moust, and meathes [ 345 ] From many a berrie, and from sweet kernels prest She tempers dulcet creams, nor these to hold Wants her fit vessels pure, then strews the ground With Rose and Odours from the shrub unfum'd.

Neerer his presence Adam though not awd， Yet with submiss approach and reverence meek， As to a superior Nature， bowing low， [ 360 ] 她一边说着，一边带着急迫的神情，急速转身，一心想着招待的事，怎样精选最上等最可口的东西，风味若不调和，便会变得粗劣，务必要按照自然的变化而加调味，一样接着一样，有条不紊，引人入胜；于是忙着去采集各种的果品，从大地母亲所生产的万汇中千挑万选，无论东西印度、地中海滨各国、本都、布匿沿岸或阿西诺斯国中的，样样都有，结在柔枝上的，有果皮光滑的，粗糙的，果壳带须的，包在荚里的，她都不吝惜地采摘，堆积在桌子上。

The broidered and dentated cordon of the eight and twenty royal niches; the immense central rose window, flanked by its two lateral windows, like a priest by his deacon and subdeacon; the frail and lofty gallery of trefoil arcades, which supports a heavy platform above its fine, slender columns; and lastly, the two black and massive towers with their slate penthouses, harmonious parts of a magnificent whole, superposed in five gigantic stories;--develop themselves before the eye, in a mass and without confusion,with their innumerable details of statuary, carving, and sculpture, joined powerfully to the tranquil grandeur of the whole

那镂刻着二十八座列王雕像神龛的锯齿状束带层，那正中巨大的花瓣格子窗户，两侧有两扇犹如助祭和副助祭站在祭师两旁的侧窗，那用秀丽小圆柱支撑着厚重平台的又高又削的梅花拱廊，还有两座巍巍、黝黝的钟楼，石板的前檐，上下共六大层，都是那雄伟壮丽整体中的和谐部分，所有这一切，连同强有力依附于这肃穆庄严整体的那无数浮雕、雕塑、镂錾细部，都相继而又同时地，成群而又有条不紊地展现在眼前。注意，注意力集中

The broidered and dentated cordon of the eight and twenty royal niches; the immense central rose window, flanked by its two lateral windows, like a priest by his deacon and subdeacon; the frail and lofty gallery of trefoil arcades, which supports a heavy platform above its fine, slender columns; and lastly, the two black and massive towers with their slate penthouses, harmonious parts of a magnificent whole, superposed in five gigantic stories;--develop themselves before the eye, in a mass and without confusion,with their innumerable details of statuary, carving, and sculpture, joined powerfully to the tranquil grandeur of the whole

那镂刻着二十八座列王雕像神龛的锯齿状束带层，那正中巨大的花瓣格子窗户，两侧有两扇犹如助祭和副助祭站在祭师两旁的侧窗，那用秀丽小圆柱支撑着厚重平台的又高又削的梅花拱廊，还有两座巍巍、黝黝的钟楼，石板的前檐，上下共六大层，都是那雄伟壮丽整体中的和谐部分，所有这一切，连同强有力依附于这肃穆庄严整体的那无数浮雕、雕塑、镂錾细部，都相继而又同时地，成群而又有条不紊地展现在眼前。

Beijing-a super-large city, streets, buildings and plazas here have larger dimensions than a small city-Sichuan. In Beijing a giant city space is divided and wrapped by reinforcements, cement and glass curtain wall; apparently, their existences intend to accommodate more people to live and work in, however, they change ways of direct communication between human and human-all things in a regular order and become indirect and circuitous. E.g., two persons looking at each other on two sides of a street have to bypass a long way to cross over a rail fence in the middle.

身处北京这样的特大型城市，这里的街道、楼宇和广场在规模上有着远比四川小城更大的体量，它们用钢筋水泥和玻璃幕墙把诺大的城市空间分割和包裹，表面上看它们的存在是为了能够容纳更多的人生活和工作于其中，实际上却更加改变了人与人之间相互交流和沟通的直接方式--一切都变得有条不紊，都变得间接和迂回，连马路对面想望的人，都要绕行很远，才能跨越中间的护拦隔离带相聚。

I love to feel free, so I am either on the road or planning to be on the road again all the time ; I am freaking independent compared to most of the other schoolgirls coz I hate making my habits my friends' habits or the other way round ; I never talk about my relationship or whatever directly in my essays coz I believe to like someone is something simple, is something not to be shown off as a dress ; I don't have many best friends, but I'll love all my best friends as my life; I fancy cute clothes and yummy make-up , but I do maintain that the happiness is not brought by the material itself but the appreciation you get from people you care ; I can't fall asleep at night, fortunately I can be waken up by the sunshine every morning ; I love self photographing and keep a blog , because I want people I like to share my life and thoughts ; I like cooking and got upset everytime criticized by my mum ; I can either follow my to do list and be efficient or just spend the whole day napping and latteing ; My collegues didn't give me any hard time because I didn't play any mind game at work but went totally "Chinese" at dinner and in the KTV ; I am no different to the other twenty something chicks, we love shopping , clubbing , PSP , soap marathon and chocolate cramming when dumped and Taylor Swifting to dumb in the KTV when with bffs.

我热爱自由，恨不得一年三百六十五天天天在旅行或是计划着旅行；我独立得可怕，因为我的爱好不一定是他人的爱好；我从不在文章里正面谈论自己的感情，因为觉得喜欢一个人是如此简单，是不需要炫耀张扬的事情；我特别交心的朋友就那么几个，但一辈子都会爱他们至深；我钟爱漂亮衣服和化妆品，但觉得让我有幸福感的不是物质本身，而是那些愿意欣赏的人；我生物钟紊乱，半夜睡不着，幸好早晨可以自然醒；我爱自拍，博客更新得很快，因为我希望我喜欢的人看到我每天的生活；我喜欢买菜做饭经常被妈妈说动作慢盐太淡就很失落；我可以整天照着 to do list 有条不紊脚下生风也可以抱着拿铁懒猫似的在太阳里打盹；单位里的同事都对我很和善，因为工作中我不玩 mind game 而酒席上包房里我不扭捏作态；我和其他同龄的年轻女孩子一样喜欢逛街泡吧打电玩买杂志看肥皂剧失恋时暴饮暴食快乐时唱 K 吼成破锣嗓。

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。