滑稽的人

Washington Irving, in his Knickerbocker's History of New York, facetiously claims it comes from a MaisTchuseg word Yanokies meaning silent men.

华胜顿·戈温在他所著的《纽约荷兰移民史》一书中，滑稽地声称Yankee来自马萨诸什词Yanokies，意为"沉默寡言的人"。

In one of 'Myth' paintings, the huge stones almost occupy fully the whole surface; in contrast, the figures let down, after intense struggle, as if collapsedly, chikenlike, tiny, impotent, unreconciled and depressed, just like giving up battling with the stones. In this series of heroist mode, particularly as against with the picture surfaces in which the giantlike bodies and energy are expressed, the figures in it even look a sense of funniness – wherein we are certain that irony has been engaged in his paintings, and it can be understood as a self-irony that it is not a floppy laziness, while he indeed does not need to tighten his muscles, not to keep a zealous and single gesture for fighting, as if it seems difficult for everything to continue, and in the paintings when the heroes unpack the stones, the artist seems unpack the dream of heroes, letting alone the huge stones burning and overspreading, surrounding us, pressing us and scorching us, even running over the whole picture. It suffocates us with all these heaviness, hardness, and acuity, as registers our weak life like a paper-cut.

尹朝阳的《神话》系列里有一幅，巨大的石头几乎占满了整个画面，相比之下，画中的人经过了激烈的挣扎，松弛了下来，形将瘫软一般，渺小，无能，心有不甘而黯然神伤，俨然已经放弃了与石头的搏斗，在这个英雄主义调式的系列里，尤其是与其中表现了英雄那巨人般的体魄和能量的画面相对，这幅画中的人甚至显出了一种酸楚的滑稽感——这里，我们确知反讽已经介入了他的绘画，并且，可以理解为一种自我反讽，它并非是纨绔式的慵懒，然而，确实不再绷紧他全身的肌肉，不再保持激昂而单一的斗姿，好像一切都已经难以为继，在画中的英雄卸下了石头的同时，艺术家自己也仿佛卸下了英雄梦，任凭那巨大的石头像烈火般燃烧和蔓延，包围我们，紧紧地挤压、烤炙我们，并且溢出整个画面，它以全部的沉重、坚硬和尖锐使我们窒息，反衬出我们脆薄如剪纸般的生命。

However, it is used by educated speakers,for example, when they want to strike a jocular or demotic note,as in fixed expressions likeSay it ain't so or You ain't just whistling Dixie.

然而受过教育的人也使用这个词，例如当他们想达到滑稽或通俗的色彩，如在固定表达Say it ain't so 或 You ain't just whistling Dixie 中。

He's an absolute scream in our friends.

在我的朋友中他是个滑稽透顶的人。

I picked up her hat, and approached to reinstate it; but perceiving that the people of the house took her part, she commenced capering round the room; and on my giving chase, ran like a mouse over and under and behind the furniture, rendering it ridiculous for me to pursue.

我拿起她的帽子，走上前想再给她戴上；可是她看出来那房子里的人都站在她那边，她开始在屋子里乱跑起来；我一追她，她就像个耗子似的在家具上面跳过，上上下下地跑着，弄得我这样追逐她都显得滑稽了。

I picked up her hat, approached to reinstate it; 8ttt8.com perceiving that the people of the house took her part, she commenced capering round the room; on my giving chase, ran like a mouse over under behind the furniture, rendering it ridiculous for me to pursue.

我拿起她的帽子，走上前想再给她戴上；可是她看出来那房子里的人都站在她那边，她开始在屋子里乱跑起来；我一追她，她就像个耗子似的在家具上面跳过，上上下下地跑着，弄得我这样追逐她都显得滑稽了。

Someone, I can't recall who, has claimed that all individuals, as individuals, are comic, and therefore untragic; which seems to suggest that the Greeks did not tolerate individuals at all on the tragic stage.

我不知谁曾说过：任何个人作为个人来说都是滑稽的，因而不是悲壮的；由此可见，希腊人一般不可能容忍个人出现在悲剧舞台。

No things of air these antics were That frolicked with such glee: To men whose lives were held in gyves, And whose feet might not go free, Ah!

带着这般欢乐不停嬉戏，滑稽动作完全化作气体看得见的人生命被禁锢，他们的脚摆脱不了束缚啊！

For people taking it as a joke, it's much funnier if it looks legit also.

对于服用它作为一个笑话的人，这是非常滑稽，如果它看起来合法的也。

We doodlers, fidgeters and whisperers always get the same jokey, passive-aggressive line from the authority figure at the front of the room:"I'm sorry, are we bothering you?" How droll.

我们这些涂鸦的人，搞小动作的人和爱嘀咕的人总是能得到站在房间前面的权威人士不变的滑稽、被动性攻击的话语：&对不起，我们烦到你们了吗？&

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。