滑稽的人

It's never an entirely comfortable prospect, even when Arsenal are going out of their way to make it look like one, by playing chaotically most of the time, contriving to have a comically woeful home record and conveniently losing key personnel to injury in the run-up to the match.

阿森纳从来都不是个让人舒心的对手，即使本赛季他们竭尽全力的展现让我们放心的一面。他们为此所做的努力包括：在大多数时候踢得混乱不堪，故意在主场取得如此滑稽的糟糕战绩，并在与蓝军的大战之前，很合时宜的宣布几位主力球员的伤停。

In a single night, music hall audienceswould be treated to singing, dancing, pantomime, and especially slap-stick -- a type of comedy featuring horseplay, pranks, and other physicalhumor, such as pie-throwing.

单单一个晚上杂耍戏院的观众们就可以观赏到唱歌、舞蹈、哑剧，特别是滑稽剧。滑稽剧是喜剧表演的一种，其特色是喧嚣的打闹、恶作剧以及其他引人发笑的形体表演，如扔馅饼。

The nearest parallel in Russian opera is Mikhail Glinka's Ruslan and Lyudmila , but echoes of Musorgsky are present too: tritones used to depict alarm bells in the scene between Yaroslavna and the boyars, the closing measures of Igor's aria (suggesting the closing measures of Act II of Boris Godunov ), the comic gudok players' recitative.

在俄罗斯歌剧中与它最相似的一部是米哈伊尔格林卡的《鲁斯兰与柳德米拉》，但是与穆索尔斯基作品也有相似之处：在雅洛斯拉夫那与贵族们间的场景中用三全音来描绘警报声，伊格尔的咏叹调中相似的小节（让人想起《鲍里斯格杜诺夫》第二幕中的相似的小节）以及滑稽的古多克琴演奏者的宣叙部。

The first part states in a comprehensive way the research on Zhou Zuoren so as to define the purpose, methodology and significance of the dissertation. The second part analyzes the experience of Zhou's self-culture creation from a personal angle-Yue culture in Zhejiang gave Zhou a perceptual knowledge of folklore, while the idea of world folklore gave him a rational cognition of folk' culture. The combination forms a dual folklore. The third part observes Zhou Zuoren's examination of literarure from folklore's perspective as well as its pioneering significance. The fourth part explores in a further way Zhou's perspective of folk culture, and analyzes the method he has established to conduct literary criticism from the angle of folklore as well as his research on Chinese Culture. The fifth part analyzes the impacts folklore theory and folk culture have on the formation of Zhou' literary ideas, focusing more his folklore interpretation and humanism perspective about the origin and hist ory of literature, also his literary aesthetic standards about "ordinary humanism" and "loving amusement" from the position of folklore. The sixth part expounds Zhou's achievement in combining literature and folklore and explores the consistency of their focus on human, thereby presenting a complete picture of Zhou's literature. The last part generalizes the revelation drawing from the research done in this dissertation.

本文分为六章：第一章综述周作人研究的历史与现状，从而确定本文的研究目的、方法及意义；第二章从社会、时代背景、区域文化传统和个人文化选择的角度，阐释周作人选取民俗学视角观照文学的原因，侧重分析周作人自我文化建构的心路历程——浙江越文化传统的浸润给周作人以民俗学的感性认识，而世界民俗学的理念赋予他注重民间文化的理性精神；第三章考察周作人的民俗学研究及先锋意义；第四章进一步探讨周作人的民俗文化观，分析他确立的从民俗文化角度进行文学批评的方法，兼及他从民俗学视角进行的中国文化研究；第五章分析民俗学理论及民俗文化观在周作人文学思想生成中的影响，着重论述周作人关于文学起源和文学发展史的民俗学阐释、文学的民俗人性观，以及从民间立场出发所具有的"平凡的人道"、"有情的滑稽"等文学审美原则；第六章从创作实践方面，探讨周作人文学作品的民俗文化意蕴，进一步论述周作人将文学与民俗结合在一起的实绩，并揭示二者以"人"为核心的内在精神的一致性，从而呈现出周作人较为完整的文学风貌；最后是余论，指出这一研究的启示。

The dancing of those slaves who, seeing through the win界面 of a plantation manor abode from the yard, im-itated the steps so gravely performed by the masters within and then added to them theirss own special flair,burlesquing the chalkiness folks and then go on to force the stepssintosa choreography uniquely theirss own.

那些在院子里跳舞的奴隶们，透过庄园屋子的窗户，模仿着里面主大部分人的庄重舞步，然后就把她们本人独特的舞蹈才华加进去，以滑稽的动作讽刺白人，之后她们继续将这一些舞步加到她们独有的舞蹈中。

Colonel Geraldine was dressed and painted to represent a person connected with the Press in reduced circumstances; while the Prince had, as usual, travestied his appearance by the addition of false whiskers and a pair of large adhesive eyebrows.

上校杰拉尔丁穿着绘有代表在减少的情况下按有关连的人，而王子也像往常一样，他的滑稽改编的加法和假胡须的大型胶粘剂眉毛对外观。

Baby you know i love you need to say i wanna hug you kiss you because i miss you but i never mean to diss you or trick you you know im lovin this too because you'll always be my boo you hold my hand and keep me safe neva let our lives go to waste when i look into your face lovin' the way yo' lips taste at night i do a 360 because i think of you missy and sometimes i know you hit me but we always end up kissing tell me can this really be a girl fallen for a G caught up mashin in the streets hustle a sack to make some cheese its funny my honey how 3 words could change this man took me from mashin wit my boys to learning things to be a man how you lift my head up put a smile upon my face keep me comin right back with your warm embrace i'm feelin safe babygirl when u touch me like that you lay your head upon my chest now lemme bring it right back i'm your lady and you're my man (i'm your man) I'll do everything i can, just to, keep you in my arms all night boy, i need you by my side, cause uh ever since we first locked eyes visioning all the dreams inside, makes me sit around and realize boy you're love is just so right i be yo' lady and you be my man holdin' hands under the stars at night your arms hold around my waist so tight it feels so right when you look into my eyes sparkles like the stars in the sky you'll always be mine cause a love like this is all a girl could wish for filled with millions of kisses the only one i adore, to have and to hold 'till i grow gray and old, and as you're wife i'll be by your side for the rest of your life So I'm walking to my girl's house, just to go chill I copped a couple flowers that was sittin' on the hill i checked out my breathe hoping that it's minty fresh So She opened up the door she was wearing a fly dress So I said to her,"Girl, you is lookin' so fine" I couldn't even believe that she was mine My girl to start with, and hopefully end with She got that walk like she walk, gliding so swift Then that day, I thought to myself What if I made a fool of myself but i said,"oh well" cause she's my girl and she's in my world, she more prettier than diamonds and pearls you know when i'm with you i'm the happiest as can be, cause i'm so loved whenever you're around me between you and me our love's so true you ain't never leavin me, cause i can't breathe without you i'm thankin the lord for the blessin he gave me he created the eye for me to stare deeply her hair, so soft, and flowing freely the sillouette of her body, moving so beautifully it's like that, and I don't want it to go away i'm lovin' the way she moves and the way she sway i'm showing her my love she's my blessin' from above "Its over now."

宝贝你知道我爱你必须说，我要拥抱你吻你，因为我想念你但我从来没有意思迪斯您或诱骗您你知道这也是即时通讯喜欢因为您将永远是我的嘘声你持有我的手，让我安全涅瓦让我们的生活浪费当我看到您的脸喜欢你的方式'的嘴唇味道在晚上，我做了360 ，因为我认为你小乔有时我知道你打我但我们总是接吻可以告诉我这确实是一个女孩下降一个G 赶上mashin在街头喧嚣一袋做一些奶酪其滑稽我蜂蜜如何3话可能会改变这个人把我从mashin智慧我男孩学习的东西是一个人你如何解除了我的头把我脸上的笑容时让我comin右后卫与您温暖的拥抱我feelin安全babygirl ü碰我的时候一样，您躺在你的头在我胸口现在lemme使其右后卫我是您的夫人和你是我的人我会尽我可以，只是，让你在我怀里整个晚上孩子，我需要你我身边，原因呢，因为我们永远第一锁定眼远景规划内所有的梦想，让我坐下来实现男孩你的爱是如此的权利我要你'小姐，你是我的男人 holdin '手中的星空下，贵国的武器在夜间在我腰部举行如此紧张它认为这样的权利时，你看看我的眼睛闪烁的星星一样在天空中您永远是地雷造成这样的爱是所有的女孩可能希望充斥着数以百万计的亲吻唯一一个我喜欢，有并举行'直到我长大灰色和老人，并为你的妻子我会通过你的身边，其余的你的生活因此，我走我的女孩'故居，刚才去寒气我copped一对夫妇花是sittin '在山上我检查我的呼吸希望它了新鲜明蒂于是，她打开了车门，她当时身穿飞行着装所以，我对她说：&姑娘，你是来查找'所以罚款&本人无法'吨甚至认为，她是地雷我的女孩开始，并希望结束她站走路就像她走路，滑翔，以便迅速那一天，我想如果我作了一个傻瓜，但我对自己说，&噢以及&导致了她和我的女孩她在我的世界，她更漂亮比钻石和珍珠你知道当我真的与你我真的是幸福就可以，导致我真的如此爱你的时候我周围的'重新你和我之间的爱'如此真实您艾因'吨从未leavin我，原因我不能没有你呼吸我真的thankin上帝的blessin 他给了我，他创建了眼我深深凝视她的头发，所以软，和自由流动她的sillouette机构，移动如此美妙它一样了，和我不希望它消失我很喜欢她的行动的方式和方法，她摆动我显示我的爱她她是我的blessin '从上面

They seemed to belong to the same ridiculous holiday world as pierrots and piers, sand castles, ham-and-egg teas, palmists, automatic machines, and crowded sweating promenades

这种汽船同白脸小丑、小码头、海滩上的沙堡、火腿加鸡蛋的茶点、看手相的人、自动售货机、挤满汗流浃背的行人的街道一样，都似乎属于滑稽的假日世界。

In fact I was reading and doing a little research, that book that's in the play, was a book that he was actually writing and I know now as I've read a little bit about him and I've met him a little bit, I think he's a serious fellow and a fellow not uninterested in wisdom literature, wisdom thinking, big questions in life, uh, religion in some ways, and the big question of who are we and it's not what this piece of material deals with, and even though certain passages of it, as they are quoted, can be made to sound a little funny, ah, no it's up for grabs as to what the nature of that book is.

事实上，我是边读边做研究的，这个剧本改编自一本书，事实上这本书才是作者的原著。现在我读了一些有关他的文章，也与他有过一些接触，我认为他是一个非常严肃的人，对智慧文学、智慧思维、人生问题、宗教问题，以及我们是谁这种严肃问题并不是毫无兴趣。而这些并不是这部剧里的主题，尽管其中也引用了一些智慧型文段，但目的只是为了使它听起来更滑稽。嗯，其实这本书的本质是很容易读懂的。

We will analyze particularly on the cosmic element in words,in professions and in situations,which explain the core theory of laughter of Bergson is "absentmindedness" and"mechanization".

在这方面，他留下了一本薄薄的小册子《笑》。这本书主要讨论的是喜剧问题中的&滑稽&。他认为笑只存在于人类社会，&在真正是属于人的范围以外无所谓滑稽&。

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。