牧羊女

The shepherdess was like a cat on a hot tin roof when she couldn't find the little lamb.

当牧羊女找不到那只小羊羔的时候，急得坐立不安。

IF YOU ARE A HERDSGIRL, YOU CAN SING A SONG AND DANCE ON THE GRASS LAND.

如果你是牧羊女，你可以在草地上唱歌跳舞。

I see the little tapeworm lying beside the fruit and all the varieties of worms that Serge drew on the tablecloth to explain what was the matter with the dog.

我看到"疯狂的牧羊女"歌舞场的空乐他，每一条裂缝里都藏着蟑螂、虱子和臭虫。

The carved stags pushed out their heads, raised their antlers, and twisted their necks.

他会点头。他也是瓷做的；他说他是小牧羊女的祖父，不过他却提不出证明。

Cantatas, he Flowering and Fading of Love? II. Ritrosetta pastorella, amor onesto

六首康塔塔，&爱情之花的盛开与凋谢&：第二首：害羞的牧羊女，&真诚的爱&

THE glamorised world portrayed on the nightly telenovelas on Brazilian television is, superficially at least, about as representative of the country as a whole as Marie Antoinette and her shepherdesses were of 1780s' France.

这句话的意思是肥皂剧里所展现的歌舞升平的世界与巴西的现实差距甚远，毫无代表性，就像玛莉安托瓦内特奢侈的生活方式不能代表当时法国乡村的牧羊女的处境一样。

THE glamorised world portrayed on the nightly telenovelas on Brazilian television is, superficially at least, about as representative of the country as a whole as Marie Antoinette and her shepherdesses were of 1780s' France.

和她的牧羊女们不能代表当时的法国一样。

THE glamorised world portrayed on the nightly telenovelas on Brazilian television is, superficially at least, about as representative of the country as a whole as Marie Antoinette and her shepherdesses were of 1780s' France.

巴西晚间播出的肥皂剧里那歌舞升平的世界，如同十八世纪八十年代法国皇后玛丽·安唐妮和她的牧羊女，多少也算是整个国家的反面代表。

THE glamorised world portrayed on the nightly telenovelas on Brazilian television is, superficially at least, about as representative of the country as a whole as Marie Antoinette and her shepherdesses were of 1780s' France.

巴西晚间电视连续剧里所展现的歌舞升平的世界与巴西的现实差距甚远，毫无代表性，就像十八世纪八十年代法国的绝代艳后玛利·安唐妮[1]和她的牧羊女们不能代表当时的法国一样。

The poem, according to this theory, shows how a beautiful shepherdess keeps her betrothal vow to her lover of the same rank in fife notwithstanding the allurements and acts of violence of a king.

这首诗，根据这一理论，显示了如何保持美丽的牧羊女她订婚的誓言：在她的情人同一职级的法伊夫尽管allurements和暴力行为的一个国王。

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。