牧羊的

The shadows and the generations, the shrill doctors and the plangent wars, go by into ultimate silence and emptiness; but underneath all this, a man may see, out of the Belvedere windows, much green and peaceful landscape; many fire-lit parlors; good people laughing, drinking , and making love as they did before the Flood or the Errant Revolution; and the old shepherd telling his tale under the hawthorn.

那些阴暗的幽灵，已逝的世代，尖声叫喊的博士，轰轰烈烈的战争，都匆匆过去，永远消失。然而，我们从望楼的窗口中，透过这一切还看到了一片青葱的和平景象，看到灯火辉煌的客厅；看到象在洪水到来之前或是法国革命前夕那样善良的人们在欢笑、在饮酒、在求爱；也看到了牧羊老人在山楂树下讲述着他自己的故事。

Breed of dog known for its intelligence, strong and enthusiastic herding instinct, and protectiveness; coat is moderately long, slightly wavy, and has a dense undercoat; coat color can be white or tan mixed with black, liver, or red or it can be blue merle or red merle; ears are furry and droop sideways over skull; tail is naturally or surgically bobbed; eyes may be brown, amber, blue, flecked or two different colors, leading to their nickname of ghost-eye dogs; adult stands 18 23 in.(46 58 cm) tall at shoulders and weighs 35 70 lbs (16 32 kg); despite name, originated and perfected in U.S. primarily from Basque ancestor brought to America by settlers; used today in Australia to herd sheep; also serve as narcotics detectors, trackers, search-and-rescue dogs, and hearing dogs for the deaf.

澳大利亚牧羊犬以其聪慧，强壮、满腔热情和充满保护欲的牧犬本能而闻名；皮毛适中长度，轻微地呈波浪形，并且具有稠密的内层皮毛；皮毛颜色有白色和黄褐色与黑色混合之色，肝红色和红色，极少有蓝色和肝红色；耳朵上有毛皮覆盖，在脑袋上弯曲下垂至一边；尾巴自然地如外科手术般的结扎成束；眼睛或是棕色，琥珀色，蓝色或者由两种不同颜色组成，这也是它们被称为&幽灵狗&昵称的由来；成年澳大利亚牧羊犬站立肩高46—58公分，体重16—32公斤；尽管它们的名字，起源于美国并且在美国受到欢迎，但它们主要是由巴斯克人的祖先移民美洲时带去的；今天它们在澳洲被用于牧羊；也可作为麻醉药探测犬，追踪犬，搜救犬，聋人的听觉犬。

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.

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。

All at once, a gust of wind, more merry than the rest, and probably charged with performing the affairs of Springtime, swept down from the nursery, flung itself on the alley, enveloped the young girl in a delicious shiver, worthy of Virgil/'s nymphs, and the fawns of Theocritus, and lifted her dress, the robe more sacred than that of Isis, almost to the height of her garter.

忽然来了一阵风，吹得特别轻狂，也许负有什么春神的使命，从苗圃飞来，落在小路上，裹住了那姑娘，惹起她一身寒噤，使人忆及维吉尔的林泉女仙和泰奥克利特①的牧羊女那妩媚的姿态，这风竟把她的裙袍，比伊希斯②的神衣更为神圣的裙袍掀起来，几乎到了吊袜带的高度。

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。