男爵

I do love you, my beautiful Baroness.

我是爱你的，我美丽的男爵夫人

"You must be mad, my friend," said the baroness.

"我看您一定疯了，我的朋友。"男爵夫人说。

Baroness: You don't have to, my dear.

男爵夫人：亲爱的，你不用做什么。

Baroness I hope you're joking.

男爵夫人，我希望你在开玩笑

Baroness:No, I don't know.

男爵夫人：不，我没感觉到。

The Baroness: Would you look at that?

男爵夫人：你看如何是好呢？

Baroness: If there's something I can do to help...

男爵夫人：有事的话，我可以帮忙。

Baroness: Thank you, my dear.

男爵夫人：亲爱的，谢谢。

M: Baroness, I hope you're joking.

男爵夫人，希望你是在开玩笑。

M: It's very kind of you to offer to help me, Baroness.

男爵夫人，谢谢你来帮我。

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。