辛

Going to dark bed there was a square round Sinbad the Sailor roc's auk's egg in the night of the bed of all the auks of the rocs of Darkinbad the Brightdayler.

705到黑暗的床上去的时候，有一颗水手辛伯达那神鹰的方圆形海雀蛋。那是亮昼男暗伯达所有那些神鹰的海雀们的夜晚之床。

And so there is no news to report about Auschwitz.

今天，在奥斯维辛，并没有可供报道的新闻。

There is no place to pray in Auschwitz.

在奥斯维辛，没有可以作祷告的地方。

What conditions must be in place in order for one to be a witness to Auschwitz?

必须有怎样的状况才能使一个人成为奥斯维辛的见证者？

"To write a poem after Auschwitz is barbaric".

"在奥斯维辛之后写诗是野蛮的。"

At Auschwitz , there was only one way you got out, we used to say.

我们以前常说，只有一个办法能逃出奥斯维辛，那就是爬烟囱！

COMPARED with the other horrors of Auschwitz, questions of nationality might seem secondary.

相比起奥斯维辛的本身的苦难，国家之间的争斗总显得不那么重要。

There is nothing new to report about Auschwitz.

在奥斯维辛，没有新鲜东西可供报道。

Auschwitz was one of the worst Nazi concentration camps.

奥斯维辛是最臭名昭著的纳粹集中营之一。

Can they be compared to literary representations of the death camps in Auschwitz?

它们是否可以与文学作品描绘的奥斯维辛死亡集中营比较？

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。