金雀花的

A noble place; inside as well as out, a noble place--a house in which you incontinently lost yourself if ever you were so rash as to go about it alone; a house in which no one room had any sympathy with another, every chamber running off at a tangent into an inner chamber, and through that down some narrow staircase leading to a door which, in its turn, led back into that very part of the house from which you thought yourself the furthest; a house that could never have been planned by any mortal architect, but must have been the handiwork of that good old builder--Time, who, adding a room one year, and knocking down a room another year, toppling down a chimney coeval with the Plantagenets, and setting up one in the style of the Tudors; shaking down a bit of Saxon wall there,and allowing a Norman arch to stand here; throwing in a row of high narrow windows in the reign of Queen Anne, and joining on a dining-room after the fashion of the time of Hanoverian George I.

一个高贵的地方，里里外外，全然是个高贵的地方——好一个府邸，如果你竟鲁莽得独自东闯西跑，你立刻就会茫然迷失；好一个府邸，其中没有一个房间同另一个房间有什么和谐一致之处，每个房间都逸出常轨，突入一个内室，再经由内室下到某一个楼梯上，楼梯通向一个门，门又导引你回到了老地方，你还自以为这是府邸中离此最远的部分哩；好一个府邸，任何人间的建筑师都设计不出来的，必定是善良古老的建设者——时间——亲手营造的。时间在这一年增加了一个房间，在另一年又弄塌了一个房间；一会儿推倒一个与金雀花王朝同时代的烟囱，另外垒起一个都锋王朝风格的烟囱；那儿推倒一点儿撒克逊时代的墙垣，这儿又容许建立一道诺曼拱门；既把安女王统治时期流行的一排又高又狭的窗子硬装了上去，又按照乔治一世时代的时髦样式修建了餐室，同一个自从威廉征服英国以来兀立至今的斋堂相毗连。

When it comes to Plantagenet's wine Stuart says ," it is our Shiraz that is our benchmark wine, which is a reflection of our region the ancient soils found here , it is the cool climate that defines our Shiraz which is elegant, smooth and savoury with a touch of mineral character which comes from the soil, Much like the great vineyards of Bordeaux with its ironstone and granite."

在说到金雀花葡萄酒的时候，司徒亚特说："雪拉兹是我们的标牌酒，反映了我们所发现的这片古老土地的土壤情况，这里的凉爽气候成就了我们的雪拉兹，优雅、柔和、开胃，有一点点来自土壤中的矿物的特色，和有铁矿石和大理石的波尔多大葡萄园很相似。"

LI Feng-smart, studious, progress, speed, and soon they learned a lot Caidan and Huadan drama, such as "Yang, like crying like" The Concubine Yang,"sweep spend three drunk" and He Xiangu,"off Liuyang off" Mrs. Lee,"trouble learning" lady's maid,"Chai-chuan big fan" of the history of Bi-tao,"Jade Hairpin" Chen Miao-Chang,"Tibet Boat" Wu Fei-xia,"siskin mind" in secluded mother,"Xiu Ru Ji" in Li Xian,"Beating Surface-cylinder "of the bloom," play "Chui Mei Niang," parrot "Regardless of the fat, and" Hess "," strange pairs would,"" fighting knife into the House,"" together with beads,"" Plaster Rock Hill ","Dream,""Roar in mind" and so on.

李凤云聪明好学，进步极速，不久便学会了很多彩旦和花旦戏，如《仰像哭像》的杨贵妃、《扫花三醉》的何仙姑、《折柳阳关》的李夫人、《闹学》的春香、《钗钏大番》的史碧桃、《玉簪记》的陈妙常、《藏舟》的邬飞霞、《金雀记》的幽娘、《绣襦记》的李亚仙、《打面缸》的腊梅、《踢球》的翠美娘、《学舌》的胖姑，以及《思凡》、《奇双会》、《打刀入府》、《合珠配》、《膏石山》、《惊梦》、《狮吼记》等。

Frosty the snowman was a jolly happy soul With a corncob pipe and a button nose and two eyes made out of coal Frosty the snowman is a fairy tale they say He was made of snow but the children know how he came to life one day There must have been some magic in that old silk hat they found For when they placed it on his head he began to dance around Oh Frosty the snowman was alive as he could be And the children say he could laugh and play just the same as you and me Frosty the snowman knew the sun was hot that day So he said "Let's run and we'll have some fun now before I melt away " Down to the village with a broomstick in his hand Running here and there all around the square saying Catch me if you can He led them down the streets of town right to the traffic cop And he only paused a moment when he heard him holler "Stop!"

雾都雪人是乐融融的快乐灵魂以玉米芯管和一个按钮鼻子和两只眼睛开出的煤雾都雪人是一个童话故事，他们说，他是雪，但孩子们知道他怎么来的生活一天一定有一些魔术，在这旧丝绸帽子，他们发现因为当他们放在他的头部他开始跳舞哦雾都雪人有人活着，因为他可和孩子们说，他能笑并发挥刚才一样，你和我雾都雪人知道太阳是热那一天所以他说：&让我们的运行和我们将有一些乐趣现在在我融化&，下至村与金雀花在他的手跑在这里和那里的一切广场周围的话说赶上我，如果你能他带领下来街头镇有权向交警他只是停顿的时候他听到他holler &一站式&！

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。