长裙

Mesmerized by a beaded moon, a fairy floats on a carpet of filmy clouds, ethereal in a white, off-the-shoulder gown with mauve cape and strands of lustrous pearls woven throughout her chestnut hair.

被一个珠子装饰的月亮所迷住，一个仙子漂浮在一片薄毯状的云朵上，她身穿一件有淡紫色披肩的轻薄白色长裙，她的栗色头发上装饰着几缕光亮的珠子织物。

It suited her exactly, and soon she began to imitate the manners and conversation of those about her, to put on little airs and graces, use French phrases, crimp her hair, take in her dresses, and talk about the fashions as well as she could.

那相当适合她，她很快开始模仿礼仪和那些关于她的讨论，摆着做作的姿态，用着法国强调，卷着她的头发，穿着长裙，尽可能的讨论着时尚。

MINI AND MAXI, AUTUMNAL LEAVES WITH SPRING FLOWERS, EXOTIC AND WILD FLOWERS.

迷你短裙和长裙，秋天的树叶和春天的花卉，和带有异国情调的野生花卉

There was something rather old-fashioned about our entire stay: the excessively polite guide who collected us in the morning; the beautiful girls in traditional costumes who served us numerous dishes at mealtimes; the cool linen clothes and brightly coloured umbrellas we needed to combat the furnace-like heat; the fountains which played in the courtyards in the Bamboo Garden in the evening. I felt like a character in a Forster novel, wearing a long skirt and brandishing a Baedeker.

在我们逗留期间，也感受到了其他更为浓郁旧式风格的东西，那位每天早上集合我们的特别热情的向导，用餐时端上无数美味的穿着旗袍的女孩们，那些帮助我们抵挡酷热的，凉爽的亚麻布衣服和亮丽的阳伞，还有傍晚在竹园里喷涌的泉水，我感觉自己仿佛置身于福斯特的小说中，身着长裙，手中挥舞着一本旅行指南，呵呵。

After the first world war, the traditionalconservative of tennis dress changed a little,and then,In 1919,the French athlete Susan ,became the twinkling symbol of the history of the women's tennis dress,she who had changed the long skirt to short,and matched the loose pleated skirts and skortings,it won the classical remark:" the barelegged war on the tennis court"

还记得早年那些黑白的照片吗，她们都穿着几乎拖在地上的长裙，而现在，网球裙越来越短了，似乎不够淑女，不够名媛，但球员们却更清爽，更灵活。

Twelve struck. The public would have to wait more than three hours for the Grand Prix to be run. When the landau had drawn up beside the barriers Nana settled herself comfortably down as though she were in her own house. A whim had prompted her to bring Bijou and Louiset with her, and the dog crouched among her skirts, shivering with cold despite the heat of the day, while amid a bedizenment of ribbons and laces the child's poor little face looked waxen and dumb and white in the open air.

她穿的服装是旺德夫尔赛马服的两种颜色，即蓝色和白色，显得非常别致，蓝绸短上衣和蓝绸紧身褡紧紧绷在身上，腰后高高凸起一个裙撑，这样，大腿的轮廓被明显衬托出来，当时流行穿宽大裙子，这样的穿戴打扮是不落俗套的；外面套一件白缎子长裙，袖子也是白缎子的，肩上披着一条白缎子三角围巾，全身穿戴都镶着银色镂空花边，被阳光照得闪闪烁烁。

One of the predominant styles is the A-line, which features a fitted bodice over a full skirt.

而其中一种最流行的风格则是A字线条，强调了长裙之上合身的上半衣。

For example, you will of- ten read in fashion magazines "there is a trend toward longer skirts", it eans that several designers, in- cluding some leading ones, are showing longer skirts, leading retail- ers are buying them, and fash- ion-forward customers are wearing them.

例如，经常可以在时装杂志中读到这样的话，"下一季的流行趋势是裙子将变长"。意思是，有些设讣师包括顶尖设讣师，日前正展示着长裙作品，零售商们进货的时候在购买长裙，赶时髦的顾客们在穿着长裙。

Before October Revolution, the greatest change in Russian attires occurred in the upper class. In the early 18th century, aristocracies began to wear western-style clothes. Women were habited in blouses that were chest exposing and crinolined skirts provided with steel frames to support the drapery.

十月革命前，俄国变化最大的是贵族的服装。18世纪初，贵族们开始穿西服，妇女穿软直纹长裙。19世纪中，贵族男子流行燕尾服，妇女为袒胸衫和用细骨架支撑起来的钟式长裙。

This time , she must appear in a bright red dress and long black stockings , Last year in another play , she had to wear short socks and a bright , orange-coloured dress, If anyone ever asks her how old she is , she always answers ,' My dear , it must be terrible to be grown up !

这次，她将扮演一个十七岁的姑娘。在这出戏里她得穿一件鲜红的长裙和长统的黑袜。去年，在另一出戏里，她穿着短袜和显眼的桔黄色的长裙。如果有人问她多大岁数了，她总是这样回答："天哪！成了大人就不好了！"

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。