阿飞

The section titled 'Trainspotting at Leith Central Station' takes the characters to a derelict, train-less station, where one of them attacks a derelict human being who is, in fact, his father, doling out a goodly quantity of what Anthony Burgess's hoodlum Alex, in A Clockwork Orange , would call 'the old ultraviolence'.

标题为"在利思中心车站记录火车"的段落将小说人物置身于一个废弃的没有火车的车站。在那里，他们中的一个殴打了一个被抛弃的人，实际上这个被殴打的人正是打人者的父亲。这里用大量篇幅描述了安东尼·伯吉斯小说《发条橙》中的阿飞亚历克斯所说的"古老的超级暴力"。

Unlike his peers, the roguish actor, who has a penchant for playing intense loner types (a reticent cop in Chungking express, a lone swordsman in Ashes of Time, a moody cameo role in 1991's Days of Being Wild), makes only two to three movies each year.

这位不循规蹈矩的演员，擅于扮演内心孤寂的角色类型（《重庆森林》自言自语的警察，《东邪西毒》孤独的剑客，《阿飞正传》中短暂一瞥）。他不像他的同辈人，他每年只拍两到三部电影。

A rough, violent person who engages in destructive actions: mug, roughneck, rowdy, ruffian, tough. Informal toughie. Slang hood, punk.

一个粗野、暴力的人，从事破坏性的行为：杯子、无赖、粗暴而又好争吵的人、流氓、恶棍、卤莽的人、小阿飞。

In the pre-title scene of Days of Being Wild (1990), Wong conjures in ten sinuous shots this phantom.

在阿飞正传（1990）的预告片中，王家卫投射了十个复杂的镜头给这个"幽灵"。

I'm with the skater boy.

我和阿飞在一起。

Hi ALFY,are you ready to sledding together?

嗨，阿飞，你准备好一起滑雪了吗？

The other two Punks snap out of it and go after them.

其他两个小阿飞回过神，便追了上来。

Have enough to eat now finally start to install equipment, and the black not the kind of equipment is really silly I lived above photo hooligan that Taiwan KB almost filled the entire studio quarter, not only this sets a huge KB only, most importantly, came, drummers A Tight with a half-sleeve over drum kits, three pulling a snare drum, a wooden drum, in which the two large instruments under the poor caught in the middle of Kiwi move not, even a piece of paper fall to the ground can not be bent pick, cool!

现在吃饱饭终於要开始装器材了，黑凡斯的器材真的让我傻住了，上面照片阿飞这台KB几乎就占满了整间工作室的四分之一，不仅这台庞大的KB而已，重头戏来了，鼓手阿Tight带了半套的鼓组过来，三个拔、一个小鼓、一个木箱鼓，而在这两个庞大的乐器之下，可怜的Kiwi被夹在中间动弹不得，连一张纸掉在地上都无法弯下腰去捡，很酷吧！

For your audience, if The Days of Being Wild had turned out to be your swansong, who would have brought them all the series of films in later years?

对你的观众来说，如果《阿飞》是一套绝响的纪念作，谁带给他们往后的系列？

Hi hhhpppfff,You guys are very gud.

嗨阿飞，你们这些人真棒。

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。