鬈发的

His black hair, fine as floss silk, hung in glossy curls about his round, dimpled face, while a pair of large dark eyes, full of fire and softness, looked out from beneath the rich, long lashes, as he peered curiously in the apartment.

圆圆的脸蛋上有一对酒涡，头上覆盖着一圈圈光滑，鬈曲，细如绢丝的黑头发；一双又大又黑，柔和而炯炯有神的眼睛，从两道浓浓的长睫毛下面好奇地向屋内张望着。

Lady Audley flitted from room to room in the bright September sunshine--now sitting down to the piano to trill out a ballad, or the first page of an Italian bravura, or running with rapid fingers through a brilliant waltz--now hovering about a stand of hot-house flowers, doing amateur gardening with a pair of fairylike silver-mounted embroidery scissors--now strolling into her dressing-room to talk to Phoebe Marks, and have her curls rearranged for the third or fourth time; for the ringlets were always getting into disorder, and gave no little trouble to Lady Audley's maid.

奥德利夫人在九月明朗的阳光里从这个房间飞到那个房间——一会儿在钢琴前坐下弹奏一曲民歌或意大利悲壮曲的第一页，再不然就以轻快的指法弹奏一首才华横溢的华尔兹舞曲——一会儿逗留在一架暖房培养的花卉面前，用一把灵巧的镶银绣花剪刀，干她那业余爱好的园艺活儿——一会儿又溜达到化妆室里去和菲比·马克斯闲谈，让她第三回或第四口重新给她做头发；因为她的鬈发老是有点儿乱，这给爵士夫人的侍女添了不少麻烦。

I rose as at thy call, but found thee not; To find thee I directed then my walk; And on, methought, alone I pass'd through ways [ 50 ] That brought me on a sudden to the Tree Of interdicted Knowledge: fair it seem'd, Much fairer to my Fancie then by day: And as I wondring lookt, beside it stood One shap'd and wing'd like one of those from Heav'n [ 55 ] By us oft seen; his dewie locks distill'd Ambrosia; on that Tree he also gaz'd; And O fair Plant, said he, with fruit surcharg'd, Deigns none to ease thy load and taste thy sweet, Nor God, nor Man; is Knowledge so despis'd?

它看来很美，比我白天所想的美丽百倍；我惊奇地发现，树旁站着一个带翅膀的，样子很像我们常常看见的天使，他那湿漉漉的鬈发，蒸发着天香。他也在那儿观看那棵树；还说： '啊，真是美丽的树，果实累累，竟没有神或人来品味你的甘美，从而减轻你的重荷？难道知识那么贱？

He was sixty years old and his crisp curly hair was silver-white, but his shrewd face was unlined and his hard little blue eyes were young with the unworried youthfulness of one who has never taxed his brain with problems more abstract than how many cards to draw in a poker game.

他60岁了，一头波浪式的鬈发已经白如银丝，但是他那精明的脸上还没有一丝皱纹，两只蓝眼睛也焕发着青年人无忧无虑的神采，这说明他从来不为什么抽象的问题伤脑筋，只想些简单实际的事，如打扑克时要抓几张牌，等等。

Within forty minutes her head was covered with tiny, close-lying curls that made her look wonderfully like a truant schoolboy.

不出四十分钟，她头上布满了紧贴着的小发鬈，变得活像一个逃课的小学生。

However, they formed themselves into line, all assisting, owing to the importance of the search; the dairyman at the upper end with Mr Clare, who had volunteered to help; then Tess, Marian, Izz Huett, and Retty; then Bill Lewell, Jonathan, and the married dairywomen - Beck Knibbs, with her woolly black hair and rolling eyes; and flaxen Frances, consumptive from the winter damps of the water-meads - who lived in their respective cottages.

但是由于事关重大，他们就都过来帮忙，一起排成一排搜查；克莱尔先生也自动过来帮忙，奶牛场老板就和他站在上边的开头；排在他们后面的是苔丝、玛丽安、伊茨·休特和莱蒂；再往后就是比尔·洛威尔、约纳森，还有已经结了婚住在各自房舍里的女工们——里面有贝克·尼布斯，她长了一头黑色的鬈发和一双滴溜溜直转的大眼睛；还有一个长着亚麻色头发的法兰西斯，她因为水草场上冬季的湿气而染上了肺病。

The dark-eyed little girl, plain, but full of life, with her wide mouth, her childish bare shoulders, which shrugged and panted in her bodice from her rapid motion, her black hair brushed back, her slender bare arms and little legs in lace-edged long drawers and open slippers, was at that charming stage when the girl is no longer a child, while the child is not yet a young girl.

小姑娘长着一双黑眼睛，一张大嘴巴，相貌不漂亮，但挺活泼。她跑得太快，背带滑脱了，袒露出孩子的小肩膀，黑黝黝的打绺的鬈发披在后面，光着的手臂十分纤细，身穿一条钩花裤子，一双小脚穿着没有鞋带的矮靿皮靴。

This is a unique creation on the conception of seeking matched environment and characters. In tone, the whole painting takes brown as the keynote.

在色调上，全画是以棕褐色为基调的，圣母身上的深青与天使披风上的紫红、金黄和银灰色构成对比；耶稣与约翰的肌肤，与约翰的金黄色鬈发构成对比。

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。