杜桑正在厨房里忙着，厨房是对着后院的。
Toussaint was busy in her kitchen, which opened on the back yard.
杜桑也不在了。
我们已把杜桑口吃的情形写过了，提过一次，便不必再提。
We have already noted once for all the fact that Toussaint stuttered.
她是既漂亮又秀丽，她不能不对杜桑和镜子的意见表示同意。
She was beautiful and lovely; she could not help agreeing with Toussaint and her mirror.
冉阿让把一对闪烁发光的银烛台放在壁炉架上，杜桑看了十分羡慕。
Jean Valjean set the two candlesticks on the chimney-piece, where they glittered to the great admiration of Toussaint.
杜桑费了大劲才得到许可，包了几件换洗衣服、裙袍和梳妆用具。
It was with difficulty that Toussaint had obtained permission to pack up a little linen and clothes and a few toilet articles.
昨天黄昏她还不在这儿，当杜桑说“好象有吵闹声”时她已走进了寝室。
She had not been there on the preceding evening, and she had already retired to her chamber when Toussaint had said.
珂赛特没有听清她父亲的回答。杜桑的那句话已在她心里引起一阵惊慌。
Cosette did not hear her father's reply, but Toussaint's words caused a sort of commotion within her.
杜桑在这些方面从不大意，珂赛特也完全知道，但是她无法控制自己不加上这么一句。
Toussaint did not fail in her duty, and Cosette was well aware of the fact, but she could not refrain from adding.
杜桑的床也同样剥光了，只有一张床是铺好的，似乎等待着一个人，这就是冉阿让的床。
Toussaint's bed was despoiled in like manner. One bed only was made up, and seemed to be waiting some one, and this was Jean Valjean's bed.
杜桑的代表画作《泉》反映了一种艺术观点，反映出一种把作品的形式与它所要表现的内容完全脱离开的艺术概念。
His works 'Quan' definitely reflects one kind of artistic idea that is the form and the content should be separated completely.
杜杜正在他常去的地方：博吉拉和桑菲尔街的中间，位于市中心和机场之间的丘陵发夹带的交叉口。
Du Du was in his usual spot: the middle of Borgela and Sans-Fil Streets, a hilly hairpin intersection between downtown and the airport.
《时代周刊》在1971年这样评论俄籍智利导演亚历桑德罗·左杜洛夫斯基寓意丰富的cult电影《鼹鼠》“这是一部本质上毫无生气，却又栩栩如生的受难电影”。
TIME's 1971 review of Chilean-Russian director Alejandro Jodorowsky's El Topo (The Mole) described the allegorical cult western film as "a vivid if ultimately passionless passion play."
佐治亚州的州长桑尼.珀杜，在8月份准备邀请其他两位州长伙伴为此事展开更多的讨论，但是这三位州长都是跛脚鸭，他们将于明年1月份卸任。
Sonny Perdue, Georgia’sgovernor, asked his fellow governors in August for more talks, but all threeare lame ducks and will be gone in January.
剧中的人物形象主次分明，但突出塑造了桑图扎、图里杜、阿尔菲奥、罗拉、露琪亚等五个角色。
In play's character image primary and secondary distinct, but has molded Santuzza, Turiddu, Alfio, Lola, Lucia prominently and so on five roles.
剧中的人物形象主次分明，但突出塑造了桑图扎、图里杜、阿尔菲奥、罗拉、露琪亚等五个角色。
In play's character image primary and secondary distinct, but has molded Santuzza, Turiddu, Alfio, Lola, Lucia prominently and so on five roles.
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