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However, for the present I let him go, knowing no better at that time; then I went to the three Kids, and taking them one by one, I tyed them with Strings together, and with some Difficulty brought them all home.

如果我让那头老山羊在陷阱里饿上三四天，不给它吃东西，然后，再稍稍给它点水喝，给它点谷物吃，它也一定会像那些小山羊一样驯服。

At present our workshop covers an area of 12000 sq.m., which includes four kilns: one tunnel kiln, two tunnel kilns and one decal kiln, with an daily output up to 100 steres and qualified with complete producing equipment.

是一家专业生产高、中温陶瓷的企业，成立于1990年，主要生产高级酒店用瓷、家庭用瓷及日用陶瓷，目前拥有12000平方米的生产车间，共有窑炉4条（隧道窑1条，立方窑2条，烤花窑1条）日产量高达100立方米，生产设备齐全。

I am a wilful child perhaps My mother was spoiled child I wayward I hope Every moment As beautiful as crayons I hope The white paper in love can draw Draw clumsy freedom Draw a never Tears in eyes Sky A sky plumage and leaves A green night and apples I want to paint in the morning Under the picture Can see the smile Under the picture all the young No pain of love She hadn't seen clouds Her eyes are clear color She looked at me forever Forever, watching Never suddenly fell away I want to paint distant scenery Under the picture of the horizon and the water is clear Painted many happy river Under the picture Lightly covered with fluff I let them get very close Let them fall in love Let each one Each a silent spring throb Have become a little birthday I also want to paint in the future I haven't seen her, it is impossible But know that she is very beautiful I painted her coat of autumn Under the burning candle painting and maple leaf Painted many because love her And out of the heart Under the picture Draw a woke up early The glass wrappers above And the fairy tales illustrations I am a wilful child I want to wipe away all the unfortunate I think in the earth Painted with Windows Let all habits dark eyes All light I want to paint surface Draw a frame under a higher than the mountains Draw down the Orient Under the picture A voice of limitless Finally, in the paper Angle I also want to paint Draw a koala He sat on the dark jungle in Victoria Sit quietly branches Become speechless He had no home No one in the distance He only, many The same dream. Berries And a big, big eyes I hope think But I wonder why I didn't receive crayons Don't get a color moment I only have me My fingers and trauma Only the pieces Love her Let them go looking for a butterfly Let them vanish from today I was a child A mother is spoiled child fantasies I wayward

我是一个任性的孩子也许我是被妈妈宠坏的孩子我任性我希望每一个时刻都像彩色蜡笔那样美丽我希望能在心爱的白纸上画画画出笨拙的自由画下一只永远不会流泪的眼睛一片天空一片属于天空的羽毛和树叶一个淡绿的夜晚和苹果我想画下早晨画下露水所能看见的微笑画下所有最年轻的没有痛苦的爱情她没有见过阴云她的眼睛是晴空的颜色她永远看着我永远，看着绝不会忽然掉过头去我想画下遥远的风景画下清晰的地平线和水波画下许许多多快乐的小河画下丘陵长满淡淡的绒毛我让它们挨得很近让它们相爱让每一个默许每一阵静静的春天悸动都成为一朵小花的生日我还想画下未来我没见过她，也不可能但知道她很美我画下她秋天的风衣画下那些燃烧的烛火和枫叶画下许多因为爱她而熄灭的心画下婚礼画下一个个早早醒来的节日上面贴着玻璃糖纸和北方童话的插图我是一个任性的孩子我想擦去一切不幸我想在大地上画满窗子让所有习惯黑暗的眼睛都习惯光明我想画下风画下一架比一架更高大的山岭画下来东方民族的渴望画下大海无边无际愉快的声音最后，在纸角上我还想画下自己画下一只树熊他坐在维多利亚深色的丛林里坐在安安静静的树枝上发愣他没有家没有一颗留在远处的心他只有，许许多多浆果一样的梦和很大很大的眼睛我在希望在想但不知为什么我没有领到蜡笔没有得到一个彩色的时刻我只有我我的手指和创痛只有撕碎那一张张心爱的白纸让它们去寻找蝴蝶让它们从今天消失我是一个孩子一个被幻想妈妈宠坏的孩子我任性

Scapes 1–3, slender, erect, 4–5 cm at flowering, 6–13 cm at fruiting, glabrous, with many lanceolate acuminate scales crowded at base; bracts 3–5, remotely alternate on scape, linear-lanceolate, 5–6 × 1–1.5 mm, apex acuminate, upper most one at base of calyx.

花葶1-3，纤细，直立，4-5厘米在花期，在果期6-13厘米，无毛的，具很多披针形渐尖鳞片在基部密集的；苞片3-5，在花葶上稀疏互生，线状披针形的， 5-6 * 1-1.5 毫米，先端渐尖，最上面一枚在花萼基部。

Then, the crowds for ever passing and repassing on the bridges (on those which are free of toil at last), where many stop on fine evenings looking listlessly down upon the water with some vague idea that by and by it runs between green banks which grow wider and wider until at last it joins the broad vast sea--where some halt to rest from heavy loads and think as they look over the parapet that to smoke and lounge away one's life, and lie sleeping in the sun upon a hot tarpaulin, in a dull, slow, sluggish barge, must be happiness unalloyed--and where some, and a very different class, pause with heaver loads than they, remembering to have heard or read in old time that drowning was not a hard death, but of all means of suicide the easiest and best.

同为一桥，盖免税之桥，众人过之，情形迥异。有人凭栏怅望，恨滔滔流水，碧草夹岸，终成江海，逝者如斯夫；至若苦旅之人，稍得停驻，遐想乘舟一叶，随波逐流，睡热毯，抽烟斗，逍遥快活，此乐何极？亦有相反之阶层者，不堪重负，万念俱灰，犹忆旧时之言，溺水而亡，为简便易行之解脱。可能会有人说这是火星文，看不懂。不过我觉得，也只有中国的古文，才配得上一百多年前大师的行文风格。呵呵。今天先到这里了，以后写作之余，还会继续翻译下去，若能译完，也是一件美事哈！

It is a further object of the invention to provide a method of assembly of a foldable plastic slider comprising a body having a depending separator finger and a pair of foldable wings, with a profiled plastic reclosable fastener particularly suited for thermoplastic bags for opening and closing the fastener comprising the steps of positioning a plastic bag having a plastic reclosable fastener along the top edges of the front and back faces of the bag to receive the foldable plastic slider in straddling relation, the fastener comprising a first interlocking element having a female fastener profile attached to one of the faces of the bag and a second interlocking element having a male fastener profile attached to the other face of the bag, inserting the plastic separator finger between the first and second interlocking elements, and forming the slider in straddling relation around the male and female fastener profiles at the top edges of the bag by folding the pair of wings downwardly toward the plastic separator finger and against the opposite sides of the body, and securing the pair of wings to the opposite sides of the body in fixed relation with the separator finger to form a pair of side walls for the slider whereby movement of the slider in one direction opens the fastener elements and movement in the opposite direction recloses the fastener elements.

资讯科技是提供一个组成一个有一只靠区分者手指和一双可折叠的翅膀身体的可折叠的塑料滑动器的一个集会的方法发明的一个较进一步的物体，由于一特别地描绘塑料的 reclosable 牢系工具轮廓为打开而且关闭组成放置一个沿着袋子的前面和后面脸的最高边缘有一个塑料的 reclosable 牢系工具在跨立关系方面接受可折叠的塑料滑动器的塑料袋子的步骤牢系工具为热后可塑性的袋子适合，组成一种第一的联锁元素的牢系工具对袋子的脸之一和一种第二种联锁的元素附上女性的牢系工具描绘附上男性的牢系工具描绘到另一个袋子面对，插入塑料的区分者手指在第一和秒联锁的元素之间，而且形成滑动器在向塑料的区分者手指向下地在折叠双翅膀旁边的袋子最高边缘在男性的和女性的牢系工具的周围跨立关系描绘方面和反对身体的相反边，而且固定到与区分者手指的固定关系的身体相反边的双翅膀为一个方向的滑动器的运动打开相反的方向牢系工具元素和运动的滑动器形成一双旁的墙壁再关牢系工具元素。

With good two bedroom apartments starting at over a million Euros, and penthouses with Mediterranean views often over five million and some of them over ten million, it can take just one sale to turn a bad year into a good one.

好的开始，在两卧室公寓100万欧元，而同地中海penthouses看法常常超过500万，并有超过一千万人，仅举一例可以出售转坏一年变成好事。

In other words,under the same reaction conditions,the larger the particle size of theprecursor mixed powder,the higher the temperature at which Zn_2TiO_4 starts to appear.There are structure similarity phenomena in ZnO-TiO_2 system,i.e.,the connectionmanner of TiO6 octahedra in the structure of ZnTiO_3 is similar with the one of rutile,andthe connection manner of TiO6 octahedra in the structure of Zn_2TiO_4 and Zn_2Ti_3O_8 issimilar with the one of anatase.

ZnO-TiO_2系统中存在一种类构现象，即：ZnTiO_3结构中的氧八面体的连接方式和金红石TiO_2的相似，而Zn_2TiO_4和Zn_2Ti_3O_8结构中的氧八面体的连接方式则和锐钛矿TiO_2的相似，并由此衍生出一个类构效应理论，即：ZnO和金红石TiO_2的反应产物中不应该出现Zn_2TiO_4和Zn_2Ti_3O_8当然，反应温度应低于ZnTiO_3的起始分解温度。

One chamber near the epidermis was filled with OCAs, and the other one was filled with isotonic saline. The dynamic changes in transmittance and the skin thickness were monitored after the application of six saturated alcohols to in vitro skin samples. From the observed results at 60 minutes, the optical clearing effects of six OCAs, i.e., glycerol, polyethylene glycol 400 (PEG400), polyethylene glycol 200 (PEG200), 1, 3-propylene glycol, 1, 4-butanediol and 1-butanol, showed in the descending order.

针对离体皮肤，建立模拟在体环境的给药方法(皮肤表面给药、真皮面与等渗生理盐水作用)，考察6种饱和醇类试剂作用后皮肤厚度及透射光强的变化。60分钟的动态观测发现，各试剂均能产生不同程度的光透明作用，皮肤光透明效果由强到弱依次为：甘油、聚乙二醇400(PEG400)、聚乙二醇200(PEG200)、丙二醇、丁二醇、正丁醇。

The next development in musical notation were "heighted neumes", in which neumes were carefully placed at different heights in relation to each other. This allowed the neumes to roughly indicate the size of a given interval as well as the direction. This quickly led to one or two lines, each representing a particular note, being place on the music with all the neumes relating back to them. At first these lines had no particular meaning and instead had a letter placed at the beginning indicating which note was represented. However, slowly the lines indicating middle C, and the F a fifth below, became most common. Having at first been merely scratched on the parchment, the lines now were drawn in two different colorded ink: usually red for F, and yellow or green for C.

音乐记谱法的再一次新发展是heighted neumes，这种记谱法标识出音符之间的音高关系，这样就使得纽姆谱可以粗略并直接地标记出指定音程的增减，这样的标识方法导致了谱上一线或者二线的出现，每条线代表一个特定的音符，这个音符与纽姆谱中所有的音符的音程关系都能被标识出来，最初这些线并没有什么特殊的含义，反而会有一个字母被放在开始的位置表明代表哪个音符，渐渐的，线代表中央C或者比C低五度的F 变得最常用，这些一开始只不过在羊皮纸上刮出的线，开始用两种不同的颜色书写，红色代表F，黄线或者绿线代表C，以上的这些便是我们所知道的音乐记谱法发展的开端。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。