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We didn't cook none of the pies in the wash-pan -- afraid the solder would melt; but Uncle Silas he had a noble brass warming-pan which he thought considerable of, because it belonged to one of his ancesters with a long wooden handle that come over from England with William the Conqueror in the Mayflower or one of them early ships and was hid away up garret with a lot of other old pots and things that was valuable, not on account of being any account, because they warn't, but on account of them being relicts, you know, and we snaked her out, private, and took her down there, but she failed on the first pies, because we didn't know how, but she come up smiling on the last one.

我们并没有在洗衣盆里烘饼，深怕盆的焊锡见火会化。西拉斯姨父有一把珍贵的铜暖炉，是他珍爱之物，因为这有木头长把子的炉，是他的一个祖先随着征服者威廉坐"五月花"之类早先的船只从英格兰带来的，他一直把它和其它珍贵的古物藏在顶楼上。珍藏的原因倒不是因为有什么价值，它们并无什么价值，但却是因为这些是古董。我们把它偷偷弄了出来，带到下边的树林子里。烘开头几次馅饼时失败了，因为我们开头不得法，不过最后还是成功了。

I can let you go with me shoulder to shoulder because I love you too much. Walk in happiness and anguish I will share in tears with you. But I won't ask you not to cry. I'll respond your requirement, take care of you, console you. But I won't draw you when you want to leave. I prepare to be with you at any time when you are alone or comfortless. But I won't let you not experience your sorry and loneliness. I'll do my endeavor to konw your saying and your meaning, but I do not always agree with what you said.

因为我太爱你，所以我能放手让你与我并肩而行，走在快乐里和痛苦里，我会分担你的眼泪，但我不会要你不哭；我会响应你的需要，关心你，安慰你，但我不会在你能自己走时拖着你不放；我随时准备在你难过和孤独时和你在一起，但我不会不让你体验自己的难过和孤独；我会尽力听懂你的话和意思，但我不会总是同意你说的。

In fact most Apriori which has gained association Rules suppose whither time or place is effective for ever, but this can"t solve some impersonal problem in morden life, iradionary association Rules in a general way can answer some question for example, there are 90 percent people buy sugar of who buy creamery ,but they can"t answer such question for example the people who buy creamery, but they cant answer such question for example the people who buy creamery of counter one today but there are 90 percent will buy sugar of counter two, moreover, such problem sometimes is the person of decision-making concerned thing because many things have relation with the factor of time and space, so it need consider the factor of time and space in date.

大多数算法得到的关联规则事实上都假定无论是时间还是地点都是永远有效的，但这并不能彻底解决现实生活中的许多客观问题。传统的关联规则一般可以回答诸如"购买了牛奶的人有90％购买了糖"之类的问题，但是不能回答"今天购买了柜台1中牛奶的人明天有90％购买了柜台2中的糖"之类的问题，而这类问题也往往是决策者在实际中所关心的。

The wife can't act for a lover, because she has no lovers to have sentimental appeal;The lover can't replace a wife, because she has no cuckoldry natural affection;Wife and lovers all can't replace beauty bosom friend, that is the woman whom the wife is 1 to have no some blood relationship to relate to with you, but doesn't go home but cause extreme worry and distress for your dead hour;The lover is to the utmost the woman whom 1 has no some family to relate to with you, but lets you taste to be man's taste to eliminate a soul heartily;The beauty bosom friend is a woman who hasn't pulled a last relation with you, but cans share your happiness and worry the demand of mind.

妻子不能替代情人，因为她没有情人有情调；情人不能代替妻子，因为她没有妻子的亲情；妻子和情人都代替不了红颜知己，那是心灵的需要。妻子是一个和你没有一点血缘关系的女人，却为你深夜不回家而牵肠挂肚；情人是一个和你没有一点家庭关系的女人，却让你尝尽做男人滋味尽情消魂；红颜知己是一个还没和你扯上关系的女人，却能分担你的快乐和忧愁。

But beginning in the attempt, not to establish, but to evade —— not to discover a principle, but to escape a postulate —— not to settle the nature of right and wrong, but to determine what was not wrong of a particular nature,—— Casuistry went on with its dexterous refinements till it ended in so attenuating the moral features of actions, and so belying the moral instincts of Our being, that at length the conscience of mankind rose suddenly in revolt against it, and consigned to one common ruin the system and its doctors.

但在其开始的企图中，它不是在建立而是在规避，——不是在发现一条原则而是在逃避一个假定——不是在确定是和非的性质而是在行为的决定在一个特殊性质中哪些是不错的，——诡辩学就是这样用了它的巧妙的高论继续发展下去，直到它最后过分地削弱行为的道德特征，过分地诽谤了我们人类的道德本能，以致最后人类的良心突然起来反抗它，并把这体系和其博士们埋葬在一个共同的废墟中。

Happiness is your soul to be rely on somewhere, but disconsolateness; Happiness is your heart to be gratified mostly, but restlessness; Happiness is your spirit to be pleased, but blues; Happiness is the true feeling from men's innermost heart but definitions and elements people giving.

幸福是你的灵魂有所依托，而非孤独惆怅；幸福是心灵欣慰安详，而非躁动不安；幸福是精神愉悦，而非抑郁寡欢；幸福是"今年欢笑复明年"，而非"雨中寂寥月中愁"。幸福不是定义，不是章节，不是元素，不是感慨，是内心最真实的感觉。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xu's works, spur his works to enter audience's habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artist's conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesn't stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xus works, spur his works to enter audiences habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artists conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesnt stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

I scarce knew in what Manner to receive them; but found to draw our selves in a close Line was the only Way: so we form'd in a Moment: But that we might not have too much Interval, I order'd, that only every other Man should fire, and that the others who had not fir'd should stand ready to give them a second Volley immediately, if they continued to advance upon us, and that then those who had fir'd at first, should not pretend to load their Fusees again, but stand ready with every one a Pistol; for we were all arm'd with a Fusee, and a Pair of Pistols each Man; so we were by this Method able to fire six Volleys, half of us at a Time; however, at present we had no Necessity; for upon firing the first Volley, the Enemy made a full Stop, being terrify'd as well with the Noise, as with the Fire; four of them being shot into the Head, dropp'd, several others were wounded, and went bleeding off, as we could see by the Snow: I found they stopp'd, but did not immediately retreat; whereupon remembring that I had been told, that the fiercest Creatures were terrify'd at the Voice of a Man, I caus'd all our Company to hollow as loud as we could; and I found the Notion not altogether mistaken; for upon our Shout, they began to retire, and turn about; then I order'd a second Volley to be fir'd, in their Rear, which put them to the Gallop, and away they went to the Woods.

我简直不知道如何对付它们。结果，我认为最好的办法是我们互相靠拢，排成一行。于是，我们马上照此行事。为了不致使我们的火力中断太久，我下令只许一半人开枪，另一半人作好准备；如果第一排枪响过后，狼群继续向我们冲来，就开第二排枪；同时，在开第二排枪时，那开第一排枪的一半人，不要忙于装他们的长枪，而是应该抽出手枪，作好准备。因为我们每人身上都有一支长枪和两支手枪。用这种办法，我们可以连续开六排枪，每次有一半人开枪。然而，当时还没有必要这样做。放出第一排枪之后，我们的敌人就给枪声和火光吓坏了，马上停止了前进。有四条狼被我们打中头部，倒了下来；另外有几条受了伤，鲜血淋淋地跑掉了。这在雪地上可以看得一清二楚。我发现，狼群停止了攻击，但没有后退。这时，我忽然记起有人说过，就是最凶猛的野兽，听见人的声音也会害怕。于是我就叫大家拼命呐喊。这个办法果然很有效。我们一喊，狼群就开始后退，掉头跑掉了。我又下令朝它们背后开了一排枪。这样一来，它们才撒腿跑回树林里去了。这时，我们才有时间重新给枪装上弹药。

But circumstances inside the Wang Jia Wei film displays one kind sometimes all in linearity time going over and future hanging to purchase state , that often is able to point out solar terms in event beginning in image "hooligan formal biography " in famous show opening,"Chongqing tells the sum the "east evil west is poisonous to the date relapse in forest "" despite of he uses detail to go to emphasize the time concept unceasingly,these stories that he gives an account of and not special time background, they may may happen within this city corner every day, They whip the specimen being away from out in life only from the city But that you only are capable to do some detail discovering two stories is each other alternative in fact , Wang Jia Wei uses this to play hide-and-seek coming to bring about one kind of synchronic sex effect dyadic game if you had looked at "Chongqing forest " carefully,chance and nothing order having shown the present age city life now that the linearity time concept having dispeled tradition narrating is protruding, the intention having formed one kind of dyadic spirit of existentialism thereby accumulates, Wang Jia Wei applying on space is more than time benefits by associating together, If you have looked at Wang Jia Wei's work but have moved, that is by no means since are what the overall world impression initiates, but being resonance because of detail, is fragmentary as well as atmosphere called up by the subjective soliloquy that the garrulity spends can let you produce mental conception makes

王家卫电影里的场景往往都在线性时间的过去和未来中呈现出一种悬置状态，尽管他不断地用细节去强调时间概念，像《阿飞正传》里那个著名的开场、《重庆森林》里对日期的反复诉说和《东邪西毒》里经常会在事件开头指出节气，但他讲述的这些故事并没有特别的时间背景，它们可能每天都会发生在这个城市的角落里，它们只是从城市生活中抽离出来的标本。如果你仔细看过《重庆森林》，你就会发现两个故事的某些细节其实是互相交错的，王家卫用这种捉迷藏式的游戏来造成一种共时性的效果，既消解了传统叙事的线性时间观念又凸现了当代都市生活的偶然和无序，从而形成了一种存在主义式的精神意蕴，而王家卫在空间上的运用更是与其时间相得益彰，如果你看了王家卫的作品而感动的话，那绝不是由于整体世界的印象所引发的，而是因为细节、片断以及絮语化的主观独白所唤起的气氛能让你产生心领神会的共鸣使然

Listen,point and check your answers.

听，指出并且检查你的答案。

Warming needle is one of effective treatment methods for knee arthralgia aggravated by cold,and it is simple,safety,so it should be developed in clinical acupuncture and moxibustion extensively.

但以本院科针灸门诊在2005年1月—2006年6月期间共收治膝痛患者100余例，经过临床的诊断后，其中施以温针治疗的48例，疗效显著，报道如下。1临床资料本组病例48