查询词典 cloak-and-dagger

I soon found a way to convince him that I would do him no harm, and taking him up by the Hand laugh'd at him, and pointed to the Kid which I had kill'd, beckoned to him to run and fetch it, which he did; and while he was wondering and looking to see how the Creature was kill'd, I loaded my Gun again, and by and by I saw a great Fowl like a Hawk sit upon a Tree within Shot; so to let Friday understand a little what I would do, I call'd him to me again, pointed at the Fowl which was indeed a Parrot, tho' I thought it had been a Hawk, I say pointing to the Parrot, and to my Gun, and to the Ground under the Parrot, to let him see I would make it fall, I made him understand that I would shoot and kill that Bird; accordingly I fir'd and bad him look, and immediately he saw the Parrot fall, he stood like one frighted again, notwithstanding all I had said to him; and I found he was the more amaz'd, because he did not see me put any Thing into the Gun; but thought that there must be some wonderful Fund of Death and Destruction in that Thing, able to kill Man, Beast, Bird, or any Thing near, or far off; and the Astonishment this created in him was such, as could not wear off for a long Time; and I believe, if I would have let him, he would have worshipp'd me and my Gun: As for the Gun it self, he would not so much as touch it for several Days after; but would speak to it, and talk to it, as if it had answer'd him, when he was by himself; which, as I afterwards learn'd of him, was to desire it not to kill him.

其实，对星期五，我根本用不着采取任何防范措施。任何其他人都不可能有像星期五这样忠诚老实、听话可爱的仆人。他没有脾气，性格开朗，不怀鬼胎，对我又顺从又热心。他对我的感情，就像孩子对父亲的感情，一往情深。我可以说，无论何时何地，他都宁愿牺牲自己的生命来保护我。后来，他的许多表现都证明了这一点，并使我对此毫不怀疑。因此，我深信，对他我根本不用防备。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从&五四&到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族&血性&的传承方面。

Through difference significance tests and analyses, it finds that (1) man students more possibly form identity achievement, and woman students more possibly form identity foreclosure and identity diffusion; and (2) the difference of self-identity status between man and woman students is associated with various domains; and (3) self-identity status between man and woman students have some similarities that identity exploration has the same importance to both; and (4) grade-one is a period when students face up to more identity crises, and grade-two is key period of identity formation, and grade-three is a developmental period of identity that provides the basis for re-solution of the emergence of new identity crises in grade-four;(5) there is a gradually enhanced direction from lower self-identity statuses to advanced ones from grade-one to grade-three, but there is also a direction that reentry into the identity crisis by grade-four. It indicates that the identity achievement formation does not mean the end of development of self-identity and proves that there is a continuous MAMA cycle in self-identity development; and (6) that students self-identity status mainly is identity moratorium provides some evidence for which there is a Moratorium in student development, and which self-identity formation is not easy; and (7) the development of student self-identity is associated with various domains, what students pay most attention to firstly is vocation, secondly life philosophy, and lower interesting in political and religious domains in ideology; for relational domains, students pay more attention to dating and friendship compared to sex role and recreation domain.

通过差异显著性检验和分析发现：(1)男生更可能形成成就型同一性，女生则更可能形成排他型和弥散型同一性；(2)男女大学生自我同一性的差异与不同的领域相关；(3)男女大学生自我同一性也存在相似性，同一性探索对于男女大学生同样重要；(4)大学一年级是同一性危机面对较多的时期，二年级为同一性形成的关键期，三年级为同一性的发展期，所形成的同一性为四年级所出现新的同一性危机的解决提供了基础；(5)从一年级到三年级存在从低级的自我同一性向高级的自我同一型转变的渐进增强，但到四年级又有重新进入同一性危机的趋势，说明大学生成就型自我同一性的形成并不意味着自我同一性发展的结束，证明了自我同一性发展的MAMA周期持续存在的特点；(6)学生自我同一性状态主要还处于延缓型同一性状态，进一步证明大学生发展心理合法延缓期的存在，以及自我同一性形成不是一件很容易的事情；(7)大学生自我同一性的发展与领域相关，大学生较为关注职业领域，其次为人生观领域，而对政治和信仰领域兴趣较低；另外，大学生对友谊、交往领域较为关注，对性别角色和活动领域关注程度相对较低。

Hengyiyuan has three departments: sales department, engineering department and performance tenancy department. Insisting on "quality first and service primary", Hengyiyuan gets clients' trust and recognition with its exquisite technology and considerate service. During the past ten years, Hengyiyuan took part in kinds of important projects construction such as Music Plaza of Beijing Wangfujing Building, Music and Culture Plaza of Beijing Friendly World, Activity Center of Renmin University, Audio System of China Grand Theatre, Multi-function Hall's Lighting and Audio System of Kuangou Holiday Village and Construction Engineering Institute, Conference System of Beijing Nuclear Industry Research Institute, Multi-function Hall's Sound Reinforce System and Simultaneous Interpretation System of China National Coal Group, Multi-function Hall's Lighting and Audio System of Beijing University of Aeronautics and Astronautics, Lighting System of Beijing Conservatory of Music, Lighting System of Beijing Lvdejin Oriental Hollywood Performance Plaza and Multi-function Hall's Lighting and Audio System of Shahe Station and so on. In addition, the performance tenancy department offer sets of lighting, audio and other necessary equipment for the performance program like CCTV Art and Talk Show and Super Voice Girl, and even for the vocal concert by Lunhui Band, Yuquan, Man Wenjun, Han Hong, Liu Suola, Gu Juji, Lin Junjie and Chen Lin etc.

恒艺苑配有销售部、工程部、演艺租赁部这三大部门，始终坚持质量第一，服务至上的宗旨，把先进的技术和产品与客户的实际需要结合起来，把提供富有创意的专业化设计和精品工程与客户的投资回报效益结合起来，用精湛的技术和体贴的服务赢取客户的信任和赞誉，十几年来公司先后承接了北京王府井大楼音乐广场系统工程、北京友好世界音乐文化广场系统工程、北京人民大学活动中心系统工程、中国剧院音响系统工程、宽沟度假村多功能厅灯光、音响系统工程、建筑工程学院多功能厅灯光、音响系统工程、北京市核工业研究员会议系统、中国煤炭进出口集团多功能厅会议扩声、同声传译系统、北京航天航空大学多功能厅灯光、音响系统工程、北京音乐学院灯光系统工程、北京绿德金东方好莱坞演艺广场灯光系统工程、沙河站多功能厅灯光、音响系统工程等众多数不胜举倍受业内瞩目的重点工程，此外演艺租赁部还为CCTV《艺苑风景线》、超级女声、轮回乐队、羽泉、满文军、韩红、刘索拉、古巨基、林俊杰、陈琳等演唱会的文艺演出提供了成套灯光、音响及周边设备。

Then Tom and Bob went to the sideboard where the decanter was, and mixed a glass of bitters and handed it to him, and he held it in his hand and waited till Tom's and Bob's was mixed, and then they bowed and said,"Our duty to you, sir, and madam;" and THEY bowed the least bit in the world and said thank you, and so they drank, all three, and Bob and Tom poured a spoonful of water on the sugar and the mite of whisky or apple brandy in the bottom of their tumblers, and give it to me and Buck, and we drank to the old people too.

然后由汤姆和鲍勃走到橱柜那儿，取出酒瓶，配好一杯苦味补酒递给他，他就在手里拿着，等到汤姆和鲍勃的也掺好了，并弯了腰，说一声，&敬两位老人家一杯，&他们稍稍欠一下身子，说声谢谢你们，于是三个全都喝了。鲍勃和汤姆把一调羹水，倒在他们的杯子里，和剩下的一点儿白糖和威士忌，或者苹果白兰地掺和起来，递给我和勃克，由我们向两位老人家举杯致敬，喝下了肚。

A deviation to enable business card printing and membership card making more neatly away material; business card printing and membership card Studio Center-drum for double-deck, using thermostatical hollow water circulation system structure, plated nickel plating avoids corrosion, Nano-imprint lithography drum machine, safe and reliable braking equipment; spam satellite business card printing and membership card, four business card printing and membership card production unit in the Centre of coining drum distribution around the business card printing and membership card making support adoption of the integral structure, intensity that cannot be easily; Center for the imprint drum version, roller roller, using separate servo motors between the gearless, Business card printing and membership card making length is not supported by gear pitch in roll-wide choice; business card printing and membership card making pressure, roller and roller pressure singlein servo motor and with memory with two types of regulation, accurate and rapid adjustment; closed ceramic Roller blade device ink to ensure that the business card printing and membership card making ink stability, blade-like device for pneumatic compression; taojian the plate cylinder, taojian-reseaus and roller, the portal structure of push-pull roller and taojian beckenbachannular roller to replace a simple and quick; roller servomotor-driven business card printing and membership card production and business card printing and membership card making machine be a certain speed, stopping the slow down to prevent the ink roller network hang dry knot, splash-proof ink installed equipment downtime or roller pressure, from the printing plate out of arrive﹖, stop to ink, the plate cylinder the full delivery from the pressure to keep the printing plate clean; stainless steel-monlchamus tuhung-glass to prevent ink prints get dirty; dryer direct to the wind, air flow loss small high efficiency, reduces noise scene, new oven heat energy to secondary structures, control temperature control system using intelligentized; traction roll at the same time acts as both a cooling rolls, new structure increases cooling effect.

纠偏，使制卡和会员卡制作走料更加整齐；制卡和会员卡制作部中心大滚筒为双层空心式，采用恒温水循环系统结构，表面镀镍处理可避免锈蚀，中心压印滚筒采用机械制动装置，安全可靠；卫星式制卡和会员卡制作方式，4个制卡和会员卡制作单元分布在中心压印滚筒周围，制卡和会员卡制作支架采用整体式结构，强度好不易变形；中心压印滚筒、版辊筒、网纹辊之间采用独立伺服电机无齿轮传动，制卡和会员卡制作长度不受齿轮节距限制，在版辊范围内任意选择；制卡和会员卡制作压力、网纹辊与版辊之间的压力分别用伺服电机调整，并具有记忆功能，调整有两种调节方式，精确调整与快速调节；陶瓷网纹辊封闭刮刀装置供墨，可确保制卡和会员卡制作过程中油墨稳定饱满，刮刀装置为气动加压；套筒式印版滚筒，套筒式网纹辊筒，门式推拉式结构使套筒版辊与套筒网纹辊更换简单快速；网纹辊由伺服电机驱动，制卡和会员卡制作时与制卡和会员卡制作机保持相对一定的速度，停机时则放慢速度匀墨，防止网纹辊网坑枯结，两边安装防油墨泼溅装置，在停机或离压时，网纹辊立即从印版脱离开来，停止给墨，印版滚筒把墨完全传递后离压，保持印版清洁；不锈钢接墨斗，防止油墨滴漏蹭脏印品；干燥箱采用直接进风型式，风量损失小效率高，减小了现场噪音，新型烘箱结构热能可二次利用，控制采用智能化恒温系统；牵引辊可同时兼作冷却辊使用，新型结构增大了冷却效果。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

It is concluded in Chapter Eight that: 1 linguistic proficiencies in three languages play a considerable part in code-switching of EFL teachers in trilingual context; the inter-sentential switching outweighs the intra-sentential switching both in frequencies and percentage; discourse-related switching also outweighs participant-related switching in frequencies and percentage; the EFL is maintained longest in EFL classroom and the language maintained second longest depends upon learners" higher proficiency in Chinese or Tibetan. 2 Ethnic identity and educational background is the major causal factor of EFL teachers" Chinese-English switching in trilingual classroom; duration of language contact and relative trilingual proficiencies are the two principal contributors to the English-Tibetan switching; while Tibetan-English switching is mainly driven by EFL teachers" ethnic identity and education background, as well as the duration of language contact; English-Chinese switching is also largely motivated by the duration of trilingual contact; and Chinese-Tibetan switching is determined by trilingual proficiency to a considerable extent. Meanwhile, psychologically, the switching is mainly motivated by a procedure of psychological projection, trilingual system conceptualization and the mentality of trilingual selection. 3 The educational reflections upon this study indicate: firstly, in trilingual context, the teachers" classroom discourse is characterized by the multilingual involvement, flexibility in strategy option as well as the extension and strengthening of the domination of teachers" discourse. Secondly, the discourse movement and code-switching are largely affected by two cultural ecological mechanisms: enculturation and cultural manipulation. Thirdly, the status quo of EFL trilingual teachers are characterized by unbalanced trilingual proficiencies, poor cultural awareness, and little knowledge of trilingual education and trilingual code-switching, therefore, suggestions are advanced in the end to provide them further education. Fourthly, in trilingual context, the EFL curriculum for ethnic minorities is characterized by plurality of aims, complexity of organization and variety of resources. Meanwhile, it is of great necessity to understand the linguistic values of EFL education for ethnic minority learners. To be specific, firstly, we should not only have a deep understanding of the distribution, construction, function as well as communicative effects of the three languages, but also have a comparative study of the three languages and thus provide the standardization and guidance for the trilingual education. In the end, it is advanced that trilingual EFL provision for ethnic minority should pursue to develop learners" multicultural value system in which first language culture and mother language culture take the central position and EFL culture plays a vital role.

3在三语环境下，教师课堂话语具有话语形态多元化、话语选择策略具有灵活性和教师话语权得到延伸和拓展等特征；文化涵化和文化操控是影响三语教师课堂语码转换的两种文化生态机制；参差不齐的三语水平、淡薄的多元文化意识和对三语教学和语码转换缺乏科学认识是我国目前三语师资的主要特点，因此应对三语教师进行职后继续教育；在三语环境下，民族外语课程具有课程目标多元化、课程组织复杂化和课程资源多样化等特点；应对民族外语教育的语言价值进行审视和解读，对三种语言在课堂话语中的分布趋势、结构特征、功能作用和交际效果等问题进行深入研究，加强对三种语言间的对比分析研究，同时对民族外语教育中的三语教学进行规范和指导；在强调民族文化和二语文化在三语文化格局中心地位和外语文化的重要作用的同时，民族地区的外语教育应以构建多元文化价值观为其文化追求。

Although the aforesaid sanction should clearly be subject to nullity on many counts, and was supporting and preserving open schism, and therefore it could have been declared to be essentially of no effect, null and invalid, without the need for any preceding formal citation, yet, from a great sense of caution, our same predecessor Julius, by a public edict -- which was to be fixed to the church doors of Milan, Asti and Pavia, since there was then no safe access to France -gave warning and summoned the prelates of France, the chapters of churches and monasteries, the parlements and the layfolk supporting them and making use of the said sanction, and each and all of the rest who were thinking that there was some advantage for them in the foregoing individually or collectively, to appear before him and the said council within a fixed period, which was then clearly stated, and to declare the reasons why the aforesaid sanction, and its corruptive and abusive effect in matters touching on the authority of the Roman church and the sacred canons, and on the violation of ecclesiastical liberty should not be declared null and invalid.

虽然上述制裁显然应受无效在许多方面，并支持和维护开放的分裂，因此，它可以被宣布为基本上没有影响，是完全无效的，而不需要任何前正式引文，但从高度的谨慎，我们同前任朱利，由公共法令-这是将固定在教堂大门米兰，阿斯提和帕维亚，因为当时没有任何安全进入法国了警告，并召见主教的法国，各章的教堂和修道院，在parlements和layfolk支持他们，并利用上述制裁，每个和所有其余谁被认为有一些优势，他们在上述单独或集体，到他面前，并说，安理会在固定期限内，然后明确规定，并宣布了上述原因的制裁，它的腐败和滥用影响的事项涉及的权威和罗马教会的神圣大炮，以及对违反教会自由不应被宣告无效。

The sky above's kind of brocken and torn and every rose plucked from my hearts twisted with thorns and just when i think i'm on top i wonder how i'll get back down and just then the moment is lost, i stumble and i hit the ground and i just wanna feel a little safer, yeah i'm on my knees and i don't wanna deal with all this later, the pain i just can't take and i just wanna feel a little safer, yeah i'm on my knees and i don't wanna deal with all this later, just drifting on the breeze that someone in my head said to me, i can tell deep in your heart you'll find what you need wasted time building castles with sand and everynight i'll watch them fall and slip through my hands and just when i think i'm on top i wonder how i'll get back down and just then the moment is lost, i stumble and i hit the ground and i just wanna feel a little safer, yeah i'm on my knees and i don't wanna deal with all this later, the pain i just can't take and i just wanna feel a little safer, yeah i'm on my knees and i don't wanna deal with all this later, just drifting on the breeze

天空在种类之上brocken，并且撕毁和每上升了从用刺扭转的我的心脏采，并且，当我在我想知道的上面认为i'm怎麽我将回来击倒，并且片刻然后丢失，我绊倒，并且我击中地面，并且我在我的膝盖想要感觉更加安全的一点，呀i'm ，并且我不想要涉及所有以后的此，我就是不可能采取的痛苦，并且我在我的膝盖想要感觉更加安全的一点，呀i'm ，并且我不想要涉及所有以后的此，漂移在某人在我顶头说的微风对我，我在您将发现的您的心脏可以告诉深深什麽您需要被浪费的时间大厦城堡与我将观看他们通过我的手下落和滑倒的沙子和everynight ，并且，当我在我想知道的上面认为i'm怎麽我将回来击倒，并且片刻然后丢失，我绊倒，并且我击中地面，并且我在我的膝盖想要感觉更加安全的一点，呀i'm ，并且我不想要涉及所有以后的此，我就是不可能采取的痛苦，并且我在我的膝盖想要感觉更加安全的一点，呀i'm ，并且我不想要成交与所有以后这，漂移在微风

Finally, the Knight strung a line between two of the monoliths and tied the horses up there.

最后，骑士们在两颗巨石之间拉了一条绳子，将他们的座骑绑在上面。

T7zN/hyS0 The island lies south by east from here.

那个岛位于此地的正南偏东方向。