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The second was at seventy-five and the third and fourth were down in blue water at one hundred and on hundred and twenty-five fathoms.

第二个在七十五英尺的深处，第三个和第四个分别在蓝色海水中一百英尺和一百二十五英尺的深处。

The second was at seventy-five and the third and fourth were down in the blue water at one hundred and one hundred and twenty-five fathoms.

第二个在七十五英寻的深处，第三个和第四个分别在蓝色海水中一百英寻和一百二十五英寻的深处。

Article 428 Any commander who disobeys an order, or flinches before a battle or is inactive in a military operation, thereby causing serious consequences, shall be sentenced to fixed-term imprisonment of not more than five years; if heavy losses are caused to a battle or campaign or if there are other especially serious circumstances involved, he shall be sentenced to fixed-term imprisonment of not less than five years.

第四百二十八条指挥人员违抗命令，临阵畏缩，作战消极，造成严重后果的，处五年以下有期徒刑；致使战斗、战役遭受重大损失或者有其他特别严重情节的，处五年以上有期徒刑。

So here are five hard truths gleaned from the first five months of Wake Up Later.

这里收集了运作 Wake Up Later 的前五个月里，发现的五个真相。

Article 384 Any State functionary who, by taking advantage of his position, misappropriates public funds for his own use or for conducting illegal activities, or misappropriates a relatively large amount of public funds for profit-making activities, or misappropriates a relatively large amount of public funds and fails to return it after the lapse of three months, shall be guilty of misappropriation of public funds and shall be sentenced to fixed-term imprisonment of not more than five years or criminal detention; if the circumstances are serious, he shall be sentenced to fixed-term imprisonment of not less than five years.

第三百八十四条国家工作人员利用职务上的便利，挪用公款归个人使用，进行非法活动的，或者挪用公款数额较大、进行营利活动的，或者挪用公款数额较大、超过三个月未还的，是挪用公款罪，处五年以下有期徒刑或者拘役；情节严重的，处五年以上有期徒刑。

So, my father made me pay my own nickels to play; it was five balls for five cents in those days.

所以，父亲让我拿自己的钱来玩；当时的价格是5美分玩5个球。

You can outscored the whole five guys on their team, but he can also deny the whole five guys on your team.

你可以打爆他们5个人，他也可以防住你的5个人。

The scroll paintings include 'One Hundred Tigers'(36000MM*700MM),'One Hundred Panders'(58000MM*700MM),'One Hundred Eagles'(12000MM*1500MM),'One Hundred Chickens'(12000MM*850MM),'One Hundred Horses'(26000MM*400MM),'One Hundred Donkeys'(26000MM*400MM),''One Hundred Sparrows'(12000MM*400MM),'One Hundred Shrimps'(8000MM*400MM),'One Hundred and Fifty-five Monarches'(50000MM*400MM, line drawing),'Twelve Beauties Wear Golden Hairpin'(500MM*520MM and 4000MM*680MM),'Eighteen Songs of a Nomad Flute'(8000MM*520MM),'The Story of the Stone'(9800MM*420MM and 9800MM*220MM),'One Hundred Buddhas','Ascending the River at Qingming Festival','Five hundreds Arhats','Shaolin Dharma Eighteen Palms','Eighty-seven Immortals','Shaolin Tongzi Kung Fu', four scroll of 'The Four Literature Masterpiece','The West Chamber','The Eight Fairies','Twelve Beauties in Red Mansions','The history of Han palace','Eighty Scholars','the justice victory', etc.

长卷有长36000MM*700MM的《百虎图》和长58000MM*700MM长的《百熊猫图》，长5M5000*3000MM的按中华人民共和国地图画的《百虎图》和长12000MM*1500MM《百鹰图》，长12000MM*850MM的《百鸡图》，长26000MM*400MM《百马图》，长26000MM*400MM的《百驴图》，长12000MM*400MM《百雀图》，长8000MM*400MM的《百虾图》，白描型的，长50000MM*400MM《一百五十五帝王图》，长500MM*520MM和4000MM*680MM的《十二金钗》，长8000MM*520MM《胡笳十八拍》，长9800MM*420MM和9800MM*220MM的《石头记》。《百佛图》。《清明上河图》，《五百罗汉》。《少林达魔十八手》。《八十七神仙图》。《少林童子功》。《四大名著》四样。《西厢记》。《八仙过海》。《红楼十二钗》。《红楼十二美》。《汉宫春秋》。《十八学士》。《正义胜利》等。

The porticoes of the gateways around the inner court were twenty-five cubits wide and five cubits deep.

周围有廊子、长二十五肘、宽五肘。

This paper mainly includes two parts The first part falls into three main sections. First, it analyses the formative causes of the Chinese traditional house interior display art through five aspects, including the structure and forms of Chinese traditional architecture, the productive mode of Chinese traditional society, Chinese traditional philosophy, the idea of ethics and grading and custom of Chinese traditional society. Second, it briefly introduces the history of Chinese traditional house interior display art's development. Finally, it focuses on the analysis of Chinese traditional house interior display art's design ideas and concludes that its design ideas embodies the five sides as follows: respect for nature and imitate artfully nature, practical-oriented and function incorporated into form, images of space of what the theory and practice forms, balanced natural pattern of the display, artifacts with the thoughts and respect for poetic imagery. Another part of the article further researches on the application of Chinese traditional house interior display ideas to the contemporary home display, and leads to the author's view, that is that each era should has its own character when it inherits the traditional culture. What's more, the contemporary Chinese-style home display design not only have to take over the spirit of the tradition but also have to give full consideration of the contemporary aesthetic concepts, principles and methods. In the 21st century, humanistic care is greatly proponed in the interior design. The interior display art should develop towards the ecological, personalized and comfortable direction and the cultural dimensions. It should absorb the traditional cultural elements to decorate contemporary living space. In order to upgrade the simple and primary "appearance likeness" to a higher level of "spirit likeness", it must effectively grasp the poetic imagery of space, which can reach the artistic effect of "both appearance and spirits".

本文的重点内容有两部分：一部分是从中国传统建筑的结构形式、中国传统社会的生产方式、中国传统的哲学观念、中国传统的伦理等级观念、中国传统社会的风俗习惯等五个方面简单分析了中国传统民居室内陈设艺术形成的原因；简要介绍了中国传统民居室内陈设艺术的发展过程；着重对中国传统民居室内陈设艺术设计理念的具体内涵进行了深入的分析，总结出其设计理念集中体现在五个方面，即崇尚自然与巧法造化、实用为本与文质彬彬、虚实相生的空间意象、均衡自然的陈设格局、器以载道与以境为尚；另一部分是对中国传统民居室内陈设设计理念在当代居室陈设设计中的应用作了较深层次的探讨，并提出了自己的见解，即每个时代对传统文化的继承都应该呈现出自己的特色，当代中式风格的居室陈设设计既要秉承传统民居室内陈设艺术的设计精髓，又要充分考虑当代审美观念、原则和方法的融入。21世纪，室内设计大力提倡人文关怀，具体到室内陈设艺术设计上，应该向生态化、个性化、舒适化和文化层面发展；吸收传统文化元素装饰当代居室空间，要有效地把握空间意境，使当代中式风格的居室陈设设计从简单、初级的&形似&上升到较高层次的&神似&，进而追求&形神兼备&的艺术效果。

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。