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Out of their professional sense and care of me, they suggested a thorough check. I didn't think it so serious and needed any hurry. For one thing I didn't think there would be anything seriously wrong with my body let alone get cancer. For another thing, it was the end of the term then. There was much work to do and everyone had his duty and task. If I asked for leave, someone had to take my class instead, which might add to his burden. Furthermore, I feel a baffling repugnance to hospitals--- following prescribed orders and rules docilely, working in a mechanical way, unreasonable and cold.

我想问题没那么严重，不用着急，其一，我始终觉得我身体不会出什么大问题，更压根儿没想到会得癌症；其二，时届期末，工作比较紧张，现在又是一个萝卜一个坑，你一请假，别人就得给你代课，增加人家的负担；其三，我对医院始终有一种莫名其妙的反感，按部就班、循规蹈矩、死板教条、态度冷漠、不近人情。

I do believe there are some reasons why the effigy was there, but we didn't have much time to get to know about it.

我觉得这座雕像有其含义在里头，只是我们没有时间去好好的了解。

I asked Jeremy what he personally used of himself at the age of the character to get back into the mind of the teenage boy. He said he found a diary from his gap year when he was eighteen and there was such pain in it, along with ambition. There was poetry in the diary, as well, and he used a version of a poem from that diary in the camping scene when Ben is drunk and reciting it to Evie. He said that scene was touching for him.

我问杰瑞米他是借助什么使自己回到和影片中角色一样的少年时代的思想中去的，他说他找到一本他18岁时写的日记，那里面充满深深的痛苦，还有勃勃的雄心，日记里还有不少诗，他从这些诗里挑选了一首，用在了影片中本在露营地喝醉酒后对艾维朗颂诗歌的那场戏里，他说那场戏令他很受感动。

If they had kingdoms, I''m sure that each castle/kingdom/fief would have 3-5 Claymores stationed there round the year and they get deployed from there as requests come in from the populace. But then, the girls would be paid for in terms of being ''rentals'' than say ''free lance''. And then it would be easier for rival teams to spring up...and the chance that a kingdom would attempt to utilize the Claymore for their own purposes.

如果有王国，我可以肯定每个王国将会有3-5个大剑全年守卫着，一旦人民有需求他们会被派遣到指定的地方，这些大剑将会被雇佣而不是自由行动，然后与他们竞争的队伍将更容易出现，当然，王国也有机会利用大剑来达到他们自己的目的。

There are several companies out there that are non-profit and can help you get a handle on your financial situation.

有几家公司，有属于非营利性，可以帮助你掌握你的财务状况。

I know there are thousands opportunities out there, I just hope that I get to grab the right ones, at the right time.

我知道有成千上万的机会，在那里，我只希望我最先抢到正确的，在正确的时间。

Last night we were really lucky to get invited to the Dior Homme party at Le Baron. No photos allowed, which was a shame because there were so many beautiful people there.

昨天晚上我们真的很幸运被邀请去参加在Le Baron举行的Dior Homme party ，那里不给拍照实在是遗憾，因为那里来了非常多漂亮的人。

During the 19th and 20th centuries there were huge achievements on philosophy literature art and music; a variety of activities were also booming at that time Richard Strauss(1864-1949) born at that era when the social phenomena influenced his music learning process combined the classical and romantic music styles and further developed his unique composing style There were 5 chapters in the dissertation The research motivation purposes methodology and the literature review were included in Chapter One Chapter 2 focused on understanding how the history background and personal attitude influenced Richard Strauss' composing style Through the study of the romantic musicians like Franz Schubert1797-1828 Robert Schumann(1810-1856 Johannes Brahms(1833-1897) Hugo Wolf(1860-1903) Gustav Mahler(1860-1911) and etc I attempted to get a complete picture of musical evolution in Chapter 3 In addition Richard's classic compositions were categorized and organized in order to gain a deep understanding of his music From the study and the analysis of Strauss'"Vier letzte Lieder" the features styles the format and the life of the two poets Hermann Hesse1877-1962）and Joseph von Eichendorff(1788-1857 were explored and the relationship between the music of this composition and the poetry were also discussed Chapter 5 summarized the main arguments to give a short account of Strauss' lifetime rich experiences and thinking in his eighties

横跨十九、二十世纪的理察·史特劳斯（Richard Strauss，1864-1949）正是欧洲人文发展空前灿烂的年代，无论在哲学思想、文学、美术以及音乐方面，都有辉煌的成就。在他音乐学习历程中，结合了古典时期及浪漫时期两种音乐风格，发展出独特的作曲风格。本论文分成五章：第一章绪论包括研究动机、研究目的、研究方法及步骤以及文献探讨；第二章则从对理查史特劳斯生平的详实记载中，了解他创作作品的时代背景和心情；第三章则就浪漫时期艺术歌曲作家舒伯特（Franz Schubert1797-1828）、舒曼（Robert Schumann1810-1856）、布拉姆斯（Johannes Brahms1833-1897）、沃尔夫（Hugo Wolf1860-1903）及马勒（Gustav Mahler1860-1911）等，以诗人、旋律、伴奏型态及曲式和声，稍加整理并说明，以便了解艺术歌曲在此时期之演变过程。并将理查史特劳斯艺术歌曲作品分类统整，藉此对他的艺术歌曲能有更深一步的了解。第四章《四首最后的歌》之音乐探究与分析，则探讨此部作品诗人赫塞（Hermann Hesse 1877 - 1962）及艾辛朵夫（Joseph von Eichendorff﹐1788-1857）的生平和作品特色，以及诗的结构与格式，和此部作品音乐与诗的关系。第五章结语说明史特劳斯一生丰富经历与晚年想法，创作出一组宁静感人又深刻的终曲。

There is a world of people out there just waiting to get to know you. That may seem implausible, but it is true.

整一世界的人排着队在那等着去认识你，听上去难以置信，但这是真的。

In thessaly there once lived a king by the name of ixion.he was both handsome and mighty.he went to woo the beautiful maiden dia and won her love,but her old father was most reluctant to part with his child.only when ixion swore to let him have his royal treasure house did the father agree to give the king the hand of dia in marriage .ixion took dia home with him.but he was in no mood to keep his promise,for a long time passed and no treasure ever came to the old man.impatient to have his promised wealth,the old father went to see ixion and gave him no peace,until at last ixion decided to get rid of him once and for all .opening the door of his treasure house,he pushed the old man in and there burnt him to death.

以前有个叫伊克西翁的国王居住在色萨利。他既英俊潇洒又力大无穷。他向美丽的姑娘黛求婚。黛和他一见倾心，但是她的父亲却极不情愿离开他的孩子。最后只有当伊克西翁发誓让黛的父亲得到王室的金库时，这位父亲才答应把黛嫁给了国王。伊克西翁把黛领回家。但他却丝毫没有履行诺言的意思。很长时间过去了，老人没有得到半厘钱。于是老人迫不及待地去找伊克西翁，絮絮叨叨搅得他不得安宁。终于伊克西翁决定索性彻底除掉老头。

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。