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On the poet's choice, mainly be decided by two standards, one is the popularity and influences of works; two is the meaning of the creations development that it create for the whole colony. Owing to above two standards, the writer chooses seven writers to launch the treatise, they are Jidi Maja, Jimu Langge, Luwu Laqi, Ma Deqing, Aku Wuwu , Asu Yuer, Eni-Mushashijia. In discussing the process, the writer used the nationality and Poetics of the poem as the latent clues, emphasized to inquiry into three main roads and three main realms. On the article structure, the full text mainly is divided into two parts, one is the concrete imago analysis to each poet creations, two is upon the analytical foundation the integration of the theories, with this the treatise could be united into an organic whole. In regard to the conclusion, we educe the characteristics of the colony is deep consciousness to the nation culture, also extensive exploration and attention to poetics. The blemish is the inside emotion and sensibility is similar or duplicate and that the creation pattern is narrow. The main develop threads of the colony are upon the female clan culture the diverse poem skill investigation, its nation culture value tropism present the rising spiral type of return- leave- return again.

在研究方法上，本文以意象分析法为贯穿全文的主要方法，通过对意象的具体分析来透视凉山诗群的诗歌世界；在诗人的选择上以其作品的影响力及意义为标准，选择了这一诗群的七位诗人展开论述，他们分别是吉狄马加、吉木狼格、倮伍拉且、马德清、阿库乌雾、阿苏越尔、俄尼·牧莎斯加；在论述过程上，笔者以诗歌的民族性和诗性作为前后贯穿的潜在线索，着重探讨了这一诗群创作的三个主要倾向和三个主要领域，前者详论，后者略述，具体表现在对前三位诗人的论述以诗人论的形式详细展开，探讨他们所代表的凉山诗群发展过程中的三个主要创作倾向，即民族文化的深层开掘、诗艺的实验性探索和艺术哲学的尝试性建构，对后四位诗人的论述则以主题的方式展开，探讨他们所代表的凉山诗群在爱情诗、乡土诗和文化诗三个领域的探索；在文章结构上，全文主要分为两大板块，一是对各位诗人创作的具体意象分析，二是在前文分析的基础上进行理论的整合，以此将前面散珠似的论述贯穿成一个有机整体；在结论上，我们通过整合得出：1、凉山诗人群新时期以来诗歌创作的大致发展脉络：在母族文化的基质之上的多元诗艺探索，其民族文化价值取向呈现为回归—离去—再回归的螺旋式上升形态；2、新时期彝族凉山诗人群汉语诗歌创作的特点，即民族文化意识的深层自觉，对诗性的关注和探索；3、新时期彝族凉山诗人群汉语诗歌创作的缺陷，即情感意蕴的雷同和创作格局的狭小。

And I will accomplish my wrath upon the wall, and upon them that daub it without tempering the mortar, and I will say to you: The wall is no more, and they that daub it are no more.

当我对那墙和在墙上墁泥的人发泄了我的愤怒，我要对你们说：墙没有了，墁墙的人也不见了。

I mean to test that wealth by the exports of the country,and I will tell you why,because your prosperity depends upon the wealth of your customers—that is to say,upon their capacity to buy what you pro- duce.

我是说根据国家的出口来检验财产，我将说明其原因，因为你们的繁荣取决于你们的顾客的财富——换言之，取决于购买你们的产品的能力。

His mother, grieving for the death of her brother, prayed the gods, and beat the earth with her hands, calling upon Hades and on awful Proserpine; she went down upon her knees and her bosom was wet with tears as she prayed that they would kill her son- and Erinys that walks in darkness and knows no ruth heard her from Erebus.

其时，睡躺在克勒娥帕特拉身旁，墨勒阿格罗斯心情愤懑忧悒，痛恨母亲的诅咒――出于对兄弟之死的哀悼，她祈求神明惩罚儿子。她死命地击打着滋养万物的大地，躺倒在地上，泪湿胸襟，对着死神和尊贵的裴耳塞丰奈哭叫，祈求神们杀死她的儿子。

And a festival shall be kept for King PTOLEMY, THE EVER-LIVING, THE BELOVED OF PTAH, THE GOD EPIPHANES EUCHARISTOS, yearly in the temples throughout the land from the 1st of Thoth for five days, in which they shall wear garlands and perform sacrifices and libations and the other usual honours, and the priests in each temple shall be called priests of the GOD EPIPHANES EUCHARISTOS in addition to the names of the other gods whom they serve; and his priesthood shall be entered upon all formal documents and engraved upon the rings which they wear; and private individuals shall also be allowed to keep the festival and set up the aforementioned shrine and have it in their homes; performing the aforementioned celebrations yearly, in order that it may be known to all that the men of Egypt magnify and honour the GOD EPIPHANES EUCHARISTOS the king, according to the law.

在之后的两百多年间，罗塞塔石碑仅曾短暂地离开过大英博物馆一次——1917年时，接近尾声的第一次世界大战战火蔓延，由于博物馆方面担心伦敦遭受到激烈的轰炸而损伤古物，因此将一批包括有罗塞塔石碑、较为轻便容易搬移的重要古物，偷偷藏匿在霍本一带深达地下50英尺的地下铁车站中，为期两年。直至大战结束恢复和平后，才将古物移回博物馆继续展览。不过，并不是全世界的人们都很乐意见到罗塞塔石碑被保存在大英博物馆中，例如设址于开罗的埃及古物最高委员会（Supreme Council of Antiquities，是埃及文化部的下辖组织之一）主秘、也是知名埃及考古学家的札希·哈瓦斯博士（Dr。 Zahi Hawass）就曾公开呼吁英国应该将罗塞塔石碑归还给它真正的归属地、埃及，因为这块石碑是埃及文明的重要象征。

"Derivative Work" means a work based upon the Work or upon the Work and other pre-existing works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which the Work may be recast, transformed, or adapted, except that a work that constitutes a Collective Work will not be considered a Derivative Work for the purpose of this License.

"衍生著作"意指基於著作或该著作以及其他先前存在的著作而来之著作，例如翻译作品、编曲、编剧、改编成小说、改编成电影、录音、艺术品复制、节略、浓缩或以其他任何形式改造、转变、改写该著作。惟因本授权条款之目的，构成编辑著作之作品不会被认为是一个衍生著作。

I was loath to spend our last Shot too hastily; so I call'd my Servant, not my Man Friday, for he was better employ'd; for with the greatest Dexterity imaginable, he had charg'd my Fusee, and his own, while we were engag'd; but as I said, I call'd my other Man, and giving him a Horn of Powder, I bad him lay a Train, all along the Piece of Timber, and let it be a large Train; he did so, and had but just Time to get away, when the Wolves came up to it, and some were got up upon it; when I snapping an uncharg'd Pistol, close to the Powder, set it on fire; those that were upon the Timber were scorcht with it, and six or seven of them fell, or rather jump'd in among us, with the Force and Fright of the Fire; we dispatch'd these in an Instant, and the rest were so frighted with the Light, which the Night, for it was now very near Dark, made more terrible, that they drew back a little.

我不愿匆匆放完最后一排枪，就叫来了自己的仆人。我没有叫星期五，而是叫了我新雇的那个水手。星期五有更重要的任务要完成。在我们开火的时候，他以惊人的速度给我和他自己的枪装弹药。所以我说，我叫的是新雇的仆人。我给了他一角火药，命令他沿着那根长木头把火药撒下去，撒成一条宽宽长长的火药线。他照着办了。他刚转身回来，狼群就冲了过来，有几只甚至已冲上了那根长木。我立即抓起一支没有放过的手枪，贴近火药线开了一枪，使火药燃烧起来。冲上木料的几只狼给烧伤了；其中有六、七只由于火光的威力和惊恐，竟连跌带跳地落入我们中间。我们立即把它们解决了。其他的狼被火光吓得半死，加上这时天已黑下来，火光看起来就更可怕了，这才使那些狼后退了几步。

So that the fishes of the sea, and the fowls of the heaven, and the beasts of the field, and all creeping things that creep upon the earth, and all the men that are upon the face of the earth, shall shake at my presence, and the mountains shall be thrown down, and the steep places shall fall, and every wall shall fall to the ground.

38：20 甚至海中的鱼，天空的鸟，田野的兽，并地上的一切昆虫，和其上的众人，因见我的面就都震动。山岭必崩裂，陡岩必塌陷，墙垣都必坍倒。

So that the fishes of the sea, and the fowls of the heaven, and the beasts of the field, and all creeping things that creep upon the earth, and all the men that are upon the face of the earth, shall shake at my presence, and the mountai shall be thrown down, and the steep places shall fall, and every wall shall fall to the ground.

38：20 甚至海中的鱼，天空的鸟，田野的兽，并地上的一切昆虫，和其上的众人，因见我的面就都震动。山岭必崩裂，陡岩必塌陷，墙垣都必坍倒。

"Savonarola," says Castelar, would, under different circumstances, undoubtedly have been a good husband, a tender father; a man unknown to history, utterly powerless to print upon the sands of time and upon the human soul the deep trace which he has left; but misfortune came to visit him, to crush his heart, and to impart that marked melancholy which characterises a soul in grief; and the grief that circled his brows with a crown of thorns was also that which wreathed them with the splendour of immortality.

卡斯特勒说，在不同的环境下，萨沃纳洛拉无疑问地会是一个好丈夫，一个慈爱的父亲；在历史上藉藉无名，绝对没有力量在时间的散沙上、以及人们的心灵间打印出他所留下的深深痕迹；但是厄运来造访他，碾碎他的爱心，把那标志出悲伤人的明显忧郁交给他，而那种围绕着他眉宇、看来像一圈荆棘的悲伤，却转而成为他那迸发不朽光辉的花冠。

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。