不再爱

Baby bash f/ akon baby i'm back lyrics Anything that you want me doing, ill do it Tell me what the word is [repeat 4x] Don't look no farther! Baby im back Im here to cater to you (any thing that you want me doing, ill do it) Cause Ill be your lover Ill be your best friend Tell me what I gotta do (tell me what I gotta do and ill do it) Now im back in a flesh Feelin so blessed, back in your corner suga, suga don't stress Forget about the rest; let's go inside, im back in your zone Baby back in your vibe, now I cant be denied I can lie im on ya I never ever wanna say sayonara Some body told me that the grass was greener On the other side andale arriba Never really used to be a mean to cheat her What I gotta do to be a keeper These words comin out the speaker, true love is off the meter I was gone for a minute but now im home, Please forgive for being a rolling stone, Please forgive me let me polish it up like chrome, Get off the phone till he swears to leave me alone, Let my start your interest, now there's no more dating on the internet, Cause you already know how I get it wet, how I get it so salty and I get respect, You don't have to look no farther, you dealin with the whole enchilada You don't have to look no farther, you hotter then a fire starter I was gone for a minute, [repeat 4x] Now im back let me hit it oooohhh

oooh yeah 你想要我做的每一件事，我都会做到告诉我你想要说的不要再举目不前宝贝我回来了我在这等着你（你想要我做的每一件事，我都会做到）因为我要成为你的爱人我要成为你最好的朋友告诉我应该做什么（告诉我应该做什么然后我会去做）现在我以从新开始感觉深受祝福··back in your corner suga， suga don't stress（这一句我不会翻译了主要是不认识suga这个单词）忘记过去吧让我们从心交流我正回到你的心中宝贝找回你的爱吧现在我不能否认我对自己的谎言我永远不会说有人告诉我青草是绿色的 On the other side andale arriba（额再次抱歉最后两个单词我还是不认识）我过去从未想过要欺骗她我想做的是她的守护者这些话是出自一个讲述者可是真爱已经不再我曾经出走可是现在我回来了请原谅我的冥顽不灵请原谅我让我抛弃过去关掉电话直到他发誓说离我而去你对我的爱如今已不再因为你已经知道我如何变得悲伤如何变得爱哭你不必再举目不前你不必再举目不前我曾经短暂离去现在我回来了 ''''xu'''''终于翻译完了哥们这首歌有些单词是够晦涩的我没有逐字逐句翻译那样还不如用翻译机了不过我个人的水品也不好希望能对你有帮助 PS'虽然我也比较喜欢akon 但这首还真没听过尝试了下不错不过还是喜欢老歌mr loney 和no matter

Before the end of the world, whether we can Zheng Kaiyan So that we can move forward together is not afraid of the brave recovery If in the first, let me have you Look inside the world, we strongly enough In a transparent fish tank inside, to outbound travel to the Who is In low-temperature inside the love of love is not enough strong Who can love anyone, not to give up In the gentle bubbles inside, we still firmly enough Huamao miss that day, hidden inside a little bit Niunai Ping Free to smile lonely existence of the moment I am not going to have you in tears complained to melt all cold Gentle that you miss is my oath I have been sensible, as you disappear at the end of the world Do not want to think of you, you Taokong I will be good, you all remain in my heart first Deeply buried you, you moved That day will not miss the end of the century, the advent of whom have left Dangerous moment there do not want to give up I have you all are dim memories of sad tragedy Gentle that you miss is my oath Huamao miss that day, hidden inside a little bit Niunai Ping Free to smile lonely existence of the moment I am not going to have you in tears complained to melt all cold Gentle that you miss is my oath Gentle that you miss is my oath

在世界末日之前，我们是否能睁开眼让我们能在一起勇敢的不怕向前追如果能在一次，让我拥有你在世人眼光里面，我们是否够坚决在透明鱼缸里面，游来游去的会是谁在低温的爱里面爱情还是不够强烈谁能够爱著谁，不要说放弃在温柔泡泡里面，我们依然够坚决那天那年花猫想念牛奶瓶里面藏著一点点放手微笑寂寞存在那瞬间有你有我不再抱怨热泪融化一切冷漠温柔怀念是你是我的誓言我已经懂事，任你消失在世界的尽头不愿想起你，把你淘空我会好好的，你一切都留在我心里头深深埋葬你，让你感动那天那年不再想念世纪末来临还有留下谁放弃不想危险存在一瞬间有你有我都是悲剧悲伤冲淡一切回忆温柔怀念是你是我的誓言那天那年花猫想念牛奶瓶里面藏著一点点放手微笑寂寞存在那瞬间有你有我不再抱怨热泪融化一切冷漠温柔怀念是你是我的誓言温柔怀念是你是我的誓言？？？？？？

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。

This ain't a love song 歌手:bon jovi this ain't a love song bon jovi i should have seen it coming when roses died should have seen the end of summer in your eyes i should have listened when you said good night you really meant good bye baby, ain't it funny, how you never ever learn to fall you're really on your knees, when you think you're standing tall but only fools are "know-it-alls" and i played that fool for you i cried and i cried there were nights that died for you baby i tried and i tried to deny that your love drove me crazy, baby if the love that i got for you is gone if the river i cried ain't that long then i'm wrong, yeah i'm wrong, this ain't a love song baby, i thought you and me would stand the test of time like we got away with the perfect crime but we were just a legend in my mind i guess that i was blind remember those nights dancing at the masquerade the clowns wore smiles that wouldn't fade you and i were the renegades, some things never change it made me so mad 'cause i wanted it bad for us baby now it's so sad that whatever we had, ain't worth saving if the love that i got for you is gone if the river i've cried ain't that long then i'm wrong, yes i'm wrong, this ain't a love song if the pain that i'm feeling so strong is the reason that i'm holding on then i'm wrong, yeah i'm wrong - this ain't a love song i cried and i cried there were nights that i died for you baby i tried and i tried to deny that your love drove me crazy baby if the love that i got for you is gone if the river i cried ain't that long then i'm wrong, yeah i'm wrong - this ain't no love song if the pain that i'm feeling so strong is the reason that i'm holding on then i'm wrong, yeah i'm wrong - this ain't a love song by lune the end JTL 很长时间Love Is A Pain (I don't cry)(I don't cry)(I don't cry)(I don't say) As time gose by

你身边的那个人看起来会比我做得更好放你离开的那个冬天，痛苦了好久，但是都没有用了开始我小心地走向你，你用阳光般的微笑接受了我的心那么想见你，落下了泪，但是（I don't cry）现在什么也无法说想说爱你，现在不再是我的你有的时候给我的问候的电话我说现在过得很好这样的话，但舌头无法像以前看到了我变瘦的样子，你也会吃惊放你离开的那个冬天，痛苦了好久，但是都没有用了开始我小心地走向你，你用阳光般的微笑接受了我的心那么想见你，落下了泪，但是（I don't cry）现在什么也无法说想说爱你，但现在不再是我的你如果对我说你回来吧我会再次抱着你如果只想看我一次，我会把空位子留给你说不定那个时候是我们两个再一次没有办法地擦肩而过的命运我这样疼痛，你也会非常疼痛的，那个时候你也说没有办法我的没有用的自尊心非常非常的后悔没有你，度过了很长时间，只一个人没有你，我忍受着，得生活下去，我没有自信那么想见你，落下了泪，但是（I don't cry）现在什么也无法说想说爱你，我想再见到你，但现在好象一切都结束了希望好久以来积攒的记忆，到什么时候都不会在时间里被埋没祝你幸福

Dos: Naw cuz I be there all the way thru the end no more drama let forever begin I thought I never love again, but now Im loving Thought I never feel again, you got me feeling Thought I never breath again, and now Im breathing You gave me something new for me to believe in Thought I never laugh again, but now Im laughing Thought I never care again, you got me caring Thought I never share again, but now Im sharing My life is with your Im not scare no more Iou everything Iou iou Iou iou Iou iou Tell me girl where you been on my life I Been waiting for this day you make this feelings so right I wanna hold you in my arms and never let you go deserve to be loved not be afraid no more So listen I cant tell you how happy I am Understand Im being true you will never need another man You open up my eyes to a whole different world I know love still exist cuz I found you gurl I Know you care for me and I hope that we never change Naw cuz I be there all the way thru the end no more drama lets forever begin I thought I never love again, but now Im loving I thought I never feel again, you got me feeling I thought I never breath again, and now Im breathing You gave me something new for me to believe in Thought I never laugh again, but now Im laughing Thought I never care again, you got me caring Thought I never share again, now Im sharing My life is with your Im not scare no more Iou you everything Iou , Iou Iou , iou Iou , iou iou everything

多： 诺cuz我有所有的方式结束时没有通过更多的戏剧让永远开始我想我永远的爱，但现在爱林想我从来没有觉得，你把我的感觉想我从来没有呼吸了，现在林呼吸你给我新的东西，我相信想我从来没有笑，但现在林笑想我从来没有照顾，你把我照顾以为我永远不会再次份额，但现在林共享我的生活是不是与您的聊天不再恐慌悠一切悠悠悠悠悠悠女孩告诉我你一直在我的生活我是等待着这一天你的感情，以便使这一权利我想对你在我的怀里，并没有让你去值得爱，就不要害怕没有更多所以听我不能告诉你我是多么高兴林正真正了解你将永远不再需要另一个男人你打开我的眼睛，以完全不同的世界我知道爱仍然存在cuz我发现你gurl 我知道你爱我，我希望我们永远都不会改变诺cuz我有所有的方式结束时没有通过更多的戏剧让永远开始悠，悠悠，悠悠，悠

I think it is the time that my eyes can distinguished the diamond and I know which is matched.it is not ideal any more.love is ture in my life now.the brass-colored skin ,the forest-liked mostache,and warm palm and each cell can give me hint of love.when u found it,u will never doubt.

时间将教我淘得真金。我知道何为最适合者。爱情于我已不再是理想，而是生活中的实在。古铜色的皮肤，森林般的胡须，温暖的手掌都可以给出我爱的暗示。当你找到真爱，你将不再怀疑。

Sometimes I just feel like, quitting I still might Why do I put upthis fight, why do I still write Sometimes it's hard enough just dealin wit real life Sometimes I wanna jump on stage and just kill mics And show these people what my level of skills like But I'm still white, sometimes I just hate life Something ain't right, hit the brake lights Case of the stage fright, drawin a blank light Da-duh-duh-da-da, it ain't my fault Great big eyeballs, my insides crawl And I clam up, I just slam shut I just can't do it, my whole manhoods Just been stripped, I have just been vicked So i must then get, off this bus then split Man fuck this shit yo, I'm going the fuck home World on my shoulders as I run back to this 8 mile road I'm a man, I'ma make a new plan Time for me to just stand up, and travel new land Time for me to just take matters into my own hands Once I'm over these tracks man I'ma never look back (8 mile road) And I'm gone, I know right where I'm going Sorry mama I'm grown, I must travel alone Ain't gunna follow these footsteps, I'm making my own Only way I know how to escape from this 8 mile road I'm walking these train tracks, tryin to regain back the spirit I had fore I go back to the same crap To the same plant, in the same pants Tryin to chase rap, gotta move ASAP And get a new plan, mommas got a new mam Poor little baby sister, she don't understand Sits in front of the T.V, buries her nose in the pad And just colors until the crayon gets dull in her hand While she colors her big brother, her mother and dad Ain't no tellin what really goes on in her little head Wish I could be the daddy that neither one of us had But I keep runnin from something I never wanted so bad!

有时候，我不安，因为我不是尚未引爆这就像我长大的，但我是不会长大我两个坚果尚未不要有代表我的一步，没有获得足够的肽的压力很大的人，我只是设法做最新最好的和我尝试，单独坐在我哭泣哟我不会告诉任何谎言，而不是目前的推移我不祈求天空，请我开始你的上帝请不要让我bitchin holdin没有固定工作哟我希望你能听到我家无论身处何地哟我tellin您dawg我白琳这拖车明天告诉我的妈妈我爱她，亲吻婴儿的妹妹再见说你需要我whenevr婴儿我永远远但是，你我有爱摆脱的唯一途径，我知道和我回到你的第二个，我的打击我拥有的一切，我会成为我自己去工作，我去，回到这个八英里道我一个人，我作出了一项新的计划时间对我来说，只是站起来，新的土地和旅行时间对我来说，只是考虑到我的问题自己手中一旦我对这些歌曲的人我从来没有回头看（ 8英里路）和我走了，我知道在那里我会对不起妈妈我长大，我必须单独旅行不是贡纳按照下列脚步，我让我自己唯一的办法，我知道如何摆脱这个8英里道你得活到觉得，你没有你不会得到它或看到什么大问题是，为什么这不是skillest 这是walkin寄宿线底特律城市的界限这是不同的，这在一定意义，证书的真实性，您甚至从来没有见过但everthing对我来说，这是我的信誉你从来没有见过或听说闻见了一个真正的三菱商事谁是难以置信的相同pedastal为我可是我仍然未签名的，有一个粗略的时间坐在门廊智慧我的所有朋友和踢哑巴儿歌去工作和服务三菱商事的在lunchline 但是在关键时刻，我punchlines哪里去谁，我必须表明，我国流动到胸部如果要我去，我必须知道谁还是我刚才在另一个蟹斗因为我不是没有运气havin与这个小兔子，以便他妈的它也许我需要一个新的出路，我startin怀疑狗屎我有点怀疑feelin谁余空闲时我看起来像一个流浪汉，你我的衣服是不是狗屎在救世军设法挽救一个装备和它的冷设法前往这道另外我觉得对滞留在该battlin模式我的防守是如此，并有一件事我不想遗憾的是没有人，这个城市是没有乐趣没有太阳，真是太黑暗有时候，我只是觉得我被分开从每一个我的四肢，每一个我的一个朋友这足以使我只是想跳出我的皮肤有时我觉得自己像一个机器人，有时我只是不知道是我的乐队我的打击，我的头是一个炉灶顶部我只是爆炸，水壶会这么热有时候，我的嘴刚刚超载的屁股，我没有但是，我学到了，现在是时候让我掉头你只需要一个时间，我引火烧身不是不属于任何下一次我遇到一个新的女孩我可以不再扮演笨或未成熟我每一个组成部分，我需要的是勇气就像我已经有了节拍，所有我需要的话得到的冲动，突然它的进口激增突然爆发的一个新的能源已经发生时间显示这些自由世界领导人在三个第三我不再害怕现在，我作为一个自由鸟然后我又和越过中间遏制击中动词和所有你看到的是一个模糊的8英里道我一个人，我作出了一项新的计划时间对我来说，只是站起来，新的土地和旅行时间对我来说，只是考虑到我的问题自己手中一旦我对这些歌曲的人我从来没有回头看（ 8英里路）和我走了，我知道在那里我会对不起妈妈我长大，我必须单独旅行不是贡纳按照下列脚步，我让我自己唯一的办法，我知道如何摆脱这个八英里道

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。

When mouse stops loving rice haha.

当老鼠不再爱大米。

I'm ont over him now.

我不再爱他了。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失