不在乎

When I get back, Cathy is gone like I knew she would be, but I don't care.

我回来的时候，凯茜走了，我知道她会这么做，可我不在乎。

And I took her for granted, I was so cavalier.

我却不在乎，我是如此傲慢。

I think that in the railroad car we are inclined to spend more on luxury than on safety and convenience, and it threatens without attaining these to become no better than a modern drawing-room, with its divans, and ottomans, and sun-shades, and a hundred other oriental things, which we are taking west with us, invented for the ladies of the harem and the effeminate natives of the Celestial Empire, which Jonathan should be ashamed to know the names of.

我想到铁路车厢，我们是宁愿花更多的钱于布置的奢侈上，而不在乎行车的安全和便捷的，结果安全和便捷都谈不到，车厢成了一个摩登客厅，有软褥的睡椅，土耳其式的厚榻，遮阳的帘予，还有一百种另外的东方的花样，我们把它们搬到西方来了，那些花样，原先是为天朝帝国的六宫粉黛，天子的后妃，后宫中的妻妾而发明的，那是约拿单听到名称都要难为情的东西。

But clue to lack of greenplants,photosynthesis did not exist,Cephalopoda needing oxygen had tiolive in the sea.Fortunately the deep sea is pitch-dark,just as thesaying in Journey to the Westthat" Becausethere was no calendar time in the mountain,animals did not know thecoming of the new year".

只是少了绿色植物，光合作用不复存在，需要氧气滋润的头足动物只好避入海洋，好在深海一团漆黑，就如同西游记里说"山中无甲子，寒尽不知年"，那时生物也不在乎时间。

Cf: I don't care whether/if he will come.

我不在乎他是否要来。

I don't care a jack, or about what cha' do, ho!

我不在乎钱不钱的，更不管你怎么做

I didn't mind their chaff.

我不在乎他们的玩笑。

To change one's mind .I don't mind which we do; it's all one to me.

我们做哪一样我不在乎，它们对我都一样。

I don't care what anyone out there thinks, Charley.

我不在乎别人怎么想

Listen, I don't mind what you say about me, but don't make me out to be a cunt chaser – it's too simple.

听着，我不在乎你说我什么，可是别把我写成一个追逐女色的人—那样就太简单了。

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。