不见

We saw no path upon the sea, nor sign of the shore. And yet day by day we were marking our path upon the chart as exactly as if there had followed us a great chalk line upon the sea.

我们在海面上看不见什么途径，也看不见什么海岸，我们却能一天过一天在航海图上划着标号。

We stand at a crossing point, forlorn and desolate.

我们站在了"前不见古人，后不见来者"的凄凄路口。

I remembered, from Fe Gang to Ying De, I needed to ride through several tunnels by bike, one of them was 450 meters in length, it was narrow and there was no any lighting in it, only the little bite sunshine from out of tunnel, I was afraid of vehicles, their noises were earsplitting, I was worried about I was bumped, I was worried about if there were some holes in dark tunnel, I was afraid of dropping down into them. I was full of dread and helplessness I never had, in front of me, only a little bit faint sunshine.

我还记得从佛冈到英德，我要穿过几个隧道，有一个450米长的，我走进去非常害怕，周围黑得什么也看不见，我第一次感受大什么叫伸手不见五指，里面又窄又没有灯，只有洞口那一点点光明，我很怕有车进来，那声音震耳欲聋，我担心它撞到我，我有怕里面有个洞我掉下去，心里被一种从来没有的恐惧和无助笼罩着，我眼前只有一点光明。

In her novel, you can't see the feudal exploitation and oppression,the kind of bloody invasion of imperialism, But she presented an "eventless tragic "to us by remembering all sorts of people and their lives in her hometown."Biography of Hulan River" is: an eventless tragic of the people; a soul tragic of the stander-by; a great tragic of the women.

在小说中，看不见封建的剥削和压迫，也看不见帝国主义那种血腥的侵略，而是通过追忆家乡的各种人物和生活画面，作者写出了一部"几乎无事的悲剧"：一部几乎无事的民族悲剧，是一部看客的灵魂悲剧，是一部伟大的妇女悲剧。

The micro Taipei City: With the film《The Skywall Is Gone》and the book《Le Citta invisibili》as a secondary. Through the attitude of "flaneur" walk into the arcade or alleys in Taipei City, to described more delicate life experience, and generalized four conclusions : topic-memory, being stagnant, cram life and disorder in Taipei City.

微观的台北城：此阶段的绘本受到蔡明亮电影《天桥不见了》及卡尔维诺《看不见的城市》一书的影响，开始走进城中的骑楼、巷弄之间，开始体验较为细腻的生活经验，并归纳出四个自身较为深刻的主题─记忆中的台北城、日剧时期凝滞的台北城、补习生活的台北城及以「乱」字来形容的台北城。

Alice guessed in a moment that it was looking for the fan and the pair of white kid gloves, and she very good-naturedly began hunting about for them, but they were nowhere to be seen--everything seemed to have changed since her swim in the pool, and the great hall, with the glass table and the little door, had vanished completely.

我是在哪儿丢掉的呢？爱丽丝马上猜到它在找那把扇子和那双羊皮手套，于是，她也好心地到处寻找，可是找不见，自从她在池塘里游荡以来，好像所有东西都变了，就是那个有着玻璃桌子和小门的大厅也都不见了。

With focusing so much on them kissing, when will they kiss, is this the episode with the kiss, why do we have to wait so long until they kiss, we are risking to lose the view of the bigger picture where the more touching and more breathtaking images may not be the over-stylized icon, that hinge on gratuitousness, but other moments that transport perhaps even more when it comes to relating a love story.

如果总纠缠于他们吻不吻，什么时候吻，这一集会吻吗，为什么我们还要等两集他们才吻之类，我们便会一叶障目不见森林，我们就看不见另外那些更感人，更震撼，并且没有被符号化的画面，那些把爱情故事表述得更好的瞬间。

Disillusionment with the beauty of the blink of an eye, the sight of my pale, can not see the flags Shacheng hear the clarion call of battle, I can only lay down their dusty you so that the dignity of samurai Hemosiderosis into tenderness, blood and fire at around , in choices of pain and love

幻灭了的美丽，转眼间苍白了我的视线，看不见沙城的旌旗，听不见征战的号角，我只有放下你飞扬的裙角，让武士的尊严化作铁血柔情，在血与火中徘徊，在痛与爱中决择。

Should know this correctly in the round " invisible hand ", should from the analysis it is in between hoggish heart of the person and altruistic heart on the foundation of the bridge that removes and intermediary action, announce its place accumulate contained ethical value, discuss deep then " invisible hand " the great effect that has to market economy grows and perfecting place.

要全面正确地认识这只"看不见的手"，就应该从分析它在人的利己心和利他心之间所起的桥梁和中介作用的基础上，揭示其所蕴含的伦理价值，进而深入探讨"看不见的手"对于市场经济发展和完善所具有的伟大作用。

I can see it, but II can't see it.

我看不见，但我，我看不见

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。