乐土的

For others the asperities, the stubborn endurance, or the clash of actual conflict, that went with Nature in the rough; he must be wise, must keep to the pleasant places in which his lines were laid and which held adventure enough, in their way, to last for a lifetime.

至于严酷的环境，顽强的忍受，或者同狂暴的大自然进行的货真价实的冲突较量，让别的动物去承受吧。他必须放聪明些，老老实实厮守着他的乐土。那是他祖祖辈辈繁衍生息的所在，那里也自有它的种种探险奇遇，足够他消遣解闷一辈子的了。

For others the asperities, the stubborn endurance, or the clash of actual conflict, that went with Nature in the rough; he must be wise, must keep to the pleasant places in which his lines were laid and which held adventure enough, in their way, to last for a life time.

至于严酷的环境，顽强的忍受，或者同狂暴的大自然进行的货真价实的冲突较量，让别的动物去承受吧。他必须放聪明些，老老实实厮守着他的乐土。那是他祖祖辈辈繁衍生息的所在，那里也自有它的种种探险奇遇，足够他消遣解闷一辈子的了。

This Video was realized in two locations of Brazil. One in Dona Marta Mount, black community situated in Botafogo, city district of Rio de Janeiro. The other in Salvador city, with the presence of OLODUM, famous music group of percussion in the state of Bahia. The scenes was filmed in the year of 1995, and directed by Spike Lee ("Do The Right Thing","Jungle Fever","Malcom X").Curiosity: Spike Lee appear for a moment, quickly helping Michael when he slip and fall in the street.

芬兰实在是个奇妙的国家，这个人口总数仅520万的北欧小国﹝其实也不小，面积是台湾的十倍大﹞，国家竞争力却排名世界第一，芬兰人不爱讲话，但却以电信产业称霸全球，如今更在欧洲金属版图中占有不小的影响力，从Amorphis、Stratovarius，到 Nightwish 、Children of Bodoms、Sonata Arctica、Eternal Tears Of Sorrow等等，芬兰的新生代金属乐团一个接一个地倾巢而出，使得芬兰除了已是个科技先进的国家，亦成为金属乐迷的乐土！

Bar-Yosef argues that the Protestant practice of internalizing Biblical vocabulary--"Promised Land,""Chosen People,""Jerusalem"--and applying it to different, ofttimes contesting, visions of England and Englishness induced a unequalled significance of ambivalency towards the whiskers want to possess the Holy Land.

酒吧，优素福认为，圣经词汇的内在新教传统-"乐土"，"选择的人，""耶路撒冷"-并应用到不同的，常常争夺，英格兰的愿景和英国风格独特引起的矛盾心理意识对渴望拥有的帝国的圣地。

Holy Koran, sheltered life of this ancient paradise, sincere support for world suddenly see the light, between God and man at once to be closer, if only a dromedary can find the footprints of God; the Camel Bells, such as bell Drum general Reverberation recovery harmony with wonderful sounds, such as the Vatican wave vicissitudes of history, general Dangkai calendar change; simple and sincere, site root, it was such a world, a leaf of a flower of enlightenment of a Buddha nature.

圣洁的古兰经，庇护着这片古老的生命乐土，真诚的供养让天地豁然开朗，神与人之间一下子被拉近了，仿佛只需要一峰骆驼就能找到神的足迹；而驼铃如晨钟暮鼓一般传波着妙音复苏的祥和，如梵波一般荡开历史的沧桑历变；民风淳朴、立地生根，才得这般一花一世界一叶一菩提的教化自然。

The little spectacled cayman, mysterious in its glass case in his boyhood bedroom, or so super-still, sitting on his head like a tiny allosaurus with its cool claws in his hair; the pet boa constrictor, in beautiful reticulated loops, swimming across the family pool; the snakes from the bog behind his house in suburban Norwood, New Jersey, where he would spend whole days squelching and hunting.

小眼镜美洲鳄不可思议地躺在他孩提时代卧室的玻璃箱里，或者像一只把冷僳僳的爪子抓住他头发的小霸王龙，如此安静地坐在他的头上；备受宠爱的大王蟒呈迷人的环状，在他的家用池子里来回游动；在新泽西洲诺伍德郊区，他住房后面的泥塘，是他愿意整天在里面咯吱咯吱行走并猎物的乐土，那里有种种蛇类。

Bar-Yosef argues that the Protestant practice of internalizing Biblical vocabulary--"Promised Land,""Chosen People,""Jerusalem"--and applying it to different, ofttimes contesting, visions of England and Englishness induced a unequalled significance of ambivalency towards the whiskers want to possess the Holy Land.

酒吧，优素福认为，圣经词汇的内在新教传统-&乐土&，&选择的人，&&耶路撒冷&-并应用到不同的，常常争夺，英格兰的愿景和英国风格独特引起的矛盾心理意识对渴望拥有的帝国的圣地。

And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens, and fairy-land is before us——then the wayfarer hastens home; the working man and the cultured one, the wise man and the one of pleasure, cease to understand, as they have ceased to see, and Nature, who, for once, has sung in tune, sings her exquisite song to the artist alone, her son and her master——her son in that he loves her, her master in that he knows her.

黄昏时分，迷雾给河畔穿了一层诗画般的衣裳。带着这层面纱，那些可怜的屋舍在昏暗的天空下销声匿迹，高耸的烟囱俨然成为灯塔，夜间的仓库若然变成宫殿。整个城市临于天堂之口，一片乐土尽在眼前。旅客们，行色匆匆，加快了回家的脚步。工作之人、教育之人、聪明之人、愉悦之人都停止了探究，也停止了注视。第一次，自然唱着自己的曲子。独为了了艺术家，她唱着她那首优美的曲子。也为了她的儿子和她的主人，因为爱她，所以是儿子；因为理解她，所以是主人。

On a side note:if the american media happy to show images and footages of china 20-30years back,it's fine..because locking one's self up in one's own fantasy land wounld not hurt others but one's self..and we chinese learnt that the hard way in 1840 and we shall never ever forget...

偏注：美国媒体如果高兴给自己国民播放20，30年前的中国图像片断的话，当然是无所谓的，因为把自己锁在自己脑中的那片快乐土里是不会给他人带来任何伤害的，反倒是自己会成自己的牺牲品。

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。