你

Betwixt mine eye and heart a league is took, And each doth good turns now unto the other: When that mine eye is famish'd for a look, Or heart in love with sighs himself doth smother, With my love's picture then my eye doth feast And to the painted banquet bids my heart; Another time mine eye is my heart's guest And in his thoughts of love doth share a part: So, either by thy picture or my love, Thyself away art resent still with me; For thou not farther than my thoughts canst move, And I am still with them and they with thee; Or, if they sleep, thy picture in my sight Awakes my heart to heart's and eye's delight.

现在我的眼和心缔结了同盟，为的是互相帮忙和互相救济：当眼儿渴望要一见你的尊容，或痴情的心快要给叹气窒息，眼儿就把你的画像大摆筵桌，邀请心去参加这图画的盛宴；有时候眼睛又是心的座上客，去把它缱绻的情思平均分沾：这样，或靠你的像或我的依恋，你本人虽远离还是和我在一起；你不能比我的情思走得更远，我老跟着它们，它们又跟着你；或者，它们倘睡着，我眼中的像就把心唤醒，使心和眼都舒畅。

"I have done as you said: I have given you a wise and far-seeing heart, so that there has never been your equal in the past, and never will there be any like you in the future."

我就应允你所求的，赐你聪明智慧，甚至在你以前没有象你的，在你以后也没有象你的。

You opened the curtain yellow, thin figure you put my eyes, yellow light of the love you put into inch by inch, normal hit your shoulder wrapped in fine-cut, I just looked at your eyes, do not ask Whom you wasting so quietly spread love.

掀开你黄色的帘，你清瘦的身影映入我的眼，昏黄的灯光把你的相思切成一寸一寸，你的青衫裹着细削的肩，我只看着你的眼，不问你为谁消瘦，让爱悄悄蔓延。

To love all that makes you to be yourself: your value, your talent and your memory; your finery, your nose and your sorrow.

你的价值，你的才能，你的回忆。你的服饰，你的鼻子，你的悲伤。

Your Own Outdoor Fire Pit - Before you build your own fire pit, you need to make sure it is OK that you make your fire pit based on the laws regarding creating structures like this on your property....

你自己户外火坑--你把你自己的火坑前，你要看清楚是好，你未作火坑的基础上，就建立法律架构：：这样对你的财产

I had done a similar thing in, in Central Station where as we were on the road and when we saw the religious processions in that part of Brazil, we soon incorporated them into the film and it didn't exist in the original screenplay either and here the boy started to imitate, you know, as we went back and forth to the location and the animals were there, he started to imitate all of them and then suddenly we started to incorporate that as well, er, same thing with the fire-eater, when she started to show us what she could do, we, we immediately started to, you know, to organically incorporate those elements into the screenplay and that is really a fascinating part of our film, it's the collaborative aspect of it, you know, it's when you realise that without every single person's input, the film wouldn't be the same and this is what really makes cinema depart from most medium, is that you have to accept it's democratic quality, you know, essence in order for a film to really be alive and interesting to watch, I guess.

唔，有趣的是当卡戴尔看完电影就跑来对我说，你知道吗这是最忠于原著的改编版，可很多元素都不同，最后，我认为当你改编小说时，当你把文学转化成电影时，真正需要重视的是小说精髓之处，这比什么都要紧，并且创造出一种两者如对立沟通式的对白而不只是改编，ipsis literis，你知道这书，运用他作为深刻的灵感来源，他允许你探究，你知道，没有素材来源不可能投入进去，有次我看库布里克的访谈，其中说到他偏爱主人公容易塑造的小说而不是小说本身，如此他就能专注于故事构架和情节而不是依照原本，这我可以明白，但换个角度说，如果我自己没有被故事打动，如果是这样，故事无法让我产生共鸣那进行二次创作很困难，因为人物本身就显得很单薄无法定位和改编，但我真的能理解他的感受。

If you were a fish, then, I would be a fishhook trying to bait you. If you were a hill, then, I would be the surrounding rivulet to skirt around you. If you were a steamed bun, I would be a bowl of mutton soup ready to marinate you.

如果你是一只鱼儿，那我就是鱼钩，我要钓你；如果你是一座小山，那我就是山边的小河，我要绕你；如果你是一馍，那我就是一碗羊肉汤，我要泡你。

But now, drawing back to the edge of the table, gradually lower your eye (thus bringing yourself more and more into the condition of the inhabitants of Flatland), and you will find the penny becoming more and more oval to your view, and at last when you have placed your eye exactly on the edge of the table (so that you are, as it were, actually a Flatlander) the penny will then have ceased to appear oval at all, and will have become, so far as you can see, a straight line.

但是，现在，向桌子的边缘靠下去，你的视线逐渐降低（这样可以使你越来越进入平面国居民的状态）。你会发现这枚硬币逐渐变成了椭圆形，并且越来越扁，最后，当你的眼睛正正好在桌子边缘的时候（这样你就是，就好象是，真正的平面国国民了），这枚硬币不再呈现出椭圆形，正如你所看到的，它已经变成直线了。

Before you can move in for the kill by kissing and/or sleeping with her, you MUST first have a regular, healthy amount of touching that works both ways: she flirtatiously puts her hand on your knee, you encircle her waist with your arm and pull her a little closer - whatever form the physical contact takes, it has to be present for you to achieve your final goal of actual seduction.

在你想到达吻她或者跟她睡的阶段，你必须首先有一个常规的、健康的量的接触通过以下两种方式：她随意的把她的手放在你的膝盖上，你用手环住她的腰，将她拉近——不管你做什么肢体接触，都将帮助你达到引诱的最终目的。

Since every one, hath every one, one shade, And you but one, can every shadow lend: Describe Adonis and the counterfeit, Is poorly imitated after you, On Helen's cheek all art of beauty set, And you in Grecian tires are painted new: Speak of the spring, and foison of the year, The one doth shadow of your beauty show, The other as your bounty doth appear, And you in every blessed shape we know.

每人都只有一个，每人，一个影；你一人，却能幻作千万个影子。试为阿都尼写生，他的画像不过是模仿你的拙劣的赝品；尽量把美容术施在海伦颊上，便是你披上希腊妆的新的真身。一提起春的明媚和秋的丰饶，一个把你的绰约的倩影显示，另一个却是你的慷慨的写照；一切天生的俊秀都蕴含着你。

According to the clear water experiment, aeration performance of the new equipment is good with high total oxygen transfer coefficient and oxygen utilization ratio.

曝气设备的动力效率在叶轮转速为120rpm～150rpm时取得最大值，此时氧利用率和充氧能力也具有较高值。

The environmental stability of that world - including its crushing pressures and icy darkness - means that some of its most famous inhabitants have survived for eons as evolutionary throwbacks, their bodies undergoing little change.

稳定的海底环境─包括能把人压扁的压力和冰冷的黑暗─意谓海底某些最知名的栖居生物已以演化返祖的样态活了万世，形体几无变化。