先在

A little after Noon I found the Sea very calm, and the Tyde ebb'd so far out, that I could come within a Quarter of a Mile of the Ship; and here I found a fresh renewing of my Grief, for I saw evidently, that if we had kept on board, we had been all safe, that is to say, we had all got safe on Shore, and I had not been so miserable as to be left entirely destitute of all Comfort and Company, as I now was; this forc'd Tears from my Eyes again, but as there was little Relief in that, I resolv'd, if possible, to get to the Ship, so I pull'd off my Clothes, for the Weather was hot to Extremity, and took the Water, but when I came to the Ship, my Difficulty was still greater to know how to get on board, for as she lay a ground, and high out of the Water, there was nothing within my Reach to lay hold of; I swam round her twice, and the second Time I spy'd a small Piece of a Rope, which I wonder'd I did not see at first, hang down by the Fore-Chains so low, as that with great Difficulty I got hold of it, and by the help of that Rope, got up into the Forecastle of the Ship; here I found that the Ship was bulg'd, and had a great deal of Water in her Hold, but that she lay so on the Side of a Bank of hard Sand, or rather Earth, that her Stern lay lifted up upon the Bank, and her Head low almost to the Water; by this Means all her Quarter was free, and all that was in that Part was dry; for you may be sure my first Work was to search and to see what was spoil'd and what was free; and first I found that all the Ship's Provisions were dry and untouch'd by the Water, and being very well dispos'd to eat, I went to the Bread-room and fill'd my Pockets with Bisket, and eat it as I went about other things, for I had no time to lose; I also found some Rum in the great Cabbin, of which I took a large Dram, and which I had indeed need enough of to spirit me for what was before me: Now I wanted nothing but a Boat to furnish my self with many things which I forsaw would be very necessary to me.

午后不久，海面风平浪静，潮水也已远远退去。我只要走下海岸，泅上几十米，即可到达大船。这时，我心里不禁又难过起来。因为我想到，倘若昨天我们全船的人不下小艇，仍然留在大船上，大家必定会平安无事。这时就可安抵陆地；我也不会像现在这样，孤苦伶仃孑然一身了。而现在，我既无乐趣，又无伴侣。想到这里，我忍不住流下泪来。可是，现在悲伤于事无济，我即决定只要可能就先上船去。当时，天气炎热，我便脱掉衣服，跳下水去。可是，当我泅到船边时，却没法上去，因为船已搁浅，故离水面很高；我两臂所及，没有任何可以抓住的东西。我绕船游了两圈，忽然发现一根很短的绳子。我惊异自己先前竟没有看见这根绳子。那绳子从船头上挂下来，绳头接近水面；我毫不费力地抓住绳子往上攀登，进入了船上的前舱。上去后发现船已漏水，舱底进满了水。因为船搁浅在一片坚硬的沙滩上，船尾上翘，船头几乎都浸在水里，所以船的后半截没有进水。可以想像，我急于要查看一下哪些东西已损坏，哪些东西还完好无损。首先，我发现船上的粮食都还干燥无恙。这时，我当然先要吃些东西，就走到面包房去，把饼干装满了自己的衣袋，同时边吃边干其他活儿，因为我必须抓紧时间才行。我又在大舱里找到了一些甘蔗酒，就喝了一大杯。此时此刻，我极需喝点酒提提神。我这时只想有一只小船，把我认为将来需要的东西，统统运到岸上去。

It is said many friends of Ah Mui are not happy about the arrangement made by the committee as they only allow 100 people to attend the cremation service at Cape Collinson Crematorium.

今日是梅艳芳跟好友歌迷「告别」的日子，连日来替她筹备丧礼的治丧委员会虽已作好时序安排，不过，据知有人对大会於12日在歌连臣角火葬场的安排依然有所不满，事缘在阿梅病逝后翌日，一班委员已开始筹备阿梅的丧礼，而因歌连臣角的场地所限，以及为安全起见，委员会认为一定要在当日控制上山及入场人数，加上阿梅生前朋友众多，歌连臣角的礼堂根本不能容纳这麼多人，於是委员会在30日晚已决定采取先报先得的方法，决定只让100人入内，但却未有即时广泛通知阿梅的好友，反而部分跟阿梅并不相熟，为数约30多人的演艺人协会会员却早已报名。

A,an=not ab,abs=away ad,a,ac,ad,af,al,an,ap,as,at=to;at ambi=both ana=up ante=before anti=against auto=self be=do bene=good cata=complete cent=hundred circum=around co,com,con=together contra=against de=down,off dec,deka=ten dia=across dis=apart duo,di,twi=two dys=bad en=make ento=inside epi=upon equi=equal eu=good ex,ec,e=out fore=ahead hetero=different holo=complete homo=same hyper=above hypo=below in,il,im,ir=inside;not infra=below inter,intel=between intra,intro=within iso=same macro=big mal=bad medi=middle mega=giant meta=change micro=small mis=wrongly mono=one multi,poly=many neo=new nona,ennea=nine ob,oc,of,op=toward oct=eight omni=all orth=straight pan=all para=beside per=through peri=around post=after pre,pri=before prin=first pro=forward quad,tetra=four quint,penta=five re=back retro=back se=apart semi,demi,hemi=half sept,hepta=seven sext,hexa=six solo=alone sub,suc,suf,sug,sum,sup,sur,sus=under super,sur=over supra=above syn,sym=same tele=far trans,tra=across tri,ter=three un,ne,non=not uni=one ultra=beyond

成年人学英文的第一课和第二课刊出后，有数位读者写E-mail给我。有一位说道：「一篇文章的每一个单字都查到解释了，但整篇文章就是看不懂，怎麼办？」另一位说：「我的文法很差，没办法写完整的英文句子，要如何补救？」当发音和字汇都掌握住学习要领之后，剩下的就是「读」和「写」了，这才符合学习英文的正确步骤：听→说→读→写。台湾传统的学习方式由「写」开始，再「读」，然后才「说」，最后再去补救「听」力，可以说是背道而行，难怪效果不彰。那麼学习「读」的要诀是什麼呢？当然最重要的是能够了解整个句子的涵义。记得初中的时候背了很多文法规则，考试的分数虽然很高，但是对「读」的能力没有帮助。连那个时候流行的「英语九百句型」，也从来没有耐心读完过。然而我们今天能够看懂中文的文章，难道是因为我们熟悉中文的文法吗？答案是否定的。同样地，一个美国人虽然能阅读报纸，但是要求他做「英文文法分析」，他可能也会傻眼。英文的句子其实不需要去靠文法书中的规则去了解，文法书只应当作参考书，在有疑惑的时候才去查阅。平常应养成「约定成俗」的习惯，就是看别人怎麼用，然后「依样画葫芦」，日积月累，文法规则就化为无形了。因此，要训练「读」的技巧，不应该是靠文法规则，而是要多读。但是在读之前，要具备「了解句子」的基本能力，这就是我们的第三课─了解英文句子的要诀。了解英文句子的关键，在於先抓住「主词」和「动词」。看到一句很长的英文句子，不要害怕：先找主词，再找动词。动词如果是「及物动词」，再去找「受词」。主词、动词、受词之外，剩下的通通当做修饰语，有的修饰主词，有的修饰动词，有的修饰受词，有的修饰全句；任何两个完整的句子都可以用连接词连接起来。以上简单几句话，就是了解英文句子的基本观念。了解英文句子的第二步是熟悉英语的五种基本句型，其中前两种与不及物动词有关，后三种与及物动词有关。以下的句子中，用大括号表示{主词}或{受词}，中括号表示，剩下的部份都是修饰语。第一种与不及物动词有关的基本句型叫做「简单不及物句型」（Intransitive Verb，简称I），请背住以下五个句子

Sis as the out-group. The molecular phylogenetic tree was constructed by NJ method using software MEGA 3.1, and three populations of M. nipponense were clustered first and then clustered with M. hainariense; M. rosenbergii and M. malcolmsonii, as well as M. Icr and M. latimanus had a closer genetic relationship and were clustered first, then they were clustered with M. carcinus and M. equidens, and finally with Fenneropenaeus chinensis.

用MEGA 3.1软件中的NJ法构建的分子进化树，日本沼虾3个群体先聚在一起后与海南沼虾聚在一起；另外，罗氏沼虾与马氏沼虾、短腕沼虾与贪食沼虾亲缘关系较近先聚在一起，然后再与大臂沼虾和等齿沼虾聚在一起，最后才与外群中国明对虾聚在一起。

1 The lowest, 10 the highestI mean let's not joke around!! An iverson shoes with great ankle support( think about the answer 5 and answer 6)?? come on give me a break!! well no doubt! ANSWER 10 must be one of the best ankle supporting shoe on the market right now!! First of all let's talk about how this shoe protects the ankle for a baller like you and me. The TPU plate which locates at back of yout ankle creats a secure fit that locks in your ankle so your foot will not move around like a pair of Chuck Tayler and with the additional inner bootie, its like heaven when you walk around with it !! YET the adjustable Pump system gives the shoes a big bonus by having air surrounding you foot ( air bolloon??) so your ankle will unlikely to rollover!!

我必须很认真的告诉您，您能想像艾佛森的个人鞋款有完美的踝部支撑吗(想一想 answer 5 and answer 6)，别开玩笑了吧，但是无庸置疑的，ANSWER 10 绝对是目前市面上拥有最好的踝部支撑的鞋款之一，先让我们讨论一下这双鞋是怎样保护一个像您跟我一样篮球员的脚踝的，坐落在脚踝正后方的 TPU plate 让您感觉您的脚踝就好像是被安全的锁住了一样，让您的脚踝不会在鞋内摇来摇去的(某 converse 鞋款)，还有，无缝线的内衬让您穿上它走来走去之后，就感觉好像是先开了套房再在水床上天堂一样，还有可调整式的 Pump system 给予了这双鞋大大的加分因为当您穿著它走来走去时您一定可以感受到 air 紧紧的包住了您的脚踝，这样一来您的脚踝就更不会轻易的翻船了。

Jeremy Bonderman was actually excellent in his last start in Cleveland (7 IP, 4 H, 2 R, 2 BB, 8 K), but before that he put together a 11.28 ERA across his previous four, all losses. Like Wang, most of that damage came in a single disaster start (Bonderman's came in Anaheim), but he still posted an 8.10 ERA in the remaining three starts from that rough patch.4 l" d7 _9 r" s. X5 p

Jeremy Bonderman上一次先发其实表现优秀(7 局， 4 安打， 2 失分， 2 保送， 8 三振)，但在那场比赛之前的4场比赛合计他的自责分率为11.28，而且通通败投，跟王小民一样，大部分的伤害来自一场悲惨的先发(在安纳罕天使主场的比赛)，但在那一场悲惨的比赛之外的其他3场他的自责分率仍然达到8.10。

Jeremy Bonderman was actually excellent in his last start in Cleveland (7 IP, 4 H, 2 R, 2 BB, 8 K), but before that he put together a 11.28 ERA across his previous four, all losses. Like Wang, most of that damage came in a single disaster start (Bonderman's came in Anaheim), but he still posted an 8.10 ERA in the remaining three starts from that rough patch.王建民加油站$ N# U5 \1 {3 }0 c* t% z R

Jeremy Bonderman上一次先发其实表现优秀(7 局， 4 安打， 2 失分， 2 保送， 8 三振)，但在那场比赛之前的4场比赛合计他的自责分率为11.28，而且通通败投，跟王小民一样，大部分的伤害来自一场悲惨的先发(在安纳罕天使主场的比赛)，但在那一场悲惨的比赛之外的其他3场他的自责分率仍然达到8.10。

This paper therefore examines the development of "the folklore Pai-Chang of Peking opera aria in Tainan city" through literature review depth-interview oral history and participant observation The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music Some people who came from other places and played Peking opera aria had also known or learned "Pai-Chang" with touching Tainan local amateurs "Pai-Chang" used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards Amateurs volunteered to perform "Pai-Chang" only for their duty temples and fraternity of Peking opera aria The majority of the audience is people who perform or like "Pai-Chang" or who live nearby There is a fixed pattern of the performance including the repertoire and the arrangement of the band The main meaning of this performace is to pray God's blessings therefore the procedure of "Ban-Hsian" is the most essential and ahead of Peking opera aria singing With time goes by the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence some of the amateurs have been trained to become professional performers Besides although the idea and the meaning of "Pai-Chang" remains the pattern of the performance has become simplified and rigid which is because of the performers' number decreasing and market adapting Nowadays the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed and most people's pursuing of specialization and utilitarianism etc ) According to the findings in this paper the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies For the studies of the Taiwanese culture however the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore) but also reflects the characters of diversification integration adaptation and compromise of Taiwanese culture which used to be influenced by different regimes and the historical contexts Facing such a multicultural context this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood

代表了什麼意义？对於上述疑惑，查既有研究成果，不消没有论述者，具体提即「京调排场」现象的可说没有，基於此，有必要对台南市及其周边之民俗性京调排场，不管是语汇来由或者其现象本身，做一番研究。本研究透过文献、访谈、口述史、参与观察等方法，以文化有机体之纵的发展概念为经，以民俗表演之横切面各主客要素为纬，试图先对此文化现象调查并推论出一概貌：台南市民俗性京调排场的形成，是在京调传入台南，台南本地北管子弟改习或兼习京调后，结合北管音乐文化所固有的排场表演型态及民俗演出传统，融合而成，形成时间至迟在日治晚期。而一些不同时期的外来京调人士(如原本生长於其他地区、后移住台湾的票友，和中国大陆琴师等等)，也曾透过与当地子弟的接触，而习得或知晓「排场」语汇以及本地京调排场习俗者。此项音乐民俗表演在过往多由业余子弟於神诞或民众婚俗做寿时，对其有义务或交陪的庙宇及子弟间做酬酢性的演出，不收报酬；聆赏者多是京调同好与邻近民众，也有少数路过者；演出模式包括节目安排、乐队编制皆有一定；表演意涵上以「扮仙」祈求神明赐福人间最为重要，因此排仙必不可少，且一定先於京调演唱。随著时间推移，京调排场表演活动的各要素都有变动，惟变迁速度不一，大体而言，业余表演者锐减，人们对酬神娱神节目的需求仍在，因此一些过往的业余表演者遂逐渐转型为职业表演者。此外，虽然表演意涵不变，但在职业表演人员少、又要适应市场的情况下，表演模式亦逐渐流於简化、僵化。目前京调排场整体生态仍在转变的过程中，而这种变化应与工商社会时间空间的被压缩、事事追求专业化与尼Q化等因素有关。再者，据此概貌，在结论部分厘清其意义、定位以及其对台湾文化研究之启示。台南市及其周边之民俗性京调排场现象，可视为京剧研究与民俗研究的一环，然而对於台湾文化研究，除了其题材本身标志了京剧的本土化与台湾民俗活动之新类型，进一步扩充整体台湾文化研究的内容外，更重要的是现象背后所反映的台湾文化的多元融合与妥协适应取向。台湾的海岛地理位置与长期被不同文化背景政权所殖民的历史，其文化自然容易随社会环境改变而弹性适应变迁，呈现多元纷呈、多重覆叠的特色，因此展望未来，从事台湾文化研究应秉除单一观点，保持一定程度之开放与客观胸襟，方不忽视或误识更多重要的文化现象。

In chapter three, with the effective combination of the prior preference, posterior preference and interactive method, and based on the theory of satisficing decision making and goal programming, an interactive method for solving static or dynamic multicriteria programming is devised. In the method, by constructing the simplexes in the set of parameters and transforming them, the local preference information is interactively quested in th process of decision making. The prior and posterior preference are used to speed up the process of decision making and overcome the false convergency which may be occured in pure interactive algorithms. This method can be used to cope with linear, nonlinear and dynamic multicritcria programming.

在第3章多目标数学规划的参数单纯形方法中，通过多目标数学规划的验先偏好方法，交互式方式与验后偏好方法的有效组合，在满意决策和目标规划的理论基础上提出了一种求解多目标静态及动态规划的交互式方法，该方法通过在参数集中构造单纯形并进行其变换，在决策过程中交互地索取决策者的局部偏好信息，并利用决策者的验先偏好来提高决策过程进行的速度，及利用决策者的验后偏好来克服纯交互式算法中可能出现的假收敛现象。

Came to the lava cliffs fall zone, take the left side of the road directly in a group of birds where there are two columns below, the jump down (not dead, I am sleepy in this place as long as two hours), skip left after the first go, be reminded to observe, and now moving about in the magma, but can only be waist high magma, there is a need to see more of the terrain, do not waste HP, now jumped down, back to the left跳崖Department, went to is located in Magma, Fire Dragon Shou equipment can move around a half height of magma, first up, get a weapon, and then down, has been in the end, to continue filing filed walk inside the wind can be magic, the way to the red chest is a green precious stones, to increase the wind magic attack, and get back only to return to bandage things MM has emerged, but said a few left, and then returning to fight BOSS, the BOSS to attack his tail, the beginning of the head is of no use, finished BOSS, while red chest after using wind magic jump can be achieved

掉下悬崖来到了熔岩地带，直接走左边的路，在一群鸟的地方，下面有两根柱子处，往下跳(不会死的，我在这个地方困了2个小时之久)，跳下后先往左走，得到火龙守，现在可以在岩浆中走动了，但是只能是下半身高的岩浆，所以要多看地形，不要白白浪费HP，现在可以往下跳了，回到跳崖处往左，来到岩浆地处，装备火龙守，可在半身高岩浆里走动，先往上，拿到武器一把，再往下，一直到底，存档处存档继续往里走可得到风魔法，途中的红宝箱是绿宝石，增加风魔法攻击的，等回来时才能拿，返回事绷带MM又出现了，不过说了几句就走了，然后返回途中打BOSS，此BOSS要攻击他的尾巴，开始时打头是没有用的，打完BOSS，途中红宝箱利用跳后的风魔法可以取得

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。