创造一切的

But now, during the last three weeks of the march, he had learned another new and consolatory truth—he had learned that there is nothing terrible to be dreaded in the world.

作为一名俘虏，皮埃被关在马棚内，他不是从理智上，而是从自己的现实处境，以自己的生命，悟出了一个道理：人被创造出来是为了幸福，幸福存在于自身，幸福在于满足人的自然需要，而一切不幸并不在于缺少什么，而在于过剩，在这三个星期的押解途中，他又悟出了一个新的、令人欣慰的道理：他已认识到，世上没有什么可怕的事。

This paper, from the cross-cultural semantic perspective, analyzes the concept of images and discusses the construction of images in the translation of culture-bound words and phrases within the restriction of the relationship between the source culture and the target culture in order to identify the degree of image transference.

文化有广义与狭义之分，广义的文化是"人类在社会实践过程中所获得的物质、精神的生产能力和创造的物质、精神财富的总和"；狭义的文化则是"精神生产能力和精神产品，包括一切社会意识形态"。[1](P81)文化具有多重属性：①社会性———文化是通过社会习得的

The primary aim of all men's creation is its pragmatic functional and value, but in the process of creation and use, the aesthetic value of industrial arts was gradually created and the dual material and spiritual cultural features developed.

人类的一切造物活动，其初始的目的在于实现它的实用功能和价值，而在造物和使用的过程中，逐渐发展了审美价值，并在创造和使用的过程中，形成了工艺美术的物质文化与精神文化综合并存的文化特征。

Eternal God, creator and preserver of all life, author ofsalvation, and giver of all grace: Look with favor upon theworld you have made, and for which your Son gave his life,make one flesh in Holy Matrimony.

永恒的上帝，所有生命的创造者和保护者，灵魂的拯救者，一切恩典的赏赐者：用赞许目光看看您所创造的、您的圣子为之献出生命的这个世界吧，尤其看一看这对新人，您用神圣的婚姻使他们合为一体。

So, he takes "Dance" as characteristic spacial consciousness in Chinese art and model of all Chinese Yijing , emphasizing that spacial consciousness and spacial representation of Chinese art just lie in "Seeing infinity in finitude, and returning to finitude from infinity". Only in such artistic space can the profound contents uncovered by artists (namely,"Tao", life rhythm,"real life","cosmic truth") be embodied, and can artistic creation reach its ultimate ideal and maximal achievement.

所以，他把"舞"理解为中国艺术的空间意识特征和一切中国艺术意境的典型，强调中国艺术的空间意识和空间表现就是"于有限中见到无限，又于无限中回归有限"，只有在这样的艺术空间里，艺术家所要揭示的深刻内容（中国人所谓"道"，亦即生命节奏、"真的生命"、"宇宙真际"）才获得了具象化，艺术创造才达到了最后的理想和最高的成就。

Running away from the past, into the future. Or away from the bad past anyway, the recent, misbegotten past, and into a better past, all mythy and sweetly vigorous, into that America where the future was full of endless possibility. Into an America where, as Ralph Waldo Emerson wrote,"The only sin is limitation."

或者就是远离糟糕的过去，最近的一团遭的过去，创造那充满奇迹，朝气蓬勃的过往；回到那个未来一切皆有可能的美国；回归那个Ralph Waldo Emerson所描述的："只有一件事是你不该做的，那就是限制你自己"这样的美国。

The citizens who provided the cash that the government is using to fund the loans that are jump-starting new life into the auto industry deserve to know that every possible measure is being taken to create a financially lean manufacturing operation.

谁的公民提供了现金，政府使用资金的贷款，刚刚启动的汽车业进入新的生命应该知道，一切可能的措施，正在采取创造经济精益生产运作。

While everything around me is every changing, ever dying, there is underlying that change a living power that is changeless, that holds all together, that creates, dissolves and recreates....

当我周围的一切都在改变，甚至在衰竭时，那潜在的生命的力量是不变的。他们凝聚在一起，创造、瓦解、重新建造。。。

But when he took to agriculture , and made his wife do all the heavy work in the fields, he had time to reflect upon the vanity of human life, to invent mythologies and systems of philosophy, and to dream of the life hereafter in which he would perpetually hunt the wild boar of Valhalla.

但他开始从事于农业生产，让妻子干地里的一切重活以后，他便有时间去思考人生的空虚，去创造神话和哲学体系，去梦想来世的生活，在那里他可以永远捕猎天堂的野猪。

Thirty years of reform and opening up have created a China miracle... but we must be crystal clear that for China that has endured so much, the future road will not be all smooth-going.

30多年的改革开放，创造了中国的奇迹……但我们必须清楚表明，对于中国这样经历了这么多，未来的路会不会一切顺利，正在进行的。

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。