合乎逻辑的

During the third period (from 1937 to 1942), Li Jianwu came out with his second wonderful work "Ju Hua Second Volume". Compared with the "Ju Hua Volume","Ju Hua Second Volume" changed its length, style and character manner. The remarkable change is reflected in the choice of the critical object, and the continuation and development of literary view. The critical object was changed form "Jing Group" youth to "left wing" literature youth. The highlight of criticism not only preserved the need to the "harmoniousness" and "continency", but also further noticed the elements of "era" and "force". From such a choice full of antinomy and quandary, it is not hard to conclude a thinking logic in accord with "era" color.

第三阶段从1937年到1942年，李健吾紧接着捧出第二束奇葩--《咀华二集》，与《咀华集》相比，《咀华二集》在篇幅、文体、文字风格等方面都发生了变化，而最大的变化当属评论对象的选择以及相应的文学观的延续与发展，评论对象由前一时期的"京派"青年作家转向左翼文学青年，批评视点除继续保留对"和谐"与"节制"的要求外，进一步注意到"时代"和"力"的因素，从这一充满矛盾与困惑的选择中不难窥见出一种合乎"时代"色彩的思维逻辑。

Just like most students in science, in order to avoid dull geology or history courses, I chose the way to study science, this is by accident; but compared with surface gaudiness of luxuriant words and romantic expressions, I prefer precise mathematical reasoning and exact modeling calculation, and I believe this is a kind of mellow and logic beauty conforming to nature.

同大多数理科学生一样，为了逃避相对枯燥的地理历史课程，我才选择了理科学习的道路，这，是一种偶然；而于我而言，相对于华丽的词藻与浪漫的抒情这种外放的华美，我更加倾向于严谨的数学推理和精确的模型计算，这是一种圆润和合乎自然本质的逻辑之美。

This irregularity has both positive and negative effect on the construction of the system of values of a certain society.

与此同时，作为社会意识形态范畴的价值观念体系，在社会文明的进程中，又呈现为合乎社会发展逻辑、具体生动的发展过程。

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。