同形像

She spake, and at her words the hellish Pest [ 735 ] Forbore, then these to her Satan return'd: V1:她说罢,那地狱的瘟神竟然停手了;于是那撒旦回答说: V2:她说罢,那地狱的瘟神就罢手;于是那撒但回答说: So strange thy outcry, and thy words so strange Thou interposest, that my sudden hand Prevented spares to tell thee yet by deeds What it intends; till first I know of thee, [ 740 ] What thing thou art, thus double-form'd, and why In this infernal Vaile first met thou call'st Me Father, and that Fantasm call'st my Son?

V1："你的叫喊声和阻止的话都很奇怪，竟使这敏捷的手停住，无法满足我的欲望，给你看清；我首先得知道你这是什么玩意？你这二重的形像，为什么在这地狱的幽谷中，同我初次相见就管我叫父亲，管那幻影叫做我的儿子，我可不认识你们，从来没有见过像你和他这么奇丑可憎的怪物。"地狱大门的女司阍这样回答道： V2：你的叫喊声真古怪，你阻止的话也真稀奇，竟使这敏捷的手停住，不能逞我所欲，给你看清；我首先得知道你这是什么玩意？

To the wall with construction materials, articles posted above, on handrails and electrical shutter doors, Yao Wang Taiwan, by product description 9 with wooden dam, looked like the look of cement, from the ground to the top of the dam is within the white walls, projectors, DVD, audio equipment 10 fence, the laying of real grass, small stone embellishment, flower basket fence, equipped with VAG stress management system entities pipeline 11 Steel Bridge, the need to open the door into the car, you can remove the bridge, waterfall in the lateral bridge, and a straight line, the ground when the tunnel plate, the plate Below are the sink, sink, a ring-shaped water system 12 the ship has three sails, fixed line connections, at the top of a volume system, laying the ground mosaic, surrounded by lamps.

用建筑材料做墙，上面贴写真，有扶手下去，又电动卷帘门，有遥望台，有产品图文说明 9）大坝用木制，看上去像水泥的样子，从地面到顶部，大坝内是白色墙面，有投影仪，DVD，音响设备 10）围栏内铺设真草皮，小石头点缀，栅栏花篮，安装有VAG压力管理系统的实体管线 11）钢结构桥，需要开门进车时，可以把桥整体移走，瀑布在桥的外侧，直线而下，地面时洞洞钢板，钢板下面是水槽，水槽内有水形环系统 12）船上有三个帆，同轴连接固定，顶部有卷收系统，地面铺设马赛克，周围有地灯。

The ancient customs time male statue mostly is in front of the grave the carving, some are dead, some are the dead stands, called generally it looks like Apollo, this is because of the ancient Greece Daoist immortal isomorph homogeneity result.

古风时期的男子雕像大多是墓前雕刻品，有的是死者本人，有的为死者而立，一般称之为阿波罗像，这是因为古希腊神人同形同性所致。

The changing rocks are the embodiment of Lou Quanmu's art:seemingly carefree but intrinsically restrained. In a statement Lou said:"Mountain rocks possess forms that are both abstract and figurative, their shapes are paralleled to our mental topology, and their apertured, coarse textures are like our nerves."

罗荃木对山石的想法表现了对艺术的追求，作品既自由又抑郁，即同其述：「山石是介于抽象和具象之间的形象，可以按照内心的感觉自由行走，在任何地方多一点或少一点，不被形所限制，山石的型态有点像心灵的地图，布满奇怪的洞穴，它的肌里几乎是神经质的」。

The changing rocks are the embodiment of Luo Quanmu's art:seemingly carefree but intrinsically restrained. In a statement Luo said:"Mountain rocks possess forms that are both abstract and figurative, their shapes are paralleled to our mental topology, and their apertured, coarse textures are like our nerves."

罗荃木对山石的想法表现了对艺术的追求，作品既自由又抑郁，即同其述：「山石是介于抽象和具象之间的形象，可以按照内心的感觉自由行走，在任何地方多一点或少一点，不被形所限制，山石的型态有点像心灵的地图，布满奇怪的洞穴，它的肌里几乎是神经质的」。

In my piece,"Goddess of Chamber Pots and Latrines,"I have created a throne for my goddess to sit on by piling up a stach of miniature anthropomorphized chamber pots.

在我的作品「尿壶及户外厕所女神」，我创作了一座供奉女神灵的神座，神座是由一堆缩小了的神人同形同性化尿壶叠制而成的，由於我的作品实际地像一座供奉的神座，它可以作为供奉任何户外厕所神灵之用的神座，因此我希望我的作品只是作为一种有关供奉及祭祀的创作。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。