在地平线上

Most of Wei's landscapes in this exhibit are expansive, their beckoning horizon lines place him in space and betray his 'point of view'—and a point of view determines an individual.

在此次画展上大多数的作品都是描绘广阔空间超正常视野，地平线那一头的召唤让他踏入这片天地，并使他背叛了他的"观点"，而这个观点却是决定一个独立而自由的人的，这也是他的个人风格特色。

In Turn of the Century Magnificence, Zhu Tianwen uses intricately colorful descriptions:"shrimp red, salmon red, linen yellow, milfoil yellow. The sky goes from pink to dark green, and right before the curtain falls, a fire lights out on the horizon, the roaring city afire." This is the sky she saw through Monet's eyes, but this description can definitely be used for Liao Yibai's paintings.

朱天文在《世纪末的华丽》中有着繁丽的色彩铺陈："虾红，鲑红，亚麻黄，蓍草黄，天空由粉红变成黛绿，落幕前突然放一把大火从地平线烧起，轰轰焚城"，这是她借莫奈之眼看见的天空，但这段描写却几乎可以完全挪用到廖一百的绘画上。

Driving in across the Mojave from Los Angeles, one sees the signs way out on the desert, looming up from that moonscape of rattlesnakes and mesquite, even before the Las Vegas lights appear like a mirage on the horizon: GETTING MARRIED?

从洛杉矶穿越莫哈韦沙漠驶入拉斯维加斯时，远至拉斯维加斯城的灯光像海市蜃楼一样出现在地平线的地方，一路上你会看见在如月球地表的沙漠上--那里生长着响尾蛇和牧豆树，隐隐约约地呈现一些这样的标语：快结婚了吗？

To me, away there in my bean-field at the other end of the town, the big guns sounded as if a puffball had burst;and when there was a military turnout of which I was ignorant, I have sometimes had a vague sense all the day of some sort of itching and disease in the horizon, as if some eruption would break out there soon, either scarlatina or canker-rash, until at length some more favorable puff of wind, making haste over the fields and up the Wayland road, brought me information of the "trainers."

我远在城外的豆田之中，听大炮的声音好像尘菌在爆裂；如果军队出动了，而我又不知道是怎么回事，我就整天恍恍惚惚感到地平线似乎痒痒麻麻的，仿佛快要出疹子似的，也许是猩红热，也许是马蹄癌，直到后来又有一些好风吹过大地，吹上魏兰德大公路，把训练者的消息带给了我。

As usual, the querent is represented by the 1st house, its ruler and the Moon. Oppo site numbers of any kind (be they business or emotional, or whether the relationship is based on love or war), are shown by the 7th house and its ruler. Any planets in these houses should also be considered as co-significators, especially if located near the cusps.

爱情关系的询问者还是以一宫、一宫主星、与月亮作为代表；对宫即代表关系的另一方，即七宫与七宫主星；任何行星落在此两宫都被视为次要代表行星，特别是接近地平线轴上的行星，甚为重要。

As usual, the querent is represented by the 1st house, its rulerand the Moon. Oppo site numbers of any kind (be they business oremotional, or whether the relationship is based on love or war),are shown by the 7th house and its ruler. Any planets in thesehouses should also be considered as co-significators, especially iflocated near the cusps.

爱情关系的询问者还是以一宫、一宫主星、与月亮作为代表；对宫即代表关系的另一方，即七宫与七宫主星；任何行星落在此两宫都被视为次要代表行星，特别是接近地平线轴上的行星，甚为重要。

Asusual, the querent is represented by the 1st house, its ruler and theMoon. Oppo site numbers of any kind (be they business or emotional, orwhether the relationship is based on love or war), are shown by the 7thhouse and its ruler. Any planets in these houses should also beconsidered as co-significators, especially if located near the cusps.

爱情关系的询问者还是以一宫、一宫主星、与月亮作为代表；对宫即代表关系的另一方，即七宫与七宫主星；任何行星落在此两宫都被视为次要代表行星，特别是接近地平线轴上的行星，甚为重要。

In Turn of the Century Magnificence, Zhu Tianwen uses intricately colorful descriptions:"shrimp red, salmon red, linen yellow, milfoil yellow. The sky goes from pink to dark green, and right before the curtain falls, a fire lights out on the horizon, the roaring city afire." This is the sky she saw through Monet's eyes, but this description can definitely be used for Liao Yibai's paintings.

朱天文在《世纪末的华丽》中有着繁丽的色彩铺陈：&虾红，鲑红，亚麻黄，蓍草黄，天空由粉红变成黛绿，落幕前突然放一把大火从地平线烧起，轰轰焚城&，这是她借莫奈之眼看见的天空，但这段描写却几乎可以完全挪用到廖一百的绘画上。

He grimaces as the first rays of dawn creep over the horizon and departs.

他在黎明第一束光线爬上地平线时扭曲了下表情并离开了

She asked, dipping her camel's-hair brush into the wet aquamarine upon the palette, and poising it carefully before putting in the delicate streak of purple which was to brighten the horizon in her pupil's sketch.

她问道，一面将驼毛画笔蘸到调色板上潮湿的海蓝颜色里，接着，画笔谨慎地虚悬在空中，迟迟未落到学生的速写中那一抹柔和的紫红色里，使地平线明朗起来。

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。