境界

The reductio ad absurdum of these unbridled speculations can be seen in the Pitis Sophia, which is light-maidens, paralemptores, spheres, Heimarmene, thirteen ons, light-treasures, realms of the midst, realms of the right and of the left, Jaldabaoth, Adamas, Michael, Gabriel, Christ, the Saviour, and mysteries without number whirl past and return like witches in a dance.

在归谬法这些肆无忌惮的投机可以看出在索菲亚Pitis ，这是轻姑娘， paralemptores ，领域， Heimarmene ， 13 ons ，轻宝藏，境界之中，境界的权利和左， Jaldabaoth ， Adamas ，迈克尔，加布里埃尔，基督救世主，并没有一些奥秘旋转过去，回到像巫婆的舞蹈。

For those who are determined to travel, they will go forward happily all the way in plains, and they will become more enjoyable, full of humor and wit, while confronted with cragged roads, thinking that they would feel the beauty and interest of the adventure better.

志于旅途的人，走到平坦的地方，因是高高兴兴地向前走，走到崎岖的境界，愈是奇趣横生，觉得在此奇绝壮绝的境界，愈能感到一种冒险的美趣。

When those who have devoted themselves to travelling come to a flat place, they will march on happily; when they come to a cragged place, they might think it very interesting and enjoy trying and doing it.

志于旅途的人，走到平坦的地方，因是高高兴兴地向前走，走到崎岖的境界，愈是奇趣横生，觉得在此奇绝壮绝的境界，愈能感到一种冒险的美趣。

And now let us imagine how the ecstatic sounds of the Dionysiac rites penetrated ever more enticingly into that artificially restrained and discrete world of illusion, how this clamor expressed the whole outrageous gamut of nature—delight, grief, knowledge—even to the most piercing cry; and then let us imagine how the Apollonian artist with his thin, monotonous harp music have sounded beside the demoniac chant of the multitude!

现在，试想这个以假象和适度为基础，以艺术为堤防的境界，酒神祭佳节的销魂荡魄的狂欢之声侵入这境界了，在这些歌声中，我们听到一切率性而行的大喜、大悲、大智、大慧、甚至镂心刻骨的呼啸；那么，让我们想象一下：同这着了魔似的民歌相比，拨响着幽灵似的竖琴、唱着赞美诗的日神艺术家能有什么意义！

Prajna Esthetics stimulated, promoted and perfected the structure criterion and mechanism of Chinese Esthetics with its unique and various significance, particular and stretch elucidatory capacity.Moreover Prajna sutra as a special cultural carrier upgraded the broad-mind and transcendence of Chinese Esthetics with its interpretation and impelling power. The "being noumenon or function" of Madhyamika Prajna System transformed the systematical structure and practical mode of Chinese Esthetics into a "being thing or midst" and amalgamation visdothlw. On inheriting tradition vim of thinking much of life and intensifying Enlightenment interest with "Sacute vimutti", esthetical visdotblw conducted, and life visdotblw appreciated. And Chinese Esthetics made for an esthetical self-conscious era.

般若美学蕴涵的别致、丰富和阐释功能的独特、富有张力，极大地刺激、推动和完善了中国美学的价值结构与机制；作为特殊的文化载体，般若经之传译及佛法僧所具的强大文化感召力，使中国美学基于&生生&之悟更添旷达与超跋；而中观般若体系的&体用一如&，则把中国美学的体系构成与践行方式，转换到了&即物即中&、圆融观照的经验论美学状态，在绵延传统&重生&活力的同时，又以&空性&解脱强化&觉悟&意趣，审美境界人生化，人生境界审美化，在&重观重智&、&智观统一&的理论旨趣中，中国美学走向了追求心性空灵的审美自慌时代。

And ruled over Mount Hermon and Salecah and all Bashan to the border of the Geshurites and the Maacathites, that is, half of Gilead, to the border of Sihon the king of Heshbon.

12：5 管辖黑门山、撒迦、全巴珊，直到基述人和玛迦人的境界，就是基列的一半，直到希实本王西宏的境界。

And ruled over Mount Hermon and Salecah and all Bashan to the boundary of the Geshurites and the Maacathites, and over half of Gilead to the boundary of Sihon king of Heshbon.

他所管之地是黑门山、撒迦、巴珊全地，直到基述人和玛迦人的境界，并基列一半，直到希实本王西宏的境界。

And reigned in mount Hermon, and in Salcah, and in all Bashan, unto the border of the Geshurites and the Maachathites, and half Gilead, the border of Sihon king of Heshbon.

12：5 他所管之地是黑门山，撒迦，巴珊全地，直到基述人和玛迦人的境界，并基列一半，直到希实本王西宏的境界。

Ji and Tao are indiscerptible to each other. The integration of Ji and Tao by skilled practice in fact is a kind of esthetic free realm, and the aesthetics is also the free form of practical activities.

通过出神入化、得心应手的技艺操作所达到的技道合一的境界实际上就是一种审美的自由境界，而美也因此成为实践活动的自由形式。

In the aspect of aesthetic life philosophy , Zong Baihua commends a life attitude both supramundane and positive, reflecting artistic spirits.

在审美的人生观方面，宗白华推崇一种既超尘脱俗又积极进取的的人生境界，反映了艺术化的心灵境界。

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。