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But frequently in the Old and New Testaments Genesis 20:5; Job 33:3, Psalms 23:4 (24:4 and 72:1 (73:1); 1 Timothy 1:5; 2 Timothy 2:22 the "pure heart" is the simple and sincere good intention, the "single eye" of Matthew 6:22, and thus opposed to the unavowed by-ends of the Pharisees (Matthew 6:1-6, 16-18; 7:15; 23:5-7, 14) This "single eye" or "pure heart" is most of all required in the works of mercy (verse 7) and zeal (verse 9) in behalf of one's neighbor.

但经常在旧约及新约（创20时05分；求职33：3 ，诗篇23时04分（ 24：4 ）和72：1 （ 73：1 ）， 1蒂莫西1：5 ；提摩太2时22分）"纯心"是一种朴素和真诚的，用意是好的，"单只眼"的马太6时22分，并因此反对把unavowed由两端的法利（马太6：1-6 ， 16-18 ； 7 ： 15 ； 23：5-7 ， 14 ），这"单只眼"或"纯心"，大部分都需要在工程的怜悯（韵文7 ）和热情在代表一个人的邻居。

Third, as for the reasons for Unfunny, in addition to "I have read/heard it before"(Option 1),"Compared with what I have read/heard before, this one is nothing special"(Option 2), and "I don't understand it"(Option 3), the reasons in "Others"(Option 4) show 13 characteristics. To be precise, a joke is unfunny when it is too simple or childish, too long or complex, unattractive in itscontent, obscene, offensive, prejudiced or disparaged, it is not stimulating, simply a word play, predictable, old-fashioned, justnot funny, unknown to people who lack the background knowledge of this joke, or when the readers was unable to make connection right away as shown in Joke4.

在探讨笑话为何会「不好笑」的理由中，除了「我听过/读过」(选项 1)、「比起我所听过/读过的，这则笑话一点也不特别」(选项2)、以及「我看不懂」(选项3)外，大部分英语外籍人士和少部分台湾学生在「其他」(选项4)的答案显示出13种原因，包含笑话(1)太简单或幼稚，(2)太长或太复杂，(3)内容不吸引人，(4)内容低俗，(5)有冒犯的意图，(6)有偏见或贬低的意图，(7)没有启发性，(8)只是文字游戏，(9)笑点可预测，(10)老套，(11)就是不觉得好笑，(12)局限於特定背景知识的人才看得懂，或是(13)读者一时无法会意出笑点。

Is it because that these two women expect too much or unrealistically from their partners?

这两个女人的不满意，是不是因为她们对伴侣的要求太多，太高，太不现实了？

And I hope those when I do go, I don't HAs tons of unfiniITd business, a lot stuff left unsay, a lot tasks those matter to otIT human left unfinished.（to be continued

我也期望，当我真的离开时，我不会有太多要做的任务没完成，不会有太多要说的话还没说，不会有太多对更多有联系人至关紧要的事没做。

Till at last it falls into the vasty sea; but the sea is so calm,so silent,so infifferent

最后注入烟波浩渺的汪洋大海；但是大海太过平静，太过沉默，太过不动声色

It reminds you of a placid rivulet, meandering smoothly through green pastures and shaded by pleasant trees, till at last it falls into the vasty sea; but the sea is so calm, so silent, so indifferent, that you are troubled suddenly by a vague uneasiness.

它使人想起一条平静的溪流，蜿蜒畅游过绿茵的草场，浓荫遮蔽，最后注入烟波浩渺的汪洋大海；但是大海太过平静，太过沉默，太过不动声色，你会突然感到莫名的不安。

It reminds you of a placid rivulet,wandering smoohtly through green pastures and shaded by pleasant trees,till at last it falls into the vasty sea;but the sea is so calm,so silent,so infifferent,that you are troubled suddently by a vague uneasiness.

它使人想起一条平静的溪流，蜿蜒畅游过绿茵的草场，浓荫遮蔽，最后注入烟波浩渺的汪洋大海；但是大海太过平静，太过沉默，太过不动声色，你会突然感到莫名的不安。

It reminds you of a placid rivulet,meandering smoohtly through green pastures and shaded by pleasant trees,till at last it falls into the vasty sea;but the sea is so calm,so silent,so infifferent,that you are troubled suddently by a vague uneasiness.

它使人想起一条平静的溪流，蜿蜒滞游过绿茵的草场，浓荫遮盖，最后注入烟波浩渺的汪洋大海；但是大海太过平静，太过沉默，太过不动声色，你会突然感到莫名的不安。

" Is a play on words it litterally means "I'm not one of those people who loves vinegary things".

鱼做好了，李先生觉得味道太淡。他加了一点盐，还是太淡，又加了一点盐，还是太淡。

Shamefully, there have been filled too many UNCONFIRMED items in some British media, too many actions trying to intentionally dodge the facts and too many journalists who have switched the NEWS plate into COMMENT plate, even with a extremely vituperative style. All of these has startled every Chinese trying to study from the British media.

遗憾的是，关于拉萨暴乱和圣火传递，一些英国媒体上充斥着太多未经证实的传闻、太多刻意回避的事实；太多记者将新闻版变成谩骂式地评论版——这一切都让试图学习英国传媒先进经验的中国同行瞠目结舌。

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。