寓言的

Ambrose and St. Augustine in their beautiful works on the Psalms rather spiritualize, or moralize, than allegorize, and their imaginative interpretations are chiefly of events, actions, numbers, etc. But almost all allegorical interpretation is so arbitrary and depends so much on the caprice of the exegete that it is difficult to conciliate it with reverence, however one may he dazzled by the beauty of much of it.

刘汉铨和圣奥古斯丁在其美丽的作品的诗篇，而spiritualize ，或说教，而不是allegorize ，他们的想像力的解释是主要的事件，行动，数字等，但几乎所有的寓言是这样的解释，而且取决於任意这麼多的任性的exegete ，这是很难调解与崇敬，但是人们可以通过他眼花缭乱的美丽多了。

"Chinese children's growth must read" to the initial reading ability and the knowledge base have yet to build up young children to read objects, including the children are most curious, most interested in understanding the mysteries of the universe, animal the world, historical records, children's fables and other types of encyclopedic knowledge, natural science, humanities, are the main areas covered, in the full and comprehensive knowledge of structure, to new ideas, new materials, new results for the selection of the standard , and strive to provide the best spiritual nourishment to our children, our future society is designed to open a new owner of the window fan to see the world, build a vessel about to sail the knowledge of marine vessels.

"中国儿童成长必读书"以初步具备阅读能力而知识基础尚未搭建起来的幼童为阅读对象，内容包括孩子们最感好奇、最有兴趣了解的宇宙奥秘、动物世界、历史记载、童话寓言等百科全书式的各类知识领域，自然科学、人文科学的主要领域均有涉及，在完整、全面的知识结构内，以新观点、新材料、新成果为选择标准，力求提供最好的精神营养给我们的孩子们，旨在为我们未来社会的新主人打开一扇扇看世界的窗子，打造一艘艘即将扬帆远航知识海洋的船只。

Walter Benjamin' urban allegories predicts the kinds of city in the future , is when the city changes and improves most, but today's Xin Yi commercial area is in the city too rapidly while developing, there is a great difference with Paris in the 19th century in one kind of flaneur culture appeared, also break away from the space practice to constructed that traditional flaneur culture in the street, manifest the modern urban flaneur cluture conflict and contradiction in modernity development.

转为以大众传播所带来消费文化的转型，Benjamin的城市寓言预测城市未来的样貌，在城市最变动革新的时候，但时至今日的信义商圈同样处在城市急遽发展的时候，所呈现漫游文化样貌却与十九世纪的巴黎有极大的差异。也脱离传统漫游文化以街道建构的空间实践。显现现代城市漫游在现代性发展的冲突与矛盾。

Especially Taipei is in globalization and flow space at present, face with new flaneur experience to improve and the culture of the goods amazingly, make the traditional public sphere constructed disappear in the street at the same time, transfer it to with the transition of the consumption culture that mass media bring. Walter Benjamin' urban allegories predicts the kinds of city in the future , is when the city changes and improves most, but today's Xin Yi commercial area is in the city too rapidly while developing, there is a great difference with Paris in the 19th century in one kind of flaneur culture appeared, also break away from the space practice to constructed that traditional flaneur culture in the street, manifest the modern urban flaneur cluture conflict and contradiction in modernity development.

尤其当前台北处於全球化流动空间一环，面临著全新的漫游经验革新与商品文化刺激，同时也使得传统以街道建构的公共领域消失，转为以大众传播所带来消费文化的转型， Benjamin 的城市寓言预测城市未来的样貌，在城市最变动革新的时候，但时至今日的信义商圈同样处在城市急遽发展的时候，所呈现漫游文化样貌却与十九世纪的巴黎有极大的差异，也脱离传统漫游文化以街道建构的空间实践，显现现代城市漫游在现代性发展的冲突与矛盾。

More often than not, the students devoted part of their works to the discussion of Benjamin or discussed him together with others in their works. The former practice includes the French scholar. R. Rochlitz, who wrote a chapter, the Price of Modernity in his monograph the Disenchantment of Art: the philosophy of Walter Benjamin, dealing with chidhood and memory, the end of the Art of story-telling, lyric poetry at the epoch of capitalism allegory and the evaporation of the Aura, etc. The latter practice includes D. Frisby who placed Benjamin on a par with Simmel, Kracauer in his work Fragments of Modernity, claiming that Benjamin, similar to the others, focused on the trans ie nce of the e XP er ie nce of modernity.

前者如法国学者R·洛希里兹的专著《艺术的去魅——本雅明的哲学》中有一章名："现代性的代价"，内容涉及儿童和记忆、讲故事艺术的终结、资本主义抒情诗歌、寓言、灵韵的消失等；后者如D·弗瑞斯比在其著作《现代性的碎片》中将本雅明与齐美尔、克拉考尔相提并论，强调本雅明同他们一样，关注的核心在于对现代性体验的短暂易逝的特性。

More often than not, the students devoted part of their works to the discussion of Benjamin or discussed him together with others in their works. The former practice includes the French scholar. R. Rochlitz, who wrote a chapter, the Price of Modernity in his monograph the Disenchantment of Art: the philosophy of Walter Benjamin, dealing with chidhood and memory, the end of the Art of story-telling, lyric poetry at the epoch of capitalism allegory and the evaporation of the Aura, etc. The latter practice includes D. Frisby who placed Benjamin on a par with Simmel, Kracauer in his work Fragments of Modernity, claiming that Benjamin, similar to the others, focused on the transience of the experience of modernity.

前者如法国学者R·洛希里兹的专著《艺术的去魅——本雅明的哲学》中有一章名："现代性的代价"，内容涉及儿童和记忆、讲故事艺术的终结、资本主义抒情诗歌、寓言、灵韵的消失等；后者如D·弗瑞斯比在其著作《现代性的碎片》中将本雅明与齐美尔、克拉考尔相提并论，强调本雅明同他们一样，关注的核心在于对现代性体验的短暂易逝的特性。

There have been caught in Walden pickerel, one weighing seven pounds —— to say nothing of another which carried off a reel with great velocity, which the fisherman safely set down at eight pounds because he did not see him —— perch and pouts, some of each weighing over two pounds, shiners, chivins or roach, a very few breams, and a couple of eels, one weighing four pounds —— I am thus particular because the weight of a fish is commonly its only title to fame, and these are the only eels I have heard of here;——also, I have a faint recollection of a little fish some five inches long, with silvery sides and a greenish back, somewhat dace-like in its character, which I mention here chiefly to link my facts to fable.

在瓦尔登湖中，捉到过梭鱼，有一条重七磅，且不去说那另外的一条，用非常的速度把一卷钓丝拉走了，渔夫因为没有看到它，估计它稳稳当当有八磅的重量，此外，还捉到过鲈鱼，鳘鱼，有些重两磅，还有银鱼，鳊鱼（学名Leueiscus Pulchellus），极少量的鲤鱼，两条鳗鱼，有一条有四磅重，——我对于鱼的重量写得这样详细，因为它们的价值一般是根据重量来决定的，至于鳗鱼，除了这两条我就没有听说过另外的，——此外，我还隐约记得一条五英寸长的小鱼，两侧是银色的，背脊却呈青色，性质上近于鲦鱼，我提起这条鱼，主要是为了把事实和寓言连接起来。

At the beginning of the forum, volunteers of GPEPA presented a wonderful English playlet, the king choosing son-in-law, a romantic love story involved comparison between wealth and spiritual values. It indicates that cherishing resources can promote the development of a country and that nature is our everlasting wealth. The humorous acting and moving plots made a deep impression on the audience.

讲坛的开始，广外大"绿色先锋"环保协会的志愿者们用寓言故事的形式呈现了一部精彩的英语短剧《国王招婿》，短剧通过浪漫的爱情故事，巧妙的将物质财富和精神财富做比较，告诉人们国家因不随意浪费而长存，自然环境是永恒的财富，同时演员幽默风趣的表演、生动的故事情节给在场观众留下了深刻的印象。

Therefore, the writing style characterized with imbalanced image and plot, prototyped story and proper-noun figure, and the focus on non-narrative ideological perspective in relation to story ending constituted a common characteristic of left-wing films.

因此，形象和情节的对列化、故事的原型化、人物的专名化等寓言创作体式和对故事结局的非叙事性的意识形态角度的关注和强调，就成为左翼电影作品的共同特征。

I cannot remember what they all were, or in what order I read them; but I know that among them were "Greek Heroes", La Fontaine's "Fables", Hawthorne's "Wonder Book","Bible Stories", Lamb's "Tales from Shakespeare";"A Child's History of England" by Dickens,"The Arabian Nights","The Swiss Family Robinson","The Pilgrim's Progress","Robinson Crusoe","Little Women", and "Heidi", a beautiful little story which I afterward read in German.

我已经忘记那些书的书名和作者，也想不起哪本是先读的，哪本是后读的。现在记得的只有《希腊英雄》、拉方丹的《寓言》、霍桑的《神奇的书》和《圣经故事》、兰姆的《莎氏乐府本事》、狄更斯的《儿童本英国历史》，还有《天方夜谭》、《瑞士家庭鲁滨逊》、《天路历程》、《鲁滨逊飘流记》、《小妇人》和《海蒂》。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。