带子的

Time however, and the Satisfaction I had, that I was in no Danger of being discover'd by these People, began to wear off my Uneasiness about them; and I began to live just in the same compos'd Manner as before; only with this Difference, that I used more Caution, and kept my Eyes more about me than I did before, least I should happen to be seen by any of them; and particularly, I was more cautious of firing my Gun, least any of them being on the Island, should happen to hear of it; and it was therefore a very good Providence to me, that I had furnish'd my self with a tame Breed of Goats, that I needed not hunt any more about the Woods, or shoot at them; and if I did catch any of them after this, it was by Traps, and Snares, as I had done before; so that for two Years after this, I believe I never fir'd my Gun once off, though I never went out without it; and which was more, as I had sav'd three Pistols out of the Ship, I always carry'd them out with me, or at least two of them, sticking them in my Goat-skin Belt; also I furbish'd up one of the great Cutlashes, that I had out of the Ship, and made me a Belt to put it on also; so that I was now a most formidable Fellow to look at, when I went abroad, if you add to the former Description of my self, the Particular of two Pistols, and a great broad Sword, hanging at my Side in a Belt, but without a Scabbard.

可是，尽管如此，时间一久，我对食人生番的担心逐渐消失了，更何况我确信自己没有被他们发现的危险。所以，我又像以前那样泰然自若地过平生活了。所不同的是，我比以前更小心了，比以前更留心观察，唯恐被上岛的野人看见。特别是，我使用枪时更小心谨慎，以免给上岛的野人听到枪声。天幸我早就驯养了一群山羊，现在就再也不必到树林里去打猎了。这就是说，我用不着开枪了。后来，我也捉过一两只野山羊，但用的都是老办法，即用捕机和陷阱捉到的。因此，此后两年中，我记得我没有开过一次枪，虽然每次出门时还总是带着的。此外，我曾从破船上弄到三把手枪，每次出门，我总至少带上两把，挂在腰间的羊皮皮带上。我又把从船上拿下来的一把大腰刀磨快，系了一条带子挂在腰间。这样，我出门时，样子实在令人可怕。除了前面我描述过的那些装束外，又添了两支手枪和一把没有刀鞘的腰刀，挂在腰间的一条皮带上。

I didn't know what day it was when you walked into the room I said hello unnoticed You said goodbye too soon Breezing through the clientele spinning yarns that were so lyrical I really must confess right here the attraction was purely physical I took all those habits of yours that in the beginning were hard to accept Your fashion sense, Beardsly prints I put down to experience The big bosomed lady with the Dutch accent who tried to change my point of view Her ad lib lines were well rehearsed but my heart cried out for you You're in my heart, you're in my soul You'll be my breath should I grow old You are my lover, you're my best friend You're in my soul My love for you is immeasurable My respect for you immense You're ageless, timeless, lace and fineness You're beauty and elegance You're a rhapsody, a comedy You're a symphony and a play You're every love song ever written But honey what do you see in me You're an essay in glamour Please pardon the grammar but you're every schoolboy's dream You're Celtic, United, but baby I've decided You're the best team I've ever seen And there have been many affairs Many times I've thought to leave But I bite my lip and turn around 'cause you're the warmest thing I've ever found

我不知道哪一天它是的是什么时候你进入房间我说哈罗不被注意到的你说再见太快轻易通过纺是非常抒情的纱委托人我确实必须坦白就在这里吸引是体格检查纯正是我发生作用那所有的从一开始是的你的习惯是难以接受你的Beardsly加印的时尚感觉我把记在经验名下有荷兰人口音，其设法改变我的她的任意线是的观点的大bosomed女士被好让排练但是我的心脏迫切需要你你是在我的你是的在我的你将是的精神中心脏中我的呼吸是我应该变得老你我的你是的情人是我的你是的在我的精神中最好友我的对你的爱是无法估量我的尊敬你巨大你是长生不老的，永恒，系带子和纤细你是美和风韵你一狂想曲是一个喜剧你是你是的一交响乐和一玩耍每一个情歌曾经被写作但是加蜜于确实你在中看见我什么使甜你是一在魅力中文章请原谅语法但是你是每一个男生的你是的梦凯尔特人的是联合但是当作婴儿般对待我已经断定你是有史以来最最好的我已经看见的队已经有很多我向有想法的许可但是我咬住嘴唇和把原因往回转的你是有史以来最暖和的我已经找出的东西的多次事件

Unfortunately, we'll never know of those errors if clean, neat, immaculate but errorless floppy discs replace tattered, pen-scratched, scissored, taped, yellowed, rewritten, retyped manuscripts.

不幸的是，如果干净整洁的，完美无暇的，毫无错误的软盘代替了破烂的，钢笔涂划的，剪贴的，带子装订的，发黄的，重写的，重打印的手稿，那么我们就将永远无法发现那些错误。

Before the outer gates sprawled the pale band of the Wealdhelm Road; on Simon's right it meandered gradually north to the hills; on his left it companioned the river Ymstrecca through the farmlands below Swertclif, past Falshire on the far bank, and ultimately to the grasslands of the East.

在外城墙的那些城门前面，蜿蜒伸展的，是如同苍白的带子似的，Wealdhelm 路；这条路在Simon的右侧，逐渐蔓延向北方的那些山峦；在Simon的左侧，这条路沿着Ymstrecca河，一同穿过Swertclif下面的田野，在远方，途经Falshire，最终伸展到了东方的草原。

That's pretty ****ty man - you're like his ****in idol He wants to be just like you man, he likes you more than I do I ain't that mad though, I just don't like bein lied to Remember when we met in Denver - you said if I'd write you you would write back - see I'm just like you in a way I never knew my father neither; he used to always cheat on my mom and beat her I can relate to what you're saying in your songs so when I have a ****ty day, I drift away and put 'em on cause I don't really got **** else so that **** helps when I'm depressed I even got a tattoo of your name across the chest Sometimes I even cut myself to see how much it bleeds It's like adrenaline, the pain is such a sudden rush for me See everything you say is real, and I respect you cause you tell it My girlfriend's jealous cause I talk about you 24/7 But she don't know you like I know you Slim, no one does She don't know what it was like for people like us growin up You gotta call me man, I'll be the biggest fan you'll ever lose Sincerely yours, Stan -- P.S.

不过一切都太晚了，我真是对你太失望了，我快要昏过去了我想要的只不过是一封'糟糕'的信，一个回复我希望你知道，我把墙上所有你的照片都撕掉了我爱你，Slim，我们应该在一起，考虑考虑吧现在你毁了这一切，我要你无法入睡，做梦都梦到我在你做梦的时候，你无法入睡，你惊醒尖叫我恨不得你的良心吃了你，而且没有我你无法呼吸明白了？Slim，闭嘴婊子！我在说话！嘿Slim，这是我的女朋友，她在卡车上大叫我可没有割破她的喉咙，我只是把她梆了起来，明白？我才不会像你一样。要是她窒息的话，她会很痛苦，她会死的好了，要走了，我现在在桥上哦，坏了，忘了，我怎么把这个带子寄出去呢？亲爱的Stan，我早就打算写信给你，只是一直太忙你说你的女朋友现在怀孕了，她怎么样，还好吗？

I normally use quite a lot of light sources; I place them so I can highlight details of the scene. In this image I have used 13 lights: 4 omni lights as ambient lighting, 2 to highlight the form of the engine, 3 spotlights to highlight the back of the engine, 3 highlight to stress the specular and the greasy effect on the shell, a spotlight behind the snail neck for the sub surface scattering, in addition to the sun with area shade and the sky with a HDRI with an atmosphere similar to the photograph of the road for the global lighting I have used a surface with an asphalt texture for the floor and the yellow lines only to be reflected on the engine and to add some radiosity to the snail body and shine.

通常我使用很多的光源，我到处放置它们，这样我才能照到足够多的细节，在这幅图里我使用了13盏灯，4 盏点光源作为环境光，2盏来照亮引擎的形状，三盏聚光灯用来照亮引擎的背面，三盏来强调蜗牛壳的高光及油腻的感觉，有一盏蜗牛脖子背后的灯光来表现3S半透明效果，另外还有一盏太阳光来获得各个区域的阴影，以及一个赋予了HDRI贴图的sky，来作为全局光，我使用了一种沥青材质作为地面材质，并让引擎能反射地面上的黄色带子，并为蜗牛身体与光射线增加了一些radiosity，以取得得与背景类似的灯光环境。

Lighting灯光I normally use quite a lot of light sources; I place them so I can highlight details of the scene. In this image I have used 13 lights: 4 omni lights as ambient lighting, 2 to highlight the form of the engine, 3 spotlights to highlight the back of the engine, 3 highlight to stress the specular and the greasy effect on the shell, a spotlight behind the snail neck for the sub surface scattering, in addition to the sun with area shade and the sky with a HDRI with an atmosphere similar to the photograph of the road for the global lighting I have used a surface with an asphalt texture for the floor and the yellow lines only to be reflected on the engine and to add some radiosity to the snail body and shine.

通常我使用很多的光源，我到处放置它们，这样我才能照到足够多的细节，在这幅图里我使用了13盏灯，4 盏点光源作为环境光，2盏来照亮引擎的形状，三盏聚光灯用来照亮引擎的背面，三盏来强调蜗牛壳的高光及油腻的感觉，有一盏蜗牛脖子背后的灯光来表现3S半透明效果，另外还有一盏太阳光来获得各个区域的阴影，以及一个赋予了HDRI贴图的sky，来作为全局光，我使用了一种沥青材质作为地面材质，并让引擎能反射地面上的黄色带子，并为蜗牛身体与光射线增加了一些radiosity，以取得得与背景类似的灯光环境。

Well they shackled my hands A heavy belt around my waist to restrain me And they shackled my legs Hernandez, the 'Umbrella Man,' chained beside me Then we rode that Black Maria Through the streets of Spanish Harlem Calling old friends on the corners Just to lay our prayers upon them Crying Adios Hermanos, Adios

涌出他们上手铐我的手在我的腰部周围的一条重的带子抑制我而且他们上手铐我的腿了 Hernandez，'伞男人，'在我旁边用铁链锁住然后我们骑那黑色的玛丽亚经过西班牙黑人住宅区的街道打电话给在角落上的老朋友只是在他们之上放置我们的祈祷叫喊的 Adios Hermanos， Adios

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。