情感地

A person who dews not deliberately dimples of all his thoughts alike in cumbrous draperies and flimsy disguises may strike out twenty varieties of familiar everyday language, each coming somewhat nearer to the feeling he wants to convey, and at last not hit upon that particular and only one which may be said to be identical with the exact impression in his mind.

一个人写文章，只要他不是故意用重重锦绣帐幔、多余伪装完全遮掩自己的写作意图，他总会从熟悉的日常用语中想出一二十种说法，这种语言更接近他所要表达的情感，最后，他就会因为不知道挑选哪一种说法能更好地表达自己而发愁！

A person who does not deliberately dispose of all his thoughts alike in cumbrous draperies and flimsy disguises may strike out twenty varieties of familiar everyday language, each coming somewhat nearer to the feeling he wants to convey, and at last not hit upon that particular and only one which may be said to be identical with the exact impression in his mind.

一个人写文章，只要他不是立志要把自己的真意用重重锦绣帐幔、层层多余伪装完全遮掩起来，他总会从熟悉的日常用语中想出一二种说法，一个比一个接近他所要表达的情感，只怕到了最后，他竟会打不定主意要用哪一种说法才能恰如其分地表达自己的心意哩！

He had thrown himself into it with a creative passion, adding to it all the time, decking it out with every bright feather that drifted his way.

他怀着一种创造性的情感将自己全身心地投入到它的中间，不断地为它增添内容，用飘浮到他路上的每一根漂亮羽毛去装扮它。

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的"到来"，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种"图解的危险"，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

You pour the sea upon them.And if it is a despot you would dethrone, see

当这些情感缠扰你们时，你们能赤裸无羁地超越它们，你们才是真正的自由

With critical acceptance of Populism , and mixture with the other thoughts like Anarchism Didacticism and Nationalism, in the course of the Modern Chinese Literature and Literary Criticism , Populism is not only the one of direct policy but also the ideaistic resource to leading the intelligentsia of the age to go to the people and get more enlightenment from people.

有选择地接受了俄罗斯民粹主义的特色之后，经过与无政府主义、启蒙主义和民族主义的混淆、区别和误读，在中国现代文艺进程中，民粹主义不仅是革命实践中社会动员的情感源泉和政策指向，而且是文化建构中不断趋向大众、走向民间的思想资源。

When you observe your mind, and see its true nature clearly, you become dispassionate with regard to its emotions, sentiments and states.

你观察你的心，清清楚楚地看到它的真实性质时，你就不再会对它的情感、情绪与各种状态产生意象。

Students become self-contempt as the mistakes caused by themselves. so, in mathematics teaching, if the teachers can dissimulate skillfully, they can be able to take care of students' fragile feelings, and give students strength to overcome difficulties and setbacks so as to enter the virtuous cycle track, gradually "turning around" in learning.

学困生由于学习上的失误而引起自卑，在数学课堂教学中，教师若能巧妙地装装糊涂，就能呵护他那脆弱的情感，给他注入发奋学习的"强心剂"，增强战胜困难与挫折的信心，使他在数学的学习上进入良性循环的轨道，渐渐"脱困"。

Her novel is an odd synthesis of english reserve and welsh emotionalism.

她的小说把英格兰人的拘谨和威尔士人的情感外露很独特地结合在一起。

Every time she is performed " dance of handleless cup bowl ", our band is sure to want those who assume dance music to accompany, in the human body that can view and admire her to enchase each note of music in oneself clearly in this moment, behavioral transmission is worn musical vigor and immanent affection rhythm, then the be well versed in of whole music score that band performs is in beauty of air of her human body.

每当她表演《盅碗舞》，我们乐队务必要承担舞曲的伴奏，就在这个时候可以清楚地观赏到她把音乐的每一个音符镶嵌在自己的肌体里，动作透射着音乐的活力和内在的情感节奏，进而乐队演奏的完整乐谱贯通在她人体旋律美。。。

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。