情感地

Apollo was the god of music and poetry.he could stir up all feelings.these feelings are expressed in lofty songs.with his lyre of gold and the sweet accents of his godlike voice heled the choir of the muses at olympus.the pleasant music from his lyre was so exciting that stones marched into their places in rhythmic time and of their own will when he helped poseidonbuild up the walls of troy.on one occasion,invited to a contest by the human musician marsyas,he won and then flayed him to death for his pride.on another occasion,he lost out topan at a musical contest and turned the ears of the judge ,king midas, into those of an ass.

他可唤起人们倾注于圣歌中的各种情感。在奥林波斯山上，他手拿金质里拉，用悦耳的音调指挥缪斯的合唱。当他帮助波塞冬建造特洛伊城墙时，里拉奏出的音乐如此动听，以致石头有节奏地、自动地各就其位。有一次他接受凡人音乐家马斯亚斯的挑战参加一次竞赛。战胜对方后，他将对手剥皮致死以惩罚他的狂妄自大。在另外一次音乐比赛中，因输给了潘神，他就将裁判迈尔斯国王的耳朵变成了驴耳朵。阿波罗的儿子俄耳甫斯继承了父亲这方面的才能。

Apollo was the god of music and poetry.he could stir up all feelings.these feelings are expressed in lofty songs.with his lyre of gold and the sweet accents of his godlike voice heled the choir of the muses at olympus.the pleasant music from his lyre was so exciting that stones marched into their places in rhythmic time and of their own will when he helped poseidonbuild up the walls of troy.on one occasion,invited to a contest by the human musician marsyas,he won and then flayed him to death for his pride.on another occasion,he lost out topan at a musical contest and turned the ears of the judge,king midas,into those of an ass.

阿波罗是音乐神和诗神。他可唤起人们倾注于圣歌中的各种情感。在奥林波斯山上，他手拿金质里拉，用悦耳的音调指挥缪斯的合唱。当他帮助波塞冬建造特洛伊城墙时，里拉奏出的音乐如此动听，以致石头有节奏地、自动地各就其位。有一次他接受凡人音乐家马斯亚斯的挑战参加一次竞赛。战胜对方后，他将对手剥皮致死以惩罚他的狂妄自大。在另外一次音乐比赛中，因输给了潘神，他就将裁判迈尔斯国王的耳朵变成了驴耳朵。

If you would attain that Truth, if you would become perfect in the knowledge of that Truth, you must go through this process of renunciation, setting aside those things which have no value, putting aside your little knowledge in order to acquire greater knowledge, putting aside your little wisdom in order to acquire greater wisdom; and so when you reach the abode where there is no cloud of doubt, of misjudgement, where there is no question of perverting judgment, or of false thoughts, of false emotions, of fleeting affections, then you are truly in possession of the Truth, then truly are you like myself -the Beloved.

其他人也许鼓励，其他人也许阻挠，但是在只有在你内才有去行走的力量，只有在你内才有决心，只有在你内才有智慧，如果你想获得那真理，如果你想在真理的知识方面变的完美，你必须走过这个弃绝的过程，把那些没有价值的事情放在一旁，把你的小知识放在一旁为了获得更伟大的知识，把你的小智慧放在一旁为了获得那更大的智慧；并且因此当你到达那住所，在那里没有怀疑的，错误判断的乌云，在那里没有滥用判断的，或者错误的想法的，错误的情感的，暂时的喜爱的问题的时候，那么你就真正地拥有了真理，那么你真正地像你自己——挚爱者。

From crescendo to pianissimo, and player to player, the action assembly must be able to translate the emotional and expressive intent of the artist with consistency and power.

从渐强音到最弱音，机械装置部件必须能够连贯地、有力地传递艺术家的情感和所要表达的意思。

Given that Mr Winton is now 47, he is remarkably in touch with the currents of a 15-year-old's emotional life, and towards the end of the novel does a marvellous job of fast-forwarding into the damaged adult that Pikelet will become.

虽说温顿已经47岁，但她却能深切地感受到15岁少年内心情感的涌动，并在小说结尾迅速扭转笔锋，巧妙地从一个心灵遭受伤害的成年人的视角来完成叙述。

Enacted law is usually of excessive principle and abstraction, and thus over-discretion is endowed to judges, which results in great arbitrariness of court judgment; whereas regulations in judge-made law are more specific and detailed, which prevents judges taking personal prejudices and emotions as the basis of adjudication by effectively restricting discretion of judges, thereby protecting social justice and achieving judicial fairness.

三、Ⅲ 制定法往往过于原则化、抽象化，法官手中掌有太大的自由裁量权，法院判决的随意性太大；而法官造法的规定则往往比制定法的规定更为具体详细，它可以更有效地限制法官个人的自由裁量权，防止法官在审判中把个人的成见、情感等因素作为判决的依据，从而更好地维护社会正义和实现司法公正。

Impropriety of the affection from whence it proceeds, when ourof the agent, we then heartily and entirely sympathize with theresentment of the sufferer. Such actions seem then to deserve,and, if I may say so, to call aloud for, a proportionable

但是，当不恰当的情感和有害的行为达成一致的时候，当我们对作为动因的当事者的动机从内心厌恶地拒绝表示谅解时，我们就会充分地体谅受害者的怨恨之情。

Running throughout this book, as through "Everyman" and its successor,"Exit Ghost", is an odd feeling of contempt for the reader—not because Mr Roth writes so unremittingly about death, solitude and infirmity, nor because his protagonists wallow in misery, but because characters soliloquize indifferently instead of talking.

贯穿整本书，就如贯穿《凡人》及其后的作品《退场的鬼魂》的一样，是一种奇怪的蔑视读者的情感——并不是因为罗斯坚持不懈地探索死亡，孤独和人性的弱点，也不是因为他笔下的主人公都深陷苦难，而是因为作品中的人物冷漠地自我独白而不是与他人对话。

You will not understand your emotions unless you know your beliefs. It will seem to you that you feel aggressive or upset without reason, or that your feelings sweep down upon you without cause if you do not learn to listen to the beliefs within your own conscious mind, for they generate their own emotions.

你会看上去无缘无故地感到好斗或沮丧，或者如果你不学会倾听在你自己的意识头脑中的信念，你的感情会毫无缘由地降临到你身上，因为它们产生它们自己的情感。

Bluntly, assertively refusing to comply with their demands withers them, because in their warped emotional environment, one person in each twosome must always dominate, the other be dominated.

坦率地、有主张地拒绝服从他们的需求会让他们蔫了，因为在自恋者们的扭曲的情感环境中，只要有两个人的场合便会有一个人必定要去主宰、另一个就一定要被主宰。

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。