揶揄的

To negate and even tease those so called dignified value, showing his high self-respect and self-esteem even in the danger ; to reveal and abominate the fraud, tricks, developing a sort of unyielding and dismal quality that a hero has at his end ; to neglect and ridicule the high capitalism modern cities and hot primary matters , having a calm and placid attitude to handle with the messy and complicated world ; to hope for and trust the mysterious information and secert in space (something fabled and subconscious ), being curious about the unknown ; to show solicitude for a certain transient psychic phenomena and to expand it, reflecting the open heart and rakish spirit going beyong the mortal world ; to be indifferent to the interest of substance ; to refuse the philistinism and to recall the the past lifestyle in the countryside and so on.

主人公身上，恐怕有这样几点需加以注意：对冠冕堂皇所谓有值存在的否定和戏弄，有一种风雨飘摇中御舟独行的自尊与傲骨；对伪善、狡诈行径的揭露和憎恶，有一种英雄末路的不屈与悲凉；对"高度资本主义化"的现代都市、对重大事件的无视和揶揄，有一种应付纷繁世界的淡定与从容；对大约来自宇宙的神秘信息、默契的希冀和信赖，有一种对未知世界的好奇与梦想；对某种稍纵即逝的心理机微的关注和引申，有一种流转不居的豁达与洒脱；以及对物质利益的淡漠，对世俗、庸众的拒斥，对往日故乡的张望等等。

The entertaining elements in his works should be esteemed as the reflection of hedonism in China now. However, it is not the same as the western entertainments. Though Qu's deep observation of society, he narrates the nonsense and the inanity of hedonism, which is his real melancholy comprehension of history.

瞿广慈所呈现的娱乐性确实应被视为中国当下的安逸享乐的反射，但瞿广慈的「娱乐性」并非如西方固有的「娱乐性」般欢乐－瞿广慈经过自我深度、社会深度的理解和观察，将享乐主义后不可摆脱的空虚感「揶揄」的叙事口吻道出，是艺术家对于历史的真实理解的忧郁。

The obesity of Qu's figures is also suggestive. Overweight figures with stereotypic Chinese facial characteristics have expressively represented the insignificant multitude, and their intolerable mediocrity is an irony of the divinity they believe in. Such a sardonicism has existed in both the eastern and western worlds for a long time, but the artist did not merely appropriate it, instead, he transforms it .

另一方面，臃肿造型在瞿广慈作品中起了极大作用，臃肿且具有中国五官特色的人物是一种象征，是一中国人的标签，是将凡俗领域中的平庸推到极致的表现，是嘲笑神性领域至高性的无情揶揄；隐藏在这些丰厚人体后的尖锐讽刺，奠基于东西方历史中以存有的文本，但却不是单纯的印象复制，而是艺术家经过省思后的形式再造。

If we consider their attitude as negative or satirical, then our interpretation would be entirely different, and consider they are ridiculing People's Choice , that further derides the beauty portrayed in those works.

如果我们将他们的态度理解为负的或者调侃的，那么我们就会获得完全相反的解读，认为他们完全是在嘲弄&人民的选择&，进而在揶揄那些作品所表现的美。

Nor is it by pleasant images only that such plausible connections are made: the whole divine comedy of life, including its somber aspects, its sudden balkings, impish accidents, anxious expectations, moves past him, not quite like a shadow play--for it is he himself, after all, who lives and suffers through these scenes--yet never without giving a fleeting sense of illusion; and I imagine that many persons have reassured themselves amidst the perils of dream by calling out, It is a dream!

这不仅是他亲自体验到了然于心的，愉快亲切的画景而已，而且一切严肃的，悲哀的，愁闷的，忧郁的情绪，突然的障碍，命运的揶揄，不安的期待，总之，人生的整部&神曲&及其&地狱篇&，都掠过他眼前，不是仅仅象镜花水月，因为他就在这些情景中生活着，苦恼着，然而仍不免有昙花一现的假象之感。

In the Appendix, the third-person restricted omniscient narrator does not define the depravity of Caddy, on the contrary,"he"adopts a satirical tone against those pursuing Caddys total depravity. In the narration of the fourth section and the Appendix, our emotional and ethical worlds are mixed together, towards a blurring one.

在附录部分，第三人称有限全知叙述并没有肯定凯蒂的堕落，相反，叙述者不乏讽刺的笔调揶揄那些穷追凯蒂堕落的人，在这一叙述中，我们的情感和伦理的界限则是模糊的，叙述者体现了&他&对女性的烂漫化情感。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。