无牧羊人的

I am used to hide myself,dodge the covert sensation even it's happened,i will let it hide in the music book as a noiseless pause.i can flowing day and night as a river,seems unrestrained and unconstraint,no one can guess i just want to hide the sleeping fish on riverbed .i am used to consoled by loneliness,but a warm pair of hands,i defend for my self---always be exiled to a frontier by love,shall be realized desolate beauty which ignore easily ;i willing to be the flockmaster who shepherd far away ,what i shepherd alone is just the herd of inner .

我习惯隐藏自己，躲避隐秘的感情，即使发生，也让它像个寂静的休止符藏在乐谱里。我可以像河流日夜不止的奔行，看似恣肆而无所阻拦，谁也猜不到，我只为藏好沙床上那条睡觉的鱼。我习惯被孤独抚慰，而不是被一双暖意的手，我为自己辩护说——总是要被爱放逐到边界，才会体会出易被忽略的荒凉之美；我愿做远到天边的牧羊人，独自放牧的不过自己内心的兽群。

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。