梦的

It is useless that the first-class person is not mercy , the doctor is not mercy , can't look at the disease to still kiss to the patient, useless to the society ; The first-class chemist is not mercy , making poisonous substance to victimize is to intimidate the molecule of the cloth, useless to the society too.

读书和工作并没有最直接的关系，并不是很会读书就会当总经理，它所靠的是能力；生活就是一种能力，读书和钱只是一个媒介，最终的目的是懂得生活，也可说是为了编织一个梦想，一个活生生的梦，快乐有趣的梦。

By doing so the wood-cutter leads a happy life, for which his logic is that: if dream at night turned reality by day and reality by day turned dream at night, he would have no reason to not be the most happiest in the world.

这个樵夫因此过得十分快活，他的理由是：倘若把夜晚的梦当成现实，把白天的现实当成梦，他岂不就是天下最幸福的人。

Still, there was something achingly familiar about him, as from a half-remembered dream—but so many of Simon's dreams were now bad ones.

然而，在这个人的身上，确实有一些让Simon觉得极其熟悉的地方，这些熟悉之处，似乎来自于他恍惚记得的一场梦——但是，Simon的那些梦，如今好多都已经成了噩梦了。

This paper is an attempt to "Dream of Red Mansions" protagonists "Tears of a lifetime also绛珠dianthera" Lin Tai-yu's "crying" and "laugh," two typical body language mainly to the Red Chamber in the world of female body as a classified, the meaning and shape analysis, perspective works by body language contains a rich culture, and to explore the body language in "A Dream of Red Mansions," the special role of the study.

本文即试图以《红楼梦》主角&终生还泪的绛珠仙草&林黛玉的&哭&和&笑&两种典型体态语言为主来对红楼世界中的女性体态作个归类，并对体态含义进行了分析，透视作品中体态语所包含着的丰富文化内涵，并初步探讨了体态语在《红楼梦》研究中的特殊作用。

HE WISHES FOR THE CLOTHS OF HEAVEN Had I the heavens' embroidered cloths, Enwrought with golden and silver light, The blue and the dim and the dark cloths Of night and light and the half-light, I would spread the cloths under your feet: But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly, because you tread on my dreams.

他冀求天宇霓裳》若我有天宇霓裳以金光银线织就有夜的黯蓝，昼的纯白和晨曦的朦胧，我会把它铺散在你的脚下：可我，除了梦，别无其他。我把梦铺在你的脚下：请轻轻地落脚，别踩痛了它。

In brief, I hold that watching a movie is like being in a dream; that is, the state of consciousness of being absorbed in a movie resembles and draws upon the state of consciousness of the dreamer.3 The images of the dream function like the images on the screen: they are not "realistic" but we become fictionally immersed in the story being told.

简单地说，看电影就像在梦中；看电影集中的意识就是做梦者的意识。梦中的画面就像电影的屏幕：不是真的，但是我们被剧情抓住。

From then on, I have been with you for giving me a collection of pictures, has been accompanied on my desktop, has become almost required reading before bed materials, the saying goes Riyousuosi night has been a dream since the night I often Dream and a woman hugging, kissing and even help find out, after waking up inside the wet kuri is a natural beach .......

从此以后，我一直收藏着你给我的图片、一直陪伴在我的桌面上，几乎是成了睡觉前的必读教材，俗话说日有所思夜有所梦，自此的晚上我常常会梦到与女人拥抱、扶摸甚至于接吻，醒来后内库里自然是湿漉漉的一滩……。

Which is not to say that all dreams are precognitive or that the exact detail of everything we experience is given earlier in dreams.

这并不是说，所有的梦都是预知的，或我们经历的所有事件的确切的细节都事先在梦中给出了。

Which is not to say that all dreams are precognitive or that the exact detail of everything we experience is given earlier in dreams.

这并不是说，所有的梦都是预知的，或我们经历的事件的精确的细节都事先在梦中给出了。

We were grateful to such poor albums bringing us the dreams of art and such childish dreams was watering our soul nearly dried up and moisturizing the ramous soul of the generation of young men growing up in the 'Cultural Revolution'.

我们感激这些粗糙画册带来的艺术幻梦，这些稚幼的梦荫护着几近枯涸的心灵，滋润着在&文革&中生长起来的一代年轻人龟裂的灵魂。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。