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She would put on her bifocals to write with her unsteady, veiny hand, and I, a little one who just started to learn a thing or two, dutifully followed her every move, one stroke at a time, until a smile broke out on her face.

她带着老花镜,用满是青筋得手颤抖地写着,刚刚懂事的我便认真地模仿,一笔一划仔细地写,直到外婆露出满意的笑。

There is an ancient saying: After you have read up three hundred Tang poems, you can at least intone poems although you can't write them. This experience completely accords with the logical law of learning. You should absorb more language materials according to your actual level and interest in your English learning, open your mind, absorb as much as you can, and accumulate abundant language materials as many as possible, such as English songs, novels, newspapers, magazines, movies, and etc.

听和读,是输入和积累,也可以说是基于观察的学习(observation-based learning),应该尽力模仿,每个音调和语调,每个字词和句子,从粗到细地模仿和吸收,要抱着一种不求甚解、顺其自然的态度才好,究竟什么时候该休息一段时间,让输入的语言材料在大脑内部按照个人的特点进行加工处理,这完全是因人而异的事情,当你觉得你的头脑被很多语言材料充满,就像茶杯已经倒满了水,如果再继续往茶杯里倒水,只会溢出来,好了,抓住那个临界点,开始休息。

If the readers had any affectations, I could easily imitate them and would entertain others with my mimicry.

如果读者有任何做作,我会很容易地模仿他们,我的模仿会娱乐他们。

Because it would have been useless and dangerous for Pertinax and Alexander, being new princes, to imitate Marcus, who was heir to the principality; and likewise it would have been utterly destructive to Caracalla, Commodus, and Maximinus to have imitated Severus, they not having sufficient valour to enable them to tread in his footsteps.

因为对于同是新君主的佩尔蒂纳切和亚历山大说来,想要模仿那个根据继承权世袭王位的马尔科,不但徒劳无益而且是要吃亏的。同样地,对于卡拉卡拉、科姆莫多、马西米诺说来,想要模仿塞韦罗是极其危险的事情,因为他们没有足够的能力使自己能够追踪塞韦罗。

In a rare moment of explicit self-exposure, Nabokov once explained:"While I keep everything on the very brink of parody, there must be on the other hand an abyss of seriousness, and I must make my way along this narrow ridge between my own truth and the caricature of it."

在一次不同寻常的时刻,纳博科夫明确地自我披露,他曾经解释说:"虽然我一直都在很边缘的模仿,那里有进入另一种深渊的严肃性,我必须让自己沿着这条道路窄窄的脊背走下去,界于真相和夸张的模仿之间。"

Listening and reading can be regarded as input and accumulating. They belong to observation-based learning. You should try your best to imitate very pronunciation and intonation, every word and sentence. You should imitate and absorb from the rough to the subtle with a let-go attitude. It's a personal matter to determine when you should have rest for a period of time and let imported language materials can be processed in your brain according to your own character. When you feel that your head is stuffed with many language materials just like a teacup full of water, it will overflow if you continue to pour water into it. OK, grasp that turning point and begin to rest.

听和读,是输入和积累,也可以说是基于观察的学习(observation-based learning),应该尽力模仿,每个音调和语调,每个字词和句子,从粗到细地模仿和吸收,要抱着一种不求甚解、顺其自然的态度才好,究竟什么时候该休息一段时间,让输入的语言材料在大脑内部按照个人的特点进行加工处理,这完全是因人而异的事情,当你觉得你的头脑被很多语言材料充满,就像茶杯已经倒满了水,如果再继续往茶杯里倒水,只会溢出来,好了,抓住那个临界点,开始休息。

This self-imitation leads on to deliberate imitation of sounds made or words spoken to them by other people.

自我模仿导致有意识地模仿人和他们讲话时发出的声音以及词句。

This self-imitation leads on to deliberate imitation of sounds made or words spoken to them by other people.

这种自我模仿逐渐变成有意识地模仿别人的说话或声音。

It is agreed, too, that from about three months they play with sounds for enjoyment, and that by six months they are able to add new sounds to their repertoire This self-imitation leads on to deliberate imitation of sounds made or words spoken to them by other people.

人们也认为,孩子们从大约三个月开始便用声音进行娱乐,到了六个月,他们能够把声音添加到全套技能中。这种自我模仿诱使孩子们对其他人对他们发出的声音或所说的话进行有意识地模仿。

However, the reading of those Faan-Chuen performers ('male female impersonator' and 'female male impersonator') is always to subtly re-stabilize their 'natural sex' while emphasize their 'crossing'.

然而,如果认真解读这些反串角色的表演者(男扮女的模仿者以及女扮男的模仿者),我们会发现,虽然在强调跨越性别的表演,他们又总是在微妙地对其&原本的性别&进行着再次加固。

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