模糊不清的

Beijingensis under three droughttreatments, normal, moderate and severe stresses. The results showed:(1) the canker disease ofboth cultivars was serious gradually with increased drought;(2) the bark tissue cells sufferedplasmolysis, more evident with the severity of drought stress;(3) under the drought andinoculation with B. dothidea, cells of two cultivars damaged at different degree, mailyrepresented in the changes of organelles, such as chloroplast swollen and distorted, number ofmitochondria increased and membrane system indistinct; then organelles suffered furtherdamagement with inoculation time, thinned mitochondrias stroma, decreased cristae, crumpledand partly broken membrane of chloroplasts with stroma exosmosis. At last, the chloroplastspartly disorganized;(4) the hyphae growed mainly intercellular in resistant cultivar and notonly intercellular but also intracellular in susceptible cultivar, which directly caused thenecrosis of cells;(5) under the severe drought, the damage of cells enhanced the infection ofpathogen and drought and pathogen stressed together and promoted the disease development;the damage from pathogen on cells was more serious than that from drought.

结果显示：(1)随着干旱胁迫程度的增加，2种杨树溃疡病害发生渐趋严重；(2)干旱胁迫下，杨树树皮组织细胞发生质壁分离，并随胁迫程度的增加而严重；(3)干旱胁迫下接种病原菌，2种杨树细胞发生不同程度的损伤，主要表现为细胞器发生较大变化，如出现叶绿体肿胀变形、线粒体数量增多，质膜模糊不清等现象；随接种时间的延长，细胞器受到进一步损伤，叶绿体被膜折皱，严重时局部破裂，基质外渗，并部分最终解体；(4)毛白杨中的菌丝主要在细胞间隙中穿行，而北京杨的菌丝除在细胞间隙中生长之外，侵入细胞内部也较多，直接导致细胞的解体；(5)干旱胁迫下细胞的损伤促进了病原菌的侵染，干旱和病原菌的双重胁迫加剧了病害的发生程度，并且病原菌侵染对细胞的破坏程度大于水分胁迫。

The panorama passed before their eyes like a flash, save when the steam concealed it fitfully from the view; the travellers could scarcely discern the fort of Chupenie, twenty miles south-westward from Benares, the ancient stronghold of the rajahs of Behar; or Ghazipur its famous rose-water factories; or the tomb of Lord Cornwallis, rising on the left bank of the Ganges; the fortified town of Buxar, or Patna, a large manufacturing trading place, where is held the principal opium market of India; or Monghir, a more than European town, for it is as English as Manchester or Birmingham, with its iron foundries, edge-tool factories, high chimneys puffing clouds of black smoke heavenward.

这一切景物，象闪电般一掠而过，有时被一阵浓浓的白烟，遮盖得模糊不清。沿途，旅客们只能隐约地看见：距贝拿勒斯城东南二十英里的比哈尔历代土王城寨——舒纳尔堡，加兹铺和这个 www.8 ttt8。 com 城区一些8 tt t8.com 制造玫瑰香水的大工厂；以及印度主要的鸦片市场——巴特那，还有那个比较欧化和英国化的城市——蒙吉尔，它很象英国的曼彻斯特或伯明翰，以冶铁、制造铁器和刀剑驰名。那些高大的烟囱喷吐着乌黑的浓烟，把整个卜拉马活佛的天空搞得乌烟瘴气。在这个 www.8 ttt8。 com 梦里天堂似的国度里，这些黑烟真是大煞风景。

The panorama passed before their eyes like a flash, save when the steam concealed it fitfully from the view; the travellers could scarcely discern the fort of Chupenie, twenty miles south-westward from Benares, the ancient stronghold of the rajahs of Behar; or Ghazipur and its famous rose-water factories; or the tomb of Lord Cornwallis, rising on the left bank of the Ganges; the fortified town of Buxar, or Patna, a large manufacturing and trading place, where is held the principal opium market of India; or Monghir, a more than European town, for it is as English as Manchester or Birmingham, with its iron foundries, edge-tool factories, and high chimneys puffing clouds of black smoke heavenward.

这一切景物，象闪电般一掠而过，有时被一阵浓浓的白烟，遮盖得模糊不清。沿途，旅客们只能隐约地看见：距贝拿勒斯城东南二十英里的比哈尔历代土王城寨--舒纳尔堡，加兹铺和这个城区一些制造玫瑰香水的大工厂；以及印度主要的鸦片市场--巴特那，还有那个比较欧化和英国化的城市--蒙吉尔，它很象英国的曼彻斯特或伯明翰，以冶铁、制造铁器和刀剑驰名。那些高大的烟囱喷吐着乌黑的浓烟，把整个卜拉马活佛的天空搞得乌烟瘴气。在这个梦里天堂似的国度里，这些黑烟真是大煞风景。

The fury and cruelty of this battle is quite revealed in the figure's complexion and body, or we say that to create these faces and bodies, Yin retrospected the genealogy from Goya to Francis Bacon, including many expressionists, such as Van Gogh, Munck, Oskar Kokoschka. All these artists painted 'anxious people', their brush touches looked intense and sensitive, their paints gave a horrible sense of solidity. The faces and bodies they painted are distorted and twitched under the burden of mental nightmare, so the organs are deformed, or even blurred; in 'Myth', the mental nightmare is incarnated as a stone, a battle between man and stones. Therefore, the deformed and distorted bodies look more vivid, when man strives to raise up a stone, all his muscles and expression are in an intense condition.

这种搏斗的激烈与残酷也充分表露画中人的表情和肌体之中，不妨说，在对这些面孔和身躯的塑造中，尹朝阳回顾了一个从戈雅到弗朗西斯·培根的谱系，其中应该包括了众多的表现主义者们，例如凡高、蒙克、奥斯卡·科柯施卡，所有这些画家都绘制了&焦虑的人&，他们的笔触显得激烈而敏感，颜料有一种可怕的实体感，他们所绘制的人物面孔和身躯，都具有精神梦魇的重负之下引发出的扭曲和抽搐感，器官因此而变形，甚至模糊不清；在《神话》之中，精神梦魇具化成了石头，具化成了人与石头之间的搏斗，人体的扭曲和变形的理由因此来得更为具体，当人奋力地举起一块石头时，他全身的肌肉和表情都自然地处在极度紧张的状态之中。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失