没有情感的

Standard' can never be 'interesting', nor 'thought-provoking', because what the standard tries to establish is a conclusion about value orientation. There's nothing could be discussed, nor any emotion or intelligence be raised. One should accept everything simply and absorbedly without any doubts if he wants to pursue the standard.

"标准的"肯定不是"有趣的"，因而也一定不是"耐人寻味的"，因为标准企图树立的就是价值取向方面的定论，没有什么可以商量的余地，也不应该令人产生太多情感和智力波动，想追求标准，就应该把所有怀疑抛开，一心一意、简简单单地学会接受。

Circe's Torment I regret bitterly The years of loving you in both Your presence and absence, regret The law, the vocation That forbid me to keep you, the sea A sheet of glass, the sun-bleached Beauty of the Greek ships: how Could I have power if I had no wish To transform you: as You loved my body, As you found there Passion we held above All other gifts, in that single moment Over honor and hope, over Loyalty, in the name of that bond I refuse you Such feeling for your wife As will let you Rest with her, I refuse you Sleep again If I cannot have you.

瑟西的痛苦我非常遗憾爱你的这些年不管你在与不在，遗憾那法律，那神召阻止我持有你，大海一块玻璃板，太阳漂白的希腊船美神；如何我能有魔力假如我没有意愿将你改变：虽然你爱我的身体，虽然那时你发现我们所拥有的激情在一切礼物之上，在那独特瞬间超越荣誉和希望，超越忠诚，以那结合的名义我拒绝你因你妻子而有的这般情感会让你同她度过余年，我拒绝你再次上床如果我不能有你。

University's life ever let me confusedly, the not mature emotion also once I lost, but I had not throughout forgotten, my dream, my future.

大学的生活曾经让我迷茫，不成熟的情感也曾我失落，但是我始终没有忘记，我的梦，我的未来。

However, the crew of the Ebon Hawk believed that the Jedi Masters were wrong, that the Exile's ability to influence others was simply her natural leadership talent as a human, that she did not influence others through the force, but through emotion.

可是，乌木隼的船员们并不这么认为。他们认为放逐者影响他人的能力是她作为一个人类而拥有的天生的领导气质所致，她并没有用原力来影响他人，而是用情感。

"I like the emotion of the scenes, but technically the duels were dreadful," Gillard admits. It may have been wrong of me but I didn't look at Peter Diamond's (original trilogy master choreographer) work which was mostly written in Epee style.

"我喜欢场景中的情感，但从技术角度讲那些决斗很糟糕，"吉拉德承认，我这样也许是错的，不过我没有看彼特-戴蒙（原三部曲的主要武打设计）的工作，那主要属于重剑风格。

When your job is to explain things to the audience (and there's an awful lot that needs explaining episode to episode) that doesn't leave room for much else. It can make fleshing out the character and grounding his emotional life in some kind of reality a real challenge.

当你的工作是向观众阐明并没有太多空间给其他事物的某一件事（并且许多都需要一集集地解释）时，它能够让你思索出对于角色的认知，同时要把对于他情感生活的演绎基于某种程度的现实上，这是个真正的挑战。

Hector Berlioza, a famous classical musician from France, reported that saxophones are special for their beautiful and distinctive timbre and no other instrument has its ability to express emotion.

法国作曲家Hector Berlioza就曾经写到：&萨克斯风的主要特点就是音色的独特及美妙变化，并富有情感，没有任何别的乐器能发出这种奇妙的声音。&

Yes, people have not learned anything about how evil works and they still support it and it feeds on their fear - emotions, which are nourishment for saurians , who have been controlling you for thousands years, because you enable them to do so.

是的，人们没有学习有关邪恶如何运转的任何事并且他们依然支持它而靠他们的恐惧-情感，是蜥蜴类的食品为食，你们已经被控制了数千年，因为你们允许他们如此做。

One cannot be strong without love. For love is not an irrelevant emotion; it is the blood of life, the power of reunion of the separated.—— Paul Tillich

没有爱，人无法坚强，因为爱不是一种无足轻重的情感；它是生命的血液，是分离者重新团聚的力量。

Relative to other professional journals, the major psychiatric journals appear to have comparable standards for disclosing financial interests.6 Based on a review of 397 published reports of clinical trials in 4 psychiatric journals, Perlis et al7 found that 60% had industry funding and 47% had at least 1 author reporting a financial relationship.

科斯格罗夫等人，审查了美国精神病学会起草精神分裂症，双相情感障碍，严重抑郁症治疗指南的20名工作小组成员，发现其中90%的成员与工业界有财务关系（72%的人作为顾问），但没有一个人主动披露这种关系。

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。