没有情感的

A principal fruit of friendship, is the ease and discharge of the fulness and swellings of the heart, which passions of all kinds do cause and induce We know diseases of stoppings, and suffocations, are the most dangerous in the body; and it is not much otherwise in the mind; you may take sarza to open the liver, steel to open the spleen, flowers of sulphur for the lungs, castoreum for the brain; but no receipt openeth the heart, but a true friend; to whom you may impart griefs, joys, fears, hopes, suspicions, counsels, and whatsoever lieth upon the heart to oppress it, in a kind of civil shrift or confession

友谊的主要效用之一就在使人心中的愤懑抑郁之气得以宣泄弛放，这些不平之气是各种的情感都可以引起的。闭塞之症于人的身体最为凶险，这是我们知道的；在人的精神方面亦复如此：你可以服撒尔沙以通肝，服钢以通脾，服硫华以通肺，服海狸胶以通脑，然而除了一个真心的朋友之外没有一样药剂是可以通心的。对一个真心的朋友，你可以传达你的忧愁、欢悦、恐惧、希望、疑忌、谏净，以及任何压在你心上的事情，有如一种教堂之外的忏悔一样。

Both dance and drama appeal to spectators' vision, but the movement of dance has the highly recapitulatory and general expressiveness of the subject, being good at emotion-expression and not expert at narration.

舞蹈是活动的雕塑，雕塑是舞蹈的&亮象&；舞蹈和戏剧都诉诸观众的视觉形象，但舞蹈的动作表演具有高度概括、宽泛的主观内在表现性，表现出长于抒情拙于叙事的特点；舞蹈的节奏感与韵律性与音乐有内在的联系，世界上有脱离舞蹈的音乐，却没有脱离音乐的舞蹈，由偏于客观，充满摹仿、再现因素，逐渐发展到借助形式美的程式化语汇，自由地表现主体内在的审美情感，是舞蹈艺术审美理想演化变迁的历史过程。

Barack Obama: Despite the emergence of the Brown-Lippa-LaChiusa triptych and younger, DIY voices like Lopez/Marx and Joe Iconis and in the post-Larson era, no one writing today even approaches the emotional depth, harmonic complexity and the spiritual clarity evident in the work of the still-living legend Stephen Sondheim.

奥巴马说：尽管出现了前仆后继的布朗-利帕-拉邱萨三人物和他们更小的追随者以及洛佩斯/马克思和乔埃克尼斯这样的 DIY 代表，并且在后拉森时代，今天甚至没有一篇文字能像现世传奇音乐剧作家斯蒂芬桑德海姆的作品一样碰触到深度的情感，和谐的复杂性和精神的澄澈。

The opening voiceover undermines the documentary qualities of the sequence by evoking the colour of objects and furnishings which, since the film is in black and white, the viewer cannot see. By contrast, the stylisation of the later scenes does not preclude an emotional response: the scenes where the prison officers re-enact the now amnesiac protagonist's upbringing and crime to remind him of his guilt are grimly hilarious.

开篇部分的画外音通过再现观影者原本由于影片的黑白色调而无法看到的、物品与室内陈设的颜色，使得这一段落的纪录片特质受到了削弱；相反，之后场景中的程式化也没有排除情感上的反应：那些监狱看守通过再现这位如今已经失去记忆的主角的幼年经历和所犯罪行、令他回忆起自身罪孽的场景，是一幕幕狰狞的喧闹景象。

In the circumstances, the use of Pu Yi is to be calm and down-to-earth tone of anger and tell others to heart the fact that, but Pu Yi is more like the performance of the show, there is a smooth track of the hypocrites and rogue; Second,"Thief" of the monks recalled emotion is anger, but he could not recall the content to let others feel the immediate pain and shiver, it should be fine and continue to change the content; again, the American Bar of Hideki Tojo's cross-examination is very A good part of the emotional content also; there is the Japanese defense, defending his words more despicable and crafty, perhaps the effect will be even better ...... like many small role, but there is a general On the problems - not delicate and in-depth, but broad-brush descriptions of performers and the impulse to make sure there is no emotional resonance.

在这个情节上，应该是让溥仪用平静而朴实的语气诉说让别人气愤和窝心的事实，但是溥仪的表现更像是在做秀，有很着迹的伪君子的圆滑和无赖；其次，&小偷&和尚的回忆，情绪激愤是对的，但是他回忆的内容还无法让别人感受到切身的疼痛和颤栗，应该换个内容并且继续细腻；再次，美国律师对东条英机的盘问是很不错的一个部分，有情绪也有内容；还有就是那个日本辩护律师，让他的辩护词更为卑鄙和狡猾一点，也许效果会更好……类似的小角色还有很多，但是都有一个总体上的毛病——没有细腻和深化，只是粗线条的描绘和表演者的冲动肯定是无法让人有情感上的共鸣。

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。