没有精神的

The number of people who consult psychiatrists today is not, as is sometimes felt, a symptom of increasing mental ill health, but rather the precursor of a world in which the hope of genuine mental health will be open to everyone, a world in which no individual feels that he individual feels that he need be hopelessly broken-hearted, a failure, a menace to others or a traitor to himself.

我们的真正担忧是源于每个人可能获知的知识。与通常的感觉不同，当今咨询精神病学家的人数不是不断增多精神疾病的体现，而是一个世界的前兆：一个人人具有真正精神健康希望的世界；一个没有人感到他自己是一个绝望心力交瘁的失败者、对其它人是个威胁或是自己叛徒的世界。

As Gracián has so aptly pointed out in his Oráculo Manual:"Some people spend all at the start and finish nothing; they invent but do not progress; everything stops short of completion… The discerning should kill the prey, not spend all of his energy provoking it."

他们发明，可是没有进展，每一个事情还没有结束，就停止了，因此聪明有节制的人不应该把他全部的精神，放在挑逗猎物上面，应该把精力，放在杀死猎物上。

The demolishment of limits of language and spirit are the same process and it is far from being finished.

语言界限与精神界限的拆除是同一个过程，这个过程还远远没有结束，它不啻一场以旧学科的消解作为标志的、新的精神启蒙运动，并且促使我们思考从前使用的所有哲学概念的是否有新的可能性。

The 'arrival' of Sisyphus means that he has to employ 'pathetic fallacy' to personify the stone as signifying man's desire and mental burden – the stone lying at the roadside has been changed and elevated to a symbolic level, which incorporates the myth with heroic spirit and becomes the objective equivalent to that of desire, anxiety, and pressure. In essence, the physical features are drowned and from between to express the natural physical features or the ideas, he chooses the latter. This means that there is disjoint between what originally moved him and what he would like to express, but he is acutely aware of it – the 'danger of illustration'. We can see that these series of paintings are finally presented to us, the physical features of the objects still remains and are expressed to some extent. Among them some directly depict the stones in their own part about their pleats and points, desolateness and heaviness; at the meantime, nobody appears in the pictures.

西西弗斯的"到来"，意味着他不得不采用感情误置的方式，将石头进行拟人化的处理，用以指称人的欲望和精神负担——那块路边的石头已经不复它本来的面目，它被提升到一个象征的位置上，与神话和英雄的精神题旨迅速结合在一起，成为人性之中欲望、焦虑、压力等情感的客观对应物，从本质上来说，物自身的特性被淹没了，在表现物的自然特性和表现理念这两者之间，他选择了后者，这意味着，在感动他的最初事实与他要表现的事实之间就有了一种脱节，但他敏感地意识到了这种脱节，这种"图解的危险"，我们可以看到，当这组画最终呈现在我们面前的时候，物的自然特性得到了很大程度的挽留和表现，其中有一些画作直接描绘了岩石本身，它本身的褶皱和棱角、苍凉和沉重，同时，并没有人出现在这样的画面上。

N\nWhile not a people wholly of the Kshatriya caste, neither the Kshatriya's proud martial spirit nor the legendary vigor of the Jats are held only in the highest of caste.

n \ n他们既没有刹帝利骄傲的尚武精神，也没有传说中的力量。

The investigation by King's College London researchers found that the sedatives, known as neuroleptics, were associated with a significant deterioration in verbal fluency and cognitive function, and that neuroleptic treatment had no benefit to patients with the mildest symptoms.

伦敦国王学院的研究人员调查表明，镇静药即所谓的精神抑制剂对病人的语言表达流畅性与认知能力起到十分明显的副作用，而且对于症状缓和的病人精神抑制剂并没有多大的疗效。

After pointing out the connotations of the two theories, the author puts a stress on clarifying their gains and losses. The author thinks that,""Drama-Poetry Theory"" enlightened some playwrights' drama-creating, but it didn't intactly reveal the ousia of opera;"" Yue-Ousia Theory""explored the question of Opera origin , but it still didn't work out the ousia structure of Chinese traditional opera.

在阐明这两种学说各自的内涵之后，着重辨析了它们各自的得失，指出：&剧诗说&虽能在一定程度上指导戏曲创作实践，并启示了一种对于戏曲艺术的诗性领悟方式，但并未完整地揭示出戏曲艺术本体，也没有准确地把握到戏曲艺术精神；&乐本体说&虽然深入地探讨了戏曲本源问题，揭示了戏曲艺术的精神命脉和审美定性，但由于未能贯彻历史的、发展的、辩证的观点，仍未能准确完整地把握到戏曲的本体结构。

In the post-1990s which is known as the transition of Yu Hua"s writing, as a serious spiritual seeker, Yu Hua didn"t find a place to perch his vagrant spirit. However, with the usage of the even more complicate text in his novel, Yu Hua expresses his multiple ponderation on living circumstances of contemporary people, which also indices the promotion of roam consciousness in his writing.

在被称为转型的后90年代创作里，作为一个严肃的精神探索者，余华精神流浪的灵魂并没有寻找到栖息的场所，而是在更具复杂色彩的文本世界里体现了对当代人生存境遇的多重沉思，表明了他创作中流浪意识的深化。

Irenus, in his work "Against Heresies"(AD 182-88), testifies to the existence of a Tetramorph, or Quadriform Gospel, given by the Word and unified by one Spirit; to repudiate this Gospel or any part of it, as did the Alogi and Marcionites, was to sin against revelation and the Spirit of God.

irenus ，在他的作品&对异端邪说&（公元182-88 ），证明确实存在一种tetramorph ，或quadriform福音，由Word和统一的一个精神；推翻这个福音或任何部分，因为没有该尔罗基和marcionites ，是对单的启示与上帝的精神。

Spiritual damage refers to:a tortfeasor infringes personal benefit of a civil subject, which leads to a victim's grief and damage to spiritual benefit, a tortfeasor should take civil responsibility according to law.

精神损害赔偿是民法学上一个新的研究课题，也是侵权行为法中的一个突出的理论和实践问题。在我国的立法实践中至今还没有明确、具体的有关精神损害赔偿的条款。

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。