淹没的

What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy.

奥威尔害怕的是那些强行禁书的人，赫胥黎担心的是失去任何禁书的理由，因为再也没有人愿意读书；奥威尔害怕的是那些剥夺我们信息的人，赫胥黎担心的是人们在汪洋如海的信息中日益变得被动和自私；奥威尔害怕的是真理被隐瞒，赫胥黎担心的是真理被淹没在无聊烦琐的世事中；奥威尔害怕的是我们的文化成为受制文化，赫胥黎担心的是我们的文化成为充满感官刺激、欲望和无规则游戏的庸俗文化。

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。

But he never forgot, he felt the markings each morning, a ghost tattoo about her he couldn't stop describing to strangers: If there is writing in this place, he begins, it's only proof that a tribe of pens once lived here, pardoning themselves in advance for their mortal leap from a line of thinking to a half-lit field which starts under the rubric of hay and fruit trees but seems to contain much more than mere space allows, in the vicinity of sundown and all the nouns streaked with gold, drowning in drachmas, lounging in louche, leading from the eye to the distant mountain the guidebooks say is uninhabitable though behind it squats a shack which is the summer home of God, finally free from making cherries for the emperor's children; little God with his funny name for which the other students teased him so, his elaborate notes.

但他从未忘记，每天早晨他感觉得到那些印记，他忍不住要向陌生人描述她的一块幽灵般的刺青：如果这地方有写作存在，他说，那仅仅证明了有一个用笔的部落曾经在这里住过，为那致命的一跃他们自己事先道歉，从一缕思绪跃至半明半暗的原野，那原野在干草与果树的套红标题下起始却似乎容纳了比空间本身所允许的东西要多得多，在落日与所有带金纹的名词周边，淹没在古银币中，混迹于狼藉声名里，从眼前一直到导游指南称为人烟罕至的远山，隐蔽在山背后的一间密室是神的夏宫，终于从为皇帝的孩子们做樱桃的差使中脱身出来；小小的神有个其他学生们取笑的滑稽名字，他记载详尽的笔记。

It was not wet yet cold and dark and flooded a road This road is digesting the old one You can hear the sound of gravel, cement and water wagon tracks which the wind wasn't quick enough to smooth away a corpse frozen by snow, and a car leaving with happy songs The most faithful year, or two years its biggest sore is that it's not been hurt The molds on the road are home for magpies In the distance, the sea overflows by itself like people who live outside life vaguely derailing Time will make them very poor and prove that great pique can be disaster to them, though that's not happened yet I've walked along this road, it was once occupied by grass and dirty snow Where there's now a lamp post, I used to loiter.

它不是湿的却是冷而黑的将一条道路淹没这条道路，正在消化着原来的道路你会听到一些沙石的声音，一些水泥和水风来不及吹走的车辙一块积雪冻僵的尸体，还有一辆汽车满载快乐而去的歌声最忠诚的一年，或两年它最大的伤害是没有受到伤害道路上的霉斑，是喜鹊的家园远处的海水空自泛滥那只是生活以外之人一次不着边际的出轨时间会让它们一贫如洗并证明巨大的怨气于他们是灾难，但没有发出来我走过的这条道路，曾被青草或肮脏的雪们占领落脚之地如今站立着灯柱。

It was hard to think about anything except his legs,seeing how much they were forced upon his attention by their position under his nose as he sat in this ridiculours bath;they hung out at one end while his body protruded from the water at the other.it was only the middle portion of him,from his waist to above his knees,which was submerged,and that was bent almost double.hornblower found it irritating to have to take a bath in this fashion,although he tried not to allow it to irritate him,and he strove desperately to dismiss from his mind recollections of thousands of more confortable baths taken on the deck of a ship,under a wash-deck pump which threw over him unlimited quantities of stimulating sea-water.he seized his soap and flannel,and began viciously above the surface,and as he did so water slopped in quantities over the side on to the polished oak floor of his dressing-room.that meant trouble for a housemaid,and in hornblower's present mood he was glad to cause trouble.

坐在这可笑的浴盆里使他的注意力强迫被集中到那双腿上；它们悬挂在浴盆的一端同时使他的身体从另一端露出水面。只有他身体的中段，从腰到膝盖，淹没在水里，它们几乎成折叠状。这种洗澡的时尚让hornblower感到恼火，虽然他尽可能避免不让自己那样，但他无法不去想到那些成千上万在甲板上冲澡的爽快经历--大量的海水从冲洗甲板上的水管中喷涌而出，仿佛无穷无尽。他握着手中的肥皂和澡巾，开始邪恶的擦洗身体露出水面的部分，在洗的时候，大量的水溢出浴盆洒到橡木地板上流向他的更衣室。那意味着女佣的麻烦来了。但对于hornblower现在的心情来说，他乐于制造麻烦。

Remember today that your children were not the ones who saw and experienced the discipline of the LORD your God: his majesty, his mighty hand, his outstretched arm; the signs he performed and the things he did in the heart of Egypt, both to Pharaoh king of Egypt and to his whole country; what he did to the Egyptian army, to its horses and chariots, how he overwhelmed them with the waters of the Red Sea as they were pursuing you, and how the LORD brought lasting ruin on them. It was not your children who saw what he did for you in the desert until you arrived at this place, and what he did to Dathan and Abiram, sons of Eliba the Reubenite, when the earth opened its mouth right in the middle of all Israel and swallowed them up with their households, their tents and every living thing that belonged to them.

你们今日当知道，我本不是和你们的女儿说话，因为他们不知道，也没有看见耶和华你们神的管教、威严、大能的手和伸出来的膀臂，并他在埃及中向埃及法老和其他地所行的神迹奇事；也没有看见他怎样待埃及的军兵、车马，他们追赶你们的时候，耶和华怎样使红海的水淹没他们，将他们灭绝，直到今日，并他在旷野怎样待你们，以至你们来到这地方；也没有看见他怎样待吕便子孙以利押的儿子大坍、亚比兰，他怎样在以色列人中间开口吞了他们和他们的家眷，并帐篷与跟他们的一切活物。

while the drama Che Guevara, which arosed furor about revolution words,has little influence in tidal wave of market and consumption, After four years, the drama, the 93' year, performed by the state showplace, whice blazoned forth "the absolute humanitarianism above the absolute revolution", encountered cold shoulder at the very start. The paper's goal is to inquire the uncommensuration states between revolution and humanitarianism under intervention of power volition of country by their acception.

话剧《切·格瓦拉》在2000年的春夏之交所刮起革命话语的旋风已淹没在市场与消费的浪潮中，时隔四年后由国家话剧院推出的《九三年》所宣扬的&绝对的革命之上还有一个绝对的人道主义&主题一开始就遭冷遇，而本文就是围绕着《切·格瓦拉》到《九三年》的接受情况，论证了革命与人道在国家意志的介入下难以通约的情形。

while the drama Che Guevara, which arosed furor about revolution words,has little influence in tidal wave of market and consumption, After four years, the drama, the 93' year, performed by the state showplace, whice blazoned forth "the absolute humanitarianism above the absolute revolution", encountered cold shoulder at the very start. The paper's goal is to inquire the uncommensuration states between revolution and humanitarianism under intervention of power volition of country by their acception.

中国诺宇综合网http：//www.siaaa.com摘要：话剧《切·格瓦拉》在2000年的春夏之交所刮起革命话语的旋风已淹没在市场与消费的浪潮中，时隔四年后由国家话剧院推出的《九三年》所宣扬的&绝对的革命之上还有一个绝对的人道主义&主题一开始就遭冷遇，而本文就是围绕着《切·格瓦拉》到《九三年》的接受情况，论证了革命与人道在国家意志的介入下难以通约的情形。

The billows, torn and lashed by the wind, encompass him hideously; the tossings of the abyss bear him away; all the tongues of water dash over his head; a populace of waves spits upon him; confused openings half devour him; every time that he sinks, he catches glimpses of precipices filled with night; frightful and unknown vegetations seize him, knot about his feet, draw him to them; he is conscious that he is becoming an abyss, that he forms part of the foam; the waves toss him from one to another; he drinks in the bitterness; the cowardly ocean attacks him furiously, to drown him; the enormity plays with his agony.

迎风崩裂的波涛狠狠地包围着他，波峰波谷带着他辗转上下，一缕缕的白练飞腾在他的头上，一阵阵的狂澜向他喷唾，巨浪的口把他吞没殆半；他每次下沉，都隐约看见那黑暗的深渊，一些未曾见过的奇怪植物捉住他，缠着他的脚，把他拉向它们那里去；他觉得自己也成了旋涡，也成了泡沫的一部分，波涛把他往复抛掷；他喝着苦汁，无情的海水前仆后继，定要把他淹没，浩瀚的泽国拿他的垂死挣扎来取乐。

Ian Findlay speaks of the richness of Cheng's vision as "a world familiar to us but made unfamiliar through singular juxtapositions;" This world "is also possessed of a certain eeriness, an uncommon and subtle sensation of violence, and an uneasiness of the spirit, which eventually overwhelms any nuances of the romantic or sentimental in his art."

Ian Findlay 说到 Cheng's 的视觉富裕当做&一个世界熟悉的对我们但是透过单数制造不熟悉并排；&这一个世界&特定的怪诞，暴力的不寻常的和敏感感觉和精神的不舒适也被持有，最后淹没他的艺术任何浪漫的或感伤性者的配色。&

According to the clear water experiment, aeration performance of the new equipment is good with high total oxygen transfer coefficient and oxygen utilization ratio.

曝气设备的动力效率在叶轮转速为120rpm～150rpm时取得最大值，此时氧利用率和充氧能力也具有较高值。

The environmental stability of that world - including its crushing pressures and icy darkness - means that some of its most famous inhabitants have survived for eons as evolutionary throwbacks, their bodies undergoing little change.

稳定的海底环境─包括能把人压扁的压力和冰冷的黑暗─意谓海底某些最知名的栖居生物已以演化返祖的样态活了万世，形体几无变化。