第七十

The fifth sardonyx, the sixth carnelian, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth chrysoprase, the eleventh hyacinth, and the twelfth amethyst.

第五座是赤玛瑙，第六座是斑玛瑙，第七座是橄榄石，第八座是绿柱石，第九座是黄玉，第十座是绿玉，第十一座是紫玉，第十二座是紫晶。

No derogation from articles 6, 7, 8 (paragraphs 1 and 2), 11, 15, 16 and 18 may be made under this provision.

二、不得根据本规定而克减第六条、第七条、第八条、第十一条、第十五条、第十六条和第十八条。

The first one and the eleventh one are concentrate to the tensibility of finger, the second one is famous of it"s fingering technique which is the typical fingering of Chopin, the third and six one are experience the layer of mufti voice parts, the fourth one is keenness which carries on by its speed and music the alone difficulty , the fifth one is the"black keyetude , harmonic innovate are visibly reflected at the seventh, the tenth and the eleventh one, humorousness is performance in the bass field in the eighth one, the ninth and the twelfth one are training stretching and running technique of left hand.

第一首与第十一首是针对手指的伸张技术；第二首是赋予了肖邦典型技术特征的指法；第三首与第六首是多声部织体的演奏；第四首是以其速度和音乐进行的尖锐性而独具难度；第五首是"黑键"练习曲；和声的创新手法在第七、第十以及第十一首里都有明显地体现；第八首最大的特点在于它用左手在低音区表现出谐谑式的旋律；第九首与第十二首在单纯手指技术上是分别训练左手的伸张及快速均匀的跑动。

The fifth, sardonyx; the sixth, sardius; the seventh, chrysolite; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst.

恢复本 第五是红玛瑙，第六是红宝石，第七是黄璧玺，第八是水苍玉，第九是黄玉，第十是翡翠，第十一是紫玛瑙，第十二是紫晶。

The fifth onyx, the sixth carnelian, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth chrysoprase, the eleventh jacinth, the twelfth amethyst.

第五是红玛瑙；第六是红宝石；第七是黄璧玺；第八是水苍玉；第九是红璧玺；第十是翡翠；第十一是紫玛瑙；第十二是紫晶。

The fifth, sardonyx; the sixth, sardiu the seventh, chrysolyte; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasu the eleventh, a jacinth; the twelfth, an amethyst.

21：20 第五是红玛瑙。第六是红宝石。第七是黄璧玺。第八是水苍玉。第九是红璧玺。第十是翡翠。第十一是紫玛瑙。第十二是紫晶。

But there is a suggestion of writing too: xvii, 18-9, enjoins that the future kings are to receive a copy of this law from the priests in order to read and observe it; xxvii, 1-8, commands that on the west side of the Jordan "all the words of this law" be written on stones set up in Mount Hebal; xxviii, 58, speaks of "all the words of this law, that are written in this volume" after enumerating the blessings and curses which will come upon the observers and violators of the law respectively, and which are again referred to as written in a book in xxix, 20, 21, 27, and xxxii, 46, 47; now, the law repeatedly referred to as written in a book must be at least the Deuteronomic legislation.

但是有一个建议，写太多： 17 ， 18-9 ，责成，未来的国王收到了一份来自该法的祭司，以便阅读和遵守它；二十七， 1月8日，命令，在西约旦一侧的&所有的话，该法&是写在石头山设立Hebal ；二十八， 58岁，说的是&所有的话，这一法律，这是写在这卷&之后列举的祝福和诅咒的会后，观察员和违反法律的分别，并再次被称为写的一本书，第29 ， 20 ， 21 ， 27 ，和三十二，第四十六条，第四十七条，现在，法律一再称为写图书必须至少Deuteronomic立法。

September through December, our ninth through twelfth months, were originally positioned as the seventh through tenth months (septem is Latin for "seven," octo is "eight," novem is "nine," and decem is "ten").

从九月份到十二月份，也就是我们的第九个月到第十二个月，起初被定为从第七到第十个月（拉丁语的&septem&意思是七，&octo&意思是八，&novem&意思是九）。

The first one and the eleventh one are concentrate to the tensibility of finger, the second one is famous of it"s fingering technique which is the typical fingering of Chopin, the third and six one are experience the layer of mufti voice parts, the fourth one is keenness which carries on by its speed and music the alone difficulty , the fifth one is the"black keyetude , harmonic innovate are visibly reflected at the seventh, the tenth and the eleventh one, humorousness is performance in the bass field in the eighth one, the ninth and the twelfth one are training stretching and running technique of left hand.

第一首与第十一首是针对手指的伸张技术；第二首是赋予了肖邦典型技术特征的指法；第三首与第六首是多声部织体的演奏；第四首是以其速度和音乐进行的尖锐性而独具难度；第五首是&黑键&练习曲；和声的创新手法在第七、第十以及第十一首里都有明显地体现；第八首最大的特点在于它用左手在低音区表现出谐谑式的旋律；第九首与第十二首在单纯手指技术上是分别训练左手的伸张及快速均匀的跑动。

Article 37 The initiators shall conform to the provisions in Article 9 and Articles 11 through 16 of the present measures.

第三十七条发起人应当符合本办法第九条、第十一条、第十二条、第十三条、第十四条、第十五条和第十六条的规定。

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。