第二十

Accordingly the Christian Fathers had to defend themselves, as early as the second century, against the charge of being worshipers of the cross, as may be learned from Tertullian,"Apologia," xii., xvii., and Minucius Felix,"Octavius," xxix.

因此，基督教的父亲已为自己辩护，早在第二世纪，对负责人被信徒的十字架上，可能据悉，从良的"纵容"，十二，十七，米纽修斯费利克斯，" octavius ，"二十九。

I-xxi; Kuenen, Konig, Reuss, Renan, Westphal ascribe to DN, iv, 45-9, and v-xxvi; a third class of critics reduce D1 to xii, 1-xxvi, 19, allowing it a double edition: according to Wellhausen, the first edition contained i, 1-iv, 44; xii-xxvi; xxvii, while the second comprised iv, 45-xi, 39; xii-xxvi; xxviii-xxx; both editions were combined by the redactor who inserted Deuteronomy into the Hexateuch.

一至二十一； Kuenen ，柯尼格， Reuss ，雷南维，韦斯特法赋予的DN ，四， 45-9 ，和V - 26 ；第三类批评减少D1至十二， 1 - 26 ， 19 ，允许其双重版本：据威尔浩，第一版载一， 1至四， 44 ； 12 - 26 ；二十七，而第二个组成四， 45喜， 39岁； 12 - 26 ；二十八，三十；两种版本合并的redactor谁申命记插入到

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 shall be changed into Article 41, and paragraph 2 shall amended as:"It is prohibited to organize, force, induce, shelter or introduce a woman to engage in prostitution or to act indecently against women."

二十四、第三十七条改为第四十一条，第二款修改为："禁止组织、强迫、引诱、容留、介绍妇女卖淫或者对妇女进行猥亵活动。"

The second part discusses the relationship between "the Nineteen Ancient Poems" and the trend of aesthetics thought in the last years of Eastern Han dynasty, firstly, analyzes the reasons of the trend of aesthetics thought in the last years of Eastern Han dynasty from five aspects, the decline of Confucianism , the reviviscence of Lao.

第二部分论述《古诗十九首》与汉末美学思潮之关系。第一，从经学的衰颓、老庄思想的复归、社会政治、经济、楚骚美学和汉代文学五个方面对汉末美学思潮的形成原因进行分析，并指出在这些原因的共同作用下，形成汉末"个人自我之觉醒"的美学思潮；第二，从"贵真"思想的复萌、"感伤主义"的出现及美学意识对人生各个方面的渗透几个侧面，分析了汉末美学思潮的特点：第三，探讨了《古诗十九首》与汉末美学思潮的关系。

Zhuang thoughts, the social politics, economy, the aesthetics of Chu Sao and literature of Han dynasty, points out that under the common function of these reasons, the trend of aesthetics thought of an awakening of individual consciousness appears, secondly, analyzes the characteristics of the trend of aesthetics thought from several aspects, like the reviviscence of Lao,Zhuang thought, the emergence of sentimentalism and the permeation of the aesthetics consciousnesses to the human life etc, thirdly, discusses the relationship between "the Nineteen Ancient poems "and the trend of aesthetics thought.

第三部分对《古诗十九首》自然美、含蓄美、悲凉美、浑雅美等美学特色进行系统分析，并指出：第一，《古诗十九首》自然之美表现在深衷浅貌、自然精切的语言和情感的真挚自然上；第二，《古诗十九首》的含蓄美表现在表情达意说理、用典、比兴以及曲终奏雅，意在言外等方面。

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。

With enrollments of more than 20,000 students from 47 states and 89 countries, UTA is ranked as one of the top 50 universities in the Midwest USA and the second largest in the University of Texas System.

目前有来自四十七个州，八十九个国家的在校生二万多人，是美国中西部前五十所大学之一，在德州大学系统中名列第二。

The Seventh Book Of Moses (61 pages) The seventh book includes twelve tables: The First Table of the Spirits of the Air; The Second Table of the Spirits of Fire; The Third Table of the Spirits of Water; The Fourth Table of the Spirits of the Earth; The Fifth Table of Saturn; The Sixth Table of Jupiter; The Seventh Table of Mars; The Eighth Table of the Sun; The Ninth Table of Venus; The Tenth Table of Mercury; The Eleventh Table of the Spirits; The Twelfth Table of the Schemhamforasch, including uses of seals and commanding spirits.

第七届图书摩西(61页)第七该书还收录十二表：第一表神的空气；第二个表的灵火；第三表的灵水；第四表神的地球；第五表土星；第六表木星；第七表火星；第八表的太阳；第九表维纳斯；第十表汞；第十一表的白酒；第十二表的schemhamforasch，包括使用的印章和指挥灵。

G. Johnston on the events of the past, or fixtures for the actual, years, entitled If Brian Boru could but come back and see old Dublin now , commissioned by Michael Gunn, lessee of the Gaiety Theatre, 46, 47, 48, 49 South King street, and to be introduced into the sixth scene, the valley of diamonds, of the second edition (30 January 1893) of the grand annual Christmas pantomime Sinbad the Sailor produced by R Shelton 26 December 1892, written by Greenleaf Whittier, scenery by George A.

勃鲁如今回来看到了老都柏林》的主题歌（并由R.G。约翰逊配乐）的呢？那本是坐落于南国王街门牌四十六、四十七、四十八、四十九号的欢乐剧场的承租人迈克尔。冈恩约他编写的。该歌原来预定插在照例于圣诞节期间公演的大型哑剧《水手辛伯达》第六场《钻石谷》（一八九三年第二版，作者：格林利夫。惠蒂尔，舞台装置：乔治。A。杰克逊和塞西尔。希克斯；服装：惠兰太太与惠兰小姐；导演：R。

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。