第六十

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。

Lanthanides belong to the sixth cycle of the periodic table Ⅲ B family, are all solid metal, they are La, Ce, Pr, Nd, Pm, Sm, Eu, Gd, Tb, Dy, holmium, erbium, thulium, ytterbium, and lutetium were 15 kinds of metals and their periphery are two layers of electronic 5d16s2, while the peripheral third layer f orbital but never zero to 14, so the external electronic structure of 4f0-145d16s2, and therefore these elements in oxidation number are to 3, very close chemical properties, extraction, when it is difficult to separate them they are mostly multi-element mineral mix, more difficult to increase refining, and their atomic number of 57-71, one by one to increase the number of protons the nucleus, and thus extranuclear electron of gravity is also growing, so that atomic radius decreases with increasing atomic number Z, which makes lanthanides contraction, ionic radius is also reduced, which also makes Zr, Hf, Nb and Ta, Mo and W, the atom and ionic radius very close to each other they also determine a similar nature, resulting in difficult separation, also the tribe Ⅷ of the fifth cycle, ruthenium, rhodium, palladium, and the sixth cycle, osmium, iridium, platinum is very similar in nature, thus The six elements, said platinum group elements.

镧系元素属于周期表第六周期中ⅢB族，全部是固体金属，它们是镧、铈、镨、钕、钷、钐、铕、钆、铽、镝、钬、铒、铥、镱和镥共十五种金属元素，它们的外围两层的电子均是5d16s2，而外围第三层的f轨道电子却从零增加到14个，所以外围电子结构为4f0－145d16s2，而使这些元素氧化数均为＋3，化学性质极为接近，提炼时很难分开，它们的矿石又大多是多种元素混在一起的，更增加提纯难度，它们的原子序数为57－71，核内质子数逐个增加，因而对核外电子引力也不断增强，使原子半径随原子序数Z增加而减小，这就使镧系元素收缩、离子半径也缩小，这也使得Zr和Hf，Nb和Ta、Mo和W等原子和离子半径都很接近、也决定了它们彼此性质类似，以致难以分离、也使第Ⅷ族中第五周期的钌、铑、钯和第六周期的锇、铱、铂在性质上极为相似，因而称这六个元素为铂系元素。

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。

The fifth sardonyx, the sixth carnelian, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth chrysoprase, the eleventh jacinth, and 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, ruby; the seventh, chrysolyte; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst.

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

His Sixth Oration (PG, XXXV, 721 sq.) was held in Cappadocia, his Thirty-eighth (PG, XXXVI, 311) at Constantinople.

他的第六届咨讯公司（ PG ，第三十五卷， 721平方）举行Cappadocia的，其第三十八公司（ PG ，三十六， 311 ）于君士坦丁堡。

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。

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。