第十二

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。

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。

Pincer, pair of pincers, tweezer, pair of tweezers

a。 第十二的，十二分之一的n。第十二，十二日，第十二音

Pincer, pair of pincers, tweezer, pair of tweezers twelfth

a。 第十二的，十二分之一的n。第十二，十二日，第十二音

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 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。

In addition to applying the provisions of Paragraphs 1of Article 9, Paragraph 7 of Article 11, or Paragraph 6 of Article 12, the interest, royalties and other disbursements paid by an enterprise of a party to a resident of the other party shall, for the purpose of determining the taxable profits of such enterprise, be deducted under the same conditions as if they had been paid to a resident of the first-mentioned party.

二、除适用第九条第一款、第十一条第七款或第十二条第六款的规定外，一方企业支付给另一方居民的利息、特许权使用费和其它款项，在确定该企业应纳税利润时，应与在同样情况下支付给该一方居民同样予以扣除。

Except where the provisions of Paragraph 1 of Article 9, Paragraph (7) of Article 11, Paragraph (6) of Article 12 apply, interests, royalties, technical fees and other disbursements paid by an enterprise of one side to a resident of the other side shall, for the purpose of determining the taxable profits of such enterprise, be deductible under the same conditions as if they had been paid to a resident of the first-mentioned side.

二、除适用第九条第一款、第十一条第七款或第十二条第六款规定外，一方企业支付给另一方居民的利息、特许权使用费和其它款项，在确定该企业应纳税利润时，应与在同样情况下支付给该一方居民同样予以扣除。

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。