自然语言

Lessing believes that painting uses"natural symbol"which appositely exist to portray object that exist in the space, it is space-art, follow the space rule, pursue beauty; poetry by means of languages, letters that sequential in time to imitate matter that happening in time, follow time rule, pursue truth.

莱辛认为，画采用在空间中并列存在的"自然符号"描绘在空间中存在的物体，是空间艺术，受空间规律支配，追求美；而诗则借助在时间中先后承续的语言、文字来模仿同样也是在时间中先后承续的事件，因此是时间艺术，受时间规律支配，追求真。

Christ, however, instead of informing His Apostles that he intended to use such a figure, told them rather the contrary in the discourse containing the promise:"the bread that I will give, is my flesh, for the life of the world"(John 6:52), Such language, of course, could be used only by a God-man; so that belief in the Real Presence necessarily presupposes belief in the true Divinity of Christ, The foregoing rules would of themselves establish the natural meaning with certainty, even if the words of Institution,"This is my body - this is my blood", stood alone, But in the original text corpus and sanguis are followed by significant appositional additions, the Body being designated as "given for you" and the Blood as "shed for you "; hence the Body given to the Apostles was the self same Body that was crucified on Good Friday, and the Chalice drunk by them, the self same Blood that was shed on the Cross for our sins, Therefore the above-mentioned appositional phrases directly exclude every possibility of a figurative interpretation.

基督的，不过，不是告诉他的门徒说，他打算利用这样一个数字，告诉他们，而不是相反，在话语含有许诺说："面包，我会给予，是我的肉体，为生活的世界"（约翰6时52分），如语言，当然可以只用了一个神人，所以这种信念，在现实存在一定的先决条件的信念，在真正的基督的神，前述规则，将自己建立的自然与意义确定性，即使字的机构，"这是我的身体-这是我的血"，孤家寡人，而且在原来的文本语料库和血，其次是显著的a ppositional增补时，身体被指定为"给你"，以及血液作为"大棚为你"，因此，身体向使徒是自我同一机构，被钉在十字架上周五良好，并chalice喝醉了，由他们来说，自我相同的血缘，这是大棚在十字架上为我们的罪，因此，上面提到的appositional短语直接排除一切可能性，一个形象化的诠释。

Arbitrariness : the forms of linguistic signs bear no natural relationship to their meaning.

任意性指语言符号的形式与意义之间没有自然的联系。

We also concluded the conditions to form a language monopoly and bilingualism society.

并说明了语言自然垄断地位以及双语社会形成的条件。

The Bow-wow theory sees primitive language as an imitation of natural sounds, such as the cries of animals, like quack , cuckoo .

该吠声理论认为，原始的语言，模仿自然的声音，如动物的呼声一样，庸医，杜鹃。

The diversity and exaggeration is out of pure imagination, and infinitely breathtakingly charming.

艺术语言质朴、天真、粗犷而有力，特别是它的造形不受自然形象细节的约束，进行了大胆的变化和夸张，这种变化和夸张出自天真的想象，含有无穷的魅力。

For giving us the dawn of the new to see, it reminds us that everyone can be different, brede never believe that destiny, but he believes that hope, he believed that as long as the attempt What is not can not be changed, and this faith, this confidence, so that no one can become a hero

同样地，当人们能够用他自己熟悉的语言去阅读阁下的构思--那个用中文/英文写成的网页，自然可以大大提高阁下的企业形象。

Human newborns have the same problem, although tamarins can easily tell languages apart even when spoken by different people, the researchers said.

研究者们还发现，当只有一个扬声器发声时，实验鼠可以分辨出这两种语言中的自然句；如果用不同的扬声器或不同的人说话时，实验鼠则不能区分两种语言的不同。

The crew that was once used to skimming the outskirts of the galaxy unnoticed find themselves caught between the unstoppable military force of the Universal Alliance and the horrific, cannibalistic fury of the Reavers, savages who roam the very edge of space.

冲出宁静号」导演乔斯威登表示：「既然是在拍未来式的电影，我就要用语言反映出未来的世界，我相信中国和美国会是地球仅存的两种语言，所以参杂著用是再自然也不过了，但是在拍电影的时候，我不想要上字幕，因为翻译的字幕会破坏整部电影的流畅性，所以我只有用简单的语句，像是『哎呀，天啊！

What will keep preventing dynamically typed languages from displacing statically typed ones in large scale software is the simple fact that it's impossible to make sense of a giant ball of typeless source files, which causes automatic refactorings to be unreliable, hence hardly applicable, which in turn makes developers scared of refactoring.

动态类型语言难以大规模替代静态类型语言的结论是基于这样一个事实：源文件中包括大量无类型的代码，这使得自动重构变得无法实现，更别说应用了，程序员自然也就会对重构产生排斥心理。

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。