自然语言

You can't force this feeling—it will happen naturally when you're ready—but when it strikes, express it, without acquiescing to others' verbal jabs.

这种感受无法强迫--它会在你准备好的时候自然产生--但是，当它产生的时候，去表达它。不要对别人的语言猛击采取默许态度。

This paper guided by the theory of acquisition divides Chinese agglutinating complement into 14types on the basis of the former studies and gives a deep exploratio a of agglutinating complement in the natural language material and the questionnaire of foreign students of Indonesia.

本文在前人研究的基础上，将粘合式述补结构及其可能式分为9大类14小类，以语言习得理论为指导，对印尼留学生自然语料和调查问卷中的粘合式述补结构做了以下几方面细致的研究： 1。

The diction is simple as compared with that of the Elizabethan or the Neoclassic periods,and echoes the words and cadences of common speech.

区别于伊丽莎白时期或新古典主义时期的诗歌风格，并反映了普通语言和强弱自然的节奏。

It is the absence from them of any natural semantics of remembrance which disqualifies artificial languages form any but trivial or ad hoc usage.

它是缺席从他们使人造语言形式不合格其中任一记忆，但是琐细或特别用法的所有自然语义学。

The phenomena of nature differs from that of society in that the society is the outcome of human activity and the result of meanings, and is explicated by language.

社会现象与自然现象不同，社会是意义构成的产物，是人类活动的产物，并通过语言显现。

Qiu fully maximizes these traits to the fullest resulting in a new way of presenting art to the public, breaking free from the conventional way of using just ink in Chinese arts. The art of fissuring is not just a cultural icon, but also represents a form of spirit; every crack signifies the extension of history and its changes.

裂变的现象，从细胞乃至自然万物，一次次的裂变都是对历史认知的继承与革新。，仇德树先生正是用他独特的艺术语言将心中的人文情怀在其画中得以体现。

In one side, by studying the relationship between the speaking of Ereignis and the speaking of human being, we criticize the rational thinking in western metaphysic. And in the other side, Heidegger point out poetry, as the hearkening of the speaking of Ereignis, embodies the authentic existence of human being.

在这里我们一方面通过对道说和人言关系的揭示批判了形而上学理性思维给人类带来的威胁，另一方面又认定在诗的语言中我们可以看到人类生存的本真状态，诗作为进入存在之澄明的开端就自然地闯进了我们的视野。

In such a way a series of vivid characters were produced during this period of timeIn the later half of 1940,movie literature scripts complied with the historical process of the Chinese modem literature,and echoed the turbulent tide of the times.Either emphasized on the consciousness of social criticism,or inclined to the consciousness of humanism,its ideological nature and the direction for creation was very explicit.But this "directional" expression and the demand were not conceptual,or stiffly inbreathed. It is the "concrete image",the "metaphor" of the text,revealed naturally in accordance with the development of the plot and the molding of characters.It can be said as "the wind rippled the surface of the water naturally" and presented excellent artistic technique and high standard.The film scripts writers of the society group undertook the Chinese movie tradition of moving with the history,on an unusual level achieved a new altitude of ideology,and obtained a new artistic achievements.

由于电影文学剧本独特的语言表达方式，其在人物塑造上具有不同于小说、戏剧的特点。1940年代后半期电影剧作者高度重视电影文学剧本中人物形象的塑造，运用电影化的思维方式来刻画人物，依托人物性格的发展来展开故事，使得这时期电影文学剧本在引人入胜的故事书写中，绘就出了一长串内涵丰富、形象生动、有血有肉的人物群。1940年代后半期电影文学剧本既顺应着中国现代文学的历史进程，又呼应着动荡巨变的时代大潮，无论是侧重社会批判意识的，还是倾向人文关怀意识的，其思想性或方向性是非常明确的，但这种&方向性&的表达和诉求既不是概念性的，也不是生硬的灌输，而是&具体形象&的，是&隐寓&文本之中，在故事情节发展和人物性格塑造之中自然而然地流露出来的，可以说是&风行水上，自然成纹&，呈现出高超的艺术技艺和水准。

But how far the seizing on countries already peopled, and driving out or massacring the innocent and defenseless natives, merely because they differed from their invaders in language, in religion, in customs, in government, or in color; how far such a conduct was consonant to nature, to reason, or to Christianity, deserved well to be considered by those, who have rendered their names immortal by thus civilizing mankind.

但是，究竟能够在多大的范围内，在已经有人定居的国家中获取财产，并驱赶或猎杀那些无罪和毫无抵抗的原居民，仅仅因为他们在语言，宗教，习俗，政府或肤色上不同于入侵者；这样的行为究竟在多大的程度上能够与自然，理性或基督教相一致，这些问题应当很好的根据先人——这些人的名字已经被文明的人类视为不朽——加以考虑。

In addition, linguistic inputs and outputs are more natural and more similar to people reasoning.

此外，语言的输入输出控制更自然、更符合人的推理方式。

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。