苦闷地

And let me be Your moon,To mercifully end Your anguished day.

我愿是您明月，疼爱地终止您苦闷的一天。

He was sincerely influenced by the left-wing literature which stood for the stream of the times and exerted his utmost in every way to break through his selfhood, presented "pangs of living" and pangs of the times in his works, and turned out to be a faithful "describer of the epoch".

他真诚地接受了代表时代潮流的左翼文学的影响，努力从各个方面突破自我，表现"生的苦闷"和时代苦闷，成为忠实的"时代表现者"。

Eight or nine years after the events narrated in the second part of this story, people noticed on the Boulevard du Temple, and in the regions of the Chateau-d'Eau, a little boy eleven or twelve years of age, who would have realized with tolerable accuracy that ideal of the gamin sketched out above, if, with the laugh of his age on his lips, he had not had a heart absolutely sombre and empty.

在本故事第二部分谈到的那些事发生后的八年或九年左右，人们在大庙路和水塔一带，时常看见一个十一二岁的男孩，嘴边带着他那样年纪所常有的笑容，心里却是绝对的苦闷和空虚，如果不是那样，他便相当正确地体现了我们在前面勾画过的那种野孩的形象了。

CHAPTER XIII LITTLE GAVROCHE Chinese Eight or nine years after the events narrated in the second part of this story, people noticed on the Boulevard du Temple, and in the regions of the Chateau-d'Eau, a little boy eleven or twelve years of age, who would have realized with tolerable accuracy that ideal of the gamin sketched out above, if, with the laugh of his age on his lips, he had not had a heart absolutely sombre and empty.

十三 小伽弗洛什英文在本故事第二部分谈到的那些事发生后的八年或九年左右，人们在大庙路和水塔一带，时常看见一个十一二岁的男孩，嘴边带着他那样年纪所常有的笑容，心里却是绝对的苦闷和空虚，如果不是那样，他便相当正确地体现了我们在前面勾画过的那种野孩的形象了。

Eight or nine years after the events narrated in the second part of this story, people noticed on the Boulevard du Temple, in the regions of the Chateau-d'Eau, a little boy eleven or twelve years of age, who would have realized with tolerable accuracy that ideal of the gamin sketched out above, if, with the laugh of his age on his lips, he had not had a heart absolutely sombre empty.

在本故事第二部分谈到的那些事发生后的八年或九年左右，人们在大庙路和水塔一带，时常看见一个十一二岁的男孩，嘴边带着他那样年纪所常有的笑容，心里却是绝对的苦闷和空虚，如果8 tt t8.com 不是那样，他便相当正确地体现 ssbbWw 了我们 sSBbWw 在前面勾画过的那种野孩的形象了。

So you master separately action, we return to Fuchu expired in January, we all bring good points of views over the dispute, so that we can view mountain cave, five, six have their pros and cons, masters理法and facilities, no chat convince the public can not decide杨侍郎cooked is cooked wrong, home is boredom,忽听clerk said:"Why not adults and so it goes," a statement after the hearing, the hearts feel pleased but not show, perhaps to a few relatives, the night went to the capital they have points to the division of acupuncture points, the尺许a deep hole and a pack of segments and all geographic landform recorded in the small of the above, together with a small sealed together, shipped home杨侍郎well marked, the to record a small hide, and in the back garden is also out of the ground floor of a packet of soil mixed with one, then called a number of feng shui masters, let them in accordance with fighting in the territories, to the segments of the geographical situation and topography Commentary out, and indicate whether the good point here, whether rich fat and Housing sub-conditions in order to compare with the original records.

于是各位大师便分头行动，一月期满大家回到府中，大家都献上佳穴，各抒己见争执不下，于是大家一同登山观穴，五、六处各有利弊，大师们理法并施，谈天说地无人服众，杨侍郎也无法定夺熟是熟非，回到家中正在苦闷，忽听师爷说道："大人何不如此这般"，听言后，心中暗喜，便叫来几位亲戚，连夜赶往京师地师们所点之穴位，开穴一尺许深并取土一包，并把地理地貌统统记录在小本之上，连同小本一起密封起来，运回家中，杨侍郎作好记号后，把记录小本藏起来，并在后花园的地下也取出一包土混在其中，尔后叫来几位风水大师，让他们根据斗中之土，把所取土之处的地理形势和地形地貌解说出来，并说明此地是否佳穴，能发富贵否与及房分情况等，以便与原记录作比较。

From morbidezza and softness to impulsion and sentiment, it is the important conversion. It is inconsistent that have impulsion and sentiment in the same period. This is the embodiment that writers have the dilemma in moral at that time. Literature in 1920s pour out the Chinese modern writers' dilemma in moral with its' particular aesthetics style.

既"冲动激越"又"感伤苦闷"，这本来就自相矛盾的两种风格却不可思议地统一于这一时期的诸多作品中，正是道德两难困境在1920年代中国作家身上的体现。1920年代文学以其独特的美学风格诉说着中国现代作家的道德两难困境。

First, as Lineker hinted, the agonising wait to watch your team's score flick round on Teletext had a masochistic appeal of its own.

首先，正如莱因克尔指出的，通过文电系统苦闷地等待看你的球队进球得分，本身就有一种受虐倾向。

For the next 20 years Engels worked grumpily away, handing over half his generous income to an ever more demanding Marx.

在接下来的20年中，恩格斯一边苦闷地经商，一边将他不菲收入的一大半都交给那个多少有点苛求的马克思。

No one would say they sound speakers, then it also says bad turntables, we bored waiting, and finally they said could not find Mozart's "Magic Flute", actually asked ...

他们一会说喇叭没声音，一下子又说唱盘坏了，我们苦闷地等待，最后他们又说找不到莫扎特的《魔笛》，居然问。。。

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。