虚幻地

A little plot, just a little plot Standing among rivulet, trees, clay and Grass, close with Fields of my parents, my wife, my son and my brothers and sisters Hand in hand, from one field the water Flows into another, quietly 2 Persist in passion and hug to a drop of sweat Persist in sniff to a barnyard grass in the crops Persist in callousness to a pest In the wind coming, seedling or haulm Green or yellow, swaying or resisting Or, ignoring whatever With an original straw hat on the head, I just keep on bending down Making up myself with clay, and the green of the crops 3 Falling in love with a plot of field, deep in the city Ears are scrunched by cars A plot of remote field, a piece of visional picture Held firmly in hands, wet hands As if that was my own Prelife, this life, and afterworld

一小块，就那么一小块站在溪流，树木，泥土和青草的中间。紧靠着父母田，妻儿田，兄弟姊妹田手挽手，一块田里的水静静地流向另一块 2 坚持对一滴汗水的热爱拥抱坚持对一颗稗草的嗤之以鼻坚持对一只害虫的毫不手软有风吹来，秧苗或者稻草绿发或者黄发，起伏或者抵御或者，什么也不管本色的草帽，继续弯腰用泥土上妆，把自己绿化 3 爱上一块田，在城市深处耳朵被汽车碾伤一块遥远的田，一张虚幻的图片紧紧捧在的手上，湿润仿佛那是自己的前缘，今生，后世

The source seems visional, far, senseless and smell-less but it is inexhaustible power to supply all things.

天地的源头看似虚幻、飘渺、捉不著、闻不到；然而，祂却源源不绝地供应大地生生不息的动力。

The source seems visional, far, senseless and smell-less, but it is inexhaustible power to supply all things.

天地的源头看似虚幻、飘渺、捉不着、闻不到；然而，它却源源不绝地供应大地生生不息的动力。

The poet in the amount of white hair, I found a deep depression; in Beijing, I also see the last descendant of a lonely man, he was exhausted toward the graves of his trip to limp along, from one side of the late The family can not afford the existence of illusory draw is the joy of Men Tong, looking down at the land and in the cold wind shake in the deep grass Yu uncertain, while paying lip service to call:"There is a travelers will come, he had seen I have a good youth "; he would ask: Your QQ's that for the singers there?

在白发诗人的额间，我发现了深深的苦闷；我在北京时也看见了这最后的一位孤独伟人的后代，他正在精疲力竭地向着自己的坟墓蹒跚行去，一边不断从已故亲人的虚幻无力的存在中吸取令人感到闷痛的欢乐，俯视着冰冷的土地和在狂风中摇驭不定的深草，一边口里呼道："有个漂泊者将会到来，他曾见过我的好青春"；他将会问：你的QQ里的那为歌手在那里？

The sign of the Suntelia Aion isthe sun rising out of the mouth of the ouroboros, which will occur onthe solstice December 2012 - which links with the Mayan Calendar as asymbolic date for the clse our our reality - virtual reality program - Quetzalcoatl - and escalating Earth changes in the Ring of Fire.

Suntelia Aion 的标记是太阳从蛇的口中升起来，将会发生在2012年12月的冬至日上——与玛雅历法相连接，与我们的现实有关——虚幻的真实过程——羽蛇神——在火的包围的变化中从地面上逐步升起来。

In You Jin's work, Chaotic Code include the following meanings: first, color, light and lines are the main language characteristics, and the precise, ordered and mechanical depicting techniques stand out the random order and weaken traditional pictorial expression; second, in objective representation of images, garbled symbols emphasize a certain unreal sense of subjective construction with the representation of transient images; third, the atmosphere of the picture represents sublimation and ballyhack, bustling, calm and gloomy, which emphasizes the stimulation of visual sense; fourth, the subject of chaotic code indicates floweriness, change, and grotesque idea, implying that the hidden trouble of danger, horror, unsteadiness and peril potentially exists in the rapid developments of current society and the advancement of technical information.

看由金的作品，&乱码&包含了以下意义：一，在语言特征上，以色彩、光、线为主，以严谨、有序、机械的刻画手法，呈现乱中有序的特点，削弱了传统绘画性表现；二，在表现物象上，以虚幻的影像呈现，强调一种主观营造的非现实感觉；三，画面氛围，呈现着绚丽繁华、冷静沉郁、升华毁灭的氛围，强调视觉感官的刺激；四，表达主题，营造一种绚丽繁华、瞬息万变、光怪陆离的表象，暗示当代社会的快速发展及科技资讯的发达，潜在地存在着危险、恐怖、不稳定、不安全等的隐患。

Therefore, we shall not count on Marx to orient the analyse of divided class rule social condition's illusion conscioueness and its fuction as epistemologically, though there has been a lot of hard work to support the opposite idea.

既如此，就不能指望马克思将基于分裂的阶级统治的社会状况之意识形态虚幻及其辩护作用作认识论的定位，尽管常常有人大费周章地认为他确实这样做了。

If I talk about my company's culture, you know that at best I am talking loosely and impressionistically .

如果我说企业文化，您就会很清楚地知道，其实我在说一些很松散很虚幻的东西。

Bonaventure's The Mind's Road to God, which sees the world as a delusion and turns from it to suprarational experience.

阿奎那认为世界清晰有序地体现了上帝的理性，圣波拿文都拉则在《心向上帝的旅程》一书中认为万物皆虚幻，从而转向超理性的神秘体验。

And he should not disturb this borrowed impression by unmasking before company more than he can help .

而且他不应在情不自禁地在同伴前拿掉面具打乱这个虚幻的印象。

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。