虚幻地

The unfeeling feel/With the dry vehemence of the unreal,/So I, in the Idea of your arms,unwon,/Am as the realin the unreal undone.

吾得其人不得其心空洞的灵魂愤怒着/麻木的感觉已感知/伴之而来却空虚幻，/所以/我/在你/在你臂膀里的里，没有获胜，/只是真实地存在一个不真实的、失败

The Milky Way fragrance assails my nose, and the imaginary time-space in front extends continuously.

银河飘香香气袭人，虚幻的时空在前面不停地伸展。

This is why we go on, day after day, concocting fictions with utter seriousness.

这就是为什么我们日以继夜地以绝对的严肃性继续捏造着虚幻的故事的原因。

This is why we go on, day after day, 7 concocting fictions with utter seriousness.

这就是我们继续编写的原因，日复一日地用极致的严肃捏造着虚幻的小说。

This is why we go on, day after day, concocting fictions with utter seriousness.

这也是我们日复一日地用极致的严肃持续不断捏造着虚幻的小说的缘由之所在。

Equipped with the worldly wisdom gained from everyday life, she "deconstructs" for us the myth of love; yet due the position she takes, her works are also able to provide solace while disillusioning readers toward love and marriage.

她的作品由于站在平民的立场上，在最淋漓尽致地解剖虚幻婚恋的同时，也用一种和谐的立场去抚慰人心。

If you will try to form a notion of yourself, of the sort of a something that you suspect to inhabit and partially to control your flesh and blood body, you will encounter a walking bundle of superfluities: and when you mentally have put aside the extraneous things—your garments and your members and your body, and your acquired habits and your appetites and your inherited traits and your prejudices, and all other appurtenances which considered separately you recognize to be no integral part of you,—there seems to remain in those pearl-colored brain-cells, wherein is your ultimate lair, very little save a faculty for receiving sensations, of which you know the larger portion to be illusory.

如果你要试图形成一个关于&你自己&的概念，关于你以为它寄居在、并部分地控制着你的血肉之躯的那么个东西的概念，你会遇到一团行走的赘物：一旦你从脑子里撇开了这些外在的东西——你的衣装、你的肢体、你的躯干、你学来的习惯、你的欲望，以及你那些先天的特性和你的偏见，还有所有其他附属物，这些东西如果单独考虑起来，你就会意识到它们本不是你自己的一部分，那么，在你最终的居留处——珍珠色的脑细胞中，除了一种接收各种感官刺激（而且你知道其中大部分的感官刺激都是虚幻的）的功能之外，似乎已所剩很少。

If you will try to form a notion of yourself, of the sort of a something that you suspect to inhabit and partially to control your flesh and blood body, you will encounter a walking bundle of superfluities: and when you mentally have put aside the extraneous things — your garments and your members and your body, and your acquired habits and your appetites and your inherited traits and your prejudices, and all other appurtenances which considered separately you recognize to be no integral part of you,— there seems to remain in those pearl-colored brain-cells, wherein is your ultimate lair, very little save a faculty for receiving sensations, of which you know the larger portion to be illusory.

如若你努力形成自己的意识，形成某种你认为占据并部分控制着你血肉之躯的东西，你就会碰上一连串的累赘；而当你心里把这些身外之物——你的衣物，你的器官，甚至于你的肉身和你业已养成的习惯，你的欲望，你与生俱来的品质，种种成见以及其他所属——弃之不顾，并区别对待时，你会发觉自己不再是个整体。似乎在你最终的栖身之地——那些珍珠色的脑细胞里，只有极少数具有接收感觉的能力，而其他的大部分，要知道，是虚幻的。

He who tills his own land has food in plenty, but he who follows idle pursuits is a fool.

自耕其地的人，必得饱食；追求虚幻的人，实属愚昧。

Magic realism explores the real world''''s unrealities, and does not simply -- like FANTASY, Surrealism or fairy tales -- invent the dreamlike unrealities of ALTERNATE WORLDS.

魔幻现实主义探索现真实世界的虚幻，而并不是简单地──像奇幻、超现实主义或者神话故事──创造或然世界的非现实梦幻。

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。