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The mode of baptism is morally indifferent though effusion is exegetically and historically preferable since, in the history of salvation, the only ones who were immersed were those who were not on the Ark with Noah and Pharaoh and his armies.

虽然在解经和历史上偏向于洒水礼，但是浸礼的形式在道德上是不重要的，这是因为在救赎历史中，被淹没的是那些不在挪亚方舟里的人，以及法老和他的军队。

God is an invisible, personal, and living Spirit, distinguished from all other spirits by several kinds of attributes: metaphysically God is self-existent, eternal, and unchanging; intellectually God is omniscient, faithful, and wise; ethically God is just, merciful, and loving; emotionally God detests evil, is long-suffering, and is compassionate; existentially God is free, authentic, and omnipotent; relationally God is transcendent in being immanent universally in providential activity, and immanent with his people in redemptive activity.

上帝是一种无形的，个人化的，生活的精神，而有别于其他所有烈酒数种特质：形而上学的上帝是自我存在的，永恒的，不变的；智力神是无所不知，忠诚，智慧；伦理的上帝是公正，慈悲和爱好；感情上上帝detests邪恶的，是长期的痛苦，是值得同情的； existentially上帝是免费的，真实的，无所不能； relationally上帝是超越性，在被上苍普遍在天赐活动，而内在与他的人民在救赎的活动。

There are poems relating to sins and their atonement, errors in performing rituals and their expiatory acts, political and philosophical issues, and a wonderful hymn to Prithvi or Mother Earth.

也有诗是有关罪和它们的补赎，履行典礼出现的错误和补偿的行为，也有诗是政治和哲学上的论点，一首奇妙的是诗是写给帕娃蒂或大地母亲的。

First,"Dreams of the Red Chamber" is a complete overthrow of the Chinese traditional twenty-four histories, and has opened up for us, in a gigantically breading way, the third pedigree of human history with the male and female love as the core and different from the pedigree with the dual division between the good and the bad. Next, along with the affirmation of the third pedigree of human beings,"Dreams of the Red Chamber" enable the female sex acting as the "second sex" for long to come again onto the stage in the human history, thus unprecedentedly disclosing the incomparably grave historic tragedy of the female sex in reality. Finally, more importantly,"Dreams of the Red Chamber" not only consider the ruling of the current discourse as the deepest cause of the female tragedy but also make a restoration with the meaning of the life generation science for the human discourse so as to make the initial word "discourse of love" more original than the discourse of the knowledge nature and bring the following of "God of lover", the new salvation way, into the agenda.

首先，《红楼梦》是对中国传统二十四史的彻底颠覆，并大破大立地为我们开辟出有别于善恶二分谱系的一种以男女情爱为核心的人类历史第三谱系；其次，随着对这一人类第三谱系肯定，《红楼梦》使长期作为&第二性&的女性在人类历史中重新登场，并前所未有地揭露了现实中女性无比深重的历史悲剧；最终，更重要的是，《红楼梦》不仅把现行话语的统治视为女性悲剧的最为深刻原因，而且同时对人类话语进行了一种生命发生学意义的还原，而使一种有别于知识性话语的更为始源的&情的话语&这一泰初之言得以彰显，把对&情的上帝&的昄依这一新的救赎之途提到人类文化的议事日程。

Thesis Three: Sola Gratia 命题 3:唯独恩典 We reaffirm that in salvation we are rescued from God's wrath by his grace alone.

我们在这里从新再肯定我们能够获得救恩并从上帝的愤怒得遇被救赎出来乃是单靠主所思的恩典。

Hyle. This setting free of the light sparks is the process of salvation; when all light shall have left Hyle, it will be burnt up, destroyed, or be a sort of everlasting hell for the Hylicoi.

此设置免费的根据是火花的过程中救赎；时，所有轻，应已离开hyle ，这将是烧毁，销毁，或得到一种永恒的地狱为hylicoi 。

God won't ask why it took you so long to seek Sslvation. He'll lovingly take you to your mansion inheaven,and not to the gates of Hell.

上帝不会问你怎么花那么长时间在寻找救赎，他会慈祥地将你引领到天上的家，而不是把你推向地狱之门。

Sakyamuni won't ask why it took you so longto seek salvation. he'll lovingly take you to your mansion inheaven, and not to the gates of hell.

释迦牟尼不会问你怎么花那么长的时间在寻找救赎，他会慈祥地将将你引领到天上的家，而不是把你推向地狱之门。

Soon enough, Konrad Curze saw a glimpse of salvation for his world.

很快的，康纳得'克兹就觉得自己已经救赎了他的世界。

Sinking into one colorful nightmare after another, which originated from the escape and loathliness to the outside world and intense self-struggle, she is longing for being redeemed and extricated

陷入一个又一个色彩纷杂的梦魇当中，这源于对外界的逃避与恶心，强烈的自我挣扎，渴望救赎与解脱。

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。