赎

And the priest shall put of the oil that is in his hand upon the tip of the right ear of him that is to be cleansed, and upon the thumb of his right hand, and upon the great toe of his right foot, upon the place of the blood of the trespass offering

14：26 祭司要把些油倒在自己的左手掌里，14：27 把左手里的油，在耶和华面前，用右手的一个指头弹七次，14：28 又把手里的油抹些在那求洁净人的右耳垂上和右手的大拇指上，并右脚的大拇指上，就是抹赎愆祭之血的原处。

And the priest shall put some of the oil that is in the palm of his hand on the lobe of the right ear of the one who is to be cleansed and on the thumb of his right hand and on the big toe of his right foot, upon the place of the blood of the trespass offering.

14：28 又把手掌里的油抹些在那求洁净之人的右耳垂上，和右手的大拇指上，并右脚的大拇指上，就是抹在赎愆祭牲之血的地方。

They shall eat the meat offering, and the sin offering, and the trespass offering: and every dedicated thing in Israel shall be theirs.

44：29 素祭，赎罪祭，和赎愆祭他们都可以吃，以色列中一切永献的物都要归他们。

And of the rest of the oil that is in his hand shall the priest put upon the tip of the right ear of him that is to be cleansed, and upon the thumb of his right hand, and upon the great toe of his right foot, upon the blood of the trespass offering

14：17 将手里所剩的油抹在那求洁净人的右耳垂上和右手的大拇指上，并右脚的大拇指上，就是抹在赎愆祭牲的血上。

And the priest shall make expiation for him before Jehovah with the ram of the trespass offering for his sin which he has committed; and the sin which he has committed will be forgiven him.

19：22 祭司要为他所犯的罪，用赎愆祭的羊在耶和华面前为他遮罪，他所犯的罪就必蒙赦免。

He slides the Mozart album from its sleeve, lays it on the platter, and lowers the tone arm to his favorite cut.

肖申克的救赎》我看了不下十五遍了，对这首歌印象很深刻，一直想找这首歌，今天终于有时间做这项工作了，查找关于它的资料还蛮困难，只知道这是莫扎特的歌剧《费加罗的婚礼》中的第二十一曲伯爵夫人和苏珊娜的小二重唱，下面引用一些电影中Red的描述吧，我想大多数人对它的理解也仅限于此吧。

To be clear, I'm not saying that it is atheism, but that it sounds oddly like it in this sense: that it is so bound to a this-worldly focus that we really do not hear anything about God himself-his character and works in creation, redemption, or the resurrection of the body and the age to come.

必须澄清的是，我并不是说这是无神论，但从这个意义看却像无神论：它受限于一种今生属世的专注，以致我们听不到任何关于神自己的事-祂的本性和祂创造，救赎之工，或是身体复活和未来的世界。

It's just too late when something happens.man should treat woman well in the daily life,make her feel that he loves her deeply.let's put future on ice for the moment,if you don't treat me well now,it's not useful even if you treat me well in the future.maybe you will have no chance to stop the wheel of the car rushing towards me for me.maybe you will have no chance to atone for me with all of your savings from the kidnapper.

等到有事发生，已经太迟了。男人平时就该对女人好，让她觉得他很爱她，让她觉得幸福。暂且不要说将来，现在对我不好，将来怎样好也是没用的。也许你这一辈子也没机会用身体为我挡住一辆冲过来的汽车。也许你一辈子也没机会用你毕生积蓄把我从绑匪手上赎回来，我更不愿意我遭逢不幸而你不离不弃。

The trespass money and sin money was not brought into the house of the LORD: it was the priests'.

12：16 惟有赎愆祭，赎罪祭的银子没有奉到耶和华的殿，都归祭司。

The money from the trespass offerings and the money from the sin offerings was not brought into the house of Jehovah; it was the priests'.

12：16 惟有赎愆祭的银子和赎罪祭的银子，没有奉到耶和华的殿，都归祭司。

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。