随意地

"Go back to your work, Becky," Miss Amelia had said; but she had stopped to pick up reverently first a muff and then a coat, and while she stood looking at them adoringly, she heard Miss Minchin upon the threshold, and, being smitten with terror at the thought of being accused of taking liberties, she rashly darted under the table, which hid her by its tablecloth.

"干你的活儿去，贝基，"虽然阿米莉亚小姐已经斥责过她了，但她还是留在了那里，先是无比敬仰地拣起了一只皮手套，随后是一件外套，就在她站在那儿羡慕地欣赏时，听见铭钦女士已经到门口了，这才想起自己如此随意的举动务必会遭到责斥，禁不住开始感到害怕，情急之下她冒险钻到了桌子下面，桌布把她给遮蔽了。

Now that I have, not without difficulty, elucidated some tricky problems - who and what is worthy of the aulic vernacular, as well as which form I consider worthy of such honour as, alone, to be suited for the vernacular at its highest - I wish, before moving on to other matters, to enquire thoroughly into the canzone form, which many clearly employ more at random than according to the rules; and since, so far, all this has been taken for granted, I will now throw open the workshop of that art (leaving the forms of ballata and sonnet aside for the moment, since I plan to explain them in the fourth book of the present work, which will deal with the middle level of the vernacular).

上面我不无艰难地阐释了一些棘手的问题——谁和什么东西能够与高贵的方言相配，以及是什么构成了我认为能与最高贵的方言相配并享有这一荣誉的事物——我希望在转而讨论其他问题之前，对歌曲这一形式进行彻底探究，很多歌曲明显是随意创作而非根据特定的规则；因此，到目前为止，所有这些都被想当然地认可了，我将打开这一技艺工匠铺（暂时不考虑民谣和十四行诗，因为我将在本书的第四章再做解释，第四章将探讨中等的方言）。

Lucid dreaming is consciously perceiving and recognizing that one is in a dream while one is sleeping, sometimes leading to control over the "dreamscape", or the faux-reality dream world within a dream.

自觉的梦境：一个人在睡眠状态中，有意识地觉察和识别出自己是在梦境之中。这种当下的觉察，可以导致对梦境的掌控，从而驾驭梦境的走向，并可以有意识地对梦境随意幻化。

Her youth became his .This youth which she wore so carelessly and shared so freely, he clutched to himself possessively, glorying in the wonder of its second coming, fearful lest its stay prove merely transient .

她的年轻变成了他的，这种年轻被她随意的消磨了，慷慨地与人共享了，他紧紧地抓到自己手里，为青春的第二次到来既惊叹又自豪，生怕青春的驻留被证明只是瞬间的事情。

In these artworks, illusive emotions with personal and interesting tones appear natural and casual. The selection of materials has become an attitude. Styles and forms have become the carrier of attitudes. Feelings and experiences are expressed without interpretation. It appropriates and uses, without any moral judge, any claim or any answer for any question. Willfully, subjectively and unfaithfully copying the world, art has an unprecedented lack of need to claim its rightfulness, or to force its audience to understand that the work is about. It even intentionally returns to a kind of naivety. The works seem to be excreted rather than constructed. These are all prominent features of postmodernist creations in a social situation that beholds neoliberalism as the mainstream ideology.

幻觉式的情感、富于个人性和趣味性的语调，不动生色地刻意雕琢却以最平淡随意的形式出现，对材料的选择作为一种态度，风格和形式也成为态度的载体，不需要被阐释只需要被感知、体验、欣赏和使用，不做任何道德判断，不发表任何声明，或对某个问题做出一个答案，肆意地、主观地、不忠实地去复制世界，艺术前所未有地不需要去证明自己的正当性，也不要求人们去探问艺术作品在说什么，甚至有意地回归到一种天真的状态，作品似乎是被分泌出来的，而不是被构造出来的，这些都是在以新自由主义为主流意识形态的社会形势中后现代主义作品的最显著的特点。

Feng Zikai surveys all with wisdom eye alone, is expert in drawing the pregnant life meaning from the common trivial matters and exerts the speciality of cartoon's random, relaxation and activity in full. He forms a straightforward natural and common strange style by trivial matters around, daily information and fragment idea revealing straight and mixedly.

丰子恺先生独具慧眼地审视一切，善于从平凡琐屑的事中画出耐人寻味的人生意味，他充分发挥了漫画随意、轻松、活泼的特长，一任身边的琐事，日常的见闻，片断的思想率然地、杂然地流露，自成一种率真自然，平中见奇的风格。

Before his facile perils and ready laugh, life was no longer an affair of serious effort and restraint, but a toy, to be played with and turned topsy-turvy, carelessly to be lived and pleasured in, and carelessly to be flung aside.

生命在他那些唾手而得的胜利和随时爆发的哈哈大笑面前再也不是严肃的进取和克制，而成了供他随意摆弄颠倒的玩具，任随他满不在乎地度过、嬉戏，满不在乎地抛弃。

In about a century' s time, their livelihood of swidden agriculture has been changing greatly along with the natural and social environment change. Before 1950s, as a minor group frequently move in the subtropical mountainous area characterized by scarce arable land, high forest coverage rate and sparse population, Kemu people has long been engaged in swidden agriculture which was simple, called for no sophisticated production tools and was suitable for frequent movement. At that time, they adapted to the environment change mainly by moving frequently from one place to another, and their livelihood was featured by complete dependence on environment, frequent movement and swiddening without continuous cultivation. From 1950s to early 1970s, their way of adaptation changed into migration within defined territory and shortterm fallow featured by complete dependence on environment, migration within limited area and short fallow. In early 1970s, they leaned from outside to cultivate irrigated fields and plant cash forest and their livelihood was featured by complete dependence on environment and agro-forestry.

近一个世纪以来，随着其所处自然环境和社会环境的变迁，其刀耕火种的生计方式在不断地变化：20世纪50年代以前，作为频繁迁徙于山多地少、森林覆盖率高、人烟稀少的热带、亚热带山区的弱小族群，以开发容易，便于流动作业不需要复杂生产设施的刀耕火种为其传统的生计方式，主要以迁徙的方式对环境变迁进行调适，其刀耕火种生计方式的特征表现为完全依赖型、随意迁徙型、无轮作型；20世纪50年代至70年代，其主要以固定区域内迁徙和短期轮作的方式对环境变迁进行调适，其刀耕火种生计方式的特征表现为完全依赖型、在固定区域迁徙型、短期轮作型刀耕火种；20世纪70年代初，其主要以外文化——开拓水田及人工造林的方式对环境变迁进行调适，其刀耕火种生计方式的特征表现为部分依赖型、粮林轮作型刀耕火种；20世纪80年代以后，其主要以发展橡胶种植业对环境变迁进行调适，其刀耕火种生计方式的特征表现为暂时依赖型刀耕火种。

I visited his studio once and found all sorts of little visual treasures: from sketchbooks and painting journals to collages, calendars, and books. The journals did not seem to be thematic experiments, but sincere and humble explorations of an inner self. While these quiet paintings speak volumes about Cao's introverted character, they also betray the psychological mystery of his persistence in painting insects.

我曾经在他的工作室里看到大批他未发表的作品，那些作品是一种绘画日记，用报纸、日历、文字的碎片随意拼贴起来，并加以感性的图绘，那些绘画日记不是一种主题式的表达，而是一种发自内心的叙述，我认为它们十分真实地表现了曹静萍内倾的性格，也多少透露出曹静萍持续地描绘昆虫世界的心理奥秘。

I visited his studio once and found all sorts of little visual treasures: from sketchbooks and painting journals to collages, calendars, and books. The journals did not seem to be thematic experiments, but sincere and humble explorations of an inner self. While these quiet paintings speak volumes about Cao's introverted character, they also betray the psychological mystery of his persistence in painting insects.

我曾经在他的工作室里看到大批他未发表的作品，那些作品是一种绘画日记，用报纸、日历、文字的碎片随意拼贴起来，幷加以感性的图绘，那些绘画日记不是一种主题式的表达，而是一种发自内心的叙述，我认为它们十分真实地表现了曹静萍内倾的性格，也多少透露出曹静萍持续地描绘昆虫世界的心理奥秘。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。