回响的

The theory of Confucianism founded by Lu Gu and Jia Yi was originated from the theory of Xun Zi, However, not the same as the thougt of Lu Gu, in the theory of Jia Yi, which reflected the aristocracy-oriented feature of the upper class, the ideology of aristocratism was aroused. Han Ying initiated the self-awakening man's original mind or nature and reestablished the theory of born good. His theory was regarded as an anabranch of Confucianism in the early stage of Han Dynasty, and a reecho of historical movement of the aristocratic theory of Confucianism advocated by Confucius and Mencius. During the periods of Emperor. Jing of Han and Emperor Wu of Han, an aristocratic upper class had come into being. Therefore, in the face of the society that experienced populace-oriented baptism, Dong Zhong-shu kept down the aristocratic components existed in Jia Yi's theory, absorbed populace-oriented consciousness, which formed the foundation for theoretical system, and transferred instrument-centered Confucianism to the one with sanctification. Thus, Confucianism acquired its theoretical remolding and historical transforming.

汉初的陆、贾儒学的思想理路是由荀学发展而来，但不同于陆贾之说，在贾谊思想里，作为当时上层社会走向贵族化这一时代特征的反映，贵族化思想成分开始被唤起；陆、贾之后的韩婴则倡导心性修养，重建性善论，他的学说是孔孟儒学贵族化历史乐章之回响，为汉初儒学的支流；景武之际，汉初上层社会已经完成了贵族化转变，为此，董仲舒保留了贾谊学说中的贵族化思想成分，然更为重要的是，面对一个经过平民化洗礼的社会，董仲舒吸纳平民思想意识以建构理论体系，将陆贾、贾谊承自荀子的工具性特征显著之儒学转变成具神学特征的儒学，使儒学获得一次理论上的大改铸，实现了儒学的历史转型。

Jean francois blondel,and later with gilles marie oppenord.from the former he acquired great respect for traditional french design and frpm the latter great facility in the new picturesque,or rococo,manner.he also developed fine techniques as an engraver.although he traveled throughout france,there is no record of travel to other countries.his knowledge of the history of architecture outside france was extensive and based on the study of published sources.his knowledge of architecture in france, its history and techniques, was wide and based on a deep familiarity with the literature and with the buildings of france.

Jean francois blondel ，之后和 marie oppenord 学习。从前者他为传统法兰西设计获得了极大的回响和尊重并且从中获得了新独特的技巧，或者从洛可可形式，在模式中的最后这让他更为纯熟。他也为铭刻者发展更好的技术。虽然他遍及法兰西运动，但是对其他国家并没有传播的记录。他的架构建筑学和历史的知识是广泛的。是基於出版动力的学习研究。他在法兰西，它的历史和技术中，建筑学的知识广泛用文学和用法兰西的建筑基於一个很深很熟练的基础。

God bless the Union; it is dearer to us for the blood of brave men which has been shed in its defenses The spots on which they stood and fell; these pleasant heights; the fertile plain beneath them; the thriving village whose streets so lately rang with the strange din of war; the fields beyond the ridge, where the noble Reynolds held the advancing foe at bay, and, while he gave up his own life, assured by his forethought and self-sacrifice the triumph of the two succeeding days; the little streams which wind through the hills, on whose banks in aftertimes the wondering ploughman will turn up, with the rude weapons of savage warfare, the fearful missiles of modem artillery; Seminary Ridge, the Peach Orchard, Cemetery, Culp, and Wolf Hill, Round Top, Litttle Round Top, humble names, henceforward dear and famous-no lapse of time, no distance of space, shall cause you to be forgotten.

联邦得上帝的保佑，得勇士们为之洒血捍卫，我们对它无不感到弥足珍贵。峥嵘岁月，沧海桑田，他们曾经战斗并倒下的地方依旧；那些恬美的高地依旧；街巷里不时回响着战火喧嚣的村落也又灯火依旧；战地外的原野依旧，在那里英武的雷诺将军曾经抵御进攻的敌人，并以自己的远见卓识无私献身确保了后来两天的胜利；环绕山岗的溪流依旧，溪流岸边走来战后悠闲的耕夫，拎着残酷战场遗留下来的粗陋武器和可怖的弹片炮灰； Seminary Ridge， the Peach Orchard， Cemetery， Culp， and Wolf Hill， Round Top， Litttle Round Top，无名的，及后来的有名的，这一切都让你们感到自己的渺小。

Like Mark Eitzel of American Music Club, to whose work the Painters were invariably compared and to whom their early success owed a tremendous debt, Kozelek laid his soul bare on record, conjuring harrowingly acute tales of pain, despair and loss; unlike Eitzel, Nick Drake and other poets of decay, Kozelek's autobiographical songs walked their tightrope without a net — forsaking the safety offered by metaphor and allegory, he faced his demons in the first person, creating a singularly haunting body of work unparalleled in its vulnerability and honesty.

Mark Kozelek经常会和American Music Club乐队的Mark Eitzel相提并论，而事实上Kozelek的确继承了Eitzel的音乐气质，他在音乐中讲述着悲痛敏感的故事，它总是让人感到痛苦、绝望和失落。Kozelek也有不同于Eitzel、Nick Drake这些颓废派摇滚诗人的地方，在他的作品中丝毫没有善意的寓言、模棱两可的美好，他习惯剖析自己的内心阴暗面，用独特的致命弱点和过份的诚实感让他的音乐回响在听者的灵魂深处。

But Yu Dafu's sadness is dejected nearly transfixion have depended on his entire novel creating middle, he leaves for our impression being also a so-called people if the person is gentle, heavyhearted love is burning , alive , tossing about, express the dreary tone memorializing an emperor out on his nerve slim and weak, disregarding his which sheet article to have echo to varying degrees, but sentimental , be eternal theme within...

郁达夫的感伤忧郁几乎贯穿在了他整个小说创作中，而他留给我们的印象也是如此人如其文的，忧郁的爱着、活着、辗转着，他那根纤弱的神经上鸣奏出的沉闷调子，无论在他哪篇文章里都有着不同程度的回响，而伤感，是永恒的主旋律……本文试从&郁达夫小说忧郁伤感的艺术特色的表现手法及其意义&和&郁达夫小说忧郁伤感的艺术特色的形成原因&两方面进行了论述。

Among the hearers sits old Rajah Pratap in weary endurance. For his own life had been nourished and encircled by Barajlal's songs, like a happy land which a river laces with beauty. His rainy evenings and the still hours of autumn days spoke to his heart through Barajlal's voice, and his festive nights trimmed their lamps and tinkled their bells to those songs.

在听众席上，老普拉塔普王耐着性子倦乏地坐着，因为他的生命曾经为巴拉杰拉的歌唱所围绕和哺育，宛如一块幸福的土地被河流的花边美丽地缀饰着；他那绵绵的雨夜，那秋日静谧的时辰，都通过巴拉杰拉的歌唱，向他的心灵诉说；他那欢乐的夜晚在这些歌唱的伴随下，装点起各色的灯盏，回响起丁当的银铃。

I find it very very easy to be true, I find myself alone when each day's through, Yes I'll admit that I'm a fool for you, Because you're mine, I walk the line Rodney Crowell; All these long years later it's still music to my ears I swear it sounds as good right now as anything I hear I've seen the Mona Lisa I've heard Shakespear read real fine Just like hearing Johnny Cash Sing I Walk The Line Johnny Cash; As sure as night is dark and day is light I keep you on my mind both day and night And happiness I've know proves that it's right Because you're mine, I Walk The Line Because you're mine, I Walk The Line

我发现独自度过每天是如此孤独。是的，我承认你是我无法抗拒的诱惑。因为我是你的，我会一往无前。许多年以后，音乐依然在我的耳边回响。我清楚地知道它听起来就像我听过的所有好音乐那样好听。我见过蒙娜丽莎。我听过莎士比亚诵读真正优美的东西，就像听Johnny Cash唱《一往无前》这首歌。就跟夜晚黑暗白天光明一样，我对你日夜牵挂。你是我的快乐之源。因为我是你的，我会一往无前。因为我是你的，我会一往无前。

During the inter-war years, Shanghai was known as the "Paris of the East", and was the most flourishing metropolis in the Far East, boasting not only the center of business, but also the paradise of the hedonists.

上世纪30年代，席卷世界的Art Deco风格的飓风登陆上海，这座新兴的东方都市以其飞速发展的自由经济和永无止境的消费热情呼应和张扬了Art Deco的精神与个性：摩登、时尚、激进、丰沛、勇往直前……那些蕴含着现代意识和自由精神的Art Deco建筑耸立在城市的各个角落，为上海这座城市投下了巨大的身影和永久的回响，并在上海人的心灵空间里，植入了现代主义自由勃发的激情。

Whispering to their spiritual Lord about the little things in their lives; their grief, their tears, their quarrels, their love, and their great ambitions.

我还可以听到那古老的钟楼在祈祷声中发出回响，仿佛是低声回答她们：&是的，与全中国其他学校相比，圣玛丽亚女校的宿舍未必是最大的，校内的花园也未必是最美丽的，但她无疑有最优秀、最勤奋好学的小姑娘，她们将以其日后辉煌的事业来为母校增光！&

Dainty abandon, sometimes as if Nature laughing on a hillside in the sunshine; serious and firm monotonies, as of winds; a horn sounding through the tangle of the forest, and the dying echoes; soothing floating of waves, but presently rising in surges, angrily lashing, muttering, heavy; piercing peals of laughter, for interstices; now and then weird, as Nature herself is in certain moods --- but mainly spontaneous, easy, careless --- often the sentiment of the postures of naked children playing or sleeping.

严、紧的单音，仿似来自风中；一声号角响彻了茂密纠结的森林，它的消逝却仍在回响；适才抚慰的飘荡的音潮，现在却激涌直上，暴怒地鞭苔着，怨诉着，变得沉重；更透过那宏亮的笑声，消逝在裂隙；时而诡异，仿佛自然之神正处于某种情绪--但更多的时候还是自然的、平易的、不经意的--就象光溜溜的孩童在嬉戏或酣睡时的感觉。

Cynanchum Lingtai apricot production in the average weight 65 grams, the brightly-colored fruit, juicy rich, sweet-sour taste, sweet from the nucleolus, when the late Qing Dynasty famous Shaanxi, Gansu provinces, the Qing imperial court Tongzhi tribute for years.

灵台生产的牛心杏平均单果重65克，果实色泽鲜艳，汁多味浓，甜酸适口，离核仁甜，清末时就驰名陕、甘两省，清同治年间曾为朝廷贡品。

Chenopodium album,Solanum nigrum, and Amaranthus retroflexus were very susceptible to the herbicides. Polygonum persicaria and Abutilon theophrasti were relatively less susceptible to the herbicides, and Lycopersicon esculentum was not susceptible to it. The relationship between reduction rates of weed biomass and PPM values of weed leaves 2,4, and 6 days after treatment was established.

供试的6种杂草对该混剂的敏感性存在显著差异：红心藜Chenopodium album、龙葵Solanum nigrum和反枝苋Amaranthus retroflexus对该混剂最敏感，ED90值分别为47.65、71.67和29.17g/hm2；春蓼Polygonum persicaria和苘麻Abutilon theophrasti敏感，ED90值分别为96.91、114.20g/hm2；而番茄不敏感。