平民的

The son of a father to whom history will accord certain attenuating circumstances, but also as worthy of esteem as that father had been of blame; possessing all private virtues and many public virtues; careful of his health, of his fortune, of his person, of his affairs, knowing the value of a minute and not always the value of a year; sober, serene, peaceable, patient; a good man and a good prince; sleeping with his wife, and having in his palace lackeys charged with the duty of showing the conjugal bed to the bourgeois, an ostentation of the regular sleeping-apartment which had become useful after the former illegitimate displays of the elder branch; knowing all the languages of Europe, and, what is more rare, all the languages of all interests, and speaking them; an admirable representative of the "middle class," but outstripping it, and in every way GRE ater than it; possessing excellent sense, while appreciating the blood from which he had sprung, counting most of all on his intrinsic worth, and, on the question of his race, very particular, declaring himself Orleans and not Bourbon; thoroughly the first Prince of the Blood Royal while he was still only a Serene Highness, but a frank bourgeois from the day he became king; diffuse in public, concise in private; reputed, but not proved to be a miser; at bottom, one of those economists who are readily prodigal at their own fancy or duty; lettered, but not very sensitive to letters; a gentleman, but not a chevalier; simple, calm, and strong; adored by his family and his household; a fascinating talker, an undeceived statesman, inwardly cold, dominated by immediate interest, always governing at the shortest range, incapable of rancor and of gratitude, making use without mercy of superiority on mediocrity, clever in getting parliamentary majorities to put in the wrong those mysterious unanimities which mutter dully under thrones; unreserved, sometimes imprudent in his lack of reserve, but with marvellous address in that imprudence; fertile in expedients, in countenances, in masks; making France fear Europe and Europe France!

他的父亲在历史上固然只能得到一个低微的地位，但他本人是值得敬重的，正如他父亲值得受谴责。他有全部私德和好几种公德。他关心自己的健康、自己的前程、自己的安全、自己的事业。他认识一分钟的价值，却不一定认识一年的价值。节俭，宁静，温良，能干，好好先生和好好亲王。和妻子同宿，在他的王宫里有仆从负责引导绅商们去参观他们夫妇的卧榻（在当年嫡系专爱夸耀淫风以后，这种展示严肃家规的作法是有好处的）。他能懂并且能说欧洲的任何种语言，尤其难得的是能懂能说代表各种利益的语言。他是&中等阶级&的可钦佩的代言人，但又超出了它，并且，从所有各方面看，都比它更伟大。他尽管尊重自己的血统，但又聪敏过人，特别重视自身的真实价值，尤其是在宗枝问题上，他宣称自己属于奥尔良系，不属于波旁系；当他还只是个至宁极静亲王殿下的时候，他俨然以直系亲王自居，一旦成了国王陛下，却又是个诚实的平民。在大众面前，不拘形迹，与友朋相处，平易近人；有吝啬的名声，但未经证实；其实，他原不难为自己的豪兴或职责而从事挥霍，但他能勤俭持家。有文学修养，但不大关心文采；为人倜傥而不风流，朴素安详而又坚强。受到家人和族人的爱戴，谈吐娓娓动听，是一个知过能改、内心冷淡、服从目前利益、事必躬亲、不知报怨也不知报德、善于无情地利用庸材来削弱雄才，利用议会中的多数来挫败那些在王权下面隐隐责难的一致意见。爱说真心话，真心话有时说得不谨慎，不谨慎处又有非凡的高明处。善于随机应变，富于面部表情，长于装模作样。

Humbly show unto our Sovereign Lord the King, the Lords Spiritual and Temporal, and Commons in Parliament assembles, that whereas it is declared and enacted by a statute made in the time of the reign of King Edward I, commonly called Stratutum de Tellagio non Concedendo, that no tallage or aid shall be laid or levied by the king or his heirs in this realm, without the good will and assent of the archbishops, bishops, earls, barons, knights, burgesses, and other the freemen of the commonalty of this realm; and by authority of parliament holden in the five-and-twentieth year of the reign of King Edward III, it is declared and enacted, that from thenceforth no person should be compelled to make any loans to the king against his will, because such loans were against reason and the franchise of the land; and by other laws of this realm it is provided, that none should be charged by any charge or imposition called a benevolence, nor by such like charge; by which statute:（efore mentioned, and other the good laws and statutes of this realm, your :（cts have inherited this freedom, that they should not be compelled to contribute to any tax, tallage, aid, or other like charge not set by common consent, in parliament.

，谦卑的呈给本次国会集会的我们世间的王，贵族院，以及众院，鉴于爱德华一世（1239 – 1307）国王统治期间制定的一部条令——通常称为&Stratutum de Tellagio non Concedendo&——所宣称和颁布的：若没有善意和王国内大主教，主教，厄尔，巴仁，骑士，自由民，以及平民中其他的自由民的同意，我们王国内的国王或者国王的继承人不得摊派或征收租税和援助；又爱德华三世（1312 – 1377）统治的第二十五年通过国会所拥有的权力所宣称和颁布的：自此，不得强迫任何人违背他的意愿借贷与国王，因为这样的借贷违背了理性和世上的权利；以及依据我们王国内提供的其它法律，不得以一种被称作捐税的索取征收任何东西，亦不得通过诸如此类的索取；依据以上提到的法律，以及其它王国内的善法和条令，你的臣民已经继承了这种自由，即他们不应当被强迫提供任何税款，租税，援助，或者其它没有国会共同同意的类似索取。

Hou uses a retrospective and reflective attitude in making this movie, scripting this historical incident to happen to a normal family, so that the story can be dealt with more rationally. On the other hand, he purposely posed Wenqing, the protagonist in the movie, as a mute. The protagonist being a mute seems to bring about a great restriction to the development of the story, but from another point of view, it actually maximizes the artistic potential of the movie. Visual footages were being presented continuously, and with the various incomplete images being pieced up gradually, it presents Wenqing's world to the viewers in an even clearer light.

导演以一种追忆和反思的姿态面对摄影机介入在已经流逝的时空里演绎一段历史事件在台湾平民家族所发生的故事以一种更为理性的态度去面对和思考电影本身的含义，却偏偏安排了文清，一个哑巴作为整个故事的主角，将电影化的手法扩大到最大，不能说话让故事的进行产生了很大的限制，在另一个角度来看却是将艺术的能量最大空间的给予了发挥的可能性，视觉资源被不断地挖掘，给了看的内容和条件，让人事物的原初画面在断裂的片断中慢慢的连接起来，残象贯穿正是让文清的世界变得更加的明朗化。

It is divided into three parts to discuss: In chapterⅠIt discusses the Yang Yazhou's film and teleplay creation of civilians orientation from the perspective of choose topics, all the film and teleplay of Yang Yazhou have chosen the pipsqueak for the main represent targets, focused on the demonstrating the state of survival and psychological changes of these figures in a Time of Change when the living conditions of China changed. Obviously, it accords with popular culture for publicity awareness of the requirements of the civilian population, and the current aesthetic habits of the civilians, at the same time, the consciousness of the topic choice made a tacit understanding with the reactive tendencies of reality of the world, and Chinese film movies, television dramas, and it is an excellent creative concept of inheritance and development in the Yang yazhou film and teleplay works. Stories often start around the family, family members and the major social relation of family members are described in detail. And the vicissitudes of life are similar to Motif of many folktales.

论文分为三章加以论述：第一章从题材选择的角度探讨了杨亚洲影视剧创作的平民化取向，杨亚洲的所有影视剧作品都选择了小人物为其表现对象，着力于展现这些人物在变革时代的中国当生活境遇发生改变时的生存状态和心理变化，这显然符合大众文化对于宣扬平民意识的要求，符合当下老百姓普遍的审美习惯；同时，这一题材选择上的自觉性也与世界电影史和中国电影、电视剧发展史中的现实主义创作倾向形成了难得的默契，是对一种优秀创作理念的继承和发展；在杨亚洲的影视剧作品中，故事往往围绕家庭展开，对家庭成员和家庭成员的主要社会关系进行了细致地刻画，并且他们之间的悲欢离合与我国民间故事中的诸多母题颇为相似。

Folk song has special charm of using "lay-folk poem" language. This paper discusses the characteristics of folk song's language from stylistic perspective in three parts. The first part discusses the concept of folk songs, the context type and its style belonging, confining the researching, analyzing the producing context of folk songs and introducing its style belonging simply. The second part analyzes the characteristics of 'lay-folk poem' language by using a number of examples, which includes the aspects of orallisition of its vocabulary application, the concision and deviation of its grammar, its regular rhetoric technique, the foil word and rhyme. The third part emphasizes the folk songs' function that different from other styles in emotion expressing, aesthetic views and practical aspects.

本文从语体角度分三个部分来探讨民歌语言的特色：第一部分阐述了民歌的定义、民歌语体的语境类型及语体归属，对本文的研究范围做出了界定，对民歌语体语言的生成语境做了分析，对民歌的语体归属做了简单的说明；第二部分从词汇运用的口语化、生活化，语法的简洁性与偏离性，常用的修辞手法，衬词及押韵五个方面来分析民歌语体的&平民诗歌&的特征，通过大量例证突出了民歌语言的特点；第三部分从表情、审美、实用三个方面对民歌的功能作了阐述，突出民歌语体有别于其它语体的特征。

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。