舞所不在 的英文怎麼說

Constantly regard the universe as one living being, having one substance and one soul ; and observe how all things have reference to one perception, the perception of this one living being ; and how all things act with one movement ; and how all things are the cooperating causes of all things which exist ; observe too the continuous spinning of the thread and the contexture of the web

始終把宇宙看成一個活生生的生命，有軀體，有靈魂；洞察所有事物如何指向同一觀念，指向活生生的宇宙的觀念；洞察所有事物如何跟隨一個動作起舞；洞察所有事物如何與所有存在事物互為因果；洞察命運之線和宇宙網路的不斷延展。

All those acquaintances, who had so often dined and danced in his house, and had so often laughed at his expense, were saying now with the same inward feeling of contrition and self - reproach, as though seeking to justify themselves : yes, whatever he may have been, he was a splendid man

所有這些常在他家吃飯跳舞，並且時常嘲笑他的人們，現在都懷著悔恨和內疚的心情，彷彿向誰作自我辯解似地說： 「不管怎麼說，他是一個極好的人。

The truth was, that the anticipated pleasures of the carnival, with the " holy week " that was to succeed it, so filled every fair breast, as to prevent the least attention being bestowed even on the business of the stage

實際上，這些美人兒的心裏都在惦記著狂歡節和接著來的復活節的種種歡樂，所以再也分不出心來注意舞臺上的演出，演員們在臺上進進出出，沒有人去看，也沒有人想到他們。

Harold bloom, a monumental and legendary figure of literary criticism at yale university, a name that cannot be avoided in poetry criticism, is one of the strongest and definitely the most prolific critics of his generation or of several past generations. professor xu jing, correspondent of foreign literature studies, interviewed professor bloom in may 2006. this interview focuses on his theory of poetry that was explosively brought forth in the 1970s by his famous tetralogy : the anxiety of influence, a map of misreading, kabbalah and criticism, and poetry and repression. bloom regards his theory of " the anxiety of influence " as his most important contribution to literary criticism, and uses " dancing " to explain his famous yet baffling six rations of " misprision. " always preoccupied with his own theory, bloom here again traces the precursors of emily dickinson and makes a brief comparison between walt whitman and wallace stevens. looking back to his past, bloom gives a summation of his life ' s trajectory as a critic : a revivalist of romantic poetry, a theoretician of poetry, and a critic for the general public. bloom began his career as a critic of british romantic literature in the afterglow of the new criticism. in the 1970s, bloom brought forth his explosive " theory of poetry " in the tetralogy publised in very quick succession in the 1970s. since the 1980s, bloom has become less technical and hopes to reach a wider readership. his literary criticism and what he calls his " criticism of religion " for the general public have made harold bloom a household name in america as well as in the world. at present, the 76 - year - old harold bloom is intensely engaged in the writing of what he hopes to be his masterpiece, the anatomy of influence, which is to be published in 2008 by princeton university press

哈羅德?布魯姆教授是耶魯大學具有里程碑意義和傳奇色彩的文學批評家，一個詩歌批評界的一個不可迴避的名字，是他那一代人或幾代人中最猛烈的、也無疑是最多產的批評家之一.本刊特約記者徐靜於2006年5月對布魯姆教授進行了采訪.本次訪談的重點是布魯姆在20世紀70年代以《影響的焦慮》 、 《誤讀的地圖》 、 《卡巴拉與批評》 、 《詩歌與壓抑》四部曲的形式相繼提出的、具有爆炸性的"詩歌理論" .布魯姆認為"影響的焦慮"是他對文學批評最重要的貢獻，並用舞蹈這一形象的比喻來解釋了他那著名的卻常常令人困惑的關于"誤讀"的"六個定量" .在訪談中，布魯姆還追溯了幾位對愛米莉?狄金森頗有影響的前輩詩人，並簡單比較了惠特曼和史蒂文斯.布魯姆將他的批評生涯概括為三個階段:浪漫主義詩歌的復興者，詩歌理論家以及面向大眾的批評者.在新批評的余輝中，布魯姆以對英國浪漫主義詩歌的批評開始了其批評生涯. 20世紀70年代布魯姆提出了他那爆炸性的、以四部曲的形式相繼問世的"詩歌理論" .進入80年代后，布魯姆的批評不再艱深難懂，他希望能擁有更廣大的讀者群.他為普通大眾所寫的文學批評及"宗教批評" （布魯姆語）使得哈羅德?布魯姆成為了美國以及全世界的一個家喻戶曉的名字.目前， 76歲的布魯姆正全力寫作《影響的解剖》一書，將於2008年由普林斯頓大學出版社出版

In his management bestseller, “ good to great ”, jim collins argued that the truly successful bosses were not the self - proclaimed stars who adorn the covers of forbes and fortune, but instead self - effacing, thoughtful, monkish sorts who lead by inspiring example

吉姆?科林斯在他的管理學暢銷書《聽大人物的話》中指出，真正成功的老闆不是那些裝點《福布斯》和《財富》雜志封面的所謂明星，而是那種為人謙卑、考慮周全、心無雜念並通過干一些鼓舞人心的事來領導公司的人。

Woven into the book s wide range of emotions is a consistent theme that forms a gentle backdrop for each poem : the omnipresence of divine love, the inspiration for master ching hai s lifelong search for truth

整本詩集交織著不同的情感層次，貫穿著一個共同的主題-這些詩篇均是在聖愛無所不在的體悟中蘊釀而生，而這正是無上師生命歷程中的一大鼓舞。

" tis you who have named him, as m. racine says. well, am i to rush into his arms, and strain him to my heart, crying, my father, my father

嗯，我是不是要沖進他的懷里，緊緊地抱住他，象演員們在舞臺所做的那樣大哭爹爹，爹爹呢？ 」

The snow lay yards deep in our road ; and, as we floundered on, my companion wearied me with constant reproaches that i had not brought a pilgrim s staff : telling me that i could never get into the house without one, and boastfully flourishing a heavy - headed cudgel, which i understood to be so denominated

一路上，雪有好幾碼深。在我們掙扎著向前走的時候，我的同伴不停地責備我，惹得我心煩。他罵我不帶一根朝山進香的拐杖，告訴我不帶拐杖就永遠也進不了家，還得意地舞動著一根大頭棍棒，我明白這就是所謂的拐杖了。

As with shakespeare, many of shaw ' s plays are continually restaged or rewritten into new media because shaw wrote on many themes which touch on the human condition, independent of time and space

和莎士比亞一樣，蕭的許多戲劇作品不斷被重新搬上舞臺或改編用在新的媒體上，這是因為蕭所寫的主題觸及人生百態，不因時間和空間改變而有所不同。

The play had three scenes, and master changed her character three times ; from that of a ravishing european lady, to a noble egyptian queen, and then to the au lac beauty of all time. once again, master displayed her rare and extraordinary talents ; she wrote and directed the play in a very short time, and coordinated the music with the set to spontaneously exhibit an impression of grandeur. she also designed all the costumes for three different time periods and cultures, which all the more stressed the uniqueness of the play

舞蹈分三幕，師父也變換了三種造型，從艷麗絕倫的歐洲貴婦尊貴的埃及女王到悠樂的絕代美人，師父再顯曠世奇才，在最短時間內，親自編排導演的這舞劇，融合樂曲布景，自然呈現壯麗的印象，又親自為表演的所有舞者設計三款不同時代文化的服裝，更加突顯舞劇的獨特精神。

As everybody knows, fine feathers make fine birds ; a peasant girl but very moderately prepossessing to the casual observer in her simple condition and attire, will bloom as an amazing beauty if clothed as a woman of fashion with the aids that art can render ; while the beauty of the midnight crush would often cut but a sorry figure if placed inside the field - woman s wrapper upon a monotonous acreage of turnips on a dull day

正如所有的人知道的那樣，人是樹樁，還要衣妝一個農村女孩子穿著簡單的服飾，隨隨便便看上去就讓人喜愛，要是像一個時髦女人加以打扮，加上藝術的修飾，就會光彩照人美不勝收了。而半夜舞會里的那些美女們，要是穿上鄉村種地婦女的衣服，在沉悶的天氣里站在單調的胡蘿卜地里，她們就會常常顯得可憐寒酸了。

But in all, and in almost every line of each, there was a want of that cheerfulness which had been used to characterize her style, and which, proceeding from the serenity of a mind at ease with itself, and kindly disposed towards every one, had been scarcely ever clouded

她素性嫻靜，心腸仁愛，因此她的文筆從來不帶一些陰暗的色彩，總是歡欣鼓舞的心情躍然紙上，可是現在，讀遍了她所有的信，甚至讀遍了她每一封信的字里行間，也找不出這種歡欣的筆調。

This kind of bad phenomenon, such as indifference to credit and contract, popularly speculating in business, malpractices in examination, lacking morality on internet, and cheating, stealing, betting, etc. leads to the so - called lack - of - credit, credit crisis and ever be indifference to the law, which are distorting the student ' s soul and are damaging their image

大學生誠信缺失的主要表現是：信用意識淡薄；契約觀念不強；投機風盛行；考試舞弊；網路道德失范，還有諸如騙、偷、 ? 、賭等等。所有這些在少數大學生身上表現出來的「誠信缺失」和「信用危機」甚至無視法律的行為，正在侵蝕和扭曲著大學生純潔的靈魂，損害著大學生的形象。

Before achieving success as a playwright and novelist, andersen was trained as a singer, dancer and actor. however when he was casually referred to as a poet by a friend it changed his focus. as he says, it went through me, body and soul, and tears filled my eyes

安徒生在成為成功的劇作家和小說家之前，曾受過歌手舞者和演員的訓練，不過卻因無意中被稱為詩人，而改變了他的生涯目標，誠如他所言：詩人的意象在我的身體和靈魂里流轉，讓我熱淚盈眶，從那一刻起，我就意識到要以寫作與作詩為職志。

Added to which was the coincidence of meeting, discussion, dance, row, old salt, of the here today and gone tomorrow type, night loafers, the whole galaxy of events, all went to make up a miniature cameo of the world we live in, especially as the lives of the submerged tenth, viz.,

再加上他們萍水相逢，一道談論，跳舞，爭吵，同這些行蹤不定的老水手，夜間的流浪者們，令人眼花繚亂的一連串事件都湊在一起，構成了我們所生活的這個世界的雛形浮雕。尤其是近來對「十分之一的底層階級」 184 ，也就是煤礦工人潛水員清道夫等等的生活，正做著精密的調查。

Hence, the peoole pay unprecedented attention on it and its quality has been improved gradually. but because of the news " complication and the diffidence of journalists " and the audience ' s scientific accomplishment, the scientific and technological news still has such problems as unscientific and unstraightaway. that ' s the reason it cannot accommodate itself to the front seat like the politics, sports and economic news. therefore, in the knowledge economic times which take science and technology as its base and core. it has important practical significance and theoretical vale to explore a way of releasing scientific and technological news from " unscientific " and " unpopular " shadow

知識經濟時代的大背景與「科教興國」戰略確立的小環境，從源與流兩方面為科技新聞提供了肥沃的土壤與廣闊的舞臺，科技新聞受到前所未有的關注，科技新聞的量與質均有了提高，但由於科技本身的復雜性、科技新聞工作者、受眾的科學素養不足以及某些科技工作者的價值觀異化等諸多原因，科技新聞存在著「不科學」與「不通俗」的弊端，使之仍不能像政治新聞、體育新聞、經濟新聞那樣「前排就座」 。

" i didn ' t know what i was doing, i just kept giving the fans everything i had on, " he adds. " i can ' t remember if they started calling for me to do it or not, but i had said to the players before the game that if we won i ' d strip off and give all my clothes to the fans

「我不知道我那時候在干嗎，我只是不停的把身上所有的東西送給球迷們， 」他補充， 「我不記得他們有沒有要求我這么做，但我之前就告訴了隊友們，如果我們贏了，我就給球迷們表演一場脫衣舞。 」

" i didn ' t know what i was doing, i just kept giving the fans everything i had on, " he adds. " i can ' t remember if they started calling for me to do it or not, but i had said to the players before the game that if we won i ' d strip off and give all my clothes to the fans

「我不知道我那時候在干嗎，我只是不停的把身上所有的東西送給球迷們， 」他補充， 「我不記得他們有沒有要求我這么做，但我之前就告訴了隊友們，如果我們贏了，我就給球迷們表演一場脫衣舞。 」

Miss pross recalled soon afterwards, and to the end of her life remembered, that as she pressed her hands on sydney s arm and looked up in his face, imploring him to do no hurt to solomon, there was a braced purpose in the arm and a kind of inspiration in the eyes, which not only contradicted his light manner, but changed and raised the man

普洛絲小姐隨后就回憶起，而且到死也還記得，在她用手握住西德尼的胳膊抬頭望著他的臉請求他不要傷害所羅門時，她感到那胳膊有一種鼓舞的動作，他眼裡也有一種激動的表情。這不但對消了他那滿不在乎的神氣，而且改變了他，使他高大起來。

This was not really due to their dislike of the tenor of his speech, which they had forgotten, indeed, after the great number of speeches that followed it. but a crowd is always pleased to have a concrete object for its love or its hatred

這種情況之所以發生，並不是因為對他的話的含義有所不滿在他之後又有許多人發表演說，他的意見早被人忘記了而是因為，為了鼓舞人群，必須有可以感覺到的愛的對象和可以感覺到的恨的對象。