In daily life, everything seems to come to rest unless you push it or you pull it or you exert some kind of force.
在日常生活中,一切物体都会停下来,除非你去推它,或者拉它,或者施加某种外力
and it seems like everything's lining up in my favor.
每一件事都很称心如意,我就觉得非常幸运。
Now that everything is did not live), it all seems a long time ago, though practically I still bear traces of the paint." Again, that parenthetical elides the death of the child.
这是莫娜的信:“现在一切都结束了,太可惜了,没能活下来!),一切似乎已经遥远,尽管自己至今,还在脸上留着残妆,“又一次的,这则附言草草提及孩子的死。
It seems to be presented entirely innocuously, no one in the dialogue objects to it, yet everything else follows from this idea that the city, the polis, is in the central respect like an individual, like the soul of an individual.
这似乎看起来完全无关紧要,所以对话中的每一个人都不反对,但之后所有的事都慢慢浮现,就从这个概念开始,城市、城邦,重视的核心与个人相同,也像个人的灵魂。
You've got to squeeze absolutely everything out of it, and so it was ideal from the standpoint of teaching and was, it seems to me, also wonderfully galvanizing intellectually because it really did make people think: "look how intricate what I thought was simple turns out to be."
你得完完全全把东西都挤干净了,正因如此,从教学本身的立场来看,这就是理想状态了,而在我看来,它能使人如醍醐灌顶,因为它真的在引导人们思考:,“我想象得很复杂的东西原来是这么简单的一回事儿啊!“
and it seems like everything is really, really expensive.
但似乎每一件都特别特别贵。
So, if language seems exhausted because it's always preceding you, everything has always already been said, there's no new plot to be had, the world is full of stock phrases, how do you use them to embody an experience that seems fresh to you?
所以,如果因语言,在你之前就存在,而它就显得枯竭,如果一切都已经被说过,如果已没有新的情节可供创造,如果世界一直充满陈腔旧调,你如何能够用它们,呈现出一个崭新的体验?
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