TIM Flow EN
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tim在写作业英语Tim sat at his desk, a stack of textbooks and notebooks neatly arranged beside him. His fingers hovered over the keyboard of his laptop, ready to tackle the English assignment that lay before him. The task was to write an essay on the impact of globalization on contemporary literature.He opened a new document and began to type:In the 21st century, the world has become increasingly interconnected through the process of globalization. This phenomenon has had a profound impact on various aspects of society, including the arts and literature. As a result, modern literature has evolved to reflect the diverse cultural exchanges and global influences that shape our world today.IntroductionGlobalization has facilitated the exchange of ideas, goods, and people across borders, leading to a more interconnected and interdependent global community. This interconnectedness has permeated the literary world, influencing themes, styles, and the very nature of storytelling.Body1. Diverse Themes: Modern literature has embraced a wide array of themes that reflect the globalized world. Issues such as immigration, cultural identity, and the clash of civilizations are now common themes in contemporary works.2. Cross-cultural Influences: Writers from different cultural backgrounds are increasingly influencing each other's works. This has led to a rich tapestry of literature that blends various cultural elements, creating a unique and global narrative.3. Language and Style: The English language, as a global lingua franca, has become a common medium for writers worldwide. This has resulted in a proliferation of literature that is written in English but carries the nuances andflavors of different cultures.4. The Role of Technology: The advent of digital technology has revolutionized the way literature is created, shared, and consumed. Online platforms and social media have become new avenues for writers to reach a global audience.ConclusionThe impact of globalization on modern literature is undeniable. It has broadened the scope of literary themes, enriched the narrative styles, and created a more inclusive and diverse literary landscape. As the world continues to shrink, literature will continue to evolve, reflecting theever-changing global society.Tim paused, reviewing his work. He felt a sense of satisfaction as he saw the structure and flow of his essay taking shape. With a few more hours of work, he would be able to submit a well-crafted piece that not only met the requirements of his assignment but also showcased his understanding of the complex relationship between globalization and literature.。
BOHE-BT/BOHE-BTI BluetoothHose End Timer (Tap Timer)I N S T R U C T I O N M A N U A LThank you for purchasing DIG’s BOHE-BT or BOHE-BTI Bluetooth Hose End Timer (Tap Timer). This manual describes how to get the timer up and running quickly. After reading this manual and becoming familiar with the basic functionality of the timer, use the manual as a reference for less common tasks in the future.The BOHE-BT/BOHE-BTI Bluetooth Hose End Timer (Tap Timer) employs the latest in Bluetooth technology using the free DIG BTT app for Android or iPhone. The app can be used to control and program any number of timers for complete control of an outdoor faucet irrigation system. The timer is powered by 2 AA batteries that can last up to 1 year (using name brand alkaline batteries) and is enclosed in a compact, waterproof housing to protect it from the elements.• Operating pressure: 10 to 120 PSI (.7 to 8.3 bar)• T emperature range: 38º-130º F (-2º to 54º C)• Flow range: .1 to 6 GPM (.38 to 30 L/H)• Power source: 2 AA alkaline batteries (not included)• USA Connection: Female hose thread inlet (FHT) x male hose thread outlet (MHT) • International Connection: British standard thread for tap (BSP)• Dimensions: 5.5″ x 3.1″ x 4.3″ (14 cm x 7.9 cm x 11 cm)• Weight: 8 oz. (227 g)Timer inlet 3/4″ femalehose thread or BSPBatterycompartment capfor 2 AA batteries 1 button formanual runand resetTimer outlet 3/4″male hose threador BSPDIG’s BOHE-BT & BOHE-BTI Hose End Timers are the easiest Bluetooth® hose end timers to set up and install.• First, download the DIG BTT app using the iOS App Store, Google Play, utilizing the QR code on the box, or from the DIG website.• Once the app is installed, open the battery compartment cap on the timer by turning it counter-clockwise.• Install two, fresh, brand name, AA alkaline batteries (not included). The proper negative and positive orientation is located on the underside of the timer.• Screw the battery cap back on clockwise until hand tight.• Attach the timer inlet to the outdoor faucet/spigot or tab and turn clockwise until hand tight.• Attach a drip irrigation system or garden hose to the timer outlet and turn clockwise until hand tight.• Open the DIG BTT app from your smartphone or tablet and use the instructions in the App Screens Overview to program and operate the timer.Controller Scanning Screen• The DIG BTT app automatically scans for nearby timers when opened. Any DIG Bluetooth timers within 50 feet (15 meters) line of sight will appear on screen.Your new timer will appear as the BT Hose End Timer.• Its picture, status (watering -on- or not watering -off-), connection strength, and battery life, will appear alongside it.• Tap on the timer to connect to it and start programming.Also available from this screen are the Connection History and Contact Us buttons by tapping the button in the top right. The Connection History allows you to see every controller ever connected to from this phone or tablet. It stores the data it last saw from each controller, but no editing can be done. Deleting anentry will remove all the saved data for that controller (so, anypasswords set will need to be reentered and any pictures willhave to be retaken). T o delete an entry, tap it and then select thegarbage can in the top right corner. The Contact Us button can beused to find information about DIG.Battery life Connection strengthSchedule Overview:program run times. Red lines there is an overlapping start time Activate or deactivate the programSchedule typeSchedule settings Up to 5 start times. Select an existing start time to edit/delete.Red start times are overlapping and will not runRun time for valveHome(current page)Controller settingsManual runHome ScreenOnce connected, the Home Screen will appear. This screen has everything needed to program the controller.By default, the controller’s program is off. T o turn it on, push the switch under the “Program” area. It will turn green and the Program area will light up indicating that it can now be modified. The button is shown next to “Activate or deactivate the pro-gram” in the screenshot below.The controller is ready to be programmed. Simply select the schedule (weekly, even/odd, or cyclical), set your start date or days, add times, and set a duration. The con-troller is updated immediately each time a button is pressed, so there is no need to save or upload to the controller. Whatever is shown on screen is already saved to the controller.Turn the entire system on/off. Controller will not water Set a rain delay Set up to 9 dates where the controller will prevent watering Budgeting per month View monthly watering history for the past 12 months Set name of the controllerSet picture for the controllerSet password for controller.Password will only be seen when entering controller from a new phone. Reset controller to reset password if forgottenPicture of controller whether controller is currently runnning or notController SettingThe Controller Settings screen contains everything else needed to fully control your irrigation system. It can be reached by selecting the Controller Settings button on the bottom of the screen. Turn on or off the entire system through the System Active switch, add a rain delay to shut off the controller for a limited time, budget each month to modify the watering duration based on the season, set specific dates in which the controller should not run, and view 12-month history of the e the final settings to rename the controller to something memorable and give it a picture so it’s easy to find from the scanning screen next time. Set a password to prevent strangers from connecting to your timer. The password is saved to the phone so it will (almost) never have to be entered again (unless it’s changed or when connecting to the timer with a new phone).Start/StopManual RunSet Manual Run durationManual RunThe Manual Run screen allows for Manual Operation of the controller. It can be reached by selecting the Manual Run button on the bottom right of the screen.T o manually run the controller, tap the button on the right of the screen. This but-ton can also be used to stop any existing run. The default manual run time is for 5 minutes, this can be changed by tapping on the time and changing it.The controller can also be manually run from the timer itself by pushing the button. The duration of this manual run is equal to the duration of the scheduled program. The button can also be used to end any watering.• Attach the timer inlet to the outdoor faucet/spigot or tap by attaching the female swivel thread into the faucet and turning clockwise until hand tight.• Attach a drip irrigation system or garden hose to the timer outlet and turnclockwise until hand tight• Manually run the system using the App’s manual run or by pressing the button on the DIG BOHE-BT/BOHE-BTI to ensure that it is working properly• Press and hold the button on the DIG BOHE-BT/BOHE-BTI for 15 seconds. Thiswill remove all controller programs, settings, historical information, and any set passwords.This is the only way to reset a password, so try not to forget it!• Should you encounter any problem(s) with this product or if you do notunderstand its many features, please refer to this operating manual firstIf further assistance is required, DIG offers the following customer support:• DIGPRO T echnical Service USA:DIG’s T echnical Service T eam is available to answer questions in English andSpanish from 8:00 AM to 5:00 PM (PST) Monday-Friday (except holidays)at 1.800.344.2281 or 1.760.727.0914•*************************************************or faxed to 760.727.0282• Specification documents and manuals are available for download at• Customer Assistance Outside the USA: Contact your local distributorDIG CORPORATION warrants these products to be free from defects in material and workmanship for a period of three years from date of purchase.This warranty does not cover damage resulting from accident,indoor uses,misuse,neglect,modification, improper installation or subjection to line pressure more than 125 lbs.per square inch for anti-siphon valves,in-line valves and from an actuator.This warranty shall extend only to the original purchaser of the product for use by the purchaser.The obligation of DIG CORPORATION under this warranty is limited to repairing or replacing at its factory this product which shall be returnedto the factory within three years after the original purchase and which on examination is found to contain defects in material and workmanship.DIG CORPORATION SHALL IN NO EVENT BE LIABLE FOR ANY INCIDENTAL OR CONSEQUENTIAL DAMAGESOF ANY KIND; THE SOLE OBLIGATION OF DIG BEING LIMITED TO REPAIR OR REPLACEMENT OF DEFECTIVE PRODUCTS.SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES,SO THE ABOVE LIMITATION OR EXCLUSION MAY NOT APPLY TO YOU.Unattended use for prolonged periods without inspection to verify proper operation is beyond the intended use of this product,and any damage resulting from such use shall not be the responsibility of DIG CORPORATION.There are no warranties,which extend beyond the description on the face hereof.In the case of purchase of the product for use other than,for irrigation purposes,DIG CORPORATION hereby disclaims any implied warranties including any warranties of merchantability and fitness for a particular purpose.In the case of the purchase of the product for personal,family ***************26-300 REV A 031518 Printed in the USADIG is a Registered Trademark of DIG Corp.or household purposes, DIG CORPORATION disclaims any such warranties to the extent permitted by law. To the extent that any such disclaimer or implied warranties shall be ineffectual, then any implied warranties shall be limited in duration to a period of three years from the date of the original purchase for use by the purchaser. Some states do not allow limitation on how long an implied warranty lasts, so the above limitation may not apply to you. In order to obtain performance under this warranty, the unit must be returned to the factory, along with proof of purchase indicating original date of purchase, shipping prepaid, addressed as follows: DIG CORPORATION, 1210 Activity Drive, Vista, CA 92081. Repaired or replaced units will be shipped prepaid to the name and address supplied with the unit returned under warranty. Allow four weeks for repairs and shipping time. Repair of damaged units not otherwise within warranty may be refused or done at a reasonable cost or charge at the option of DIG CORPORATION. This warranty gives you specific legal rights, and you may also have other rights, which vary from state to state.This device complies with FCC and IC radiation exposure limits set forth for an uncontrolled environment. The device should be installed and operated with a minimum distance of 20cm between the radiator and your body. This device must not be collocated or operating in conjunction with any other antenna or transmitter.I. Changes or modifications not expressly approved by DIG Corporation could void the user’s authority to operate the equipment.II. This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one of the following measures:Reorient or relocate the receiving antenna.Increase the separation between the equipment and receiver.Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.Consult the dealer or an experienced radio/TV technician for help.III. Industry CanadaThis device complies with Industry Canada licence-exempt RSS standard(s). Operation is subject to the following two conditions: (1) this device may not cause interference, and (2) this device must accept any interference, including interference that may cause undesired operation of the device.Le présent appareil est conforme aux CNR d’Industrie Canada applicables aux appareils radio exempts de licence. L’e xploitation est autorisée aux deux conditions suivantes : (1) l’appareil ne doit pas produire de brouillage, et (2) l’appareil doit accepter tout brouillage radioélectrique subi, même si le brouillage est susceptible d’e n compromettre le fonctionnement.。
ST段抬高型心肌梗死患者直接PCI术中选择性使用血栓抽吸术的疗效观察刘海伟;王效增;马颖艳;荆全民;徐凯;王耿;关绍义;赵昕;邓捷【摘要】目的探讨直接经皮冠状动脉介入术(pPCI)中选择性使用血栓抽吸术(TA)对ST段抬高型心肌梗死(STEMI)患者长期预后的影响.方法选取2008年1月-2014年1月因STEMI于沈阳军区总医院心内科行pPCI的患者2357例,其中429例患者预先计划使用TA(TA组),其余1928例患者采用常规球囊预扩张(对照组).对比分析两组术后罪犯血管复流情况、住院期间及12个月随访期间主要不良心脏事件(MACE)及支架内血栓发生情况.结果虽然TA成功率低于球囊预扩张成功率(P<0.001),但TA组抽吸后即刻及支架植入后罪犯血管TIMI血流≥2级的比例明显高于对照组(P<0.05).住院期间及12个月随访期间,两组MACE、TVR(靶血管重建)、支架内血栓发生率差异无统计学意义(P>0.05).TA组患者总MACE及总TVR的发生率明显低于对照组(P=0.04).结论选择性使用血栓抽吸能够改善STEMI患者pPCI术中罪犯血管血流情况,降低患者MACE发生率,使STEMI患者术后1年临床结果得到一定改善.【期刊名称】《解放军医学杂志》【年(卷),期】2015(040)004【总页数】4页(P271-274)【关键词】心肌梗死;血管成形术,气囊,冠状动脉;血栓抽吸术【作者】刘海伟;王效增;马颖艳;荆全民;徐凯;王耿;关绍义;赵昕;邓捷【作者单位】110016 沈阳沈阳军区总医院心血管内科;110016 沈阳沈阳军区总医院心血管内科;110016 沈阳沈阳军区总医院心血管内科;110016 沈阳沈阳军区总医院心血管内科;110016 沈阳沈阳军区总医院心血管内科;110016 沈阳沈阳军区总医院心血管内科;110016 沈阳沈阳军区总医院心血管内科;110016 沈阳沈阳军区总医院心血管内科;110016 沈阳沈阳军区总医院心血管内科【正文语种】中文【中图分类】R542.22采用直接经皮冠状动脉介入术(p r im a ry percutaneous coronary intervention,pPCI)治疗急性ST段抬高型心肌梗死(ST-segm ent elevation m yocardial in farction,STEM I)时,无/慢复流发生率较高,梗死相关冠状动脉的粥样斑块或血栓破裂、脱落,栓塞远端血管床,是导致无/慢复流的最重要原因之一[1]。
思迅专卖店v8数据库表说明t_bd_branch_area 区域表t_bd_branch_info 机构(仓库)表t_bd_item_info 商品档案t_rm_vip_info 会员信息t_bd_payment_info 付款⽅式表t_bd_supcust_area 供应商地区表t_bd_supcust_info 供应商信息表t_bd_supcust_item 供应商客户与商品关系t_da_jxc_daysum 进销存⽇报表t_da_jxc_month 进销存⽉表t_da_jxc_month _anal 进销存分析⽉表t_da_jxc_week 进销存周表t_da_saleman_daysum 营业员销售⽇结表t_da_total_daysum 分部经营⽇表t_dm_input_init 配送批号表t_fm_charge_master 费⽤收⽀单主表t_fm_charge_detail 费⽤收⽀单⼦表t_fm_recpay_master 收付款记录主表t_fm_recpay_detail 收付款记录明细表t_fm_recpay_flow 应收应付款流⽔表t_fm_recpay_ly_master 联营收付款记录主表t_fm_recpay_ly_detail 联营收付款记录明细表t_im_branch_stock 商品库存表t_im_check_bak 库存备份表t_im_check_init 盘点初始化表t_im_check__maste r商品盘点主表t_im_check_detail 商品盘点⼦表t_im_check_sum 盘点差异表t_im_flow 库存流⽔表t_im_sheet_master 仓库管理类单据主表t_im_sheet_detail 仓库管理类单据明细表t_im_stock_target 商品库存指标表t_pc_price_flow_master 物价流⽔主表t_pc_price_flow_detail 物价流⽔⼦表t_pm_sheet_master 采购类单主表t_pm_sheet_detail 采购类单明细表t_pu_sheet_master 配送池表头表t_pu_sheet_detail 配送池明细表t_rm_balance 条码称导出⽂件t_rm_balance_item 条码称导出项⽬设置表t_rm_customer_analyse 顾客消费信息收集t_rm_daysum 前台商品销售⽇结表t_rm_flow_sum 前台交易流⽔汇总t_rm_function POS功能键表t_rm_protion_flow 促销流⽔表t_rm_protion_rule 销售⼿⼯促销表t_rm_salecust_info POS销售客户信息t_rm_salecust_info_temp 前台挂账客户档案t_rm_saleflow 前台销售明细流⽔帐t_rm_saleman 营业员信息t_rm_tend_add_detail 护理卡充值明细表t_rm_tend_consume_detail 护理卡销售明细表t_rm_tend_vip_conver_detail 护理卡转换单据明细表t_rm_tend_vip_conver_master护理卡转换单据主表t_rm_tend_vip_info 会员储值项⽬表t_rm_vip_acclist 会员积分流⽔表t_rm_vip_discount 积分折扣表t_rm_vip_good 会员礼品表t_rm_vip_good_flow 会员换礼流⽔表t_rm_vip_health_identity 会员⽣⽇表t_rm_vip_info 会员信息表t_rm_vip_info_edit 门店会员信息修改申请t_rm_vip_operlist 会员操作流⽔表t_rm_vip_reference 会员参数表t_rm_vip_savelist 会员储值流⽔表t_rm_vip_set 积分规则表t_rm_vip_type 会员卡类型表t_sys_branch_set 系统信息t_sys_cm_breakpoint 传输断点表t_sys_cm_cmlog 分部通信⽇志t_sys_cm_data 基础数据增量传输表t_sys_customer 系统⽤户信息表t_sys_menu 系统菜单信息表t_sys_menu_grant 菜单权限控制t_sys_oper_grant 操作员权限控制信息t_sys_operator 操作员信息表t_sys_operator_log 操作员操作⽇志t_sys_pos_status 前台实时监控表t_sys_pos_status_history 前台实时监控历史表t_sys_report 系统报表信息t_sys_report_import 导⼊报表管理t_sys_sheet_detail_info 表单明细信息表t_sys_sheet_master_info 表单主信息表t_sys_sheet_no 系统单据表t_sys_system 系统信息t_wm_sheet_detail 销售类单据明细表t_wm_sheet_master 销售类单据主表。
ISSN 100020054CN 1122223 N 清华大学学报(自然科学版)J T singhua U niv (Sci &Tech ),2003年第43卷第7期2003,V o l .43,N o .711 379032907空中交通战略和战术级流量管理模型马正平, 崔德光(清华大学自动化系,北京100084)收稿日期:2003202225基金项目:国家自然科学基金资助项目(69784004)作者简介:马正平(19732),男(汉),四川,博士研究生。
通讯联系人:崔德光,副教授,E 2m ail :cui @ci m s .tsinghua .edu .cn摘 要:针对日益增长的空中交通流量,提出了适合中国空中交通的战略、战术级流量管理模型。
按照功能,分别提出了航路流量管理模型和机场流量管理模型以及终端区的流量管理模型。
根据空中交通中信息的实时性和多样性,分析了其中的信息流动,并在此基础上提出了新一代信息共享网络。
这些模型都应用于清华大学国家C I M S 工程研究中心与华北空管局合作开发的空中交通管制指挥检测系统(A TC 2C M S )中,并取得了很好的效果,同时也为上层管理者提供了战略性决策支持。
关键词:系统决策;空中交通;流量管理;实时系统;复杂系统控制中图分类号:N 945.25文献标识码:A文章编号:100020054(2003)0720903205M odels of stra teg ic and tactica l a spectsof a ir traff ic f low managem en tMA Zhe ngp ing ,CU ID e gua ng(D epart men t of Auto mation ,Tsi nghua Un iversity ,Be ij i ng 100084,Chi na )Abstract :A ir traffic flow vo lum es in China can be increased by strategic p lanning of air traffic flow m anagem ent .M odels w ere developed fo r en 2route flow m anagem ent,airpo rt flow m anagem ent and term inal area flow m anagem ent .T he real 2ti m e variati on of air traffic info r m ati on w as considered in the developm ent of a real 2ti m e info r m ati on sharing netwo rk.T he models wo rked very w ell in an A ir T raffic Contro l and Comm and M onito ring System ,developed by the N ati onal C I M S Engineering L abo rato ry and the N o rth China R egi onal Bureau of Ch ina A ir .T he system p rovides seni o r m anagers w ith real 2ti m e info r m ati on fo r strategic decisi on suppo rt .Key words :systemdecisi on;airtraffic;flowm anagem ent;real 2ti m e system s;comp lex system contro l 随着空中交通流量的不断增长,机场和空中交通阻塞的现象越来越严重,从而造成大量的航班延误。
∙be the cat's whiskers了不起的东西〔人或主意〕be the best thing, person, idea, etc.He thinks he's the cat's whiskers.他自命不凡。
∙cat and dog life争吵不休的生活 a life in which partners are frequently or constantly quarrellingThey have led a cat and dog life almost since the day they were married.他们几乎从结婚那天起就一直过着争吵不休的生活。
Y ou miss a woman when she's been living with you in the same house for six years, no matter what sort of cat and dog life you led together.不论你们过着怎样吵吵闹闹的生活,一个女人跟你在一个屋里共同生活了6年,你还是会怀念她的。
∙cat and mouse game欲擒故纵的把戏,折磨keep sb in a state of uncertain expectation―Look!‖ he said suddenly as if he'd decided to cut short the cat and mouse game.―瞧!‖他突然说到,似乎他已决定结束这场欲擒故纵的把戏。
∙let the cat out of the bag真相大白,秘密泄露reveal a secret carelessly or by mistakeWell, there's no need for us to beat around the bush. Now that let the cat out of the bag,I can tell you the whole story.现在没有必要拐弯抹角了,既然说漏了嘴,就干脆全告诉你吧。
Specifics of the Russian Accordion Timbre in DuetPerformanceVladislav BerezhnoyRussian State Specialized Arts AcademyMoscow, Russiae-mail:***************Abstract—The article is dedicated to the role of timbre in modern duet accordion performance and also tone and dynamic specifics of the Russian accordion.Keywords—Russian accordion; multi-timbre accordion; timbre; timbre coordination; register; basic registers; timbre dramaI.I NTRODUCTIONThe timbre-register palette of the accordion is a shade or the sound character of a tone. It is that quality which distinguishes one sound from another. In an accordion duet the sound of one performer may be different from the other and could even be very different if necessary (especially in orchestra music with different symphonic orchestra tones).An accordion players’ orchestra sounds bright when there are different timbres or multi-timbre instruments. Each composition has its own sound palette and shows the author's initial idea in the best way. It is an important quality for a performer to find, to keep and to enrich the tone material with new colors. The orchestra's instruments should be perfectly in tune to form an orchestra scale and to have a dynamic scale from ppp to fff. It is important to stress that all issues considered in this article are vital not only for accordion duets, but also for French and Russian accordion players.II.T HE I MPORTANCE OF T IMBREAn important quality of the Russian accordion is a special penetration of the tone defined by the purity of unison setting of two reeds. In the accordion players’ duet a wrong setting of one of the instruments may take place in non-academic genres (musette, tango), but in academic performance both accordions should be toned identically. Let's imagine the lyric song by A. Shalaev “A stripe” arranged for the performers’ duet on a wrongly tuned reeds of one or two instruments with a specific sharp sound. We will feel immediate aesthetic misbalance and the sharp tone will distort the musical character especially at traditional performances of the melody by two accordions.This will be even more obvious if one listens to a performance with accordions all playing in the same high pitch. This sound is characteristic for the French “musette” registers and in the Russian accordion construction “musette” is not used. The vibrant sound of this register is more vivid than unison, it sounds rather like a violin vibrato or a cello (but in a very harsh and simple form). It creates a tender sound which is pleasant for the listener's ear and attracts a lot of accordion lovers. But during lyrical folk music performances and also classic and modern academic compositions a wrong setting gives an impression of misplayed music.III.T HE M ETHODOLOGY OF A CCORDION T IMBREWe can play chamber, piano, choir and orchestra music with instruments of Jupiter, Acco, Rus` and Mir types. There are 15 standard registers: tone duplication [from 5 to 7] by reed switches, exact unison timbre (combination of the tones in the broken and the straight deck) ready-elected left key-cord.Tone, dynamic and tissue difference in the sound of the four manuals (right key-cord and three manuals in the left key-cord) can be explained by the resonators’ different positions inside the left and the right accordion semi-case and also their different voices sizes. In the multi-timbre duet of the ready-elected accordions a composer or an arranger has a chance to combine different tones and to increase, decrease or to straighten a tone or a group of music tissue.Anton Rubinstein used to say that a grand piano is one hundred and more instruments. A multi-timbre ready-elected accordion or even more a duet of concert accordions may undoubtedly be called a small symphony orchestra. It is important to stress that up to the 1960s the issues of timbre coordination in a duet or a solo accordion performance was not methodologically covered. However, A. Shalaev and N. Krylov, which were playing multi-timbre instruments, managed to get the sound of multi-timbres. Multi-timbre accordions existed but performers didn’t use them in academic music.It should be said that where in a piano timbre there is a string movement frequency, in an organ timbre there is an air column vibration placed inside the tube case, in a domra timbre or a balalaika there is a string fluctuation increased by the specifics of the deck resonator and the accordion's timbre is defined by a metal plate fluctuation (voice). An accordion's small sound element size defines its special timbre characteristics. If in instruments like the piano, the violin or the organ the sound specifics allow the performer to specify overtones, in accordion overtone specification that isInternational Conference on Arts, Design and Contemporary Education (ICADCE 2015)noticeable for the ear is impossible. The Improvement of the palette of sound options of modern concert accordions and different color combinations in a duet happens by means of ready timbres construction on the basis of four basis registers in the right semi-case of the accordion: in the right deck there is a brighter and clearer sound and in the left deck the sound is rather opaque and silent.For reeds, two unisons, one an octave higher and one an octave lower, create fifteen different registers. The base of the color variety of the accordion “Jupiter” consists of four timbres: fagot, clarinet, concertina and piccolo. Combining these four timbres creates eleven more registers: fagot and clarinet, fagot and concertina, accordion with fagot, tutti, organ, organ with clarinet, organ with concertina, accordion, celesta, hobo, accordion with piccolo. All timbres containing fagot are transponder registers [5, p.42].Left three-manual key-cord also has two timbres:Bass key-cords. For an accordion, an instrument created in Russia, an important and meaningful four-sound or even a six-sound bass has always beencharacteristic. M.I. Imhanitsky emphasizes: “Its full-sound foundation appeared and still is a firm basis ofall the lining above voices, it is capable to color withwarmth all music tissue, to underline the power ofbreath of all tissue vertical” [4, p.190];Chromatic buttons. Chromatic buttons with prepared accords as a special accompanying type in the 1960swere just a way of harmonization. A small scale ofprepared accords (Sol of the small and Fa# of the first)is defined by the dense location of this or thatappearance of every accord. It also provides harmoniccombinations of the quarta-quinta and the terzocombination. Triple sounds of the buttons are a bitsilent in comparison with identical accords of theright and chromatic buttons. The buttons’ timbre isvelvet in the low register (Mi of contra-octave – Mi ofthe small), clear and bright in the middle register (Reof the small – Fa of the first) bright and singing in thehigh register (Sol of the first – Fa of the second).If in an accordion solo performance an additional difficulty is the technique of switching from the ready key-cord to the chromatic one, then in the duet there's no such problem. Besides, in an ensemble of chromatic button accordions it is possible to present music tissue components only through the chromatic button and bass key-cords and also through their combination. Different combinations of three left key-cords may considerably enrich the timbre palette of a composition.Music sound shading is important both for orchestra and ensemble performance. As we see, timbre character in modern concert accordions duets may be widely colored. It is accompanied by the presence of 34 timbres in an ensemble – fifteen in the right key-cords and two in the left ones. A mechanism of register switching provides specific characteristics of intonation-timbre coloring. In a duet there are both mono-timbres and their different combinations. An ensemble, unlike a single accordion, possesses wider opportunities in orchestra compositions registering. Timbre-tissue differentiation can be doubled; that is possible as a result of timbre difference between the sound scale of the right and the left key-cords. This quality, arranged by two accordionists, allows using all tissue registers. Their dynamic specifics should be taken into consideration in order to not break voices’ functional hierarchy.IV.T IMBRE U SE IN C OMPOSITIONSA.General UseIt is important to remark that notation demands for multi-timbre and mono-timbre ensembles are the same (functions opposition with keeping of interior functional unity), that's why an opinion that it is easier to compose or instrument a mono-timbre ensemble is wrong. But the means for these demands in a mono-timbre duet are much lower. Modern concert accordion duets have the option to choose the timbre and the sound while a duet of non-register accordions may choose only the character of the sounding. In a mono-timber the specter of actions for different timbre palette achievements is much lower, but articulation, dynamic and texture decisions are important.In an accordion duet it is important to consider that the more important the essential difference between the music tissue functions, the higher the dynamic, articulation, timbre of tissue contrast should be. For a moderate opposition tissue functions division or individualization may be enough (depending on the situation). In cases where the maximum opposition is needed it is recommended to use both methods at the same time. For instance, in A. Shalaev`s “Moldavian Dance” arrangement for a mono-timbre duet we can see two melodic lines: the theme and its imitation. Using different sound-extraction methods would not be wise, that’s why the author tries the method of melodic lines division by tessiture, which allows us to vividly hear both voices “Fig. 1”.Fig. 1. Moldavian Dance by A. Shalaev.The combination of similar timbres leads to an increase of their main characteristics. The soft timbre gets softer and the harsh one gets harsher. Mono timbres in accordion player's duets concentrate on accord's quality, the interval, cluster and also decrease dissonance [2, p. 219–220].B.Tissue Development PrinciplesTissue development principles are an important basis on which many accordion performers work. It is obvious that there can be two kinds of tissue - a mono-plan and multi-plan.Mono-plan timbre.A mono-plan principle suggests the usage of opaqueor bright timbres depending on the character “Fig. 2”.Fig. 2. J. Kukuzenko. Syrba.Related instruments like domra or balalaika possessindividual timbres in a duet. If one is listening to anycomposition performed on these instruments it is easyto define the domra or the balalaika parts, even if theyare played in the same octave. The same may be saidabout other multi-timbre duets. This principle shouldbe applied to accordionists’ ensembles in order togive every instrument its own particular soundcoloring. It is important for accordionists’ duets tohave instruments with rich timbre options. Performersshould also possess the necessary skills to incorporatethese options.Multi-plan timbres.The combination of contrasting timbres (a bright oneand an opaque one) and functional lines creates thesecond tissue kind - a multi-plan one “Fig. 3”.Fig. 3.It is important to remember that the accordionists canuse not only the instruments’ timbres, but also theircombined timbres. There may be a lot of combinationof the ready left and the button key-cords. Thesemultiple combinations allow the performers to hold, ifnecessary, a melodic, a harmonic, a sub-sound and abass line at the same time of the same music tissuewith different music sounds. Performers perfectlypossessing all the multiple sound extraction methodsmay implement an artistic image in all its timbrevariety and use all the shades contained in this timbre.V.U SING THE F ULL P OTENTIAL OF T IMBREA.Required playing skillsMany accordionists who play transcriptions (with no registers) on multi-timbre instruments don't possess enough registration skill. First of all, one should have an idea of the timbre. Multi-timbre accordions with seventeen standard registers (fifteen on the right key-cord and two in the left), four-octave bass and buttons may become an obstacle: by changing the registers mechanically one should be able to differentiate a sound even within a timbre. One just has to remember some outstanding accordionists of the after-war period like N. Rizul and A. Shalae, who played mass produced accordions with ready accords, with no registers and left button keys, and got unique timbre nuances. Even on such instruments the voices of three manuals in different tessitures may remind one of the sounds of a flute, a fagot, a French horn, a tuba and other symphony orchestra instruments. If a performer hears timbre differences on a non-register accordion (“Yasnaya Polyana”, “Rubin”), then he will completely incorporate a rich colorful scale on a multi-timbre accordion.We often experience problems when modern repertoire for an accordion duet (with arrangements or composer's registers) is performed by two-sound instruments. At the same time many accordionists do not follow the register marked by the author.B.Following the CompositionLack of understanding of the transponent role of the required register is also characteristic of professional performers. Yet, one should remember that music tissue transfiguration to a different octave distorts the composer’s or the arranger’s initial idea. For instance, if a register tutti is marked and there’s no remark on another octave, then the voice in the first key will sound an actave lower. Accordingly, when performing the ReMinor Vivaldi-Bach concert on accordion it is necessary to consider register specifics as marked by the author “Fig. 4”.Fig. 4. A.Vivaldi-I. Bach Re Minor Concert.This example shows that for an ensemble performer performing the second part on a non-register accordion it’s important to perform the notation in another octave than it is registered only to transport a more powerful tissue sounding that will be heard in accordance with the author's idea “Fig. 5”.Fig. 5. A.Vivaldi-I.Bach. Re Minor Concert.Thus, an accordionist or an arranger will be capable of incorporating different colors and shades into the artistic idea only if they can differentiate these timbres.C.Artistic Value of TimbreIt is necessary to stress that a timbre as one of the means of musical language possesses an independent emotional and genre impact. But it completely expresses the power of its impact only in combination with the other musical speech elements. L. Dunaev, for instance, remarks that orchestral means affecting the expressiveness of brass orchestra of N. Ivanov-Radkevich, includes both music tissue components and the timbre ones: “...Imitation of the solo and choir singings acquired by the means of the orchestra: by comparison of the solo, ensemble, tutti and combination of the necessary facture changes” [3, p.76[. The same means may be observed in Vl. Zolotarev`s accordion duet arrangement “Rondo Cappricioso” and also some other duet transcriptions.VI.T IMBRE IN C ONTEMPORARY A CCORDION M USICTimbre achievements in music practice in the context of the new timbre spheres are particularly acute for modern duet art. Multiple principles and tendencies of the timbre development of the XXth century separate them from previous centuries. Timbre’s importance as emotional, expressive, composition and structure element has risen. Its role has grown in a general architectonics’ plot of music compositions. An expression of these processes of composers’ art is a difficult and varied expressive side of modern accordion duet compositions. If A. Shalaev’s art is based on a folk and dance basis and is characterized by a more common circle of images and music language, then in Vl. Zolotarev`s and S. Berinsky`s compositions the search for new and unused means of music expression is brightly expressed. The timbre side remains one of the central ones, considering a wide variability in interpretations. Vl. Zolotarev and S. Berinsky try to find new forms for duets.Modern performers also understand the different folk songs and dances of A.Shalaev. Its innovation is first of all in the composition’s register, which was not intended by the author. A good example is “Moldavian Dance” performed by E. Listunova and Ivashkin.Accordionists and instrumentalists say that the steadiness of the sound and the timbre combination of both parties of the duet depends on what exactly performers, the arranger and the composer are planning to use as expressive means for the theme development as well as new musical material implementation. If performers want to get dynamic growth, it is important to exclude dynamically strong registers, if brightness is important, lighter timbres should be excluded. For any expressive elements it is vital to use the lower tessiture register.Timbre drama of compositions has individual laws. F.R. Lips writes: “The main role in right registration choice plays the style and the composition content. Generally, the registration plan is kept due to the general architectonics of the composition. It is better to change registers only in some important key moments, on the forms side changes, during the increase or decrease of the number of voices, facture changes, etc.” [5, с. 44, 45]. V.V. Vasiliev remarks: “When studying timbre drama for the first time an impression may appear that timbre register switching is equal to the change of orchestra instruments. Yet, it is not like this. Coloring change in the accordion is analogue to the timbre shades of violin and piano, to which the accordion does not give way” [1, с. 79].In the duet accordion repertoire (in which timbre opportunities double in comparison to solo) transcriptions of orchestra music are predominant. That is why as a rule the first accordion party plays a definite registre (bayan, for instance) and will therefore transfer the color of the sound of the first violins and the button keys in the first octave which will support the cello coloring. At the same time the second ensemble player may change the register if necessary to fit the violin or the piano.Thus, in modern duet accordion performance we see the increase of importance of the timbre in musical expression. If in 1970s a timbre was a secondary mean of expression, now it becomes primal.R EFERENCES[1]Vasiliev V.V. Russian Composer`s Music of 1970-ies -90-ies and themain tendencies of its performance interprettion. Arts MA theses17.00.02, Moscow, 2004.[2]Dunaev L.F. The Science of Instrumentalism Groeth, its developmentin Russian Music Studies of the Xxth century. 17.00.02. Мoscow, 2000.[3]Dunaev L.F. Artistic Heritage of N.T. Ivanov-Radkevich – a newstage in instrumentalism developmet for brass orchestra 17.00.02. М., 1977.[4]Imhanitsky M.I. The History of Accordion art: a Manual. Moscow,Gnesiny Academy. 2006.[5]Lips F.R. The art of Accordion Perforamce. Moscow, Music, 1998.[6]Rosenfield N.G., Ivanov M.D. Harmonicas, bayans, accordions:college manual. Moscow, Light Industry, 1974.[7]Roisman L.I. Organ in the History of Russian Music Culture in 2volumes. Kazan Conservatory, 2001. Vol.1。
测井曲线名称大全-史上最全测井曲线符号地层真电阻率Rt冲洗带地层电阻率Rxo深探测感应测井Ild中探测感应测井Ilm浅探测感应测井Ils深双侧向电阻率测井Rd浅双侧向电阻率测井Rs微侧向电阻率测井RMLL感应测井CON声波时差AC密度DEN中子CN自然伽马GR自然电位SP井径CAL钾K钍TH铀U无铀伽马KTH中子伽马NGR泥岩曲线(泥质含量曲线)SH煤层曲线(煤含量曲线)COAL白云岩含量曲线DOLO灰岩含量曲线LIME砂岩含量曲线SAND无水硬石膏含量曲线ANHY光电吸收截面指数PE自然伽马校正值GRC孔隙水视电阻率RWA泥浆滤液电阻率RMF5700系列的测井项目及曲线名称微电阻率扫描成像StarImager井周声波成像CBIL多极阵列声波成像MAC核磁共振成像MRIL薄层电阻率TBRT阵列声波DAC数字垂直测井DVRT六臂倾角HDIP核磁共振有效孔隙度MPHI可动流体体积MBVM束缚流体体积MBVI核磁共振渗透率MPERM标准回波数据EchoesT2分布数据T2Dist总孔隙度TPOR声波幅度BHTA声波返回时间BHTT图像的倾角ImageDIP 纵波幅度COMPAMP 横波幅度ShearAMP 纵波衰减COMPATTN 横波衰减ShearATTN 井眼的椭圆度RADOUTR 井斜Dev原始测井曲线代码第五扇区的声幅值AMP5第六扇区的声幅值AMP6平均声幅AMVG阵列感应电阻率AO10阵列感应电阻率AO20阵列感应电阻率AO30阵列感应电阻率AO60阵列感应电阻率AO90截止值AOFF阵列感应电阻率AORT阵列感应电阻率AORX补偿中子APLC方位电阻率AR10方位电阻率AR11方位电阻率AR12方位电阻率ARO1方位电阻率ARO2方位电阻率ARO3方位电阻率ARO4方位电阻率ARO5方位电阻率ARO6方位电阻率ARO7方位电阻率ARO8方位电阻率ARO9阵列感应电阻率AT10阵列感应电阻率AT20阵列感应电阻率AT30阵列感应电阻率AT60阵列感应电阻率AT90平均衰减率ATAV 声波衰减率ATC1声波衰减率ATC2声波衰减率ATC3声波衰减率ATC4声波衰减率ATC5声波衰减率ATC6最小衰减率ATMN 阵列感应电阻率ATRT 阵列感应电阻率ATRX 1号极板方位AZ 1号极板方位AZ1 1号极板方位AZI 井斜方位AZIM 远探头背景计数率BGF 近探头背景计数率BGN 声波传播时间数据BHTA 声波幅度数据BHTT 块数BLKC 钻头直径BS 极板原始数据BTNS 井径C1井径C2井径C3井径CAL井径CAL1井径CAL2井径CALI 井径CALS 钙硅比CASI 声波幅度CBL磁性定位CCL水泥图CEMC 自然伽马CGR总能谱比CI核磁共振自由流体体积CMFF 核磁共振有效孔隙度CMRP 中子CN补偿中子CNL碳氧比CO感应电导率CON1感应电导率COND 密度校正值CORR 200兆赫兹介电常数D2EC 47兆赫兹介电常数D4EC 井斜方位DAZ 数据计数DCNT 补偿密度DEN岩性密度DEN_1斯通利波时差DTST 回波串ECHO 回波串ECHOQM 时间ETIMD 泥浆幅度FAMP 远探头地层计数率FAR 地层校正FCC泥浆探测器增益FDBI 流体密度FDEN 泥浆探测器门限FGAT流量FLOW 补偿中子FPLC 泥浆传播时间FTIM Z轴加速度数据GAZF 屏蔽增益GG01屏蔽增益GG02屏蔽增益GG03屏蔽增益GG04屏蔽增益GG05屏蔽增益GG06自然伽马GR同位素示踪伽马GR2井斜方位HAZI 深感应电阻率HDRS 钾HFK中感应电阻率HMRS 无铀伽马HSGR 钍HTHO 持水率HUD铀HURA 深感应电阻率IDPH 中感应电阻率IMPH 钾K核磁共振渗透率KCMR 无铀伽马KTH井径LCAL 岩性密度LDL深侧向电阻率LLD深三侧向电阻率LLD3深七侧向电阻率LLD7高分辨率侧向电阻率LLHR 浅侧向电阻率LLS浅三侧向电阻率LLS3浅七侧向电阻率LLS7高分辨率阵列感应电阻率M1R10高分辨率阵列感应电阻率M1R120高分辨率阵列感应电阻率M1R20高分辨率阵列感应电阻率M1R30高分辨率阵列感应电阻率M1R60高分辨率阵列感应电阻率M1R90高分辨率阵列感应电阻率M2R10高分辨率阵列感应电阻率M2R120高分辨率阵列感应电阻率M2R20高分辨率阵列感应电阻率M2R30高分辨率阵列感应电阻率M2R60高分辨率阵列感应电阻率M2R90高分辨率阵列感应电阻率M4R10高分辨率阵列感应电阻率M4R120高分辨率阵列感应电阻率M4R20高分辨率阵列感应电阻率M4R30高分辨率阵列感应电阻率M4R60高分辨率阵列感应电阻率M4R90核磁共振束缚流体体积MBVI核磁共振自由流体体积MBVM核磁共振粘土束缚水MCBW微电位电阻率ML1微梯度电阻率ML2核磁共振有效孔隙度MPHE核磁共振总孔隙度MPHS核磁共振渗透率MPRM微球型聚焦电阻率MSFL磁北极计数NCNT近探头地层计数率NEAR中子伽马NGR补偿中子NPHI第1组分孔隙度P01第2组分孔隙度P02第3组分孔隙度P03屏蔽电压PD6G光电吸收截面指数PE光电吸收截面指数PEF电吸收截面指数PEFL核磁共振渗透率PERM-IND 钾POTA核磁T2谱PPOR核磁T2谱PPORB核磁T2谱PPORC泊松比PR压力PRESSURE 加速计质量QA磁力计质量QB反射波采集质量QRTT0.4米电位电阻率R040.45米电位电阻率R0450.5米电位电阻率R051米底部梯度电阻率R12.5米底部梯度电阻率R254米底部梯度电阻率R4200兆赫兹幅度比R4AT47兆赫兹幅度比R4AT_1 200兆赫兹电阻率R4SL 47兆赫兹电阻率R4SL_1 6米底部梯度电阻率R6 8米底部梯度电阻率R8井径(极板半径)RAD1井径(极板半径)RAD2井径(极板半径)RAD3井径(极板半径)RAD4井径(极板半径)RAD5井径(极板半径)RAD6井径(极板半径)RADS地层比值RATI相对方位RB相对方位角RB_1相对方位RBOF深侧向电阻率RD八侧向电阻率RFOC岩性密度RHOB岩性密度RHOM深感应电阻率RILD中感应电阻率RILM微梯度电阻率RLML钻井液电阻率RM微侧向电阻率RMLL微球型聚焦电阻率RMSF微电位电阻率RNML相对方位ROT邻近侧向电阻率RPRX浅侧向电阻率RS特征值增益SDBI球型聚焦电阻率SFL球型聚焦电阻率SFLU采样时间SGAT无铀伽马SGR硅钙比SICA井周成像特征值SIG俘获截面SIGC示踪俘获截面SIGC2横波模量SMOD井壁中子SNL特征值数量SNUM自然电位SP特征值周期SPER核磁T2谱T2核磁共振区间孔隙度T2-BIN-A 核磁共振区间孔隙度T2-BIN-B 核磁共振区间孔隙度T2-BIN-PR T2分布对数平均值T2GM T2分布对数平均值T2LM井温TEMP钍TH钍THOR钍钾比TKRA核磁共振总孔隙度TPOR模式标志TRIG横波时差TS油气重量PORH出砂指数BULK渗透率PERM 含水饱和度SW 泥质含量SH 井径差值CALO 粘土含量CL 残余烃密度DHY 冲洗带含水饱和度SXO 第一判别向量的判别函数DA 第二判别向量的判别函数DB 综合判别函数DAB 煤层标志CI 煤的含量CARB 地层温度TEMP 评价泥质砂岩油气层产能的参数Q 评价泥质砂岩油气层产能的参数PI 泥质体积SH 总含水饱和度SW 有效孔隙度POR 气指数PORG 阳离子交换能力与含氢量的比值CHR 粘土体积CL 含水孔隙度PORW 冲洗带饱含泥浆孔隙度PORF 井径差值CALC 烃密度DHYC 绝对渗透率PERM 油气有效渗透率PIH 水的有效渗透率PIW 分散粘土体积CLD 层状粘土体积CLL 结构粘土体积CLS 有效孔隙度EPOR 有效含水饱和度ESW 钍钾乘积指数TPI 100%粘土中钾的体积POTV 阳离子交换能力CEC 阳离子交换容量QV 粘土中的束缚水含量BW 含水有效孔隙度EPRW 总孔隙度,UPOR=EPOR+BW UPOR 干粘土骨架的含氢指数HI 粘土束缚水含量BWCL 蒙脱石含量TMON 伊利石含量TILL 绿泥石和高岭石含量TCHK 泥质体积VSH 总含水饱和度VSW 有效孔隙度VPOR 气指数VPOG 阳离子交换能力与含氢量的比值VCHR 粘土体积VCL 含水孔隙度VPOW 冲洗带饱含泥浆孔隙度VPOF 井径差值VCAC 烃密度VDHY 绝对渗透率VPEM 油气有效渗透率VPIH 水的有效渗透率VPIW 分散粘土体积VCLD 层状粘土体积VCLL 结构粘土体积VCLS 有效孔隙度VEPO 有效含水饱和度VESW 钍钾乘积指数VTPI 100%粘土中钾的体积VPOV 阳离子交换能力VCEC 阳离子交换容量VQV 粘土中的束缚水含量VBW 含水有效孔隙度VEPR 总孔隙度VUPO 干粘土骨架的含氢指数VHI 粘土束缚水含量VBWC 蒙脱石含量VTMO 伊利石含量VTIL 绿泥石和高岭石含量VTCH 井筒水流量QW 井筒总流量QT 射孔井段SK 单层产水量PQW 单层产液量PQT 相对吸水量WEQ 相对吸水强度PEQ 孔隙度POR 含水孔隙度PORW 冲洗带含水孔隙度PORF 总孔隙度PORT 流体孔隙度PORX 油气重量PORH 出砂指数BULK 累计烃米数HF 累计孔隙米数PF 渗透率PERM 含水饱和度SW 泥质含量SH 井径差值CALO 粘土含量CL 残余烃密度DHY 冲洗带含水饱和度SXO 束缚水饱和度SWIR 水的有效渗透率PERW 油的有效渗透率PERO 水的相对渗透率KRW 油的相对渗透率KRO 产水率FW 泥质与粉砂含量SHSI 199*SXO SXOF 含水饱和度SWCO 产水率WCI 水油比WOR 经过PORT校正后的C/O值CCCO 经过PORT校正后的SI /CA值CCSC经过PORT校正后的CA/SI值CCCS油水层C/O差值DCO水线视截距XIWA视水线值COWA视油线值CONMfrom石油科技论坛转。
英文版《榆树下的欲望》A Play in Three PartsbyEugene O'Neill (1888-1953)CharactersEPHRAIM CABOTSIMEONPETER--his sonsEBENABBIE PUTNAMYoung Girl, Two Farm ers, The Fiddler, A Sheriff, and other folk from the neighboring farm sThe action of the entire play takes place in, and immediately outside of, the Cabot farmhouse in New England, in the year 1850. The south end of the house faces front to a stone wall with a wooden gate at center opening on a country road. The house is in good condition but in need of paint. Its walls are a sickly grayish, the green of the shutters faded. Two enorm ous elms are on each side of the house. They bend their trailing branches down over the roof. They appear to protect and at the sam e tim e subdue. There is a sinister maternity in their aspect, a crushing, jealous absorption. They have developed from their intimate contact with the life of m an in the house an appalling humaneness. They brood oppressively over the house. They are like exhausted wom en resting their sagging breasts and hands and hair on its roof, and when it rains their tears trickle down monotonously and rot on the shingles.There is a path running from the gate around the right corner of the house to the front door. A narrow porch is on this side. Theend wall facing us has two w indows in its upper story, two larger ones on the floor below. The two upper are those of the father's bedroom and that of the brothers. On the left, ground floor, is the kitchen--on the right, the parlor, the shades of which are always drawn down.《榆树下的欲望》PART I SCENE ONEDESIRE UNDER THE ELMSExterior of the Farmhouse. It is sunset of a day at the beginning of summer in the year 1850. There is no wind and everything is still. The sky above the roof is suffused with deep colors, the green of the elms glows, but the house is in shadow, seeming pale and washed out by contrast.A door opens and Eben Cabot comes to the end of the porch and stands looking down the road to the right. He has a large bell in his hand and this he swings mechanically, awakening a deafening clangor. Then he puts his hands on his hips and stares up at the sky. He sighs with a puzzled awe and blurts out with halting appreciation.EBEN--God! Purty! (His eyes fall and he stares about him frowningly. He istwenty-five, tall and sinewy. His face is well-formed, good-looking, but its expression is resentful and defensive. His defiant, dark eyes remind one of a wild animal's in captivity. Each day is a cage in which he finds himself trapped but inwardly unsubdued. There is a fierce repressed vitality about him. He has black hair, mustache, a thin curly trace of beard. He is dressed in rough farm clothes. He spits on the ground with intense disgust, turns and goes back into the house. Simeon and Peter come in from their work in the fields. They are tall men, much older than their half-brother [Simeon is thirty-nine and Peter thirty-seven], built on asquarer, simpler model, fleshier in body, more bovine and homelier in face, shrewder and more practical. Their shoulders stoop a bit from years of farm work. They clump heavily along in their clumsy thick-soled boots caked with earth. Their clothes, their faces, hands, bare arms and throats are earth-stained. They smell of earth. They stand together for a moment in front of the house and, as if with the one impulse, stare dumbly up at the sky, leaning on their hoes. Their faces have a compressed, unresigned expression. As they look upward, this softens.)SIMEON--(grudgingly) Purty.PETER--Ay-eh.SIMEON--(suddenly) Eighteen years ago.PETER--What?SIMEON--Jenn. My wom an. She died.PETER--I'd fergot.SIMEON--I rec'lect--now an' agin. Makes it lonesome. She'd hair long's a hoss'tail--an' yaller like gold!PETER--Waal--she's gone. (this with indifferent finality--then after a pause) They's gold in the West, Sim.SIMEON--(still under the influence of sunset--vaguely) In the sky?PETER--Waal--in a m anner o' speakin'--thar's the promise. (growing excited) Gold in the sky--in the West--Golden Gate--Californi-a!--Goldest West!--fields o' gold!SIMEON--(excited in his turn) Fortunes layin' just atop o' the ground waitin' t' be picked! Solomon's mines, they says! (For a moment they continue looking up at the sky--then their eyes drop.)PETER--(with sardonic bitterness) Here--it's stones atop o'the ground--stones atop o' stones--m akin' stone walls--year atop o' year--him 'n' yew 'n' m e 'n' then Eben--m akin' stone walls fur him to fence us in!SIMEON--We've wuked. Give our strength. Give our years. Plowed 'em under in the ground--(he stamps rebelliously)--rottin'--m akin' soil for his crops! (a pause) Waal--the farm pays good for hereabouts.PETER--If we plowed in Californi-a, they'd be lumps o' gold in the furrow!SIMEON--Californi-a's t'other side o' earth, a'most. We got t' calc'late--PETER--(after a pause) 'Twould be hard fur m e, too, to give up what we've 'arned here by our sweat. (A pause. Eben sticks his head out of the dining-room window, listening.)SIMEON--Ay-eh. (a pause) Mebbe--he'll die soon.PETER--(doubtfully) Mebbe.SIMEON--Mebbe--fur all we knows--he's dead now.PETER--Ye'd need proof.SIMEON--He's been gone two m onths--with no word.PETER--Left us in the fields an evenin' like this. Hitched up an' druv off into the West. That's plumb onnateral. He hain't never been off this farm 'ceptin' t' the village in thirty year or more, not since he m arried Eben's m aw. (A pause. Shrewdly) Icalc'late we might git him declared crazy by the court.SIMEON--He skinned 'em too slick. He got the best o' all on 'em. They'd neverb'lieve him crazy. (a pause) We got t' wait--till he's under ground.EBEN--(with a sardonic chuckle) Honor thy father! (They turn, startled, and stare at him. He grins, then scowls.) I pray he's died.(They stare at him. He continues matter-of-factly.) Supper's ready.SIMEON AND PETER--(together) Ay-eh.EBEN--(gazing up at the sky) Sun's downin' purty.SIMEON AND PETER--(pointing) Ay-eh. They's gold in the West.EBEN--(pointing) Ay-eh. Yonder atop o' the hill pasture, ye m ean?SIMEON AND PETER--(together) In Californi-a!EBEN--Hunh? (stares at them indifferently for a second, then drawls)Waal--supper's gittin' cold. (He turns back into kitchen.)SIMEON--(startled--smacks his lips) I air hungry!PETER--(sniffing) I sm ells bacon!SIMEON--(with hungry appreciation) Bacon's good!PETER--(in same tone) Bacon's bacon! (They turn, shouldering each other, their bodies bumping and rubbing together as they hurry clumsily to their food, like two friendly oxen toward their evening meal. They disappear around the right corner of house and can be heard entering the door.) (The Curtain Falls)《榆树下的欲望》PART I SCENE TWODESIRE UNDER THE ELMSThe color fades from the sky. Twilight begins. The interior of the kitchen is now visible. A pine table is at center, a cook-stove in the right rear corner, four rough wooden chairs, a tallow candle on the table. In the middle of the rear wall is fastened a big advertizing poster with a ship in full sail and the word "California" in big letters.Kitchen utensils hang from nails. Everything is neat and in order but the atmosphere is of a men's camp kitchen rather thanthat of a home.Places for three are laid. Eben takes boiled potatoes and bacon from the stove and puts them on the table, also a loaf of bread and a crock of water. Simeon and Peter shoulder in, slump down in their chairs without a word. Eben joins them. The three eat in silence for a moment, the two elder as naturally unrestrained as beasts of the field, Eben picking at his food without appetite, glancing at them with a tolerant dislike.SIMEON--(suddenly turns to Eben) Looky here! Ye'd oughtn't t' said that, Eben. PETER--'Twa'n't righteous.EBEN--What?SIMEON--Ye prayed he'd died.EBEN--Waal--don't yew pray it? (a pause)PETER--He's our Paw.EBEN--(violently) Not mine!SIMEON--(dryly) Ye'd not let no one else say that about yer Maw! Ha! (He gives one abrupt sardonic guffaw. Peter grins.) EBEN--(very pale) I m eant--I hain't his'n--I hain't like him--he hain't m e!PETER--(dryly) Wait till ye've growed his age!EBEN--(intensely) I'm Maw--every drop o' blood! (A pause. They stare at him with indifferent curiosity.)PETER--(reminiscently) She was good t' Sim 'n' m e. A good Step-m aw's scurse.SIMEON--She was good t' everyone.EBEN--(greatly moved, gets to his feet and makes an awkward bow to each of them--stammering) I be thankful t' ye. I'm her--her heir. (He sits down in confusion.)PETER--(after a pause--judicially) She was good even t' him.EBEN--(fiercely) An' fur thanks he killed her!SIMEON--(after a pause) No one never kills nobody. It's allus somethin'. That's the murderer.EBEN--Didn't he slave Maw t' death?PETER--He's slaved himself t' death. He's slaved Sim 'n' me 'n' yew t' death--on'y none o' us hain't died--yit.SIMEON--It's som ethin'--drivin' him--t' drive us!EBEN--(vengefully) Waal--I hold him t' jedgment! (then scornfully) Som ethin'! What's som ethin'?SIMEON--Dunno.EBEN--(sardonically) What's drivin' yew to Californi-a, m ebbe? (They look at him in surprise.) Oh, I've heerd ye! (then, after a pause) But ye'll never go t' the gold fields!PETER--(assertively) Mebbe!EBEN--Whar'll ye git the m oney?PETER--We kin walk. It's an a'mighty ways--Californi-a--but if yew was t' put all the steps we've walked on this farm end t' end we'd be in the m oon!EBEN--The Injuns'll skulp ye on the plains.SIMEON--(with grim humor) We'll m ebbe make 'em pay a hair fur a hair!EBEN--(decisively) But t'ain't that. Ye won't never go because ye'll wait here fur yer share o' the farm, thinkin' allus he'll die soon.SIMEON--(after a pause) We've a right.PETER--Two thirds belongs t' us.EBEN--(jumping to his feet) Ye've no right! She wa'n't yewr Maw! It was her farm! Didn't he steal it from her? She's dead. It's m y farm.SIMEON--(sardonically) Tell that t' Paw--when he com es! I'll bet ye a dollar he'll laugh--fur once in his life. Ha! (He laughs himself in one single mirthless bark.)PETER--(amused in turn, echoes his brother) Ha!SIMEON--(after a pause) What've ye got held agin us, Eben? Year arter year it's skulked in yer eye--som ethin'.PETER--Ay-eh.EBEN--Ay-eh. They's som ethin'. (suddenly exploding) Why didn't ye never stand between him 'n' m y Maw when he was slavin' her to her grave--t' pay her back fur the kindness she done t' yew? (There is a long pause. They stare at him in surprise.) SIMEON--Waal--the stock'd got t' be watered.PETER--'R they was woodin' t' do.SIMEON--'R plowin'.PETER--'R hayin'.SIMEON--'R spreadin' manure.PETER--'R weedin'.SIMEON--'R prunin'.PETER--'R milkin'.EBEN--(breaking in harshly) An' m akin' walls--stone atop o' stone--m akin' walls till yer heart's a stone ye heft up out o' the way o' growth onto a stone wall t' wall in yer heart!SIMEON--(matter-of-factly) We never had no tim e t' m eddle.PETER--(to Eben) Yew was fifteen afore yer Maw died--an' big fur yer age. Why didn't ye never do nothin'?EBEN--(harshly) They was chores t' do, wa'n't they? (a pause--then slowly) It was on'y arter she died I com e to think o' it. Me cookin'--doin' her work--that m ade m e know her, suffer her sufferin'--she'd com e back t' help--com e back t' bile potatoes--com e back t' fry bacon--com e back t' bake biscuits--com e back all cram ped up t' shake the fire, an' carry ashes, her eyes weepin' an' bloody withsm oke an' cinders same's they used t' be. She still com esback--stands by the stove thar in the evenin'--she can't find it nateral sleepin' an' restin' in peace. She can't git used t' bein' free--even in her grave.SIMEON--She never com plained none.EBEN--She'd got too tired. She'd got too used t' bein' too tired. That was what he done. (with vengeful passion) An' sooner'r later, I'll meddle. I'll say the thin's I didn't say then t' him! I'll yell 'em at the top o' m y lungs. I'll see t' it m y Maw gits som e rest an' sleep in her grave! (He sits down again, relapsing into a brooding silence. They look at him with a queer indifferent curiosity.)PETER--(after a pause) Whar in tarnation d'ye s'pose he went, Sim?SIMEON--Dunno. He druv off in the buggy, all spic k an' span, with the m are all breshed an' shiny, druv off clackin' his tongue an' wavin' his whip. I remember it right well. I was finishin' plowin', it was spring an' May an' sunset, an' gold in the West, an' he druv off into it. I yells "Whar ye goin', Paw?" an' he hauls up by the stone wall a jiffy. His old snake's eyes was glitterin' in the sun like he'd been drinkin' a jugful an' he says with a mule's grin: "Don't ye run away till I com e back!"PETER--Wonder if he knowed we was wantin' fur Cali-forni-a?SIMEON--Mebbe. I didn't say nothin' and he says, lookin' kinder queer an' sick: "I been hearin' the hens cluckin' an' the roosters crowin' all the durn day. I been listenin' t' the cows lowin' an' everythin' else kickin' up till I can't stand it no m ore. It's spring an' I'm feelin' damned," he says. "Damned like an old bare hickory tree fit on'y fur burnin'," he says. An' then I calc'late I must've looked a mite hopeful, fur he adds real spry and vicious: "Butdon't git no fool idee I'm dead. I've sworn t' live a hundred an' I'll do it, if on'y t' spite yer sinful greed! An' now I'm ridin' out t' learn God's message t' m e in the spring, like the prophets done. An' yew git back t' yerplowin'," he says. An' he druv off singin' a hymn. I thought he was drunk--'r I'd stopped him goin'.EBEN--(scornfully) No, ye wouldn't! Ye're scared o' him. He's stronger--inside--than both o' ye put together!PETER--(sardonically) An' yew--be yew Sam son?EBEN--I'm gittin' stronger. I kin feel it growin' in m e--growin' an' growin'--till it'll bust out--! (He gets up and puts on his coat and a hat. They watch him, gradually breaking into grins. Eben avoids their eyes sheepishly.) I'm goin' out fur a spell--up the road.PETER--T' the village?SIMEON--T' see Minnie?EBEN--(defiantly) Ay-eh!PETER--(jeeringly) The Scarlet Wom an!SIMEON--Lust--that's what's growin' in ye!EBEN--Waal--she's purty!PETER--She's been purty fur twenty year!SIMEON--A new coat o' paint'll m ake a heifer out of forty.EBEN--She hain't forty!PETER--If she hain't, she's teeterin' on the edge.EBEN--(desperately) What d'yew know--PETER--All they is . . . Sim knew her--an' then m e arter--SIMEON--An' Paw kin tell yew som ethin' too! He was fust!EBEN--D'ye m ean t' say he . . . ?SIMEON--(with a grin) Ay-eh! We air his heirs in everythin'!EBEN--(intensely) That's m ore to it. That grows on it! It'll bustsoon! (then violently) I'll go sm ash m y fist in her face! (He pulls open the door in rear violently.)SIMEON--(with a wink at Peter--drawlingly) Mebbe--but the night'swa'm--purty--by the tim e ye git thar m ebbe ye'll kiss her instead!PETER--Sart'n he will! (They both roar with coarse laughter. Eben rushes out and slams the door--then the outside front door--comes around the corner of the house and stands still by the gate, staring up at the sky.)SIMEON--(looking after him) Like his Paw.PETER--Dead spit an' image!SIMEON--Dog'll eat dog!PETER--Ay-eh. (Pause. With yearning) Mebbe a year from now we'll be in Californi-a.SIMEON--Ay-eh. (A pause. Both yawn.) Let's git t' bed. (He blows out the candle. They go out door in rear. Eben stretches his arms up to the sky--rebelliously)EBEN--Waal--thar's a star, an' somewhar's they's him, an' here's m e, an' thar's Min up the road--in the sam e night. What if I does kiss her? She's like t'night, she's soft 'n' wa'm, her eyes kin wink like a star, her mouth's wa'm, her arm s're wa'm, she sm ells like a wa'm plowed field, she's purty . . . Ay-eh! By God A'mighty she's purty, an' I don't give a damn how many sins she's sinned afore mine or who she's sinned 'em with, m y sin's as purty as any one on 'em! (He strides off down the road to the left.) 《榆树下的欲望》PART I SCENE THREEDESIRE UNDER THE ELMSIt is the pitch darkness just before dawn. Eben comes in from the left and goes around to the porch, feeling his way, chucklingbitterly and cursing half-aloud to himself.EBEN--The cussed old miser! (He can be heard going in the front door. There is a pause as he goes upstairs, then a loud knock on the bedroom door of the brothers.) Wake up!SIMEON--(startledly) Who's thar?EBEN--(pushing open the door and coming in, a lighted candle in his hand. The bedroom of the brothers is revealed. Its ceiling is the sloping roof. They can stand upright only close to the center dividing wall of the upstairs. Simeon and Peter are in a double bed, front. Eben's cot is to the rear. Eben has a mixture of silly grin and vicious scowl on his face.) I be!PETER--(angrily) What in hell's-fire . . . ?EBEN--I got news fur ye! Ha! (He gives one abrupt sardonic guffaw.)SIMEON--(angrily) Couldn't ye hold it 'til we'd got our sleep?EBEN--It's nigh sunup. (then explosively) He's gone an' married agen!SIMEON AND PETER--(explosively) Paw?EBEN--Got himself hitched to a fem ale 'bout thirty-five--an' purty, they says . . .SIMEON--(aghast) It's a durn lie!PETER--Who says?SIMEON--They been stringin' ye!EBEN--Think I'm a dunce, do ye? The hull village says. The preacher from New Dover, he brung the news--told it t' our preacher--New Dover, that's whar the old loon got himself hitched--that's whar the wom an lived--PETER--(no longer doubting--stunned) Waal . . . !SIMEON--(the same) Waal . . . !EBEN--(sitting down on a bed--with vicious hatred) Ain't hea devil out o' hell? It's jest t' spite us--the dam ned old mule!PETER--(after a pause) Everythin'll go t' her now.SIMEON--Ay-eh. (a pause--dully) Waal--if it's done--PETER--It's done us. (pause--then persuasively) They's gold in the fields o' Californi-a, Sim. No good a-stayin' here now.SIMEON--Jest what I was a-thinkin'. (then with decision) S'well fust's last! Let's light out and git this m ornin'.PETER--Suits m e.EBEN--Ye m ust like walkin'.SIMEON--(sardonically) If ye'd grow wings on us we'd fly thar!EBEN--Ye'd like ridin' better--on a boat, wouldn't ye? (fumbles in his pocket and takes out a crumpled sheet of foolscap) Waal, if ye sign this ye kin ride on a boat. I've had it writ out an' ready in case ye'd ever go. It says fur three hundred dollars t' each ye agree yewr shares o' the farm is sold t' m e. (They look suspiciously at the paper. A pause.)SIMEON--(wonderingly) But if he's hitched agen--PETER--An' whar'd yew git that sum o' money, anyways?EBEN--(cunningly) I know whar it's hid. I been waitin'--Maw told m e. She knew whar it lay fur years, but she was waitin' . . . It's her'n--the m oney he hoarded from her farm an' hid from Maw. It's m y money by rights now.PETER--Whar's it hid?EBEN--(cunningly) Whar yew won't never find it without m e. Maw spied on him--'r she'd never knowed. (A pause. They look at him suspiciously, and he at them.) Waal, is it fa'r trade?SIMEON--Dunno.PETER--Dunno.SIMEON--(looking at window) Sky's grayin'.PETER--Ye better start the fire, Eben.SIMEON--An' fix some vittles.EBEN--Ay-eh. (then with a forced jocular heartiness) I'll git ye a good one. If ye're startin' t' hoof it t' Californi-a ye'll need somethin' that'll stick t' yer ribs. (He turns to the door, adding meaningly) But ye kin ride on a boat if ye'll swap. (He stops at the door and pauses. They stare at him.)SIMEON--(suspiciously) Whar was ye all night?EBEN--(defiantly) Up t' Min's. (then slowly) Walkin' thar, fust I felt 's if I'd kiss her; then I got a-thinkin' o' what ye'd said o' him an' her an' I says, I'll bust her nose fur that! Then I got t' the village an' heerd the news an' I got m adder'n hell an' run all the way t' Min's not knowin' what I'd do--(He pauses--then sheepishly but more defiantly) Waal--when I seen her, I didn't hit her--nor I didn't kiss her nuther--I begun t' beller like a calf an' cuss at the sam e time, I was so durn mad--an' she got scared--an' I jest grabbed holt an' tuk her! (proudly) Yes, siree! I tuk her. She may've been his'n--an' your'n, too--but she's m ine now!SIMEON--(dryly) In love, air yew?EBEN--(with lofty scorn) Love! I don't take no stock in sech slop!PETER--(winking at Simeon) Mebbe Eben's aimin' t' m arry, too.SIMEON--Min'd make a true faithful he'pmeet! (They snicker.) EBEN--What do I care fur her--'ceptin' she's round an' wa'm? The p'int is she was his'n--an' now she b'longs t' m e! (He goes to the door--then turns--rebelliously) An' Min hain't sech a bad un. They's worse'n Min in the world, I'll bet ye! Wait'll we see this cow the Old Man's hitched t'! She'll beat Min, I got a notion! (He starts to go out.)SIMEON--(suddenly) Mebbe ye'll try t' m ake her your'n, too?PETER--Ha! (He gives a sardonic laugh of relish at this idea.) EBEN--(spitting with disgust) Her--here--sleepin' with him--stealin' my Maw's farm! I'd as soon pet a skunk 'r kiss a snake! (He goes out. The two stare after him suspiciously. A pause. They listen to his steps receding.)PETER--He's startin' the fire.SIMEON--I'd like t' ride t' Californi-a--but--PETER--Min might o' put som e schem e in his head.SIMEON--Mebbe it's all a lie 'bout Paw m arryin'. We'd best wait an' see the bride.PETER--An' don't sign nothin' till we does!SIMEON--Nor till we've tested it's good m oney! (then with a grin) But if Paw's hitched we'd be sellin' Eben som ethin' we'd never git nohow!PETER--We'll wait an' see. (then with sudden vindictive anger) An' till he com es, let's yew 'n' m e not wuk a lick, let Eben tend to thin's if he's a mind t', let's us jest sleep an' eat an' drink likker, an' let the hull damned farm go t' blazes!SIMEON--(excitedly) By God, we've 'arned a rest! We'll play rich fur a change. I hain't a-going to stir outa bed till breakfast's ready.PETER--An' on the table!SIMEON--(after a pause--thoughtfully) What d'ye calc'late she'll be like--our new Maw? Like Eben thinks?PETER--More'n' likely.SIMEON--(vindictively) Waal--I hope she's a she-devil that'll make him wish he was dead an' livin' in the pit o' hell fur com fort!PETER--(fervently) Am en!SIMEON--(imitating his father's voice) "I'm ridin' out t' learn God's m essage t' m e in the spring like the prophets done," hesays. I'll bet rig ht then an' thar he knew plumb well he was goin' whorin', the stinkin' old hypocrite!《榆树下的欲望》PART I SCENE FOURDESIRE UNDER THE ELMSSame as Scene Two--shows the interior of the kitchen with a lighted candle on table. It is gray dawn outside. Simeon and Peter are just finishing their breakfast. Eben sits before his plate of untouched food, brooding frowningly.PETER--(glancing at him rather irritably) Lookin' glum don't help none.SIMEON--(sarcastically) Sorrowin' over his lust o' the flesh!PETER--(with a grin) Was she yer fust?EBEN--(angrily) None o' yer business. (a pause) I was thinkin' o' him. I got a notion he's gittin' near--I kin feel him comin' on like yew kin feel malaria chill afore it takes ye.PETER--It's too early yet.SIMEON--Dunno. He'd like t' catch us nappin'--jest t' have som ethin' t' hoss us'round over.PETER--(mechanically gets to his feet. Simeon does the same.) Waal--let's git t' wuk. (They both plod mechanically toward the door before they realize. Then they stop short.) SIMEON--(grinning) Ye're a cussed fool, Pete--and I be wuss! Let him see we hain't wukin'! We don't give a durn!PETER--(as they go back to the table) Not a dam ned durn! It'll serve t' show him we're done with him. (They sit down again. Eben stares from one to the other with surprise.)SIMEON--(grins at him) We're aimin' t' start bein' lilies o' the field.PETER--Nary a toil 'r spin 'r lick o' wuk do we put in!SIMEON--Ye're sole owner--till he com es--that's what ye wanted. Waal, ye got t' be sole hand, too.PETER--The cows air bellerin'. Ye better hustle at the m ilkin'.EBEN--(with excited joy) Ye m ean ye'll sign the paper?SIMEON--(dryly) Mebbe.PETER--Mebbe.SIMEON--We're considerin'. (peremptorily) Ye better git t' wuk.EBEN--(with queer ex citement) It's Maw's farm agen! It's m y farm! Them's m y cows! I'll milk my durn fingers off fur cows o' mine! (He goes out door in rear, they stare after him indifferently.) SIMEON--Like his Paw.PETER--Dead spit 'n' image!SIMEON--Waal--let dog eat dog! (Eben comes out of front door and around the corner of the house. The sky is beginning to grow flushed with sunrise. Eben stops by the gate and stares around him with glowing, possessive eyes. He takes in the whole farm with his embracing glance of desire.)EBEN--It's purty! It's dam ned purty! It's mine! (He suddenly throws his head back boldly and glares with hard, defiant eyes at the sky.) Mine, d'ye hear? Mine! (He turns and walks quickly off left, rear, toward the barn. The two brothers light their pipes.) SIMEON--(putting his muddy boots up on the table, tilting back his chair, and puffing defiantly) Waal--this air solid com fort--fur once.PETER--Ay-eh. (He follows suit. A pause. Unconsciously they both sigh.)SIMEON--(suddenly) He never was much o' a hand at milkin', Eben wa'n't.PETER--(with a snort) His hands air like hoofs! (a pause)。
让真情自然流露乌龟作文英文回答:I have always been fascinated by turtles. Their slow and steady movements, their protective shells, and their longevity all contribute to their unique charm. Today, I would like to share a story about a turtle that taught me an important lesson about expressing true feelings.Once upon a time, there was a turtle named Tim. Tim lived in a beautiful pond surrounded by lush greenery. He was content with his peaceful life, but he had a secret. Tim had fallen in love with a beautiful swan named Sophie who often visited the pond. Every time Sophie gracefully glided across the water, Tim's heart would flutter.However, Tim was too shy to express his true feelings to Sophie. He was afraid of rejection and worried that his slow pace would not impress her. So, he kept his emotions hidden deep inside his shell, watching Sophie from adistance.One day, as Tim was watching Sophie, a wise old owl named Oliver perched on a nearby tree branch. Sensing Tim's dilemma, Oliver decided to offer some advice. He told Tim that true love should never be hidden, and that expressing one's feelings is essential for personal growth and happiness.Inspired by Oliver's words, Tim summoned up the courage to approach Sophie. He slowly swam towards her, his heart pounding with nervousness. When he finally reached her, he looked into her eyes and spoke from his heart. He told her how much he admired her grace, her beauty, and her free spirit.To Tim's surprise, Sophie smiled and thanked him for his kind words. She confessed that she had noticed him watching her from afar and had also developed feelings for him. They spent the rest of the day swimming together, sharing stories, and getting to know each other better.From that day forward, Tim and Sophie became inseparable. They would swim together, explore the pond,and bask in the warm sunlight. Tim learned that by letting his true feelings flow, he had not only found love but also discovered his own self-worth.中文回答:和中文回答,我一直对乌龟很着迷。
关于观看乒乓球比赛的英语对话A: Are you a fan of table tennis?B: Yes, I love watching table tennis matches. It's such a fast-paced and exciting sport.A: Me too! Have you ever been to a live table tennis match?B: Yes, I have. The atmosphere in the stadium is electrifying. The players' skills and speed are just incredible to witness in person.A: I agree. The way they anticipate and react to each other's shots is remarkable. Which player is your favorite?B: I'm a big fan of Ma Long from China. He's been dominating the sport for a while now and his technique is flawless.A: He's definitely a force to be reckoned with. I personally admire Timo Boll from Germany. His precision and strategy on the table are unmatched.B: Oh yes, I've seen some of his matches too. He's a true legend in the sport. Do you have any favorite matches or moments?A: One of my favorite matches was the Olympic final between Ma Long and Zhang Jike. It was an intense battle between two great players from China.B: I remember that match. The rallies were so intense and both players were giving it their all. It was a nail-biting experience.A: Definitely! The excitement of watching table tennis is hard to match. I can't wait to see more matches in the future.B: Same here. It's always thrilling to see the top players compete and push the limits of what's possible in the sport.。
英语作文读后续写材料Once upon a time in a small village, there lived a curious boy named Tim. His eyes sparkled with wonder every time he heard tales of the outside world.One day, Tim decided to embark on an adventure. He packed a small bag with essentials and set off towards the horizon, his heart pounding with excitement and a little fear.As he journeyed through the forest, he encountered a wise old owl perched on a branch. "Where are you going, young one?" the owl asked. Tim replied, "I seek knowledge and stories beyond our village."The owl nodded and shared a secret path that led to a hidden library, a treasure trove of books from all corners of the world. Tim's eyes widened as he stepped into the sanctuary of knowledge.Days turned into weeks as Tim immersed himself in the library. He read about faraway lands, ancient civilizations, and the mysteries of the universe. Each book was a new world waiting to be explored.One evening, as the sun dipped below the horizon, Tim found a peculiar book with no title. It was filled with blank pages. Intrigued, he opened it, and suddenly, the pages began to fill with his own adventures.Realizing the power of the book, Tim knew he had to return to his village. He could share his newfound knowledge and inspire others to seek their own adventures.With the mysterious book in hand, Tim retraced his steps, eager to share his experiences. As he approached the village, he noticed a change. The villagers were more curious, more open to new ideas.Tim's journey had not only changed him but had also sparked a change in his community. The once quiet village now buzzed with the energy of discovery and the joy of shared stories.In the end, Tim understood that the greatest adventure was not the one he had taken but the one that awaited him back home. He had become a storyteller, a bridge between worlds, and a beacon of inspiration for his people.。