a

意大利语， 意思大约和“hello”差不多

分清ci和chi的不同你就知道ciao怎么发音了。

我也爱你

1982年—2000年主要作品年代 漫画作品 漫画作者 1982 梦时计 上原希美子 1983 阿尔卑斯玫瑰 赤石路代 1985 魔法之星爱美 新井清子 1986 孤星望月 赤石路代 1991 水色时代 薮内优 1992 水晶爱丽丝 新井清子 1992 神奇男孩 清水真澄 1992 溜冰娃娃 赤石路代 1993 为食龙少爷 五十岚优美子 1994 爱天使传说 谷泽直（原作：富田佑弘） 1994 飞天少女猪 池田多惠子 1996 天使口红 新井清子 1996 排球双妞 大林深雪 1996 红色狂想曲 赤石路代 1996 少女革命 斋藤千穗 1997 皮卡丘大冒险我爱PIPIPI 月梨野有实 1998 神的恶作剧 宫脇由季乃 1998 青涩时代 薮内优 1998 布丁猫与我 龙山沙由里 1999 甜蜜男孩 富所和子 1999 爱恋24小时 宫脇由季乃 1999 狗狗的小镇日记 龙山沙由里 1999 爱你100万次 大林深雪 1999 恋爱占卜师 新井清子 2000 爱丽丝的初恋 大林深雪 2000 恋爱养成！ 筱冢广梦 2000 正义俱乐部 西村智子 2000 雪子少女组 五十岚薰 2001年—2010年主要作品年代 漫画作品 漫画作者 2001 魔法咪路咪路 筱冢广梦 2001 美妆魔法 宫脇由季乃 2001 恋爱大考验 森智夏子 2002 爱爱我的爱 中原杏 2002 天使猎人 大林深雪 2002 元气少女俱乐部 西村智子 2002 忍姬七变化 森智夏子 2002 谈个漫画恋情 八神千岁 2002 遨游人鱼姬 阵名舞 2003 梦幻魔法镯 八神千岁 2003 坏坏宝贝熊 中原杏 2003 公主方程式 宫脇由季乃 2003 Di Gi Charat 小夏钝帆 2003 魔法指戒 五十岚薰 2003 手机情人 八神千岁 2003 秘密之吻 高宫智 2003 俏丽魔发师 新井清子 2003 梦幻眼影 中原杏 2004 偶像宣言 中原杏 2004 KISS·KISS 八神千岁 2004 魔法少女队 阵名舞（原作：雨宫庆太） 2004 排球好姊妹 森智夏子 2004 魔法小桃子 西村智子 2004 魔法甜蜜美人鱼 水濑依都流 2004 浪漫甜点屋 五十岚薰 2004 糖果怪兽 大林深雪 2004 浪漫甜心 宫脇由季乃 2005 Chrerish 樱桃梦幻曲 阿南满雪 2005 爱你停不了！ 小原裕子 2005 寻找灰姑娘 今井康绘 2005 一起一起塔麻可吉 篝淳子 2005 不可思议星球的双胞胎公主 阿南满雪 2005 我的白金公主 八神千岁 2005 开心魔法姬 北村有香 2005 闪耀☆舞台 今井康绘 2005 快乐小兔幸运草 龙山沙由里 2005 咖啡罗曼史 宫脇由季乃 2005 青春恋乐园 小原裕子 2005 小不点情人 小原尚 2006 恋爱班长 西村智子 2006 魔法俏姑娘 明野未流 2006 Charm Angel ☆ 星天使 森智夏子 2006 旋转吧！冰上天使 今井康绘 2006 迷糊俏小妈 小原裕子 2006 我的猫咪达令 岩冈美兔 2006 爱的漫画教室 阿南满雪 2006 牛奶糖之吻 八神千岁 2006 怪盗牛奶水果糖 岩冈美兔 2006 爱情红绿灯 小原尚 2007 樱桃情人梦 小原尚 2007 纯爱相守 岩冈美兔 2007 暴走沙也加 和央明 2007 亲亲小狐仙 米田菜穗 2007 热舞节奏 葵未知留 2007 丛林俏姊姊 明野未流 2007 活力四射☆啦啦队 小坂真理子 2007 流星恋物语 岩冈美兔 2008 十二生肖恋物语 环方好美 2008 满分！纸牌美眉 小坂真理子 2008 公主的初恋情人 葵未知留 2008 阿飘小镇三丁目 八神千岁 2008 花音的芭蕾物语 久世瑞贵 2008 魔法小恶魔 筱冢广梦 2008 型男执事咖啡厅 三咲绫 2008 我的恶男英雄 森智夏子 2008 美味☆恋曲 明野未流 2008 夏恋进行式 藤实理绪 2008 我要我们在一起 森田友希 2008 甜蜜的恋爱诊疗 三咲绫 2009 当我们同在Z班！ 小坂真理子 2009 我不是女仆！ 岩冈美兔 2009 爱情好狗命 环方好美 2009 吸血鬼恋人 熊木绘里 2009 体操少女 森智夏子 2009 型男恋爱王国 八神千岁 2009 神样的指环 小原尚 2009 公主系girl乐园 和央明 2009 他和她和她 森田友希 2009 世界制服☆HONEY 葵未知留 2009 梦幻女孩☆莉莉露 中原杏 2009 魔女怪怪恋魔法 熊木绘里 2009 恋恋樱花馆 森田友希 2009 魔法巧克力专门店 瑞穗梨乃 2010 不思议森林恋物语 能登山圭子 2010 双子星保镖 藤实理绪 2010 魔法恋学苑 薮内优 2010 变身！偶像公主 阵名舞 2010 爱情武士结华 葵未知留 2010 怪咖帅哥住隔壁 中嶋佑佳 2010 真代家恋爱情结 久世瑞贵 2010 虹色女孩☆钻石星路 中原杏

AmieNothing unusual, nothing strangeClose to nothing at allThe same old scenario, same old rainAnd there"s no explosions hereThen something unusual, something strangeCalled from nothing at allI saw a spaceship fly by your windowDid you see it disappear?Amie come sit on my wallAnd read me the story of OTell it like you still believeThat the end of the centuryBrings a change for you and meNothing unusual, nothing strangeJust a little older, that"s allYou know when you"ve found itThere"s something I"ve learnedCos you feel it when they take it awayHey heySomething unusual, something strangeComes from nothing at allBut I"m not a miracle, and you are not a saintJust another soldier on a road to nowhereAmie come sit on my wallAnd read me the story of OTell it like you still believeThat at the end of the centuryThere"s a change for you and me 我只找到了英文的，没能找到中文的，抱歉！

<法>女朋友, 爱人

也有读 超 的

有谁用“女性盆友”这个词语做名字啊，好怪哦

fortran语言中没有幂函数.幂函数用运算符表示,幂运算符是两个星号(两个乘号).例如:a**b就是a的b次方.(a**b)**c--就是a的b次方以后再c次方.

--!!!!!!hola是西语（你好）ciao是意大利语（你好，再见）--咳咳,发音是跟"敲"一样的,上边的哥哥别搞错了

TiAmo是意大利语~我爱你

Ciao最早是意大利语，可以相当于Hi或者Bye-bye，见面和告别时都能用，后来在西班牙语，葡萄牙语，甚至英语里都很多人用，不过只能在再见的时候说，是非正式用语，小红说的应该是再见的意思吧~

读音完全一样，只是ami是阳性名词，指男性朋友，amie是阴性名词，指女性朋友

--!!!!!!hola是西语（你好）ciao是意大利语（你好，再见）--咳咳,发音是跟"敲"一样的,上边的哥哥别搞错了

Amie 是个日本手表。【Amie 女性用腕时计 3针 中古■EU-5129】

意 一般用作你好 也可像法语salut一样用成再见 是比较亲切的用法

Salut一般用在比较要好的两个人之间见面打招呼，道别的时候也能用。Ciao是用在道别，再见的意思。Adieu这个比较严重了，永别的意思。

（a+b）（a^2-ab+b^2）

ami是朋友的意思，如果用于男性则是ami，用于女性则是amie（加e表示阴性）。ma和mon是主有形容词，表示“我的”的意思。ma用在阴性前面，mon用在阳性名词前面，不过如果ma后面是元音开头的名词，则要改为mon。按理说，应该是monami和maamie的，但是amie是元音开头，所以改成了monamie

《露洲湿沙壁，暮幽萧寂寂》CIAO是意大利语中你好的意思不过初次见面不认识的人不能说CIAO只有认识的才说CIAO不认识的应该说早上好下午晚上好！CIAO也是意大利语中你好和再见的意思！

It`s winter now.And the seeds of love lies deep within me. Will spring ever come ?But I can show the world that you were once mine. I can relive our time together.Those precious memories I yearn to forget.Time slips through my finger like sand.The fire of our love have burned out, and now there is nothing. Nothing but a sky black with ashes.We will know a deeper and surer love. It begins fleetingly,but it deepens and endures. It grows amidst all the strangeness of life.It is a beauty we can always depend on.It is the beauty of friendship.附送中文版：PlayBack Time 回望时分生活是永恒眼里的一滴泪/我们曾共同生活,欢笑,恩爱/然而你却离开了我/我只能孤独漫游/一个心碎的警察有什么用/失去了你,我毫无价值/一无是处/一无是处.../死去的骷髅才会忘记过去/我举目四望,无法逃脱我们曾经的身影/死了/我的内心/空空荡荡/现在是冬天了/爱的种子深深掩埋在我的心底/春天会来吗/原以为时间会让我移情别处/但我终究不能/但我仍可以让世界见证你曾经属于我/我可以重新回味我们共同的生活/那些我急于抛弃的宝贵记忆/时光如沙流走于指间/我们爱的火焰已燃尽/好比暗淡灰无的黑夜/我无法忘记你/你那水果般温柔的吻/银光四射般的笑声/漆黑夜晚中月牙般的笑容/你夜光般的美/耐心,无比的谦虚/现在你却投入了另一个人的怀抱/这个男人,他是谁?/是否稳重/是否有魅力/他是情人还是勇士/他为何能控你于股指/和他一起,你的眼神是否闪烁如黑夜里舞动的萤火虫/你的身体会否柔软,嘴唇颤抖?/你不能相信你竟变得如此自私/你被爱吞噬着/他是如何对你施以魔法,发令并操纵于你/你又为什么要把我拒之门外/我痛苦的挣扎/再次度过历史的黑暗时刻/我知道我们注定会分离/但是现在,我必须放你走了/爱会随时间凝聚,更禁得起磨练/它在离奇的生活中成长/爱是你可以永久依靠的美/集友情美丽于一身/

是的，是国产品牌，产地在杭州。按照用品的使用频率或范围划分为：生活必需品，或称日常生活用品。按照用途划分有：洗漱用品 、家居用品、 厨卫用品、装饰用品 、化妆用品 、床上用品等。头部国产手机：2010年4月6日，北京小米科技有限公司正式成立，并入驻银谷大厦。2011年7月12日，小米创始团队正式亮相，宣布进军手机市场。2011年8月16日，小米手机发布。2011年12月18日，小米手机第一次正式网络售卖，5分钟内30万台售完。2014年4月22日，小米公司启小米新域名。2014年8月28日，小米已进军印度尼西亚市场。2014年10月30日，中国制造商小米公司成为全球第三大智能手机制造商，仅次于三星公司和苹果公司。2017年2月28日，小米正式发布旗下手机芯片。

ciao俏这个品牌还在做。ciao俏在9.7活动中的第二天被京东锁定了后台。在锁定之前就完成了上架，锁不锁对ciao牌的影响不大。ciao俏与消费者的交易还在正常进行。ciao俏这个品牌还在做。

我也是只看攻略啊，建议你把游戏中的英语抄下来拿到百度知道的外语里提问，可能有所收获的

AO---原子轨道（Atomic orbital）化学中符号Ci是：居里（放射性活度单位）放射性活度的国际单位制单位是贝可勒尔（Bq），常用单位是居里（Ci）。

Once upon a time..."How astonishingly cold it is! My body is cracking all over!" said the Snow-man. "The wind is really cutting one"s very life out! And how that fiery thing up there glares!" He meant the sun, which was just setting. "It sha"n"t make me blink, though, and I shall keep quite cool and collected."Instead of eyes he had two large three-cornered pieces of slate in his head; his mouth consisted of an old rake, so that he had teeth as well.He was born amidst the shouts and laughter of the boys, and greeted by the jingling bells and cracking whips of the sledges.The sun went down, the full moon rose, large, round, clear and beautiful, in the dark blue sky."There it is again on the other side!" said the Snow-man, by which he meant the sun was appearing again. "I have become quite accustomed to its glaring. I hope it will hang there and shine, so that I may be able to see myself. I wish I knew, though, how one ought to see about changing one"s position. I should very much like to move about. If I only could, I would glide up and down the ice there, as I saw the boys doing; but somehow or other, I don"t know how to run.""Bow-wow!" barked the old yard-dog; he was rather hoarse and couldn"t bark very well. His hoarseness came on when he was a house-dog and used to lie in front of the stove. "The sun will soon teach you to run! I saw that last winter with your predecessor, and farther back still with his predecessors! They have all run away!""I don"t understand you, my friend," said the Snow-man. "That thing up there is to teach me to run?" He meant the moon. "Well, it certainly did run just now, for I saw it quite plainly over there, and now here it is on this side.""You know nothing at all about it," said the yard-dog. "Why, you have only just been made. The thing you see there is the moon; the other thing you saw going down the other side was the sun. He will come up again tomorrow morning, and will soon teach you how to run away down the gutter. The weather is going to change; I feel it already by the pain in my left hind-leg; the weather is certainly going to change.""I can"t understand him," said the Snow-man; "but I have an idea that he is speaking of something unpleasant. That thing that glares so, and then disappears, the sun, as he calls it, is not my friend. I know that by instinct.""Bow-wow!" barked the yard-dog, and walked three times round himself, and then crept into his kennel to sleep. The weather really did change. Towards morning a dense damp fog lay over the whole neighbourhood; later on came an icy wind, which sent the frost packing. But when the sun rose, it was a glorious sight. The trees and shrubs were covered with rime, and looked like a wood of coral, and every branch was thick with long white blossoms. The most delicate twigs, which are lost among the foliage in summer-time, came now into prominence, and it was like a spider"s web of glistening white. The lady-birches waved in the wind; and when the sun shone, everything glittered and sparkled as if it were sprinkled with diamond dust, and great diamonds were lying on the snowy carpet."Isn"t it wonderful?" exclaimed a girl who was walking with a young man in the garden. They stopped near the Snow-man, and looked at the glistening trees. "Summer cannot show a more beautiful sight," she said, with her eyes shining."And one can"t get a fellow like this in summer either," said the young man, pointing to the Snow-man. "He"s a beauty!"The girl laughed, and nodded to the Snow-man, and then they both danced away over the snow."Who were those two?" asked the Snow-man of the yard-dog. "You have been in this yard longer than I have. Do you know who they are?""Do I know them indeed?" answered the yard-dog. "She has often stroked me, and he has given me bones. I don"t bite either of them!""But what are they?" asked the Snow-man."Lovers!" replied the yard-dog. "They will go into one kennel and gnaw the same bone!""Are they the same kind of beings that we are?" asked the Snow-man."They are our masters," answered the yard-dog. "Really people who have only been in the world one day know very little." That"s the conclusion I have come to. Now I have age and wisdom; I know everyone in the house, and I can remember a time when I was not lying here in a cold kennel. Bow-wow!""The cold is splendid," said the Snow-man. "Tell me some more. But don"t rattle your chain so, it makes me crack!""Bow-wow!" barked the yard-dog. "They used to say I was a pretty little fellow; then I lay in a velvet-covered chair in my master"s house. My mistress used to nurse me, and kiss and fondle me, and call me her dear, sweet little Alice! But by-and-by I grew too big, and I was given to the housekeeper, and I went into the kitchen. You can see into it from where you are standing; you can look at the room in which I was master, for so I was when I was with the housekeeper. Of course it was a smaller place than upstairs, but it was more comfortable, for I wasn"t chased about and teased by the children as I had been before. My food was just as good, or even better. I had my own pillow, and there was a stove there, which at this time of year is the most beautiful thing in the world. I used to creep right under that stove. Ah me! I often dream of that stove still! Bow-wow!""Is a stove so beautiful?" asked the Snow-man. "Is it anything like me?""It is just the opposite of you! It is coal-black, and has a long neck with a brass pipe. It eats firewood, so that fire spouts out of its mouth. One has to keep close beside it-quite underneath is the nicest of all. You can see it through the window from where you are standing."And the Snow-man looked in that direction, and saw a smooth polished object with a brass pipe. The flicker from the fire reached him across the snow. The Snow-man felt wonderfully happy, and a feeling came over him which he could not express; but all those who are not snow-men know about it."Why did you leave her?" asked the Snow-man. He had a feeling that such a being must be a lady. "How could you leave such a place?""I had to!" said the yard-dog. "They turned me out of doors, and chained me up here. I had bitten the youngest boy in the leg, because he took away the bone I was gnawing; a bone for a bone, I thought! But they were very angry, and from that time I have been chained here, and I have lost my voice. Don"t you hear how hoarse I am? Bow-wow! I can"t speak like other dogs. Bow-wow! That was the end of happiness!"The Snow-man, however, was not listening to him any more; he was looking into the room where the housekeeper lived, where the stove stood on its four iron legs, and seemed to be just the same size as the Snow-man."How something is cracking inside me!" he said. "Shall I never be able to get in there? It is certainly a very innocent wish, and our innocent wishes ought to be fulfilled. I must get there, and lean against the stove, if I have to break the window first!""You will never get inside there!" said the yard-dog; "and if you were to reach the stove you would disappear. Bow-wow!""I"m as good as gone already!" answered the Snow-man. "I believe I"m breaking up!"The whole day the Snow-man looked through the window; towards dusk the room grew still more inviting; the stove gave out a mild light, not at all like the moon or even the sun; no, as only a stove can shine, when it has something to feed upon. When the door of the room was open, it flared up-this was one of its peculiarities; it flickered quite red upon the Snow-man"s white face."I can"t stand it any longer!" he said. "How beautiful it looks with its tongue stretched out like that!"It was a long night, but the Snow-man did not find it so; there he stood, wrapt in his pleasant thoughts, and they froze, so that he cracked.Next morning the panes of the kitchen window were covered with ice, and the most beautiful ice-flowers that even a snow-man could desire, only they blotted out the stove. The window would not open; he couldn"t see the stove which he thought was such a lovely lady. There was a cracking and cracking inside him and all around; there was just such a frost as a snow-man would delight in. But this Snow-man was different: how could he feel happy?"Yours is a bad illness for a Snow-man!" said the yard-dog. "I also suffered from it, but I have got over it. Bow-wow!" he barked. "The weather is going to change!" he added.The weather did change. There came a thaw.When this set in the Snow-man set off. He did not say anything, and he did not complain, and those are bad signs.One morning he broke up altogether. And lo! where he had stood there remained a broomstick standing upright, round which the boys had built him!"Ah! now I understand why he loved the stove," said the yard-dog. "That is the raker they use to clean out the stove! The Snow-man had a stove-raker in his body! That"s what was the matter with him! And now it"s all over with him! Bow-wow!"And before long it was all over with the winter too! "Bow-wow!" barked the hoarse yard-dog.But the young girl sang:Woods, your bright green garments don! Willows, your woolly gloves put on! Lark and cuckoo, daily sing-- February has brought the spring! My heart joins in your song so sweet; Come out, dear sun, the world to greet!And no one thought of the Snow-man.

ciao是日用品品牌。杭州潮流缔造公司科技总部位于浙江省杭州市，公司成立于2020年9月，研发、生产、销售与服务于一体，自成立以来始终致力于为消费者提供健康时尚的生活产品，以先觉的时尚视野与创新的精神服务于消费者。按照用品的使用频率或范围划分为：生活必需品，或称日常生活用品。按照用途划分有：洗漱用品、家居用品、厨卫用品、装饰用品、化妆用品、床上用品等。

ciao 再见

《露洲湿沙壁,暮幽萧寂寂》 CIAO 是意大利语中 你好的意思 不过 初次见面不认识的人 不能说CIAO 只有认识的 才说CIAO不认识的 应该说 早上好 下午 晚上好 !CIAO 也是意大利语中 你好和再见的意思 !

**HAMLET** 1 [73] This is that Hamlet the Dane whom we read of in our youth, and whom we may be said almost to remember in [74] our after years; he who made that famous soliloquy on life, who gave the advice to the players, who thought "this goodly frame, the earth," a sterile promontory, and "this brave o"er-hanging firmament, the air, this majestical roof fretted with golden fire," "a foul and pestilent congregation of vapours;" whom "man delighted not, nor woman neither;" he who talked with the grave-diggers, and moralised on Yorrick"s skull; the school-fellow of Rosencraus and Guildenstern at Wittenburg; the friend of Horatio; the lover of Ophelia; he that was mad and sent to England; the slow avenger of his father"s death; who lived at the court of Horwendillus five hundred years before we were born, but all whose thoughts we seem to know as well as we do our own, because we have read them in Shakespear. Hamlet is a name; his speeches and sayings but the idle coinage of the poet"s brain. What then, are they not real? They are as real as our own thoughts. Their reality is in the reader"s mind. It is we who are Hamlet. This play has a prophetic truth, which is above that of history. Whoever has become thoughtful and melancholy through his own mishaps or those of others; whoever has borne about with him the clouded brow of reflection, and thought himself "too much i" th" sun;" whoever has seen the golden lamp of day dimmed by envious mists rising in his own breast, and could find in the world before him only a dull blank with nothing left remarkable in it; whoever has known "the pangs of despised love, the insolence of office, or the spurns which patient merit of the unworthy takes;" he who has felt his mind sink within him, and sadness cling to his heart like a malady, who has had his hopes blighted and his youth staggered by the apparitions of strange things; who cannot well be at ease, while he sees evil hovering near him like a spectre; whose powers of action have been eaten up by thought, he to whom the universe seems infinite, and himself nothing; whose bitterness [75] of soul makes him careless of consequences, and who goes to a play as his best resource is to shove off, to a second remove, the evils of life by a mock representation of them - this is the true Hamlet. We have been so used to this tragedy that we hardly know how to criticise it any more than we should know how to describe our own faces. But we must make such observations as we can. It is the one of Shakespear"s plays that we think of the oftenest, because it abounds most in striking reflections on human life, and because the distresses of Hamlet are transferred, by the turn of his mind, to the general account of humanity. Whatever happens to him we apply to ourselves, because he applies it so himself as a means of general reasoning. He is a great moraliser; and what makes him worth attending to is, that he moralises on his own feelings and experience. He is not a common-place pedant. If "Lear" is distinguished by the greatest depths of passion, "Hamlet" is the most remarkable for the ingenuity, originality, and unstudied development of character. Shakespear had more magnanimity than any other poet, and he has shown more of it in this play than in any other. There is no attempt to force an interest: everything is left for time and circumstances to unfold. The attention is excited without effort, the incidents succeed each other as matters of course, the characters think and speak and act just as they might do if left entirely to themselves. There is no set purpose, no straining at a point. The observations are suggested by the passing scene - the gusts of passion come and go like sounds of music borne on the wind. The whole play is an exact transcript of what might be supposed to have taken place at the court of Denmark, at the remote period of time fixed upon, before the modern refinements in morals and manners were heard of. It would have been interesting enough to have been admitted as a bystander in such a scene, at such a time, to have heard and witnessed [76] something of what was going on. But here we are more than spectators. We have not only "the outward pageants and the signs of grief;" but "we have that within which passes show." We read the thoughts of the heart, we catch the passions living as they rise. Other dramatic writers give us very fine versions and paraphrases of nature; but Shakespear, together with his own comments, gives us the original text, that we may judge for ourselves. This is a very great advantage. The character of Hamlet stands quite by itself. It is not a character marked by strength of will or even of passion, but by refinement of thought and sentiment. Hamlet is as little of the hero as a man can well be : but he is a young and princely novice, full of high enthusiasm and quick sensibility - the sport of circumstances, questioning with fortune and refining on his own feelings, and forced from the natural bias of his disposition by the strangeness of his situation. He seems incapable of deliberate action, and is only hurried into extremities on the spur of the occasion, when he has no time to reflect, as in the scene where he kills Polonius, and again, where he alters the letters which Rosencraus and Guildenstern are taking with them to England, purporting his death. At other times, when he is most bound to act, he remains puzzled, undecided, and sceptical, dallies with his purposes, till the occasion is lost, and finds out some pretence to relapse into indolence and thoughtfulness again. For this reason he refuses to kill the King when he is at his prayers, and by a refinement in malice, which is in truth only an excuse for his own want of resolution, defers his revenge to a more fatal opportunity, when he shall be engaged in some act "that has no relish of salvation in it." "Now might I do it pat now he is praying; And now I"ll do "t; - and so he goes to heaven; And so am I reveng"d? - that would be scanned: A villain kills my father; and for that [77] I, his sole son, do this same villain send To heaven. O, this is hire and salary, not revenge ... Up sword; and know thou a more horrid hent, When he is drunk asleep, or in his rage." 2 He is the prince of philosophical speculators; and because he cannot have his revenge perfect, according to the most refined idea his wish can form, he declines it altogether. So he scruples to trust the suggestions of the ghost, contrives the scene of the play to have surer proof of his uncle"s guilt, and then rests satisfied with this confirmation of his suspicions, and the success of his experiment, instead of acting upon it. Yet he is sensible of his own weakness, taxes himself with it, and tries to reason himself out of it: "How all occasions do inform against me, And spur my dull revenge! What is a man, If his chief good and market of his time Be but to sleep and feed? A beast; no more. Sure he that made us with such a large discourse, Looking before and after, gave us not That capability and god-like reason To fust in us unus"d. Now whether it be Bestial oblivion, or some craven scruple Of thinking too precisely on th" event, - A thought which, quarter"d, hath but one part wisdom, And ever three parts coward, - I do not know Why yet I live to say, This thing"s to do; Sith I have cause, and will, and strength, and means To do "t. Examples, gross as earth, exhort me: Witness this army of such mass and charge, Led by a delicate and tender prince, Whose spirit with divine ambition puff"d, Makes mouths at the invisible event, Exposing what is mortal and unsure To all that fortune, death, and danger dare, Even for an egg-shell. Rightly to be great Is not to stir without great argument; But greatly to find quarrel in a straw, [78] When honour"s at the stake. How stand I, then, That have a father kill"d, a mother stain"d, Excitements of my reason and my blood, And let all sleep? while, to my shame, I see The imminent death of twenty thousand men, That for a fantasy and trick of fame, Go to their graves like beds, fight for a plot Whereon the numbers cannot try the cause, Which is not tomb enough and continent To hide the slain? - O, from this time forth, My thoughts be bloody, or be nothing worth. "3 Still he does nothing; and this very speculation on his own infirmity only affords him another occasion for indulging it. It is not from any want of attachment to his father or of abhorrence of his murder that Hamlet is thus dilatory; but it is more to his taste to indulge his imagination in reflecting upon the enormity of the crime and refining on his schemes of vengeance, than to put them into immediate practice. His ruling passion is to think, not to act: and any vague pretext that flatters this propensity instantly diverts him from his previous purposes. The moral perfection of this character has been called in question, we think, by those who do not understand it. It is more interesting than according to rules; amiable, though not faultless. The ethical delineations of that "noble and liberal casuist" (as Shakespear has been well called) do not exhibit the drab-coloured quakerism of morality. His plays are not copied either from the "Whole Duty of Man," or from "The Academy of Compliments!" 4 We confess we are a little shocked at the want of refinement in Hamlet. The neglect of punctilious exactness in his behaviour either partakes of the "licence of the time," or else belongs to the very excess of intellectual [79] refinement in the character, which makes the common rules of life, as well as his own purposes, sit loose upon him. He may be said to be amenable only to the tribunal of his own thoughts, and is too much taken up with the airy world of contemplation to lay as much stress as he ought on the practical consequences of things. His habitual principles of action are unhinged and out of joint with the time. His conduct to Ophelia is quite natural in the circumstances. It is that of assumed severity only. It is the effect of disappointed hope, of bitter regrets, of affections suspended, not obliterated, by the distractions of the scene around him! Amidst the natural and preternatural horrors of his situation, he might be excused in delicacy from carrying on his regular courtship. When "his father"s spirit was in arms," it was not a time for the son to make love in. He could neither marry Ophelia, nor wound her mind by explaining the cause of his alienation, which he durst hardly trust himself to think of. It would have taken him years to have come to a direct explanation on the point. In the harassed state of his mind, he could not have done much otherwise than he did. His conduct does not contradict what he says when he sees her funeral, "I loved Ophelia: forty thousand brothers Could not with all their quantity of love Make up my sum" - 5 Nothing can be more affecting or beautiful than the Queen"s apostrophe to Ophelia on throwing flowers into the grave. "Sweets to the sweet farewell [Scattering flowers] I hop"d thou should"st have been my Hamlet"s wife I thought thy bride-bed to have deck"d, sweet maid, And not to have strew"d thy grave. "6 Shakespear was thoroughly a master of the mixed motives of human character, and he here shows us the Queen, who was so criminal in some respects, not without sensibility [80] and affection in other relations of life. - Ophelia is a character almost too exquisitely touching to be dwelt upon. Oh rose of May, oh flower too soon faded! Her love, her madness, her death, are described with the truest touches of tenderness and pathos. it is a character which nobody but Shakespear could have drawn in the way that he has done, and to the conception of which there is not even the smallest approach, except in some of the old romantic ballads. Her brother, Laertes, is a character we do not like so well: he is too hot and choleric, and somewhat rhodomontade. Polonius is a perfect character in its kind; nor is there any foundation for the objections which have been made to the consistency of this part. It is said that he acts very foolishly, and talks very sensibly. There is no inconsistency in that. Again, that he talks wisely at one time and foolishly at another; that his advice to Laertes is very excellent, and his advice to the King and Queen on the subject of Hamlet"s madness very ridiculous. But he gives the one as a father, and is sincere in it; he gives the other as mere courtier, a busy-body, and is accordingly officious, garrulous, and impertinent. In short, Shakespear has been accused of inconsistency in this and other characters, only because he has kept up the distinction which there is in nature, between the understandings and the moral habits of men, between the absurdity of their ideas and the absurdity of their motives. Polonius is not a fool, but he makes himself so. His folly, whether in his actions or speeches, comes under the head of impropriety of intention. We do not like to see our author"s plays acted, and least [81] of all "Hamlet". There is no play that suffers so much in being transferred to the stage. Hamlet himself seems hardly capable of being acted. Mr. Kemble unavoidably fails in this character from a want of ease and variety. The character of Hamlet is made up of undulating lines; it has the yielding flexibility of "a wave o" th" sea." Mr. Kemble plays it like a man in armour, with a determined inveteracy of purpose, in one undeviating straight line, which is as remote from the natural grace and refined susceptibility of t

是的，他们是杭州的一家企业。

Ciao/xia:u/ = Chiao/chi:au/ 在拉丁语系里都是再见(短暂的)的意思..

CIAO是国潮品牌，蛮受现在的年轻人喜欢。

Unable to find closed form solution表示方程没有解析解,最后答案不能用k表示

Tiziano Vecelli or Tiziano Vecellio (c. 1485 – August 27, 1576), better known as Titian, (TISH-uhn), was the leader of the 16th-century Venetian school of the Italian Renaissance. He was born in Pieve di Cadore, in the Cadore territory, near Belluno (Veneto), in Most Serene Republic of Venice, and died in Venice. During his lifetime he was often called Da Cadore, taken from the place of his birth.Recognized by his contemporaries as "the sun amidst small stars" (recalling the famous final line of Dante"s Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits and landscapes (two genres that first brought him fame), mythological and religious subjects. Had he died at the age of forty, he would still have to be regarded as one of the most influential artists of his time. But he lived on for a further half century, changing his manner so drastically that some critics refuse to believe that his early and later pieces could have been produced by the same man. What unites the two parts of his career is his deep interest in colour. His later works may not contain vivid, luminous tints as his early pieces do, yet their loose brushwork and subtlety of polychromatic modulations have no precedents in the history of Western art.BiographyEarly yearsNo one is sure of the exact date of Titian"s birth; when he was old he claimed it was 1477 in a letter to Philip II, but this seems most unlikely.[1] Other writers contemporary to his old age give figures for his age which would equate to birth-dates between 1473 to after 1482, but most modern scholars believe a date nearer 1490 is more likely. He was the eldest of a family of four and son of Gregorio Vecelli, a distinguished councillor and soldier, and of his wife Lucia. His father was superintendent of the castle of Pieve di Cadore and also managed local mines for their owners.[2] Many relatives, including Titian"s grandfather, were notaries, and the family were well-established in the area, which was ruled by Venice.At the age of about ten to twelve he and his brother Francesco (who perhaps followed later) were sent to an uncle in Venice to find an apprenticeship with a painter. The minor painter, Sebastian Zuccato, whose sons became well-known mosaicists, and who may have been a family friend, arranged for the brothers to enter the studio of the elderly Gentile Bellini, from which they later transferred to that of his brother Giovanni Bellini.[2] At that time the Bellinis, especially Giovanni, were the leading artists in the city. There he found a group of young men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani, and Giorgio da Castelfranco, nicknamed Giorgione. Francesco Vecellio, his younger brother, later became a painter of some note in Venice.A fresco of Hercules on the Morosini Palace is said to have been one of his earliest works; others were the Virgin and Child (the Bellini-esque so-called Gypsy Madonna), in Vienna, and the Visitation of Mary and Elizabeth (from the convent of S. Andrea), now in the Accademia, Venice.Titian joined Giorgione as an assistant, but many contemporary critics already found his work more impressive, for example in the exterior frescoes (now lost) that they did for the Fondacio dei Tedeschi, and their relationship evidently had a significant element of rivalry. Distinguishing between their work at this period remains a subject of scholarly controversy, and there has been a substantial movement of attributions from Giorgione to Titian in the 20th century, with little traffic the other way. One of the earliest known works of Titian, the little Ecce Homo of the Scuola di San Rocco, was long regarded as the work of Giorgione.The two young masters were likewise recognized as the two leaders of their new school of "arte moderna", that is of painting made more flexible, freed from symmetry and the remnants of hieratic conventions still to be found in the works of Giovanni Bellini.In 1507-1508 Giorgione was commissioned by the state to execute frescoes on the re-erected Fondaco dei Tedeschi. Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione. Some of their work is known, in part, through the engravings of Fontana. After Giorgione"s early death in 1510, Titian continued to paint Giorgionesque subjects for some time, though his style developed its own trademarks, including bold and expressive brushwork.Titian"s talent in fresco is shown in those he painted in 1511 at Padua in the Carmelite church and in the Scuola del Santo, some of which have been preserved, among them the Meeting at the Golden Gate, and three scenes from the life of St. Anthony of Padua, the Murder of a Young Woman by Her Husband, A Child Testifying to Its Mother"s Innocence, and The Saint Healing the Young Man with a Broken Limb.From Padua in 1512, Titian returned to Venice; and in 1513 he obtained a broker"s patent in the Fondaco dei Tedeschi (state-warehouse for the German merchants), termed La Sanseria or Senseria (a privilege much coveted by rising or risen artists), and became superintendent of the government works, being especially charged to complete the paintings left unfinished by Giovanni Bellini in the hall of the great council in the ducal palace. He set up an atelier on the Grand Canal at S. Samuele, the precise site being now unknown. It was not until 1516, upon the death of Bellini, that he came into actual enjoyment of his patent. At the same time he entered an exclusive arrangement for painting. The patent yielded him a good annuity of 20 crowns and exempted him from certain taxes — he being bound in return to paint likenesses of the successive Doges of his time at the fixed price of eight crowns each. The actual number he executed was five.GrowthGiorgione died in 1510 and the aged Bellini, 1516, leaving Titian unrivaled in the Venetian School. For sixty years he was to be the undisputed master of Venetian painting, and as it were, the painter laureate of the Republic Serenissime. As early as 1516 he succeeded his old master Bellini in receiving a pension from the Senate.During this period (1516-1530), which may be called the period of his mastery and maturity, the artist moved on from his early Giorgionesque style, undertook larger and more complex subjects and for the first time attempted a monumental style.In 1518 he produced for the high altar of the church of the Frari, his famous masterpiece, the Assumption of the Virgin, still in situ. This extraordinary piece of colorism, executed on a grand scale rarely before seen in Italy, excited a sensation. The Signoria took note, and observed that Titian was neglecting his work in the hall of the great council.The pictorial structure of the Assumption — that of uniting in the same composition two or three scenes superimposed on different levels, earth and heaven, the temporal and the infinite — was continued in a series of works such as the retable of San Domenico at Ancona (1520), the retable of Brescia (1522), and the retable of San Niccolò (1523), in the Vatican Museum), each time attaining to a higher and more perfect conception, finally reaching a classic formula in the Pesaro Madonna, (c. 1519-1526), at Santa Maria Gloriosa dei Frari in Venice. This perhaps is his most studied work, whose patiently developed plan is set forth with supreme display of order and freedom, originality and style. Here Titian gave a new conception of the traditional groups of donors and holy persons moving in aerial space, the plans and different degrees set in an architectural framework.Titian was now at the height of his fame, and towards 1521, following the production of a figure of St. Sebastian for the papal legate in Brescia (a work of which there are numerous replicas), purchasers pessed for his work.To this period belongs a more extraordinary work, The Death of St. Peter Martyr (1530), formerly in the Dominican Church of San Zanipolo, and destroyed by an Austrian shell in 1867. Only copies and engravings of this proto-Baroque picture remain; it combined extreme violence and a landscape, mostly consisting of a great tree, that pressed into the scene and seems to accentuate the drama in a way that looks forward to the Baroque.The artist simultaneously continued his series of small Madonnas which he treated amid beautiful landscapes in the manner of genre pictures or poetic pastorals, the Virgin with the Rabbit in the Louvre being the finished type of these pictures. Another work of the same period, also in the Louvre, is the Entombment. This was also the period of the large mythological scenes for the studiolo of Alfonso d"Este in Ferrara, such as the famous Bacchanals of the Prado, and the Bacchus and Ariadne of London, "...perhaps the most brilliant productions of the neo-pagan culture or "Alexandrianism" of the Renaissance, many times imitated but never surpassed even by Rubens himself."[3] Finally this was the period when the artist composed the half-length figures and busts of young women, probably courtesans, such as Flora of the Uffizi, or The Young Woman at Her Toilet in the Louvre.In 1525 he married a lady named Cecilia, thereby legitimizing their first child, Pomponio, and two (or perhaps three) others followed, including Titian"s favorite, Orazio, who became his assistant. About 1526 he became acquainted, and soon exceedingly intimate, with Pietro Aretino, the influential and audacious figure who features so strangely in the chronicles of the time. Titian sent a portrait of him to Gonzaga, duke of Mantua.In August 1530 his wife died giving birth to a daughter, Lavinia, and with his three children he moved house, and got his sister Orsa to come from Cadore and take charge of the household. The mansion, difficult to find now, is in the Bin Grande, then a fashionable suburb, at the extreme end of Venice, on the sea, with beautiful gardens and a view towards Murano.MaturityDuring the next period (1530-1550), Titian developed the style introduced by his dramatic Death of St. Peter Martyr. The Venetian government, dissatisfied with Titian"s neglect of the work for the ducal palace, ordered him in 1538 to refund the money which he had received, and Pordenone, his rival of recent years, was installed in his place. However, at the end of a year Pordenone died, and Titian, who meanwhile applied himself diligently to painting in the hall the Battle of Cadore, was reinstated. This major battle scene, was lost along with so many other major works by Venetian artists by the great fire which destroyed all the old pictures in the great chambers of the Doge"s Palace in 1577. It represented in life-size the moment at which the Venetian general, D"Alviano attacked the enemy with horses and men crashing down into a stream, and was the artist"s most important attempt at a tumultuous and heroic scene of movement to rival Raphael"s Battle of Constantine and the equally ill-fated Battle of Cascina of Michelangelo and The Battle of Anghiari of Leonardo (both unfinished). There remains only a poor, incomplete copy at the Uffizi, and a mediocre engraving by Fontana. The Speech of the Marquis del Vasto (Madrid, 1541) was also partly destroyed by fire. But this period of the master"s work is still represented by the Presentation of the Blessed Virgin (Venice, 1539), one of his most popular canvasses, and by the Ecce Homo (Vienna, 1541). Despite its loss, the painting had a great influence on Bolgnese art and Rubens, both in the handling of details and the general effect of horses, soldiers, lictors, powerful stirrings of crowds at the foot of a stairway, lit by torches with the flapping of banners against the sky.Less successful were the pendentives of the cupola at Sta. Maria della Salute (Death of Abel, Sacrifice of Abraham, David and Goliath). These violent scenes viewed in perspective from below — like the famous pendentives of the Sistine Chapel — were by their very nature in unfavorable situations. They were nevertheless much admired and imitated, Rubens among others applying this system to his forty ceilings (the sketches only remain) of the Jesuit church at Antwerp.At this time also, the time of his visit to Rome, the artist began his series of reclining Venuses (The Venus of Urbino of the Uffizi, Venus and Love at the same museum, Venus and the Organ-Player, Madrid), in which is recognized the effect or the direct reflection of the impression produced on the master by contact with ancient sculpture. Giorgione had already dealt with the subject in his Dresden picture, finished by Titian, but here a purple drapery substituted for a landscape background changed, by its harmonious coloring, the whole meaning of the scene.Titian had from the beginning of his career shown himself to be a masterful portrait-painter, in works like La Bella (Eleanora de Gonzaga, Duchess of Urbino, at the Pitti Palace). He painted the likenesses of princes, or Doges, cardinals or monks, and artists or writers. "...no other painter was so successful in extracting from each physiognomy so many traits at once characteristic and beautiful," according to the Catholic Encyclopedia. Among portrait-painters Titian is compared to Rembrandt and Velásquez, with the interior life of the former, and the clearness, certainty, and obviousness of the latter.The last-named qualities are sufficiently manifested in the Portrait of Paul III of Naples, or the sketch of the same pope and his two nephews, the Portrait of Aretino of the Pitti Palace, the Eleanora of Portugal (Madrid), and the series of King Charles V of the same museum, the Charles V with a Greyhound (1

ciao int. [意](见面问候语或告别语)你好! 再见!

ciao的意思是你好,再见的意思. CIAO这词语用在朋友或者亲热以及同龄人之间..

(a+1)³×(-a-1)²=(a+1)³×(a+1)²=(a+1)⁵

Ciao 在意大利语里既是“你好”,也是“再见”的意思,是较熟悉的朋友之间相互问候的口头语.要看具体情况决定是告别还是问好

ciao的意思是你好，再见的意思，这词语用在朋友或者亲热以及同龄人之间。见面时说是“你好”分别时说是“再见”。在汉文化里，爱就是网住对方的心，具有亲密、情欲和承诺、依恋、情感的属性，并且对这种关系的长久性持有信心，也能够与对方分享私生活。在爱的情感基础上，除了爱的跨文化差异，随着时间的推移，关于爱情的观念也发生了很大的变化（在不同的民族文化也发展出不同的特征）。爱情解析爱情就是建立在互相了解，相互信任的基础之上，对于女孩子来说，再没有比闺蜜更了解自己的人了，特别是男闺蜜，很容易日久生情，理论上而言，转化成男女朋友的可能性是有的。但具体到现实生活当中，因人因事的不同，往往致使其结果也会有所区别。例如恋爱是两个人的事情，如果彼此二人均为情投意合，均有相互结合的意愿，那么自然无需多说什么了，但如果一方因为二人之间的熟悉程度过高，没有了恋爱的感觉或者意愿的话，这种情况也不是没有可能，因此还是要因人因事具体而异。

a=xy=√x表示的含义是y＝√x是幂函数，y等于x的算术平方根，y＝√x=x^(2分之1）形如y=x^a(a为常数）的函数，即以底数为自变量幂为因变量，指数为常量的函数称为幂函数。

注：Happen 的三种用法与三点注意 一、happen是不及物动词。happen在初中英语教材中的用法主要有以下三种： 1. "sth.+happen+地点/时间"，意为"某地/某时发生了某事"。例如： An accident happened in that street.那条街发生了一起事故。 What"s happening outside?外面发生什么事了？ 2. "sth.+happen to+sb."意为"某人出了某事(常指不好的事发生在某人身上)"。例如： A car accident happened to him yesterday.昨天他发生了交通事故。 What happened to you?(=What was wrong / the matter with you?)你怎么啦？ 3. "sb.+happen+to do sth."意为"某人碰巧做某事"。例如： I happened to meet her in the street.我碰巧在街上遇见她。 It happened that I was out when he called.他来访时我碰巧不在。 二、同学们在使用happen时，以下三点情况值得注意： 1. happen为不及物动词，不能用于被动语态。例如，要表示"这个故事发生在去年。"不能说：The story was happened last year.但可以说：The story happened last year. 2. happen为短暂性动词，不能与表示一段时间的状语连用。例如，要表示"这事发生一年了。"不能说：This happened for one year.但可以说：This happened one year ago. 3. happen一般用来强调某事发生的偶然性。如要表示事先安排或有准备的事情或活动，则不能用happen，而要用take place。例如： A sports meeting took place(=was held) in our school last week.上周我校举行了运动会。(不能说：A sports meeting happened in our school last week.)

貌似都可以 ciao表你好应该用于比较熟悉的人 Buongiorno 比较正式

qq幸运字符ciao是指双鱼座,幸运字符新出了12个星座。 幸运字符是QQ好友的互动标识,首先需要抽取一张字符卡,然后与好友七天内每发100条消息就可以解锁一个字母。这是从意大利语借来的独用语。意大利语中的“Ciao”（发音很象汉语的“桥”），既可以用来告别，又可以用来在见面时打招呼。走在意大利的大街上，可以听到前后左右到处在说Ciao，至于说他们是在告别还是刚刚见面，得看具体情况才知。意大利人的热情，从满街的Ciao的声浪中可见一斑。作用：针对微软公共语言运行库的应用程序使用编码将字符表示形式从本机字符方案映射至其他方案。应用程序使用解码将字符从非本机方案映射至本机方案。电脑和通讯设备会使用字符编码的方式来表达字符。意思是会将一个字符指定给某个东西。传统上，是代表整数量的位元序列，如此，则可透过网络来传输，同时亦便于储存。两个常用的例子是ASCII和用于统一码的UTF-8。

fforget peace of mind 忘记内心的平静Don"t forget the peace of mind 勿忘心安

没有技巧。实际上，不外乎e^x，1/(1-x)，sinx，cosx这几个，多做几个题，多写几遍，也就记住了。

ciao是意大利语“你好！”和“再见！”的　意思比较幽默、风趣的

2.出生在艰难3.在困难中长大

public static void main函数用来开启服务器

ethereal sound空灵的声音双语对照例句:1.Finally, amidst the ethereal sound of holy hymns, and filled withbliss, we bade farewell and looked forward to seeing eachother again at the next retreat. 两天的打禅，我们深刻感受到师父无所不在的浩瀚圣爱。最后在圣赞声中，大家法喜充满地互道下次打禅再见.很高兴为你解答！如有不懂，请追问。 谢谢！

　　land on着陆　　常用短语land agentn.房地产商,地产经纪人land up到达,落在,终至,沦为no man"s landn.无人区域,真空地带cultivated land耕地，耕作地dry land陆地，旱地，旱田grazing land牧场land mile英里land reform土地改革land resources土地资源land tenure土地使用权，土地占有制度common landn. 公共用地；公地land line

00:00 So in the oasis of intelligentsia that is TED, I stand here before you this evening as an expert in dragging heavy stuff around cold places. I"ve been leading polar expeditions for most of my adult life, and last month, my teammate Tarka L"Herpiniere and I finished the most ambitious expedition I"ve ever attempted. In fact, it feels like I"ve been transported straight here from four months in the middle of nowhere, mostly grunting and swearing , straight to the TED stage. So you can imagine that"s a transition that hasn"t been entirely seamless . One of the interesting side effects seems to be that my short-term memory is entirely shot. So I"ve had to write some notes to avoid too much grunting and swearing in the next 17 minutes. This is the first talk I"ve given about this expedition, and while we weren"t sequencing genomes or building space telescopes, this is a story about giving everything we had to achieve something that hadn"t been done before. So I hope in that you might find some food for thought. 01:12 It was a journey, an expedition in Antarctica, the coldest, windiest, driest and highest altitude continent on Earth. It"s a fascinating place. It"s a huge place. It"s twice the size of Australia, a continent that is the same size as China and India put together. 01:30 As an aside , I have experienced an interesting phenomenon in the last few days, something that I expect Chris Hadfield may get at TED in a few years" time, conversations that go something like this: "Oh, Antarctica. Awesome. My husband and I did Antarctica with Lindblad for our anniversary." Or, "Oh cool, did you go there for the marathon?" (Laughter) 01:54 Our journey was, in fact, 69 marathons back to back in 105 days, an 1,800-mile round trip on foot from the coast of Antarctica to the South Pole and back again. In the process, we broke the record for the longest human-powered polar journey in history by more than 400 miles. (Applause) For those of you from the Bay Area, it was the same as walking from here to San Francisco, then turning around and walking back again. So as camping trips go, it was a long one, and one I"ve seen summarized most succinctly here on the hallowed pages of Business Insider Malaysia. ["Two Explorers Just Completed A Polar Expedition That Killed Everyone The Last Time It Was Attempted"] 02:46 Chris Hadfield talked so eloquently about fear and about the odds of success, and indeed the odds of survival. Of the nine people in history that had attempted this journey before us, none had made it to the pole and back, and five had died in the process. 03:04 This is Captain Robert Falcon Scott. He led the last team to attempt this expedition. Scott and his rival Sir Ernest Shackleton, over the space of a decade, both led expeditions battling to become the first to reach the South Pole, to chart and map the interior of Antarctica, a place we knew less about, at the time, than the surface of the moon, because we could see the moon through telescopes. Antarctica was, for the most part, a century ago, uncharted. 03:32 Some of you may know the story. Scott"s last expedition, the Terra Nova Expedition in 1910, started as a giant siege-style approach. He had a big team using ponies, using dogs, using petrol-driven tractors , dropping multiple, pre-positioned depots of food and fuel through which Scott"s final team of five would travel to the Pole, where they would turn around and ski back to the coast again on foot. Scott and his final team of five arrived at the South Pole in January 1912 to find they had been beaten to it by a Norwegian team led by Roald Amundsen, who rode on dogsled. Scott"s team ended up on foot. And for more than a century this journey has remained unfinished. Scott"s team of five died on the return journey. And for the last decade, I"ve been asking myself why that is. How come this has remained the high-water mark ? Scott"s team covered 1,600 miles on foot. No one"s come close to that ever since. So this is the high-water mark of human endurance, human endeavor, human athletic achievement in arguably the harshest climate on Earth. It was as if the marathon record has remained unbroken since 1912. And of course some strange and predictable combination of curiosity, stubbornness, and probably hubris led me to thinking I might be the man to try to finish the job. 04:55 Unlike Scott"s expedition, there were just two of us, and we set off from the coast of Antarctica in October last year, dragging everything ourselves, a process Scott called "man-hauling." When I say it was like walking from here to San Francisco and back, I actually mean it was like dragging something that weighs a shade more than the heaviest ever NFL player . Our sledges weighed 200 kilos, or 440 pounds each at the start , the same weights that the weakest of Scott"s ponies pulled. Early on , we averaged 0.5 miles per hour. Perhaps the reason no one had attempted this journey until now, in more than a century, was that no one had been quite stupid enough to try. And while I can"t claim we were exploring in the genuine Edwardian sense of the word — we weren"t naming any mountains or mapping any uncharted valleys — I think we were stepping into uncharted territory in a human sense . Certainly, if in the future we learn there is an area of the human brain that lights up when one curses oneself, I won"t be at all surprised. 06:01 You"ve heard that the average American spends 90 percent of their time indoors. We didn"t go indoors for nearly four months. We didn"t see a sunset either. It was 24-hour daylight. Living conditions were quite spartan . I changed my underwear three times in 105 days and Tarka and I shared 30 square feet on the canvas . Though we did have some technology that Scott could never have imagined. And we blogged live every evening from the tent via a laptop and a custom-made satellite transmitter, all of which were solar-powered: we had a flexible photovoltaic panel over the tent. And the writing was important to me. As a kid, I was inspired by the literature of adventure and exploration, and I think we"ve all seen here this week the importance and the power of storytelling. 06:55 So we had some 21st-century gear, but the reality is that the challenges that Scott faced were the same that we faced: those of the weather and of what Scott called glide, the amount of friction between the sledges and the snow. The lowest wind chill we experienced was in the -70s, and we had zero visibility, what"s called white-out , for much of our journey. We traveled up and down one of the largest and most dangerous glaciers in the world, the Beardmore glacier. It"s 110 miles long; most of its surface is what"s called blue ice. You can see it"s a beautiful, shimmering steel-hard blue surface covered with thousands and thousands of crevasses , these deep cracks in the glacial ice up to 200 feet deep. Planes can"t land here, so we were at the most risk, technically, when we had the slimmest chance of being rescued. 07:48 We got to the South Pole after 61 days on foot, with one day off for bad weather, and I"m sad to say, it was something of an anticlimax . There"s a permanent American base, the Amundsen-Scott South Pole Station（ 阿姆森-斯科特极点考察站 ） at the South Pole. They have an airstrip , they have a canteen , they have hot showers, they have a post office, a tourist shop, a basketball court that doubles as a movie theater. So it"s a bit different these days, and there are also acres of junk. I think it"s a marvelous thing that humans can exist 365 days of the year with hamburgers and hot showers and movie theaters, but it does seem to produce a lot of empty cardboard boxes. You can see on the left of this photograph, several square acres of junk waiting to be flown out from the South Pole. But there is also a pole at the South Pole, and we got there on foot, unassisted, unsupported, by the hardest route, 900 miles in record time, dragging more weight than anyone in history. And if we"d stopped there and flown home, which would have been the eminently sensible thing to do, then my talk would end here and it would end something like this. 08:58 If you have the right team around you, the right tools, the right technology, and if you have enough self-belief and enough determination, then anything is possible. 09:12 But then we turned around, and this is where things get interesting. High on the Antarctic plateau , over 10,000 feet, it"s very windy, very cold, very dry, we were exhausted. We"d covered 35 marathons, we were only halfway, and we had a safety net, of course, of ski planes and satellite phones and live, 24-hour tracking beacons that didn"t exist for Scott, but in hindsight, rather than making our lives easier, the safety net actually allowed us to cut things very fine indeed, to sail very close to our absolute limits as human beings. And it is an exquisite form of torture to exhaust yourself to the point of starvation day after day while dragging a sledge full of food. 10:00 For years, I"d been writing glib lines in sponsorship proposals about pushing the limits of human endurance, but in reality, that was a very frightening place to be indeed. We had, before we"d got to the Pole, two weeks of almost permanent headwind, which slowed us down. As a result, we"d had several days of eating half rations. We had a finite amount of food in the sledges to make this journey, so we were trying to string that out by reducing our intake to half the calories we should have been eating. As a result, we both became increasingly hypoglycemic — we had low blood sugar levels day after day — and increasingly susceptible to the extreme cold. Tarka took this photo of me one evening after I"d nearly passed out with hypothermia . We both had repeated bouts of hypothermia, something I hadn"t experienced before, and it was very humbling indeed. As much as you might like to think, as I do, that you"re the kind of person who doesn"t quit, that you"ll go down swinging , hypothermia doesn"t leave you much choice. You become utterly incapacitated . It"s like being a drunk toddler. You become pathetic . I remember just wanting to lie down and quit. It was a peculiar , peculiar feeling, and a real surprise to me to be debilitated to that degree. 11:20 And then we ran out of food completely, 46 miles short of the first of the depots that we"d laid on our outward journey . We"d laid 10 depots of food, literally burying food and fuel, for our return journey — the fuel was for a cooker so you could melt snow to get water — and I was forced to make the decision to call for a resupply flight, a ski plane carrying eight days of food to tide us over that gap. They took 12 hours to reach us from the other side of Antarctica. 11:51 Calling for that plane was one of the toughest decisions of my life. And I sound like a bit of a fraud standing here now with a sort of belly. I"ve put on 30 pounds in the last three weeks. Being that hungry has left an interesting mental scar, which is that I"ve been hoovering up every hotel buffet that I can find . (Laughter) But we were genuinely quite hungry, and in quite a bad way. I don"t regret calling for that plane for a second, because I"m still standing here alive, with all digits intact , telling this story. But getting external assistance like that was never part of the plan, and it"s something my ego is still struggling with. This was the biggest dream I"ve ever had, and it was so nearly perfect. 12:36 On the way back down to the coast, our crampons — they"re the spikes on our boots that we have for traveling over this blue ice on the glacier — broke on the top of the Beardmore. We still had 100 miles to go downhill on very slippery rock-hard blue ice . They needed repairing almost every hour. To give you an idea of scale, this is looking down towards the mouth of the Beardmore Glacier. You could fit the entirety of Manhattan in the gap on the horizon . That"s 20 miles between Mount Hope and Mount Kiffin. I"ve never felt as small as I did in Antarctica. When we got down to the mouth of the glacier, we found fresh snow had obscured the dozens of deep crevasses . One of Shackleton"s men described crossing this sort of terrain as like walking over the glass roof of a railway station. We fell through more times than I can remember, usually just putting a ski or a boot through the snow. Occasionally we went in all the way up to our armpits , but thankfully never deeper than that. 13:36 And less than five weeks ago, after 105 days, we crossed this oddly inauspicious finish line, the coast of Ross Island on the New Zealand side of Antarctica. You can see the ice in the foreground and the sort of rubbly rock behind that. Behind us lay an unbroken ski trail of nearly 1,800 miles. We"d made the longest ever polar journey on foot, something I"d been dreaming of doing for a decade. 14:03 And looking back, I still stand by all the things I"ve been saying for years about the importance of goals and determination and self-belief, but I"ll also admit that I hadn"t given much thought to what happens when you reach the all-consuming goal that you"ve dedicated most of your adult life to, and the reality is that I"m still figuring that bit out. As I said, there are very few superficial signs that I"ve been away. I"ve put on 30 pounds. I"ve got some v

《PolitikaPowerPlays01》（TomClancyJeromePreisler）电子书网盘下载免费在线阅读链接：https://pan.baidu.com/s/1-cnw0gKYN36zZ0DYPf9yCw提取码：UZNV    书名：PolitikaPowerPlays01作者: Tom Clancy / Jerome Preisler出版社: Berkley副标题: Power Plays 01出版年: 1997-12-01页数: 384内容简介：First time in print! It is 1999. The sudden death of Russia"s president has thrown the Russian Federation into chaos. Devastating crop failures have left millions in the grip of famine and an uprising seems inevitable. Russia requests American help. But as the world watches, a terrorist attack stuns the U.S.--and evidence points to the Russian parliament. Amidst the turmoil in Russia, American businessman Roger Cordian finds his multinational corporation and its employees in jeopardy.作者简介：汤姆·李欧·克兰西（英语：Thomas Leo Clancy Jr.，1947年4月12日－2013年10月1日）是美国一位畅销小说作家，擅长写作以冷战时期为背景的政治、军事科技以及间谍故事等等，其名字已经成为了军事小说的代表。 克兰西的作品虽然常被批评一成不变，其作品在市场上却大为被推荐且热卖，书迷们喜爱他作品中纠结的阴谋、对于军事科技认知之准确以及谍报活动的生动描写。 克兰西是于1990年代中期热卖了20万本作品的两位作家的其中之一（约翰·葛里逊为另外一位）。他在《纽约时报》畅销书排行榜创下单一作品蝉联榜首数周、上榜数十周之久的佳绩。克兰西于1989年出版的《迫切的危机》卖出了1,625,544本精装本，使他成为1980年代畅销小说作家的第一名。[4]多部克兰西的作品被改编成同名电影或者电子游戏。 汤姆·克兰西于美国当地时间2013年10月1日马里兰州住家附近的医院辞世，享寿66岁。

1、首先双击matlab软件图标，打开matlab软件，可以看到matlab软件的界面。2、使用“0.1:0.1:5;”创建一维数组，表示从0.1到5，每隔0.1会取一个数字。这个一维数组用来作为一元一次函数的横坐标的数值。3、接着创建三个幂函数，分别是y1=x.^(1/4); y2=x.^(1/2); y3=x.^(3/2)。4、使用函数plot(x,y1,x,y2,x,y3);在一张图中绘制这三个幂函数的图像，如果要绘制其中一个使用函数plot(x,y1) 或 plot(x,y2) 或 plot(x,y3)进行绘制。5、使用函数title()给该幂函数图像添加标题，使用函数xlabel()、ylabel()给幂函数的图像添加坐标轴名称。6、使用语句grid on；给幂函数图像添加坐标分割线，也成为网格线

小学馆发行的《CIAO》创刊于1977年，是一本面向中小学女生的少女漫画月刊，和讲谈社的《Nakayoshi》和集英社的《RIBON》并列为日本三大少女漫画杂志。《CIAO》每月3日发售，该刊刊载的漫画作品以简捷、明快的风格为主，连载作品的篇幅也比较短，但娱乐性很强。此外，该刊还曾经发表过一些改编自游戏或动画的漫画作品，如《少女革命》等。

是再见的意思^ ^~!

法语中有一个借词很时髦，那就是表示“再见”的词语――“Ciao”[x]。这是从意大利语借来的独用语。意大利语中的“Ciao”，既可以用来告别，又可以用来在见面时打招呼。

“Ciao”相当于英文的“Hi“和”Bye Bye“，既是“你好”，也是“再见”的意思。它很随意的一个词，见面或分别时都可以说。扩展资料：在意大利语中，还有两外两个词表示“你好”：Salve和Buongiorno。那么它们之间的不同大致上可以这样区别：Salve相当于一个正式与非正式之间的折中选择。Buongiorno显得过于正式，而Ciao反之则过于非正式，过于亲密。

ciao的意思是你好,再见的意思,这词语用在朋友或者亲热以及同龄人之间。见面时说是“你好”分别时说是“再见”。

约瑟·艾迪生星星会消失，太阳自己变得暗淡与年龄，和自然沉年，你要在蓬勃发展的不朽的青春，在战争中受伤的元素，破碎的事，和破碎的世界。

"ciao" 你好的意思 是意大利语代表问好.通常认识的人见面时用的.

ciao的意思是你好,再见的意思. CIAO这词语用在朋友或者亲热以及同龄人之间..

远上寒山石径斜 白云生处有人家 停车坐爱枫林晚 霜叶红于二月花 Winding up the chilly hills is a path with stony steps. Discernible in the misty heights are scattered homesteads. Pausing the carriage, I delight in the maple woods at sunset. Brighter than blossoms in spring are frosty leaves overhead. To the far mountain winds a gravel road Along it a house sits deep in white clouds I stop to savor the maple leaves glow In the sunset, crimson as spring flowers The rocky path takes me up to the mountain cold and remote, Amidst the clouds white and light a village seems afloat I stop my ride for the views of the hills at early evening hours Maple leaves are burning-red and brighter than spring flowers. Up the chilly mountain，long is a stone-paved road. A house is barely seen, deep in the white clouds. I stop my carriage, enjoying the maple woods at dusk. Red leaves after frost are brighter than spring blossoms. Stony path winds its way up to the top of the bleak mountain Yet deep in the clouds it seems to be some people"s habitation This beautiful fall night in the maple wood enticed me to stop my carriage These frosty leaves are prettier than spring flowers" coloration. Far up the chilly hills a stony path winds its way； Deep into the white clouds a lone house, tucked away. To admire frosty leaves redder than the spring blossom, I pause my carriage amids maple woods in the evening sun. Deep into the mountains a stone path winds its way. Far up in the clouds a lone house，tucked away. I paused my wagon by the maple woods at sunset, To see frosty leaves redder than spring flowers on display.

“Ciaobella”是一种有趣的表达方式，在意大利城市的大街上，意大利男人遇到闲逛的漂亮姑娘时通常用这句话来打招呼。意思是“你好，美女！”Ciao应该就是你好的意思了

是成语“鹤立鸡群”

现在欧洲人都喜欢说这句意大利语!Ciao这个词现在很流行,大家跟我说再见或你好的时候都用这个,德国人法国人也喜欢用!

Ciao 在意大利语里既是“你好”,也是“再见”的意思,是较熟悉的朋友之间相互问候的口头语.要看具体情况决定是告别还是问好

ciao音标：[t∫aw]interj. <意, 俗>再见!你好一般用于非正式场合的打招呼,和再见,一般用于朋友之间比较多，这是从意大利语借来的独用语。例句：1、Ciao, Anne, à demain!再见，安娜，明天见！2、Bon, je te fais des gros bisous. Je te rappelle demain, ciao maman, ciao.那么,先亲你几口,我明天再打电话给你，再见，妈妈。3、Ciao Leo, l"amore è a fidarsi l"uno, e se non mi credete, allora non c"è amore里欧你好，爱是要相互信任的，如果你不相信我，那么我们就没爱了4、Le serveur interactif CIAO est un forum questions-réponses qui s"adresse aux jeunes dans le but de leur fournir des conseils dans les domaines de la violence, de la sexualité, de la santé, du VIH/sida et des droits de l"enfant. 在互联网上建立起的互动式服务器CIAO是一个青年问答论坛，就暴力、性关系、健康、艾滋病毒/艾滋病和儿童权利提供咨询 35。

感叹词int.1. 【意】见面时致意之语;(分别时用语)再见Ciao 的读音近似“乔”，在意大利语里既是“你好”，也是“再见”的意思，是较熟悉的朋友之间相互问候的口头语。走在意大利的大街上，经常可以听到人们在说“Ciao”，至于他们是在告别还是刚见面，还得看具体的情况。

You can find peace amidst the storms that threaten you.在遍布危机的风暴之中，你也能找到安全的所在。百度嫌我字数不够

是意大利语，意思是“喂”

ciaobella”是一种有趣的表达方式，在意大利城市的大街上，意大利男人遇到闲逛的漂亮姑娘时通常用这句话来打招呼。意思是“你好，美女！”ciao应该就是你好的意思了

是再见的意思

　　The Mummers" Dance 艺者之舞　　when in the springtime of the year　　when the trees are crowned with leaves　　when the ash and oak and the birch and yew　　are dressed in ribbons fair　　when owls call the breathless moon　　in the blue veil of the night　　the shadows of the trees appear　　amidst the lantern light　　we"ve been rambling all the night　　and some time of this day　　now returning back again　　we bring a garland gay　　who will go down to those shady groves　　and summon the shadows there　　and tie a ribbon on those sheltering arms　　in the springtime of the year　　the songs of birds seem to fill the wood　　that when the fiddler plays　　all their voices can be heard　　long past their woodland days　　and so they linked their hands and danced　　round in circles and in rows　　and so the journey of the night descends　　when all the shades are gone　　"a garland gay we bring you here　　and at your door we stand　　it is a sprout well budded out　　the work of our lord"s hand"　　中文歌词大意　　The Mummers" Dance 描写的是春季Stratford 的一个夜晚，婆娑的树叶衬托蓝色的天空，随着风而摇摆的树枝条，好像是一群人在默默的不停的舞蹈。The Mummers" Dance 的歌词灵感来自于Loreena 自己1985年的一段读书笔记。歌曲中大量运用了风笛、手鼓、小提琴、竖琴等乐器，为歌曲增色不少，可是该首歌曲又不太像传统的Celtic 风格，或许这也正是她的魅力所在吧。The Mummers" Dance 是Loreena 最出名的一首歌曲，在Billboard 上有过相当不错的成绩，这对一个民乐歌手来说是不太容易的。此歌是为了纪念她的一位在航行中失去的亲密亲人，目的是为了保留一份不愿遗忘的思念和记忆。　　穿着红舞鞋，这舞蹈永不能停下，在所有的白日与黑夜，从每一个春天与秋天，自过去到今天到明日。黄色的酢浆草花在荒野上沸腾，风笛穿行，鼓声从未停息，这节奏没有止境。在游吟诗人缓长的吟唱中，长发飞扬，舞步滑移，前一步 ，后一步，命运从脚下延伸。啊，谁能解释这神圣与荒唐的距离，赞美与呻吟里，火光扑朔迷离，目光起伏于尘埃之间，随着天地之声飞 旋，掠过了地狱的火焰，触摸到天堂的羽翼。月神同日神交替乾坤，新发的绿叶还未从眼中凋落，白雪便覆盖了眉目，生同死，足尖踩乱了所有谜面与答案。从平原到高山，从沼泽到荒漠，穿越黑暗，穿越光明，仿佛逃离，仿佛沉溺，金丝缎带装饰着岁月，青春在裙袂上流淌，原来，还是 从终点踏回原点。瞬间与永恒，摇摆里，拾取时光之河的波浪，缀上花冠，上一支舞与这一舞间，能否听到花朵开落的声音？永不能停止，这是唯一的武器，灵魂只为舞蹈存在。这是艺者之舞，这是你，这是我，这是命运之舞。或者兴致盎然，或者意兴阑珊 。广漠的天地，混沌初开的模样，夜的呼吸，起伏在山峦间。高加索的土地，每一寸都浸满光荣与忧伤。 薄雾依旧沉默地俯瞰高原，在这沉默里，风、雨，河川、海洋、大地、星辰、月亮、太阳，沉默地见证了谁的悲愤与苦难？传说中， 这是普罗米修斯受难之地。 夜行高加索，我们随着行进跌荡起伏，暗蓝的苍穹怜悯地注视着我们，注视着旅途吸去我们曾扬逸着的活色生香，那些在风中奔跑嘻 闹的童年，缀满桅子花香的空气，扰动春日暧阳的慵懒琴音和那热切而苦恼的眼神，最后成为一些抽象的词语，延缓成两端，一头连在逐 渐模糊了往事的过去，一头向苍茫漾溢的未来行去。月光，象一首悲伤的小提琴曲，演奏在高加索的土地上。夜骑高加索，我们裹紧寂寞的羊毛行装，手中绳缰是要拉紧还是放开，是否要询问，日出的方向？谁能点起一盏灯火，谨慎又热烈的 温暧不知向何处降临的目光，而夜，张着黑色羽翼，自身后包围。 夜骑高加索，我们听到逃离时马蹄踏碎的的快感与忧伤，盗火的人犹在回望，谁放弃了永生？而在铁环上，高加索之石在晃动，是什么样的诅咒？谁又做了谁永远的囚徒？　　是这个吧？

你好或者再见见面时说是“你好”分别时说是“再见”另外，女孩子如果在分别的时候连续说“ciaociao”会显得很可爱，仅限女生使用

代表曹操的操这个字。你大声念出来就知道意思了。