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"Three core" hit by injuriesDongHan vocalist three-point line outside ball, a change to penetrate the paint, high jump, one-handed axe type a dunk --, this written razor-sharp score is in the final quarter of last 3 minutes. The footage guangdong this war is a miniature of the performance.After 24 wheel regular-season game, defending champion "three core" DuFeng, ZhuFangYu and WangShiPeng has different rate of injuries. The oldest DuFeng in dense schedule next knee old relapse, also with new YaoShang; ZhuFangYu had bad, the reason is body injury is numerous, before the last round has strained knee ligaments and found signs of a few rounds of competition, will miss, Fared little better WangShiPeng is extreme fatigue, waist with old like a time-bomb... Guangdong mess up, request the Mesozoic must stand up, completes the substitution, even "rob class to usurp power" work.Last game against ShanDongDui in zhongshan, c and ChenJiangHua performance most give force, a get this season that the individual's highest 20 points, a 15 points and revitalize the offense. Having more brilliant face strength of Qingdao team, manager LiChunJiang boldly in the starting DongHan vocalist, WangZheng, discharge c, Hudson and WangShiPeng one old a foreign aid bring three new squad. Full of vitality, such as new array attack came flooding back into each other defensive positions, using steps in place, the first quarter quick step in 37 than 23 won opponent 14 points.

The Count of Monte Cristo by Alexandre Dumas père. Highly recommended. Apart from 'The Three Musketeers', this is probably Alexandre Dumas' most famous work and one of the greatest novels in Western literature: a novel every literate and educated person should read at least once in their lives. In this story, Edmond Dantes is an innocent man who was caught in the intrigues of Napoleon's escape from Elba and his 100 days of power until Waterloo. A sailor entrusted with a sealed letter of highest importance by his dying captain, Dantes delivers it into the hands of the evil prosecutor Villefort who, for reasons unkown to him, immediately sends him without trial or appeal to spend the rest of his days at the Chateau D'Iffe: a dark and isolated island prison presumed to be inescapable. With the help of Abbot Faria, a dying prisoner who knows the secret of a great hidden treasure on the small islet of Monte Cristo, Dantes escapes and prepares to unleash his revenge on those who did him wrong. For years he spends his time meticulously preparing his vengeful scheme against the treacherous friends and characters who left him to rot in prison for years and years. He refines his arts of disguise, alchemy, and manipulation to content himself with the ruin of his enemies. Unlike the adventure themes in his works such as 'The Three Musketeers', this story is a deep character study on being the victim of utmost injustice and how cruel revenge is sweet after all: how a wronged man is entitled to become the agent of divine retribution when God and mortal laws have abandoned his cause. The various themes, complex plot, profound character development, and rich prose makes this long work undoubtedly one of the greatest works of literature ever written: Dumas was without question a literary genius. This is a great story for people of all ages and should not be ignored by anyone who has a profound love of literature. I think this is Dumas greatest work far surpassing 'Queen Margo' 'The Three Musketeers' or 'The Corsican Brothers.' As translator Robin Buss points out in his introduction, many of those who haven't read The Count of Monte Cristo assume it is a children's adventure story, complete with daring prison escape culminating in a simple tale of revenge. There is very little for children in this very adult tale, however. Instead, the rich plot combines intrigue, betrayal, theft, drugs, adultery, presumed infanticide, torture, suicide, poisoning, murder, lesbianism, and unconventional revenge. Although the plot is roughly linear beginning with Edmond Dantès' return to Marseille, prenuptial celebration, and false imprisonment and ending with his somewhat qualified triumphant departure from Marseille and France, Dumas uses the technique of interspersing lengthy anecdotes throughout. The story of Cardinal Spada's treasure, the origins of the Roman bandit Luigi Vampa (the least germane to the novel), Bertuccio's tale of his vendetta, and the account of the betrayal and death of Ali Pasha are few of the more significant stories-within-the-novel. While Dumas devotes an entire chapter to bandit Luigi Vampa's background, he cleverly makes only a few references to what will remain the plot's chief mystery-how the youthful, intelligent, and naive sailor Edmond Dantès transforms himself into the worldly, jaded, mysterious Renaissance man and Eastern philosopher, the count of Monte Cristo, presumably sustained by his own advice of "wait" and "hope." This novel is not a simple tale of simple revenge. The count does not kill his enemies; he brilliantly uses their vices and weaknesses against them. Caderousse's basic greed is turned against him, while Danglars loses the only thing that has any meaning for him. Fernand is deprived of the one thing that he had that he had never earned-his honour. In the process, he loses the source of his initial transgression, making his fate that much more poignant. The plot against Villefort is so complicated that even Monte Cristo loses control of it, resulting in doubt foreign to his nature and remorse that he will not outlive. This long but generally fast-paced is set primarily in Marseille, Rome, and Paris. It begins with Dantès' arrival in Marseille aboard the commercial vessel Pharaon and ends with his departure from Marseille aboard his private yacht, accompanied by the young, beautiful Greek princess Haydée. What gives The Count of Monte Cristo its life, however, are the times in which it is set-the Revolution, the Napoleonic era, the First and Second Restoration, and the Revolution of 1830. Life-and-death politics motivates many of the characters and keeps the plot moving. Dumas also uses real people in minor roles, such as Countess G- (Byron's mistress) and the Roman hotelier Signor Pastrini, which adds to the novel's sense of historical veracity. The most troubling aspect of The Count of Monte Cristo is Edmond Dantès himself. His claim to represent a higher justice seems to justify actions and inactions that are as morally reprehensible as those that sent him to prison, for example, his account of how he acquired Ali and his loyalty. Had he not discovered young Morrel's love for Valentine Villefort, she too might have become an innocent victim. As it is, there are at least two other innocents who die, although one clearly would not have been an innocent for long based on his behaviour in the novel. One wonders of Dantès' two father figures, his own flower-loving father and fellow prisoner Abbé Faria, would have approved of the count. The translation appears to be good, with a few slips into contemporary English idioms that sound out of place. In his introduction, Buss states that the later Danglars and Fernand have become unrecognizable and that Fernand in particular has been transformed "from the brave and honest Spaniard with a sharp sense of honour . . . to the Parisian aristocrat whose life seems to have been dedicated to a series of betrayals." There is never anything honest or honourable about Fernand; his very betrayal of Edmond is merely the first we know of in his lifelong pattern. What seems extreme and somewhat unrealistic about Fernand is his transformation from an uneducated Catalan fisherman into a "Parisian aristocrat," hobnobbing with statesmen, the wealthy, and the noteworthy of society. This, however, is the result of the milieu that the novel inhabits. During these post-Revolution, post-Napoleonic years, Fernand could rise socially through his military and political accomplishments just as Danglars does through his financial acumen. Danglars is careful to note that the difference between them is that Fernand insists upon his title, while Danglars is openly indifferent to and dismissive of his; his viewpoint is the more aristocratic. Countess G- is quick to point out that there is no old family name of Monte Cristo and that the count, like many other contemporaries, has purchased his title. It serves mainly to obscure his identity, nationality, and background and to add to the aura of mystery his persona and Eastern knowledge create. What is most telling is that his entrée into Parisian society is based primarily on his great wealth, not his name. Dumas reinforces this point with Andrea Cavalcanti, another mystery man of unknown name and reputed fortune. I have read The Man in the Iron Mask and The Three Musketeers series, both of which surprised me with their dark aspects (the character and fate of Lady de Winter, for example) and which little resembled the adventure stories distilled from them for children and for film. When I overheard a college student who was reading The Count of Monte Cristo on the bus tell a friend that she couldn't put it down, I was inspired to read it. I couldn't put it down, either, with its nearly seamless plot, dark protagonist, human villains, turbulent historical setting, and larger-than-life sense of mystery. At 1,078 pages, it's imposing, but don't cheat yourself by settling for an abridged version. You'll want to pick up every nuance. O(∩_∩)O哈哈~

乐部第一次问鼎该项赛事的冠军，同年获亚足联最佳俱乐部奖。截至2015年，广州恒大淘宝足球俱乐部已连续五次获得中超联赛冠军，也是中超联赛中夺冠次数最多的球队；并获得一次超级杯冠军和足协杯冠军；两次亚冠冠军。（来源：维基百科—广州恒大淘宝足球俱乐部）例句：YOKOHAMA, Japan - Barcelona's Luis Suarez got a hat-trick, including an exquisite second goal, as they strolled into the Club World Cup final with a 3-0 win over Asian champions Guangzhou Evergrande on Thursday.注释：Luis Suarez 路易斯·阿尔贝托·苏亚雷斯（乌拉圭足球运动员）hat-trick 帽子戏法，在足球比赛中，“帽子戏法”指在一场比赛中，一名队员3次将球踢进对方球门，但不包括在决定比赛胜负的点球大战中的进球。另外，“帽子戏法”的应用范围不只限于体育领域，人们还用它形容连续3次的成功。an exquisite goal 表达一个精彩的进球final 决赛win over 战胜stroll into轻松进入

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