And there's a more idiomatic response to a wider range of music.
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I always thought that CZAR was the newer word and more idiomatic, but it turns out that's debatable.
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An expanded second edition (), Effective Perl Programming: Ways to Write Better, More Idiomatic Perl, 2/E. by Hall, Joshua A McAdams, and brian d foy was published in 2010 by Pearson.
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The revision of Skaar was a New Testament version published in 1873. The work was revised by the priest Johannes Nilssøn Skaar. This version is known for a strongly Norwegianized language, taking it in a more idiomatic direction and focusing on the importance of the meaning of the original rather than the words themselves.
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According to Karashima, Taisho 686 is basically a more idiomatic adaptation of Taisho 685. It records the events which followed after one of the disciples of Shakyamuni Buddha, Maudgalyayana, achieves Abhijñā and uses his newfound powers to search for his deceased parents. In the end, Maudgalyayana finds his mother in the preta (hungry ghost) world and with the assistance of the Buddha, is able to save her.
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It is undesirable to give someone a fan or an umbrella as a gift. The words fan "shàn" () and umbrella "sǎn" () sound like the word "sǎn/sàn" (), meaning to scatter, or to part company, to separate, to break up with someone, to split.Wong Yee Lee Gifts in Chinese Culture These homonymic pairs work in Mandarin and Cantonese. Cantonese has a more idiomatic term for umbrellas ("ze1" in Cantonese, ) to avoid precisely this association.
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Kumarajiva’s translation practice was to translate for meaning. The story goes that one day Kumarajiva criticized his disciple Sengrui for translating “heaven sees man, and man sees heaven” (天見人,人見天). Kumarajiva felt that “man and heaven connect, the two able to see each other” (人天交接,兩得相見) would be more idiomatic, though heaven sees man, man sees heaven is perfectly idiomatic. In another tale, Kumarajiva discusses the problem of translating incantations at the end of sutras.
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Some of his chansons were doubtless designed to be performed instrumentally. That Petrucci published many of them without text is strong evidence of this; additionally, some of the pieces (for example, the fanfare-like Vive le roy) contain writing more idiomatic for instruments than voices. Josquin's most famous chansons circulated widely in Europe. Some of the better known include his lament on the death of Ockeghem, Nymphes des bois/Requiem aeternam; Mille regretz (the attribution of which has recently been questioned);Litterick, in Sherr, pp.
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The modal must expresses obligation or necessity: You must use this form; We must try to escape. It can also express a confident assumption (the epistemic rather than deontic use), such as in It must be here somewhere. An alternative to must is the expression have to or has to depending on the pronoun (in the present tense sometimes have got to), which is often more idiomatic in informal English when referring to obligation. This also provides other forms in which must is defective (see above) and enables simple negation (see below).
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A literal translation of Generaloberst would be "uppermost general", but it is often translated as "colonel-general" by analogy to Oberst, "colonel", including in countries where the rank was adopted, e.g. in Russia (генерал-полковник, general- polkovnik). "Oberst" derives from the superlative form of Germanic ober (upper), cognate to English over, thus "Superior General" might be a more idiomatic rendering. The rank was created in 1854, originally for Emperor William I—then Prince of Prussia—because traditionally members of the royal family were not promoted to the rank of field marshal.
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In contrast to the first movement, it employs the entire range of the instrument. The dense texture of the movement makes it more idiomatic for the instrument and more typical for Bach. The movement uses long held chords with many suspensions to great effect, an idiom which Bach employed with relative frequency in his mature works. The contrapuntal section fails to resolve back to its key chord, and instead leads into a coda which shows close similarities to the final line of BWV 565, Bach's Toccata and Fugue in D minor.
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The subjunctive has numerous uses, ranging from what potentially might be true to what the speaker wishes or commands should happen. It is often translated with 'should', 'could', 'would', 'may' and so on, but in certain contexts, for example indirect questions or after the conjunction ' 'when' or 'since', it is translated as if it were an ordinary indicative verb. Often in English the subjunctive can be translated by an infinitive; for example, ' (literally, 'he ordered _that he should go_ ') becomes in more idiomatic English 'he ordered him _to go_ '.
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Streets in Brussels often have a Dutch name and a French name, both languages being official: for example "" (Dutch) and "" (French), both meaning "Mountain Street". While the older streets were originally named in Dutch, some more recent ones, conceived in French, have been retranslated. For instance Boulevard Charlemagne was retranslated from Karlemagnelaan to Karel de Grotelaan, and Rue du Beau Site in Ixelles from the literal Schoonzichtstraat to the more idiomatic Welgelegenstraat. Occasionally there is confusion over which is the best translation, as is the case with the Chaussée de Waterloo in St-Gilles, Brussels, whicb is variously rendered as Waterlosesteenweg and Waterloosesteenweg.
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This was done with the intent of conforming, as far as possible, to the original autograph manuscripts. An utterly consistent hyper-literal sub-linear based upon a standard English equivalent for each Greek element is to be found beneath each Greek word. The Concordant Greek Text forms the basis of the Concordant Literal New Testament, which is more idiomatic in its English than the hyper-literal sublinear. The Concordant Literal New Testament and the Concordant Greek Text are linked together and correlated for the English reader by means of an English concordance—the Keyword Concordance—and a complementary list of the Greek elements.
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In the absence of idiomatic writing in the sixteenth century, characteristic instrumental effects may have been improvised in performance. On the other hand, idiomatic writing may have stemmed from virtuosic improvised ornamentation on a vocal line – to the point that such playing became more idiomatic of the instrument than of the voice. In the early Baroque, these melodic embellishments that had been improvised in the Renaissance began to be incorporated into compositions as standardized melodic gestures. With the Baroque's emphasis on a soloist as virtuoso, the range of pitches and characteristic techniques formerly found only in virtuosic improvisation, as well as the first dynamic markings, were now written as the expected standard.
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The Hong Kong Cantonese 攬炒 literally means 'embrace fry', which journalist and City, University of London lecturer Yuen Chan explained as meaning "if I'm gonna fry, I'm gonna drag you in with me", comparing it to the English language idiom "if we burn, you burn with us". This English phrase has also been used by protesters for Hong Kong liberation, and was used as the title of a 2020 documentary about the protests. Taiwanese magazine Commonwealth also suggested a literal translation of 攬炒 as "jade and stone burning together". The term in Cantonese relates to an existing slang morphology, where 炒 (fry) is appended to other words to create a more idiomatic meaning.
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The more idiomatic, concrete and descriptive English is, the more it is from Anglo- Saxon origins. The more intellectual and abstract English is, the more it contains Latin and French influences e.g. swine (like the Germanic schwein) is the animal in the field bred by the occupied Anglo-Saxons and pork (like the French porc) is the animal at the table eaten by the occupying Normans. Cohabitation with the Scandinavians resulted in a significant grammatical simplification and lexical enrichment of the Anglo-Frisian core of English; the later Norman occupation led to the grafting onto that Germanic core of a more elaborate layer of words from the Romance branch of the European languages.
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"Lascia fare mi" ("leave it to me", or possibly in a more idiomatic translation, "let me do it") was supposedly a common phrase used by an unknown aristocrat to get people to stop pestering him with requests or complaints.Reese, p. 238. The story was first reported by Glareanus, writing in 1547, who went on to say, "and then [Josquin] went on to write an entire mass, an exceedingly elegant work, based on these same words: thus, 'La sol fa re mi.'" The musical syllables La-Sol-Fa-Re-Mi correspond to A-G-F-D-E in the "natural" hexachord, the six notes starting on C. There have been several attempts to date the mass, and opinions of Josquin scholars differ, placing it variously between the late 1470s and the 1490s.
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The dialects of Irish in Connacht are extremely diverse, with the pronunciation, forms and lexicon being different even within each county. The irish of South Connemara is often considered the "standard" Connacht irish owing to the number of speakers however it is unique within Connacht and has a lot more idiomatic connection to extinct dialects in North Clare (for example "acab" instead of "acu" in the rest of Connacht). Words such as "dubh" and snámh tend to be pronounced with a Munster accent in South Connemara whereas in Joyce Country, Galway City and Mayo they are pronounced with the Ulster pronunciation. In addition to this the standard in Connacht would be to pronounce the words "leo" and "dóibh" as "leofa" and "dófa" however in South Connemara and Aran they are pronounced "Leothab" and "dóib".
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During The Troubles, between the 1970s and the 1990s, many physical force Irish republican prisoners in Long Kesh (later the Maze Prison) often spoke in Irish, for cultural reasons and to keep secrets from warders. This was dubbed the "Jailtacht", a portmanteau of "jail" and "Gaeltacht", the name for an Irish-speaking region. It is thought by some that the Republican slogan ("Our day will come") is a form of Béarlachas, more idiomatic equivalents being Beidh ár lá linn ("Our day will be with us") or Beidh ár lá againn ("We will have our day"). However, the verb teacht, meaning "come", is often used in a variety of phrases to express the "coming" of days, such as tháinig an lá go raibh orm an t-oileán d’fhágaint ("the day came when I had to leave the island)".
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