[主題] [灌水]突然發現..肥丁肥娜怪怪的?!

我最近突然發現..肥丁肥娜不知曾幾何時起...開始怪怪的?

肥丁不再去跟肥娜打架了,肥娜有時只要肥丁靠近牠就會扁牠一頓

如果肥丁偷進肥娜產窩睡覺的話..肥娜就絕對不願意進產窩一步..

相對的如果其中之一在裡面睡覺我把另一隻抱進去

不管原先那隻睡的多熟牠也會馬上醒來起身離開...

這...怎麼會這樣呢??該怎麼讓它們處的好點呢??

因為肥娜懷孕了吧！
所以他會保護小寶寶呀！

ㄟ...有可能喔...
可是以前肥丁還小時肥娜都會一直照顧她耶...現在怎麼會態度大轉變呢??

會不會訴產前憂鬱的現象~~肥娜可能比較在意自已的baby~~

肥娜要生小baby了哦~
會不會是要生小baby的喵比較有警戒心呀~
先祝肥娜母子平安哦^^

我總有預感她會在下禮拜生BB....

也好啦!當個元旦寶寶也不錯啊!! ^^

下面引用由☆Yvonne☆在 2002/12/27 10:37pm 發表的內容：
會不會訴產前憂鬱的現象~~肥娜可能比較在意自已的baby~~

嗯~~~
我也覺得應該是醬吧!?
她想要好好保護順利生下她的小寶貝呀!

下面引用由SUPERPANDA在 2002/12/28 00:34am 發表的內容：
我總有預感她會在下禮拜生BB....
也好啦!當個元旦寶寶也不錯啊!! ^^

下禮拜啊!這麼快!!
也好啊~
不然拖到妳期末考時還要當接生婆~太辛苦啦!!

下面引用由fanny在 2002/12/28 11:07pm 發表的內容：
下禮拜啊!這麼快!!
也好啊~
不然拖到妳期末考時還要當接生婆~太辛苦啦!!

其實牠的預產期應該是期末考當天..

但我總有預感牠會早產...

唉..真希望牠下下禮拜五準時生產..省得我一邊背英國文學一邊幫她接生..

下面引用由superpanda在 2002/12/29 07:13am 發表的內容：
其實牠的預產期應該是期末考當天..
但我總有預感牠會早產...
唉..真希望牠下下禮拜五準時生產..省得我一邊背英國文學一邊幫她接生..

恩.....當貓祖母真素辛苦....

加油哦

下面引用由superpanda在 2002/12/29 07:13am 發表的內容：
其實牠的預產期應該是期末考當天..
但我總有預感牠會早產...
唉..真希望牠下下禮拜五準時生產..省得我一邊背英國文學一邊幫她接生..

好辛苦喔

ㄣㄣ~~
撐過去！為了看到貓孫子再辛苦也值得咩^^

好期待

好興份！^^"

Because the expression Romanticism is a phenomenon of immense scope, embracing
as it does, literature, politics, history, philosophy and the arts in
general, there has never been much agreement and much confusion as to what the
word means. It has, in fact, been used in so many different ways that some
scholars have argued that the best thing we could do with the expression is to
abandon it once and for all. However, the phenomenon of Romanticism would not
become less complex by simply throwing away its label of convenience.

Originally, Romanticism referred to the characteristics of romances, whose
extravagance carried somewhat pejorative connotations. But in the 18th century
the term came to designate a new kind of exotic landscape which evoked
feelings of pleasant melancholy. The term Romantic as a designation for a
school of literature opposed to the Classic was first used by the German
critic Karl Wilhelm Friedrich von Schlegel (1772-1829) at the beginning of the
19th century. From Germany, this meaning was carried to England and France.
Since no single figure or literary school displays all the characteristics
considered to be "Romantic," any general definitions tend to be imprecise. In
addition, these characteristics are often discerned in artists and cultural
movements not usually so designated. They are not, in fact, the exclusive
property of the Romantic period, but it is here that they are dominant and give
identity to an era.

The idea of man's natural goodness and the stress on emotion also contributed
to the development of Romantic individualism, that is, the belief that what is
special in a man is to be valued over what is representative (the latter often
times connected with the conventions imposed on man by "civilized society." If
a man may properly express his unique emotional self because its essence is
good, he is also likely to assume also that its conflicts and corruptions are
a matter of great import and a source of fascination to himself and others.
So, the Romantic delights in self-analysis. Both William Wordsworth (in The
Prelude) and Lord Byron (in Childe Harold's Pilgrimage), poets very different
from one another, felt the need to write lengthy poems of self-dramatization.
The self that Byron dramatized, a projection not identical with his own
personality, was especially dear to the Romantic mind: the outcast wanderer,
heroic by accursed, often on some desperate quest, in the tradition of Cain or
the Flying Dutchman. S.T. Coleridge's Mariner and Herman Melville's Ahab are
similar Romantic pilgrims.

Searching for a fresh source of this spontaneous feeling, Wordsworth rejects
the Neoclassic idea of the appropriate subject for serious verse and turns to
the simplicities of rustic life "because in that condition the passions of men
are incorporated with the beautiful and permanent forms of nature." That
interaction with nature has for many of the Romantic poets mystical overtones.
Nature is apprehended by them not only as an exemplar and source of vivid
physical beauty but as a manifestation of spirit in the universe as well. In
Tintern Abbey Wordsworth suggests that nature has gratified his physical being,
excited his emotions, and ultimately allowed him "a sense sublime/Of something
far more deeply interfused," of a spiritual force immanent not only in the
forms of nature but "in the mind of man." Though not necessarily in the same
terms, a similar connection between the world of nature and the world of the
spirit is also made by Blake, Coleridge, Byron and Shelley.
背到快中風的貓奴.....

這...這...我只能說....辛苦了~~~