【正文】 牌號H0Cr21Ni10 規(guī)格5mm焊劑牌號HJ260 規(guī)格保護氣體 氣流量 預熱溫度 /焊后熱處理 /層間溫度 /清根手段 砂輪打磨焊接參數(shù)層次焊接電流/A電弧電壓/V焊接電流種類焊接速度/（m/h）焊絲直徑/（mm） 1260270 直流反接355焊接設(shè)備型號： ARC200焊接操作 焊接位置：環(huán)焊 焊道層數(shù)：雙層單焊道 焊絲擺動參數(shù)：不擺動。焊后檢驗，全焊透且形成無缺陷，無焊瘤、咬邊，成形良好的焊接接頭。2. 進行一定數(shù)量的X光片或超聲波焊縫內(nèi)部檢查。編制 李雪銀日期 校對日期審核日期試板經(jīng)上述參數(shù)焊接，符合規(guī)定的要求，焊接工藝合格。附錄：外文翻譯In Wang Zuoliang’s translation practices, he translated many poems, especially the poems written by Robert Burns. His translation of Burn’s “A Red, Red Rose” brought him fame as a verse translator. At the same time, he published about ten papers on the translation of poems. Some argue that poems cannot be translated. Frost stresses that poetry might get lost in translation. According to Wang, verse translation is possible and necessary, for “The poettranslator brings over some exciting work from another culture and in doing so is also writing his own best work, thereby adding something to his culture. In this transmission and exchange, a richer, more colorful world emerges. ”(Wang, 1991:112). Then how can we translate poems? According to Wang’s understanding, the translation of poems is related to three aspects: A poem’s meaning, poetic art and language. （1）A poem’s meaning “Sociocultural differences are formidable enough, but the matter is made much more plex when one realizes that meaning does not consist in the meaning of words only, but also in syntactical structures, speech rhythms, levels of style.” (Wang, 1991:93).（2）Poetic art According to Wang, “Bly’s point about the ‘marvelous translation’ being made possible in the United States only after Whitman, Pound and Williams Carlos Williams posed poetry in speech rhythms shows what may be gained when there is a genuine revolution in poetic art.” (Wang, 1991:93).（3）Language “Sometimes language stays static and sometimes language stays active. When language is active, it is beneficial to translation” “This would require this kind of intimate understanding, on the part of the translator, of its genius, its idiosyncrasies, its past and present, what it can do and what it choose not to do.” (Wang, 1991:94). Wang expresses the difficulties of verse translation. Frost’s ment is sufficient to prove the difficulty a translator has to grapple with. Maybe among literary translations, the translation of poems is the most difficult thing. Poems are the crystallization of wisdom. The difficulties of poetic prehension lie not only in lines, but also in structure, such as cadence, rhyme, metre, rhythm, all these conveying information. One point merits our attention. Wang not only talks about the times’ poetic art, but also the impact language’s activity has produced on translation. In times when the language is active, translation is prospering. The reform of poetic art has improved the translation quality of poems. For example, around May Fourth Movement, Baihua replaced classical style of writing, so the translation achieved earthshaking success. The relation between the state of language and translation is so