81. Great comic artists assume that truth may bear all lights，and thus they seek to accentuate( 强调) contradictions in social action，not gloss over or transcend them by appeals to extrasocial symbols of divine ends， cosmic purpose，or laws of nature.
82. The hydrologic(水文地质的)cycle，a major topic in this science，is the complete cycle of phenomena through which water passes，beginning as atmospheric water vapor，passing into liquid and solid form as precipitation (降水(量))，thence along and into the ground surface，and finally again returning to the form of atmospheric water vapor by means of evaporation and transpiration(散发)。
83. My point is that its central consciousness-its profound understanding of class and gender as shaping influences on people's lives-owes much to that earlier literary heritage，a heritage that，in general，has not been sufficiently valued by most contemporary literary critics.
84. In the early 1950's historians who studies preindustrial Europe (which we may define here as Europe in the period from roughly 1300 to 1800) began，for the first time in large numbers， to investigate more of the preindustrial European population than the 2 or 3 percent who comprised the political and social elite (精华) ：the kings， generals，judges，nobles，bishops，and local magnates (要人)who had hitherto (迄今)usually filled history books.

答案

81、大喜剧家们认为真理需要各种启示，因此他们开始强调社会活动中的各种矛盾，而不是掩饰或者通过非社会象征的神圣结局和喜剧目的、自然规律来超越它。
82、水文地质循环是这一科学里面的一个重要课题，它是水的完全循环过程。这一过程从水蒸汽开始中，以降水量的形式成为液态或者固态水，这样就到了地表，最后又通过蒸发或者散发方式回到水蒸汽的状态。
83、我认为它的关键意识――它对于阶级和性的深远理解对人们的生活有着重要影响――很大程度上归功于文化遗产，总的来说，当代的文艺批评家并未对此给予足够评价。
84、早在20世纪50年代，许多研究前工业时代欧洲(我们可将其粗略定义为1300年至1800年间的欧洲)的历史学家们开始研究更多的欧洲人群，而不仅仅局在只占人口总数2%到3%的那些至今还充斥着历史书籍的政治、社会、精英人物：国王、将军、法官、贵族主教和地方要人。