BEHOLD her, single in the field, | ||||
| Yon solitary Highland Lass! | ||||
| Reaping and singing by herself; | ||||
| Stop here, or gently pass! | ||||
| Alone she cuts and binds the grain, | 5 | |||
| And sings a melancholy strain; | ||||
| O listen! for the Vale profound | ||||
| Is overflowing with the sound. | ||||
| No Nightingale did ever chaunt | ||||
| More welcome notes to weary bands | 10 | |||
| Of travellers in some shady haunt, | ||||
| Among Arabian sands: | ||||
| A voice so thrilling ne'er was heard | ||||
| In spring-time from the Cuckoo-bird, | ||||
| Breaking the silence of the seas | 15 | |||
| Among the farthest Hebrides. | ||||
| Will no one tell me what she sings?— | ||||
| Perhaps the plaintive numbers flow | ||||
| For old, unhappy, far-off things, | ||||
| And battles long ago: | 20 | |||
| Or is it some more humble lay, | ||||
| Familiar matter of to-day? | ||||
| Some natural sorrow, loss, or pain, | ||||
| That has been, and may be again? | ||||
| Whate'er the theme, the Maiden sang | 25 | |||
| As if her song could have no ending; | ||||
| I saw her singing at her work, | ||||
| And o'er the sickle bending;— | ||||
| I listen'd, motionless and still; | ||||
| And, as I mounted up the hill, | 30 | |||
| The music in my heart I bore, | ||||
| Long after it was heard no more. |
Gameplaying in a Multi-Agent Environment (2): Exploration vs Exploitation
-
Most automatic game playing involves some sort of algorithm or model that
can manage and use limited resources to attain the goal of the game without
human...
4 years ago
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