查询词典 Natasha

Natasha came into the room, went up to Sonya, looked at what she was doing, then went up to her mother and stood there mutely.

娜塔莎走进了这个房间，她走到索尼娅跟前，看看她在做什么，然后就走到母亲跟前，默不作声地停步了。

This is Natasha, and this is...

这是娜塔莎，这是

NATASHA:"Yes, I am, and I want to finish."

娜塔莎："是的，我，我要完成。"

That I say to you, he said, turning to Natasha.

这是我对您说的。他转过身对娜塔莎说。

I hope you and Natasha will be very happy.

我希望你和娜塔莎过得很幸福

"Natasha," he said,"you know I love you, but—"

"娜塔莎，"他说道，"您知道我是爱您的，可是……"

NATASHA: No, I didn't.

娜塔莎：不，我没有。

NATASHA: I don't know what I'm going to do.

娜塔莎：我不知道如何是好。

Natasha, I don't trust him.

娜塔莎，我不相信他。

It was Natasha, and he loved her.

这正是娜塔莎，而他爱着她。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。