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It is dangerous to get too close to a cliff.

太靠近悬崖是很危险的。

I was terrified. My mother gave me a stick that was a man's length, and my father told me that when I went to uncle's, I should definitely stay close to the cliffside, that the precipice would protect me.

我很害怕。我妈给了我一根一人长的木棍，我爸说你往你叔家走的时候，一定要靠着悬崖走，崖的这边可以保护着你。

My mother gave me a stick that was a man's length （10）, and my father told me that when I went to uncle's, I should definitely stay close to the cliffside, that the precipice would protect me.

我妈给了我一根一人长的木棍，我爸说你往你叔家走的时候，一定要靠着悬崖走，崖的这边可以保护着你。

When you are down there, turn left and get close to the edge to climb down the wall.

当你坐下的时候，左转和亲近的边缘爬了墙。

It would be premature to say we're anywhere close to a deal.

这将是不成熟的我们只想说，我们任何接近达成协议。

But the sides were said to be close to a two-year deal for about $23 million.

但双方都说比较期望能签下二年2300万的合约。

"My people just informed me that we are getting close to a deal. I asked them to call mewhen its done. I am so ready to know!"

"我的经纪人刚才告诉我合约已经很接近了，我叫他们搞定的时候打我电话，我已经准备好了！"

Congress and the White House are close to a deal to give struggling U.S.

美国国会和白宫在为陷入困境的美国汽车制造公司提供150亿美元贷款问题上，接近达成一项协议。

But negotiations, which are often contentious, begin months in advance in order to fix a deal close to April.

但艰难的谈判通常是提前几个月开始，以便在临近4月时达成协议。

This paper argues that Bartók s use of harmony and his musical style are close to modal harmony featuring Chinese traditional music and that his music deserves serious study in an effort to promote the nationalization of Chinese music.

在和声运用方面，为了突出匈牙利民族音乐特征，巴托克力图摆脱严谨的传统和声条框的束缚，探索新的和声表现手法，他将匈牙利民族调式和大小调体系有机的结合起来，在和弦构成的三度叠置原则、和弦外音的观念、调关系的理解、转调及扩展半音的方法等方面进行了突破与创新。

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。