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A bedroom should be comfortable and inviting, but not in a come-hither way.

卧室应该舒适宜人，而不是充满诱惑。

So some house-owner try to increase some come-hither ideas.

所以，有的房产主就设法增加一些吸引人的条件。

You know, he almost-sighed, his voice soft and coarse, childlike and come-hither all at the same time, theres enough room here for another, if you want.

你知道，他几乎-叹息，同时所有的软和粗糙的﹐孩子似的和诱惑人的他声音，为另外一充足的房间这里的那里，如果你想要。

Then there is the economic reality: any woman who desn't want to wind up a case study in the feminization of poverty has to be successful at something more demanding than fingernail maintenance or come-hither looks.

然后是经济现实：任何女人谁不要结束，在贫困的女性化案例研究取得成功的程度超过指甲保养或来诱惑的外观要求。

Her come-hither finger curl auditions his response.

她弯着手指，示意要他作出反应，到她那儿去。

From the connection of economic increase and institutional transformation, this part posts that the institutional transformation is in favor of economic increase if the transformation is fit for it whether the institutional transformation is compulsive or not come-hither.

从经济增长与制度变迁的关系出发，本论文揭示与区域经济发展要求相适应的制度变迁有利于都市圈的成长，不论这种制度变迁是供给强制型还是需求诱致型的。

There was a come-hither glint in her sultry eyes.

她神情淫荡，目光迷离。

The triangular romance, however, is but a come-hither[6] to the novel's weightier themes, which are all about rust, ruin and decay—all metaphors for ageing.

然而，这段三角恋情的描写无非是要将读者引向那些更为沉重的主题，包括锈蚀、废墟以及腐朽在内一切的一切都隐喻着年华的逝去。

The triangular romance, however, is but a come-hither[6] to the novels weightier themes, which are all about rust, ruin and decay—all metaphors for ageing.

然而，这段三角恋情的描写无非是为了将读者引向这部小说那些更为沉重的主题，如锈蚀、废墟以及腐朽，一切都隐喻着年华的逝去。

3The triangular romance, however, is but a come-hither[6] to the novel's weightier themes, which are all about rust, ruin and decay—all metaphors for ageing.

然而，这段三角恋情的描写无非是为了将读者引向这部小说那些更为沉重的主题，如锈蚀，废墟以及腐朽，一切都隐喻着年华的逝去。

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。