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于某人分享某物10。对某人友好11。种花12。在大多数家庭13。至少14。一楼15。游泳池16。餐厅地球植物青蛙蛇骨头金鱼白天月亮噪音克舌头脖子秒背面大象罐尾巴导游单词重量旅游搜查踢失败操练狗叫杀死死亡归还理解记得相信把。叫做的明亮奇怪的不寻常的感到恐惧的虚弱的柔软的疯狂的勤勉的幼小的危险的仔细地甚至早不费力地不出声地无警察局接到一个电话住在附近开车去三个穿警察制服的人走不同的路线向左拐进在交通灯处停下迅速逃跑停止讲话惊讶得看见最后火灾烟毯子胳膊注意腿探望者奖品成员体育运动女运动员天气学期记忆力成绩结果互联网家务活课程飞行收集使受伤倾倒冲救助烧伤喊叫下雪滑雪组织计划迷失表演仔细的勇敢的独自难过的快的慢的粗鲁的超级的高困难的然后遍布在。上扑火而不是

In combat, you lose yourself to the storm, unleashing your bloodfury in a frothing display of violence that inspires fear in all who fight you.

这些能力使你化身为无情的风暴，可以将一连串的攻击砸向任何敢于挑战的你家伙，并且将恐惧留给他们的余生。

I knew there would be pleasure in meeting my master again; even though broken by the fear that he was so soon to cease to be my master, and by the knowledge that I was nothing to him: but there was ever in Mr Rochester such a wealth of the power of communicating happiness, that to taste but of the crumbs he scattered to stray and stranger birds like me was to feast genially.

我知道，与主人重逢是一件乐事，尽管备受干扰，因为我担心他快要不再是我的主人，而且我也明白我对他无足轻重了。

I fear also, also having you can depend on, the day is long to appear in public heart, in this the inclemency of the world, they tell me so;Regardless a color is still an age of your skin size, we tell you here, what I see be what I feel, I only have myself.

我并害怕，还有你可依靠，日久见人心，在这险恶的世界里，他们这样告诉我；无论你的皮肤颜色还是年龄大小，我们在这里告诉你，我看见的就是我感觉到的，我只有我自己。

He looked at her as being in some vague manner an incumbrance upon the freedom of his thoughts; he had a haunting fear that he was in some tacit way pledged to her; that she had a species of claim upon him, which forbade to him the right of even thinking of another woman.

他把她看作是以某种朦朦胧胧的方式存在着的累赘，阻碍着他的自由思想；他心里有种恐惧出没无常，总觉得他跟她是以不言而喻的方式有过山誓海盟的；而她又对他保有一种权利，这种权利甚至不容许他有想念另一个女人的自由。

Methods Kunming mice and C57BL/6 mice were adopted. The irritative train offootplate shock was combined with a tone signal for check the difference of fear memoryformation in different shock intensity and in different species mice, in identical condition training.

方法选用昆明种和C57BL／6小鼠，将足底电击刺激的训练与声音相结合，观察同一品种小鼠用不同电击强度以及不同品种小鼠用相同条件训练时，恐惧性记忆建立的差异。

"Hazy" Good ambiguous name, yesterday in a rare fog enveloped the entire City, a very silly sense of visibility below 10 meters, just go out would be a kind of very exciting feeling, in that space of the Mist stay for a long time, feeling a boring person can not see anything, can only be seen a few zero-Mist dilute the flashing lights of the cars, you do not know what the status outside the 10 meters, or even the traffic lights, you do not know what you will face is how the situation, everything is unknown, that Mende feeling may just be time for everyone to face the unknown of a mind's instinctive reaction to fear.

"雾蒙蒙"好暧昧的一个名字，昨天一场罕见的大雾笼罩整个岛城，很懵懂的感觉，能见度低于十米，刚刚外出会有种很兴奋的感觉，在那种蒙蒙的空间里呆久了，感觉很闷，看不见任何东西，只能蒙蒙中见到几个零稀的车灯在闪烁，你可以不知道十米以外是怎样的状况，甚至是红绿灯，你也不知道你将面临的是怎样的状况，一切都是未知，那种闷得感觉，可能只是每个人面临未知时的一种内心恐惧的本能反应。

Our fear is that, because of recent reverses, Gordon Brown will be misguidedly tempted to make these bills his line in the sand as a test of public confidence in his leadership.

我们担心的是，由於最近的逆转，财政大臣布朗将misguidedly的诱惑，使这些条例草案，他的线在沙里，作为一个考验市民的信心，在他的领导。

Indeed, it may be the primary function of celebrities like Jackson to show us, in their early radiance, what we could dream of being — and in the murk of their decline, what we fear we could become.

实际上，这就是杰克逊这类名人展示给我们的主要作用，他们的早期辉煌，正是我们梦寐以求的——而在他们的衰败，正是我们害怕的东西。

Do you wonder that one wakes in the night in a cold sweat of fear and sleep for the rest of the night is gone?

夜里，一个人一身冷汗从惊恐中醒来，再也无法入眠，你会感到惊讶吗？

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。