查询词典 in fear of

Philip Swallow has, in fact, flown before; but so seldom, and at such long intervals, that on each occasion he suffers the same trauma, an alternating current of fear and re-assurance that charges and relaxes his system in a persistent and exhausting rhythm.

其实，菲利普-斯沃娄以前也坐过飞机，但次数之少，隔的时间之长，使他每次都感到同样的精神折磨：恐惧和释然感轮番袭来，不断使他的神经一会儿紧张，一会儿放松，直搞得他精疲力尽。

Indeed the word masculine is only a bugbear: there is little reason to fear that women will acquire too much courage or fortitude; for their apparent inferiority with respect to bodily strength, must render them, in some degree, dependent on men in the various relations of life, but why should it be increased by prejudices that give a sex to virtue, and confound simple truths with sensual reveries?

其实，所谓"男子气"不过是个故意吓唬人的玩意儿：没什么理由可以害怕女人会获得太多的勇气和毅力；因为她们在体力方面明显地处于劣势，在某种程度上，她们在生活的许多方面都要依赖男人。但为什么要将美德标以性别，将朴素的真理与快感的幻想混为一谈，用这种偏见来增加女性的劣势呢？

The passage appears in Coriolanus (1607-1608) in a speech by Coriolanus to his mother Volumnia: My mother, you wot well/My hazards still have been your solace, and/Believe't not lightly—though I go alone,/Like to a lonely dragon, that his fen/Makes fear'd and talk'd of more than seen—your son/Will or exceed the common or be caught/With cautelous baits and practice.

在卡里奥拉纳斯（1607-1608年）中，卡里奥拉纳斯对他母亲弗罗姆尼娅讲的一段话中有这样的文字："我的母亲，你清楚地知道／我的冒险一直是你的安慰，而且／不要轻信——尽管我要只身前往，／就象去面对一条孤单的龙，他的沼泽／令人谈而色变，尽管并未亲见——你的儿子／决意或是胜过凡人或是被狡猾的圈套和手段擒捉"。

You ask me if I love you And I choke on my reply I'd rather hurt you honestly Than mislead you with a lie For who am I to judge you In what you say or do I'm only just beginning To see the real you And sometimes when we touch The honesty's too much And I have to close my eyes And hide I wanna hold you till I die Till we both break down and cry I wanna hold you till the fear in me subsides Romance's an honest strategy Leaves me grappling with my pride But through the years of maturity Some tenderness survives I'm just another writer Still trapped within my truth A hesitant prize-fighter Still trapped within my youth At times I'd like to break you And drive you to your knees At times I'd like to break through And hold you endlessly At times I understand you And I know how hard you try I've watched whil love commands you And I've watched love pass you by At times I think we're drifters Still searching for a friend A brother or a sister But then the passion flares again....

我只是开始看到了越来越真实的你有时候我抚摸着你真实让我几乎无法承受我不得不闭上双眼来掩饰真想拥抱着你直到我离开这个世界直到我们因崩溃而哭泣真想拥抱着你到我心中的恐惧能平静的那一天浪漫的传奇，个中滋味在与我的自尊心的斗争中消失不见只在那不安全的感受过后残留了一些温存我变成了另外一个著者被我自己的真实俘获一个犹豫不决的荣誉战士被我自己的真实俘获不时地我想冒犯你狠狠的打击你有时我又想克服这个想法，把你深深地拥在怀里到永远有时候我明白你的心知道你努力的有多么辛苦我看到爱情支配你的行动我亦看到你是怎么错过了它有的时候我会想我们都是流浪的孩子仍在寻找自己的好伙伴一个兄弟或者姐妹可是激情，它又一次爆发了出来有时候我们抚摸着对方真实让我几乎无法承受我不得不闭上双眼来掩饰真想拥抱着你直到我离开这个世界直到我们因崩溃而哭泣真想拥抱着你到我心中的恐惧能平静的那一天

While meditating on your dream you should place in your thoughts that electrocution in real life means an ending of life and sensibilities, and this, perhaps, could be showing you that your life will not be your own if you follow a certain path, make a certain decision, or even the fear that marriage will remove you from your 'life'.

而沉思对您的梦想，您应该发生在您的想法认为，触电，在现实生活中是指一结束，生活和情感，而这，或许可以显示您，您的生活将不会自己如果您按照一定的路径，作出某些决定，或什至恐惧婚姻将删除您从您的'生命'。

None are held back neither by fear nor slackness, but it seems to be the of almighty Jove that the Achaeans should perish ingloriously here far from Argos: you, Thoas, have been always staunch, and you keep others in heart if you see any fail in duty; be not then remiss now, but exhort all to do their utmost.

事情的原因在于宙斯意图借此自悦，这位力大无比的天神，想让阿开亚人死在此地，消声匿迹，远离着阿耳戈斯！但是你，索阿斯，向来是一位不屈不挠的斗士，而且一旦看到有人退缩，便当即催他向前――现在，你也不应撤离战斗，还要敦促你所遇见的每一位战友！

Of course she was right; for in image after image, in the work of a life time, and most profoundly in his book American Photographs, Walker Evans continues to show us, even now seventy some years later, who we are, how we live, what we value, and most subversively, what we love and what we fear.

确实如此，他的每一张照片，他一生的创作，以及他那影响深远的《美国摄影作品集》，70多年来一直在启发我们思考：我们是谁，我们如何生活，我们珍视什么。其中最具颠覆性的是：我们热爱什么，畏惧什么。他的图片所呈现的景象早已不复旧观，但其所关注的议题尤存。

The story starts in the sleepy English village of Iping, in West Sussex, as curiosity and fear are evoked in the locals when a mysterious stranger arrives to stay at the local inn, The Coach and Horses.

故事发生在英国西苏塞克斯郡里坪的一个小乡村里，因为一个神秘陌生人的到来并停住一个车马客栈，这激起了人们极大的好奇还有恐惧。

The story starts in the sleepy English village of Iping, in West Sussex, as curiosity and fear are evoked in the locals when a mysterious stranger arrives to stay at the local inn, The Coach and Horses.

故事在Iping困英国村庄开始，在西部苏克塞斯，作为求知欲，并且恐惧在本机被召唤，当一个神奇陌生人到达停留在地方旅店、教练和马时。

Kaoru Inokuchi, a neuroscientist at the University of Toyama in Japan, and his colleagues used radiation and some genetic tricks to block neurogenesis in rats and mice that had been trained to fear getting a mild electric shock when placed in a particular cage.

日本富山大学的神经科学家Kaoru Inokuchi和他的同事利用放射物和一些遗传技巧阻止大鼠中的神经发生，这些大鼠都是经过训练的，当把它们放置在一个特殊的笼子里时，大鼠就会害怕受到温和的电击。

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。