查询词典 neither...nor

I grasp at each second, trying to suck it dry: nothing happens which I do not seize, which I do not fix forever in myself, nothing, neither the fugitive tenderness of those lovely eyes, nor the noises of the street, nor the false dawn of early morning: and even so the minute passes and I do not hold it back, I like to see it pass.

萨特的哲学和文学搅和在一起，他的文学创作是为了例证他的哲学。萨特的成名作《恶心》，这一部带有自传性质的日记体小说，通过中心人物罗康丹对世界和人生的看法，充分表达了作者的存在主义哲学观念。

And I, who don't know anything of worship, who have done nothing, who have neither devotion nor knowledge nor love, and who haven't practised any austerities, am receiving so much of Your grace.

而我，对崇拜一无所知，什么也没有做，既不虔诚，也没有知识，也没有爱，也没有实践任何的苦行，可是得到你如此多的恩典。

Good your grace, pardon me; Neither my place nor aught I heard of business Hath raised me from my bed, nor doth the general care Take hold on me, for my particular grief Is of so flood-gate and o'erbearing nature That it engluts and swallows other sorrows And it is still itself.

殿下，请您原谅，我并不是因为职责所在，也不是因为听到了什麼国家大事而从床上惊起；国家的安危不能引起我的注意，因为我个人的悲哀是那麼压倒一切，把其余的忧虑一起吞没了。

Good your grace, pardon me; Neither my place nor aught I heard of business Hath raised me from my bed, nor doth the general care Take hold on me, for my particular grief Is of so flood-gate and o'erbearing nature That it engluts and swallows other sorrows

殿下，请您原谅，我并不是因为职责所在，也不是因为听到了什麼国家大事而从床上惊起；国家的安危不能引起我的注意，因为我个人的悲哀是那麼压倒一切，把其余的忧虑一起吞没了。

From the observation point of the 53rd GTBr commander, neither the village of Ogledów, nor the valley, nor the tanks hidden in the haystacks were visible.

从第53近卫坦克旅旅长的观察哨位上，既看不见奥格勒杜夫村，也看不见河谷及隐藏在干草堆里的坦克。

His thoughts wandered away upon the blue clouds of hazy tobacco smoke, and carried him into a bright region or unrealities, in which there was neither death nor trouble, grief nor shame, only himself and Clara Talboys in a world that was made all their own by the great omnipotence of their loves.

他的思想随着烟草的蓝色烟雾飘浮开去，把他带进了一个非现实的光明境界，其中没有死亡或麻烦，没有悲哀或耻辱；只有他自己和克莱拉·托尔博伊斯，共处于由他们的爱情伟大无限的威力所造成的世界里，一个只属于他们自己的世界里。

The brush pen is sharp, soft and elastic so that Chinese calligraphy and painting is likely to become an art of line. Chinese ink can be diluted and attempered. Moreover, it is neither sticky, nor astringent nor stagnant. These properties make people able to write or paint freely. The paper for Chinese calligraphy and painting, especially rice paper, can absorb Chinese ink of various kinds. It is suitable for calligraphy and painting using brush pen.

其中，毛笔笔锋尖细、质地柔软而富有弹性，这使得中国书画更易成为一种自由表达的线的艺术；松墨和油墨易于稀释和调和，而且不粘、不涩、不滞，可以保持运笔的灵活，并通过墨汁的浓淡变化实现写意的目的；中国书画的用纸具有吸附软笔水墨的特性，不仅适宜于毛笔的书写，也有利于发挥墨的特性。

And see no end to the landscape,new objects presenting themselves as we advan ce;so,in the commencement of life,we set no bounds to our inclinations.nor to the unrestricted opportunities of grastifying them.we have as yet found no obs tacle,no disposition to flag;and it seems that we can go on so forever.we look round in a new world,full of life,and motion,and ceaseless progress;and feel in ourselves all the vigour and spirit to keep pace with it,and do not foresee from any present symptoms how we shall be left behind in the natural course o f things,decline into old age,and drop into the grave.it is the simplicity,and as it were abstractedness of our feelings in youth,thatidentifie s us with nature ,and(our experience being slight and our passions strong)delu des us into a belief of being immortal like it.our short-lives connexion with existence we fondly flatter ourselves,is an indissoluble and lasting union-a h oneymoon that knows neither coldness,jar,nor separation.as infants smile and s leep,we are rocked in the cradle of our wayward fancies,and lulled into securi ty by the roar of the universe around us0we quaff the cup of life with eager h aste without draining it,instead of which it only overflows the more-objects p ress around us,filling the mind with their magnitude and with the strong of de sires that wait upon them,so that we have no room for the thoughts of death.

此时，但觉好风光应接不暇，而且，前程更有美不胜收的新鲜景致。在这生活的开端，我们听任自己的志趣驰骋，放手给它们一切满足的机会。到此为止，我们还没有碰上过什么障碍，也没有感觉到什么疲惫，因此觉得还可以一直这样向前走去，直到永远。我们看到四周一派新天地——生机盎然，变动不居，日新月异；我们觉得自己活力充盈，精神饱满，可与宇宙并驾齐驱。而且，眼前也无任何迹象可以证明，在大自然的发展过程中，我们自己也会落伍，衰老，进入坟墓。由于年轻人天真单纯，可以说是茫然无知，因而将自己跟大自然划上等号；并且，由于经验少而感情盛，误以为自己也能和大自然一样永世长存。我们一厢情愿，痴心妄想，竟把自己在世上的暂时栖身，当作千古不变、万事长存的结合，好像没有冷淡、争执、离别的密月。像婴儿带着微笑入睡，我们躺在用自己编织成的摇篮里，让大千世界的万籁之声催哄我们安然入梦；我们急切切，兴冲冲地畅饮生命之杯，怎么也不会饮干，反而好像永远是满满欲溢；森罗万象纷至沓来，各种欲望随之而生，使我们腾不出工夫想死亡。

And the house, when it was being built, was built of finished stone, cut at the quarry, so that neither hammer nor ax nor any iron tool was heard in the house when it was being built.

6：7 建殿是用采石场豫备好的石头，所以建殿的时候，在殿里听不见锤子、斧子、或任何铁器的响声。

And the satraps, the deputies, and the governors, and the king's counsellors, being gathered together, saw these men, that the fire had no power upon their bodies, nor was the hair of their head singed, neither were their hosen changed, nor had the smell of fire passed on them.

省长、太守、总督和君王的臣仆一齐前来，查看这几个人，见烈火在他们身上一点不发生作用，连他们头上的一根头发都没有烧掉，他们的外氅没有变色，他们身上也没有一点火的气味。

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。