查询词典 one-pair

I would like to believe that there is a Paradise where one is always young and full-bladdered; here all the day one dillies and dallies with an amorous multitude of houris, beautifully spotted; where jack-rabbits that run fast but not too fast are as the sands of the desert; where each blissful hour is mealtime; where in long evenings there are a million fireplaces with logs forever burning and one curls oneself up and blinks into the flames and nods and dreams, remembering the old brave days on earth, and the love of one's Master and Mistress.

我宁愿相信我去往的是天堂。那里的每个人都青春永驻，美食饱腹；那里每天都有浪漫精彩的事情发生，那儿的美女近乎完美无瑕。那儿的杰克兔如天堂美女一样轻盈地奔跑于沙漠中。在那儿，我们时刻都可以享受到美味佳肴。在每个漫长的夜晚，都有无数永不熄灭的壁炉，那些燃烧的木柴一根根卷曲起来，闪烁着火焰的光芒，我们倦怠地打着盹，进入甜蜜的梦乡。梦中会再现我们在人世间的英勇时光，以及对男主人和女主人的无限爱怜。

I would like to believe that there is a Paradise where one is always young and full-bladdered; here all the day one dillies and dallies with an amorous multitude of houris, beautifully spotted; where jack-rabbits that tun fast but not too fast are as the sands of the desert; where each blissful hour is mealtime; where in long evenings there are a million fireplaces with logs forever burning and one curls oneself up and blinks into the flames and nods and dreams, remembering the old brave days on earth, and the love of one 's Master and Mistress .

我宁愿相信我去往的是天堂。那里的每个人都青春永驻，美食饱腹；那里每天都有浪漫精彩的事情发生，那儿的美女近乎完美无暇。那儿的杰克兔如天堂美女一样轻盈地奔跑于沙漠中。在那儿，我们时刻享受到美味佳肴。在每个漫长的夜晚，都有无数永不熄灭的壁炉，那些燃烧的木柴一根根卷曲起来，闪烁着火焰的光芒，我们倦怠地打着盹，进入甜蜜的梦乡。梦中会再现我们在人世间的英勇时光，以及对男主人和女主人的无限爱怜。

Michel Hollard was one of the great figures of recent French history, one of the greatest French resistance heroes; one of the most effective, but also one of the most self- effacing," Richardot said."It would be wrong to say that he has been ignored. What he did was recognised after the war by the French, and especially the British, and has sometimes been recalled since.

米歇尔·霍拉特是近代法国历史上一个伟大的人物，是法国在二战期间最伟大的抵抗战士和真正的英雄，也是在功劳面前表现最谦卑的人之一，&理查德说，&我们不能说他是被忽视和轻看了，他所做的一切功绩在战后得到了法国，特别是英国的认可，他的事迹也被人们不时重温和回忆着。

Understand one must release all sides of any pattern; therefore one will release and forgive those that have cursed, hexed, spelled or mechanized oneself, and one will forgive oneself for cursing, hexing, spelling and mechanizing others in the unconscious and without one's awareness to complete with any particular bandwidth of karma and thought-form.

理解你必须释放任一模式的所有方面；因而你将释放和宽恕那些对你实行诅咒、魔法、符咒和机械的人，而你将宽恕在无意识中对他人实行诅咒、魔法、符咒、机械和没有意识到要去完成任何特定带宽的业力和思想形态的自己。

Another essential principle which runs through Plotinus\' theory of soul and his whole philosophy is the idea of "the great chain of beings", i.e. the lower being depends on the higher one, the product is lower than and exists in its producer. The top of this chain is the One or the Good, all things come from and also try to return to him. Hence, returning to the One is the ultimate end of soul. And, this ability is deep in all souls. Because soul is a substance which has many different levels and abilities, the One and Intellect are all present in every soul. Each of our soul all has some divinity by which we can ascend to and achieve the ultimate mystic uniting. So, ascending and uniting is actually a process of returning, i.e. returning deeply to soul and self where the divine hypostases are always shining and illuminating.In order to express these main points, in the part of introduction, I will introduce the character of Plotinus\' time and his individual personality, I will present the reason why I choose

为表达上述要旨，本论文将在导言中介绍普罗提诺所处的时代特征及其个人气质，并交待本文的选题缘起及其基本思路；在第一章中，我们将首先探求灵魂一词的基本含义，然后对普罗提诺之前的希腊哲学史中的灵魂理论做一纵向的爬梳，再给出普罗提诺对此的评论和总结；在第二章中，我们将横向地分析普罗提诺对灵魂的诸多界定，包括灵魂的地位、灵魂的本质与力量、灵魂的层次与构成和灵魂的存在状态四个方面；第三章的主旨是灵魂创生世界，包括灵魂必然下降、灵魂与世界、与身体及其与自我之间的关系；第四章要谈到灵魂建构知识的问题，分感知、记忆、推理与理智三小节；第五章的标题是灵魂追求太一，包括存在大链、灵魂的上升之旅、灵魂的自由与幸福三部分；最后我们将以普罗提诺的神秘主义作为本文的结束语。

Teachers and students distance's pulling closer apparent is one kind of more equal partnership internalizes is one kind teaches with study the power what builds is one kind of emotion platform is one kind of short distance exchange thought collision face-to-face.

师生距离的拉近，外显为一种较为平等的伙伴关系，内化为一种教与学的动力，搭建的是一种情感的平台，是一种近距离的交流，面对面的思维碰撞。

Even though they all are brought up and educated in the so called Chinese Culture Area, there is discrepancy obviously in those things they are concerned more, and how they have been influenced from their respectively different context -- one tries to explore illusion, fake, dream and reality; one explores the meaning of life; one introspects on contemporary phenomena; one seeks a personal identity...

虽然他们都是在中华文化区成长和接受教育，但由于各自有明显不同的背景，也可以看到当中所关心的事物和所受的影响是有差异的──有的喜爱探讨幻象、虚假、梦境和现实之间的关系；有的是对于生命意义的探求；有的是对当代现象的反思；有的是寻找个人身份的认同……。

Even though they all are brought up and educated in the so called Chinese Culture Area, there is discrepancy obviously in those things they are concerned more, and how they have been influenced from their respectively different context -- one tries to explore illusion, fake, dream and reality; one explores the meaning of life; one introspects on contemporary phenomena; one seeks a personal identity...

虽然他们都是在中华文化区成长和接受教育，但由於各自有明显不同的背景，也可以看到当中所关心的事物和所受的影响是有差异的──有的喜爱探讨幻象、虚假、梦境和现实之间的关系；有的是对於生命意义的探求；有的是对当代现象的反思；有的是寻找个人身份的认同……。

Needless to say, the number of acquaintance increases with one's age. The older one gets, the more wildly one traveled and the more work experience one has, the more acquaintances he is supposed to have.

不消说，像是的人数是随了年龄增加的，一个人的年龄越大，走过的地方当过的职务越多，相识的人理该增加了。

With all who see, often there are those things that one would prefer not to see, and as one reverse polarizes into "I DON NOT WANT TO SEE" one goes blind to the truth and then is potentially betrayed, or is tripped up in one's life dance.

在看到的一切东西之中，也经常有这类人所不愿意看到的，而当他们将极性翻转到「我不想看」之时，他们就对真相失明，随后在生命之舞中被潜在背叛或绊倒。

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。