查询词典 stare-down

When he turned to stare, it was only a clump of broken stone once more, half-shrouded in moss and encroaching earth.

当他转身凝视的时候，他所看到的，只不过是一堆碎石，柱子的一半，裹着苔藓和泥土。

Blinds, shutters, curtains, awnings, were all closed and drawn to deep out the stare.

竹帘子、百叶窗、窗帘、遮篷全都拉拢了，把这耀眼的光芒挡在外面。

Blinds, shutters, curtains, awnings, were all closed and drawn to keep out the stare.

竹帘子、百叶窗、窗帘、遮篷全都拉拢了，把这耀眼的光芒挡在外面。

These are beings of the great neuter species: impotent men, parasites, cyphers, who have a little land, a little folly, a little wit; who would be rustics in a drawing-room, and who think themselves gentlemen in the dram-shop; who say,"My fields, my peasants, my woods"; who hiss actresses at the theatre to prove that they are persons of taste; quarrel with the officers of the garrison to prove that they are men of war; hunt, smoke, yawn, drink, smell of tobacco, play billiards, stare at travellers as they descend from the diligence, live at the cafe, dine at the inn, have a dog which eats the bones under the table, and a mistress who eats the dishes on the table; who stick at a sou, exaggerate the fashions, admire tragedy, despise women, wear out their old boots, copy London through Paris, and Paris through the medium of Pont-A-Mousson, grow old as dullards, never work, serve no use, and do no great harm.

他们全是那一大堆无用人群的组成部分；不事生产，食人之力，一无所长，有一点地产，一点戆气，一点小聪明，在客厅里是乡愚，到了茶楼酒馆又以贵人自居，他们的常用语是&我的草场，我的树林，我的佃户&，在剧场里叫女演员们的倒彩，以图证明自己是有修养的人，和兵营中的官长争辩，以图显示自己深通韬略，打猎，吸烟，打呵欠，酗酒，闻鼻烟，打弹子，看旅客们下公共马车，坐咖啡馆，上饭店，有一只在桌子下面啃骨头的狗和一个在桌子上面张罗的情妇，一毛不拔，奇装异服，幸灾乐祸，侮蔑妇女，使自己的旧靴子更破，在巴黎模仿伦敦的时装，又在木松桥模仿巴黎的时装，顽冥到老，游手好闲，毫无用处，但也不碍大事。

These are beings of the GRE at neuter species: impotent men, parasites, cyphers, who have a little land, a little folly, a little wit; who would be rustics in a drawing-room, and who think themselves gentlemen in the dram-shop; who say,"My fields, my peasants, my woods"; who hiss actresses at the theatre to prove that they are persons of taste; quarrel with the officers of the garrison to prove that they are men of war; hunt, smoke, yawn, drink, smell of tobacco, play billiards, stare at travellers as they descend from the diligence, live at the cafe, dine at the inn, have a dog which eats the bones under the table, and a mistress who eats the dishes on the table; who stick at a sou, exaggerate the fashions, admire tragedy, despise women, wear out their old boots, copy London through Paris, and Paris through the medium of Pont-A-Mousson, grow old as dullards, never work, serve no use, and do no great harm.

他们全是那一大堆无用人群的组成部分；不事生产，食人之力，一无所长，有一点地产，一点戆气，一点小聪明，在客厅里是乡愚，到了茶楼酒馆又以贵人自居，他们的常用语是&我的草场，我的树林，我的佃户&，在剧场里叫女演员们的倒彩，以图证明自己是有修养的人，和兵营中的官长争辩，以图显示自己深通韬略，打猎，吸烟，打呵欠，酗酒，闻鼻烟，打弹子，看旅客们下公共马车，坐咖啡馆，上饭店，有一只在桌子下面啃骨头的狗和一个在桌子上面张罗的情妇，一毛不拔，奇装异服，幸灾乐祸，侮蔑妇女，使自己的旧靴子更破，在巴黎模仿伦敦的时装，又在木松桥模仿巴黎的时装，顽冥到老，游手好闲，毫无用处，但也不碍大事。

18 They stop, they stare, and they scare the daylights out of one of the trackers.

它们停止动作，盯着看，它们吓得一位追踪者六神无主。

Ethologist Irenaus Eibl Eibesfeldt, then of the Max Planck Institute in Germany, filmed African tribes in the 1960s and found that the women there did the exact same prolonged stare followed by a head tilt away with a little smile that he saw in America. The technical name for the head movement is a "cant."

动物行为学者，那时候德国Max Planck学院的Irenaus Eibl Eibesfeldt在上个世纪的60年代拍摄了非洲部落的影片，发现那里的女性和美国女性完全一样地会长久注视、然后头稍倾斜，并发出一个微笑。

Another 1, stare at you, tears cover the face.

另一颗，凝视着你，泪流满面。

I saw him grip the tiller, bend his heavy frame forward, and stare at the foaming terror with his

我看见他弯下他那壮实的身躯，紧握舵柄，那双又圆又大的眼睛紧盯着那白浪翻滚的激流。

I saw him grip the tiller, bend his heavy frame forward, and stare at the foaming terror with his big round eyes.

我看见他弯下他那壮实的身躯，紧握舵柄，那双又圆又大的眼睛紧盯着那白浪翻滚的激流。

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。