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I said it's too late to apologize, it's too late wha.....

我说现在道歉已经太迟了，太迟了

I said it's too late to apologize, it's too late, whoa...

我要说这抱歉来的太迟了，你的歉意无力回天。。。

I said it's too late to apologize, it's too late whoa.....

我表示道歉太晚了，这是为时已晚。。。。。

I said it's too late to apologize, it's too late whoa…..

我说，现在道歉已经太迟了，真的太迟了。

I said it's too late to apologize , it's too late whoa.....

我说的道歉太迟了，这是为时已晚

Some of your critics claim that the novels are too predictable - that it's too easy to work out whodunnit.

一些评论家称你的小说有"预见性"——很容易猜出谁是凶手。

The difference between stumped and run out is that the wicketkeeper may stump a batsman who goes too far forward to play the ball, while any fielder, including the keeper, may run out a batsman who goes too far for any other purpose, including for taking a run.

"持球撞柱"和"截杀"的区别是：捕手可以将击球迈步向前过头的击球手"撞柱"出局，而任何外野手，包括捕手都可以将因任何目的，如获取一跑中，离开安全区的击球手"截杀"出局。

Wieland's translations, too, were of this sort; he too had his distinctive understanding and taste, which he assimilated to the ancient or other foreign culture at his own convenience.

对于译语读者来说，在异化的过程中，源语的词语或者句子可以移植到译语中来，但是它所富含的文化信息却无法全部移植。

In fact, around me, if I was too self-fact, is really too self, as he said he never considered each other's feelings, because it is because I willfulness, the fear of injury, even to protect themselves.......

其实我身边，如果我太自我，其实是真的太自我，正如他他说的，从来不考虑对方的感受，因为那是因为我任性，害怕受伤，更想保护自己。。。。。。。

The state rivers to two branch off the town, both banks mountainous, the mountain wine-cup floating also bend, the tune arrives extreme, then the nest left a not too big nor too small basin.

如果能找到《浮躁》的英译本最好，不然哪位英语强大的朋友帮我翻译一下这一段也行。

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。