查询词典 what... for

In the field of sports you are more or less accepted for what you do rather than what you are.

" "在体育你或多或少为你做什么，而不是你所接受的领域。

If len is non-zero then *m is filled in with what matched the regular expression, m[0] contains what matched the whole string, m[1] the first sub-expression etc, see regmatch_t in the header file declaration for more details.

如果 len 不是 0，那么*m 被填充为正则表达式匹配的结果， m[0] 包含整个字符串匹配的结果， m[1] 是第一个子表达式匹配的结果，依此类推，更多细节参见 regmatch_t 在头文件中的声明。

Interest, what is what I do not know you are the most conceivable when having this operation, but I think you often seemed for a long time to do not have look good as result of recieving praise, be afraid of filmgoer people forgot you to pull, it is good to want to produce bit of sound make everybody abrupt pay close attention to you?

利益，我不知道你在有这个行动时最想得到的是什么，但我想您老似乎很长时间没露脸了吧，是不是怕影迷们把您忘了拉，是不是想搞出点声音好让大家忽然关注你啊？

What is the source of the site's water for fire fighting and what is the capacity?

14，什么是站点的水源消防的，多大容量？

I had done a similar thing in, in Central Station where as we were on the road and when we saw the religious processions in that part of Brazil, we soon incorporated them into the film and it didn't exist in the original screenplay either and here the boy started to imitate, you know, as we went back and forth to the location and the animals were there, he started to imitate all of them and then suddenly we started to incorporate that as well, er, same thing with the fire-eater, when she started to show us what she could do, we, we immediately started to, you know, to organically incorporate those elements into the screenplay and that is really a fascinating part of our film, it's the collaborative aspect of it, you know, it's when you realise that without every single person's input, the film wouldn't be the same and this is what really makes cinema depart from most medium, is that you have to accept it's democratic quality, you know, essence in order for a film to really be alive and interesting to watch, I guess.

唔，有趣的是当卡戴尔看完电影就跑来对我说，你知道吗这是最忠于原著的改编版，可很多元素都不同，最后，我认为当你改编小说时，当你把文学转化成电影时，真正需要重视的是小说精髓之处，这比什么都要紧，并且创造出一种两者如对立沟通式的对白而不只是改编，ipsis literis，你知道这书，运用他作为深刻的灵感来源，他允许你探究，你知道，没有素材来源不可能投入进去，有次我看库布里克的访谈，其中说到他偏爱主人公容易塑造的小说而不是小说本身，如此他就能专注于故事构架和情节而不是依照原本，这我可以明白，但换个角度说，如果我自己没有被故事打动，如果是这样，故事无法让我产生共鸣那进行二次创作很困难，因为人物本身就显得很单薄无法定位和改编，但我真的能理解他的感受。

Self-conscious flamboyance shows up for what it is; what you considered a clever understatement is often revealed as an evasion of something difficult to state, but which is vital to the story and worthy of clarity.

不自然地过分炫耀词藻，常常在重写时暴露无遗；你自认为机智含蓄的东西，往往是对难以表述的问题的故意回避。而这些问题对于故事而言，恰恰是至关重要而务必清晰表述的。

I can see what you want But you seem pretty young for that kind of fun So maybe I'm not the one Now you're cute I like your style And I know what you mean when you give me a flash of that smile But girl you're only a child Well I can dance with you honey if you think that's funny Does you're mother know that you're out?

我能看出你想要什么但你对那种乐趣来说似乎还太年轻所以也许我不是那个人现在你很可爱，我喜欢你的风格我明白你的意思，当你给我现出一个那样的微笑但女孩，你只是一个孩子我也可以和你跳舞，宝贝如果你觉得那样有趣请问你母亲是否知道你在外面？

I know what I like, what is good for me.

我知道我喜欢什么，什么是好的，对我来说。

Ask not what your country can do for you ,ask what you can do fou your country.

不要问国家能为你做什么，要问你能为国家做什么。

What he has done on the court is only a fraction of what he has done for the game.

他在场上的表现只是他在比赛里所做的一小部分。

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。