不亚于

At the end of three months, your mother, with that unfortunate weakness of will that characterises her, and that in the tragedy of my life has been an element no less fatal than your father's violence, actually writes to me herself — I have no doubt, of course, at your instigation — tells me that you are extremely anxious to hear from me, and in order that I should have no excuse for not communicating with you, sends me your address in Athens, which, of course, I knew perfectly well.

三个月后，你母亲亲自写信来了——很不幸，她个性中那典型的软弱，在我生活的悲剧中所起的致命作用不亚于你父亲的暴虐——我当然不怀疑是你叫她写的，她说你急得不得了要我写信给你，而为了使我不至于有借口不写，还把你在雅典的地址寄过来了。你的地址，我当然知道得再清楚不过了。

In the middle of these Cogitations, Apprehensions and Reflections, it came into my Thought one Day, that all this might be a meer Chimera of my own; and that this Foot might be the Print of my own Foot, when I came on Shore from my Boat: This chear'd me up a little too, and I began to perswade my self it was all a Delusion; that it was nothing else but my own Foot, and why might not I come that way from the Boat, as well as I was going that way to the Boat; again, I consider'd also that I could by no Means tell for certain where I had trod, and where I had not; and that if at last this was only the Print of my own Foot, I had play'd the Part of those Fools, who strive to make stories of Spectres, and Apparitions; and then are frighted at them more than any body.

天命难测，使人生显得多么光怪陆离，变化无穷啊！在不同的环境下，人的感情又怎样变幻无常啊！我们今天所爱的，往往是我们明天所恨的；我们今天所追求的，往往是我们明天所逃避的；我们今天所希翼的，往往是我们明天所害怕的，甚至会吓得胆战心惊。现在，我自己就是一个生动的例子。以前，我觉得，我最大的痛苦是被人类社会所抛弃，孤身一人，被汪洋大海所包围，与人世隔绝，被贬黜而过着寂寞的生活。仿佛上天认定我不足与人类为伍，不足与其他人交往似的。我当时觉得，假如我能见到一个人，对我来说不亚于死而复生，那将是上帝所能赐给我的最大的幸福，这种幸福仅次于上帝饶恕我在人间所犯的罪孽，让我登上天堂。而现在呢，只要疑心可能会看到人，我就会不寒而栗；只要见到人影，看到人在岛上留下的脚印无声无息地躺在那里，我就恨不得地上有个洞让我钻下去。

An American economist said that protective duties and tariff wars are no less costly than armed peace or real warfare.

一位美国经济学家说，保护关税和关税战所造成的损害不亚于武装和平或真正的战争。

Within 20 years they will be producing more CO2 than the rich industrialised countries based mainly in the northern hemisphere.

在这20年中他们排放出的二氧化碳的量不亚于那些位于北半球的工业化国家。

The front axle design of this vehicle, which, for reasons of weight minimisation, is hollow, is a true masterpiece of workmanship and was deemed nothing less than revolutionary.

在前轴设计此车辆，其中的原因，体重减少，是空洞的，是一个真正的杰作做工和被认为是不亚于革命。

A few years after the opening of the war, the brave Ziska died; but his place was filled by Procopius, who was an equally brave and skillful general, and in some respects a more able leader.

但战争开始之后不多年，勇敢的席斯加死了，起而代之的是卜罗可庇。他的勇敢和干练不亚于席斯加，而且在领导上表现得比席斯加才力更高。

The increase this time is smaller than that in the wars with revolutionary and Napoleonic France or the world wars of the 20th century.

此次增幅较法国拿破仑战争或20世纪的两次世界大战时期要小一些，但不亚于、甚至高于18世纪的其它战争。

In classical music I always admired Mussorgsky's unorthodoxy, unpredictability and disrespect of rules, and a few other Russian composers such as Shostakovich (the second tempo of his 8th String Quartet and Chamber Symphony op.110/110a electrocuted my imagination at least as much as the beginning of his 5th Symphony must have remained stuck in Morrissey's mind, when he sampled it for 11 minutes on the opening song of his "Southpaw Grammar" album), Prokofiev (whose exceptional melodic ingeniousness influenced me, but must have pleased Sting too, as he borrowed the theme of Prokofiev's "Lieutenant Kijé" for his hit "Russians") and Mosolov (whose mid-1920s piece "Iron Foundry" is pure Prog-Rock à la Magma, Art Zoyd, Univers Zero).

古典音乐家里面我一直十分欣赏Mussorgsky的叛逆、不可预测以及他对常规的无视，还有少数俄罗斯作曲家，比如Shostakovich，（他的C小调第八弦乐四重奏作品第110号/110a的第二部分 [1]强烈激发了我的想象力，这种激发不亚于他的第五交响曲[2]的开始部分对于Morrissey[3]的影响，那段旋律令他印象如此深刻以至于他将11分钟的采样放在了他的专辑《Southpaw Grammar》中。）Prokofiev（他格外出色天才一般的旋律影响了我，但是Sting肯定也获益匪浅，因为他也在自己的热门单曲&Russians&俄罗斯人中借用了Prokofiev 的&Lieutenant Kijé&三驾马车[4]），和Mosolov[5]（他创作于1920年中期的作品&Iron Foundry&是纯粹的前卫摇滚à la Magma，Art Zoyd，Univers Zero）。

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。