不张

Woohoo your now on the ground but then you must bend quickly to absorb impact pressure to be easier on your bike and so your knee caps dont explode..

沃哦~你现在落地但是你必须弯曲的快点以吸收作用力以使你不容易摔下并切保护关节不会受伤，这将会在下张图里看到

Her face was a shade too long and narrow, but this shortcoming was amply compens at ed by an at tractive mouth, a shapely chin -neither too pointed nor too round-and long,, wavy hair hanging loosely over her shoulders

也是一张稍显得狭长了些的脸庞，可是那十分可爱的红嘴唇，不太尖也不太圆的下巴，以及那一头烫成波浪形松松地齐到耳根的长头发，却把脸庞的狭长&病&完全补救了。

" "Well," said Dantès,"mark this; if you refuse at least to tell Mercédès I am here, I will some day hide myself behind the door, and when you enter I will dash out your brains with this stool.

&&好吧，&唐太斯说，&那么你要记住，假如你不肯替我带个口信给美塞苔丝，又不肯告诉她我在这儿，总有一天，我会躲在门背后，当你进来的时候，我就用这张长凳把你的脑壳打碎。

Zhang Ruimin says, in the environment of financial crisis, be equal to without order not " food ", not starved to death also meet hunger is dizzy; Had a product to cannot change quickly however now, become stock, did not have cash to flow, be equal to not " the dress ", still want to freeze to death.

张瑞敏说，在金融危机的环境里，没有订单就等于没有&食物&，不饿死也会饿晕；有了产品却不能迅速变现，成为库存，没有了现金流，等于没有&衣服&，还是要冻死。

It was my watch below till twelve, but I wouldn't a turned in anyway if I'd had a bed, because a body don't see such a storm as that every day in the week, not by a long sight.

不过，即使我有一张床，反正我也不会去睡的，因为这样的暴风雨，并不是一周之内天天能见到的。不，简直就很少见到。

We've come out of nowhere, literally, nowhere, autumnal towns marked for destruction by a phantom hand; houses held underwater, every bed a sunken tub, tools drowned between rows, every keyhole caulked; clouds hallucinating girls asleep on a wedge of wedding cake; the white rose, among the greatest of liars beginning to show the debilitating effects of fame, the ever-popular blaze placates a vase; the bad sons of thunder beating back a strand of light; someone who knows nothing apart from the rain standing on a chair in muddy legs; the roses blown into their cumulonimbuses, and someone whose glove is recovered, a face that doesn't come clear, a face drawn under an umbrella, beautiful, charcoal, beautiful, like words that never get old, the sons of thunder beating

我们来自无处，纯粹意义上，无处置身，秋天的小镇已被一只无形的幻影之手作上毁灭的记号，房屋们都淹在水下，每一张床成了淹水浴盆，工具没在水滩里，每个洞眼充塞着。云层屯集着像女孩们昏睡于层叠的蛋糕边缘。白玫瑰，在巨大的谎言中，显露渐渐虚弱的光彩。和曾经眩目光芒抚慰着的花瓶。雷电的儿子们回击着一线光亮，有人不知情地站在泥泞的高椅子上，玫瑰被吹向积雨云，有人找到了她的手套，看不清楚的脸，从伞下移出，美丽的，黑炭似的，美丽的，像语言从来不会变老，雷电的儿子们回击着

Newton construes the true motion of an object, as opposed to its merely "apparent" motion, not in terms of its change in relations to other objects, as Descartes had done in his Principles , but in terms of its change of absolute place (Janiak 2008, chapter five).

牛顿的解释为对象的真实运动，而不是它的只是&表面&的议案，而不是其在关系变化方面的其他对象，如笛卡尔在他的原则进行，但在其绝对位置的变化范围（张奕2008年，第五章）。

For ethical reasons, I don't keep the products companies lend me for review, or take anything of value from them, including tokens entitling people to get a $399 product free of charge.

出于职业道德，我不会保留各公司因测试需要而借给我使用的任何产品，也不会从中牟利，包括这张可使消费者免费获得一款售价399美元产品的礼券。

The eyes need not be real:a mask with two dots will produce a smile.significantly,a real human face with eyes covered will not motived a smile,nor will the sight of only one eye when the face is prsented in profile.

该句我译为：眼睛其真正的意义并不是一张面孔上的两点而产生微笑，即意味不会人的脸孔而激起婴儿的微笑，更不会因一只眼睛所视觉的侧面而让婴儿产生微笑。

To illustrate, the XYZ insurance company might have last year bought a policy obligating us to pay the first $1 billion of losses and loss adjustment expenses from events that happened in, say, 1995 and earlier years.

另外还有一个影响更大的因素，也是你在别的地方找不到的，那就是有些公司想要把过去发生但却不确定的损失解决掉，简单的说，有家 XYZ 保险公司在去年向我们买了一张保单，约定我们必须支付头 10 亿美元的损失再加上以前年度，比如说 1995 年后续的损失调整费用，这些合约的金额有可能相当大，当然不论如何，我们还是会定一个上限，我们在 2000 年签了几件这类的合约，到了 2001 年也会再签下几件。

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。