不见

So you may catch sight of those unseen, and remember those

于是，看不见的，看见了；遗忘的，记住了。

Loss in your life,so you may catch sight of those unseen,and remember those forgotten.

于是，看不见的，看见了；遗忘的，记住了。

Loss in your life, so you may catch sight of those unseen, and remember those

于是，看不见的，看见了；遗忘的，记住了。

About his body there was a peculiar springiness, or resiliency, almost catlike, and a quick alertness as of one who lived in perpetual fear of things seen and unseen.

他身上有一种像猫一样的弹力或反弹力，还有一种总处于对看得见及看不见的事物的恐惧之中的人才有的敏锐的警觉。

About his body there was a peculiar springiness, or resiliency, almost catlike, and a quick alertness as of one who live in perpetual fear of thing seen and unseen.

Jack London， The Call of the Wild 他身上特别富于弹性，或反弹力，几乎像猫一样，还有一种敏锐的警觉，是那种生活在对于看得见和看不见的东西怀着没完没了的恐惧那种情况的人所特有的。

Be assured,Cato,I do not see you.

请放心，卡托，我看不见你

We were sent to siberia together. when you go to a siberian work camp, you travel in a cattle car. you roll across icy steppes for days, without seeing a soul.

我们一起被派去西伯利亚，当你去西伯利亚的一个工作营地，你必须乘坐一辆牲口车，你整天穿行在冷冰冰的西伯利亚大草原上，连个鬼都看不见。

We were sent to Siberia together. When you go to a Siberianwork camp, you travel in a cattle car. You roll across icy steppes fordays, without seeing a soul.

我们一起被派去西伯利亚，当你去西伯利亚的一个工作营地，你必须乘坐一辆牲口车，你整天穿行在冷冰冰的西伯利亚大草原上，连个鬼都看不见。

I once had a friend called Grunwalski. We were sent to Siberia together. When you go to a Siberian work camp, you travel in a cattle car. You roll across icy steppes for days, without seeing a soul. You huddle to keep warm. But it's hard to relieve yourself, to take a shit, you can't do it on the train, and the only time the train stops is to take on water for the locomotive. But Grunwalski was shy, even when we bathed together, he got upset. I used to kid him about it. So, the train stops and everyone jumps out to shit on the tracks. I teased Grunwalski so much, that he went off on his own. The train starts moving, so everyone jumps on, but it waits for nobody. Grunwalski had a problem: he'd gone behind a bush, and was still shitting. So I see him come out from behind the bush, holding up his pants with his hands. He tries to catch up. I hold out my hand, but each time he reaches for it he lets go of his pants and they drop to his ankles. He pulls them up, starts running again, but they fall back down, when he reaches for me.

我曾经有个叫Grunwalski的朋友我们一起被派去西伯利亚，当你去西伯利亚的一个工作营地，你必须乘坐一辆牲口车，你整天穿行在冷冰冰的西伯利亚大草原上，连个鬼都看不见你为了取暖缩成一团这几乎不能让你感到好受些，你不能在火车上方便，唯一的机会是在火车停下来为机车加水的时候才可以可是Grunwalski很害羞，甚至是我们在一起洗澡的时候，他都有些尴尬我过去经常嘲笑他于是，当火车停下来每个人都跳出去在铁轨上方便的时候我狠狠地挖苦Grunwalski，他走开了一个人在那儿火车开动了，每个人都跳上了火车，它不会等人的Grunwalski遇到了麻烦：他已经去了丛林后面，而且还在方便所以我看见他从丛林里出来，用他的双手提着裤子他想赶上火车我伸出手，可是每一次他够到我的手时他的裤子就要掉下来一直掉到他的膝盖上他提起了裤子，重新追上来，但是当他抓住我的时候，裤子又掉了下来

Yes,said the cavaliers,but they couldn't see a thing,for nothing was there.

可是他们什么也看不见，因为什么东西也没有。

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。